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WAIT A MINIM! A musical Revue. Original Songs by Jeremy Taylor. Fortune Theatre, London - 9 April, 1964 (656 perfs) Full details about this show can be found at PROGRAMME & MUSICAL NUMBERS: THIS IS THE LAND Ndinosara Nani (Karanga Folk Song, Southern Rhodesia) - Andrew, Nigel, Michel, Dana, Paul Hoe Ry Die Boere (Afrikaans Folk Song) - Nigel, Paul, Andrew This is Worth Fighting For - Sarah Subuhi Sana - (Swahili) Andrew Jikel' Emaweni (Xhosa Fighting Song, Transkei) - Dana DINGERE DINGALE Ajade Papa (Tamil Lullaby) - Michel Dingere Dingale (Tamil Song) - The Company Tuba Man - Kendrew OVER THE HILLS I Know Where I'm Going (Irish Folk Song) - Paul, Sarah, Andrew Over the Hills - April, Andrew I Gave My Love A Cherry (English Folk Song) - Paul, Dana, Michel, Nigel, Andrew BLACK-WHITE CALYPSO (Song by Jeremy Taylor) Nigel DIE MEISTERTRINKER Deutches Weinlied - The Company Gretl's Cow - April Eine kleine bombardonmusik - Nigel, Andrew, Paul, Kendrew Watschplattlanz - The Company JOHNNY SOLDIER (Irish-American) - Dana ARIA - Paul OUT OF FOCUS - The Company Snap Happy - April, Kendrew Hoshoryu (Japanese Folk Song) - Michel, Sarah The Gentle Art - Kendrew, Michel, Paul DIRTY OLD TOWN (Song by Ewan MacColl) Andrew, Paul, Dana, Nigel LAST SUMMER Andrew, Paul, Nigel, Kendrew

VIVE LA DIFFERENCE Lalirette - Paul, Andrew, Michel, Nigel Le roi a fait battre tambour - Michel, Nigel, Paul, Andrew Tour de France - Kendrew, April, Andrew, Paul, Michel A PIECE OF GROUND (Song by Jeremy Taylor) Nigel AYAMA Andrew, Paul, Michel NORTH OF THE 'POPO Professor Piercing - Paul The Chairman - Nigel Mgeniso waMgodo waShambini (Chopi Timbila) - Andrew, Paul, Nigel Kupura Kupika (Pounding Song, Nyasaland) - Sarah, Dana, April The Izicatulo Gumboot Dance - The Company INTERMISSION TUNES OF GLORY The Wee Cooper o'Fife (Doric Diddling) - Paul, Andrew, Nigel Red, Red Rose (Burns) - Paul HAMMER SONG (Song by Seeger-Hays) Andrew, Nigel, Michel, Paul LONDON TALKING BLUES (Song by Jeremy Taylor) - Nigel THE LOVE LIFE OF A GONDOLIER - Kendrew, Michel, April FOYO (Haitian Patois Lullaby) - Paul, Andrew, Nigel COOL (Andrew and Paul Tracey) - Dana, Paul, Nigel, Andrew ON GUARD - Kendrew, April SIR OSWALD SODDE Opening Knight - The Company Sir Oswald Sodde (Words and Music by Jeffrey Smith) - Andrew, Sarah, Nigel, Paul, Michel TABLE BAY (Cape Malay - arranged and adapted by Stanley Glasser & Adolf Wood) - Dana THIS IS SOUTH AFRICA Chuzi Mama Gwabi Gwabi (Marabi Dance Song) - Dana, Michel Celeste Aida - Michel Cingoma Cakabaruka (Timbuka/Henga, Nyasaland) - The Company Skalo-Zwi (Music by Stanley Glasser, words by Gwigwi Mrwebe, Pedi Pipe Dance specially arranged by Andrew Tracey) - Dana Samandoza-we! (Ndau, Southern Rhodesia) - The Company Amasalela (Baca Fighting Song, Transkei) - The Company

WALDO AND SONS Book and lyrics by Andrew McGregor Music by David Pickthall SYNOPSIS Waldo and his travelling troupe are to perform an old-time show to the delight of the people of Farnley-on-Sea. Unfortunately, Magnet, the local bully and night-club owner, does not share their enthusiasm, especially as his daughter, Penny, has joined Waldo's troupe. What follows is a battle between old and new forms of entertainment, with Penny and Waldo's sons, Tom and Jim caught in the crossfire. Eventually, Tom, who is frustrated by Waldo's old-fashioned outlook, decides to work for Magnet. However, the love between Jim and Penny saves the day and shows that a compromise can be reached. This is a lively and fast-paced musical with a host of memorable songs, colourful dances and a strong story-line. THE CAST: - M9 F5, plus extras Waldo: old-fashioned, nostalgic; middle-aged Betsy May: homely, kind; middle-aged. Norman Duckton-Friar: hook-nosed, aristocratic; middle-aged Bouncer: large, tough, 20s Jim: unsure of himself thoughtful; early 20s : Magnet: wideboy, greedy; middle-aged Sidney Gilbert: hook-nosed, pompous; middle-aged. Gabby: protective, loyal; 20s. Tom: ambitious, talented; 20s Penny: determined; early 20s. THE SETTINGS: Various interior and exterior settings ORCHESTRATION Reeds 1 and 2, Trumpets 1 and 2, Trombone, Timpani, Violins 1 and 2, Viola, Cello, Bass

WALKING HAPPY A Musical in 2 acts, 17 scenes: Book by Roger O. Hirson and Ketti Frings, based on the play Hobson's Choice by Harold Brighouse; Music by James Van Heusen, Lyrics by Sammy Cahn Lunt-Fontanne Theatre - 26 November, 1966 (161 perfs) THE STORY The curtain rises on Moonraker's, a pub in the thriving industrial town of Salford, England, in the middle of Lancashire. The men of Salford gather at Moonraker's, merchants as well as mill workers. One of those merchants is Henry Hobson, who runs the town's most successful boot shop. The widowed Hobson has three daughters, two of them - Alice and Vickie - ready for the altar. Hobson is perfectly willing for his oldest daughter Maggie to remain unmarried, because she runs his business so well. The friendly hubbub in Moonraker's is shattered with the arrival of George Beenstock, doyen of the local temperance league. He encourages the men to abstain, but Hobson turns Beenstock's plea into a celebration of the bottle. Ironically, Hobson's two younger daughters are in love with Beenstock's two sons, Albert and Freddie. Back at the shop, the young couples flirt until the sensible Maggie arrives and scares young Freddie Beenstock into buying a new pair of boots. After they leave, Hobson arrives and makes noises about getting Alice and Vickie married. He cruelly tells Maggie that her chances, more or less, have passed her by. When he leaves her alone, Maggie wonders why this has to be. One of the shop's leading customers, Mrs. Hepworth, enters the shop demanding to know who made the boots she recently bought. Up from the floor, through a trapdoor to the shop in the cellar, pops the head of Will Mossop. Instead of rebuking him, Mrs. Hepworth compliments his work and insists that, from now on, he make all her boots. Maggie instantly sees an answer to her lovesick question: with her mind and Will's gifted hands, how could a match between them fail? She summons him and informs him that he's her man. Reeling from this news, Will seeks out his partner in the workshop, Tubby Wadlow, and asks for some advice on how to go about courting Maggie. In the midst of a raucous evening at Moonraker's, Hobson is appalled to learn that his daughters want to marry Beenstock's sons. Someone reminds him that Beenstock owns the large local grain warehouse, and Hobson suddenly becomes a philosopher - principle, he says, must never stand in the way of profit. He makes a deal with Beenstock, who is pleased to learn that the shoe merchant is at least considering sobriety. Their children will marry. Will and Maggie talk about their relationship in a nearby park. Will doesn't understand how Maggie could marry him since he doesn't love her. There's also the matter of his engagement to a working-class featherbrain named Ada Figgins, whose mother is determined to see the marriage happen. When Maggie tries to force the issue, the Figginses and their neighbours force Will to participate in a traditional premarital dance. Maggie breaks up the ritual, though, and insists that Will must marry her. Back at the shop, Will tries to understand this whole crazy situation. Hobson is livid when he learns the terms of the dowry he's expected to provide for Alice and Vickie. The girls are terrified now and, as usual, seek advice and solace from Maggie. Will arrives, and Maggie insists that he inform Hobson of his intentions ... though Maggie, of course, will do most of the talking. The already angry merchant is enraged by Will's gall and begins to beat him. But Will stands up to him, shocking everyone by telling him that not only will he marry Maggie but they will open their own shop. When everyone leaves him and Maggie alone in the panic that follows, he passes out at her feet. As Act II begins, Will and Maggie have gone to Mrs. Hepworth's to ask for a loan to set up their business. Mrs. Hepworth is unsure about their plan until Maggie explains it. What seals it is Maggie's assurance that she'll put some fire into Will. They rent a little shop and prepare to go into business. Maggie still worries

about Will's lack of spirit; she even tries to put some spring in his step. Once he hangs out his own sign - Will Mossop Master Bootmaker - Will is walking happy. And so, it seems, is everyone else in town. Still, the feeling between Will and Maggie is odd, though they are elated over their first sale: a pair of shoelaces. Hobson, it would seem, hasn't changed a bit in Maggie's absence, except that he's spending more time at Moonraker's. A late-night fit of delirium tremens sends him tottering into the street, where he gets lost and fails into the corn chute of Beenstock's grain warehouse. When Hobson awakens in the corn chute, he is furious to learn that Beenstock is suing him for trespassing, and he vows to stop being such an easy touch. Alice and Vickie are doing their best, which isn't very good, to take Maggie's place at their father's boot shop. They are surprised when Will and Maggie turn up to invite the girls to their wedding. They accept and even kiss Will on the cheek. He's still a little unsure but resigned anyway to the inevitability of the wedding. At Will and Maggie's wedding in their new shop, Hobson makes an unexpected appearance. It isn't the wedding he's upset about, though, it's Beenstock's lawsuit. They hammer out a new, more reasonable agreement about the dowries for Alice and Vickie, and Hobson even agrees to wear the blue rosette of the temperance league. Most importantly, though, he asks Will and Maggie to come back to work for him. Will sees the wisdom in this move, reminding Maggie of her own earlier arguments. Hobson is so relieved that agrees to rename the business: Mossop and Hobson. After the wedding crowd has left, though, Will is too shy to take Maggie to bed. He's still unsure. But when Maggie makes it clear she'll leave him, he sees how much he needs her - that, in fact, he can't live without her. That is what she has been waiting to hear. And, as she takes his hand, he leads her to bed as the curtain falls. MUSICAL NUMBERS: Think of Something Else - Hobson, George, Townsmen Where Was I? - Maggie How D'ya Talk to a Girl? - Will, Tubby Clog and Grog (dance) - Townsmen If I Be Your Best Chance - Will A Joyful Thing (dance) - Will, Mrs Figgins, Ada Figgins, Townspeople What Makes It Happen? - Will Use Your Noggin - Maggie, Vickie, Alice You're Right, You're Right - Maggie I'll Make a Man of the Man - Maggie Walking Happy - Will, Maggie, Townspeople I Don't Think I'm in Love - Will, Maggie Such a Sociable Sort - Hobson, Friends It Might As Well Be Her - Will, Tubby People Who Are Nice - Hobson You're Right, You're Right (reprise) - Will, Maggie, Hobson I Don't Think I'm in Love (reprise) - Will SCENES AND SETTINGS The action takes place in Salford, an industrial town in Lancashire, England, in 1880. Act 1 Scene 1: The Moonrakers Pub. Night. Scene 2: Hobson's Bootery. Scene 3: The Cellar of the Bootery. Scene 4: The Moonrakers Pub. Scene 5: The Park. Scene 6: A Street in the poor section of Salford. Scene 7: An Alley lit by gaslight. Evening of the same day. Scene 8: The Bootery.

Act 2 Scene 1: Mrs. Hepworth's Sitting Room. Scene 2: A Cellar. Scene 3: Flat Iron Market. Scene 4: Will and Maggie's Cellar. Scene 5: Outside Moonrakers Pub. Three weeks later. Scene 6: Outside Beenstock's Corn Warehouse. Scene 7: Hobson's Bootery. Scene 8: Inside Beenstock's Corn Warehouse. Scene 9: The Mossop Bootery. CAST - (in order of appearance): Henry Horatio Hobson George Beenstock Minns Denton Tudsbury Heeler Maggie Hobson Alice Hobson Vickie Hobson Albert Beenstock Freddie Beenstock Mrs. Hepworth Footman Tubby Wadlow Will Mossop Ada Figgins Mrs. Figgins The Figgins Brothers Customer Handbill Boy Thief: Burt Bier. Policeman Beggar Townsmen

WALMARTOPIA A musical in 2 acts. Book, music and lyrics by Catherine Capellaro & Andrew Rohn. New York International Fringe Festival - 2006 Minetta Lane Theatre, Off-Broadway 3rd September, 2007. Closed 30th December, 2007 (10 previews, 136 performances) SYNOPSIS It's morning at Wal-Mart. Workers scurry around preparing for the morning meeting and cheer. We meet Vicki Latrell, a hardworking single mom who hopes to rise up the company ranks and make a better life for her daughter, Maia. Maia also works at Wal-Mart after school and weekends, but she’s involved in a union organising effort with janitor, Miguel Hernandez. Maia and Miguel are convinced that working at Wal-Mart is a dead end and argue that it’s time to unite and demand better treatment. Meanwhile, Wal-Mart executives are gathering for the morning meeting at headquarters. CEO, Scott “Scooter” Smiley, is reeling from the bad press Wal-Mart is getting concerning the environment, workers’ rights, and the world’s largest sex-discrimination lawsuit. He launches a new public relations campaign to demonstrate that the company values women. At the motel where Vicki lives with Maia, Vicki reassures Maia that Wal-Mart will promote her and that their life will get better. Smiley and Dr. Normal, Wal-Mart’s research director, meet to discuss a top-secret invention, a time portal, which they believe will give Wal-Mart the edge they need to dominate the world. At a meeting at Hooters with her manager, Tim Pearson, Vicki finds out that she has been passed over again in favour of an inexperienced male colleague. Disillusioned and angry, Vicki storms back to work. Pearson has asked her and Maia to sing at a corporate shareholders’ meeting as part of Smiley’s new campaign. Vicki decides to go to Bentonville to sing in hopes that she can tell her story to the board of directors. At corporate headquarters, Dr. Normal, director of research, reveals his invention. He has used the portal to transport the living head of Sam Walton, founder of Wal-Mart, into the present. Walton exhorts the board of directors to loosen up. Vicki and Maia are ushered in to meet the board for a photo op, and they anger Walton by complaining about working conditions. Vicki and Maia have now seen too much. Dr. Normal suggests throwing them through the portal into the future – the perfect solution. Vicki and Maia find themselves 30 years in the future. Bentonville, Arkansas has become the capital of the world, which is dominated by Wal-Mart. Vicki and Maia are seized and thrown into a holding cell. There they meet Zeb, an actor, who is in trouble for criticising Wal-Mart-controlled art. They are both granted a reprieve when Counsellor James comes looking to replace performers in Wal-Arts. Vicki and Maia undergo a conversion. Smiley, who has aged 30 years, still rules the Wal-Mart empire. He requests a meeting with Lawrence, the director of Wal-Mart. Smiley wants a worldwide telecast that will convince the public that it’s acceptable to invade Vermont, the only part of the world that has remained Wal-Mart free. Vicki, Maia and Zeb are cast in the broadcast as terrorists from Vermont. A patriotic anthem sung by WalMart soldiers reduces the terrorists to jelly. Vicki and Maia confront the director about the jingoism of the show, and he locks up Maia and threatens to send her to the front if anything goes awry. Vicki and Zeb witness a “public readjustment” led by Sam Walton, where a Vermonter is injected with desire

for Wal-Mart products. During Walton’s speech it becomes clear that Vermont, Zeb’s home, will be destroyed in Wal-Mart’s march to control the world. Zeb asks Vicki to help him subvert the performance. Vicki wrestles between her desire to speak out and her desire to keep Maia safe. During the performance, the “terrorists” enter and begin the show as planned. Then Zeb and Maia drop their weapons. The rest of the cast is confused but tries to carry on. Maia reveals her secret weapon: She has captured Sam Walton’s head and demands a chance to speak. Vicki begs people to see what Wal-Mart has done to the world and asks them to look inside themselves to see the power of creativity. One by one, the Wal-Mart leaders are taken down, and our heroes step into a future free from Wal-Mart’s domination. Musical Numbers Overture A New Age Has Begun - Workers American Dream - Maia and Miguel March of The Executives - Executives Baby Girl - Vicki with Maia The Future Is Ours - Smiley and Dr. Normal A Woman's Place - Pearson Flash Them Bootstraps - Walton Heave-Ho - Dr. Normal Walmartopia - Company Uncle Sam's Commercial American Dream (Reprise) One Stop Salvation - Vicki and Maia The Future Is Ours (Reprise) Socialist Paradise (Suck On This) - Vicki, Maia and Zeb These Bullets Are Freedom - Soldiers Consume/American Dream (Reprise) - Sam Walton What Kind of Mother? - Vicki Outside the Big Box - Vicki Band Playout

WALTER AND THE PIGEONS Music by Malcolm Archer: Book and lyrics by Tony Cottrell SYNOPSIS Walter, a hen-pecked, insignificant little man, is driven to the verge of despair when he discovers that his beloved pigeons have been set free from the pigeon coop by his nagging wife. At the very moment he is about to jump off the roof of his house he is interrupted by two plump pigeons, Crum and Plum .... an so begins his magical adventure into the world of birds - and a marauding cat! With lots of tuneful, catchy music and plenty of scope for imaginative staging and costumes, this delightful show is ideal for 9 - 14 year olds. CAST: 1 female; 4 male; many small male and female roles, chorus INSTRUMENTATION: Piano; optional percussion Printed editions: Vocal score with dialogue, Libretto

A WALTZ DREAM Music by Oscar Straus: Book and Lyrics by Felix Dörmann and Leopold Jacobson - after a short story by Hans Müller entitled Buch der Abenteuer:. Carltheater, Vienna - 2 March, 1907 Broadway Theatre (adapted by Joseph Herbert) 27 January, 1908 (111 perfs) Hicks Theatre, London (adapted by Adrian Ross and Basil Hood) - 28 March, 1908 SYNOPSIS More golden melodies from the pen of Oscar Straus, composer of the world-famous Chocolate Soldier. In the imaginary state of Rurislavenstein the heiress to the throne has disrupted court life by marrying a common Austrian guardsman, Niki. After many heart-searchings and near disaster, when she mistakes Niki's harmless meeting with Franzi (the leader of an Austrian girls' orchestra) for infidelity, the Princess learns to love her hastily-chosen husband and the inevitable happy ending ensues. PRINCIPALS: - 7 female, 5 male Joachim XIII, Prince of Flausenthurm Princess Helene, his daughter Count Lothar, cousin of the Prince Lieutenant Niki Lieutenant Montschi Friederike von Insterburg, chief lady-in-waiting Wendolin, major-domo Sigismund, a valet Franzi Steingruber, conductor of a ladies' orchestra Tschinellenfifi, a member of the ladies' orchestra Annerl, a violinist in the ladies' orchestra Members of the princely household, servants, Austrian officers, members of the ladies' orchestra INSTRUMENTATION: flute, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, 2 trombones, percussion, harp, strings SCENES AND SETTINGS Act I - Festival Hall in Prince Joachim's Castle in Flausenthurn Act II - A Garden Restaurant near the Castle Act III - Throne Room in the Castle MUSICAL NUMBERS: - Original score OVERTURE 1. CHORUS and SCENE - (We're waiting for the bell) 2. SONG (Frederica), Wendolin, Sigismund, with CHORUS - "The Gay Hussar" … (A girl was in Vienna

town) 3. SCENE, MARCH and CHORUS ... " Oh, happiness stupendous " ... (The Court's at hand! Stand back!) 4. SONG (Niki) …. " I don't care " … (Your speeches have been very long) 4A. EXIT 5. DUET (Helene and Frederica) ... "A love of my own" … (The wedding day is ended) 6. TRIO (Frederica, Niki, and Lothar)... "Our unlucky dynasty " ... (Oh! this is awful) ... 7. WALTZ DUET (Niki and Montschzi) ... "The Waltz Dream " … (I walked in the blossoming garden) 8. FINALE … (You are alone, I'm glad that it is so) 9. MARCH CHORUS … (Silly girl, don't cry!) 10. SONG (Franzi) and CHORUS… "That's the life for me" ... (Marching maidens, on we go) ... 11. DUET (Franzi and Niki) … "My dear little maiden " .. (Come hither, my dear little maiden) 12. MARCH SCENE (Fifi, Hana, Joachim, Lothar and Girls) … "The Ladies' Band" … (If you'd name us, we are famous)... 13. TRIO (Franzi, Helene, and Frederica) " Temperament " … (Will you tell me what I have wondered?) 14. DUET (Franzi and Lothar) … " Piccolo! Piccolo! " … (A Violin who'd lost her Beau) ... 15. FINALE (This is fearful! What's to do?)... 16. CHORUS and SCENE … "Hush it up! … (Have you heard about the scandal?) 17. TRIO (Niki, Lothar, and Joachim) ... " Will she come or not?" … (Oh, I wish them at the devil?) ...Z 18. DUET (Franzi and Frederica) ... "Baroness and Vagabond" … (I am from gay Vienna) 19. FINALE … (Out in the night) ... ADDENDA. CHORUS and SOLO (Wendolin) ... "A Cabinet Council" … (Haven't you heard?) SCENE and Solo (Helene) … "Her Highness is at hand" ... (Her Highness is at hand)... SONG (Franzi) … "Princess Helene" … (When your husband left you lonely) SONG (Lothar) and CHoRus... "Boss of the Show" … (As Heir Apparent I have been remarked on) BROADWAY VERSION Come Join In the Waltz * The Family's Ancient Tree Hail, We Hope It's Male * A Husband's Love I Love and the World Is Mine I'd Much Rather Stay Home A Lesson In Love Life Is Love and Laughter Love Cannot Be Bought Love's Thoughts Oh, Joy, Let Our Song of Gladness Be Heard on Every Side Piccolo A Soldier Stole Her Heart Sweetest Maid of All The Trumpets Blare Two Is Plenty Vienna When the Song Of Love Is Heard * added for the 1938 Revival Revised adaptation by Michael Flanders, Edmund Tracey, Bernard Dunn and Ronald Hanmer for amateur performance

WALTZ TIME Music by Hans May: Lyrics by Alan Stranks: Book by Harry C. James. Revised and rewritten by Conrad Carter SYNOPSIS A pseudo Viennese operetta about Austrian Archduke Franz Josef and his Empress Maria Theresa. There is a great deal of "the masked ball" and a naughty new dance called The Waltz. Light and frothy the score and story was aimed firmly at the amateur market which cried out for such light-weight material but needing large choruses. Of the film version Halliwell's Guide gives the following guide: "At a Viennese ball an Empress poses as her masked friend to win a philandering count." "A rather plodding operetta which also has an unattributed allegiance to Die Fledermaus" CHARACTERS - (in order of appearance) Count Prohaska - Chief Councellor of State Cenci - His daughter Count von Hofen - The Minister of Foreign Affairs 1st, 2nd, 3rd, 4th Councellors - Four old men of the council Trudi - A Lady in Waiting Baron Ferdinand von Hohenloe - Prohtaska's Political Protégé The Archduke Franz - The Empress's Consort Maria Theresa - Empress of Austria Stefan von Arnheim - A Lieutenant of the Royal Dragoons Vogel - Host and Proprietor of the "Golden Lantern" Anton - Innkeeper in a Mountain Village Ladies and Gentlemen of the Court, Ladies in Waiting, Maids, Flunkeys, Royal Dragoons, Guests, Dancers at the "Golden Lantern", Villagers MUSICAL NUMBERS: Act 1 You Will Return to Vienna - Singer & full chorus The Minuet - Cenci, Prohaska and full chorus Love Is the Key - Franz Time Will Tell - Franz and girl's chorus Why? - Maria and girl's chorus Only To You - Maria and Franz L.O.V.E. Spells Love - Cenci and Stefan Call To Arms - Maria, Stefan and full chorus Act 2 Wonderful Wine - Franz and full chorus Foolish Little Maiden - Cenci Waltz Time In Vienna - Dance

The Heavenly Waltz - Maria, Franz and chorus I Can't Live Without You - Cenci, Stefan, Ferdinand Act 3 Break Of Day - Franz Little White Horse Polka - Ferdinand and chorus Land Of Mine - Maria, Stefan and male chorus SCENES AND SETTINSG: Act 1 - A state apartment in the Hofburg Palace in Vienna. Spring Morning Act 2 - The "Golden Lantern", Vienna's gayest rendezvous. The same night. Act 3 - Outside the inn in the mountains. The following morning

WALTZ WITHOUT END Music by Frédérich Chopin adapted by Bernard Grün: Lyrics by Eric Maschwitz Cambridge Theatre 1942 (181 perfs) SYNOPSIS The show features the life and music of Chopin. Although the show ran for a respectable number of performances it was not universally accepted by the critics . Wanda Woicinski, the young Polish noblewoman of the story, did in fact exist, and the figure of Pleyel, the publisher, is, of course, historical. On the other hand, Chopin, though educated at the Lyceum of Music in Warsaw, was never a teacher there, nor was he ever poor enough to have had to eke out a living by giving private music lessons. James Agate in the Sunday Times said of the show: To alter a composer's rhythms, key and tempi is to murder that composer. To make voices sing words that are the acme of tawdry nonsense is to destroy an exquisite reputation. THE STORY The story opens in Warsaw, when the Conservatoire students are in boisterous end-of-term mood and Zoshia, the young and pretty cleaner, is seen to be an understanding champion of Chopin, a junior professor whose compositions have a habit of coming back from the publishers. When the Countess Wanda Woicinski arrives as a prospective pupil she hears that Chopin, her intended tutor, has been calling her a feather-headed dilettante. Haughty and fiery at the best of times, she reacts with pardonable annoyance, and it is undoubtedly fortunate that on her first meeting with Chopin she mistakes his identity. Intrigued, amused, and not unaware of her charms, Chopin becomes known to her as Joseph Fredericks and promises to give her music lessons at her country castle. At the end of Act I Chopin loses his job at the Conservatoire, but in Act II he has plenty on hand, for Wanda is a most refractory pupil and has to be bullied into taking a lesson. Firmness, however, is the right approach, and under the spell of music romance is added to technical progress. In the meantime Wanda’s father, Prince Anton, an important but impassioned old play-boy, constantly embarrassed by Pinkus, a debt collector, gives every encouragement to a rival suitor for Wanda – his old and affluent friend Vladimir Stokovski. Pinkus, comes with a writ, has agreed to assume a false name while staying at the castle. Zoshia, also in borrowed plumes, is another unwelcome guest of the helpless Prince, and it is she who, in a moment of jealousy at Wanda’s birthday party, reveals the true identity of the music teacher. Scandalised, Wanda will hear no explanation: she takes the arm of Vladimir. Closing scenes are in the Post Hotel, Warsaw (where Pinkus is landlord), on the eve of a great wedding. Repentant of her outburst, Zoshia would gladly restore the romance she has broken. She is near to success, and Wanda’s intended marriage to Vladimir hangs in the balance. But the last word of advice is with a stranger – the great publisher who has rushed from Paris to find Chopin and make him famous. He foretells that the young genius will travel further than any woman can follow him. It is Wanda who makes the decision. . . to keep our dream unbroken; our midsummer night’s dream, and the waltz that will go on for ever in our hearts.

MUSICAL NUMBERS ACT I • Vocal Exercise, Land We Love - Students • Let the World go round to Music - Zoshia and Chorus • Farewell Yesterday - Vronski and Vladimir • Sonato of Spring - Chopin, Chorus • Two Acres and a Cow - Dancers • A Student Serenade - Zoshia and Pinkus • Dream a Dream - Vronski, Vladimir, Prince and Men • One Day Maybe - Zoshia and Chopin • Finale - Wanda and Girls ACT II • Opening Chorus, Gallop Along • Love like a Rose - Alycia • Vodka - Prince, Pinkus and Men • The Music Lesson - Wanda and Chopin • Opening Scene and Send me a Lancer - Girls • Lady of the Moon - Wanda, Chopin • Grand Mazurka - Chorus • The Village Band - Guests, Zoshia, Prince, Pinkus and Chorus • Waltz Without End - Wanda, Chopin, Chorus and Dancers • Reprise, Love like a Rose - Wanda and Chorus ACT III • Opening Chorus, Give me a Glass of Wine - • Fools follow a Rainbow - Chopin and Chorus • Gloria in Excelsis - Chorus • The Candle Light Ballet - Dancers • Reprise, Lady of the Moon and Dream a Dream - Wanda and Chopin • Finale and Finale Ultimo - The Company SCENES AND SETTINGS Act I • The Conservatoire of Music in Warsaw. Act II • Scene 1.Salon in the Woicinski Castle - (some weeks later). • Scene 2. - The Castle Park. • Scene 3. - as Scene 1. Act III • Scene 1. The Post Hotel in Warsaw - (Afternoon) • Scene 2. as Scene 1 (Late that night).

CAST • Markov (A professor of Music) • Zoshia (Cleaner at the Conservatoire) • Postman • Vladimir Stokovski (A Diamond Merchant) • Vronski (Head of the Conservatoire) • Maria – (Ballet Student) • Katrinka - (Ballet Student) • Tania - (Ballet Student) • Frederic Chopin (A Junior Music Teacher) • Pinkus (A Debt Collector) • Prince Anton Woicinski • Countess Wanda (Woicinski’s Daughter) • Lisa - (Wanda’s Friend) • Paula (Wanda’s Friend) • Lydia (Wanda’s Friend) • Sonia (Wanda’s Friend) • Countess Alycia • Ignaz (A Piano Tuner) • The Stranger • Students, Dancers, Guests at the Castle, Hotel Servants, Travellers, Etc

WALTZES FROM VIENNA Music by Johann Strauss (Father & Son): Selected and arranged by Erich Wolfgang Korngold and Julius Bittner. Book and lyrics by A.M. Willner, Heinz Reichert and Ernst Marischka. Stadttheater, Vienna - 30 October, 1930. Alhambra Theatre, London (adaptation by Desmond Carter, Caswel Garth, G.H. Clutsam and Hubert Griffiths) - 17 August, 1931 Center Theatre, New York (adaptation by Moss Hart, Frank Tours and Robert Russell Bennet - as The Great Waltz) - 22 September, 1934 SYNOPSIS This story of the tension between Strauss the elder and Strauss the younger, engendered by the son's ambitions to succeed his father as the Waltz King of Vienna, is delightfully woven around a score which is a collection of some of the greatest light music ever composed. It tells of the star-crossed romance between young Johann and the attractive daughter of an engagingly-eccentric pastry-cook, and involves a helpfullyintriguing Countess and other endearing characters. Climaxed of course by the immortal "Blue Danube", this is a feast of the music that set the whole world dancing and 'did more good for humanity than a hundred thousand doctors'. PRINCIPALS: - 3 female, 8 male (3 non-singing) Johann Strauss I Johann Strauss II ('Schani') Hieronymus Ebeseder, a confectioner Therese, his daughter Kathi Pollinger, his sister Franzi, Tini and Mali Pollinger, her daughters Ferdinand Wessely, a master tailor Leopold Wessely, his son Countess Olga Barranskaja Prince Sascha Gogol, an embassy official Captain von Hohenau Lieutenant Sternau Gottfried Amadaus Drechsler, leader of the orchestra of Johann Strauss I Dr Sebastian Brandl, critic of Bäuerles Theaterzeitung Karl Friedrich Hirsch, known as 'Lampel Hirsch' Florian Dommayer, a landlord Stefan Kreider, a cashier at Dommayer's Cyrill, the Countess's footman Georg Homolka, a sergeant Fanny Wiesinger Frau Kratochwill, landlady of an apartment block Pepi, Ebeseder's apprentice A student, a stagecoachman, a gentleman, a guest, members of the public INSTRUMENTATION: flute, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, 2 trombones, percussion, harp, strings

The following details are from the adaptation by Phil Park and Ronald Hanmer for amateur performance CAST • COUNTESS OLGA BARANSKAYA — high-society cosmopolitan; wealthy and influential high-society lady of foreign extraction but living in Vienna; High Soprano. • LINA EBESEDER — Ebeseder's daughter; young and charming, if somewhat vaccilating; Soprano. • MITZI — maid-of-all-work: comedienne; Soubrette. • JOHANN STRAUSS — the Waltz-King of Vienna, and composer of the immortal " Blue Danube ": young, personable, and talented; High Baritone. • JOHANN STRAUSS — his father: middle-aged; a strong personality of charm and dignity, but egotistical and domineering; Non-singing. • EBESEDER — celebrated pastry-cook: a likeable "character"; pleasantly eccentric; good-natured; Comedian-baritone. • LEOPOLD — young; earnest but agreeable; Baritone. • VOGL — Court Tailor: an amusing " old crony " type; comedian-baritone. • CAPTAIN VASSILI VRONSKI — of the Embassy Staff: burly; ridiculously self-important and domineering; the Countess's • devoted escort and a would-be charmer; Baritone. • DREXLER — leader of Strauss's orchestra; gentle—unassuming musician-type; Non-singing. • DOMMAYER — garden-restaurant proprietor: fussy restauranteur; Non-singing. • Ladies and Gentlemen of Vienna, Guests, etc. THE ORCHESTRA In this new version of Waltzes from Vienna, the orchestration has been carefully arranged to meet the requirements of modest or large orchestras. The minimum combination for an effective performance is: Flute; 1st B flat Clarinet; 1st and 2nd Trumpets; 1st Trombone; Percussion and Strings. Thereafter, instruments should be added in the following order: 2nd B flat Clarinet; Oboe; 2nd Trombone; Bassoon; 1st and 2nd Horns and lastly, Harp. The work is liberally cued. In the absence of the Oboe, the 1st Trumpet should play these cues MUTED. Oboe cues are doubled in Flute and Clarinet where practicable, and Horn and Bassoon cues appear in Cello, Trombone and Trumpet parts. It is emphasized that a complete string section should be used, but Clarinet parts contain many essential cues to be played in absence of a Viola. The string parts are bowed where necessary, and the 1st Violin has all important melody cues throughout. The vocal score carries instrumentation marks for the musical director's assistance. Musical Numbers ACT I OVERTURE 1. OPENING (Mitzi, Ebeseder and Chorus) - "Under smiling morning sun" 2. SONG (Johann and Chorus) - Ladies of Vienna - "When ladies are so fascinating" 3. DUET (Lina and Leopold) - Wait and See - "This is so sudden" 4. DUET (Lina, Johann and Chorus) - Love is a Waltz - "Just a simple melody" 5. QUARTET (Vronski, Ebeseder, Vogl and Leopold) - Is it Worth It? - "I am not the least conceited" 6. DUET (Olga and Johann) - Out of the Blue - "Please believe, with me for a friend" 7. FINALE ACT I (Lina, Johann, Strauss, Ebeseder and Chorus) - "We'd like to say with all due deference" ACT II

ENTR'ACTE 8. OPENING (Orchestra) 9. SONG SCENA (Chorus) - City of Song - "Any time of the day" 10. DUET (Olga, Mitzi and Girls) - You're in Love - "Don't let your heart lead you astray" 11. DUET (Lina and Johann) - Once in a Lifetime - "For forgiveness I appeal" 12. DUET (Leopold, Ebeseder and Chorus) - Wine, Women and Song - "We don't look for troubles" 13. DUET (Olga and Johann) - Friend-in-Need - "My word I'll gladly give" 14. WALTZ MusIC (Orchestral recording) 15. FINALE ACT II (Ensemble)- "Sing now with me" ACT III ENTR'ACTE 16. OPENING ACT III (Vronski and Chorus) - "Tonight's a night we'll long recall" 17. BALLET - Waltzes From Vienna (Ensemble) 18. REPRISE (Linda) - Once in a Lifetime - "Once in a lifetime love finds you" 19. SONG (Mitzi) - High-born Lady - "What a simply marvellous feeling" 20. REPRISE (Olga and Johann) - Out of the Blue - "If you've a dream you love" 21. FINALE ACT III (Full Company) - The Blue Danube - "Danube so blue, sweet memories of you" 22. PLAY-OUT

WATCH YOUR STEP Music and Lyrics: Irving Berlin. Book: Harry B. Smith and Harry Grattan, based on the play Round the Clock by Augustin Daly. Musical Director: Jacques Heuvel Empire Theatre, London - 4 May, 1915 (275 perfs) The Cast included: Billie Carleton, Joseph Coyne, George Graves, Lupino Lane, Ethel Levey, Dorothy Minto, Blanche Tomlin Scenes, Settings and Musical Numbers ACT I. NEW YORK - Lobby of the Metropolitan Opera House CAST • A Swell • Iona Ford • Clarence de Vere • Ernesta Hardacre • An Opera Goer • Mrs. Knickerbocker • Stella Sparkes • Joseph Lilyburn • Reginald Armstrong • Ebenezer Hardacre • Programme Boy • Willie Wilbur • Mrs. Smart • Attendant MUSICAL NUMBERS • Metropolitan Nights - Opening Chorus • I Love to Have the Boys Around Me - Iona Ford & Chorus • What is Love - Ernesta Hardacre and Chorus • Discoveries - Stella Sparkes & Joseph Lilyburn • Dance Scena - Joseph Lilyburn and Chorus • Let’s Settle Down in a One-Horse Town – Stella Sparkes Scene 2 Metropolitan Opera House • Joseph Lilyburn • Stella Sparkes • Ebenezer Hardacre • Ernesta Hardacre • Mrs. Knickerbocker • Mrs. Smart • Manager • Willie Wilbur • Taglioni • Aida • The Ghost of Verdi MUSICAL NUMBERS • Simple Melody Stella Sparkes, Ernesta Hardacre and Chorus • Ballet Les Sylphides - and Corps de Ballet • Operatic Finale - Full Company

ACT II - LONDON Scene 1 - The Office of Flint & Steele CAST • Willie Steele • Silas Flint • Clarence de Vere (Office Boy) • Iona Ford (Typist) • Stella Species (Society Dancing Teacher) • Ernesta Hardacre • Joseph Lilyburn • A Policeman • Ebenezer Hardacre MUSICAL NUMBERS • Office Hours - Opening Chorus • Lead me to Love - Ernesta Hardacre, Clarence de Vere and Chorus • The Dancing Teacher - Joseph Lilyburn and Chorus • The Minstrel Parade – Stella Sparkes land Chorus. • Let’s Go Around the Town - Willie Steele, Silas Flint, Clarence de Vere, Iona Ford, Ernesta Hardacre, Joseph Lilyburn, Ebenezer Hardacre and Chorus Scene 2 - A Street CAST • A Policeman • Mr. and Mrs. Nibs • Ebenezer Hardacre • Silas Flint • Anna Marshall, the Laundress • Ernesta Hardacre • Iona Ford • Joseph Lilyburn MUSICAL NUMBER. • They Always Follow Me Round - Joseph Lilyburn and Chorus Scene 3 - The Palais de Fox Trot CAST • Stella Sparkes • Joseph Lilyburn • Clarance de Vere • A Secretary • Silas Flint • Willie Steele • Ernesta • Ebenezer Harciacre MUSICAL NUMBERS. • Show Me how to do the Fox Trot – Stella Sparkes, Joseph Lilyburn and Chorus • Dance – Clarence de Vere • The Dancing Lesson Ebenezer Hardacre and Stella Sparkes • The Syncopated Walk - Mr. and Mrs. Nibs, Ebenezer Hardacre, Silas Flint, Anna Marshall, Ernesta Hardacre, Iona Ford, Joseph Lilyburn & Chorus

THE WATER BABIES A play by Willis Hall with songs by John Cooper Based on the story by Charles Kingsley Royalty Theatre - 25 July (62 perfs) SYNOPSIS Charles Kingsley's well-loved story of the Water Babies is enchantingly brought to life in this adaptation by Willis Hall. The tale of young Tom, apprentice to the unpleasant chimney-sweep Mr Grimes, and his underwater journey to the End-Of-Nowhere is interspersed with delightful songs by John Cooper. In the original professional touring production, puppets were used to represent the Water Babies and underwater creatures, but small children could be used to play these parts in, for example, schools' productions. Again, in the touring production, several of the roles were doubled as the cast was limited to nine actors and actresses, but of course, each role can be filled individually if numbers permit. THE CAST:- 19 characters (can be played by M3 F6). Extras Thomas Grimes: chimney-sweep. Potman. Tom: chimney-sweep's apprentice. Irishwoman. Gamekeeper. Sir John Hartover. Housemaid. Ellie Harthover: Sir John's daughter Nurse. Gardener. Old Woman. Male Water-Otter. Female Water-Otter. Lobster. Doctor. Mrs Bedonebyasyoudid. Mrs Doasyotiwouldbedoneby 1st and 2nd Prison Warders; Water Babies; Fishes; Villagers. THE SCENES Various simple interior and exterior settings NB: There are no orchestral parts available

THE WATER GIPSIES A play with music in 2 acts by A. P. Herbert. Music by Vivian Ellis. Directed by: Charles Hickman; Musical director: Jack Coles; Choreography: Narice Allen; Scenery: Berkeley Sutcliffe; Costumes: Eileen Idare & c. Theatre Royal, Nottingham - 2 August, 1955 - toured through Manchester, Birmingham. Winter Garden Theatre, London - Opened 31 August, 1955; closed 24 March, 1956. (239 perfs) SYNOPSIS The story concerns the daughters of Albert Bell, an out-of-work Music Hall pit orchestra trumpeter in love with Mrs Higgins, licensee of the local pub. Daughter number one, Lily, who incidentally loathes her name, is a good-natured good-time girl with no real faith in the opposite sex at all; a fact that she demonstrates in her account of her evening out with her flashy boyfriend, Bunny, her duets with him and her final summing up. However, the main interest is the second daughter, Jane. She has three suitors, Mrs Higgins son Ernest, a priggish radical, George Bryan, a posh artist who has come to work in the rural riverside of Hammersmith, and a young illiterate bargee, Fred, who has the soul of a poet and can rhapsodise about life on the canal in the traditional ornamental boats, the pride of bargee life, towed, of course, by the old grey mare. Before Jane, who is essentially an unsophisticated dreamer can end up in honest Fred's arms, she has to dispose of the truculent and possessive Ernest and her own infatuation with artist Bryan. In fact, it is Bryan's final realisation of her innocence that makes him refuse to take advantage of her and send her back to the trusting Fred. ORIGINAL CAST • Albert Bell - Jerry Verno • Mrs Higgins - Doris Hare • Mrs Fox/Ruth Walker/Girl in telephone box - Prudence Hyman • Mr Fox/Waiter - Ian Frazer • Mr Ponder - Bobby Webber • Mr Pewter - William Clothier • Mrs Pewter - Phyllis Bridgwater • Daisy Fig - Vivienne Martin • Mrs Fig/Shepherdess - Joyce Endean • Mr Fig - Griffith Lewis/Alan Martell • Sailor - John Deighton • Soldier - John Delaney • Potman - Tom Swift • Jane Bell - Pamela Charles • Mr Bryan - Peter Graves • Ernest Higgins - Wallas Eaton • Mervyn Swallow/Mr Oliver - Michael Anthony • Fay Meadows - Georgina Cookson/Joan Pethers • Greta Clare - Hazel Jennings • Michael Dew - David Rees • Lily Bell - Dora Bryan (Vivienne Martin) • Mr Mountain/Romeo - James Perry • Fred Green - Laurie Payne • Miss Mary Austin - Molly Greenwood • Miss Katie Austin - Patricia Martin • Bunny Moss - Roy Godfrey • Mr Green - Ernest Butcher • Mrs Green - Margo Cunningham • Mr Walker - George James • Norman - Norman Hackforth • Betty - June Clare • Gladys - Maureen Shelley • Maisie - Marie Livann • Aileen - Joan Pethers • Nitty - Alan Martell/Griffith Lewis • Floor Waiter - Richard Ryan

MUSICAL NUMBERS • Why Did You Call Me Lily - Lily • Clip Clop - Fred • I Should Worry - Bunny & Lily • When I'm Washing Up - Jane • Jane's Prayer - Jane • Lily's Tale - Lily • He Doesn't Care - Jane & Mr Bryan • Castles and Hearts and Roses - Fred • Peace and Quiet - Mr Green • The Little Boat - Jane • Why Should Spring Have All The Flowerrs? - Mrs Higgins & Albert Bell • This Is Our Secret - Mr Bryan & Jane • It Would Cramp My Style - Lily & Bunny • You Never Know With Men - Lily DISCOGRAPHY: World Records SH 228 Must Close Saturday Records - MCSR 3033

WE WILL ROCK YOU A musical with songs by QUEEN, script by BEN ELTON Presented by Phil McIntyre, Queen Theatrical Productions and Tribeca Theatrical Productions, in association with EMI, Paul Roberts, Michael Watt and Michael Coppel Dominion Theatre, London - 14 May, 2002 SYNOPSIS Set in the year 2300, live music has been banned from the Planet Mall. Everyone wears the same clothes, thinks the same thoughts and goes about in a brain-dead gag-ga haze. A bunch of Bohemians are looking for the 'Rhapsody' in the rocky rubble of Tottenham Court Tube Station. With the help of Pop, an ancient hippie librarian, who is researching secret history through old copies of NME (New Musical Express), two soul rebels, Galileo and Scaramouche, find Rock's Holy Grail, Brian May's guitar buried in the remains of Embley Stadium. THE STORY Act One Three hundred years from today. Globalsoft runs the world, and musical instruments are outlawed. Pop, a librarian, is discovered by the secret police reading the Secret Histories. He tells Khashoggi, the head of the police, about a prophecy he has read, "that salvation is to be found there, at the place of the champions, and that a bright, bright star will show the way". Khashoggi has him taken away. School is ending for the year. Everyone is celebrating, except for one young man who calls himself Galileo Figaro. He hates the constraints placed on him by Globalsoft, and wants to make his own music. His teacher reports his subversive thoughts to Khashoggi, and also tells him of another graduate who is displaying too much individuality, Scaramouche, who at the moment is busy fighting with the GaGa girls. Both students are arrested. The head of Globalsoft makes an impressive entrance. Khashoggi reports on his work to break the resistance, and the prophecy that Pop had mentioned. The Killer Queen instructs him to do whatever is necessary to find the instruments that may still be hidden. She also sets out to distract all citizens who may be attracted to the rebels. Galileo is questioned by Khashoggi. He reveals that he hears strange phrases in his head, but doesn't know where they come from or what they mean. He and Scaramouche both wake to find themselves on gurneys. They start to talk and realise they have quite a bit in common. They take off together. The Killer Queen and Khashoggi blow up Stonehenge looking for the elusive instruments. They both look forward to a time when all resistance is ended. We Will Rock You Elsewhere, members of the bohemian resistance are gathering materials to try to create their own instruments. They've gone underground, sacrificed everything, to try to rediscover the music that used to exist. Galileo and Scaramouche arrive, while the bohemians hide themselves. Galileo tells Scaramouche more about his dreams and the phrases he hears in his head. The bohemians recognise the words and think they must be spies, but Galileo manages to convince them that he's sincere. The bohemians take them back to their hide-out. The group arrives at the "Heartbreak Hotel". There, Galileo and Scaramouche are introduced to the rest of the Bohemian resistance. They have been waiting for a "dreamer", someone to lead them, and they think Galileo may be the one. Galileo's not sure though - he doesn't even know what rock 'n' roll is. Neither do the Bohemians, though they try to demonstrate. Khashoggi arrives. He had implanted surveillance devices on Galileo and Scaramouche, and followed them to the hide-out. A huge fight follows, and most of the bohemians are arrested, but Galileo and Scaramouch are able to escape.

Act Two The other citizens go mindlessly about their lives, unaware of the struggle taking place. Galileo and Scaramouche find the tracking devices on their bodies, and Scaramouche is able to reverse them. They realise that, despite their current freedom, they will almost certainly be captured and killed in the end, and this prompts them to declare their love for each other. The Bohemians are interrogated by Khashoggi. He isn't able to get much useful information from them, but orders that their minds be erased. Galileo wakes up from a dream, where he envisioned what was happening to the Bohemians. Scaramouche already knows what's happened - she has been spying on Khashoggi with the reversed surveillance bugs. They both decide to try to save their friends by going to the Seven Seas of Rhye, but argue about how to do it, and end up barely speaking. Khashoggi takes this good news of the Bohemians' capture to the Killer Queen, who begins to celebrate, until he informs her that Galileo and Scaramouche are still on the loose. She threatens him with what will happen to him if they're not stopped. Galileo and Scaramouche are making their way to the Bohemians, still fighting all the way. Meanwhile, Pop is playing bartender to the empty-headed Bohemians, as he reminisces that These Are the Days of Our Lives. Galileo and Scaramouche enter and are thrilled to see their friends, but no one recognises them. Pop's memory wasn't completely erased though, and he shares with them what he remembers of the Sacred Histories. He sets off with Galileo and Scaramouche in search of the place of champions. The trio arrive at Wembley Stadium, but there are no instruments in sight. Galileo decides to try it a capella, and before long, a guitar is found, and they begin to rock full-out. Pop broadcasts their song to the world, and the bohemians show up, as does the Killer Queen. But her reign is over. The Bohemians finally have their Rhapsody. MUSICAL NUMBERS Innuendo - Radio Ga Ga Ga Ga Kids I Want To Break Free - Galileo, Scaramouche Somebody To Love - Scaramouche and Teen Queens Killer Queen - Killer Queen and Yuppies Play The Game - Killer Queen and Yuppies Under Pressure - Scaramouche and Galileo A Kind Of Magic - Killer Queen, Khashoggi and Yuppies I Want It All - Britney, Meat and Youth Headlong - Britney, Meat, Galileo, Scaramouche and Bohemians No-One But You - Meat and Bohemians Crazy Little Thing Called Love - Britney, Meat, Galileo, Scaramouche and Bohemians One Vision - Ga Ga Kids Who Wants To Live Forever - Scaramouche and Galileo Seven Seas Of Rhye - Khashoggi and Police Don't Stop Me Now - Killer Queen Another One Bites The Dust - Killer Queen These Are The Days Of Our Lives - Pop and Bar Patrons Headlong (reprise) - Galileo, Scaramouche and Pop We Will Rock You - Galileo and Bohemians We Are The Champions - Galileo and Bohemians Finale - Company DISCOGRAPHY: Original London Cast - Live Performance - Parlophone 7243 5 84938 2 5

WEDDING IN PARIS A romantic musical play in 2 acts; Music by Hans May; lyrics by Sonny Miller; Book by Vera Caspary Opened London Hippodrome 3 April, 1954 (411 perfs). Starring Anton Walbrook as Jacques Devallée and Evelyn Laye as Marcelle Thibault Synopsis Little Angy from Saskatchewan makes her way across the Atlantic towards a Paris wedding with her childhood sweetheart. On the way she meets divorcée Marcelle Thibault, the dashing businessman Jacques Devallée and an impudent, but attractive, newspaper reporter called Paul. She finds out a good deal of life that she didn't learn in Saskatchewan. In Paris the wedding takes place - but it is Marcelle and Jacques on the one hand and Angy and Paul on the other who say "I do", before the cathedral altar. CAST (in order of appearance) • Chorister • Alice Dobson • Angy • Mayor of Hichemup • Mrs. Aiken • Mr. Aiken • Paul Chandler • Chief Steward • Marcelle Thibault • Mrs. Pilchard • Jacques Devallée • Dixwood Aiken • Butler • Maid • La Toulouse • Waiter MUSICAL NUMBERS 1. OVERTURE 2. MELOS 3. SONG - A Wedding In Paris - Angy and Chorus - "A wedding comes once in a lifetime" 4. SONG - Angy's Farewell - Angy and chorus - My heart is so full at this moment" 5. SONG - It's News - Marcelle and Paul - "I'm a victim of the gapers" 6. DUET - The French Lesson - Angy and Paul - "Pardon me please I'd like to ask you" 6a - In a Cosy Corner on the Upper Deck - Chorus - "We play games, many games on the ocean" 7. Ship Ballet - Stewards and Passengers 8. SONG - The Young In Heart - Jacques and chorus - "The young in heart are always young" 9. Fairy Tales & Lovely Lady of the Sands - Jacques - "To my golden haired Madonna" 9a - CHORUS - Lovely Lady of the Sands - Chorus - "Lovely lady of the sands" 10. MELOS - Bar Scene 11. SONG - The Simple Things Of Life - Marcelle -"I've had my share of admiration" 11a - MELOS 11b - MELOS 12. DUET - It Only Took a Moment - Angy and Paul - "It's funny when two people meet" 12a - MELOS and CHOIR (offstage) - "Time doesn't matter when you hear a love song sung" 13. HARBOUR BALLET - We Are Here in the Harbour - Passengers - "We are here in the harbour" 14. DUET - I Have Nothing To Declare But Love - Paul, Angy and Chorus - "I have nothing to declare" 15. FINALE Act 1 - "Nothing to declare" INTERMISSION