70, GIRLS, 70 Music by John Kander: Lyrics by Fred Ebb Based on Peter Coke's play Breath of Spring and the movie of the play, Make Mine Mink Broadhurst Theatre, New York 15 April, 1971 (36 Perfs) Vaudeville Theatre, London 17 June, 1991 SYNOPSIS The setting is a somewhat run-down, seen-better-days hotel in upper Manhattan. It is a long-term hotel which is mainly occupied by retired theatrical performers. But these old-folk, being who they are, means they don't just sit around doing nothing. However, there is a rumour that the hotel is being sold off to developers which means they will all be homeless. Ida had had to leave the hotel as she had run out of funds to pay for her lodgings. She found excitement in shoplifting, which, while starting off by accident, became a way of funding a better lifestyle. Inspired by her example, her friend Eunice pops into Sadie's Shop and steals jewellery. Only one thing - she had inadvertently left her engagement ring when she had taken it off to try on a diamond ring. The result of this is that her friends, led by Ida, arrange a reverse burglary - to put back that which was stolen and get back her rightful ring. They all have a lot of fun doing this. But, the threat over the hotel becomes a reality - it is to be sold and knocked down to make way for development of the area. How to save the hotel? The residents decide that they should be able to buy it with the proceeds from a few, just a few, robberies. The gang goes into successful action with life at the hotel become very enjoyable. Enjoyable, that is, until the police come snooping around. All they find though is a group of doddery old residents reliving there lives on the boards. One big robbery is organised but when they enter the vaults with the help of the security guards, who just happen to be former dance partners of Gert, things don't go quite according to plan. Walter shuts the vault door after them which sets of the alarms. Ida, who knows she has not long to live anyway (she has a terminal illness which none of the others know about), says she'll stay behind and let the others escape. The hotel is saved and from "on high" Ida looks down and watches the wedding of two of the residents, Eunice and Walter, and basks in the glory that the hotel has been renamed The Princess Ida. MUSICAL NUMBERS: Act I • Old Folks - Company • Home - Ida, Ensemble • Broadway My Street - Melba, Fritzi, Ensemble • The Caper - Harry • Coffee in a Cardboard Cup - Melba, Fritzi • You and I, Love - Mr. McIllehenny, Mrs. McIllehenny, Ensemble • Do We? - Walter, Eunice • Hit It, Lorraine - Ensemble • See the Light - Gert, Male Ensemble Act II • Boom Ditty Boom - Company • Believe - Melba, Ensemble • Go Visit Your Grandmother - Eddie, Grandmother • 70, Girls, 70 - Company • The Elephant Song - Ida, Melba, Fritzi • Yes - Ida, Company • Well-Laid Plans • I Can’t Do That Anymore STORY The show opens with the cast of 70, Girls, 70 stating their birthdays. The cast is made up of veterans to the
stage. They are returning to Broadway and are celebrating (“Old Folks”). The cast lives at The Sussex Arms in New York City. It is a run-down hotel for senior citizens. Ida Dodd is one of the favourites at The Sussex Arms. Ida was not able to be admitted to hospitals because she did not have enough money. She decided to move to the Waldorf. When the clerk at a pharmacy treated her rudely when she needed a thermometer, she stole a thermometer. This led to her continuing her thievery. Ida makes the decision to go back home to The Sussex Arms. Her friends are surprised to see her dressed “to the nines” rather than in the simple frock she usually wears (“Home”). At the Broadhurst Theatre, the performers are celebrating the fact that they are back performing on Broadway (“Broadway, My Street”). The next day, Ida finds out that Eunice has started stealing too. She took a coat from Sadie’s Fur Salon. However, Eunice leaves her coat with her name sewn in the lining at the store in exchange for the one she stole. The crew at The Sussex Arms knows they have to get back to Sadie’s Fur Salon and get Eunice’s coat back without getting caught. Harry puts together a plan to get this done (“The Caper”). They get the coat back thanks to Ida’s fake fainting spell while pretending to be a shopper at Sadie’s. The group is inexperienced, so it takes longer than it should. Ida has to keep up her ruse for a while. In her last effort of getting the shop clerks out of the way, she says that she cannot take her coffee in a cardboard cup. In a crossover scene, the performers, Melba and Fritzi, sing about how the “trouble with the world today is coffee in a cardboard cup” (“Coffee in a Cardboard Cup”). While the group is at Sadie’s, the rest of the residents at The Sussex Arms are staring at a television set. The television has no picture, however, so they have to pretend they are watching all of their favourite shows (“You and I, Love”). After the reverse robbery at Sadie’s, the group decides they want to join Ida in all of her future thieving. Walter wants to sit out, though. Walter and Eunice are to be married soon. They share a moment together, but that is interrupted when they realize the audience is staring at them, wondering if they ever have sex (“Do We?”). The Sussex Arms crew, minus Walter, is ready to continue with their robberies (“Hit It, Lorraine”). They make Bloomingdale’s their next target. They plan to go to the fur department. Because Gert used to work there as a detective, she is chosen to be the lookout for the group. Gert is met by her old friends in security. She stands around with them chatting right by the spot where the group is supposed to steal from. Gert tries to distract them with a story about Emma Finch. She was a kleptomaniac that used to steal furs at Bloomingdale’s then went onto stealing men (“See the Light”). Act II begins with The Sussex Arms redecorated with chandeliers and television sets. The crew brings in “old folks” from the street to let them stay in The Sussex Arms. The money the crew got from lifting goods has allowed them to revitalize The Sussex Arms, which benefits the community (“Boom Ditty Boom”). With the group’s success, Walter begins to be swayed towards joining them. It is revealed that Walter was formerly a safe-cracker, and this is why he was unwilling to join the group in the beginning. Eunice does not mind that Walter had a past in crime. She looks at it as an opportunity to use his skills for their next heist at the Arctic Cold Storage Vault. Walter struggles to open the door, though, because he has not done this in many years. The group may freeze to death, but Melba sings to help them lift their spirits (“Believe”). Back at the Broadhurst, the characters of a young bellhop and his grandmother are performing a duet about how visiting grandmothers is important (“Go Visit”). Eddie lets the group know that the police are there to question them. Detective Callahan and Officer Kowalski enter the lobby. They see only a bunch of old people acting as though they are deaf and have recently had operations to throw them off. When the police leave, it is made known that all they wanted to do was ask that the residents of The Sussex Arms watch the neighbourhood and report anything they see that seems suspicious. The cops showing up scares the friends enough that they want to do only one more heist. They just want enough to be able to purchase The Sussex Arms themselves, then they will stop (“70, Girls, 70”).
The actress who plays Ida goes on stage and says, “So they agreed to do one more.” She tells the audience they need to talk about death, which up to now they have avoided, then sings what she calls “The Death Song” (“The Elephant Song/Where Does an Elephant Go?”). The last job they do turns out to be a disaster. The group goes to the International Fur Show which is being held in the New York Coliseum. They were almost caught, but Ida decides she will take the blame for it while the rest of them run away. Just before she is thrown in jail, Ida goes offstage and dies. The next time the audience sees her is sitting on a moon, looking down on Walter and Eunice’s wedding. She urges Lorraine from her moon to do one last number (“Yes”). DISCOGRAPHY 70, Girls, 70 (Original London Cast Recording) 70, Girls, 70 (Original Broadway Cast Recording)
1776 (Music and Lyrics by Sherman Edwards: Book by Peter Stone: Based on. a concept by Sherman Edwards) 46th Street Theatre - 16 March, 1969 (1217 perfs) New Theatre, London - 16 June, 1970 (168 perfs) The founding fathers are brought vividly to life in this lively and entertaining musical which follows the vicissitudes of the struggle for the independence of America. Vivid historical action is animated by a rich and rewarding score. STORY It is another sultry day in Philadelphia. Washington's army needs money, the flies are murder and John Adams keeps on about Independence. Members of the Continental Congress are sick of his words and Benjamin Franklin knows it. He persuades John to let someone else, perhaps from the South, to introduce the measure Franklin has asked the gullible Richard Henry lee to stop by and permits him to think of such a solution. Lee is off to his state legislature to be so directed. Lee finally returns and wastes no time in bringing the motion to the floor. Opponents quickly move to have the measure postponed. Adams, for once, convinces the Congress that the matter should at least be discussed. The narrow vote is against defeat. The opposition counters with a motion that any vote in independence be unanimous and this motion is carried. It is decided that the best way to present the measure would be in the form of a declaration. But who will write it? Everyone in the committee tries to avoid being landed with the job but in the end it is agreed that Thomas Jefferson should be the one to draw up such a declaration. He, however, wants to spend some time with his young wife, Martha, from whom he has been away too long. Adam arranges for her to be brought to Philadelphia and work on the document proceeds vigorously. The Independence Committee is called to investigate the problems of womanising, drinking and the "French disease" in Washington's army and to settle other important and grim matters the General keeps bringing before Congress. In their absence the conservatives have their day by pleading the case against independence and pledge loyalty to the most powerful crown in the world. However, when Adams, Franklin and the others return from the front, they are inspired with the will to win! This spirit proves infectious and it paves the way for a debate on the Declaration. There are changes and compromises, but nothing of serious consequence. That is, until Edward Rutledge threatens to lead the South against the measure of freeing the slaves is permitted to remain in the proposal. Adam puts up a heated argument but Franklin, the founder of America's first anti-slavery society, suggests they agree to the deletion in order to give birth to the nation. A game of carefully waged politics wins the last few remaining pockets of resistance. American liberty is born as each member of the committee signs his name to the Declaration of Independence. MUSICAL NUMBERS: Act I • Overture • Sit Down, John – Adams and Congress • Piddle, Twiddle and Resolve – Adams • Till Then – Adams and Abigail • The Lees of Old Virginia – Lee, Franklin and Adams • But, Mr. Adams – Adams, Franklin, Jefferson, Sherman and Livingston
• Yours, Yours, Yours – Adams and Abigail • He Plays the Violin – Martha, Franklin, and Adams • Cool, Cool, Considerate Men – Dickinson and The Conservatives • Momma Look Sharp – Courier, McNair and Leather Apron Act II • The Egg – Franklin, Adams, Jefferson, and Congress • Molasses to Rum – Rutledge • Compliments – Abigail Adams • Is Anybody There? – Adams and Thomson • Finale CAST: - 25 Male, 2 Female. • John Adams • Benjamin Franklin • John Dickinson • Edward Rutledge • Stephen Hopkins • Thomas Jefferson • John Hancock • Abigail Adams • Richard Henry Lee • Roger Sherman • Andrew McNair • Robert Livingston • Samuel Chase • Martha Jefferson • James Wilson • George Read • Caesar Rodney • Charles Thomson • Lewis Morris • John Witherspoon • Thomas McKean • Lyman Hall • Josiah Bartlett • Joseph Hewes • Leather Apron • Courier INSTRUMENTATION: Reed 1; Reed 2; Reed 3; Reed 4; 2 Horn; 2 Trumpet; 3 Trombone; 1 Violin; 1 Cello; 1 Bass; 2 Percussion; 1 Harp DISCOGRAPHY 1776 (Original Broadway Cast Recording)
A SAINT SHE AIN’T Book and lyrics by Dick Vosburgh; Music by Denis King; Opened King's Head Theatre 21 April, 1999. Transferred to Apollo Theatre, Shaftesbury Avenue, London - Opened 22 September, 1999: Closed 15 January, 2000 (Total 133 performances) SYNOPSIS Inspired by Molière's Le Cocu Imaginaire the characters in the play have been replaced with the most popular Hollywood stars of the 1940s - from W.C. Fields to Mae West, Rita Heyworth, Gene Kelly, Jimmy Durante, the Andrews Sisters and Abbott and Costello - to bring the story of two couples, each of whom suspects the other of dallying with the other's half (you have to concentrate to keep up …) STORY Anna Bagalucci (a Rita Hayworth type) announces she is going to marry Danny O’Reilley, a sailor on leave, even though her father is dead set against it. But Anna’s lost locket with a photo of Danny is found by raunchy Mrs Fay Bogle (a Mae West type), who fancies Danny and aims to get her man. Anna thinks Danny is being unfaithful, and meantime, the aged drunk, Mr Bogle (a W.C.Fields type) confuses Danny, leading him to believe that Anna is the actual Mrs Bogle. CAST • Snaveley T. Bogle - Faye’s husband • Faye Bogle - Snaveley’s wife • Ray Bagalucci - Anna’s father • Anna Bagalucci - Ray’s daughter • Willoughby Dittenfeller - Sailor • Trudy McCloy - Anna’s best friend • Danny O’Reilly - Songwriting sailor with whom Anna is in love • Skip Watson - Sailor MUSICAL NUMBERS: • Overture - Orchestra • Mr. Molière - The Andrews Sisters • Start-the-Day Tune - Bagalucci • The Navy's In Town - Faye • My All American Girl - Danny • A Saint She Ain't - Danny and Bogle • I Love to Hold Rose - Bagalucci • I Only Dig That Jive - Trudy and Willoughby • You're the Only Star In My Heaven - Anna and Danny • Entr'acte • Manitowoe - Trudy • There Oughta Be a Way - Bagalucci • The Joke's On Me - Anna • Can't Help Dancing - Anna and Danny • The Banana For My Pie - Faye • Finaletto - Company • Finale Ultimo - Company DISCOGRAPHY: Original London Cast - First Night Records - CASTCD73
SALAD DAYS Book and Lyrics by Dorothy Reynolds and Julian Slade Music by Julian Slade Produced at the Vaudeville Theatre, London, August 5, 1954 (2283 perfs) Barbizon Plaza, New York - November 10, 1958 (80 perfs) SALAD DAYS started its life in June 1954 at the Theatre Royal, Bristol. Dorothy Reynolds and I had been commissioned to write an endof-season summer show for the Bristol Old Vic Company and it was scheduled to run just three weeks. But Fate - and a London Management - intervened. On August 5th. 1954 we opened with the same production at the Vaudeville Theatre, London, and stayed there for five and a half years, becoming (for then) the longest running musical in the history of the British Theatre. (J.S.) It has been playing somewhere in the world ever since. STORY Newly acquired BA gowns hang heavy on the shoulders of Jane and Timothy. Having got this far, what on earth do they do next? They could get married, of course (so they do), but how can they make a living? In a London park one breathlessly warm summer day they encounter a tramp who trundles round a mobile mini-piano. Even tramps need a holiday now and then, and he invites the young graduates to look after his business interests for a month at £7 per week plus whatever they can collect. The piano is not just any old mobile mini; those who hear it find themselves dancing, even against their better judgment. On this gentle thread of story is strung a series of revue-type scenes providing rich opportunities for versatile comedy players who can also sing and dance. The story of Salad Days begins in the precincts of a University, where a Tramp is trying out a new melody on a battered old street piano. (Opening Music), His musings are soon interrupted by the arrival of a gaggle of Dons who have come to bid farewell to two departing graduates, Jane and Timothy. (The Things That Are Done By a Done). The young couple are sad to leave the University, but determined to face uptothe future. (We Said We Wouldn't Look Back). Their future, however, is uncertain, as both are being harassed by their parents, she to find a suitable husband, he a suitable job, following in the footsteps of one of his influential uncles. His troubles usually begin at breakfast. (Find Yourself Something To Do). The pair arrange to meet in a London park. As usual, Jane is on time, Timothy is not. (I Sit In the Sun). They discuss their future and decide it would simplify life to marry each other and take the first job that comes along. This proves easy, for the Tramp arrives wheeling the old piano, and offers them seven pounds a week to look after it for a month. On hearing the Tramp play it, they discover to their amazement that the piano produces in them an irresistable urge to dance. (Oh, Look at Me!). Timothy temporarily appeases his parents by going to the Foreign Office to see his Uncle Clam (Hush-Hush), but he is soon back in the park with Jane and the piano (now christened 'Minnie'), eager to discover if it will make everyone else dance too. Indeed it does - from street urchins to policemen to Bishops! (Oh, Look at Me: Reprise). It is not long before the park is full of people exhausted from dancing to Minnie's tune. (Out of Breath). An admirer of Jane's, Nigel, not knowing that she is now secretly married, invites her to a night-club called 'The Cleopatra' where they witness a somewhat unusual cabaret (Cleopatra and Sand In My Eyes). On leaving
the club they meet up with Tim, and he and Jane persuade a reluctant Nigel to try out his singing voice. (It's Easy To Sing) News of the piano's irregular activities reaches the ears of the fun-hating Minister of Pleasure and Pastime who threatens to suppress it. Tim and Jane decide to hide Minnie, but find to their dismay she is really lost. (We're Looking For a Piano). Jane meets the Tramp again, who does not seem at all perturbed by the disappearance of the piano, and she is able to relax for a while to enjoy the summer and sunshine. (The Time of My Life). She and Timothy receive unexpected help in their search from Tim's Uncle Zed, a zany scientist who conveniently descends in his flying saucer and whisks them off for a bird's-eye view... (The Saucer Song). Meanwhile their anxious mothers lament that they never know what their children are up to. (We Don't Understand Our Children). The piano is found, but the month of guardianship is over, and Minnie must be handed on to the next young couple - Nigel and his newly found girl-friend Fiona. Nigel finds, to his surprised delight, he can play as well as sing. (Oh, Look at Me: Reprise). It is hard for Tim and Jane to see the piano go, but, having each other, they are hopeful of a future as happy as the past. (We Said We Wouldn't Look Back: Reprise). Julian Slade, London 1982 For the chorus Originally, nothing! The production which ran for 2,283 record-breaking performances at the Vaudeville had a cast of twelve, plus a pianist, who between them played fifty-five roles of assorted lengths-the star of one scene being required, perhaps, to do no more than walk on in the next. Needless to say, there is every opportunity for an imaginative producer to use a much larger cast. Major Roles - (showing the original doubling) Jane. Timothy's mother/Heloise/Asphynxia. Lady Raeburn/a cabaret dancer/Marguerite. Fiona/ a beauty-parlour assistant/a shopgirl. Aunt Prue/a manicurist/Rowena. Timothy. Troppo, a mute. The tramp/a bishop/a photographer. Timothy's father/a Police Inspector/the Minister of Pleasure and Pastime/Ambrose. Uncle Clamsby/a night-club manager/Uncle Zed. Fosdyke/Nigel. P.C. Boot/Electrode. THE SCENES A park backcloth or drapes can be used throughout. Other scenes are represented with simple cut-outs, insets or drop cloths, or played in front of running tabs. Act I The University grounds. The breakfast-room at Timothy's home. A London park. A beauty parlour.
A room at the Foreign Office. An office in Scotland Yard Act II A night club. A park café terrace. A dress shop. The park. A flying saucer MUSICAL NUMBERS: • The Things That Are Done By A Don - Company • We Said We Wouldn't Look Back - Jane and Timothy • Find YOurself Something To Do - Timothy's Father, Mother & Aunt Prue • I Sit In the Sun - Jane • Oh, Look At Me! - Jane & Timothy • Hush-Hush - Uncle Clam, Fosdyke & Timothy • Out Of Breath - Company • Cleopatra - The Manager • Sand In My Eyes - Asphynxia • It's Easy To Sing - Jane, Timothy & Nigel • We're Looking For a Piano - Company • The Time Of My Life - Jane & the Tramp • The Saucer Song - Uncle Zed, Jane & Timothy • We Don't Understand Our Children - Jane's Mother & Timothy's Mother ORCHESTRATION There is no special arrangement for two pianos. For productions accompanied in this way, both pianists should play from the published piano/vocal score, the second using it as the basis for improvisation to give added depth and colour. Scores for Double Bass and Drums are available on hire. DISCOGRAPHY Salad Days (Original London Cast)
SALLY BLANE, the World's Greatest Detective Music and lyrics by David Levy and Leslie Eberhard; Book by Helen Sneed and Peter Webb A musical for adults about children and a real delight for the whole family. Though the action calls for numerous exotic locales, they are all suggested; half the fun is in getting the audience to use its imagination. Sally Blane, a pretty and indomitable seventeen-year-old, has solved mysteries all over the globe and has helped thousands of people in distress. Early in this, her latest adventure, she discovers that her father, Lane Blane, is being held hostage by a coffee cartel in Latin America. With her omnipresent chaperone, Fricka Norse, and her plump chum, Amaryllis White, Sally sets forth to save her Dad. Her boyfriend, Scotty Schuykill, wants her to stay home with him and do normal things like go to school. Sally can't resist another mystery, though, and takes off for foreign soil. Aboard the SS Privilege, bound for Latin America, Sally is stalked by the menacing (though bumbling) Blister Owen. She also meets up with Consuelo and Lupe Wordsworth, two helpless waifs who are returning to the land of their birth to hunt for their inheritance, the Wordsworth Fortune. Sally vows to help them. Once in Latin America, she is introduced to Connie and Lulu's sinister aunt, Tia Esmerelda, who seems to know more about the whereabouts of Sally's father than she should. Aided only by her flashlight and a magnifying glass, Sally is run-down by a sinister sedan, beaten up by a thug, rendered unconscious by a drug-soaked handkerchief, kidnapped, hit on the head, poisoned by a mysterious devil doll, lured through the hazardous tropical rain forest, and pushed down an old stone well by her own father. And that's only Act One! In Act Two she finds time to become fluent in Spanish, learn the tango, discovers the missing fortune, save her father's life, and subvert a massive plot to take over the entire Southern Hemisphere. Just before the curtain, Sally is reconciled with Scotty and promises to go back to school. A mysterious gun shot rings out, and Sally charges off on her next case. Cast: 3 men, 7 women
SALLY A Musical Comedy in 3 Acts, 5 Scenes. Book by Guy Bolton. Music by Jerome Kern. Lyrics by Clifford Grey, (Anne Caldwell, P. G. Wodehouse, Buddy G. DeSylva). Butterfly Ballet Music by Victor Herbert. Based on an unproduced musical The Little Thing by PG Wodehouse. Production staged by Edward Royce. Settings designed by Joseph Urban. Costumes designed by Alice O'Neil. Orchestra directed by Gus Salzer. Produced by Florenz Ziegfeld, Jr. New AmsterdamTheatre, Broadway - 21 December, 1920 (570 perfs) Winter Gardens, London - 10 September, 1921 THE STORY At the Alley Inn in Greenwich Village, Mrs. Ten Broek, a wealthy widow and social worker, escorts a group of foundlings who have come to apply for the job of dishwasher. The Inn's proprietor chooses Sally Green, known as "Sally of the Alley," but the girl isn't exactly thrilled with her new position. Alone with her fellow waifs, she confides that what she really wants is to become famous like, say, Joan of Arc. From the Original 1921 London Production Sally soon meets Connie who, though a waiter, is in reality the exiled Grand Duke Constantine of Czechogovinia. Because of his exalted rank, Connie will be allowed to take the night off the following Thursday to attend a ball in his honour being given by millionaire Richard Farquar. Coincidentally, Farquar's son, Blair, has just walked into the Inn to arrange a dinner party for the evening. Attracted to Sally, he tries to lift her spirits by urging the slavey to "Look for the Silver Lining," a bit of advice she earnestly accepts. Connie, impressed with Sally's dancing, arranges to have her perform at the Inn. Also present are Otis Hooper, a theatrical agent from Squantamville, Maine, and his fiancée, Rosie Rafferty, whom he plans to wed as soon as he makes enough money. This now seems a long way off because Otis has just received news that his client, Mme. Nookerova, a famous French ballet dancer, will be unable to make a scheduled appearance at the forthcoming Farquar affair. Seeing Sally dance gives Otis an idea: since no one knows what Mme. Nookerova looks like, he will pass the girl off as the ballerina. While Sally goes off with Otis and Rosie to plan their little deception, Blair returns with his friends. Because everyone is curious about his latest love, the young man ardently reveals his plans to take his Sally away from the alley. During the ball at the Farquar's Long Island estate, the host, in introducing "Mme. Nookerova" to the press, describes her as looking as innocent as a primrose. To which madcap Sally snaps, "I am just zee opposite of primrose. Zere is nossing 'prim' about me!" With that as her musical cue, she sails gaily into the revelation that she is, in fact, a Wild Rose ("not a prim and mild rose"). Cover to sheet music selectionAfter Connie has made his grand entrance, he and Mrs. Ten Broek find a secluded corner in which to be alone. Answering the lady's many guestions about his country, the grand duke fills her in on all the wild and wonderful things that happen "on the banks of the Schnitza-Kommiski." Blair, puzzled by the ballerina's close resemblance to Sally, finds himself falling in love all over again. Noticing the two together, Otis, Rosie and Blair's friend, Jimmy, refer to Mme. Nookerova as a modern Lorelei — which leads right into a song about ancient and modern sirens. With Sally's success apparently assured, Otis and Rosie are at last able to make plans for their wedding at the little Church 'Round the Corner, "just above Madison Square." But everything goes wrong when Sally teasingly convinces Blair that she — Mme. Nookerova, that is — is a wicked woman who has caused Connie's downfall. During her solo Slavic Dance, Sally is angrily denounced by Blair; which forces the tearful girl to admit her deception. Once again, however Otis comes to the rescue. Sally's dancing has so impressed everyone that he gets her
an engagement in the new Ziegfeld Follies. In the revue's Butterfly Ballet, amid choruses of butterflies and moths, Sally dances and dances and emerges from her lepidopteral surroundings a full-fledged Ziegfeld star. In the finale, Sally and Blair, Mrs. Ten Broek and Connie, and Rosie and Otis all take their multiple wedding vows as the joy bells ring out in the Little Church Around the Corner. Stanley Green ORIGINAL CAST - New York • Pops, Proprietor of the Alley Inn, New York: ALFRED P. JAMES. • Rosalind Rafferty, a manicurist: MARY HAY. • Madame Nookerova's Maid: MARY HAY. • Sascha, Violinist at the Alley Inn: Jacques Rebiroff. • Otis Hooper, a Theatrical Agent: WALTER CATLETT. • Mrs. Ten Broek, a Settlement Worker: DOLORES. • Sally of the Alley, a Foundling: MARILYN MILLER. • Madame Nookerova, a Wild Rose: MARILYN MILLER. • Premier Star of the Follies: MARILYN MILLER. • Connie, a Waiter at the Alley Inn: LEON ERROL. • Duke of Czechogovinia: LEON ERROL. • Miss New York, a Niece: Agatha Dehussey. • Admiral Travers, a gay one: Phil Ryley. • Blair Farquar, an Only Son: IRVING FISHER. • Jimmie Spelvin: STANLEY RIDGES. • Alta: Alta King. • Betty: Betty Williams. • Barbara: Barbara Dean. • Vivian: Vivian Vernon. • Mary: Mary McDonald. • Emily: Emily Drange. • Richard Farquar: Frank Kingdon. • Billy Porter: Wade Boothe. • Harry Burton: Jack Barker. Foundlings (6): Miss Rhinelander: Miss Kingsley. Miss Vanderbilt: Miss Otis. Miss Worth: Miss Maide. Miss Bryant: Miss Henderson. Miss Audubon: Miss Freeland. Miss Bowling Green: Miss Vernon. Children: Baby Dot, Dolly Tigue, Rita Murphy, Minerva Bartz. Boy: Frank Bages. Ensemble: Misses Mary McDonald, Barbara Dean, Alta King, Emily Drange, Vivian Vernon, Betty Williams, Hunter, DeBussy, Hanson, Platt, Wilson, Orville, LeRoy, Bowie, Lyle, Shand, Misses Donley, Mayer, Oliphant, Stanfield, Kingsley, Collings, Akers, Fenron, Otis, Parks, Closs, Maide, S. Vernon, Vreeland, Ford, Braham. ORIGINAL WEST END CAST - (Principals) Jimmie Spelvin: Seymour Beard Sally of the Alley, a Foundling: Dorothy Dickinson Otis Hooper, a Theatrical Agent: George Grossmith, Jr Duke of Czechogovinia: Leslie Henson Blair Farquar, an Only Son: Gregory Stroud Rosalind Rafferty, a manicurist: Heather Thatcher MUSICAL NUMBERS: Act 1 • The Night Time - Jimmy & chorus • On With the Dance - Otis • You Can't Keep A Good GIrl Down - Sally • Look For the Silver Lining - Sally and Blair • Silver Lining Dance - Sally • Sally - Blair & men's chorus
Act 2 • Wild Rose - Sally and Men's chorus The Schnitza-Kommiski - Constantine • Whip-poor-Will - Sally and Blair • The Lorelei - Rosie, Jimmy and Otis • The Church 'Round the Corner - Rosie and Otis Act 3 • The Butterfly Ballet - Introduction & Entrance of Butterflies; Entrance of the Bat; Entrance of the Moths; Valse & Galop.(Music by Victor Herbert) • Finale - Dear Little Church 'Round the Corner SCENES AND SETTINGS Act 1 The Alley Inn, New York Act 2 The garden of Richard Farquar's house, Long Island Act 3 Scene 1 - The Butterfly Ballet at the Follies Roof Garden Scene 2 - Sally's dressing room at the AmsterdamTheatre after the Follies première Scene 3 - The Little Church 'round the corner DISCOGRAPHY Original London Cast Recording - Monmoutrh Records MES/7053
SALVATION Music, book and lyrics by Peter Link and C. C. Courtney Jan Hus Playhouse Off Broadway 24 September, 1969 (239 perfs) SYNOPSIS An unorthodox rock musical revolving around youths' problems, needs and rebellion. Structured as a parody of a revival meeting, it links dialogue and a strong pop score into the search for meaning which underlies the protests of a generation. 'Cheerfully irreverent ... winningly innocent' - New York Post. An overwhelming rush of very good pop tunes' - New York Times. STORY Musicians enter, take positions and tune up.The music begins. Monday, Dierdre and Leroy enter through the audience arguing. The musicians are distracted, stop and begin arguing with the actors. Monday describes the the music as junk, saying that it is misleading the audience. The music has nothing to do with “salvation,” and that’s what the play is called. The band tries to have Monday sit down, but he refuses. He calls upon the audience and asks them if they know what “salvation” means. After scolding the musicians, Monday calls on the cast to give testimony for Jesus (“Salvation”). They all come forward and begin tearing at Monday’s clothes, until he is left in red bikini underwear. Marc brings him a robe and transforms him into a “Savior-like” figure. Monday picks up an aerosol can and sprays each of them. Betty Lou steps forward, proclaiming her sins. She tells him that she wants Jesus in the morning and evening but, unfortunately, wants everyone else for the rest of the time (“In Between”). Betty Lou leaves, and Leroy comes forward and asks to be forgiven for “spilling his seed” over and over. If he is forgiven this time, he promises never to do it again (“1001”). Monday forgives Leroy, but no sooner is Leroy saying his five Hail Marys, than Farley bursts forward, declaring the whole thing to be a complete sham! Monday is declaring sex to be a sin, which Farley fights him on (“Honest Confession Is Good for the Soul”). Boo also argues with Monday, wondering how things can be sinful when they make her feel so good. Farley sees this as an honest confession, but Monday asks him to sit down and keep quiet. Monday then asks the group: What is the purpose of Sundays? He asks them to review the days of the week, starting with Monday, so that they can save their favorite day for last. Nobody has much to say about the days of the week, other than that they work and then get paid on Friday. They all agree that Saturday is “the day you throw it all away.” Farley steps forward to talk about Sunday – it’s the perfect day to have a great time (“Ballin’”)! The cast goes crazy, undressing in the process. Monday flees to the pool of holy water and sprinkles some on the audience. He then pulls a screen onstage to cover the actors and their antics. Acting drastically, Monday gives the group a list of sex rules by which they must live. After he finishes, Dierdre tells of how she fought off the advances of a man for quite some time. Unfortunately, he was killed in Vietmam, and she never was able to be with him in the way that she always wanted (“Let the Moment Slip By”). Monday doesn’t want to hear this story so he commands Boo to begin a new game. Boo responds that her name isn’t Boo, today... it’s Gina (“Gina”). Marc and Farley try to have sex with her. After this, Monday comes forward and encourages the audience to applaud even louder... then softer... in a certain rhythm, but Farley is attempting to distract them. Monday finally loses his temper and explodes at Farley. Once again, the cast wonders why it is that they can’t have sex unless they are married (“If You Let Me Make Love to You, Why Can’t I Touch You?”). Farley tries to convince Monday that sex is good, but Monday is having none of it. Soon, the entire cast is getting tired of listening to what Monday has to say. To halt the uprising, Monday teaches the group a game called “Band.” He makes Leroy the leader and has him assign each person an instrument. They play a tune that resembles Salvation Army music, but Leroy wants to do a
song with genuine soul (“There Ain’t No Flies on Jesus”). The cast seems back on track, and Monday offers them the chance to confess. Ranee is ready and confesses that she aborted the child of a man who came into her life, then left her (“Deadalus”). Betty Lou and Marc tell the story of a husband who puts God above all else. He refuses to do anything on Sunday, aside from worshiping the Lord, putting a strain on his marriage. Betty Lou and Marc find this behavior senseless (“Deuteronomy XVII Verse 2”). Farley takes Marc and turns him to Leroy, who comforts him (“For Ever / Footloose Youth and Fancy Free”). Monday then asks the audience to contribute to the church. The cast goes throughout the audience taking up a collection. When the cast returns to the stage with the collection, Monday puts all of the money in his pocket. Farley questions him on this, and Monday agrees to share it with everyone, celebrating the ecumenical movement of the church (“Schwartz”). One by one, the cast members leave the stage as Monday tells them that their native religion is meaningless under the guidelines of the ecumenical movement. Eventually, Monday is left on the stage, alone, after he has offended everyone and their individual faiths. Elsewhere, the cast is “smoking” from a giant Coke bottle, doing drugs and getting stoned (“Let’s Get Lost in Now”). Farley once again confronts Monday, saying that he has presented God to them in so many ways – why can’t he just make up his mind? Monday informs them that God is actually a verb (“Back to Genesis”). He reminds them that if they all go back to the beginning of simplicity, they will find the true meaning of God. The cast has an epiphany as the curtain falls (“Tomorrow Is the First Day of the Rest of My Life”). CAST: - 4 men, 4 women • BETTY LOU - Smoky/sexy with a soft side • BOO - Rebellious, dissatisfied, loud, free • DIERDRE - Plain, average girl, simple, in discovery • FARLEY - Energetic nay-sayer, takes over the service • LEROY - Gospel singer, carefree • MARC - Cynical, hard-driven • MONDAY - Handsome young preacher/leader • RANEE - A little disturbed underneath it all MUSICAL NUMBERS: • Overture (Band) • Salvation (Monday, Ranee, Deidre, Mark, Betty Lou) • In Between (Betty Lou, Deidre, Ranee, LeRoy) • 1001 (LeRoy) • Honest Confession Is Good for the Soul (Monday, Boo, Farley, Company) • Bailin’ (Company) • Let the Moment Slip By (Deidre) • Gina (Mark, Farley, Company) • Stockhausen Potpourri (Company) • If You Let Me Make Love to You Then Why Can’t I Touch You (Company) • There Ain’t No Flies on Jesus (Company, with vocal improvisations by LeRoy, Farley, Mark) • Deadalus (Ranee) • Deuteronomy XVII Verse 2 (Mark, Betty Lou, with Ranee, Boo, Deidre) • For Ever (LeRoy, Mark, with Betty Lou, Ranee, Boo, Deidre) • Footloose Youth and Fancy-Free (Boo, LeRoy) • Schwartz (Company) • Let’s Get Lost in Now (Mark, Company) • Back to Genesis (Company) • Tomorrow Is the First Day of the Rest of My Life (Farley, Company) INSTRUMENTATION: Reed (flute/clarinet/bass clarinet/alto sax), trumpet db. flugelhorn, electronic organ db. piano/electric piano, guitar (electric/acoustic), percussion, bass guitar DISCOGRAPHY Salvation (1969 Off-Broadway Cast)
SAN TOY or The Emperor's Own Book by Edward Morton, Lyrics by Harry Greenbank and Adrian Ross, Music by Sidney Jones; Additional music by Lionel Monckton Daly's Theatre, London - 21 October, 1899 Daly's Theatre, Broadway - 1 October, 1900 (65 perfs) SYNOPSIS Act I In the town of Pynka Pong, where Sir Bing Preston is the British Consul, two jade merchants bribe Li, the private secretary of the mandarin Yen How. Li flirts with Dudley, the maid at the British Consulate, but Li is in love with Ko Fan, one of the Emperor's female guards, a service into which all noble daughters are conscripted. The Mandarin, however, has got around the conscription law for his favourite daughter, San Toy, by raising her as a boy. However, the student Fo Hop discovers the secret, and his price for silence is San Toy's hand in marriage. The Mandarin allows this on the condition that no one must ever know that San Toy is a girl, cleverly preventing the marriage from happening. San Toy is in love with the Consul's son, naval Captain Bobby Preston, but a marriage between the two would never be permitted by either of their fathers. adBobby must leave San Toy to go to Peking on his father's business and departs sadly. Fo Hop, discovering their romance, tells San Toy that he will turn her into the model Chinese wife. A new edict from the Emperor is announced, ordering that now all sons, as well as daughters, of Mandarins must join a new regiment in Peking, so San Toy must depart for Peking, where she will admit her sex, entering the girls' regiment, and can see Bobby. The Mandarin declares that he will also go to Peking and petition the Emperor to return his daughter. Act II In the Emperor's Palace at Peking, San Toy is introduced to the Emperor, and he is charmed by her, telling her that she will be treated with favour. Li arrives, followed by Dudley, who entertains the Emperor. The Preston family and consulate staff arrive. Poppy Preston, the Consul's daughter, explains Western marriage customs. San Toy assures Bobby that she is still his, and Yen How and his wives also arrive and are pleased to see that San Toy is receiving the amorous attentions of the Emperor. However, it is declared that the Emperor is astrologically ill-suited to San Toy but well-suited to one of the other girls, leaving San Toy free to marry Bobbie, Li to his old love Ko Fan and Yen How to be promoted to Viceroy. MUSICAL NUMBERS: We'll Keep the Feast in Pynka Pong - Opening Chorus The Mandarin - Quintette (Li, Wai Ho, Ah Wen, Yu Sam & Me Koui) & Chorus The Lady's Maid - Dudley A Posy From Over the Sea - Poppy Six Little Wives - Yen How & Wives The Petals of the Plum Tree - San Toy A.B.C. - San Toy & Bobby The Moon - Concerted Number Pynka Pong - Poppy, Dudley, Tucker and Li Love Has Come From Lotus Land - Bobby When You Are Wed To Me - San Toy and Fo Hop Samee Gamee - Dudley and Li
We Have Come Here Now - Finale Act I We're the Cream Of Courtly Creatures - Chorus of Mandarins Rhoda and her Pagoda - Dudley The Emperor's Own - Chorus & Entrance of Bodyguards By Our Majestic Monarch's Command - Sing Hi, Bobbie, Sir Bingo & Chorus The Whole Story - Poppy The Little China Maid - San Toy & Bobby We Have Come To See - Wives Pletty Little Chinee - Dudley & Li Back To London - Poppy, Dudley, Tucker, Li, Preston & English Ladies I Mean To Introduce It Into China - Yen How The One In The World - San Toy The Butterfly - Bobbie Chinee Soge-Man - Li Supplementary Numbers: t's Nice To Be A Boy Sometimes - San Toy Me Gettee Out Very Quick - Li A Little Bit Of Fun - San Toy Somebody - San Toy Scenes: Act 1 - A Street in Pynka Pong Act 2 - A Hall In the Emperor's Palace, Peking. CHARACTERS San Toy - Daughter of Yen How Captain Bobbie Preston - Son of Sir George Bingo Preston Yen How - A Mandarin Sir Bingo Preston - British Consul at Pynka Pong Sing Hi - President of the Board of Ceremonies Lieut. Harvey Tucker Fo Hop - A Chinese Student Fang - A Boatman Hu Pi & Wai Ho - Jewellers of Pynka Li Hi & Li Lo - Tartar Guards Old Mandarin - At Court of Peking Poppy - Daughter of Sir Bingo Dudley - Her Maid Chu - A Widow Wun Lung - Perpetual Corporal of the Emperor's Own Ko Fan - Of the Emperor's Own Yeng Shi, Me Koui, Siou, Shuey Pin Sing, Li Kiang & Hu Yu - Wives of Yen How Mrs Hartley Streeter Hon Mrs Hay Stackporle Miss Mary Lambkin Lady Pickleton
SARAFINA A Musical in 2 Acts. (Book) Written by Mbongeni Ngema. Music and lyrics by Mbongeni Ngema. Additional songs by Hugh Masekela. Musical arrangements by Mbongeni Ngema and Hugh Masekela. Cort Theatre, Broadway. Opened 28th January, 1988; closed 2nd July, 1989 after (597 performances.) SYNOPSIS Sarafina! takes place at Morris Isaacson High School in Soweto, where, in 1976, about 200,000 black students assembled to protest against government decree that imposed the "official" language of Afrikaans as the new medium of instruction in their classes, instead of their own language, Zulu. The police and army came to break up the crowd, and many children were injured or killed. The uprising marked the beginning of a period of violent unrest that continues even today. The students' focus has grown beyond the issue of Afrikaans to encompass every aspect of the black political struggle. Through story and song, Sarafina! follows the activities of a fictional classat today's Morris Isaacson and, in particular, one girl named Sarafina who inspires her classmates with her commitment to the struggle against the government. In the musical's explosive finale the students present a class play about the symbolic Day of Liberation they all dream of—when their hero, Nelson Mandela is released after more than 20 years in prison. STORY Act I begins as the students introduce themselves in song. One student named Colgate (known for his dazzling smile, "which is a killer for women") acts as narrator and explains that his school is popular because of its reputation for political activism. It was here at Morris Isaacson, in 1976, that student leaders like Tsietsi Mashinini and Khotso first organised protests against the government. Colgate also gives the who's who in his school today. There are a lot of "interesting characters", like Teaspoon, the school gossip; Stimela Sasezola, the school trendsetter, whose love for trains earned him the nickname "Express to Soweto", and their teacher, Mistress It's a Pity, so named because she uses that phrase at random, for any and all occasions. And then there is one girl, Sarafina, whom the whole school loves for a number of different reasons. The students' school day begins with a musical rendition of The Lord's Prayer. English class follows with a recitation of Wordsworth's poem "Westminster Bridge". When Sarafina asks, "Why do we have to learn about beautiful cities in England which have nothing to do with us?" Mistress responds, "It's a pity!" Next, algebra lessons and then, history class. As Sarafina explains, Mistress teaches them "the history that is not in the books," about the black leaders who have led the war of resistance. Sarafina herself leads the class in a chant: "Nelson Mandela is a hero. We know the government is shit." Time passes. Sarafina has been put in jail for stirring up trouble. At recess in the schoolyard, Stimela, Teaspoon and some others discuss what must be happening to Sarafina. Two months later, when she returns to school, Sarafina shows them the scars from when she was beaten in prison. Yet, as Colgate remarks, Sarafina has come back "with more commitment, stronger than ever," and she insists that classes go on as before. And they do, with a lesson on the oil producing countries. Mistress asks the students to name the countries: Angola, Nigeria, Venezuela, Algeria, Texas, Iraq, Saudi Arabia. When a student mentions Libya, a policeman who has been patrolling the school corridor enters the classroom, waving his rifle in front of the students. "What you say?" he asks. "Libya...that's where Khaddafi stays;' answer the students. "Communist! You teaching Communism?" the policeman spits at the teacher, slapping her to the ground. "How can you teach about Khaddafi in Soweto? Don't you know it's against the law?" he asks. "But she's teaching us about the oil-producing countries and Libya is one of them;' Sarafina argues. The policeman aims
to fire, and the students run away, throwing anything they can find at him. He begins shooting and some of the students fall dead in a heap. At the funeral for their dead classmates the students sing a dirge. A priest delivers a eulogy: "God has given...and the police, they have taken. What has happened to these children is not the unusual." Stimela leads the others in a protest chant. And as they lower the coffins into graves, the students cry out, "Afunani Amaphoyisa eSoweto" ("What are the police doing in Soweto?"): —and a declaration of their determination to make a change. After an exhuberant entr'acte by the band, Act II opens with an announcement that the students are organising a protest against the declaration of a State of Emergency Like their predecessors in 1976, these children are prepared to battle for their rights. At school the next day, Mistress asks the students what they want to present at the annual end-of-school-year show. They decide to do a musical production, which will end with a song about Nelson Mandela coming home from prison, meeting people on the Day of Liberation. Of course, all of the students want to play Mandela, but in the end Sarafina wins the part, as she has proven her commitment to the struggle against apartheid more than anyone else in the class. Sarafina tells them about her childhood idol, Victoria Mxenge, a black lawyer and activist. (Mxenge's story, like many of the stories in Sarafina!, is not fictional.) Sarafina tells how Mxenge won a court case for a black woman who had been raped by a white man. Normally, the white man might have been acquitted, but Mxenge cleverly won the case by pointing out that South Africa's Immorality Act prohibits a white man from making love to a black woman. Sarafina acts out the rape scene as the other students echo the voice of the white man who scornfully demands of the black woman, "Why do you turn me down, girl, when you are so emaciated that you're not worth looking at?" Mxenge's final case was a treason trial; one night, when she was returning from the courthouse, while her children watched helplessly from inside the house, she was murdered outside her home by four white men bearing axes, a bush knife and a gun. Remembering Mxenge's brutal death, Sarafina screams out in horror— "Mama, Mama, Mama...". The others try to console her Days later, some students gather on the street to gossip about the latest arrests. Policemen approach and chase the students, beating them with clubs and throwing them on a police van with other students who have been picked up for detention. In prison the children cry, "The black nation is being killed, the African nation is dying. Won't somebody please intercede on our behalf to stop this killing?" Colgate reflects that those days "went down bitter and sore in the presence of the army and the police, not only in our schoolyard but right inside our classrooms. Those were the days of anger, of panic and fear, the days when our brothers and sisters disappeared into the police cells. Others came back and others never came back." Finally, it is the end of the school year. At the school show, Mistress appears onstage to introduce her students' concert, but first she has a few words of her own. The next song addresses the issue that started all the student protests in 1976. They sing, "There is no subject in the world that is as impossible for a black child to learn as the language of Afrikaans. Not history, not biology, it's Afrikaans." The show ends with a celebration of the day the children all dream of, when their beloved leader is released from prison. Sarafina, playing the part of Mandela, delivers the speech that she imagines Mandela will give upon his release:"My people, today I am free. We were released from prison, because you never forgot us. You constantly demanded our release and carried on the struggle. We are here today not to revenge or destroy but to build the future ... where all of us, black and white, can come together and forget the past and work to liberate our land. We should remember that it is only when South Africa is free that all of Africa can be free!" Cheers and screams break out, and the students sing, stronger than ever, a reprise of Freedom Is Coming Tomorrow!