MACK AND MABEL A musical love story in 1 act, 14 Scenes. (an intermission was added between scenes 8 and 9. Music & Lyrics by Jerry Herman: Book by Michael Stewart Majestic Theatre, Broadway - 6 October, 1974 (66 perfs) Piccadilly Theatre 7 November 1995 - 29 June 1996 (270 perfs) Theatre Royal, Drury Lane - 21 February, 1988 SYNOPSIS The great Hollywood comic director, Mack Sennett, reminisces about his career from the sound stage of the studios he once dominated . It is 1938, and the days of the silent film are over, effectively ending Sennett's career. In a series of flashbacks, Sennett relates the glory days of the Keystone Studios from 1911, when he discovered Mabel Normand, star of dozens of his early "two-reelers", through his invention of the Bathing Beauties and Keystone Cops to Mabel's death from a heroin overdose in 1930. Pride and a naturally hard, aggressive personality prevent Sennett from ever declaring openly the love he feels for Mabel. Although she is his mistress until 1920, Mabel leaves him for the "serious" director W.D. Taylor, who not only values her acting, but also treats her with kindness and consideration as well. However, when Taylor is murdered in Mabel's presence, the ensuing scandal wrecks her career. In an attempt to help her make a clean start, Sennett agrees to make her the star of a romantic drama, Molly, which he goes on to direct. The odium still attached to Mabel's name means, however, that no one will distribute the film. Not content with this unhappy ending, Sennett plots a final scene in which he and Mabel marry, happily surrounded by a classic custard pie fight performed by the Keystone Cops. ORIGINAL CAST (in order of appearance): • Eddie, the watchman: Stanley Simmonds • Mack Sennett: ROBERT PRESTON • Lottie Ames: LISA KIRK • Ella: Nancy Evers • Freddie: Roger Bigelow • Charlie Muldoon: Christopher Murney • Wally: Robert Fitch • Frank Wyman: Jerry Dodge • Mabel Normand: BERNADETTE PETERS • Mr. Kleiman: Tom Batten • Mr. Fox: Bert Michaels • Iris, the wardrobe mistress: Marie Santell. • William Desmond Taylor: JAMES MITCHELL • Phyllis Foster: Cheryl Armstrong. • Serge: Frank Root. The Grips: John Almberg, Roger Bigelow, George Blackwell, Frank Bouley, Gerand Brentte, Lonnie Burr, Chet D'Elia, Igors Gavon, Jonathan Miele, Don Percassi, Frank Root. Mack Sennett Bathing Beauties: Cheryl Armstrong, Claudia Asbury, Sandahl Bergman, Chrystal Chambers, Nancy Dafgek, Prudence Darby, Elaine Handel, Paula Lynn, Patricia Michaels, Carol Perea, L. J. Rose, Rita Rudner, Marianne Selbert, Jo Speros, Pat Trott, Geordie Withee.
Musical Numbers 1. Movies Were Movies - Max Sennett 2. Look What Happened to Mabel - Mabel Normand, Wally, Charlie, Frank Wyman, Grips 3. Big Time - Lottie Ames, the Family 4. I Won't Send Roses - Max Sennett 5. I Won't Send Roses (reprise) - Mabel Normand 6. I Wanna Make the World Laugh - Max Sennett, Company 7. I Wanna Make the World Laugh (reprise) - Max Sennett, Company 8. Wherever He Ain't - Mabel Normand, Waiters 9. Hundreds of Girls - Max Sennett, Bathing Beauties 10. When Mabel Comes into the Room - Company 11. My Heart Leaps Up - Max Sennett 12. Time Heals Everything - Mabel Normand 13. Tap Your Troubles Away - Lottie Ames, Girls 14. I Promise You a Happy Ending - Max Sennett SCENES AND SETTINGS • Scene 1: The Sennett Studios, 1938. • Scene 2: The Brooklyn Studio, 1911. • Scene 3: Mack's Office, Brooklyn. • Scene 4: En route to California. • Scene 5: Los Angeles, 1912. • Scene 6: On the Set. • Scene 7: The Orchid Room of the Hollywood Hotel, 1919. • Scene 8: On the Set. • Scene 9: Mack's New Office, 1923. • Scene 10: Studio Early Next Morning. • Scene 11: A pier, New York. • Scene 12: "Vitagraph Varieties of 1929" and the Terrace of William Desmond Taylor's Home. • Scene 13: Mack's Office—then Mabel's Home. • Scene 14: The Sennett Studios, 1938. DISCOGRAPHY Mack & Mabel - Original Cast Recording Mack & Mabel: In Concert (Live at the Theatre Royal) [1988 London Cast Recording]
MAD LIBS LIVE! Music by Jeff Thomson | Book and Lyrics by Robin Rothstein New World Stages - November 1, 2015 SYNOPSIS Meet Virtuosa, Gogo, Geyser, and Merrily, four teenagers from Blankville Central High School with little in common, who come together to form a singing group to try and win the title, "Teen Superstars!" Mad Libs Live! is set during the live, televised competition when the teens realize that the songs they are about to sing have words missing. Thank goodness these discombobulated kids have The Audience there to help them fill in the blanks! But...will this be enough to help them win the competition? STORY Our story begins at the finals of Teen Superstars, the live TV show that will determine the most popular singing group at Blankville Central High. Virtuosa, Gogo, Geyser, and Merrily seem to have nothing in common – until just before airtime, when they realize that their songs are missing words! In the spirit of the ‘World’s Greatest Word Game,’ our gang fills in the blanks with words from the audience! This truly interactive musical changes at every performance – thanks to you! Will GoGo get the girl? Will Geyser make new friends? Will Merrily come out of her shell? Will Virtuosa get out of the spotlight? And who will be the next Teen Superstars?? There is only one way to find out: MAD LIBS LIVE! MUSICAL NUMBERS 1. Doing It Right Now! - Company 2. How It's Going Down - Company 3. How To Be Famous - Virtuosa 4. Friend 4 Ever - Geyser 5. My _____ (Adj) _____ (Noun - )Merrily 6. The Most Awesome Athlete in the World = Gogo 7. Disaster - Company 8. You Give Me Meaning - Company 9. Fearless - Merrily 10. Doing It Right Now (Reprise) - Company DISCOGRAPHY Mad Libs Live! (original Cast Recording)
MADISON AVENUE A musical in 2 acts: Music by Gary Cherpakov & Robert Moehl; Lyrics by Gary Cherpakov & Paul Streitz; Book by Paul Streitz Lone Star Theatre - Off-Broadway 29 December, 1992 (48 perfs) SYNOPSIS Madison Avenue is an advertising agency and the plot of this musical is centred around obtaining and maintaining the account for Leonard's Lemonade. The cast of characters show what it's really like in the insane world of advertising. The Women on the Move are the executive females on their way up the ladder. Alice O'Connor is the sweet ingenue entering the Madison Avenue madness. Bruce Singer is the would-be-writer, just doing time as a copy-writer on the Avenue until he sells his first script. J. Quinby IV is the slightly stuffy, well-established executive. His secretary, Honeydew Plushbottom is from Bay Ridge; she sports baubles and jewels all over her body, along with two-inch, brightly painted fingernails. We meet the Media Rep, the Marketing Researcher and and the video director, all of them dedicated to obtaining this new advertising account. MUSICAL NUMBERS: ACT ONE 1. Women on the Move - Woman on the Move, Alice O’Connor, Honeydew Plushbottom 2. A Woman at Home - J. Quinby IV, Bruce Singer, Media Rep 3. Something for Me - J. Quinby IV, Honeydew Plushbottom 4. All a Matter of Strategy - J. Quinby IV, Bruce Singer, Honeydew Plushbottom 5. Thirty Seconds - J. Quinby IV, Alice O’Connor 6. Client Service - Honeydew Plushbottom) 7. L.A. Freeway (Media Rep) 8. Office Romance - Alice O’Connor, Bruce Singer) 9. Typical American Consumer - Company) ACT Two 10. Residuals - Krystal and Alexis 11. Leonardo’s Lemonade/Lennie’s Lemonade/Leo-nard’s Lemonade - Bruce Singer 12. It’s Not a Commercial, It’s Art - Bruce Singer 13. Squeeze, Squeeze, Squeeze - Lemons 14. Thirty Seconds (reprise) - J. Quinby IV 15. The Look - Alice O’Connor, Honeydew Plushbottom 16. Upper East Side Blues - Alice O’Connor) 17. Thirty Seconds (reprise) - J. Quinby IV) 18. Madison Avenue - Alice O’Connor, Company) DISCOGRAPHY Madison Avenue (1997 Studio Cast)
THE MADWOMAN OF CENTRAL PARK WEST An Original Musical Comedy in 2 acts. (A semi-autobiographical onewoman play about surviving as a woman/wife/mother). Book by Phyllis Newman and Arthur Laurents. Music by Peter Allen, Leonard Bernstein, Jerry Bock, et al 22 Steps Theatre, New York City - 13 June, 1979 - (86 performances ) SYNOPSIS ACT 1 This is about a woman who's trying to clean up her bedroom, and get out of it. The lights come up on a very messy bedroom dominated by an even messier bed. A woman roughly thirty or forty crawls out from under the bed with a barbell in her hand, finds a second and does a couple of deeply perfunctory exercises. She tosses them aside … stares catatonically for a moment, shakes herself out of it, plants a smile on her face and sings: "Up! Up! Up!" She is in the middle of making yet another of her endless lists, when her thirteen year old daughter barges in wearing pounds of her Mother's makeup badly applied …The kid accuses her of destroying her life because she's not a normal mother. They exchange zingers, the kid storms out yelling "Mommie Dearest" and she slams the door. The woman goes back to her list and writes, "Do not be deeply affected by your child . . . remember you were one" . . . she says to herself "But it wasn't supposed to be like this ... " She sings: "My Mother Was A Fortune Teller." She looks for answers by going to a "hot" seventies self-help seminar ... there, along with a couple of hundred other people in a hotel ballroom, she is abused into … "Sharing" … She sings: "The Cheerleader." Strengthened with new temporary resolve she devises a "With-It" high concept country western punk act which she is trying out in a Greenwich Village club ... "the Bitter Pits" ... she sings a song about her father and a hypnotizing cat … one of his crazy schemes … she is losing her audience … she stops her act and "Gets Real" … she tells them about loyalty and their long marriage … She sings what her Mother always used to say about her Daddy: "What Makes Me Love Him?" Back in her bedroom … we find out how she met her husband. We're back in the late fifties, at Sardi's where she's having her first nervous date with him … it's not going too well … she's afraid she's losing him completely so she tells him: "Don't Laugh." We're back in the present … and the woman is trying out yet another act, this time a "commercial" one. She and her choreographer are working in a rehearsal hall. She sings: "The Woman's Medley." ACT TWO "Up! Up! Up!," Reprise. Once again she's buoyed herself up to make it all work ... the phone rings … it's her agent with an offer for a very tacky job … her daughter comes in, overhears it and hits her again with the "Humiliating Mother Routine". The woman goes back in time to other humiliations and triumphs … like the night she won a Tony Award against all odds. She sings: "Better." She attempts an affair with her son's grade school teacher. She fouls herself up by talking too much and too hysterically. The scene changes dramatically and theatrically to a highly stylized appearance she's
doing on the Johnny Carson Show where she tells the sad story of this year's slipped disco queen, Lola, in: "Copacabana." Back in her room, she's feeling better because she has exorcised so many feelings … she starts making a list of her assets … her three kids … her husband is the oldest. She says maybe if she could just make peace with them and simply say to them "My New Friends" then she makes her final list: "The Song of Lists." "My Mother Was A Fortune Teller," Reprise. MUSICAL NUMBERS 1. Up! Up! Up! 2. My Mother Was a Fortune Teller 3. Cheerleader 4. What Makes Me Love HIm? 5. Don't Laugh 6. No One’s Toy 7. Women's Medley 8. Don’t Wish 9. Up! Up! Up! - Reprise 10. Better 11. Copacabana 12. My New Friends 13. A Song of Lists 14. My Mother Was a Fortune Teller - Reprise DISCOGRAPHY Madwoman of Central Park West - Original Cast Album
MAGGIE MAY A musical in two acts. Music and lyrics by Lionel Bart, book by Alun Owen Adelphi Theatre, London - September 22, 1964 (501 perfs) SYNOPSIS This hard-hitting story of life in Liverpool's dock-land centres on Patrick Casey, son of the legendary union-martyr, initially reluctant but finally proud, to assume his father's mantle, and Maggie May Duffy, young and vibrant, who abandons 'the game' for Casey, only to believe she has lost him to his union dreams. Around them is a gallery of strongly-drawn characters: Willie Morgan, the corrupt demagogue, Cogger the 'fixer' and traitor, Old Dooley, remembering past union struggles, Norah the toadying publican, all caught up in a fast-moving drama with a tragic climax, and filled with the strong, earthy songs for which Lionel Bart is renowned. STORY Act I The tale of Maggie May is set in Liverpool, that part of Britain where, dirtily and noisily, England meets Ireland alongside the docks that border the Irish sea and the folks speak a dialect that is 'part Irish, part Welsh and part catarrh'. It was in Liverpool that Margaret Mary Duffy was born and grew up and made special friends with little Patrick Casey, and life in the streets and in the docks went on its usual way until the day that Patrick's father was killed. Joe Casey was a natural born leader. Or a natural born rabble-rouser, depending on which way you want to look at it. He was a professional striker and street orator and he got the death and a bit of the glory he always wanted when he was trampled to death by police horses while haranguing his fellow dockers into violent action against their employers. It was Margaret Mary's birthday that day, but she had no Patrick Casey to share it with her. He was dragged off by his mother to make a show over his father's death, and Margaret Mary was left with only her doll for birthday company. Twenty years have passed and Mary Margaret Duffy, nowadays better known as Maggie May, is a whore on the Liverpool Docks. She's grown into a fine woman and she's been a whore, and a right popular one, all of her working life. She calls all her customers Casey as she waits for the one real Casey to come back out of the blue yonder. For Patrick Casey didn't follow his father on to the docks. He went and joined the navy and sailed away from Liverpool and from the shadow of his father's life and death. Twenty years after his 'martyrdom' Joe Casey is remembered only by the older men on the docks, but the Union is still an inbred part of the lives of the men who work the shipyards and there are plenty of younger belligerents to carry on nature's war against the employer, whether through genuine conviction or personal ambition. Old Dooley is one of the straightforward ones. The Union book is the book by which he runs his life and he has no time for the youngsters, like his own son Eric, who take it with a pinch of salt until it suits them. Not all the young people are careless of the Union, however. Cogger Johnson is deeply into Union business, but he is not a Union man of the old school like Dooley: he's in there for his own gain, for his own importance, as much as for the Natural Struggle. He remembers the story of Joe Casey all right, but with different emotions to those that Dooley feels. To Dooley, Joe Casey was indeed a martyr who died for his cause, but this attitude wins largely scorn from the young men of the 1960s to whom the labour struggles of the past mean little or nothing. It is Cogger Johnson who brings Patrick Casey in to work on the docks. Dismissed from the navy, Casey is
back in Liverpool and in need of a job, and what could be more natural than that Joe Casey's son should step in to his father's profession. Down on the docks, he soon runs into his old friend Maggie May. He doesn't seem at all taken aback when she tells him that she's on the game, and they arrange to go out to Norah Mulqueen's pub together that night. Maggie May is truly happy. The man she loves is back; now she has to make him love her as she loves him. Down on the docks Gang Three is unloading a ship while Cogger, their chief, is pulling a fix with another gang for a job swap which will give his gang the easy jobs and the others the opportunity to do some practised stealing from the cargo. It's all fair robbery in the Natural Struggle. Cogger, in pursuit of a bit of reflected glory, is also harassing Casey about the Union. He ought to take an active part, like his father. Casey has straightforward feelings, strong ones too, over things like injustice, but he has no intention of being a leader nor, particularly, anything like his father. It takes an accident to bring him out of his self-appointed silence. A crate is dropped from a crane, crushing a dock worker to death. It is not their mate's death, however, which rouses Casey's anger: it is the contents of the smashed crate. They have been loading guns on a phoney manifest. Guns for South America where, as Casey knows from his navy days, they will be used by the military to put down strikes and shoot down striking workers. He is walking off the job. Cogger is livid with him. This accident is something that the Union can flex its muscles over: if Casey won't do anything he will. He is going to run straight to Willie Morgan, the Union boss, and get him to take some action. Willie Morgan has just been on an all-expenses-paid trip to Rome in an abortive attempt to see the Pope and his reaction to the death of Georgie MacDowell is suitably sonorous and cliched as he puts on his chummy I'm-one-of-the-boys act for the benefit of the dockers. Casey has no time for him. He remembers Willie from years back, running along in Joe Casey's shadow picking about for a bit of glory and, before long, it becomes obvious to him that Willie knew all about the guns and the faked manifest. Willie is a practical man: the nature of the cargo isn't his problem as long as there's cargo to load. He can also see that young Casey will be trouble, not to mention a rival for his own nicely feather-bedded position, and he resolves to fix him. When Maggie May comes to join Casey for a drink, Morgan causes a scene with the landlady, accusing her of harbouring prostitutes and threatening to withdraw his classy custom. Casey stands up to Morgan. Maggie May's a better woman by far than the simpering little bit of crumpet clinging to Morgan's arms and she has plenty of friends on the docks and in the pub who are pleased to walk out of Norah Mulqueen's place and leave Morgan and his cronies to themselves. Casey doesn't want trouble. Too often trouble has found him without his seeking it. He hasn't any admiration for his father and what he did: he knows him as a mug and a loser who achieved nothing but a stupid death. He just wants a quiet life with a clean nose and a pint. He's got good mates and he's got Maggie May who's willing to give up the game for him and who dreams of a happy life. But on the day of Georgie's funeral the news comes that there are fifteen lorry loads of guns lining up to be loaded. All Georgie's Protestant friends are at the funeral: it'll be double time for Gang Three. And Willie Morgan's fixed it so that Casey doesn't have to load; he's been promoted to checker. Casey will not accept this subterfuge and, triumphantly, the boss ganger orders him to collect his cards for refusing to work. Casey agrees to go, but he is made an unwilling martyr when the rest of the gang, for motives ranging, from misguided friendship to solidarity in the cause of the Natural Struggle, announce that if he goes they will follow him off the job. Cogger immediately stirs up the other gangs. Casey's being sacked for refusing to load a blacked cargo. Joe Casey's son is being victimised and Willie Morgan is letting them bring in the troops to load the ships if the dockers refuse. Cogger is whipping up a walk-out and he's going to put Casey up as its figurehead. Maggie May tries to stop him, but Cogger crudely puts her down in front of the dockers and forces the situation to a point where Casey is lifted shoulder high and carried off, leaving Maggie May bitterly to rue his weakness and the unlikelihood of their ever finding that 'Land of Promises'.
Act 2 In a -Liverpool club, the folks are 'Carryin' On'. Maggie May is there, a quieter, more soberly dressed Maggie May, with bitter words for Casey's `friends' and a hard rebuff for Willie Morgan who is still at his fixing ways. The strike is on and biting. The milkman can only sell half-pints as the women's purse strings draw tighter and the men try to rouse up a mass rally. Maggie May and her friend Maureen have no time for it all. The men have got their priorities wrong. There are more important and more natural things than the Natural Struggle, and as for the Union, 'There's Only One Union' that counts and thats the union between man and woman. Casey gets the message. Maggie May is his friend, it's all probability that she'll be his lover before long, but in the meanwhile he won't listen to her angry pleas that all he is doing is putting himself up to be hurt as their lives begin to run away from them. At the march, Casey speaks fluently in defence of his actions and the strike. It is not a case of more money; he and his mates simply will not load a cargo which is going to the other side of the world to oppress men like themselves. But when it is Willie Morgan's turn to speak he takes a practised angle, wooing the men with the money to be earned and mocking Casey's far-away fairy stories, encouraging the impoverished dockers to think of themselves and their families with chauvinistic skill. Before he is finished, much of the spirit has gone from many of the strikers and the glint is gone from the rebellion. Willie Morgan wants more from Casey than his hide. He wants to complete the man's humiliation by taking Maggie May from him. From anger at Casey, the frustrated girl agrees to go out with the boss to New Brighton where he tries to convince her that 'The World's a Lovely Place' as he gropes her grossly. But Maggie May knows that she cannot go through with this whatever happens, she loves her Casey, she always has and she always will. Casey is spending the same time drowning his sorrows and trying to drown the memory and the spirit of his father and everything connected with him. He wants nothing more to do with the Union and with Cogger. He doesn't want to be a hero or a figurehead, he just wants to have peace and quiet and a job and Maggie May. Maggie May finds him wandering about in a boozy stupor and takes him home with her watched by the bitter Cogger. Cogger blames Casey for fumbling his luck, for ruining Cogger's go for glory with 'his' strike. He hates Casey for having the charisma and confidence which he will never have, and he is jealous of the evident love the man has from Maggie May whom he bitterly qualifies as a 'dirty whore'. The other Gang Three members, without Cogger's personal reasons for jealousy, stick up for Casey. Everyone is different and Casey has a right to live as he wants and not as Cogger and any others might wish him to. In the morning, Casey wakes up in Maggie May's bed and real love finally gets around to them. Casey is determined that from now on they will just live their ordinary, quiet life together. But no sooner has Casey left Maggie May's side than Cogger is after him again, trying to separate him from Maggie May with scorn, trying to tack on to Casey and wherever he's going, pleading friendship. When Casey knocks him back, the bitter Cogger changes his allegiance. He heads straight for Willie Morgan with a piece of news. Casey has one last deed to do and if Cogger can't share it with him, then Cogger will damn him for doing it. Casey has gone to the docks. He has broken into a crane and he has begun loading the crates of guns into a cage. Morgan, Cogger and the police they have alerted rush in in time to see the cargo being swung towards the open river. The guns tumble from the crane into the depths of the River Liver and Casey swings the crane back for more But, as he does so, the arm sof the crane becomes entangled with some overhead electric wires. A crane driver rushes forward to shout instructions, but Willie Morgan silences him physically. The crane erupts in a shower of sparks and Casey's body arcs with electricity as the power of the cables pours through the crane cabin. Then, and only then, does Willie Morgan pull the mains switch. As the dead body of Patrick Casey is carried away, Maggie May delivers her last words to Liverpool, the town and the people who killed her Casey.
MUSICAL NUMBERS: 1. Ballad of the Liver Bird - Balladeer, Chorus, Off-stage sopranos 2. Lullaby - Young Maggie May, off-stage sopranos 3. I Love A Man - Maggie May 4. Casey - (Maggie May, Maureen, Chorus 5. Shine You Swine - Milkman 6. Dey Don't Do Dat T'Day - T.C., Dockers 7. I Told You So - Maggie May, Maureen 8. Right Of Way - Gang 3, Dockers 9. Stroll On - Casey, Gang 3 10. Away From Home - Willie Morgan, Company 11. Maggie, Maggie May - Casey, Company 12. D'Land of Promises - Maggie May 13. Carrying On - Beat Group 14. Union Cha-cha - Maggie May, Maureen, Gang 3 15. It's Yourself - Casey, Maggie May 16. The World's A Lovely Place - Willie, Maggie May, Company 17. I'm Me - Casey 18. D'Same Size Boots - Eric, T.C., Fred, Gene CAST OF CHARACTERS - (In order of appearance) - Principals: 3 female, 8 male, 2 children The language the majority of the people speak is the dialect of Liverpool. The accent, according to one definition, is part Irish, part Welsh and part catarrh. • A Balladeer • Young Priest - a chubby-faced young country Irish priest, aged about 35 • Mrs Casey - A 40-ish Liverpool Irish woman. Small, very determined • Mother Monica - A 50-ish motherly looking, sharp-tongued Irish nun • Sister Mary - A meek and mild nun • Maggie May as a child • Patrick Casey as a child • Maggie May (Margaret Mary Duffy) - Is a proud whore. She has vivid colouring and gives the impression if enormous physical health, coupled with strong sexual attraction. She has a capacity for throwing away all the coarsening characteristics of the whore and becoming almost childlike in her enthusiasms. She has loved Patrick Casey all her lifeand she always will. • Maureen O'Neill - A whore. Maggie May's greatest friend. She is loud, full of life and very attractive. She loves T.C. • Milkman - A lugubrious, middle-aged young man. A grumbler. • Old Dooley - About 55. Small, wiry, with a deep-lined face and a voice like a frog. • Eric Dooley - His son. About 27, but a man who is already preparing for middle age. A strong man. • T.C. (Terry Collins) - About 22. Resilient. Refusing to take life at all seriously. His life and his hobby have fused into an endless pursuit of girls. • Gene Kierman - Is enormous and very strong. He adores T.C. almost as much as he adores drinking. Not overloaded with brains but immensely good humoured • Judder Johnson - Is almost of Latin appearance, with very pale grey eyes. He is persuasive and fluent and he has a habit of touching people when he talks to them. The thing about Judder is that nobody really likes him but somehow or other they fear him which they mistake for respect. • Patrick Casey - Is a hero. Six-foot and fair, with all of Ireland's charm and physical beauty. He has about him an air of preoccupation but a sweetness of nature that disarms everyone and draws people to him. • A Crane Driver - • Nora Mulqueen - A 50-ish Liverpool Irish publican with a toadying manner that in the wrong set of
circumstances turns into querulous bullying. • Willie Morgan - Big Willie Morgan is a six-footer. He is about 50 and good living has covered his large frame with a layer of fat, but within the man is still hard. He has a magnificent head of white hair with black Welsh eyebrows; a deep and resonant voice which he fully exploits. Willie is dedicated to the proposition that the whole world is bent. He believes this and acts accordingly. He is cynical and shyall too plausible. • Ned - One of Willie's cronies. A tiny man • Knock-Off Nolan - A shifty, cheerful villain • Stevedore - An unpleasant foreman INSTRUMENTATION: Reed 1 (flute, piccolo) Reed II (flute, tenor sax), Reed III (oboe, cor anglais), Reed IV (clarinet, alto sax), Reed V (clarinet, bass clarinet, baritone sax), horn (opt.), 3 trumpets (3rd opt.), 2 trombones, 2 percussion (2nd opt.), keyboard/synthesizer, cello (opt.), bass Vocal Score, Vocal Book and Libretto available on hire only SYNOPSIS OF SCENES: Act I • Prologue - Outside a parish hall, 20 years earlier, Palm Sunday • Scene 1 - A street outside a Chinese restaurant, 20 years later • Scene 2 - A terrace of small houses outside the dock gates incorporating the interior of Maggie May's room • Scene 3 - The unloading bay at the dockside • Scene 4 - Nora Mulqueen's pub • Scene 5 - By the riverside with the New Brighton Fairground on the far Mersey bank • Scene 6 - The warehouse at the dockside ACT II • Scene 1 - The Catacomb Club • Scene 2 - A terrace of small houses outside the dock gates • Scene 3 - The Pier Head - meeting place outside the Liver Building • Scene 4 - The New Brighton fairground • Scene 5 - A deserted place • Scene 6 - Maggie May's room and the street below • Scene 7 - The unloading bay at the dockside DISCOGRAPHY OLC Recording That's Entertainment - TER 1046 Original Cast Recording
THE MAGIC PLUNGER By Adam Kirk & Landen Gessell SYNOPSIS It is a time of great turmoil. Three best friend knights living in a two room apartment must overcome the ultimate challenge . . . trying to unplug their toilet . . . without a plunger? Join Gregory Falloffalot, Mighty Bluff and Howard the Coward as they embark on an adventure of average proportions, where they find a delightful cast of colourful characters and a quest for the legendary magic plunger that will change all of their lives and bathrooms forever. The Magic Plunger is a fantasy comedy play with a contemporary spin, and is perfect for schools and youth theatres looking for a piece to perform at a Dinner Theatre, as part of a drama club, or as the annual school play. Already a huge success in its native Canada, where the piece won the 2005 Off Broadway Youth Playwriting Competition and ran for several months playing to sell-out crowds. Join in the merriment and irreverant humour and make The Magic Plunger your next performance. CAST: 4 male, 3 female, gender changes possible. STAGING: Simple to stage - main set is the knights’ flat.
THE MAGICAL ADVENTURES OF MERLIN Book, Music and Lyrics By Janet Yates Vogt and Mark Friedman SYNOPSIS This re-imagined tale shares how a young Merlin meets a young, soon-to-be king, Arthur in mythical, ancient England. Will Merlin choose ultimate magical power- his lifelong dream- or friendship with Arthur and Guinevere? Will Arthur pull the sword from the stone and defeat the bewitching Morgana? Can Merlin become the greatest wizard of the land? Magical surprises provide the answers in this enchanted musical adventure. STORY In days of old, when knights roamed the kingdom, a young apprentice wizard named Merlin is learning how to become a great sorcerer. Another young lad, Arthur, is destined to become king - but only if he is able to pull the magical sword, Excalibur, from the stone. Nimue, the Lady of the Lake, enchants the sword into the stone to keep it from the hands of her evil sister, Morgana - SONG OF THE LADY OF THE LAKE. But Morgana vows: "Arthur will never be king!" and proclaims that the sword and all power shall be hers. Merlin, who lives with the Old Master Sorcerer and his wife, is tired of doing mundane chores like cleaning out the dragon cage and mopping the floor. Merlin would much rather work on mastering his magical skills - MERLIN IS MY NAME. The people in the town square are amazed to see the sword in the stone and it's magical inscription that "whoever pulls out the sword shall be the rightful King of England." Everyone rushes up to pull out the sword pushing and shoving each other out of the way in a frantic FIGHT FOR THE SWORD. Morgana and her knights clear away the crowd as she announces that THE SWORD SHALL BE MINE. Arthur narrowly escapes an encounter with Morgana and makes his way to the Master Sorcerer's house where he meets Merlin for the first time. He soon enlists the help of Merlin, the two become fast friends. As they journey together to the sword in the stone, Merlin instructs Arthur on a little "Magic 101" telling him that all he need do is LET MAGIC BE YOUR GUIDE. In a sudden encounter with Morgana's knights who engage Arthur in a SWORDFIGHT IN THE FOREST, Merlin's uses his magic to save Arthur. Continuing on their journey, they meet the Lady Guinivere who soon proves to Arthur that her skills with the sword are equal to his. Arthur and Guinivere are immediately taken with each other as Arthur explains what he would do IF I WERE KING. Merlin, Arthur, and Guinivere pledge to defeat Morgana and her evil knights, vowing to help Arthur to fulfill his true destiny as King. But once again Merlin hears THE SONG OF THE LADY OF THE LAKE (reprise) and Nimue enchants Merlin revealing to him that Morgana's magic may be too great for him to overcome - but she may be abe to help him. Morgana's power is indeed strong and she tempts Merlin to leave Arthur and Guinevere behind and join their powers together to capture the sword and rule the kingdom - MAGIC OR FRIENDSHIP?
When Merlin returns with Morgana, Arthur and Guinevere vow to go to the stone without him - MAGIC OR FRIENDSHIP? (reprise) In a final BATTLE FOR THE SWORD EXCALIBER will Merlin choose ultimate magical power - his lifelong dream - or friendship with Arthur and Guinevere? MUSICAL NUMBERS 1. Magical Overture - Instrumental 2. Song of the Lady of the Lake - Nimue (The Lady of the Lake) 3. Conjuring Music - Instrumental 4. Merlin is My Name - Merlin 5. After Merlin Is My Name Transition Music - Instrumental 6. Sword Pulling Music - Instrumental 7. Magic Spell Glissando 1 / The Sword Shall Be Mine - Morgana 8. The Sword Shall Be Mine (Reprise) - Morgana 9. Arthur Meets Merlin Transition Music - Instrumental 10. Crystal Ball Vision Music - Instrumental 11. After Crystal Ball Vision Music - Instrumental 12. Let Magic Be Your Guide - Merlin 13. Sword Fight Underscoring - Instrumental 14. Crystal Ball Vision Reprise - Instrumental 15. If I Were King - Arthur 16. Magical Sounds Of The Lake- Instrumental 17. Song Of The Lady Of The Lake (Reprise) - Nimue 18. Merlin Meets Morgana Transition Music - Instrumental 19. Magic - Morgana 20. Where Is Merlin - Instrumental 21. Brief Swordplay Underscoring - Instrumental 22. Magic - (Reprise) - Arthur 23. The Battle For The Sword - Instrumental 24. Merlin's Victory - Ensemble 25. Finale - All
MAGYAR MELODY Romance with Music : Adapted by Eric Maschwitz and George Posford from the play by Eric Maschwitz, Fred Thompson and Guy Bolton. Music by George Posford and Bernard Grun. Revised from Paprika Premiered at the Opera House, Manchester - 29 Nov, 1938 His Majesty's Theatre, London - 20 January, 1939 (105 perf.) Magyar Melody was the first musical to be broadcast directly from a theatre and shown on television on 27 March 1939 STORY OUTLINE A simple tale of an aristocratic Englishman and opera composer, whose Hungarian gypsy love becomes an operetta star and conquers Budapest, but fails to conquer the social world of London. She returns to her homeland, to be followed, at the last moment, by her lover. The story remained very similar to the original Paprika, except that Roszi is now just an Hungarian actress (her violin solos have been cut!),and she does not return to London with Michael. Most of the action now takes place in Hungary, with very little staged in London. Michael is informed of the death of his uncle, the Duke of Firth and is obliged immediately to return to England, with no time to explain to Roszi. Count Ferenc, entrusted to deliver the farewell message and explanation, fails to do so and consequently Roszi believes she has been abandoned. CAST: • Julika - Tenant of a Hungarian Farm • Mikki - A Photographer • The Mayor • Town Councillors • Count Ferenc - A Wealthy Land Owner • Michael - A Composer of Music • Roszi Belvary - An Actress • Miklos - A Peasant • The Empress Elizabeth • Istvan - A Maître d'Hotel • Bardos - A Theatrical Manager • Major Lonay - An Army Officer • Marika, Zita , Ilona - Actresses • Theatrical Mamma • Sisters • Claque Leader • Waiter • Bandmaster • Village Band • Hunters • Herr Steffan - Landlord of the Golden Horn • Shot Gun Cousins • Shot Gun Uncle • Shot Gun Grandpa • Maria - Maid at the Hotel • Hungarian Peasants, Actresses, Audience, Guests, Villagers, Huntsmen, etc., etc. The play in its original version was presented at His Majesty’s Theatre, London with the following players in the principal roles ROSZI BELVARY - Binnie Hale MICHAEL - Roger Treville JULIKA - Betty Warren MIKKI (JARvIS) - Jerry Verno THE EMPRESS - Stella Arbenina BARDOS - Jimmy Godden COUNT FERENC - Arthur Margetson
MUSICAL NUMBERS ACT I OVERTURE 1. Harvest Festival — Home is the Harvest - Chorus and Dancers 1a. Fanfare 2. Roszi - Julika and Chorus 3. My Song is Born - Michael and Chorus 3a. Exit Chorus 3b. Entrance of Roszi 4. Magyar Melody - Roszi, Michael and Chorus 4a. Melos 5. Boy Meets Girl - Roszi, Michael, Chorus and Dancers 6. Just Like a Gipsy Band - Julika and Mikki 6A. Czardas - Gipsy Dancers and Peasants 7. Empress's Anthem - Chorus 8. Hungarian Anthem (Exit of the Empress) 9. Finale, Act I — Reprise — Roszi - Julika and Chorus Entr'acte ACT II 10. Café Continental - Istvan and Clientele 11. Never Bring Mamma! - Marika, Ilona, Zita and Actresses 1 11a:. Exit 12. Reprise — Magyar Melody - Roszi and Chorus 13. Reprise — Boy Meets Girl - Roszi and Michael 14. My Heart Belongs to Budapest - Roszi and Michael 14a. Dramatic Melos I4b. My Heart Belongs to Budapest - Chorus 15. Link to Scene 3 16. Operetta Scene - Roszi and Tenor 16a. Fanfare and Hungarian Anthem - (Entrance of the Empress) 17. Link to Scene 4 18. Music for Romance - Roszi, Guests and Dancers 18a. Exit 19. No Married Men Need Apply - Julika, Mikki and Bardos 20. Mine Alone - Roszi, Michael and Chorus 20A. Melos and Roszi Waltzing 20B. Finale — Dramatic Melos Entr'acte ACT III 21. A Truly Tyrolean Band - Bandmaster, Chorus and Dancers 21a. Music for Romance (Brass band effect) 22. The Waltz I Would Rather Forget - Roszi and Chorus 22a. Exit — Reprise — A Truly Tyrolean Band - Chorus 22b. Melos - Mine Alone
23. Shot Gun Wedding - Julika, Mikki, Chorus and Dancers 23a. Melos — Hunting Music 23b. Melos — Mine Alone 24. Day Dream - Michael 24a. Entrance of Julika, Mikki and Bardos 25. Finale — Mine Alone - Roszi, Michael and Company 26. Finale Ultimo - The Company SCENES AND SETTINGS: ACT I A Farmhouse on the Great Plain of Hungary ACT II SCENE 1. The Café Continental, Budapest (A few months later) SCENE 2. Outside the Royal Theatre (A few weeks later) SCENE 3. Behind the Theatre Gallery (The same evening) SCENE 4. The Café Continental (Later the same evening) ACT III The Inn of The Golden Horn in the Tyrol (One year later)
MAID MARIAN Musical in 3 acts: Music by Reginald de Koven; Libretto by Harry B. Smith Chestnut Street Opera House, Philadelphia, PA - November 4th. 1901 SYNOPSIS Act 1 In the market square in Nottingham, England, villagers are singing and dancing about the first day of May ("Mayday") and "Tis the Morning of the Fair". Friar Tuck, an overweight comic character, sings "As an Honest Auctioneer" about selling goods including a suit of clothes. The milkmaids sing the "Milkmaid's Song" about how wonderful their life is, followed by Allan a Dale who sings about real milkmaids being overworked. Robin Hood and his archers arrive and the chorus sings "Come the Bowmen in Lincoln Green" (the color of their costumes) and their ideal life in the woods and are welcomed to an archery contest. Allan a Dale gets into an argument (in song) with Robin about love and kissing. Friar Tuck joins the argument and one of the milkmaids, Maid Marian sings "I Came As a Cavalier". Robin Hood and Maid Marian sing a duet "Though It Was Within This Hour We Met". The Sheriff of Nottingham appears and announces his plan to arrange a marriage of his nephew Guy of Gisborne to the beautiful Maid Marian. The Sheriff sings a boastful song "I am the Sheriff of Nottingham" that labels him as the villain. Sir Guy and the Sheriff sing a duet about how Sir Guy should ask Marian to marry him. Maid Marian sings about another boyfriend named Colin while the Sheriff instructs Sir Guy to sing to Marian "Sweetheart, my own sweetheart. Lift up thy bonny eyes". Robin Hood and the bowmen return and sing about all the prizes they won in the archery contest. Because Robin is to receive his inheritance today, they go to the Sheriff 's residence, knock on the door, and demand that the Sheriff declare Robin Hood's title of Earl, title to his land, and cash. The Sheriff comes to the door and refuses all demands and declares "No Earl are you, you vain, presumptuous youth." and produces forged documents proving that Sir Guy is the Earl. Little John sings to Robin "Come to Sherwood, join our jolly crew." Robin and his friends exit singing "Away to the woods". Act 2 In Sherwood Forest, Robin Hood and his friends have gathered. Songs include "O Cheerily Sounds the Hunter's Horn", "The Tailor and the Crow", "Brown October Ale", the "Tinker's Song", "O See the Lambkins Play" (a drinking song), and "Ho then for Jollity" (drinking song). Marian sings the "Forest Song" dreaming of Robin. Robin sings a serenade "A Troubadour Sang to His Love". Allan a Dale plans revenge for losing Marian to Robin. The Sheriff, who was pursuing Robin's followers as outlaws, is himself captured by them and they sing "Put him in the stocks. He is captive, our enemy, we win the game." Dame Durden sings to the Sheriff: "Faithless one, you're in a gruesome plight." But Sir Guy arrives with soldiers and overpowers Robin's men. Sir Guy and the Sheriff sing "We're brave as lions, for we're two to one." and "Sing hey for the gallows tree". Robin sings "You have no power to take my life. Marian must be my wife. It is the king's command." The Sheriff replies "The King's command is for the Earl of Huntington. The Earl of Huntington is Guy, and Guy will bridegroom be." All return to Nottingham. Act 3 In the courtyard of the Sheriff 's castle, Will Scarlet the blacksmith sings the "Armourer's Song". Annabel sings about the coming wedding of Marian to Guy, and Allan a Dale sings the "Legend of the Chimes" in expectation of Robin's funeral. Robin and Marian sing a sad song pledging their love for each other. The Sheriff and Friar Tuck sing a duet about the "pains and pangs" of life. Robin and his men are in the courtyard of the castle where Robin finds King Richard the First who arrived home from the Crusades. Robin receives a pardon from King Richard and the return of his land. The Sheriff and Sir Guy sing about "A pardon from the King... Yes you are free".
MUSICAL NUMBERS ACT I - The Park surrounding the Castle of the Earl of Huntington. Overture 1. Introduction and Opening Chorus - "The morn is dawning bright and clear, a morning meet to hunt the deer; the horns I hear resounding near, so near..." 2. Song - Lady Vivian and Chorus - "Annabel was fairest of the village maidens, and she knew she was fair ... All fair maids well know that they are fair..." 3. Song - Scarlet, Friar Tuck and Chorus - "The cellar is dark and the cellar is deep. (Ho, drink, lads, with a will) My lord of the hall goodly liquor doth keep..." 4. Song - Marian and Chorus - "Let one who will go hunt the deer in covert close; so will not I. E'en tho' I love the echo clear..." 5. Entrance and Song - Sheriff and Chorus - "With lordly pomp and lordly pride..." then, "I am the Sheriff mild and good, identified with Robin Hood..." 6. Song - Little John and Men - "Now lads I will sing to ye all a song of the forest so cool and so green ... Sing on, my lad, of forest cool and green..." 7. Madrigal - "Love may come, and love may go, straying ever where it will; resting never, wand'ring still, and never for a moment staying..." 8. Trio - Vivian, Little John and Dame - "When a woman fain would marry, if her swain's inclined to tarry, it's because she doesn't know just how to treat him." 9. Finale Act I - "Now's the time for our preparing fond farewells to say, for the soldiers go today to the wars away; our friends depart today..." ACT II - The Camp of the Crusaders in the desert, with the city of Acre in the distance. No. 9a - Entr'Acte - The Crusader's March. 10. Opening Chorus - "Here in the camp we wait for the battle, one and all, one and all. Here in bivouac awaiting for the fray. The hours in camp are gay..." 11. Song - Scarlet and Chorus - "A pious monk once tried to teach to an old magpie the art of speech. From pray'r and penance he'd keep away..." 12. Song - Robin and Chorus - "When the red sun sinks and the grey owl blinks full of joy at the coming night, then the outlaw lad through the forest goes..." 13. Serenade - Sheriff and Chorus - "Go on and give us advice, your advice bestow on us, la, la, la ... When a man is in love, if he'll take my advice..." 14. Trio - Robin, Scarlet, Little John and Male Chorus - "The man at arms is a terror in a fight, and the carnage of war is his heart's delight..." 15. Song - Alan-a-Dale - "Through all the years thy faith unbroken has shown to me how true thou art; thy gentle glances oft have spoken, and told more..." 16. Snake Charmer's Song - Marian and Chorus - "See where the serpent charmer fair calls forth the cobra from its lair. Do not fear; though it come near..." 17. Quartet - Sheriff, Dame, Guy and Tuck - "If you were I and I were you, sing marry come up for the change there would be. I'd rather be myself than you..." 18. Duet - Marian and Robin - "All the time of parting o'er, how sweet to meet thee; days of separation seem now but a passing dream..." 19. Song - Robin and Men - "Guard ye the banner of St George ... That will I! ... Guard well the standard we adore ... That will I! The trust that's given me..." 20. Finale Act II - "Lead on, Moslems! Saracens, your foe is there. Lead on, Moslems! You will take him unaware. Allah will direct each arm..." ACT III - The great Banqueting Hall of Huntington Castle on Christmas Day. No. 20a - Entr'Acte II - Saracen Patrol.
21. No. 21 - Intro. and Ensemble - "God save ye merry gentlemen, God save ye merry gentlemen, God save ye merry gentlemen, and give ye Christmas cheer..." 22. No. 22 - Song - Lady Vivian and Chorus - "Colin was only a shepherd lad, but soothly a goodly lad was he; and sorry to say, in a foolish way he longed for a lady..." 23. No. 23 - Sextet - Robin, Guy, Sheriff, John, Tuck, Scarlet - "Two bluebottle flies went out one day for a pleasant walk together and they lit on the head of a cobbler." 24. No. 24 - Finale Act III - "Now chime the wedding bells. Let wedding bells merrily ring. Ring on! Oh, the clink and the clank of the sword has charms in the ear..." CAST • Robert of Huntington (Robin Hood) (tenor) • The Sheriff of Nottingham (baritone) • Sir Guy of Gisborne, a ward of the sheriff (tenor) • Little John, outlaw (baritone) • Will Scarlet, outlaw, blacksmith and armourer (bass) • Friar Tuck, outlaw clergyman (bass) • Allan A-Dale, outlaw (contralto) • Lady Marian Fitzwalter (Maid Marian) (soprano) • Dame Durden, a widow (mezzo-soprano) • Annabel, Durden's daughter (soprano) plus chorus
THE MAID OF THE MOUNTAINS A musical comedy in 3 acts; Lyrics by Harry Graham.: Music by H. FraserSimson : Book by Frederick Lonsdale Palace Theatre, Manchester - 23 December, 1916 Daly's Theatre, London 10 February, 1917 (1352 perfs) Casino Theatre, Broadway - 11 September, 1918 (37 perfs) SYNOPSIS The Maid of the Mountains happily has secured a place as one of the world's best known Musical Comedies. In addition to successful tours throughout the United Kingdom it has been performed throughout the United States of America, Canada, South Africa, Australia and, in fact, most of the countries of the world. To Miss José Collins is due to a very considerable degree the success which the play has obtained, but its delightful music has also contributed to its wonderful popularity. The story of the play opens in the lair, high up in the mountains, of Baldassaré, the famous Brigand of whom the whole country lives in fear. The men are resent fully discussing the decision of their Chief to disband and they endeavour to persuade Teresa, whom they accuse of being in love with Baldassaré, to dissuade him. Baldassaré. enters and commands his followers to make ready to depart. The spoils of many raids are brought out and divided amongst them and Baldassaré, giving Teresa her share in money, tells her that she must go at once for their hiding place is surrounded. She pleads to be allowed to stay and then goes sadly, singing: Farewell. When leaving the mountains Teresa is captured and, being recognised as one of the famous band, is taken to the Palace of Santo. General Malona, the Governor of the State, greatly hopes to capture the Brigands before the expiration of his term of office, and uses every effort to make Teresa disclose the whereabouts of their Chief; but in vain. Teresa says "there is honour among thieves,' and sings the beautiful song "Love Will Find a Way". Meanwhile, Baldassaré, together with some of his band, has seized the new Governor, Count Orsino, who was on his way through the mountains to the capital, and overpowered his escort. Donning the uniforms of the unfortunate captives, whom they secure in their cave, the Brigands proceed to Santo to rescue Teresa. Baldassaré meets and falls in love with Angela, the daughter of the retiring Governor, and becomes heedless of his danger in remaining in the town. Beppo, one of the Brigands who has always been in love with Teresa, asks her aid to persuade Baldassaré to leave the capital lest they all be discovered. He again declares his love for her and they sing. the duet:- Friendship and Love. BEPPO's song of cheer "Live For Today" Whilst Baldassaré is philandering with Angela, Tonio, another of the Brigands, discovers his wife in Vittoria, the fiancée of General Malona and they sing an amusing duet, "Husbands and Wives." Beppo enters with the ladies of the Court, who sympathise with him because of his hopeless love, but he cheerfully tells them that he can love them all now as he is a "Bachelor Gay". The Brigands again endeavour to make Baldassaré leave the town, but he refuses to leave Angela. Teresa, mad with jealousy, turns to the crowd and denounces the,, new Governor" as Baldassaré, the Brigand Chief they have long tried to catch. He and his companions are arrested. In the last Act we see Teresa, who sadly regrets the betrayal of Baldassaré, seated on the shore of an island gazing towards the mainland. All the fisher-folk enter with songs of welcome to await the arrival of the Governor and his friends. Teresa pleads with the General to release Baldassaré and they sing the charming duet, - New Moon.