DISNEY'S 101 DALMATIANS KIDS Music by: Brian Smith, Dan Root, Martin Lee Fuller, Mel Leven, Randy Rogel and Richard Gibbs: Music adapted by: Bryan Louiselle; Music arranged by: Bryan Louiselle: Book adapted by: Marcy Heisler Lyrics by: Brian Smith, Dan Root, Martin Lee Fuller, Mel Leven, Randy Rogel and Richard Gibbs; Additional lyrics by: Marcy Heisler SYNOPSIS The Dalmatians Pongo and Perdita happily raise their Puppies — Penny, Pepper, Lucky, and Patch — in a small, loving home on the edge of Regent’s Park in the city of London (“Dalmatian Conga”). As the Dogs Of London narrate, Nanny cares for all the Dalmatians, including their human “pets”: Roger, a composer, and Anita, an artist. Part of the family’s cherished routine is watching their favorite TV program (“Thunderbolt Adventure Hour”) and singing along to the super-catchy commercial theme song for their favorite snack (“Kanine Krunchies”). One day, their wealthy neighbor, Cruella De Vil, stops by and, admiring the spotted puppies, realizes they are just what she needs to complete her fabulous fur collection. When Roger refuses to sell the Dalmatian pups, Cruella storms off (“Cruella De Vil”) and plots with Horace and Jasper to steal them (“Cruella’s Scheme”). With Nanny and Anita out of the house and Roger asleep in front of the TV, Cruella’s henchmen lure the puppies away to her fur vault using Kanine Krunchies as bait (“Kanine Krunchies – Reprise”, “The Fur Vault”). Realizing their beloved puppies were stolen, Pongo and Perdita appeal to the Dogs of London for help (“Twilight Bark”). Meanwhile, the puppies discover they are not alone in the fur vault. Other Puppies, including Freckles and Spotty, explain to the Dalmatian pups where they are and what’s to become of them. Despite being surrounded by police, Cruella is determined to get her new fur (“My Beautiful Coat”), even as the Dogs of London — headed by the resourceful cat, Sergeant Tibbs — rescue all the puppies from the fur vault (“The Chase”). As a Police Officer and Dogcatcher capture the three thieves, Roger, Anita, and Nanny imagine a puppy-filled happily ever after (“Dalmatian Vacation & Finale”) with their adopted 101 Dalmatians! MUSICAL NUMBERS 1. Dalmatian Conga. 2. Dalmatian Conga 3. Thunderbolt Adventure Hour 4. Kanine Krunchies 5. Cruella De Vil 6. Cruella’s Scheme 7. Kanine Krunchies (Reprise) 8. The Fur Vault 9. Twilight Bark 10. My Beautiful Coat 11. The Chase 12. Dalmatian Vacation & Finale 13. Bow-Wows CASTING • Cast Size: Medium (11 to 20 performers) • Cast Type: Children • Dance Requirements: Standard
CHARACTER BREAKDOWN CRUELLA DE VIL Cruella is the rich, fashion-forward antagonist of the story who harbors a penchant for puppy fur. Ruthless and impulsive, she should command the stage with dramatic flair and brassiness. Cast an actor who can sing – with a strong, authoritative presence – and who can move with a high, captivating energy. ROGER Roger, married to Anita, is the soft-spoken yet confident composer and owner of Pongo and Perdita. His relaxed form of leadership acts as a contrast to the frenetic Cruella. He should be a strong actor, singer, and mover with an adult bearing that sets him apart from the more immature puppies. ANITA Anita, wife of Roger, is a sweet and nurturing painter whose kind disposition acts as a stark contrast to Cruella’s cruelty. As she has only a single line to sing, cast an actor with strong acting skills who is comfortable portraying an adult. HORACE AND JASPER Horace and Jasper, Cruella’s two henchmen for hire, provide the show’s comic relief à la Abbott and Costello or Laurel and Hardy. Though they sing together often, look for actors with strong comedic timing who can excel at physical comedy. While not necessary, these two can speak with Cockney accents if you have actors that are capable and willing. PERDITA AND PONGO Perdita and Pongo, the puppies’ parents, have similar dispositions to their owners, Roger and Anita. These roles do not require solo singing, so focus on casting strong actors capable of projecting a more mature presence than their pups. LUCKY, PATCH, PENNY, AND PEPPER Perdita and Pongo’s funny and spirited pups, can be cast from your larger puppy ensemble. Cast the group’s strongest actors that can project their solo lines articulately and are comfortable using their bodies to portray dogs. If you have a large pool of actors, feel free to cast other puppies as brothers and sisters to these four; just remember that the audience needs to see a far greater number of Dalmatians at the end of the show than at the beginning. NANNY Nanny is the warm yet outspoken housekeeper to Roger and Anita. This is a small role that requires a strong speaking voice (no singing required). DOGS OF LONDON The Dogs of London include the Boxers, Scotties, Poodles, and Chihuahuas that assist Perdita and Pongo in saving their puppies. All should be comfortable embodying the physical movement of their particular breed. Within the ensemble numbers, there are some opportunities for solos, though these can be sung by pairs or small groups depending on your production’s needs and the abilities of your cast.
BOXER NARRATOR, SCOTTIE NARRATOR, POODLE NARRATOR, and CHIHUAHUA NARRATOR Boxer Narrator, Scottie Narrator, Poodle Narrator, and Chihuahua Narrator help to tell the story and are part of your Dogs of London ensemble (see above). Because the clarity of the plot relies on them, cast performers with excellent diction and projection. You need not only have four narrators – feel free to split up the narration between ensemble members as best suits your production. OTHER PUPPIES Dognapped by Cruella, these Dalmatian pups come in halfway through the play and can be double-cast as your Dogs of London ensemble. Include as many puppies in this group as you would like – the more the better! FRECKLES AND SPOTTY Freckles and Spotty, two Dalmatian puppies stolen by Cruella, can be cast from your ensemble of additional Dalmatians. Each puppy has one solo line of dialogue. SERGEANT TIBBS Sergeant Tibbs is the army cat that rallies the Dogs of London to rescue the puppies. This role is gender neutral – just be sure to cast an actor with a strong voice that can project an authoritative air. This cat has a short, but sweet solo, so make sure vocals are strong. POLICE OFFICER The Police Officer arrests the villains at the end of the show. Cast an actor who can convey a no-nonsense attitude in this gender-neutral role. DOGCATCHER The Dogcatcher appears at show’s end to dramatically remove Cruella from the scene. This role is gender neutral, so cast any student who might excell at creating a few moments of physical comedy with Cruella. Gender: any
110 IN THE SHADE Music by Harvey Schmidt: Lyrics by Tom Jones: Book by N. Richard Nash. Based on the comedy The Rainmaker by N. Richard Nash Broadhurst Theatre, Broadway - October 24, 1963 (330 perfs) Palace Theatre, London - 8 February, 1967 (101 Perfs) THE STORY Act I The train station of a drought-stricken Western town - early morning, the beginning of Another Hot Day. Lizzie, a plain-looking girl had left town hoping to find a husband but she has failed. In rushes Jim Curry expecting his sister Lizzie on the morning train. He is joined by older brother Noah and father H.C. Lizzie arrives and confesses that her trip didn't work. She met lots of eligible men, but ..... Her menfolk decide to try another plan; they'll invite Sheriff File, the town's most eligible bachelor, to the annual picnic. In File's office, the men try to lure the sheriff to the picnic but he refuses. Meanwhile, at the park, Lizzie, expecting File, joins in the picnic preparations but she becomes angry and hurt when she learns he is not coming. Out of nowhere,a stranger, the Fabulous Starbuck suddenly appears, announcing that he's a Rainmaker and for the modest fee of $100 dollars he will end the drought and cause the rain to fall. Lizzie sees through the fraud and calls Starbuck a fake. He in turn tells her that she is not really a woman. Lizzie turns to her father for comfort. In fantasy, she imagines herself a wicked woman of the world. Suddenly, File arrives at the picnic. He confesses to Lizzie that he is not a widower, as he has been saying, but a divorced man. He tells her in song of the heartbreak that can come to a man and a woman. Lizzie answers by singing of the bright side of marriage, but File is unconvinced. Lizzie calls him a fool, and is immediately sorry - but it's too late. File - and her last chance - is gone. Noah calls Lizzie "plain" and tells her she'll have to face the future as an old maid. Lizzie runs off and tries to reconcile herself to being an old maid. Act II The picnic pavilion. The townspeople dance and celebrate. Lizzie goes to Starbuck's wagon. He tries to persuade her to adopt a marvellous name and a dream to go with it. No, she explains, her dreams are all of simple little things. Starbuck tries to convince her that she is pretty: someday she'll see it in the eyes of the man who loves her. Starbuck kisses her and suddenly Lizzie realises that she us being wooed by two attractive men. Meanwhile Starbuck confesses to Lizzie that he is a con man and a fake - he has never made rain in his life. But, just when he has decided to stay with Lizzie and try living in the real world, File appears with a warrant for Starbuck's arrest. But File is persuaded by all to let Starbuck get away. Starbuck begs Lizzie to flee with him. File, realising, at last, that he loves her, asks her to stay with him. Lizzie decides to stay with File. Suddenly, miracle of miracles, the rains come! The long drought is over! MUSICAL NUMBERS: 1. Gonna Be Another Hot Day - File & Company 2. Lizzie's Comin' Home - H.C., Noah & Jimmie 3. Love Don't Turn Away - Lizzie 4. Poker Polka - File, H.C. and Noah
5. Hungry Men - Townsfolk 6. Rain Song - Starbuck & Townspeople 7. You're Not Foolin' Me - Lizzie & Starbuck 8. Raunchy - Lizzie & H.C. 9. A Man and A Woman - Lizzie & Starbuck 10. Old Maid - Lizzie 11. Everything Beautiful Happens At Night - Toby, Jimmie, Snookie and Townspeople 12. Melisande - Starbuck 13. Simple Little Things - Lizzie 14. Little Red Hat - Snookie & Jimmie 15. It It Really Me? - Lizzie & Starbuck 16. Wonderful Music - File, Starbuck & Lizzie 17. Rain Song Finale - Full Company CAST • Lizzy Curry - Mezzo-Soprano • Bill Starbuck - Baritone • Jimmy Curry - Tenor • Noah Curry - Baritone • H.C. Curry -Baritone • File - Baritone • Snookie Updegraff - Mezzo-Soprano • Toby • Olive Barrow • Geshy Toops • Mrs. Jensen • Gil Demby • Bo Dollivan • Wally Skacks • Phil Mackey • Mr. Curtis • Maurine Toops • Tommy • Belinda DISCOGRAPHY: 110 in the Shade (Original Broadway Cast Recording) 110 in the Shade (2007 Broadway Revival Cast) 110 in the Shade (2007 Broadway Revival Cast)
O, CHRISTMAS THREE By Father Gander (a k a Douglas W Larche). Colourful characters like Dorcas the Christmas Duck, Tanya and Toulouse Turkey, Parker and Penelope Penguin, Vincent the Violet-Nosed Vulture, the Ice Elves, the Short Squat Trolls and, of course, Sandy and Santa Claus, populate the delightful Christmas fairyland of O Christmas Three! Inspired by the national best-selling children's book Father Gander Nursery Rhymes: The Equal Rhymes Amendment, these three short comedies bring joy to the world for the holidays. A goofy, good-natured vulture unwittingly volunteers to be roasted for Christmas dinner in the interactive Dorcas the Christmas Duck: A Cautionary Tale. A lonely Tall Ice Elf is ridiculed by the selfish Short Squat Trolls when the Claus family considers relocating to the South Pole in The Last Straw: A Christmas Fable. The bizarre Turkey family performs a hilarious Christmas pageant for the uppercrust Penguins in Peas on Earth: A Bird's-Eye View of Christmas. Innovative Christmas costumes, funny lyrics to familiar Christmas carols, gentle lessons and a sweet but confused retelling of the Christmas story make O Christmas Three! a sure hit with actors and audience alike. Give the gift of laughter for Christmas. CAST: 6m., 8w. (mixed chorus.) Simple sets.
O, MARRY ME! Music by Robert Kessler Libretto and Lyrics by Lola Pergament, based on Oliver Goldsmith's She Stoops to Conquer Gate Theatre - Off-Broadway 27 October, 1961 (21 perfs) THE STORY (Late 18th Century England) Marlow is a bashful young man who only feels easy with serving girls and barmaids. He therefore sets out with reluctance to win the hand of Miss Kate Hardcastle, a young lady of quality. He is tricked by the mischievous Tony Lumpkin into believing that the home of Kate's father is a village inn and goes there accompanied by his friend Hastings. Marlow treats the enraged Mr Hardcastle as if he were an impudent landlord. Kate takes advantage of the situation by posing first as a barmaid and then as a poor relative, thus 'conquering' young Marlow. Constance Neville, who is Kate's friend and cousin, fails in love with Hastings. This does not please Mrs Hardcastle who dotes on her oafish Tony, her son by a previous marriage. She had intended a match for him with Constance. The mistakes of the evening unravel with the arrival of Marlow's father. Mr Hardcastle forgives young Marlow and all ends happily. PRINCIPAL CHARACTERS • Miss Kate Hardcastle (soprano) • Young Marlow (baritone) • Miss Constance Neville (soprano) • Hastings (baritone) • Mrs Hardcastle (mezzo) • Squire Hardcastle (baritone) • Tony Lumpkin (baritone) (plus Chorus) MUSICAL NUMBERS 1. I Love Everything That's Old (Mr Hardcastle) 2. Time and Tide 3. The Kind of Man (Kate) 4. Ale House Song 5. My Proper Due (Tony) 6. Be a Lover (Hastings, Marlow) 7. Perish the Baubles 8. The Meeting 9. Fashions (Mrs Hardcastle, Hastings) 10. Say Yes, Look No 11. Let's All Be Exactly and Precisely What We Are 12. The Braggart Song (Marlow, Kate) 13. O Marry Me! (Kate) 14. Betrayed (Ensemble) 15. Motherly Love 16. Morality INSTRUMENTATION - (Total number of books = 3) 1 Cello 1 Flute/Clarinet 1 Piano
OCEAN WORLD An Ecological Entertainment - Published in association with the World Wide Fund for Nature. Music by Peter Rose. Lyrics and narration by Anne Conlon SYNOPSIS Man has always been fascinated by the sea, but today his exploitation of the earth's resources is destroying this underwater world. Coral mining, whaling ships, commercial fishing vessels, oil spillage and domestic, industrial and nuclear wastes - this combined assault means that the oceans simply cannot sustain the extraordinary quantity and variety of species that it holds. The author's message is clear and simple: if man continues to misuse the sea, he will ultimately kill all life in it. With a powerful and moving score, Ocean World was shown in Channel 4's "Fragile Earth" series, narrated by Sir David Attenborough. Cast: narrator, chorus INSTRUMENTATION: 3/4 flutes, 2 clarinet, bass clarinet, 2 alto sax, tenor sax, 2 horns, 3 trumpets, 3 trombones, E flat bass, electric guitar, guitar, bass guitar, string synthesiser, piano, percussion Printed Editions: Vocal Score, Word Book, Chorus Book Recordings: Compact Disc, cassette
OEDIPUS FOR KIDS! Book by Gil Varod and Kimberly Patterson; Lyrics by Gil Varod; Music and Additional Material by Robert J. Saferstein Billed as a Full-Length Musical, Dark Comedy SYNOPSIS Unfolding in real-time, Oedipus for Kids! turns the audience into attendees of the latest performance of the Fuzzy DuckTheatre Company, a three-person troupe dedicated to performing the classics for children. Having had success with previous offerings such as Uncle Tommy's Cabin, company founder Alistair has decided that the next logical step is tackling Sophocles' Oedipus Rex with songs such as"What's It Like When Ya Get The Plague?" and "A Little Complex': But all is not as pleasant as it seems with the Fuzzy Ducks: Alistair is in the middle of a bitter divorce with troupe member Catalina, who suspects something is up when she learns that tonight's audience includes the executives from sponsor Beanz! Coffee for Kids. Evan, the third troupe member, is a newly-trained recent hire with questionable acting methods. He uses these to play Oeddy,"a little boy a lot like you", who runs away from home when he finds out that he is destined to do something terrible to his Mommy and Daddy. On his journey, he meets a shady Baklava dealer named King Laius, a magical mythological coffee-drinking puppet named Sphinxy, and the Theban Queen, Jocasta, who wants to marry him regardless of their disproportionate age difference. While King Oedipus tries to solve the exciting mystery of who murdered the former king, the offstage disagreements between the cast members spill onstage. The three insult each other, inflict flesh wounds, and fornicate during intermission. When Catalina learns that her ex-husband has bought her share in the Fuzzy Ducks only to sell it to Beanz! Coffee for ten times net value, Catalina decides to sabotage the production. What was once a misguided — albeit — educational theatrical experience swiftly spirals into a Charybdis-like whirlpool of suck, and Catalina's revenge leads to a darkly comic denouement. "A spoof of children's theatre, with some truly funny songs and endearingly loopy performances from a cast of just three." N.B. Please note: this play is not for young audiences. CAST 1f, 2m
OF THEE I SING A Musical Comedy in 2 Acts, 11 Scenes. Book by George S. Kaufman and Morrie Ryskind. Music by George Gershwin. Lyrics by Ira Gershwin. Opened 26, December 1931 at the Music Box Theatre, moved 10 October 1932 to the 46th Street Theatre, and closed 14 January, 1933 after 441 (perfs). SYNOPSIS Of Thee I Sing opens on an election year in the early 1930s as National Party campaigners herald their president nominee, John P. Wintergreen. Inside the campaign suite, however, party committee members are less than jubilant. Public trust in the Party is low - especially as they sold Rhode Island - and their candidate's only qualification is his presidentialsounding name. Newspaperman Matthew Fulton suggests they adopt a platform that, "Everybody's interested in, and that doesn't matter a damn!" What could be better than a platform based on love, already a national obsession? Plans are laid: the Party will sponsor a beauty contest in Atlantic City - and Wintergreen will marry the winner. On the boardwalk in Atlantic City, bathing beauties from every state vie for the title of Miss White House. But while the judges are deliberating, Wintergreen falls in love with Mary Turner, a secretary at the pageant and proposes. The announcement of the winner - the fairest flower of the South, Diana Devereaux - comes too late. Wintergreen has pledged his heart to Mary, a girl who can make corn muffins - even without corn! One taste of Mary's muffins and the Committee and the Judges rally around Wintergreen. The campaign is a joyous one. National Party secretaries Jenkins and Ms Benson observe that love is sweeping the country as John and Mary re-enact their courtship in each of the forty-eight states. On election day, the Wintergreen ticket wins by a landslide. Appropriately, John and Mary choose the inauguration as their wedding day. After Wintergreen bids a farewell to his bachelor days, he and Mary exchange vows. Diana Devereaux show up to serve Wintergreen with a summons for breach of promise, but even the Supreme Court turns a deaf ear to her complaint. Months pass, and the new administration settles into a comfortable routine. The most pressing item on Wintergreen's agenda is picking a horse to bet on at Pimlico. But Diana has been spreading her tale of woe across the country and has turned public sentiment in her favour. Wintergreen manages to appease the press with his old campaign strategy until the French Ambassador arrives to join Diana's cause: Diana Devereaux, it seems, is of French descent and France insists that Wintergreen declare his current marriage invalid and marry her. Wintergreen refuses and the National Party threatens to have him impeached. At the Senate impeachment proceedings, Vice President Throttlebottom leads the roll call. Following testimony by the French Ambassador, Diana tells of the suffering she has endured. Before the Senators can vote on the impeachment, in bursts Mary: "I'm about to be a mother!" The United States has never impeached an expectant father: the charges against Winterbottom are dropped. Months later, Americans everywhere anxiously await the baby's arrival. When Mary delivers twins, congratulations flood the White House but the French Ambassador is unwilling to forget how his country has been slighted. With the President unable to fulfil his duty, Wintergreen reasons that responsibility for Diana should fall to the Vice-P resident. Throttlebottom happily agrees.
SCENE AND SETTINGS Act 1 Scene 1: Main Street. Scene 2: A Hotel Room. Scene 3: Atlantic City. Scene 4: Madison Square Garden. Scene 5: Election Night. Scene 6: Washington. Act 2 Scene 1: The White House. Scene 2: The Capitol. Scene 3: The Senate. Scene 4: Again the White House. Scene 5: The Yellow Room. MUSICAL NUMBERS: 1. Wintergreen for President - Ensemble 2. Who Is the Lucky Girl To Be? - Diane Deveraux, Ensemble 3. The Dimple on My Knee - Diane Deveraux, Sam Jenkins, Ensemble 4. Because, Because - Diane Deveraux, Sam Jenkins, Ensemble 5. Finaletto: 6. (As the Chairman of the Committee)- Matthew Fulton, Company 7. (How Beautiful) - Company 8. Never Was There a Girl So Fair - Company 9. Some Girls Can Bake a Pie - John P. Wintergreen, Company 10. Love Is Sweeping the Country - Sam Jenkins, Miss Benson, Ensemble 11. Of Thee I Sing - John P. Wintergreen, Mary Turner, Company 12. Entrance of Supreme Court Justices - Supreme Court Justices 13. (Here's) a Kiss for Cinderella - John P. Wintergreen, Ensemble 14. I Was the Most Beautiful Blossom - Diane Deveraux 15. Some Girls Can Bake a Pie (reprise) - John P. Wintergreen, Diane Deveraux, Judges, Ensemble 16. Hello, Good Morning - Sam Jenkins, Miss Benson, Secretaries 17. Who Cares? - John P. Wintergreen, Mary Turner, Reporters 18. Finaletto: 19. Garçon, S'il vous plaît - French Soldiers 20. Entrance of French Ambassador - French Ambassador, Ensemble 21. The Illegitimate Daughter - French Ambassador, Ensemble 22. Because, Because (reprise) - Diane Deveraux, Ensemble 23. We'll Impeach Him - Senator Robert E. Lyons, Francis X. Gilhooley, Ensemble 24. (Who Cares?) (reprise) - John P. Wintergreen, Mary Turner 25. The (Senatorial) Roll Call - Alexander Throttlebottom, Ensemble 26. Finaletto: 27. Impeachment Proceeding - Alexander Throttlebottom, Matthew Fulton, Louis Lippman, Francis X. Gilhooley, Senator Robert E. Lyons, Senator Carver Jones, Senate Clerk, Ensemble 28. Garçon, S'il Vous Plaît (reprise) - French Ambassador, French Soldiers 29. The Illegitimate Daughter (reprise) - French Ambassador, French Soldiers 30. Jilted - Diane Deveraux, Company 31. Who Could Ask For Anything More? (I'm About to Be a Mother) - Mary Turner, Company 32. Posterity (Is Just Around the Corner) - John P. Wintergreen, Company 33. Trumpeter, Blow Your (Golden) Horn - Ensemble 34. Finale: (On That Matter No One Budges) - (Entire Company DISCOGRAPHY: Original Broadway Cast Recording - Broadway Angel ZDM 2435 65025 2 9
OFF THE RECORD A Revue - (straight from the Summer Season at Blackpool) Victoria Palace Theatre, London - 1 November, 1954 The Cast included: Eddie Calvert, Nat Jackley, Marianne Lincoln, Arthur Worsley, Ronald Rogers, The Kentones, The De Vere Girls and Brennan's Modern Minstrels Staged by James Brennan PROGRAMME 1. OVERTURE- THEATRE ORCHESTRA Under the direction of HAROLD HADDOCK 2. HOLIDAY TIME The Couriers - Ken Flower, Leslie Want and Vincent O’Hagen The Holidaymaker - Celia Wright The Spirit of Entertainment - Marianne Lincoln and The De Vere Girls 3. THE NEW DISCOVERIES Nat Jackley and His Gang 4. NEATH SOUTHERN SKIES (a) Granada Ronald Rogers and Ensemble (b) The Falcons - Britain’s Famous Crazy Dance Team 5. THE KENTONES Three Hits and a “ Miss “ 6. LET’S HAVE A PARTY WITH MARIANNE 7. MOTHER’S DAY The Mother - Nat Jackley The Child - Jimmy Clitheroe 8. THE FOUNTAINS OF VERSAILLES The Ladies of the Court - The De Vere Girls WALTZING WATERS Jimmy Curries Latest and Greatest Water Spectacle (Patent Nos. 605499 and 680235) 9. TOP HAT AND TAILS - The De Vere Royal Command Performance Girls 10. ARTHUR WORSLEY - T.V.’s Ace Ventriloquist 11. PIANO SYMPHONY - The De Vere Girls and introducing Ronald Rogers 12. BRENNAN’S HOLIDAY CAMP Campers - Nat Jackley and Sonnie Willis Yokel - Sammy Curtis Runner - Dennis Murray Camp Hostess - Marianne Lincoln Camp Attendant - Leslie Want 13. THE MAN WITH THE GOLDEN TRUMPET - Eddie Calvert 14. BRENNAN’S MODERN MINSTRELS The Company
THE OFFICE BOY A Musical Comedy in 2 Acts. Book and lyrics by Harry B. Smith. Based on the French farce Le Jockey malgré lui by Maurice Ordonneau and Paul Gavault. Music by Ludwig Englander. Hammerstein's Victoria Theatre, New York - 2nd November, 1903 - 2nd January, 1904 (66 perfs). SYNOPSIS Noah Little is an office menial in the firm of Ketchum and Cheatum. When Noah falls in love with an office girl, he lies to her father that he is a member of the firm. Later he is confused with a famous jockey and forced to ride in a race. Just before closing time, the offices of Ketchum and Cheatum are humming with activity—girls typing and boys busily running errands. A bell sounds and the staff leaves, wondering where Noah has disappeared to. The office manager turns out the lights, and the office is dark and still. Burglars enter through a window. They head directly for a large safe. Failing to jimmy it, they blow it open. Out rolls a sleeping Noah and outs everything to rights. MUSICAL NUMBERS 1. Opening Chorus (First, put the date!) - Pythias, Chorus 2. After Business Hours (Song) - Damon, Jeanette, Florine, Chorus 3. Bohemia (Song) - Claire de Lune, Percy, Reggy, Chorus 4. I Thought Wrong - (Music by R. G. Knowles. Lyrics by Richard Morton.) - Noah, Company 5. Will You Be My Hero, Noble Sir? (Duet) - Noah, Euphemia 6. Because He Told Me So (Waltz Song) - Euphemia 7. Plain Mamie O'Hooley (Quartette) - Noah, Claire de Lune, Percy, Reggy 8. Finale Act I - Noah, Company 9. Opening Chorus Act II (Patrons of the turf are we) 10. If I Were the Bride of a Soldier (Song of the Drum and Fife) - Euphemia, Chorus 11. I'm on the Water Wagon Now (Music by John W. Bretton. Lyrics by Paul West.) - Noah 12. Signs (Song) - Noah, Euphemia, Tobias 13. Summer Proposals (Song) - Claire de Lune 14. An Embassy Burglarious (The Burglars) (Quartette) - Claire de Lune, Damon, Percy, Reggy 15. A Maiden's Heart (Ballad) - Euphemia, Chorus 16. Finale Act II - Noah, Company Items interpolated for touring productions • "Trials of a Simple Maid" (Music by Robert Hood Bowers. Lyrics by Raymond Peck.) - Clara Belle Jerome • "I Never Had to Work" (Music and Lyrics by Benjamin Hapgood Burt.) - Noah, Chorus • "The Proper Way to Kiss" (Music by Theodore Morse. Lyrics by Raymond Browne.) * [ Published in vocal score as "Because I Love You So."]- Noah, Euphemia • "When the Band Plays Ragtime" (Music and Lyrics by Bob Cole and James Weldon Johnson. - Claire de Lune • "The Trials of a Simple Maid" (Music by Robert Hood Bowers. Lyrics by Raymond Peck.) - Claire de Lune
CAST • Noah Little, an office boy • Rider Little, a famous jockey: • Tobias Van Twiller • Damon Ketcham • Pythias Cheatham • Reggy Higgins • Percy Wiggins • McNab • Scales • Euphemia • Claire de Lune • Paquita • Jeanette • F/orine • First Messenger in Law Office • Second Messenger in Law Office • Miss Harvard, Miss Yale, Guests of Van Twiller • Spike Muggins • Thug Magafa Typewriter girls, telephone girls, clerks, guests, bookmakers and jockeys. SCENES AND SETTINGS Act 1: Law Offices of Ketcham and Cheatham. Act 2: Van Twiller's villa and private race course. MUSICAL NUMBERS (Vocal Score) ACT I - Law Offices of Ketcham and Cheatham. Overture 1. Opening Ensemble - "First, put the date! May, twenty-three! ... May, twenty-three! ... Year A.D. Nineteenhundred-three! ... Now you may address it..." 2. Song - Damon and Chorus - "At his desk all day, in methodical way, sits the New York business man; he has cunning and dash in pursuing the cash..." 3. Bohemia Song - Claire, with Reggy, Percy and Chorus - "You see in me a Diva of the opera known as grand; in Wagner I'm the brightest of the lights..." 4. Duet - Noah and Euphemia - "To adequately prove the greatness of my love, to do the wildest deeds I would be proud; if you but say the word, I'll soar..." 5. Trio - Noah, Paquita and Rider - "When I am out to win a race ... Hoop-la! What a race! ... Of jockeys he's a certain ace! ... Hoop-la! Sets the pace..." 6. Song - Noah and others - "If you don't know the girl I am going to wed, you have miss'd a great deal, that is all to be said; her hair it is auburn..." 7. Song - Euphemia - "Men have nearly always been deceivers, so poets right frequently tell, yet they're always sure to find believers in every innocent belle..." 8. Finale Act I - "Far from city's dust and heat, gladly we would have vacation; seeking rest and recreation in some countrified retreat..." ACT II - Van Twiller's villa and private race course. Entr'Acte 9. Opening Ensemble - "Patrons of the turf are we, of the smartest sort; long on dress as you will see, but rather short on sport; what we do not know..." 10. Song - Euphemia and Chorus - "I like to be a hero's bride, a hero military; to all things martial I am partial. The fife and drum so airy, take your civilians..." 11. Trio - Noah, Van Twiller and Euphemia - "All superstition is not dead, as people oft' infer. Some signs there are which fill with dread whenever they occur." 12. Song - Claire - "Last summer I was stopping at a hotel by the sea, and quite a score of handsome youths made violent love to me..." (4 verses) 13. Burglars' Trio and Dance - Claire, Percy and Reggy - "There is something captivating, there's a lot that's fascinating in an enterprising criminal career..." 14. Ballad - Euphemia and Chorus - "My heart is in my keeping, I'll give it where I choose. The smiles are mine or weeping, if suitors I refuse..." 15. Finale Act II - "Then we take a train for Bohemia, we haven't far to go; a bright café, where all is gay and you find those folks you know..."
OH MY PAPA Musical adaptation of Feuerwerk. Musical comedy in 3 acts based on a comedy by Emil Sautter Book by Erik Charell and Jürg Amstein and Robert Gilbert Lyrics by Jürg Amstein and Robert Gilbert - Music by Paul Burkhard Garrick Theatre 17 July 1957 - (45 perfs) SYNOPSIS (original) The setting: At the Villa of the manufacturer Oberholzer, 1900, on a summer evening. Daughter Anna, her mother and the cook, Karline Katie are preparing for the celebration of the 60th Birthday of director and head of the family Oberholzer. Anna becomes frustrated with her family at the thoughtless attitude towards the young gardener Robert when they are arranging the table decorations. Quickly Anna and Katie decide to rehearse a specially composed duet. It is, however, interrupted repeatedly by the arrival for the celebration of the relations. First semi-educated Aunt Berta, the always misunderstand, Uncle Fritz, then the fussy Aunt Paula, Uncle Gustav and the newly rich, Aunt Lisa with Uncle Henry. After the messages of congratulation and the feasting. The duet is sung but is brought to a halt, when to everyone's horror, the black sheep of the family, Oberholzer's uninvited brother, the circus director Alexander Obolski, bursts in with his wife, Iduna. The two bring a touch of colour to the proceedings: Obolski tells of his adventures, Iduna raves about her youthful experiences and of her father, a famous clown. The relations, as one unite in their indignation, but Anna is caught by the mood and magic of the circus. She sees herself as an artist, a c ircus performer. She does not listen to her mother and tells Robert of the happy life she wants to lead. In a dream sequence, the aunts are transformed into lions and tigers, which are then trained by Obolski. A circus tent is formed, Gustav, Fritz and Heinrich dressed as clowns perform their routine with tricks and jokes. Anna is on a rocking horse in the dome, Iduna riding on her pony. . When the magic disappears, Robert recognizes that Anna is lost to him. He sees Obolski as his rival and challenges him to a duel. Anna, however, is determined to join the circus, come what may. The party continues. All men want to dance with Iduna and share their joy with her. The wives are appalled. Iduna learn of Robert's love for Anna. Iduna tells Anna her about the mysteries of the travelling people, of her husband, and she confesses that she also "had lost a little something between a travelling life and one of plush sofas and soup tureens. She gently starts to withdraw from the celebrations. Obolski and Iduna say their goodbyes but Anna is reluctant to follow them. She has finally decided to remain at home with Robert. MUSICAL NUMBERS 1. Overture and Opening Duet - Mother and Anna 2. The Cook’s Song - Cook 3. Birthday Duet - Anna and Cook - and entrance of Berta and Fritz 4. Reprise of Birthday. Duet and entrance of Paula and Gustave 5. The Coughing Song 6. Reprise of Birthday Duet and entrance of Lisa and Ernest 7. Father’s Entrance - Father and Company 8. Reprise: Birthday Duet 9. Entrance of Obolski and Iduna - Obolski. Iduna and Company
10. “Rome Wasn’t Built in Just a Day” - Obolski and Company 11. The Pony Song - Iduna 12. “The Limit Is the Sky” - Obolski and Company 13. “Oh! My Papa!” - Iduna and Uncles 14. Finale, Part I - Anna and Company PART II 15. Introduction and “Tiri-lee tiri-la” - Anna 16. Duet: “Our Love Will Stay This Way” - Anna and Robert 17. Circus Song - Obolski 18. Reprise: “Oh! my Papa!” - Clowns 19. Lion Tamer’s Song - Obolski 20. Reprise: Pony Song - Iduna 21. Hocus Pocus - Obolski and Company 22. Quartet Iduna and Uncles 23. “He Is My Man” Iduna 24. Reprise: “The Limit Is the Sky” lduna and Obolski 25. Farewell Scene - Obolski and Iduna 26. Finale, Part II - Gustave and Company 27. Reprise: “Oh! My Papa!” - lduna, Obolski and Compaq CAST: • Iduna • Alexander Oberholzer • Anna Oberholzer • Robert • Albert Oberholzer • Uncle Gustav • Kathi • Uncle Wilhelm • Aunt Berta • Karoline Oberholzer • Aunt Paula • Uncle Fritz • Aunt Alwine • Madame Sperling • Station Master • Circus Employee • His colleague • Jasmine • Piepereit
OH! CALCUTTA! a Musical Revue in 2 Acts, 13 Scenes - devised by Kenneth Tynan. Music & Lyrics: The Open Window. Librettist: Samuel Beckett, Robert Benton, Jules Feiffer, Dan Greenurg, John Lennon, Jacques Levy, Leonard Melfi, David Newman, Sam Shepard, Clovis Trouille, Kenneth Tynan, Sherman Yellen. Choreography: Margo Sappington; Costumes: Fred Voelpel. The Roundhouse, London - 27 July, 1970; Transferred to Royalty Theatre, London - 30 September, 1970 Eden Theatre, Off-Brioadway, New York - 17 January, 1969 (704 perfs) Belasco Theatre, Broadway - Opened 25th February, 1071. Closed 12th August 1972 (606 perfs) PROGRAMME: (with original Duchess Theatre Cast) 1. TAKING OFF THE ROBE The Company 2. TWOSOME Claire Lutter, Clare Rees 3. FUNNY BUSINESS Peer Daly, Elric Hooper, James Lister, Clare Rees 4. WILL ANSWER ALL SINCERE REPLIES Peter Banks, Bernard Finch, Caroline Grenville, Chrissy Roberts 5. SUITE FOR FIVE LETTERS - (scene: An elegantly appointed study in Knightsbridge. 1896) (Will Answer All) Sincere Replies (Sketch and Song) Painting of Clovis Trouille Jack and Jill (Song and Sketch) Delicious Indignities (or The Deflowering of Helen Axminster) Elric Hooper, James Lister, Clare Rees, Chrissy Roberts, Jackie Skarvellis 6. HAMBURG 1929 Pete Banks, Chrissy Roberts, Jackie Skarvellis 7. THE EMPRESS’S NEW CLOTHES Bernard Finch, Caroline Grenville, Claire Lutter, Clare Rees, Chrissy Roberts, Jackie Skarvellis, Rosalind Strang 8. WAS IT GOOD FOR YOU TOO? (“Green Pants”, “I Like the Look”) Who: Whom (“Exchanges of Information”) Much Too Soon The Company 9. MUCH TOO SOON The Company 10. ONE ON ONE Claire Lutter, Peter Banks 11. THE DUEL Caroline Grenville, Elric Hooper 12. UNTIL SHE SCREAMS Peter Banks, Peter Daly, Clare Rees. Jackie Skarvellis,, Rosalind Strang
13. ROCK GARDEN - ( - scene: Saturday Afternoon, just after lunch before the ball game) Bernard Finch. Elric Hooper 14. FOUR IN HAND 15. COMING TOGETHER, GOING TOGETHER (Medley: “I Don’t Have a Song to Sing”, “I’m An Actor”, “Ballerina”, “I Want It”, “Freeze Music”, “I Want It” - reprise) The Company DISCOGRAPHY Oh! Calcutta! (1969 Original Broadway Cast)
OH! WHAT A LOVELY WAR! By Theatre Workshop, Charles Chilton and members of the original cast Theatre Royal, Stratford East - March 1963 transferring to Wyndham's Theatre, London - 29 June, 1963 Broadhurst Theatre, Broadway - 30 December, 1964 (125 perf) The scheme for a chronicle of the First World War, told through songs and documents in the form of a seaside pierrot entertainment of the period, was devised and presented by Joan Littlewood's Theatre Workshop at the Theatre Royal, Stratford East, London, in 1963. It was the result of close co-operation between writer, actors and director, where the whole team participated in detailed research into the period and in the creative task of bringing their material to life in theatrical terms. It won acclaim of audiences and critics and the Grand Prix of the Théâtre des Nations festival in Paris in 1963 and has become a classic of the modern theatre. Film Synopsis Oh! What A Lovely War summarises and comments on the story of World War One, strongly using popular songs of the time. Many of these songs are much older popular songs that have been sarcastically re-worded by the soldiers serving on the front lines. The film uses a variety of symbolic settings to portray vast summations of historical and societal forces at work. Brighton's West Pier, as a location, represents the First World War, with the British public entering at the turnstiles, and General Haig selling tickets. The protagonists are named as the Smith family; which serve as allegorical representations of the working and middle classes of the nation. The film follows several young Smith men through their experiences in the trenches, most notably Freddy, Harry and George. The opening sequence is set in a wrought-iron building intended to not look like a real location. This use of Brechtian staging illustrates the ruling class' fundamental disconnect from the realities of war as diplomatic farces, galas, and events involving the aristocracies of many European nations are shown only in this location throughout the film. As various diplomats and aristocrats walk over a huge map of Europe summarising the treaties, nationalism, and lust for expanding empire that were factors leading to the war, the scene ends with a group photo of the upper class being taken by an unnamed photographer. He hands out two red poppies to the Archduke Ferdinand and his wife and takes a picture. As the flash goes off, they fall over dead as he declares they have been assassinated. The start of the war in 1914 is shown as a parade of optimism. A band playing patriotic music rouses citizens lounging by the beach to rally round it and follow it - some even boarding a bandwagon. They are led to the idea of war, illustrated on film as a the cheerful seaside carnival on Brighton West Pier. The first Battle of Mons is similarly cheerfully depicted yet more realistic in portrayal. Both scenes are flooded in pleasant sunshine. When the casualties start to mount, a shocked theatre audience is rallied by singing "Are We Downhearted? No!", a song which attempts to express the English psyche of the moment: "While we have Jack upon the sea/And Tommy on the land/We needn't fret". The curtains on the stage lift to reveal several attractive young women dressed in frilled yellow dresses who recruit a volunteer army. They appeal to the patriotism of the crowd in the 'Roedean' section, singing "We Don't Want To Lose You, But We Think You Ought To Go." Maggie Smith then enters a lone spotlight as the curtain is drawn, and lures the roused but still doubtful young men in the audience into "taking the King's Shilling" by singing a song about how every day she has sex with different men in uniform, and that "On Saturday I'm willing, if you'll only take the shilling, to make a man of any one of you." The young men take to
the stage and are quickly moved offstage and into military life. As scenes from the war are depicted with less symbolism, the red poppy crops up again as a symbol of impending death, often being handed to a soldier about to be sent to die on the front lines. These scenes are juxtaposed with the white wrought-iron building which now houses the top military brass and the pier. There is now a scoreboard showing the loss of life and 'yards gained,' 1915 is depicted as darkly contrasting in tone. Many shots of a parade of wounded men illustrate an endless stream of grim, hopeless faces. Black humour among these soldiers has now replaced the enthusiasm of the early days. "There's A Long, Long Trail A-Winding" captures the new mood of despair, and the scene with the soldiers filing along in torrential rain in miserable conditions looks less like a hyperbolic musical and more like a gritty realistic portrayal of war. Red poppies provide the only bright color in these scenes. We also see English soldiers on leave and recovering from wounds, often singing songs about wanting to stay home and no longer fight. There is a scene of English soldiers drinking in an estaminet. A chanteuse leads them in a jolly chorus of "The Moon Shines Bright On Charlie Chaplin, a reworking of an American song, then shifts the mood back to darker tone by singing a soft and somber versions of "Adieu la vie". A pan-religious service is held in a ruined abbey. A priest tells the gathered masses of soldiers that each religion has endorsed the war by way of allowing soldiers to eat pork if Jewish, red meat on Sundays if Catholic, and work through the sabbath if in service of the war for all religions. He also mentions the Dalai Lama has blessed the war effort. 1916 passes, and the film's tone darkens again. The songs contain contrasting tones of wistfulness, stoicism, and resignation; including "The Bells Of Hell Go Ting-a-ling-a-ling", "If The Sergeant Steals Your Rum, Never Mind" and "Hanging on the Old Barbed Wire". The wounded are laid out in ranks at the field station, a stark contrast to the healthy rows of young men who entered the War. Harry Smith's silently-suffering face is often lingered upon by the camera. The Americans arrive, but are shown only in the 'disconnected reality' of the pier and white iron building, singing "And we won't come back - we'll be buried over there!" Freddy notices with disgust that after three years of this nightmare, he is literally back where he started, fighting at Mons. As the Armistice is sounding, Freddy is the last one to die. The film closes with a long slow pan out that ends in an aerial view of soldiers' graves, dizzying in their geometry and scale, as the voices of the dead sing, "We'll Never Tell Them". The CAST: M 11 F4, playing a variety of characters The Scenes Various simple settings THE MUSIC Songs and parodies of songs from the First World War ORCHESTRATION Flute/Doubling Clarinet, 1st Baritone Sax/ Doubling Clarinet, Trumpet, Bass, Percussion DISCOGRAPHY Oh! What a Lovely War! - Original London Cast Recording
OH, BROTHER A Musical Comedy in One Act. Book and lyrics by Donald Driver. (Suggested by William Shakespeare's "The Comedy of Errors" and the comedies of Plautus.) Music by Michael Valenti. Opened 10 November 1981 at the ANTA Theatre and closed 11 November 1981 after 3 performances. Synopsis OH, BROTHER! takes place during a revolution in an oil rich Middle Eastern country on the Persian Gulf in a quaint resort town where its populace of merchants and revolutionaries mix Eastern tradition with Western consumerism. Into this volatile environment unwittingly stumbles a sweet old American named Lew. He is immediately surrounded by revolutionaries demanding he explain his presence. Lew tells this story: Years ago, travelling in the Middle East with his wife, Lillian, she gave birth to identical twin boys. At the same time a dear black woman also gave birth to identical twin boys, but she died. Lew and Lillian adopted the orphaned twin boys to raise as brothers to their own. When Lillian was well they booked separate flights for home, separate flights to lessen the chance an air disaster might again orphan any of their infant sons. Each parent took one twin from each set and departed for home. Disaster struck! The plane on which Lillian and her two charges were flying was hijacked to Iraq. Lew tried to find them, but he never saw Lillian or the two boys again. When Lew's two boys grew to manhood, curious about their lost twins they prevailed upon old Lew to let them search the world to find them. Lew consented. That was two years ago. Now they are lost and he is searching for them. CAST - (in order of appearance): 1. Revolutionary Leader 2. Revolutionaries 3. Bugler 4. Revolutionary Women 5. Revolutionaries 6. Lew 7. A Came 8. Western Mousada 9. Western Habim 10. Fatatatatatima 11. Eastern Habim 12. Eastern Mousada 13. Saroyana 14. Musica 15. Revolutionaries 16. Ayatollah 17. Lillian SCENES AND SETTINGS The action takes place at the present time on the Persian Gulf. MUSICAL NUMBERS 1. We Love an Old Story - Revolutionary Leader, Revolutionaries 2. I To the World - Western Mousada, Western Habim, Eastern Mousada, Eastern Habim 3. How Do You Want Me? - Saroyana 4. That's Him - Musica, Revolutionaries 5. Everybody Calls Me by My Name - Western Mousada, Revolutionaries
6. O.P.E.C. Maiden - Western Mousada, Revolutionaries 7. A Man - Eastern Mousada 8. How Do You Want Me? (reprise) Saroyana 9. Tell Sweet Saroyana - Eastern Mousada, Western Habim, Arabs 10. What Do I Tell People This Time? - Saroyana 11. O.P.E.C. Maiden (reprise) - Musica, Women 12. A Loud and Funny Song - Saroyana, Musica, Fatatatima 13. The Chase - Full Company 14. I To the World (reprise) - Western Mousada, Western Habim, Eastern Mousada, Eastern Habim 15. Oh, Brother! - Full Company DISCOGRAPHY: Oh Brother! (Original Broadway Cast Recording) [By Michael Valenti and Donald Driver]
OH, CAPTAIN! A Musical Comedy in 2 Acts. Book by Al Morgan and Jose Ferrer. Based on an original screenplay ("The Captain's Paradise") by Alec Coppel. Music and lyrics by Jay Livingston and Ray Evans. Alvin Theatre, Broadway - Opened 4 February, 1958. closed 19 July 1958 (192 perfs) Described by Frank Aston in the World Telegram and Sun as a "splendiferous, gaudy. songful, comical, dancing joy that happens none too often!, José Ferrer's production of Oh, Captain! had smooth sailing all the way. It was the outstanding musical success of the Philadelphia season, and found New Yorkers equally eager to absorb its high spirits and salty humours. With no aim other than entertainment, it instantly became one of Broadway's biggest hits and seems securely berthed at the Alvin Theatre for many months to come." Principally a song-and-dance show, Oh Captain! employs the standard ingredients of such musicals to brilliant effect. The songs are merry and tuneful, the settings and costumes are both comic and beautiful, and the story itself is gloriously improbable without leaving the realms of possibility.The show has a score that bubbles along its merry way spilling out with songs that are alternately romantic and agreeably bawdy. And, of course, the story is based on that fine British comedy, The Captain's Paradise, employing suitable changes for the musical stage - and the fact that the locale has been switched to England and Paris. SYNOPSIS The action begins in "A Very Proper Town," a splendidly British suburb of London, where Captain Henry St. James lives with his wife Maud. The Captain is a ghastly example of self-satisfaction and punctilio, while Maud is a charming woman somewhat beaten by her husband's ways. She would like to go out once in a while and have some fun, but the Captain feels that fun is not for people like them. "Life Does a Man a Favour " he feels, allowing him to have a strictly-run home and a tightly-run ship. The Captain's run with his ship gives him a week-end in London, five days at sea, a week-end in Paris, and then back again. His week-end at his suburban home over, the Captain returns to his ship, aglow with conceit ("Life Does a Man a Favour"), and is greeted by his crew ("Captain Henry St. James"). Aboard the SS Paradise the captain explains to Manzoni, his mate, that he has "Three Paradises": one his home, one his ship and the third, an establishment in Paris. Meanwhile, Maud has won first prize in a recipe contest - a trip to Paris - and impulsively decides to fly over to see her husband ( "Surprise"). His arrival in Paris produces an astounding change in the Captain ("Life, Does a Man a Favour"), who sheds his priggishness for wild gaiety ("Hey, Madame"). It further shows that he shares his Paris apartment with a splendid young woman named Bobo whose "Femininity" is so staggering that she is forced to be a sex symbol rather than the retiring woman she would like to be. Back on the ship, the crew asks Manzoni why he never goes ashore, and he replies that "It's Never Quite the Same" when one returns to old scenes. Maud turns up looking for the Captain, having spent a discouraging weekend, and is induced to go off on a sight-seeing tour on her last night. In the bus, she meets a dangerously amorous Spaniard and surprises him with her reactions to his advances ("We're Not Children"). The tour takes them to a night-club run by Mae who welcomes the customers ("Give It All You Got") and then introduces her ladies of the ensemble ("Love Is Hell"). The next artist on the program is Bobo, who is performing her number ("Keep It Simple") when the Captain enters. He is furious to find Maud and the Spaniard in a wild flirtation, and she is amazed to find him involved with Bobo, while Bobo is equally incensed. After the rigors of the night before, Mae is glad to relax to "The Morning Music of Montmartre." Maud, on the other hand, is determined to confront Bobo, and does, but although each feels she has the stronger claim to the Captain ("You Don't Know Him") they also find a firm bond of friendship in the fact that he has deceived both of them. Hiding on his ship. the Captain seeks Manzoni's advice, and Manzoni urges him to give up his duplicity ("I've Been There and I'm Back"). Thereupon the Captain goes to Bobo's flat to confront
the women, who accuse him of operating on a "Double Standard," and Bobo, tired of the whole thing, walks out with Manzoni ("You're So Right for Me"). The Captain urges Maud to stay with him ("All the Time"), but she too decides to leave him. The Captain, broken by the sudden dissolution of his three paradises, gives Bobo and Manzoni his once-beloved ship. At the "Finale", the forgiving Maud returns, and is reconciled with her foolish Captain MUSICAL NUMBERS: ACT 1 1. A Very Proper Town - Captain Henry St. James, Company 2. Life Does a Man a Favor (When It Gives Him Simple Joys) - Mrs. Maud St. James, Captain Henry St. James 3. A Very Proper Week - English Townspeople 4. Life Does a Man a Favor (When It Leads Him Down to the Sea) - Captain Henry St. James, Enrico Manzoni, the Crew 5. Captain Henry St. James - Crew of the S.S. Paradise 6. The Dock Dance - Dockworkers 7. Three Paradises - Captain Henry St. James 8. Surprise - Mrs. Maud St. James, Neighbours 9. Life Does a Man a Favour (When It Puts Him in Paree) - Captain Henry St. James 10. Hey Madame - Captain Henry St. James, Lisa 11. Femininity - Bobo 12. It's Never Quite the Same - Enrico Manzoni, Crew 13. It's Never Quite the Same (reprise) - Mrs. Maud St. James, Enrico Manzoni, Crew 14. We're Not Children - Mrs. Maud St. James, A Spaniard 15. Give It All You Got - Mae, Tourists 16. Love Is Hell - Mae, Ladies of the Ensemble 17. Keep It Simple - Bobo, Dancing Companions ACT 2 18. The Morning Music of Montmartre - Mae, People of Montmartre 19. You Don't Know Him - Bobo, Mrs. Maud St. James 20. I've Been There and I'm Back - Enrico Manzoni, Captain Henry St. James 21. Double Standard - Bobo, Mrs. Maud St. James 22. All the Time - Captain Henry St. James 23. You're So Right for Me - Enrico Manzoni, Bobo 24. All the Time (reprise) - Mrs. Maud St. James 25. Finale - Entire Company CAST: - Male - 10 : Female - 6 - (in order of appearance): • Captain Henry St. James • Mrs. Maud St. James • Enrico Manzoni • The Crew, S.S.. Paradise • A Clerk • The Neighbours • Lisa • Bobo • The Guide • A Spaniard • Mae English Townspeople, Dockworkers, Tourists, Parisians
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