MTI | 50th Anniversary Catalogue by Music Theatre International

MUSIC THEATRE INTERNATIONAL TH

50 ANNIVERSARY CATALOGUE

The MTI Logo MTI’s logo (left), which features a left-handed conductor, was adapted from an illustration by Al Hirschfeld that was commissioned by Music Theatre International. Mr. Hirschfeld, who would have celebrated his 100th birthday in June 2003, was the leading caricaturist of Broadway, having created illustrations of major shows and stars since the 1920’s! He died on January 20, 2003 at age ninty-nine. After the birth of his daughter Nina in 1945, Mr. Hirschfeld made a game of hiding her name, often several times, in each of his drawings. The MTI staff has been able to find eight in the original drawing (reproduced above). How many can you find? Through the years, MTI has had fun in adapting elements of the original art for use in our catalogues, newsletters, flyers and posters. Although it is assumed by many that the conductor in the illustration is Frank Loesser, one of MTI’s Founders, it is not. Mr. Loesser was right-handed.

THE ADVENTURES OF MR. TOAD AIN’T MISBEHAVIN’ ALADDIN ALICE IN WONDERLAND ALL IN LOVE THE ALL NIGHT STRUT! AMEN CORNER ANASTASIA AFFAIRE ANNABELLE BROOM, THE UNHAPPY WITCH ANNIE ANNIE WARBUCKS ANYONE CAN WHISTLE THE APPLE TREE ARCHY & MEHITABEL ASSASSINS BABY THE BAKER’S WIFE BENDIGO BOSWELL BERLIN TO BROADWAY WITH KURT WEILL BIG, THE MUSICAL BLAME IT ON THE MOVIES! BLUES IN THE NIGHT THE BOY FRIEND BRANDON FINDS A STAR BRING IN THE MORNING BUGSY MALONE BY THE BEAUTIFUL SEA CANDIDE CANTERBURY TALES CAPTAIN STIRRICK CELEBRATION A CHARLES DICKENS CHRISTMAS CHILDREN OF EDEN A C HRISTMAS CAROL THE CHRISTMAS SCHOONER CINDERELLA THE CIVIL WAR CLOSER THAN EVER COLETTE COLLAGE COMPANY COPACABANA CYRANO DAMN YANKEES DEAR EDWINA DIVORCE ME, DARLING! DOCTOR DOLITTLE DOWNRIVER DRAKE THE DRUNKARD THE EMPEROR’S NEW CLOTHES ERNEST IN LOVE EUBIE! FAME—THE MUSICAL A FAMILY AFFAIR THE FANTASTICKS FIDDLER ON THE ROOF FIORELLO! FIVE GUYS NAMED MOE THE FIX FOLLIES FOOTPRINTS ON THE MOON FOREVER PLAID 4 GUYS NAMED JOSÉ AND UNA MUJER NAMED MARIA FREEDOM TRAIN THE FULL MONTY A FUNNY THING HAPPENED ON THE WAY TO THE FORUM THE GAME OF LOVE GODSPELL THE GOODBYE GIRL GRAND HOTEL : T HE MUSICAL GUYS AND DOLLS HAPPY HUNTING HEIDI HERE’S LOVE HONK! HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING! I DO! I DO! IN THE BEGINNING INTO THE WOODS JACK AND THE BEANSTALK JACK SPRATT V.C. JANE EYRE JEKYLL & HYDE JOHN & JEN JUST SO KEAN KISMET LADY AUDLEY’S SECRET THE LAST FIVE YEARS LES MISÉRABLES LES MISÉRABLES SCHOOL EDITION LES PETITS RATS LET ’EM EAT CAKE A LITTLE NIGHT MUSIC LITTLE SHOP OF HORRORS LUCKY IN THE RAIN LUCKY STIFF MAGDALENA A MAN OF NO IMPORTANCE MARRY ME A LITTLE MERRILY WE ROLL ALONG MIRETTE MISS SAIGON MOBY DICK! THE MUSICAL THE MOST HAPPY FELLA THE MUSIC MAN MY FAVORITE YEAR NEW GIRL IN TOWN THE NO-FRILLS REVUE OF THEE I SING OH, COWARD! OIL CITY SYMPHONY ONCE ON THIS ISLAND PACIFIC OVERTURES THE PAJAMA GAME PARADE PASSION PHANTOM OF THE COUNTRY OPERA THE PHANTOM TOLLBOOTH PHILEMON PINOCCHIO PIPPIN THE PIRATES OF PENZANCE PLAID TIDINGS A POCKETFUL OF RHYMES PORTABLE PIONEER AND PRAIRIE SHOW THE PRODUCERS PUTTING IT TOGETHER QUILT, A MUSICAL CELEBRATION THE RAGGED CHILD RAGTIME THE MUSICAL RAPUNZEL RED HOT AND COLE REDHEAD RIVERWIND ROADSIDE THE ROBBER BRIDEGROOM ROCK NATIVITY THE ROMAN INVASION OF RAMSBOTTOMTHE ROTHSCHILDS SALVATION SATURDAY NIGHT SCHOOLHOUSE ROCK LIVE! SCHOOLHOUSE ROCK LIVE TOO! SCROOGE, THE STINGIEST MAN IN TOWN SECRETS EVERY SMART TRAVELER SHOULD KNOW SEUSSICAL SEVEN BRIDES FOR SEVEN BROTHERS 1776 SHE LOVES ME SIDE BY SIDE BY SONDHEIM SINGIN’ IN THE RAIN SIX WOMEN WITH BRAIN DEATH OR EXPIRING MINDS WANT TO KNOW SLEEPING BEAUTY SMIKE SNOW WHITE GOES WEST SONGS FOR A NEW WORLD SOUNDS OF PLAID STARTING HERE, STARTINGNOW STRIKE UP THE BAND SUNDAY IN THE PARK WITH GEORGE SWEENEY TODD TAPESTRY TEDDY & ALICE TENDERLOIN THE THIRTEEN CLOCKS13 DAUGHTERS THOROUGHLY MODERN MILLIE TIMBUKTU! TIN PAN ALI TINTYPES THE ADVENTURES OF TOM SAWYER TOMFOOLERY TOMMY TREASURE ISLAND TRIUMPH OF LOVE THE UNSINKABLE MOLLY BROWN THE VELVETEEN RABBIT VIOLET WEST SIDE STORY WESTERN STAR WHAT ABOUT LUV? WHEN THE COOKIE CRUMBLES, YOU CAN STILL PICK UP THE PIECES WHERE’S CHARLEY? WILDCAT ON SAFARI THE WILD PARTY WILLY WONKA WISH YOU WERE HERE THE WIZARD OF OZ WORKING THE WORLD GOES ‘ROUND A YEAR WITH FROG AND TOAD YOU’RE GONNA LOVE TOMORROW

MUSIC THEATRE INTERNATIONAL

MUSIC MUSIC SHOW INDEX The Adventures Of Mr. Toad . . . . . . . . . . 153 Ain’t Misbehavin’ . . . . . . . . . . . . . . . . . . . 112 Aladdin. . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Alice In Wonderland . . . . . . . . . . . . . . . . 158 All In Love . . . . . . . . . . . . . . . . . . . . . . . . . 97 The All Night Strut! . . . . . . . . . . . . . . . . . 113 Amen Corner . . . . . . . . . . . . . . . . . . . . . . . 97 Anastasia Affaire . . . . . . . . . . . . . . . . . . . . 97 Annabelle Broom, The Unhappy Witch . . 132 Annie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Annie Junior . . . . . . . . . . . . . . . . . . . . . . . 144 Annie Warbucks . . . . . . . . . . . . . . . . . . . . . 56 Anyone Can Whistle . . . . . . . . . . . . . . . . . . 57 The Apple Tree . . . . . . . . . . . . . . . . . . . . . . . 3 archy & mehitabel . . . . . . . . . . . . . . . . . . . 98 Assassins . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Baby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 The Baker’s Wife . . . . . . . . . . . . . . . . . . . . 60 Bendigo Boswell. . . . . . . . . . . . . . . . . . . . 154 Berlin To Broadway With Kurt Weill . . . . 114 big, The Musical . . . . . . . . . . . . . . . . . . . . . . 4 Blame It On The Movies! . . . . . . . . . . . . . 115 Blues In The Night . . . . . . . . . . . . . . . . . . 116 The Boy Friend . . . . . . . . . . . . . . . . . . . . . . . 5 Brandon Finds His Star . . . . . . . . . . . . . . 133 Bring In The Morning. . . . . . . . . . . . . . . . . 98 Bugsy Malone. . . . . . . . . . . . . . . . . . . . . . 134 Bugsy Malone Junior . . . . . . . . . . . . . . . . 144 By The Beautiful Sea . . . . . . . . . . . . . . . . . 98 Candide (1973). . . . . . . . . . . . . . . . . . . . . . . 6 Candide (1999). . . . . . . . . . . . . . . . . . . . . . . 7 Canterbury Tales . . . . . . . . . . . . . . . . . . . . 99 Captain Stirrick . . . . . . . . . . . . . . . . . . . . 154 Celebration. . . . . . . . . . . . . . . . . . . . . . . . . 99 A Charles Dickens Christmas . . . . . . . . . . 156 Children Of Eden . . . . . . . . . . . . . . . . . . . . . 8 A Christmas Carol. . . . . . . . . . . . . . . . . . . . . 9 The Christmas Schooner. . . . . . . . . . . . . . . 61 Cinderella . . . . . . . . . . . . . . . . . . . . . . . . . 158 The Civil War . . . . . . . . . . . . . . . . . . . . . . . 62 Closer Than Ever . . . . . . . . . . . . . . . . . . . 117 Colette Collage . . . . . . . . . . . . . . . . . . . . . . 99 Company . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Copacabana . . . . . . . . . . . . . . . . . . . . . . . . 63 Cyrano . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Damn Yankees . . . . . . . . . . . . . . . . . . . . . . 11 Dear Edwina. . . . . . . . . . . . . . . . . . . . . . . 135 Dear Edwina Junior . . . . . . . . . . . . . . . . . 144 Divorce Me, Darling! . . . . . . . . . . . . . . . . 100 Doctor Dolittle . . . . . . . . . . . . . . . . . . . . . . 12 Downriver. . . . . . . . . . . . . . . . . . . . . . . . . 136 Drake . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 The Drunkard . . . . . . . . . . . . . . . . . . . . . . 100 The Emperor’s New Clothes . . . . . . . . . . . 159 Ernest In Love. . . . . . . . . . . . . . . . . . . . . . 101 Eubie! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Fame—The Musical . . . . . . . . . . . . . . . . . . 13 A Family Affair . . . . . . . . . . . . . . . . . . . . . 101 The Fantasticks. . . . . . . . . . . . . . . . . . . . . . 14 Fiddler On The Roof . . . . . . . . . . . . . . . . . . 15 Fiddler On The Roof Junior . . . . . . . . . . . 145 Fiorello! . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Five Guys Named Moe . . . . . . . . . . . . . . . . 65 The Fix . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Follies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Footprints On The Moon . . . . . . . . . . . . . 156 Forever Plaid . . . . . . . . . . . . . . . . . . . . . . . 16 Forever Plaid: Plaid Tidings. . . . . . . . . . . . 16 Forever Plaid School Version: The Sounds Of Plaid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 4 Guys Named José... And Una Mujer Named Maria . . . . . . . . . . . . 68 Freedom Train . . . . . . . . . . . . . . . . . . . . . 156 The Full Monty . . . . . . . . . . . . . . . . . . . . . . 18 A Funny Thing Happened On The Way To The Forum . . . . . . . . . . . . . . . . . . . . . 19

T H E AT R E T H E AT R E

I N T E R N AT I O N A L I N T E R N AT I O N A L

The Game Of Love . . . . . . . . . . . . . . . . . . 101 Godspell . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Godspell Junior . . . . . . . . . . . . . . . . . . . . 145 The Goodbye Girl . . . . . . . . . . . . . . . . . . . . 69 Grand Hotel: The Musical . . . . . . . . . . . . . 21 Guys And Dolls . . . . . . . . . . . . . . . . . . . . . . 22 Guys And Dolls Junior . . . . . . . . . . . . . . . 145 Happy Hunting. . . . . . . . . . . . . . . . . . . . . 102 Heidi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Here’s Love. . . . . . . . . . . . . . . . . . . . . . . . 102 Honk! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Honk! Junior. . . . . . . . . . . . . . . . . . . . . . . 146 How To Succeed In Business Without Really Trying! . . . . . . . . . . . . . . . . . . . . . 23 I Do! I Do! . . . . . . . . . . . . . . . . . . . . . . . . . . 24 In The Beginning . . . . . . . . . . . . . . . . . . . . 71 Into The Woods . . . . . . . . . . . . . . . . . . . . . 25 Into The Woods Junior . . . . . . . . . . . . . . . 146 Jack And The Beanstalk. . . . . . . . . . . . . . 159 Jack Spratt V.C. . . . . . . . . . . . . . . . . . . . . 154 Jane Eyre . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Jekyll & Hyde . . . . . . . . . . . . . . . . . . . . . . . 27 Jekyll And Hyde (Youth Version) . . . . . . . 157 john & jen. . . . . . . . . . . . . . . . . . . . . . . . . . 72 Just So . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Kean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Kismet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Lady Audley’s Secret . . . . . . . . . . . . . . . . 102 The Last Five Years . . . . . . . . . . . . . . . . . . 76 Les Misérables . . . . . . . . . . . . . . . . . . . . . . 28 Les Misérables School Edition . . . . . . . . . . 29 Les Petits Rats . . . . . . . . . . . . . . . . . . . . . 155 Let ’Em Eat Cake . . . . . . . . . . . . . . . . . . . 103 A Little Night Music . . . . . . . . . . . . . . . . . . 30 Little Shop Of Horrors . . . . . . . . . . . . . . . . 31 Lucky In The Rain . . . . . . . . . . . . . . . . . . . 103 Lucky Stiff . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Magdalena . . . . . . . . . . . . . . . . . . . . . . . . 103 A Man Of No Importance. . . . . . . . . . . . . . 32 Marry Me A Little . . . . . . . . . . . . . . . . . . . . 78 Merrily We Roll Along . . . . . . . . . . . . . . . . 79 Mirette . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Miss Saigon . . . . . . . . . . . . . . . . . . . . . . . . 33 Moby Dick! The Musical . . . . . . . . . . . . . . . 81 The Most Happy Fella . . . . . . . . . . . . . . . . 82 The Music Man . . . . . . . . . . . . . . . . . . . . . . 34 The Music Man Junior . . . . . . . . . . . . . . . 146 My Favorite Year . . . . . . . . . . . . . . . . . . . . 83 New Girl In Town . . . . . . . . . . . . . . . . . . . 104 The No-Frills Revue . . . . . . . . . . . . . . . . . 119 Of Thee I Sing . . . . . . . . . . . . . . . . . . . . . 104 Oh, Coward! . . . . . . . . . . . . . . . . . . . . . . . 120 Oil City Symphony . . . . . . . . . . . . . . . . . . . 84 Once On This Island. . . . . . . . . . . . . . . . . . 35 Once On This Island Junior . . . . . . . . . . . 147 Pacific Overtures . . . . . . . . . . . . . . . . . . . . 85 The Pajama Game . . . . . . . . . . . . . . . . . . . 36 Parade . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Passion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Phantom Of The Country Opera . . . . . . . 104 The Phantom Tollbooth . . . . . . . . . . . . . . 137 Philemon . . . . . . . . . . . . . . . . . . . . . . . . . 105 Pinocchio . . . . . . . . . . . . . . . . . . . . . . . . . 159 Pippin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 The Pirates Of Penzance . . . . . . . . . . . . . . 39 A Pocketful Of Rhymes . . . . . . . . . . . . . . . 159 Portable Pioneer And Prairie Show . . . . . 105 The Producers. . . . . . . . . . . . . . . . . . . . . . . 40 Putting It Together . . . . . . . . . . . . . . . . . . . 41 Quilt, A Musical Celebration . . . . . . . . . . 105 The Ragged Child . . . . . . . . . . . . . . . . . . . 155 Ragtime The Musical . . . . . . . . . . . . . . . . . 42 Rapunzel . . . . . . . . . . . . . . . . . . . . . . . . . 157 Red Hot And Cole . . . . . . . . . . . . . . . . . . . 106 Redhead . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Riverwind . . . . . . . . . . . . . . . . . . . . . . . . . 106 Roadside. . . . . . . . . . . . . . . . . . . . . . . . . . . 87 The Robber Bridegroom. . . . . . . . . . . . . . . 88 Rock Nativity . . . . . . . . . . . . . . . . . . . . . . 153

The Roman Invasion Of Ramsbottom . . . 155 The Rothschilds. . . . . . . . . . . . . . . . . . . . . 107 Salvation . . . . . . . . . . . . . . . . . . . . . . . . . 107 Saturday Night . . . . . . . . . . . . . . . . . . . . . . 89 Schoolhouse Rock Live! . . . . . . . . . . . . . . 138 Schoolhouse Rock Live! Junior . . . . . . . . . 147 Schoolhouse Rock Live Too! . . . . . . . . . . . 139 Scrooge, The Stingiest Man In Town . . . . 107 Secrets Every Smart Traveler Should Know . . 121 Seussical . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Seven Brides For Seven Brothers. . . . . . . . 44 1776 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 She Loves Me . . . . . . . . . . . . . . . . . . . . . . . 46 Side By Side By Sondheim . . . . . . . . . . . . 122 Singin’ In The Rain. . . . . . . . . . . . . . . . . . . 47 Six Women With Brain Death Or Expiring . . . . Minds Want To Know . . . . . . . . . . . . . . . 108 Sleeping Beauty . . . . . . . . . . . . . . . . . . . . 160 Smike . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Snow White Goes West. . . . . . . . . . . . . . . 160 Songs For A New World . . . . . . . . . . . . . . 123 Starting Here, Starting Now . . . . . . . . . . 124 Strike Up The Band . . . . . . . . . . . . . . . . . 108 Sunday In The Park With George . . . . . . . 90 Sweeney Todd . . . . . . . . . . . . . . . . . . . . . . 48 Tapestry . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Teddy & Alice . . . . . . . . . . . . . . . . . . . . . . 108 Tenderloin . . . . . . . . . . . . . . . . . . . . . . . . . 91 The Thirteen Clocks . . . . . . . . . . . . . . . . . 140 13 Daughters . . . . . . . . . . . . . . . . . . . . . . 109 Thoroughly Modern Millie . . . . . . . . . . . . . 49 Timbuktu! . . . . . . . . . . . . . . . . . . . . . . . . . 109 Tin Pan Ali . . . . . . . . . . . . . . . . . . . . . . . . 155 Tintypes . . . . . . . . . . . . . . . . . . . . . . . . . . 109 The Adventures Of Tom Sawyer. . . . . . . . . 50 Tomfoolery . . . . . . . . . . . . . . . . . . . . . . . . 126 Tommy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Treasure Island . . . . . . . . . . . . . . . . . . . . 160 Triumph Of Love. . . . . . . . . . . . . . . . . . . . . 93 The Unsinkable Molly Brown . . . . . . . . . . . 51 The Velveteen Rabbit . . . . . . . . . . . . . . . . 157 Violet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 West Side Story. . . . . . . . . . . . . . . . . . . . . . 52 Western Star. . . . . . . . . . . . . . . . . . . . . . . 110 What About Luv? . . . . . . . . . . . . . . . . . . . 110 When The Cookie Crumbles, You Can Still Pick Up The Pieces . . . . . . . . . . . . . . . . . 157 Where’s Charley? . . . . . . . . . . . . . . . . . . . . 95 Wildcat On Safari . . . . . . . . . . . . . . . . . . . 153 The Wild Party . . . . . . . . . . . . . . . . . . . . . . 96 Willy Wonka . . . . . . . . . . . . . . . . . . . . . . . 53 Willy Wonka Junior . . . . . . . . . . . . . . . . . 147 Wish You Were Here . . . . . . . . . . . . . . . . 110 The Wizard Of Oz. . . . . . . . . . . . . . . . . . . 160 Working . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 The World Goes ‘Round . . . . . . . . . . . . . . 127 A Year With Frog And Toad . . . . . . . . . . . 141 You’re Gonna Love Tomorrow . . . . . . . . . 128

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MUSIC THEATRE INTERNATIONAL

50TH ANNIVERSARY CATALOGUE

MUSIC THEATRE INTERNATIONAL 421 West 54th Street, New York, NY 10019 (212) 541-4684 Fax (212) 397-4684 licensing@MTIShows.com www.MTIShows.com Hours: Mon.–Fri., 9 AM to 6 PM (EST)

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elcome to Music Theatre International’s 50th Anniversary Catalogue. This catalogue is divided into six sections designed to make show selection, licensing, and producing as easy and fun as possible. Each section offers concise and in-depth information on the titles contained in that section to help you make an informed and ideal choice for your group. In STANDING addition to four color-coded sections that make up the listing of the shows MTI represents (S OVATIONS, IN THE SPOTLIGHT, ALL SINGING! ALL DANCING! and FAMILY/YOUTH MUSICAL COLLECTIONS), the 50th Anniversary Catalogue includes a comprehensive list of MTI’s THEATRICAL RESOURCES (Section 5). Multiple indices at the back of the 50th Anniversary Catalogue make searching for a show by type or cast size simple and fun.

A FEW WORDS ABOUT EACH SECTION SECTION 1:

STANDING OVATIONS STANDING OVATIONS contains some of the most popular titles in the MTI library. These shows have a history in professional, community and educational theatre as high revenue generating, name-recognized hits that are welcomed by audiences year in and year out. (PAGES 1–54) SECTION 2:

IN THE SPOTLIGHT Some of the most interesting titles in the MTI library appear in IN THE SPOTLIGHT. Exciting and edgy, these selections can challenge a group artistically and make your audience sit up and take notice. These include shows written by some of Broadway’s most talented authors. They are a perfect balance in a season filled with the tried-and-true and are also excellent choices for theatres and groups that look forward to being a little more daring in their offerings. (PAGES 55–110) SECTION 3:

ALL SINGING! ALL DANCING! Looking for a way to keep production costs down? A Musical Revue that’s ALL SINGING! ALL DANCING! can be the perfect solution. Generally with small cast and orchestral requirements, revues can be a director’s dream. Intimate and exciting, musical revues are a great way to pack the audience in and bring the house down. (PAGES 111–130) SECTION 4:

FAMILY/YOUTH MUSICAL COLLECTIONS MTI is proud to offer The Broadway Junior Collection®: a series of author-approved abridged versions of classic musicals specifically written to be performed by junior/middle school aged children. ALSO INCLUDED in this section are titles perfect for the Family, Youth and Children’s Theatre market. These are shows that can be performed with a young cast or can be performed by adults for a young audience. (PAGES 131–160) SECTION 5:

THEATRICAL RESOURCES MTI has led the industry for the last decade in creating support products for our shows, beginning in 1989 with RehearScore®, the MIDI Rehearsal Pianist and continuing with our newest resource: The OrchExtra™. Included in this section is in-depth, up-to-date information about all of the Theatrical Resources currently available from MTI. (PAGES 161–185) SECTION 6:

INDICES & APPLICATIONS Different ways to look at the MTI 50TH Anniversary Catalogue, including by Author, Cast Size, Special Interests, Holidays and more. Also includes pages for notes and license applications. (PAGES 6.1–END)

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50TH ANNIVERSARY CATALOGUE

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CONTENTS SECTION 2:

OVERTURE

IN THE SPOTLIGHT . . . . . . . . . . . . . . . . . . . . . . . . 55

Notes On Music Theatre International’s 50TH Anniversary Catalogue . . . . . . . . . . . . . . . . . . . . . . . . . . i MTI: Fifty Years Young . . . . . . . . . . . . . . . . . . . . . . . . . iv How To Use This Catalogue . . . . . . . . . . . . . . . . . . . . . vi About MTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii Broadway In Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . x International Licensing . . . . . . . . . . . . . . . . . . . . . . . . xii SECTION 1:

STANDING OVATIONS . . . . . . . . . . . . . . . . . . . . . . 1

Annie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 The Apple Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 big, The Musical. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 The Boy Friend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Candide (1973) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Candide (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Children Of Eden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 A Christmas Carol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Damn Yankees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Doctor Dolittle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Fame—The Musical . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 The Fantasticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Fiddler On The Roof . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Forever Plaid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Forever Plaid: Plaid Tidings . . . . . . . . . . . . . . . . . . . . 16 Forever Plaid School Version: The Sounds Of Plaid . . 17 The Full Monty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 A Funny Thing Happened On The Way To The Forum 19 Godspell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Grand Hotel: The Musical . . . . . . . . . . . . . . . . . . . . . . 21 Guys And Dolls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 How To Succeed In Business Without Really Trying! . . 23 I Do! I Do! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Into The Woods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Jane Eyre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Jekyll & Hyde. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Les Misérables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Les Misérables School Edition . . . . . . . . . . . . . . . . . . . 29 A Little Night Music . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Little Shop Of Horrors . . . . . . . . . . . . . . . . . . . . . . . . . 31 A Man Of No Importance . . . . . . . . . . . . . . . . . . . . . . 32 Miss Saigon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 The Music Man. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Once On This Island . . . . . . . . . . . . . . . . . . . . . . . . . . 35 The Pajama Game. . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Parade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Pippin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 The Pirates Of Penzance . . . . . . . . . . . . . . . . . . . . . . . 39 The Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Putting It Together . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Ragtime The Musical . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Seussical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Seven Brides For Seven Brothers . . . . . . . . . . . . . . . . 44 1776 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 She Loves Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Singin’ In The Rain . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Sweeney Todd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Thoroughly Modern Millie . . . . . . . . . . . . . . . . . . . . . . 49 The Adventures of Tom Sawyer. . . . . . . . . . . . . . . . . . 50 The Unsinkable Molly Brown . . . . . . . . . . . . . . . . . . . 51 West Side Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Willy Wonka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Working . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

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Annie Warbucks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Anyone Can Whistle. . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Assassins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Baby. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 The Baker’s Wife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 The Christmas Schooner . . . . . . . . . . . . . . . . . . . . . . . 61 The Civil War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Copacabana. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Fiorello! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Five Guys Named Moe . . . . . . . . . . . . . . . . . . . . . . . . 65 The Fix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Follies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 4 Guys Named José... And Una Mujer Named Maria 68 The Goodbye Girl . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Honk! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 In The Beginning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 john & jen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Just So . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Kean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Kismet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 The Last Five Years . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Lucky Stiff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Marry Me A Little. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Merrily We Roll Along . . . . . . . . . . . . . . . . . . . . . . . . . 79 Mirette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Moby Dick! The Musical . . . . . . . . . . . . . . . . . . . . . . . . 81 The Most Happy Fella . . . . . . . . . . . . . . . . . . . . . . . . . 82 My Favorite Year . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Oil City Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Pacific Overtures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Passion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Roadside . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 The Robber Bridegroom . . . . . . . . . . . . . . . . . . . . . . . 88 Saturday Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Sunday In The Park With George . . . . . . . . . . . . . . . . 90 Tenderloin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Tommy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Triumph Of Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Violet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Where’s Charley? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 The Wild Party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 All In Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Amen Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Anastasia Affaire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 archy & mehitabel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Bring In The Morning . . . . . . . . . . . . . . . . . . . . . . . . . 98 By The Beautiful Sea . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Canterbury Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Celebration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Colette Collage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Cyrano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Divorce Me, Darling! . . . . . . . . . . . . . . . . . . . . . . . . . 100 The Drunkard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Ernest In Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 A Family Affair. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 The Game Of Love. . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Happy Hunting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Here’s Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Lady Audley’s Secret . . . . . . . . . . . . . . . . . . . . . . . . . 102 Let ‘Em Eat Cake . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Lucky In The Rain . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Magdalena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 New Girl In Town. . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Of Thee I Sing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Phantom Of The Country Opera . . . . . . . . . . . . . . . . 104 Philemon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Portable Pioneer And Prairie Show . . . . . . . . . . . . . 105

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Quilt, A Musical Celebration . . . . . . . . . . . . . . . . . . . 105 Red Hot And Cole . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Redhead. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Riverwind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 The Rothschilds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Salvation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Scrooge, The Stingiest Man In Town . . . . . . . . . . . . . 107 Six Women With Brain Death Or Expiring Minds Want To Know . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Strike Up The Band . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Teddy & Alice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 13 Daughters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Timbuktu!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Tintypes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Western Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 What About Luv? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Wish You Were Here . . . . . . . . . . . . . . . . . . . . . . . . . 110 SECTION 3: ALL SINGING! ALL DANCING! . . . . . . . . . . . . 111 Ain’t Misbehavin’. . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 The All Night Strut! . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Blame It On The Movies! . . . . . . . . . . . . . . . . . . . . . . 115 Blues In The Night. . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Closer Than Ever . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Eubie! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 The No-Frills Revue . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Oh, Coward!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Secrets Every Smart Traveler Should Know . . . . . . . 121 Side By Side By Sondheim. . . . . . . . . . . . . . . . . . . . . 122 Songs For A New World. . . . . . . . . . . . . . . . . . . . . . . 123 Starting Here, Starting Now . . . . . . . . . . . . . . . . . . . 124 Tapestry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Tomfoolery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 The World Goes ‘Round. . . . . . . . . . . . . . . . . . . . . . . 127 You’re Gonna Love Tomorrow. . . . . . . . . . . . . . . . . . 128 Other Suggested Titles . . . . . . . . . . . . . . . . . . . . . . . 129 SECTION 4: FAMILY/YOUTH MUSICAL COLLECTIONS . . . . 131 Musicals For Young Audiences . . . . . . . . . . . . . . 132 Annabelle Broom, The Unhappy Witch . . . . . . . . 132 Brandon Finds His Star. . . . . . . . . . . . . . . . . . . . . 133 Bugsy Malone . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Dear Edwina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Downriver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 The Phantom Tollbooth. . . . . . . . . . . . . . . . . . . . . 137 Schoolhouse Rock Live!. . . . . . . . . . . . . . . . . . . . . 138 Schoolhouse Rock Live Too! . . . . . . . . . . . . . . . . . 139 The Thirteen Clocks. . . . . . . . . . . . . . . . . . . . . . . . 140 A Year With Frog and Toad . . . . . . . . . . . . . . . . . 141 Other Suggested Titles . . . . . . . . . . . . . . . . . . . . . 142 The Broadway Junior Collection. . . . . . . . . . . . . 143 Annie Junior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Bugsy Malone Junior . . . . . . . . . . . . . . . . . . . . . . 144 Dear Edwina Junior . . . . . . . . . . . . . . . . . . . . . . . 144 Fiddler On The Roof Junior . . . . . . . . . . . . . . . . . 145 Godspell Junior. . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Guys And Dolls Junior . . . . . . . . . . . . . . . . . . . . . 145 Honk! Junior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Into The Woods Junior . . . . . . . . . . . . . . . . . . . . . 146 The Music Man Junior. . . . . . . . . . . . . . . . . . . . . . 146 Once On This Island Junior . . . . . . . . . . . . . . . . . 147 Schoolhouse Rock Live! Junior . . . . . . . . . . . . . . . 147 Willy Wonka Junior. . . . . . . . . . . . . . . . . . . . . . . . 147 Josef Weinberger. . . . . . . . . . . . . . . . . . . . . . . . . . 153 The Adventures Of Mr. Toad . . . . . . . . . . . . . . . . 153 Rock Nativity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Smike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Wildcat On Safari . . . . . . . . . . . . . . . . . . . . . . . . . 153

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I N T E R N AT I O N A L National Youth Music Theatre . . . . . . . . . . . . . . 154 Bendigo Boswell . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Captain Stirrick . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Drake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Jack Spratt V.C.. . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Les Petits Rats . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 The Ragged Child . . . . . . . . . . . . . . . . . . . . . . . . . 155 The Roman Invasion Of Ramsbottom. . . . . . . . . . 155 Tin Pan Ali . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Theatreworks USA . . . . . . . . . . . . . . . . . . . . . . . . . 156 A Charles Dickens Christmas . . . . . . . . . . . . . . . . 156 Footprints On The Moon . . . . . . . . . . . . . . . . . . . . 156 Freedom Train . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Heidi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Jekyll And Hyde . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Rapunzel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 The Velveteen Rabbit . . . . . . . . . . . . . . . . . . . . . . 157 When The Cookie Crumbles, You Can Still Pick Up The Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Prince Street Players Ltd. . . . . . . . . . . . . . . . . . . 158 Aladdin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Alice In Wonderland . . . . . . . . . . . . . . . . . . . . . . . 158 Cinderella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 The Emperor’s New Clothes . . . . . . . . . . . . . . . . . 159 Jack And The Beanstalk . . . . . . . . . . . . . . . . . . . . 159 Pinocchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 A Pocketful Of Rhymes . . . . . . . . . . . . . . . . . . . . . 159 Sleeping Beauty . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Snow White Goes West . . . . . . . . . . . . . . . . . . . . . 160 Treasure Island. . . . . . . . . . . . . . . . . . . . . . . . . . . 160 The Wizard Of Oz . . . . . . . . . . . . . . . . . . . . . . . . . 160 SECTION 5: THEATRICAL RESOURCES . . . . . . . . . . . . . . . . . . 161 OrchExtra™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 RehearScore® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Logo Pack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Audrey II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Study Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Reference Recording . . . . . . . . . . . . . . . . . . . . . . . 172 Transpositions On Demand . . . . . . . . . . . . . . . . . 174 Production Slides . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Choreographic/Director’s Guide . . . . . . . . . . . . 178 TV Spots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Full Reference Score . . . . . . . . . . . . . . . . . . . . . . . 182 Video Conversationpiece™ . . . . . . . . . . . . . . . . . . 184 SECTION 6:

INDICES & APPLICATIONS . . . . . . . . . . . . . . . . 6-1

Visual Index . . . . . . . . Musicals By Author. . . Musicals By Cast Size . Musicals By Category .

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MTI: FIFTY YEARS YOUNG A GUIDE

1952, FRANK LOESSER

ALL THE NEW AND GREAT THINGS HAPPENING AT MTI TRANSFORMED A FLEDGLING BUSINESS INTO WHAT IS NOW

"MTI." IN

MUSIC THEATRE INTERNATIONAL HAS BECOME A LEADER IN THE THEATRICAL LICENSING INDUSTRY. AS WE ENTER OUR FIFTY-FIRST YEAR, WE ARE PROUD OF OUR CATALOGUE OF SHOWS, INCLUDING MANY EXCITING NEW ACQUISITIONS, THAT REPRESENTS THE BEST THE WORLD OF MUSICAL THEATRE HAS TO OFFER. ADDITIONALLY, WE HAVE NEW RESOURCES AND PRODUCTS TO MAKE YOUR PRODUCTION OF AN MTI MUSICAL MORE REWARDING. KNOWN THROUGHOUT THE WORLD AS

HIGHLIGHTS

THE INTERVENING YEARS,

IN THE NEW CATALOGUE

NEW ACQUISITIONS NEW

BLOCKBUSTERS, REVERED CLASSICS AND FAMILY SHOWS BY SOME OF THE GREATEST

MUSICAL THEATRE WRITERS HAVE ENTERED THE

MTI

BRANDON FINDS HIS STAR A CHRISTMAS CAROL COPACABANA DOCTOR DOLITTLE FIORELLO! FOREVER PLAID: PLAID TIDINGS FOREVER PLAID: THE SOUNDS OF PLAID FOUR GUYS NAMED JOSÉ... AND UNA MUJER NAMED MARIA THE FULL MONTY GODSPELL GRAND HOTEL: THE MUSICAL HONK! JANE EYRE JOHN & JEN JUST SO KEAN iv

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CATALOGUE IN THE PAST FEW YEARS.

CHECK

THE LAST FIVE YEARS LES MISÉRABLES SCHOOL EDITION A MAN OF NO IMPORTANCE MOBY DICK! THE MUSICAL PARADE THE PHANTOM TOLLBOOTH THE PRODUCERS RAGTIME THE MUSICAL ROADSIDE SCHOOLHOUSE ROCK LIVE TOO! SEUSSICAL THOROUGHLY MODERN MILLIE THE ADVENTURES OF TOM SAWYER THE WILD PARTY WILLY WONKA A YEAR WITH FROG AND TOAD 50TH ANNIVERSARY CATALOGUE

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INDIVIDUAL LISTING FOR SPECIFIC INFORMATION REGARDING CAST SIZE, ORCHESTRATION AND AVAILABILITY.

NEW BROADWAY JUNIOR TITLES

CONTINUING MTI’S COMMITMENT TO THEATRE EDUCATION, WE’RE PLEASED TO ANNOUNCE FOUR

Dear Edwina Junior Godspell Junior NEW TITLES ADDED TO OUR POPULAR

Honk! Junior The Music Man Junior BROADWAY JUNIOR COLLECTION.

SCHOOL EDITION MUSICALS DESIGNED WITH EDUCATORS IN MIND,

MTI’S SCHOOL EDITION™

MUSICALS EMBODY A BOLD NEW

IDEA IN CREATING AND LICENSING ADAPTATIONS OF GRAND SCALE, SYMPHONIC MUSICALS IN VERSIONS ADAPTED FOR PERFORMANCE BY HIGH SCHOOLS.

THESE

ADAPTATIONS, WHILE SMALLER

IN SIZE, RETAIN ALL OF THE SCOPE AND GLORY OF THE ORIGINALS.

MTI’S FIRST SCHOOL EDITION MUSICAL LES MISÉRABLES SCHOOL EDITION™ WAS RELEASED IN 2002 TO GREAT FANFARE AND HAS ALREADY BECOME A HUGE SUCCESS IN HIGH SCHOOLS AROUND THE WORLD. MANY SCHOOLS THAT THOUGHT THEY WOULD NEVER BE ABLE TO MOUNT A PRODUCTION OF LES MISÉRABLES FOUND THAT THIS NEW ADAPTATION OF THE GREAT BROADWAY SHOW PROVIDED THEM THE ABILITY TO STAGE A PRODUCTION THAT WAS A TRIUMPH IN THEIR DISTRICT.

FOR LES MISÉRABLES SCHOOL EDITION™,

THE

SHOW WAS EDITED SO THAT ITS TOTAL RUNNING TIME IS JUST OVER TWO HOURS, SONGS ARE OFFERED IN ALTERNATE KEYS THAT ALLOW YOUNGER VOICES TO SHINE, AND A DETAILED

DIRECTOR'S SCRIPT OFFERS TECHNICAL ADVICE THAT MAKES THE SETS, LIGHTS, SOUND AND PROPS A MANAGEABLE PROPOSITION. THE RESULT: AN EMOTIONALLY REWARDING EXPERIENCE THAT IS BRINGING STUDENTS AND COMMUNITIES TOGETHER WHEREVER IT PLAYS. IN THE WORKS: RAGTIME THE MUSICAL SCHOOL EDITION™—THE AUTHORS OF RAGTIME THE MUSICAL ARE CREATING A SCHOOL EDITION OF THE SHOW THAT PROMISES TO BRING THIS MUSICAL THEATRE MASTERPIECE TO HIGH SCHOOL STAGES EVERYWHERE.

NEW THEATRICAL RESOURCES CHECK

MTI’S POPULAR THEATRICAL RESOURCES, ® INCLUDING NEW SHOWS AVAILABLE FOR THE REHEARSCORE , LOGO PACKS, STUDY GUIDES, AND MORE! BE SURE TO CHECK OUT MTI’S NEWEST RESOURCE THAT IS REVOLUTIONIZING THE INSIDE FOR THE LATEST TITLES AVAILABLE FOR

50TH ANNIVERSARY CATALOGUE

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HOW TO USE THIS CATALOGUE FEATURES

OF THE PAGES IN THIS CATALOGUE AND HOW YOU CAN USE THEM TO ENHANCE YOUR CHOICE OF A SHOW: • SHOW DESCRIPTIONS capture thoughts and selling points you can use in the promotion of YOUR production. • A color logo representation of the title of the show (SHOW LOGO). For shows that have Logo Packs available, this serves as a sample of the logo available for licensing from MTI. For shows that do not have Logo Packs available, the logo serves as a reference point only — it may not be reproduced for your production. • In addition to many of the regular newspaper or television quotes, we have gathered QUOTES from you. These are the thoughts of people who have actually produced the show — what they perceived as the quality of the piece and what kind of business it did for them.* • BACKSTAGE BABBLE provides an interesting mix of history, gossip, and anecdotes designed to make you smile and make you think. • PRODUCTION SPECIFICATIONS: Act breakdowns and cast size information to aid in t h e pre-production and audition process. • A complete list of the musical numbers as they appear in the show (not just highlights) to help you gauge the scope of the score. • A list of the instrumentation that makes up the orchestration, including many doubling notations and instruments that are optional or may be eliminated. • An iconographic list of all of the AVAILABLE RESOURCES currently available for this show. • Our PHONE NUMBER and WEBSITE ADDRESS is included across the bottom of every page. * NOTE: One of MTI’s greatest pleasures is working with so many wonderful people representing theatrical organizations around the world. Unfortunately, the size of our catalogue and the sheer volume of people we enjoy working with precluded us from talking with and obtaining quotes from all of you. To all of those Directors, Teachers, General Managers, Producers, Writers and Musicians we missed, we apologize. To those we had time to talk to and who allowed us to quote them in our catalogue, we say, “Thank you.”

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SHOW LOGO

QUOTES FROM YOU

SHOW DESCRIPTIONS

PRODUCTION SPECIFICATIONS

BACKSTAGE BABBLE

AVAILABLE RESOURCES

50TH ANNIVERSARY CATALOGUE

HOW TO CONTACT MTI

www.MTIShows.com

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usic Theatre International (MTI) is a theatrical licensing agency created by orchestrator Don Walker and composer-lyricist Frank Loesser to help theatre writers license their shows for live stage performance to schools, community and professional theatres around the country.

On behalf of the shows’ authors, we issue a performance license to theatre groups which gives them the right to perform and present a musical theatre work as a live stage production. We also provide, on a rental basis, all materials necessary to produce the work, as well as additional resources that aid in the rehearsal process and enhance the final production. MTI performance licenses and materials result in over 12,000 productions a year by professional, amateur and educational organizations around the world, including elementary, middle and high schools, colleges, universities, civic groups, religious groups, youth theatres, tours, summer stock companies, dinner theatres, regional theatres, symphony orchestras, cruise ships, casinos, hotels — anywhere and ever ywhere musical theatre is performed.Why MTI?Why MTI?

Why MTI? fter creating a show, theatre writers copyright their A work, protecting their ownership and enabling only them or their representatives (in this case, MTI) to decide who may perform the show, where it may be performed and what license fees will be required.

On the authors’ behalf, MTI grants a license to produce the show and collects a fee, known as a “royalty,” for all performances. Built into every license is specific language that governs how the copyrighted work must be presented. Our responsibilities include enforcing copyright law as it pertains to live stage performances (prohibiting changes to the script or score, monitoring unlicensed productions, etc.), as well as protecting certain productions from competition in geographical markets (which is why performance rights to a certain show may be unavailable, or restricted to your group.)

Choosing A Show f you don’t know what show you wish to present, MTI Ilibretto/vocal can provide you with perusal copies of the book (of up to three titles) that you may read for three weeks for a nominal shipping and handling fee. You may order perusals by mail, fax or email (llicensing@MTIShows.com). You may also order perusals via our website at www.MTIShows.com.

Applying for a Performance

pplication for performance must be made in writing before fees can be quoted and a license issued. You may fax or mail either a completed MTI License Application Form (located at the back of this catalogue) or a request on your organization’s letterhead that includes the same information as is found on the license application. You may use photocopies of the application, or request duplicates from MTI by phone,

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mail, fax or email (llicensing@MTIShows.com). You may also apply via our website at www.MTIShows.com.

How long will it take MTI to process my application? ssuming it is filled out correctly, the processing time A for an application can vary from two days to two weeks, depending on the show you picked and certain

geographical restrictions. Always obtain written confirmation of availability from MTI before planning a production or announcing a season. Remember: to get the process started more quickly, apply for your license online at www.MTIShows.com/licensing.htm

The Performance nce you receive a license offer, fill it out, sign and O return it to MTI with your fees and security deposit. Remember, an MTI performance license offer

is only valid for six weeks from the date of issue. To secure the rights outlined in the license offer, you should return the license, signed and with payment, prior to the expiration date. If it is not returned as outlined above, show availability and the fees quoted may be withdrawn. If you decide to change the dates or other details of your production, you must notify MTI in writing immediately. Changes can affect the availability and conditions of a license.

Is there always a Royalty fee? ny presentation of a musical from MTI that takes A place in front of an assembly of people (no matter how few) is considered royalty-bearing under the law,

whether or not admission is charged. This can include “invited” dress rehearsals, or contest excerpts. A valid performance license is required for all of these performances. If you have any questions whether or not

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a performance may require a royalty, please ask your MTI licensing representative. The importance of obtaining a license for all royalty-bearing performances cannot be stressed too strongly, as the penalties for violating Federal Copyright Law are severe indeed.

MTI sends you the pon receipt of payment of all applicable fees, MTI sends you EVERYTHING you need to rehearse U and perform the show: librettos (scripts), vocal books,

piano-conductor scores, and orchestra parts — no other materials are required. Payment can be made by check, money order or credit card. Accredited schools and government agencies only may use a purchase order for royalty and rental fees. A copy of the purchase order, along with the required security deposit(s) must be received by MTI before materials can be released. The materials rented by Music Theatre International are the materials that have been provided by the author(s) of the work and are the ONLY authorized materials for rehearsals or performances.

Rehearsals ehearsing a show should be a lot of fun, even Rcreated though there’s a lot of hard work involved. MTI has several Theatrical Resources, designed to

alleviate some of the most frequent hurdles encountered during the rehearsal process, including finding/scheduling a rehearsal pianist, transposing music into appropriate keys, webbing themes from the show throughout the curriculum and finding easy solutions for scenic challenges. An overview of all of MTI’s Theatrical Resources are included in this catalogue in Section 5 on pages 161-185. During rehearsals, you might find that some changes are required to make the show work in your theatre. Whenever you feel the need to make a change, it is important that you contact MTI and make sure that you can get permission to make the change. When you are granted a performance license, by law the show you license must be performed “as is.” You should not make any changes unless you have obtained prior written permission from us to do so. Otherwise, any changes violate the authors’ rights under Federal Copyright Law. Contact us — it’s always safest to ask.

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May we video tape our performance to show our friends? opyright law gives authors the exclusive right to C control the reproduction of their work. When we grant you a license for your live stage production of a

show, that license does not include the right to tape it because the authors retain the sole right to decide when or if their work is recorded in any way. Even a videotape made for classroom use, as a personal memento or as an archival school record violates the authors’ separate right to reproduce their work. In many cases, the authors have already granted such rights exclusively to film or television companies, in which case you would also be infringing upon the rights granted by the authors to a third party.

Getting An Audience are two major ways to get an audience: Print Thelphere Campaigns or Media Campaigns. MTI is here to you with both. A Print Campaign may consist of

posters, flyers and newspaper advertisements. Here is where a show logo plays an important part. It is the recognizable image that lets your potential audience know about your show. Some theatres have in-house designers who create new artwork for each show. Many groups, however, don’t have access to graphic artists or prefer to use a more recognizable logo to promote their show. For these groups, MTI has obtained the right to license certain original logos for use in conjunction with your production. If you are planning a media campaign, which might include purchased or donated TV time, in-school cable or a closed circuit TV in your lobby, MTI can help with its new Resource: TV Spots. See the Theatrical Resources on pages 161 through 185 for more details on both MTI Logo Packs and TV Spots.

Have a GREAT TI is proud of the shows in our catalogue and the M Musical Theatre heritage they represent. We LOVE hearing about your success (and any problems

you may have encountered) in presenting an MTI musical. We ENJOY getting pictures, posters and programs from your productions. We thrive on your feedback. If you have any questions, comments or products you’d like to see developed, drop us a line - we’re here to help you. Or stop by our exhibit at one of more than two dozen Theatre and Music Conferences MTI attends each year and talk to us in person. Our best ideas have come from our customers. Have a GREAT PRODUCTION!

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BROADWAY ROADWAY B

CONCERT IINN CONCERT

Classic Broadway Musicals adapted for the Concert Stage und-raising events are a vital part of any professional, civic or school theatre organization. The problem with fund-raisers is that they can be difficult to produce. Splashy gala events often cost more money than they raise, and more modest affairs may be too lackluster to attract an audience.

That’s where Broadway In Concert perfectly fills the bill. A concert staging of a classic musical gives you y a w d a Bro the irresistible draw of a Broadway title while f Bravo ebster o a tr W s s e h la c g r consuming a fraction of the time, money and hony O r vath and Dou e Symp n Ho a J Dubuqu r, e resources needed for a full-scale production. u a Gar y M with

Foregoing large sets, costumes and technical designs, Broadway In Concert makes it easy to accommodate a wide range of performance venues—small theatres, auditoriums, concert halls, or amphitheatres are all perfectly suited for a concert performance. Sets? Simple: your orchestra, cast and a few microphones. Costumes? Simple: concert attire. Staging? As much or as little as you like. Rehearsals? Weeks instead of months. Depending upon your production concept, your cast can even go onstage with books in hand. And when it comes to attracting an audience, Broadway In Concert offers many possibilities. Partnering with your local symphony orchestra can increase your audience base. Because of the minimal rehearsal and performance demands, many groups are able to entice a local star, politician or celebrity into appearing in a featured role. With a little creativity, you can make your concert production not only a successful fund-raiser, but an evening your audience will remember for a long time to come.

Broadway In Concert: simple, elegant, exciting, economical, unforgettable… the perfect fund-raiser!

“Steam Heat,” from the Concert version of The Pajama Game Reprise!, Los Angeles, CA

Also, we have many songs extracted from the original scores or in special arrangements that are perfectly suited to a “Broadway Evening,” for presentation.

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N CONCERT CONCERT IIN

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PECIALLY ADAPTED DAPTED CONCERT ONCERT SPECIALLY IBRETTOS AVAILABLE VAILABLE FOR OR: LIBRETTOS

Book by James Goldman Music and Lyrics by Stephen Sondheim

Based on a story and characters by Damon Runyon Music and Lyrics by Frank Loesser Book by Jo Swerling and Abe Burrows

Music and Lyrics by George Gershwin and Ira Gershwin Book by George S. Kaufman and Morrie Ryskind Concert Adaptation by Tommy Krasker

Music and Lyrics by Stephen Sondheim Concert Version Director’s Guide by Vivienne Elborne

Book, Music and Lyrics by Meredith Willson Based on a story by Meredith Willson and Franklin Lacey Concert Condensation by Evans Haile

Music and Lyrics by George Gershwin and Ira Gershwin Book by George S. Kaufman and Morrie Ryskind Concert Adaptation by Tommy Krasker

Book by Terence McNally Music by Stephen Flaherty Lyrics by Lynn Ahrens Based on “Ragtime” by E. L. Doctorow

Music and Lyrics by George Gershwin and Ira Gershwin Book by George S. Kaufman Concert Adaptation by Tommy Krasker

Book by Arthur Laurents Music and Lyrics by Stephen Sondheim

OTHER

TITLES THAT MAKE

GREAT

CONCERTS:

COMPANY • THE CIVIL WAR • JEKYLL & HYDE • MERRILY WE ROLL ALONG • THE MOST HAPPY FELLA • PASSION • SUNDAY IN THE PARK WITH GEORGE • SWEENEY TODD • TOMMY

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INTERNATIONAL LICENSING The musical theatre is no longer the province of New York, London and the English speaking world — it is a truly multi–cultural phenomenon. MTI has kept pace, forging links with major theatrical licensing agencies in England, the German speaking territories, Australia, South Africa and Japan. Our musicals now appear in catalogues in English, German, Swedish and Japanese. Many of the musicals in the MTI catalogue are available for performance in foreign countries in both English and a variety of foreign languages. However, foreign language translations may not be available for use in the English speaking territories because of prior contractual obligations. If MTI and its foreign sub–agents do not represent a musical in a certain territory, we are happy to forward requests to the proper office. Please write MTI with as much specific information as possible when inquiring about such foreign productions. Requests may also be made directly to our principal sub–agents.

The United Kingdom, Ireland and the Scandinavian countries JOSEF WEINBERGER, LTD. 12–14 Mortimer Street London W1T 3JJ England 44-207-580-2827 • Fax 44-207-436-9616

www.joseph-weinberger.co.uk general info@jwmail.co.uk Germany MUSIK UND BÜHNE VERLAGS GMBH Marktplatz 13 D–6518 Wiesbaden, Germany 49-611-300-399 • Fax 49-611-372-156

Australia and New Zealand HAL LEONARD AUSTRALIA PTY LTD. 22 Tauton Drive/PO Box 5130 Cheltenham East, 3192, Victoria, Australia 03-9585-3300 • Fax 03-9585-3399

ausshows@halleonard.com South Africa, Zimbabwe and Kenya DALRO PO Box 31627 2017 Braamfontein, South Africa 27-11-403-6635 • Fax 27-11-403-1934 www.Dalro.co.za • Dalro@Dalro.co.za

NEW

Japan/Asia INTERNATIONAL MUSICALS INCORPORATED

3-3-12, 5th Floor Ebisuminanmi, Shibuya-ku, Tokyo 150-0022 Japan 81-3-5724-7361 • Fax 81-3-5724-7362 www.newimi.com • info@newimi.com

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SECTION 1

STANDING OVATIONS SECTION ONE: STANDING OVATIONS contains some of the most popular titles in the MTI library. These shows have a history in professional, community and educational theatre as high revenue generating, name-recognized hits that are welcomed by audiences year in and year out. ANNIE • THE APPLE TREE • BIG, THE MUSICAL • THE BOY FRIEND • CANDIDE (1973) • CANDIDE (1999) • CHILDREN OF EDEN • A CHRISTMAS CAROL • COMPANY • DAMN YANKEES • DOCTOR DOLITTLE • FAME—THE MUSICAL • THE FANTASTICKS • FIDDLER ON THE ROOF • FOREVER PLAID • FOREVER PLAID: PLAID TIDINGS • FOREVER PLAID SCHOOL VERSION: THE SOUNDS OF PLAID • THE FULL MONTY • A FUNNY THING HAPPENED ON THE WAY TO THE FORUM • GODSPELL • GRAND HOTEL: THE MUSICAL • GUYS AND DOLLS • HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING! • I DO! I DO! • INTO THE WOODS • JANE EYRE • JEKYLL & HYDE • LES MISÉRABLES • LES MISÉRABLES SCHOOL EDITION • A LITTLE NIGHT MUSIC • LITTLE SHOP OF HORRORS • A MAN OF NO IMPORTANCE • MISS SAIGON • THE MUSIC MAN • ONCE ON THIS ISLAND • THE PAJAMA GAME • PARADE • PIPPIN • THE PIRATES OF PENZANCE • THE PRODUCERS • PUTTING IT TOGETHER • RAGTIME THE MUSICAL • SEUSSICAL • SEVEN BRIDES FOR SEVEN BROTHERS • 1776 • SHE LOVES ME • SINGIN’ IN THE RAIN • SWEENEY TODD • THOROUGHLY MODERN MILLIE • THE ADVENTURES OF TOM SAWYER • THE UNSINKABLE MOLLY BROWN • WEST SIDE STORY • WILLY WONKA • WORKING

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I N T E R N AT I O N A L “A family favorite” —Ron Baumanis, Ann Arbor Civic Theatre

“The best attended show in 38 years… it helped increase our subscription base 23%!” —Michael Spicer, Salina Community Theatre

“Spectacular on every count” —Newsweek Magazine

L Book by Thomas Meehan Music by Charles Strouse Lyrics by Martin Charnin Based on Little Orphan Annie® by permission of Tribune Media Services, Inc. Act 1: 8 scenes

Act 2: 6 scenes Cast

3 principal men, 3 principal women, 7 orphans (including Annie), 1 dog, chorus

Musical Numbers “Maybe” “Hard Knock Life” “Tomorrow” “Hooverville” “Little Girls” “I Think I’m Gonna Like It Here” “N.Y.C.” “Easy Street” “You Won’t Be An Orphan For Long” “Fully Dressed” “Cabinet-Tomorrow” “Something Was Missing” “I Don’t Need Anything But You” “A New Deal For Christmas”

Instrumentation Reed I (flute, alto flute, clarinet, soprano sax, alto sax) Reed II (baritone sax, alto sax, clarinet, flute) Reed III (clarinet, tenor sax, bass clarinet) Reed IV (piccolo, flute, alto flute, clarinet, alto sax) Reed V (flute, clarinet, alto sax, baritone sax) Trumpets I & II Trombone I Trombone II

Tuba Violin Cello Bass Guitar/Banjo Percussion I & II [2] Piano–conductor

eapin’ Lizards! The popular comic strip heroine takes center stage in one of the world’s best-loved musicals.

Annie is a spunky Depression-era orphan determined to find her parents, who abandoned her years ago on the doorstep of a New York City orphanage run by the cruel, embittered Miss Hannigan. In adventure after fun-filled adventure, Annie foils Miss Hannigan’s evil machinations, befriends President Franklin Delano Roosevelt and finds a new family and home in billionaire Oliver Warbucks, his personal secretary Grace Farrell and a lovable mutt named Sandy. A must for any theatre with a large family audience, Annie has proven a sure-fire crowd-pleaser, as its record-breaking Broadway run, star-studded motion picture version, hit 20th anniversary Broadway revival and national tour, and countless productions around the globe each year attest. With its upbeat ending, a bright tuneful score which has become a part of the nation’s musical heritage, a cast of characters which includes many scenestealing roles for children (including the coveted title role) and a classic villainess audiences love to hate, it’s no wonder this hear twarming show has become an international sensation.

BACKSTAGE BABBLE Broadway Junior Version Available Theatrical Resources

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• Written in only fourteen months, Annie‘s journey to Broadway took four and a half years, and went on to play 2,377 performances on Broadway in its original run, picking up seven Tony® Awards in the process.

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“Even with a limited budget and a small stage, The Apple Tree is a great show... we enjoyed doing it, and the audiences LOVED it!” —Bobby K. Cox, Fine Arts County of Effingham

“The first show we ever soldout... It brought the house down” —Dennis Metnick, Wasatch Theatre Company

“Three of the most charming and witty musicals imaginable... the songs are extraordinary musically and lyrically”

™

Music by Jerry Bock Lyrics by Sheldon Harnick Based on Stories by Mark Twain, Frank R. Stockton & Jules Feiffer Additional Book Material by Jerome Coopersmith Three acts: unit set Cast Act 1: 2 men, 1 woman Act 2: 3 men, 2 women, chorus Act 3: 4 men, 1 woman, chorus

Musical Numbers The Diary Of Adam and Eve “Here In Eden” “Feelings” “Eve” “Friends” “Forbidden Fruit” “It’s A Fish” “Lullaby” “What Makes Me Love Him?” The Lady Or The Tiger? “I’ll Tell You A Truth” “Make Way” “Prisoner Choose” “Ai-Ai!” “Victory Is Ours” “Forbidden Love” “Barbara, How Could You” “Razor Teeth” ”I’ve Got What You Want” “Tiger, Tiger” “Which Door?” Passionella “Oh, To Be A Movie Star” “Gorgeous” “Who Is She?” “I Know” “Wealth” “You Are Not Real”

Instrumentation

Trombone I Trombone II Trombone III Horn Violin [2] Viola Cello Bass Harp

Reed I (flute, piccolo, clarinet, melodica or harmonica, alto sax, Eb clarinet)

Reed II (alto flute, C flute, clarinet, piccolo, alto sax) Reed III (oboe, bass clarinet, English horn, tenor sax, baritone sax)

Reed IV (flute, clarinet, bass clarinet, baritone sax, tenor sax)

Reed V

(bassoon, clarinet, bass clarinet, baritone sax)

Trumpets I & II Trumpet III

Guitar

rom the songwriting team of Fiddler On The Roof and She Loves Me comes a unique evening of three oneact musicals about men, women and a little thing called temptation. The first, The Diary Of Adam And Eve, is a quirky, touching spin on the tale of the world’s first couple, adapted from Mark Twain’s Extracts From Adam’s Diary. The second, The Lady Or The Tiger?, explores the fickleness of love in a rock and roll fable set in a mythical barbarian kingdom. Finally, Passionella is based on Jules Feiffer’s offbeat Cinderella-story about a chimney sweep whose dreams of being a “glamorous movie star” nearly sabotage her one chance for true love. Witty, tuneful and utterly charming, these fast-paced, tongue-in-cheek musical miniatures may be presented separately or in any combination, to fill out a theatrical evening. Each is modest in production requirements and filled with the warmth and humanity that is the hallmark of Harnick and Bock.

(banjo, mandolin, electric guitar)

Percussion I & II Piano–conductor

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— Daily News

BACKSTAGE BABBLE • Another one-act version of Passionella was written by Stephen Sondheim and directed by Mike Nichols four years before Mr. Nichols directed The Apple

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“Near-perfect musical entertainment” —The Chronicle-Journal

“The ideal family musical” —USA Today

“big, The Musical is so exuberantly gifted, it gives you the helium high of a balloon flight... it worked as a movie. It works as a show” —New York Times

™

Book by John Weidman Music by David Shire Lyrics by Richard Maltby, Jr. Act 1: 8 scenes

Act 2: 7 scenes Cast

9 men, 5 women, 2 boys, 1 girl, chorus (including children)

Musical Numbers “Say Good Morning To Mom” “You’re A Big Boy Now” “The Time Of Your Life” “Fun” “Welcome To MacMillan Toys” “My Secretary’s In Love” “Let’s Not Move Too Fast” “Do You Want To Play Games?” “Stars” “Little Susan Lawrence” “Cross The Line” “It’s Time” “Dancing All The Time” “I Want To Know” “Coffee, Black” “The Real Thing” “Big” “We’re Gonna Be Fine”

Instrumentation Reed I (clarinet, alto sax, flute, piccolo) Reed II (clarinet, tenor sax, flute, oboe, English horn) Reed III (clarinet, alto sax, baritone sax,

Horn II Trombone I Trombone II Guitar Bass Drums Percussion Keyboard I Keyboard II Piano-conductor

bass clarinet, bassoon, Eb clarinet, flute)

Reed IV (clarinet, tenor sax, bass clarinet, flute) Reed V (bass sax, bassoon, clarinet) Trumpet I Trumpet II Trumpet III Horn I

he 1987 hit movie bursts onstage in this vibrant, funny and touching musical. When frustrated adolescent Josh Baskin wishes he were “big” and wakes up the next morning a 30-year-old man, he discovers there’s much more to being an adult than he’d bargained for— and learns we must all grow up at our own pace, in our own time. A witty, moving, insightful book by John Weidman (Pacific Overtures, Assassins) and a dazzling, energetic, heartfelt, contemporary score by David Shire and Richard Maltby, Jr. (Baby, Starting Here, Starting Now, Closer Than Ever) make this already classic motion picture fantasy an unforgettable theatrical experience. Fresh, up-to-date, relevant, and featuring one of the most irresistible leading male roles ever, big, The Musical holds

Theatrical Resources

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“A great, old fashioned musical” —Ginny Winsor, Omaha Community Playhouse

“A terrific teaching tool… our students interviewed their grandparents and found how much the 1920s were like the present times” —Pam Ware, Gainesville High School

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Book, Music & Lyrics by Sandy Wilson Three acts: one scene each Cast 8 men, 8 women (may be expanded)

Musical Numbers “Perfect Young Ladies” “The Boy Friend” “Won’t You Charleston With Me?” “Fancy Forgetting” “I Could Be Happy With You” “Sur La Plage” “A Room In Bloomsbury” “The You–Don’t–Want–To–Play–With–Me Blues” “Safety In Numbers” “The Riviera” “It’s Never Too Late To Fall In Love” “Poor Little Pierrette” “Nicer In Nice”

Instrumentation Reed I (clarinet, alto sax, soprano sax) Reed II (clarinet, alto sax, soprano sax, baritone sax) Reed III (clarinet, tenor sax, bass clarinet, bass sax, soprano sax)

Trumpets I & II

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Trombone Percussion Violins A-B [2] Bass Banjo (Doubles Guitar) Piano–conductor

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he Jazz Age lives on in this light, romantic spoof of 1920s musical comedy.

The setting is — where else? — the French Riviera. Polly, an English heiress attending Mme. Dubonnet’s Finishing School, falls in love with Tony, a delivery boy. Recalling her father’s warning to beware fortune seekers, she poses as a working girl, unaware Tony is in fact the missing son of the wealthy Lord Brockhurst. Things get complicated with the unexpected arrival in Nice of Polly’s parents and Lord and Lady Brockhurst—but not to worry, a happy ending is in store for all. The show’s many memorable roles include the flirtatious Mme. Dubonnet, her boycrazy students and Polly (the role which turned Julie Andrews into an overnight sensation), making it ideal for theatre groups with a strong female ensemble. With its catchy tunes, period dances (including the inevitable Charleston) and winning sense of humor, The Boy Friend is a sparkling, tongue-in-cheek 1920s romp in the spirit of No, No, Nanette and Thoroughly Modern Millie.

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“Wonderful and comical... a piece our students could relate to” —Dennis Smith, Southern Oregon State College

eaturing a legendary score by Leonard Bernstein, Candide is perhaps the most oft-revived of the classic cult musicals. Part sophisticated operetta, part wacky screwball comedy with shades of Monty Python, this funny, irreverent satire is the perfect musical expression of Voltaire’s tongue-in-cheek send-up of optimistic philosophies.

The 1973 Broadway Revival

Music by Leonard Bernstein Book Adapted from Voltaire by Hugh Wheeler Lyrics by Richard Wilbur With Additional Lyrics by Stephen Sondheim & John Latouche One act: unit set Cast 3 male principals, 3 female principals, chorus doubling/tripling 50 additional characters

Musical Numbers “Life Is Happiness Indeed” “The Best Of All Possible Worlds” “Oh Happy We” “It Must Be So” “O Miserere” “Glitter And Be Gay” “Auto Da Fe” “This World” “You Were Dead You Know” “I Am Easily Assimilated” “My Love” “Alleluia” “Sheep’s Song” “Bon Voyage” “Make Our Garden Grow”

Instrumentation Reed I (flute, piccolo, recorder, Bb clarinet) Reed II (Bb clarinet, Bb bass clarinet, soprano sax) Reed III (Bb clarinet, oboe, bassoon) Trumpet I & II (flugelhorn) Trombone Violin Viola

Cello Bass Piano Electric Keyboard (RMI) Percussion Piano-vocal

In one lightning-paced act, the hapless bastard cousin Candide is expelled from home, drafted into the Bulgarian army, brought before the Spanish Inquisition, swindled out of a fortune, shipwrecked on a desert isle, and separated time and again from his true love Cunegonde, who bears with remarkable dignity a variety of carnal besmirchments by almost everybody. Through it all, Candide remembers the lesson of his dear master Dr. Pangloss: that “everything is for the best in this best of all possible worlds.” With its wicked sense of humor and challenging musical score, Candide is equally at home in community theatres or opera houses. The set can be as simple or as grand as desired. Likewise, the cast can be large or small, depending on the doubling of roles. Every role, from large to small, is a gem, and the melodic, energetic score is one to savor.

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NEW ACQU ISITIO N!

S The 1999 Royal National Version

Music by Leonard Bernstein Book Adapted from Voltaire by Hugh Wheeler New Version by John Caird Lyrics by Richard Wilbur With Additional Lyrics by Stephen Sondheim, John Latouche, Lillian Hellman, Dorothy Parker and Leonard Bernstein Act 1:1 act 1 6 scenes

Act 2: 7 scenes: one scene each Cast

3 male principals, 3 female principals, chorus doubling/tripling 50 additional characters

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“Life Is Happiness Indeed” “The Best Of All Possible Worlds” “Universal Good” “Oh Happy We” “It Must Be So” “Candide’s Lament“ “Dear Boy” “Paris Waltz” “Glitter And Be Gay” “Auto Da Fe” “You Were Dead, You Know” “I Am Easily Assimilated” “Quartet Finale” “We Are Women” “My Love” “Alleluia” “Ballad Of Eldorado” “Bon Voyage” “It Must Be Me” “Words, Words, Words” “Quiet” “Money, Money, Money” “The Venice Gavotte” “Nothing More Than This” “What’s The Use” “King’s Barcarolle” “Universal Good” “Make Our Garden Grow”

Instrumentation Reed I (flute, piccolo, clarinet) Reed II (clarinet, Eb clarinet) Reed III (oboe, oboe d’amore, cor anglais) Reed IV (clarinet, bass clarinet, flute) Reed V (bassoon) Horn Trumpet/Flugelhorn

Trombone Violin Viola Cello Double Bass Keyboard Percussion

ince it’s successful 1973 Broadway revival, Candide has had many productions in both theatres and opera houses. The 1973 revival brought new audiences to this masterpiece in an intimate, quickly paced one-act version with the emphasis on comedy and characterization. In subsequent productions, elements of the original 1953 version, along with songs that had been dropped, rewritten or reconceived were added or altered in an effort to create “the best of all possible” Candides.

In 1999, John Caird adapted and revised Candide for the Royal National Theatre. His adaptation expands on the one-act 1973 version, adding characters, rearranging scenes and putting back songs that had been lost along the way. Richard Wilbur, who wrote most of the original lyrics for the show, contributed new lyrics and Mr. Caird went back to the original source material, Voltaire’s masterpiece of satire, to give this new Candide additional spice, creating a Candide that zings and sings - and does so gloriously!

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“American musical theatre’s best kept secret that needs to be unleashed” —Roy Miller, The Paper Mill Playhouse

“Our most successful show in 25 years… incredible audience appeal” —Lou Volpe, Harry S. Truman High School

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“Among Biblical-inspired, rockinfluenced musicals, this one might be the best” —Los Angeles Times

rom Stephen Schwartz (Godspell and Pippin) and John Caird (Les Misérables and Jane Eyre) comes a joyous and inspirational musical about parents, children and faith… not to mention centuries of unresolved family business!

Music and Lyrics by Stephen Schwartz Book by John Caird Two acts: unit set Cast 5 men, 4 women, 2 boys, chorus (8, may be expanded)

Musical Numbers “Let There Be” “Perfect” “The Tree Of Knowledge” “The Naming” “Grateful Children” “Father’s Day” “The Spark Of Creation” “In Pursuit Of Excellence” “The End Of A Perfect Day” “Childhood’s End” “A World Without You” “The Expulsion” “The Wasteland” “Wilderness Family” “Lost In The Wilderness” “Close To Home” “A Ring Of Stones” “Clash Of The Generations” “Death Of Abel” “The Mark Of Cain” “Children Of Eden” “Generations” “The Gathering Storm” “A Piece Of Eight” “Blind Obedience” “The Return Of The Animals” “Stranger To The Rain” “In Whatever Time We Have” “The Flood” “What Is He Waiting For?” “Sailor Of The Skies” “The Hardest Part Of Love” “Words Of Doom” “Ain’t It Good?” “In The Beginning”

Instrumentation

woodwinds and horn)

Reed I (flute, piccolo, clarinet, alto sax) Reed II (clarinet, bass clarinet, tenor sax, *alto recorder)

Reed III (oboe, English horn, *clarinet, *tenor sax) Keyboard I (piano, synthesizer) Keyboard II (synthesizer) Keyboard III (synthesizer, may be used to cover Piano-conductor

Horn Guitar I (electric, acoustic, mandolin) Guitar II (electric, acoustic) Drums Percussion Cello Bass

*optional

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Freely based on the story of Genesis, Children Of Eden is a frank, heartfelt and often humorous examination of the age-old conflict between parents and children. Adam, Eve, Noah and the “Father” who created them deal with the headstrong, cataclysmic actions of their respective children. The show ultimately delivers a bittersweet but inspiring message: that “the hardest part of love… is letting go.” A deeply humanistic work, Children Of Eden appeals to both religious and nonreligious audiences, making it an ideal choice for any organization with a broad audience base. Created with modest production requirements in mind, the show is equally at home in black-box theatres and on large proscenium stages. The melodic, energetic score is a mix of pop, folk, rock, reggae, gospel, Broadway and powerful choral moments.

BACKSTAGE BABBLE • The acclaimed Paper Mill Playhouse production of Children Of Eden (which was compared favorably in the press to The Lion King) used several children in the chorus, who played many of the animals by means of puppetry, costumes and masks, to great effect.

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harles Dickens' classic gets the full Broadway treatment in Alan Menken’s-Lynn Ahrens’-Mike Okrent's adaptation of A Christmas Carol. This is the version that has New Yorkers and tourists alike gasping in wonder and merriment every year as the story unfolds on the stage at Madison Square Garden. Alan Menken (Little Shop Of Horrors) and Lynn Ahrens (Ragtime The Musical, Once On This Island) have collaborated on a score that is filled with beautiful melody and emotional lyrics. Their song "A Place Called Home" has become a holiday standard.

Music by Alan Menken Lyrics by Lynn Ahrens Book by Mike Ockrent & Lynn Ahrens Based on the story by Charles Dickens One act: 13 scenes (may be performed in Two Acts) Cast 13 men, 10 women, 2 boys, 1 girl, chorus

Musical Numbers “A Jolly Good Time” “Nothing To Do With Me” “You Mean More To Me” “Link By Link” “The Lights Of Long Ago” “God Bless Us Everyone” “A Place Called Home” “Fezziwig’s Annual Christmas Ball” “Abundance And Charity” “Christmas Together” “Dancing On Your Grave” “Yesterday” “Tomorrow And Today” “London Town Carol” “God Bless Us Everyone” (Finale)

Instrumentation* Reed I Reed II Reed III Reed IV Reed V Horn Trumpet I & II Trumpet III Trombone I & II Violin A-C

Violin B-D Viola I & II Cello Bass Drums Percussion Harp Keyboard 1 Keyboard 2

While the Madison Square Garden staging contains spectacular special effects and scenic elements, A Christmas Carol can be equally effective on a more intimate scale. The book by Mike Okrent and Lynn Ahrens is character-driven, and all of the featured roles are developed to give performers many chances to shine. Of course, at the center of the piece is Ebenezer Scrooge himself, taken from the pages of Dickens' immor tal tale and delivered full-blown in a role suitable for your local star. There are many adaptations of A Christmas Carol out there, but only one Broadway version! Now this holiday treat can delight your audiences as it has annually in New York City for so many years.

*Instrumentation may be revised upon release

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“A ground-breaking show for our theatre... this production gave us a new reputation for producing innovative, modern theatre” —Kathleen Wood, Desert Opera Theatre

“We had a huge success… people returned to see it more than once” —Lester Malizia, Seaside Music Theatre

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Music and Lyrics by Stephen Sondheim Book by George Furth Act 1: 6 scenes Act 2: 5 scenes unit set Cast 6 men, 8 women

Musical Numbers “Company” “The Little Things You Do Together” “Sorry–Grateful” “You Could Drive A Person Crazy” “Have I Got A Girl For You” “Someone Is Waiting” “Another Hundred People” “Getting Married Today” “Marry Me A Little” “Side By Side By Side”” “Poor Baby” “Barcelona” “The Ladies Who Lunch” “Being Alive”

Instrumentation (1995 revival) Reed I (alto sax, flute, alto flute, piccolo, clarinet,

*Viola *Cello Percussion Bass Keyboard I (Piano-vocal) Keyboard II (synthesizer)

Eb clarinet)

Reed II (tenor sax, clarinet, oboe, English horn) Reed III (bassoon, baritone sax, clarinet, bass clarinet) Trumpet Trombone *Violin *optional

1970’s Original Broadway Orchestration available. For details please contact your Licensing Representative.

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he clashing sounds and pulsing rhythms of New York City underscore this landmark “concept” show, considered by many to have inaugurated the moder n era of musical theatre. Company follows our anti–hero bachelor Robert as he makes his way through a series of encounters with April (the stewardess), Kathy (the girl who’s going to marr y someone else), Marta (the “peculiar” one), as well as with his married friends. On the night of his 35th bir thday, confirmed bachelor Robert contemplates his unmarried state. In vignette after hilarious vignette, we are introduced to “those good and crazy people,” his married friends, as Rober t weighs the pros and cons of married life. In the end, he realizes being alone is “alone, not alive.” An honest, witty, sophisticated look at relationships, Company is as contemporary and relevant as ever (witness the recent hit revivals on Broadway and the West End). It features a brilliant energetic score containing many of Sondheim’s bestknown songs (including “Another Hundred People,” “The Ladies Who Lunch” and “Being Alive”) and an ensemble of quirky, memorable Woody Allen-esque characters which doubles as the show’s chorus. This, in addition to the unit set and modest orchestra size, makes Company a great show for intimate stages or groups with a limited budget.

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“All American... a great, rousing crowd-pleaser” —Kathy Brombacher, Moonlight Amphitheatre

“Devilishly good fun... a score that hits a real grand-slam” —Steve Isaacson, Davis Music Theatre Company

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Book by George Abbott and Douglass Wallop Music and Lyrics by Richard Adler and Jerry Ross Based on the Novel by Douglass Wallop, The Year The Yankees Lost the Pennant Act 1: 10 scenes

Act 2: 11 scenes Cast

18 men, 6 women, chorus

Musical Numbers “Six Months Out Of Every Year” “Goodbye, Old Girl” “Heart” “Shoeless Joe From Hannibal, MO” “A Man Doesn’t Know” “A Little Brains, A Little Talent” “Whatever Lola Wants” “Who’s Got The Pain” “The Game” “Near To You” “Those Were The Good Old Days” “Two Lost Souls”

Instrumentation (original) Reed I (clarinet, flute, piccolo, alto sax) Reed II (alto sax, clarinet, flute or piccolo) Reed III (clarinet, tenor sax, oboe, English horn) Reed IV (tenor sax, bass clarinet, bassoon) Reed V (baritone sax, clarinet, bassoon, bass clarinet) Trumpets I & II Trumpet III Trombone I

Trombone II Trombone III Horn Violins A–C [2] Violins B–D [2] Viola Cello Guitar Bass Percussion

Piano-vocal

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aust meets professional baseball in this Broadway classic from the creators of The Pajama Game.

Middle-aged baseball fanatic Joe Boyd trades his soul to the Devil (the charming but devious Mr. Applegate) for a chance to lead his favorite team to victory in the pennant race against the New York Yankees. As young baseball sensation Joe Hardy, he transfor ms the hapless Washington Senators into a winning team, only to realize the true worth of the life (and wife) he’s left behind. With the help of a handy escape clause and a guilt-ridden temptress named Lola, Joe outsmar ts Applegate, returns to his former self and shepherds the Senators to the World Series. Light, fast-paced and devilishly clever, Damn Yankees is a home-run hit whose all-American subject matter and irreverent sense of humor have brought many a sports fan into the theatre. In addition to its many strong male roles, the show features a scene-stealing role in Lola (originally played by a relatively unknown Gwen Verdon), plenty of opportunities for dance (which may be replaced by simple movement), and a catchy score filled with rousing production numbers and popular favorites like “Heart” and “Whatever Lola Wants”.

BACKSTAGE BABBLE • The cast album for Damn Yankees originally featured Gwen Verdon in a baseball shirt, against a green background. It was quickly replaced with another cover showing Verdon in her skimpy Lola costume on a red background. Record sales skyrocketed, and the show’s poster

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“A musical menagerie of marvels...” —London Guardian

“This is a sure-fire hit” —London Tonight

Book, Music and Lyrics by Leslie Bricusse Based on the “Doctor Dolittle” Stories by Hugh Lofting Act 1: 10 scenes

Act 2: 5 scenes

Cast 6 men, 2 women, large chorus

Musical Numbers “Talk To The Animals” “My Friend The Doctor” “The Vegetarian” “At The Crossroads” “Doctor Dolittle” “I’ve Never Seen Anything Like It” “When I Look Into Your Eyes” “Like Animals” “After Today” “Fabulous Places” “Where Are The Words?” “Save The Animals” “Something In Your Smile” “The Voice Of Protest” Reed I (Flute) Reed II (Clarinet) Reed III (Oboe) Reed IV (Bassoon) Trumpet Trombone Horn Violin I & II Viola

Instrumentation*

Cello Harp Bass Drums Percussion Keyboard I Keyboard II Keyboard III Piano-conductor

*Instrumentation may be revised upon release

The classic tale of kindness to animals and animal kindnesses trots, crawls and flies onto the stage in a big Broadway-sized family musical. All of the characters (human and animal) we've come to love through the stories of Hugh Lofting and the magical movie musical are given new life in the stage version of Doctor Dolittle. Academy Award-winning songwriter Leslie Bricusse, has adapted his screenplay and score for the stage and created a show that appeals to children and adults alike. He has created a world near enough to reality that makes taking a flight of fancy on a giant lunar moth seem entirely possible and makes "talking to the animals" seem positively normal. It’s a story that takes the audience on a journey from the small English village of Puddleby-in-the-Marsh to the far corners of the world in its desire to entertain and amaze. Staged to great success in a lavish London production using animatronics developed by Jim Henson's Creature Shop, the wonderful thing about this musical version of Doctor Dolittle is that it can also be staged very simply to great effect. Perhaps that's because at its heart is a timeless lesson teaching us to respect all of the creatures of the world.

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O VAT I O N S “A shot in the arm... it brought in a young crowd to an established, older theatre” —Larry Roberts, Savannah Theatre Company

“Fame brings audiences to their feet and lets them leave the theatre whistling the catchy melodies. This version of the musical should live a long time— if not forever!” —The Baltimore Sun

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Conceived and Developed by David De Silva Book by Jose Fernandez Lyrics by Jacques Levy Music by Steve Margoshes Title Song “Fame” Written by Dean Pitchford and Michael Gore Two acts: unit set Cast The Students: 5 men, 5 women, 8 chorus (may be expanded) The Teachers: 2 men, 2 women

Musical Numbers “Hard Work” “I Want To Make Magic” “Can’t Keep It Down” “Tyrone’s Rap” “There She Goes/Fame” “Let’s Play A Love Scene” “Bring On Tomorrow” “The Teacher’s Argument” “Mabel’s Prayer” “Think of Meryl Streep” “Dancin’ On The Sidewalk” “These Are My Children” “In L.A.” Reed

Instrumentation (alto sax, tenor sax, soprano sax, clarinet, flute)

Trumpet Trombone Guitar Electric Bass

Drums Percussion Keyboard I/Conductor Keyboard II Piano-conductor

Theatrical Resources

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t is a global phenomenon. First came the hit motion picture, then the long-running television series. Today the screen sensation of the 1980s is the stage sensation that is destined to live forever. Now being performed on every continent in almost every language Fame—The Musical is proving to be timeless and universal in its appeal to ever y new generation. Set during the last years of New York City’s celebrated High School for the Performing Arts on 46th Street, Fame—The Musical is the bittersweet but ultimately inspiring story of a diverse group of students as they commit to four years of grueling artistic and academic work. With candor, humor and insight, the show explores the issues that confront many young people today: issues of prejudice, identity, self-worth, literacy, sexuality, substance abuse and perseverance. With its topical subject matter, multi-ethnic cast of actors, singers, dancers and instrumentalists and high-energy, contemporary pop score which includes the hit title song, Fame—The Musical is an ideal musical for high schools, colleges or any theatre with young performers or audiences.

BACKSTAGE BABBLE • There have been more than 4,000 performances from 300 productions in 16 countries of Fame — The Musical. • For his work in developing the film, television series and musical, David De Silva, the conceptualizer, is known affectionately world-wide as “Father

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“A SELL-OUT, every night of the run” —Jane Madolox, Gallery Players of Oregon

“An EXCELLENT choice for our theatre... it’s form allows for a lot of artistic expression” —Tom Colonna, Dundalk Community Theatre

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“Set in a circus atmosphere, the expanded version worked beautifully for us” —Suzy Willhoft, Stadium High School

Book and Lyrics by Tom Jones Music by Harvey Schmidt Two acts: unit set Cast 6–7 men, 1–2 women (chorus with expanded version)

Musical Numbers “Try To Remember” “Much More” “Metaphor” “Never Say No” “It Depends On What You Pay”* “Soon It’s Gonna Rain” “Abduction Ballet” “Happy Ending” “This Plum Is Too Ripe” “I Can See It” “Plant A Radish” “Round And Round” “They Were You” *revised lyrics available

Optional Numbers “Abductions” “This Is The Perfect Time (To Be In Love)”

Instrumentation Harp Bass

Original Orchestration

Percussion Piano-vocal

Large Orchestration Percussion (triangle, timpani, glockenspiel, bells, chimes, Reed I (piccolo, flute, clarinet, alto sax) wood block, tambourine, castanets, finger cymbals, bell Reed II (oboe, English horn) tree, Reed III (clarinet, flute, bass clarinet, piccolo) wind chimes) Horn Violin I Trumpet I Violin II Trumpet II Viola Trombone I Cello Trombone II Bass Keyboard I Piano-conductor Keyboard II

alk about a time-proven audiencepleaser! “Try to Remember” a time when this romantic charmer wasn’t enchanting audiences at New York’s Sullivan Street Playhouse. The Fantasticks is the longest-running musical in the world, and with good reason: at the heart of its breathtaking poetry and subtle theatrical sophistication is a purity and simplicity that transcends cultural barriers. The result is a timeless fable of love that manages to be nostalgic and universal at the same time. With its minimal costumes, small band and virtually non-existent set, The Fantasticks is an intimate show which may be performed in virtually any space, engaging the audience’s imagination and showcasing a strong ensemble cast. Its moving tale of young lovers who become disillusioned, only to discover a more mature, meaningful love is punctuated by a bountiful series of catchy, memorable songs, many of which have become

BACKSTAGE BABBLE • The Fantasticks was originally called Joy Comes To Dead Horse and featured two families, one Mexican, one Caucasian, living on adjoining ranches. • The Fantasticks was shown on television as part of the Hallmark Hall of Fame series on October 18, 1964, with a cast that included Ricardo Montalban, John Davidson, Susan Watson, Bert

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“A musical with great depth of story and character... it moves and touches everyone involved” —Gail Steele, Theatre At The Mount,

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Mount Wachusett Community College

“Our highest grossing show in 65 years” —Whit Andrews, Little Theatre of Winston-Salem

“One of the greatest musical comedies of our era” —Newsweek Magazine

Based on Sholem Aleichem stories by special permission of Arnold Perl Book by Joseph Stein Music by Jerry Bock Lyrics by Sheldon Harnick Entire Production Directed & Choreographed by Jerome Robbins Act 1: 9 scenes

Act 2: 8 scenes Cast

12 men, 10 women, chorus

Musical Numbers “Tradition” “Matchmaker” “If I Were A Rich Man” “Sabbath Prayer” “To Life” “Tevye’s Monologue” “Miracle Of Miracles” “The Dream” “Sunrise, Sunset” “Now I Have Everything” “Tevye’s Rebuttal” “Do You Love Me?” “The Rumor” “Far From The Home I Love” “Chava Sequence” “Anatevka”

Instrumentation Violins A–B–C (solo violin plays top line) [2] *Viola *Cello Bass Accordion *Guitar Percussion Piano-vocal

Reed I (flute, piccolo) Reed II (clarinet) Reed III (clarinet, bass clarinet) *Reed IV (bassoon) *Reed V (oboe, English horn) Trumpets I & II *Trumpet III Trombone *Horn

*may be eliminated

Broadway Junior Version Available Theatrical Resources

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n the little village of Anatevka, Tevye, a poor dairyman, tries to instill in his five daughters the traditions of his tight-knit Jewish community in the face of changing social mores and the growing anti-Semitism of Czarist Russia. Rich in historical and ethnic detail, Fiddler On The Roof has touched audiences around the world with its humor, warmth and honesty. Its universal theme of tradition cuts across barriers of race, class, nationality and religion, leaving audiences crying tears of laughter, joy and sadness. The show features a star turn in Tevye, among the most memorable roles in musical theatre. Original director/choreographer Jerome Robbins’ staging is legendary and available from MTI in a comprehensive choreographic guide. Its celebrated score by Jerry Bock and Sheldon Harnick features songs loved the world over: “Sunrise, Sunset,” “If I Were A Rich Man” and “Matchmaker,” to name a few. Fiddler On The Roof is simply Broadway at its very best.

BACKSTAGE BABBLE • “The Violinist,” a painting by Russian artist Marc Chagall (1887-1985), depicting a fiddler on the roof of a small house, gave the

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I N T E R N AT I O N A L “A smash-hit that leaves everyone who sees it with a warm feeling” —Mary Doveton, Lawrence Community theatre

ne of the most popular and successful musicals in recent memor y, this deliciously goofy revue centers on four young, eager male singers, killed in a car crash in the 1950s on the way to their first big concert, and now miraculously revived for the posthumous chance to fulfill their dreams and perform the show that never was.

Written and Originally Directed and Choreographed by Stuart Ross Musical Continuity Supervision and Arrangements by James Raitt One act Cast 4 men

Musical Numbers “Deus Ex Plaid” “Three Coins In The Fountain” “Gotta Be This Or That” “Undecided” “Moments To Remember” “Crazy ‘Bout Ya Baby” “No Not Much” “Perfidia” “Cry” “Sixteen Tons/Chain Gang” “The Catering Drill/She Loves You” “The Golden Cardigan” “Catch A Falling Star” “Caribbean Plaid” ”Heart And Soul” “Mercury” “Lady Of Spain” “Scotland The Brave” “Shangri–La/Rags To Riches” “Love Is A Many Splendored Thing”

Instrumentation Piano Bass Piano-conductor

Singing in the closest of harmony, squabbling boyishly over the smallest intonations and executing their charmingly outlandish choreography with over-zealous precision, the “Plaids” are a guaranteed smash, with a program of beloved songs and delightful patter that keeps audiences rolling in the aisles when they’re not humming along to some of the great nostalgic pop hits of the ’50s. With a modest production size (a piano, bass, four microphones and little else), this theatrical morsel succeeds on the basis of clever musical arrangements, a young ensemble cast with strong rapport, and a solid understanding of the “Plaid” style, courtesy of a comprehensive staging guide written by conceiver and director Stuart Ross that shows how to make four naïve kids into an international sensation!

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orever Plaid has become a huge hit around the world and a favorite among audiences ever ywhere. Community Theatres have come to love the four-character show that is easy to produce and always elicits a great audience response. Now for the High School market comes a show that manages to be old and new all at the same time: The Sounds Of Plaid. Building upon the characters and songs from Forever Plaid, The Sounds Of Plaid features a flexible cast size made up of both male and female performers.

Written and Originally Directed and Choreographed by Stuart Ross Musical Continuity Supervision and Arrangements by James Raitt Two acts Cast

8 males, 8 females, may be expanded

Musical Numbers*

“Anniversary Song” “Catch A Falling Star” “Chain Gang” “Come On A My House” “Crazy ‘Bout Ya Baby” “Cry” “Day O” “Dream Along With Me” “Gotta Be This Or That” ”Heart And Soul” “Hey There” “Jamaica Farewell” “Kingston Market” “Lady Of Spain” “Love Is A Many Splendored Thing” “Magic Moments” “Mambo Italiano“ “Matilda” “Moments To Remember” “No, Not Much” “Papa Love Mambo” “Perfidia” “Rags To Riches” “Round And Round” “Sh’Boom” “Shangri–La” “She Love You” “Sing To Me Mr. C” “Sixteen Tons” “Temptation” “Theme From The Good, The Bad, And The Ugly” “Three Coins In The Fountain” “Undecided”

Instrumentation* Piano Bass Piano-conductor

The premise of The Sounds Of Plaid is similar to Forever Plaid: In 1960s America, friends who met in the audiovisual club form a student choral group. When they discover that their high school music program was going to be cut from the curriculum, they decide to do a benefit to raise money. On the way to pick up their custom made plaid tuxedos and skirts, their bus is struck by lightning. Although The Sounds Of Plaid are taken from this planet, through the Power of Harmony and the Expanding Holes in the Ozone Layer (and other astro-technical stuff) they are allowed to come back to perform the show they never got to do in life. Featuring classic songs and warm funny characters, The Sounds Of Plaid is a great new twist on a familiar favorite, and a perfect choice for a theatre looking to do a “big, little show.”

*Musical Numbers and Instrumentation may be revised upon release

Theatrical Resources

Two Acts Cast: 4 men

Forever Plaid: Plaid Tidings is a brand-new show that offers the best of Forever Plaid tied-up in a nifty package with a big Christmas bow on top! Filled with Christmas standards that have all been “Plaid-erized,” our boys are back to do their Christmas Special. At first they aren’t sure why they’ve returned, but a phone call from the heavenly Rosemary Clooney lets them know that they’re needed to put a little harmony into a discordant world. Sprinkled among the Christmas offerings are audience favorites like their riotous three minute and eleven second version of “The Ed Sullivan Show” - this time featuring the Rockettes, the Chipmunks and The Vienna Boys Choir, and a Plaid Caribbean Christmas which puts the “Day-O” in Excelsis! This is one holiday treat that is truly “heaven-sent!”

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"It's a blockbuster! David Yazbek's music and lyrics work like a charm" -Clive Barnes New York Post " Memory-grabbing melodies, outlandish lyrics..." -Ben Brantley The New York Times

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Music and Lyrics by David Yazbek Book by Terrence McNally Based on the Motion Picture Released by Fox Searchlight Pictures and Written by Simon Beaufoy Two acts Cast 13 men, 7 women, 1 boy

Musical Numbers “Scrap” “It’s A Woman’s World” “Man” “Big-Ass Rock” “Life With Harold” “Big Black Man” “You Rule My World” “Michael Jordan’s Ball” “Jeanette’s Showbiz Number” “Breeze Off the River” “The Goods” “You Walk With Me” “Let It Go”

Instrumentation Reed I Reed II Trumpet I Trumpet II Trombone I Trombone II

Piano Keyboard Drums Percussion Guitar Bass

Theatrical Resources

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eeing how much their wives enjoy watching male strippers during their "girls' night out," unemployed steelworkers in Buffalo, New York come up with a bold way to make some quick cash. In the process, they find renewed selfesteem, the importance of friendship and the ability to have fun. As the guys work through their fears, selfconsciousness, feelings of worthlessness and anxieties (over everything from being overweight to child custody, bigotry to being gay), they come to discover that not only are they stronger as a group, but that the strength they find in each other gives them the individual courage to face their demons and overcome them.

There is great heart to THE FULL MONTY, and the ultimate themes expressed in the show – about taking charge of one's life and following one's dreams – are great lessons for all of us. And truth be told, through creative directing and staging, the final impact of "The Full Monty" can be achieved without ever losing your jockey shorts!

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O VAT I O N S “A vaudevillian romp through ancient Greece” —Steve Isaacson, Davis Musical Theatre

“A huge audience pleaser... the most popular show we’ve had” —Marty Van Kleeck, Granbury Opera House

“Even the rehearsals had us rolling in the aisles” —Jennifer Jenkins, Theatre Arts Guild, Georgia Perimeter College

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Book by Burt Shevelove and Larry Gelbart Music and Lyrics by Stephen Sondheim Two acts: unit set Cast 11 men, 7 women

Musical Numbers “Comedy Tonight” “Love, I Hear” “Free” “The House Of Marcus Lycus” “Lovely” “Pretty Little Picture” “Everybody Ought To Have A Maid” “I’m Calm” “Impossible” “Bring Me My Bride” “That Dirty Old Man” “That’ll Show Him” “Funeral Sequence”

Instrumentation Reed I (clarinet, flute, piccolo, alto sax) Reed II (clarinet, alto sax) Reed III (clarinet, tenor sax) Reed IV (bass clarinet, baritone sax,

*Trombone III *Violins A–B–C [2] *Viola *Cello Bass *Harp Percussion Piano-vocal

clarinet)

*Reed V (flute, piccolo, clarinet) Trumpets I & II *Trumpet III Trombone I *Trombone II *may be eliminated

Theatrical Resources

ragedy tomorrow, comedy tonight!” Broadway’s greatest farce is light, fastpaced, witty, irreverent and one of the funniest musicals ever written — the perfect escape from life’s troubles. A Funny Thing Happened On The Way To The Forum takes comedy back to its roots, combining situations from time-tested, 2000–year-old comedies of Roman playwright Plautus with the infectious energy of classic vaudeville. The result is a non-stop laugh-fest in which a crafty slave (Pseudolus) struggles to win the hand of a beautiful but slow-witted courtesan (Philia) for his young master (Hero), in exchange for freedom. With its unforgettable zany characters, a hysterical, perfectly constructed book by Larry Gelbart (of MASH and City Of Angels fame) and Burt Shevelove, and witty Stephen Sondheim songs which are modest in their vocal demands, A Funny Thing Happened On The Way To The Forum allows a brilliant ensemble of comedic actors to shine. (The lead role of Pseudolus is one of the theatre’s greatest roles — a tour de force for a clown par excellence.) And as if that weren’t enough, its simple unit set makes A Funny Thing Happened On The Way To The Forum one of the easiest

BACKSTAGE BABBLE • The part of Pseudolus was originally written with Phil Silvers in mind. When he turned down the role, it was offered to Milton Berle and finally to Zero Mostel, who created one of the most legendary characters of his career. • Every actor who has ever played Pseudolus on Broadway (not counting

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"A Hit, A big, big Hit. GODSPELL believes in God — and people — and possibility" —The New York Post

"GODSPELL turns the theatre into a joyous palace" —Billboard

"It's marvelous… it says ‘love thy neighbor’ and it means it" —NBC-TV

Conceived and Originally Directed by John-Michael Tebelak Music and New Lyrics by Stephen Schwartz Originally Produced on the New York Stage by Edgar Lansbury/Stuart Duncan/Joseph Beruh Two acts: unit set Cast 6 men, 4 women (may be expanded)

Musical Numbers “Tower Of Babel” “Prepare Ye” “Save The People” “Day By Day” “Learn Your Lessons Well” “O, Bless The Lord” “All For The Best” “All Good Gifts” “Light Of The World” “Turn Back, O Man” “Alas For You” “By My Side” “We Beseech Thee” “Beautiful City”* “On The Willows” *optional song pack available

Instrumentation Guitar Bass Drums Piano-vocal

Broadway Junior Version Available

212-541-4684

onceived and originally directed by John Michael-Tebelak, with music and new lyrics by Stephen Schwartz, Godspell is one of the biggest off-Broadway and Broadway successes of all time.

Based on the Gospel According to St. Matthew, and featuring a sparkling, score by Stephen Schwartz, Godspell boasts a string of well-loved songs, led by the international hit, "Day By Day." As the cast perform "Prepare Ye The Way Of The Lord," "Learn Your Lessons Well," "All For The Best," "All Good Gifts," "Turn Back, O Man" and "By My Side," the parables of Jesus Christ come humanly and hearteningly to life. Drawing from various theatrical traditions, such as clowning, pantomime, charades, acrobatics and vaudeville, Godspell is a groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. Godspell can be performed virtually any where with the simplest of sets, costumes, lights and music. All you need is an ensemble of ten performers to bring the material to life.

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NEW ACQU ISITIO N! “Transforms a 1920’s realistic drama into an impressionistic musical fantasy” —Christian Science Monitor

“A kaleidoscopic world of movement, dance and visual elegance that magically unfolds before your eyes” —Wall Street Journal

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Book by Luther Davis Music and Lyrics by Robert Wright and George Forrest Based on Vicki Baum’s Grand Hotel Additional Music and Lyrics by Maury Yeston One act: 20 scenes unit set Cast 8 men, 4 women, chorus

Musical Numbers “The Grand Parade” “Some Have, Some Have Not” “As It Should Be” “At The Grand Hotel/Table With A View” “Maybe My Baby Loves Me” “Fire and Ice” “Villa On A Hill” “I Want to Go to Hollywood” “Everybody’s Doing It” “The Crooked Path” “As It Should Be” Who Couldn’t Dance With You” “No Encore” “Love Can’t Happen” “What You Need” “Bonjour Amour” “H-A-P-P-Y” “We’ll Take A Glass Together” “I Waltz Alone” “Roses At The Station” “How Can I Tell Her?” “As It Should Be” “Life Goes On” Reed I (clarinet, flute, alto sax, soprano sax) Reed II (alto sax, clarinet, flute) Reed III (clarinet, English horn, oboe, tenor sax) Reed IV (baritone sax, bass clarinet) Horn Trumpet I & II [2] Trumpet III Trombone I Trombone II

Keyboard I Keyboard II Percussion Drums Violin [2] Viola [2] Cello Bass Piano-conductor

Theatrical Resources

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2 1 2 - 5 4 1 - 4w6w8w4. M T I S h o w s . c o m

ome, spend a night or two in the world's most opulent, extravagant hotel. Perhaps you will find your fortune there, perhaps you will find true love, perhaps all of your dreams will come true…perhaps. . .

It is 1928. The world is between wars, the stock market is booming, Berlin is the center of high life, and optimism rules the day. Inspired by Viki Baum's period novel, book writer/playwright Luther Davis (Kismet, Timbuktu!) collaborated once again with the prolific, distinguished composer-lyricist team Robert Wright and George Forrest (Kismet, Timbuktu!, Magdelena, The Anastasia Affaire). Together, they created a seamless musical that boasts an engaging, non-stop book and a powerful score that is sure to sweep you away with all of the lavishness of the 1920s. The story, performed without an intermission, intertwines a cast of eccentric characters through a series of fateful encounters. Passing through the golden light and dark shadows of The Grand Hotel is the fading, still-beautiful Prima Ballerina; the charming young Baron, out of money, riding on his looks; the ambitious Hollywood hopeful; the mortally ill bookkeeper, meeting society before his grave; the honest, hardworking father-to-be; and the doctor, whose cynical tone foreshadows the looming Depression. Grand Hotel: The Musical richly contrasts comedy, tragedy, glitz, and realism and is sure to captivate both your actors and audiences.

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“A perfect classic with strong characters and humor” —Wayne Bryan, Music Theatre of Wichita

“Colorful characters and a bright score combine to make Guys And Dolls a celebration of the absolute best American musical theatre has to offer” —Diane McFarlin, Kaneland High School

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Based on a Story and Characters by Damon Runyon Music and Lyrics by Frank Loesser Book by Jo Swerling and Abe Burrows Act 1: 10 scenes

Act 2: 7 scenes

Cast 15 men, 4 women, chorus

Musical Numbers “Fugue For Tinhorns” “Follow The Fold” “The Oldest Established” “I’ll Know” “A Bushel And A Peck” “Adelaide’s Lament” “Guys And Dolls” “If I Were A Bell” “My Time Of Day” “I’ve Never Been In Love Before” “Take Back Your Mink” “More I Cannot Wish You” “Luck Be A Lady” “Sue Me” “Sit Down, You’re Rockin’ The Boat” “Marry The Man Today”

Instrumentation Reed I (flute, alto sax, clarinet, piccolo) Reed II (flute, alto sax, clarinet) Reed III (tenor sax, clarinet, oboe, English horn) Reed IV (tenor sax, clarinet) Reed V (baritone sax, bass clarinet) Trumpets I & II Trumpet III Trombone

Horn Violins A–C [2] Violins B–D [2] Cello Bass Percussion Piano-conductor Piano-vocal

Concert Version Available Broadway Junior Version Available Theatrical Resources

212-541-4684

et in Damon Runyon’s mythical New York City, this oddball romantic comedy — considered by many to be the perfect musical comedy — soars with the spirit of Broadway as it introduces us to a cast of vivid characters who have become legends in the canon: Sarah Brown, the upright but uptight “mission doll,” out to reform the evildoers of Times Square; Sky Masterson, the slick, highrolling gambler who woos her on a bet and ends up falling in love; Adelaide, the chronically ill nightclub performer whose condition is brought on by the fact she’s been engaged to the same man for 14 years; and Nathan Detroit, her devoted fiancé, desperate as always to find a spot for his infamous floating crap game. Everything works out in the end, thanks to the machinations of Abe Burrows and Jo Swerling’s hilarious, fast-paced book and Frank Loesser’s bright, brassy, immortal score, which take us from the heart of Times Square to the cafes of Havana, Cuba and even into the sewers of New York City. Funny and romantic, Guys And Dolls is ideal for audiences and performers of any age.

BACKSTAGE BABBLE • Kept from the wrestling team because of knee injury, a teen-age Tom Cruise auditioned and won the role of Nathan Detroit in his Glen Ridge, NJ high school production of Guys And Dolls, and so began his acting career. • The original production of Guys And Dolls got what might be the most unanimously ecstatic reviews in Broadway history. The year it opened,

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“A HUGE hit... very EXCITING... accessible to new audiences and a favorite of the regulars” —Ron Baumanis, Ann Arbor Civic Theatre

“A SPECTACULAR experience… the show sparkles” —Murray Chase, Venice Little Theatre

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Book by Abe Burrows, Jack Weinstock and Willie Gilbert Based on the Novel by Shepherd Mead Music and Lyrics by Frank Loesser Act 1: 14 scenes

Act 2: 10 scenes Cast

18 men, 8 women, chorus

Musical Numbers “How To Succeed” “Happy To Keep His Dinner Warm” “Coffee Break” “The Company Way” “A Secretary Is Not A Toy” “Been A Long Day” “Grand Old Ivy” “Paris Original” “Rosemary” “Cinderella, Darling” “Love From A Heart Of Gold” “I Believe In You” “Brotherhood of Man”

Instrumentation Reed I (piccolo, flute, alto flute, clarinet, alto sax) Reed II (oboe, alto sax, English horn, clarinet,) Reed III (clarinet, tenor sax, flute, piccolo) Reed IV (tenor sax, clarinet, bass clarinet) Reed V (baritone sax, clarinet, bass clarinet) Trumpets I & II Trumpet III Horn Trombone I Trombone II

Trombone III Violins A–B–C–D [2] Cello Bass Harp Guitar Percussion I & II [2] Piano-conductor Piano-vocal

Modified Orchestration (more difficult) Reed I (Eb clarinet, piccolo, flute, clarinet, alto sax) Reed II (oboe, alto sax, English horn, clarinet) Reed III (clarinet, tenor sax, flute, piccolo) Reed IV (tenor sax, clarinet, bass clarinet) Trumpet

Trombone Drums Bass Piano

ower, sex, ambition, greed… it’s just another day at the office.

From the authors of Guys And Dolls comes one of the most delightfully irreverent musicals of all time. A satire of big business and all it holds sacred, How To Succeed In Business Without Really Trying follows the rise of J. Pierrepont Finch, who uses a little handbook called “How to Succeed In Business Without Really Trying” to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant “company man,” the boss’ whiny, nepotistic nephew, the of fice par ty, backstabbing co-workers, caf feine addiction and, of course, true love. Guaranteed to appeal to anyone who has ever worked in an office, the show boasts a show-stealing star role in its antihero, quirky, memorable secondary characters, a catchy, witty score that’s bright, brassy and easy to learn and sing, and a wicked sense of humor that’s as biting, unforgiving and ontarget today as ever. Add to that an optional reduced orchestration and a scenic plot originally designed around simple, cartoonish sets, and you may find yourself mounting How To Succeed… without really trying!

Theatrical Resources

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“I Do! I Do! offers enormous opportunities to show what you can do from both an acting and directing perspective” —Gail Steele, Theatre At The Mount, Mount Wachusett Community College

“I Do! I Do! lends itself to great theatrical design and style” —Michael Fortner, Theatre Memphis

“At once amusing, astonishingly touching and truly endearing” —New York Post

Book and Lyrics by Tom Jones Music by Harvey Schmidt Based on The Fourposter by Jan de Hartog Act 1: 3 scenes

Act 2: 2 scenes Cast

1 man, 1 woman

Musical Numbers “All The Dearly Beloved” “Together Forever” “I Do! I Do!” “Goodnight” “I Love My Wife” “Something Has Happened” “The Waiting Room” “Love Isn’t Everything” “Nobody’s Perfect” “It’s A Well Known Fact” “Flaming Agnes” “The Honeymoon Is Over” “Where Are The Snows?” “My Cup Runneth Over” “When The Kids Get Married” “The Father Of The Bride” “What Is A Woman?” “Someone Needs Me” “Roll Up The Ribbons” “This House”

Instrumentation Reed I (flute, piccolo, clarinet) Reed II (flute, clarinet, bass clarinet) Reed III (clarinet, oboe, English horn) Reed IV (clarinet, bassoon) Trumpets I & II Trombone Horns I & II Violins [2]

Viola Cello Bass Percussion I & II Piano I Piano II Harp Piano-vocal

Duo Piano Version Available Theatrical Resources

212-541-4684

he story of a marriage is at the center of this intimate and nostalgic work by Harvey Schimdt and Tom Jones, the authors of The Fantasticks. The show begins with Michael and Agnes on their wedding day and traces their life together over a period of 50 years, until the day they leave their house to the next pair of newlyweds. In that time we watch them go through their wedding night jitters, raise a family, negotiate mid-life crises, quarrel, separate, reconcile and grow old together, all lovingly to the strains of a tuneful, charming score which includes the standard “My Cup Runneth Over.” I Do! I Do! is as universal as marriage itself, and far easier to mount! In addition to its minimal set and flexible orchestra size (from two pianos to full orchestra), the show boasts the smallest cast ever for a Broadway musical: two larger-than-life star roles, and no one else. I Do! I Do! delivers Broadway quality and universal appeal with minimal production requirements.

BACKSTAGE BABBLE • Mary Martin and Robert Preston starred in the original broadway production of I Do! I Do! Their “straight play” counterparts in The Fourposter had been real life married couple Jessica Tandy and Hume Cronyn. The movie version of The Fourposter starred real life married couple Lilli Palmer and Rex

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“Exciting, thrilling story-telling… outstanding music” —Dwight Martin, Manoa Valley Theatre

“Our third-highest grossing show since the theatre was founded in 1952” —Steven Antenucci, Theatre In The Round Players

“A show with many wonderful characters... a wonderful range of material from comedy to drama” —Debbie Carrick, Chapparral High School ™

Music and Lyrics by Stephen Sondheim Book by James Lapine Two acts: unit set Cast 7 men, 12 women

Musical Numbers “Into The Woods” “Hello, Little Girl” “I Guess This Is Goodbye” “Maybe They’re Magic” “I Know Things Now” “A Very Nice Prince” “Our Little World”* “Giants In The Sky” “Agony” “It Takes Two” “Stay With Me” “On The Steps Of The Palace” “Ever After” “So Happy” “Lament” “Any Moment” “Moments In The Woods” “Your Fault” “The Last Midnight” “No More” “No One Is Alone” “Children Will Listen” *optional

Instrumentation Flute/Piccolo Clarinet Bassoon Horn I & 2 Bb Trumpet C Trumpet/Piccolo Trumpet Percussion

Piano Synthesizer Violins I & II [2] Violas I & II [2] Cello Bass Piano–conductor

Broadway Junior Version Available Theatrical Resources

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n ambivalent Cinderella? A bloodthirsty Little Red Ridinghood? A Prince Charming with a roving eye? A Witch… who raps? They’re all among the cockeyed characters in James Lapine and Stephen Sondheim’s fractured fairy tale. When a Baker and his Wife learn they’ve been cursed with childlessness by the Witch next door, they embark on a quest for the special objects required to break the spell, swindling, lying to and stealing from Cinderella, Little Red, Rapunzel and Jack (the one who climbed the beanstalk). Everyone’s wish is granted at the end of Act One, but the consequences of their actions return to haunt them later, with disastrous results. What begins a lively irreverent fantasy in the style of The Princess Bride becomes a moving lesson about community responsibility and the stories we tell our children. With plenty of unforgettable roles, transpositions on demand and no chorus, Into The Woods is a great way to showcase a talented ensemble cast. And since the show’s emphasis is on character rather than spectacle, it is equally at home in large or intimate spaces. One of Sondheim’s most popular works, this timeless yet relevant piece is a rare modern classic.

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N ACQU EW ISITIO N! Pure Theatrical Joy —WCBS-TV

A Powerful, Absorbing Musical —Jeffrey Lyons, WNBC-TV

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Music and Lyrics by Paul Gordon Book and Additional Lyrics by John Caird Based on the Novel by Charlotte Bronte Two acts: unit set Cast 10 men, 17 women

Musical Numbers

“The Orphan” “Children Of God” “Forgiveness” “The Graveyard” “Sweet Liberty” “Secrets Of The House” “Perfectly Nice” “As Good As You” “Secret Soul” “The Finer Things” “The Pledge” “Sirens” “Things Beyond This Earth” “Painting Her Portrait” “In The Light Of The Virgin Morning” “The Gypsy” “The Proposal” “Slip Of A Girl” “Farewell, Good Angel” “My Maker” “Rain” “The Voice Across The Moors” “Poor Sister” “Brave Enough For Love”

Instrumentation Reed 1 (flute, recorder, piccolo, alto flute) Reed 2 (clarinet, bass clarinet) Reed 3 (oboe, English horn) Keyboard 1 Keyboard 2 Keyboard 3 Trumpet

Violin 1 Violin 2 Bass Cello Percussion 1 Percussion 2 Piano-vocal

Theatrical Resources

212-541-4684

ane Eyre is a haunting retelling of the Charlotte Bronte classic about an orphan girl who grows up to become the governess of Thornfield Hall. There she meets and falls in love with the enigmatic Edward Rochester, an Earl with a dark secret. Having overcome the obstacles brought on by an abusive childhood, the death of a childhood friend and the prejudice inherent in a relationship between two people socially worlds apart, Jane marries Rochester. Her wedding day is marred when she discovers his secret: he already has a wife, a half-crazed lunatic hidden in the attic. .Jane flees to her childhood home, to find that her aunt is dying. Jane finds she is able to forgive her aunt for the cruelties she suffered as a child, even when she discovers that the injustices shown her by her aunt and cousin far exceeded anything she had imagined in her years there. In her absolution of her aunt, and the realization that she is someone who can love and be loved in exchange, she returns to Thornfield Hill, only to discover it has burned to the ground. Rochester, in a futile attempt to save his wife from the fire, has been blinded. Jane and Rochester are married and, like a divine blessing, Rochester's sight partially returns so that he is able to see his first-born son. Filled with soaring melodies and a romantic lyricism uncommon in the modern Broadway musical, Jane Eyre is a sweeping love story, breath-taking in its scope and beauty.

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“Powerfully charismatic... torrents of surging melody” —Newark Star-Ledger

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Book and Lyrics by Leslie Bricusse Music by Frank Wildhorn Conceived for the Stage by Steve Cuden & Frank Wildhorn Act 1: 14 scenes

Act 2: 14 scenes Cast

11 men, 4 women, chorus

Musical Numbers

“Lost In The Darkness” “I Need To Know” “Façade” “Board Of Governors” “Pursue The Truth” “The Engagement Party” “Take Me As I Am” “Letting Go” “Bring On The Men” “This Is The Moment” “The Transformation” “Girls Of The Night” “Alive!” “His Work And Nothing More” “Sympathy, Tenderness” “Someone Like You” “Murder, Murder” “Once Upon A Dream” “Streak Of Madness” “In His Eyes” “No One Knows Who I Am” “Dangerous Game” “Angst 2” “A New Life” “Lucy’s Death” “The Confrontation” “The Wedding”

true musical theatre phenomenon, Jekyll & Hyde attracted legions of loyal fans even before the show began its smash-hit Broadway run. An evocative tale of the epic battle between good and evil, Jekyll & Hyde is based on Robert Louis Stevenson’s classic stor y about a brilliant doctor whose experiments with human personality create a murderous counterpart. Convinced the cure for his father’s mental illness lies in the separation of Man’s evil nature from his good, Dr. Henry Jekyll unwittingly unleashes his own dark side, wreaking havoc in the streets of late 19th-century London as the savage, maniacal Edward Hyde. Jekyll & Hyde is pure pulse-pounding theatre, with that same macabre combination of fun and fright that fuels such classics as Sweeney Todd and The Phantom Of The Opera, and a lush, romantic pop score that includes the hit songs “This Is The Moment” and “Someone Like You.” The show features a trio of starmaking roles in Dr. Jekyll, his sympathetic fiancee Emma and Lucy, the woman he rescues from a life of sin who later succumbs to the uncontrolled passions of Mr. Hyde.

Instrumentation Reed I (flute, alto flute) Reed II (oboe, English horn) Reed III (clarinet, bass clarinet, alto sax) Reed IV (bassoon) Trumpet Trombone Horn Violin I & II [2] Viola

Cello Bass Percussion I & II {2] Keyboard I Keyboard II Keyboard III Piano–conductor

• As Andrew Lloyd Webber did Sarah Brightman in The Phantom Of Opera, Frank Wildhorn tailored part of Lucy in Jekyll & Hyde to astonishing vocal pyrotechnics of

Theatrical Resources

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BACKSTAGE BABBLE • Jekyll & Hyde has inspired a dedicated following of self-proclaimed “Jekkies” to rival the fanatic fans of any sci-fi serial!

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CURRE RESTR NTLY ICTED Call fo r in nforma tion

“Theater just doesn’t get any better than this” —Miami Herald

A Musical by Alain Boublil and Claude–Michel Schönberg Lyrics by Herbert Kretzmer Act 1: 10 scenes

Act 2: 11 scenes Cast

4 men, 1 boy; 5 women, 1 girl; chorus

Musical Numbers “At The End Of The Day” “I Dreamed A Dream” “The Docks” “Cart Crash” “Fantine’s Death” “Little Cosette” “The Innkeeper’s Song” “The Bargain” “The Beggars” “The Robbery” “Stars” “The ABC Café” “The People’s Song” “Rue Plumet” “A Heart Full Of Love” “The Attack On Rue Plumet” “One Day More” “Building The Barricade” “Javert At The Barricade” “The First Attack” “The Night” “The Second Attack” “The Final Battle” “The Sewers” “Javert’s Suicide” “The Café Song” “Marius & Cosette” “The Wedding”

Instrumentation Reed I (flute, piccolo, clarinet, alto sax) Reed II (English horn, oboe) Horn I Horn II Trumpet I (Bb, flugelhorn, piccolo) Trumpet II (Bb, flugelhorn, piccolo) *Trumpet III (Bb, piccolo) Trombone Drums Percussion

Guitar Keyboard I Keyboard II Keyboard III Violins *Viola Cello Bass Piano-conductor Piano-vocal

*optional

Theatrical Resources

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his international smash-hit may be the most popular musical in the world.

In 19th century France, Jean Valjean is released from 19 years of unjust imprisonment, but finds nothing in store for him but mistrust and mistreatment. He breaks his parole in hopes of starting a new life, initiating a life-long struggle for redemption as he is relentlessly pursued by police inspector Javert, who refuses to believe Valjean can change his ways. Finally, during the Paris student uprising of 1832, Javert must confront his ideals after Valjean spares his life and saves that of the student revolutionary who has captured the heart of Valjean’s adopted daughter. His world-view shattered, Javer t commits suicide, and Valjean at last attains the peace he has sought for so long. Epic, grand and uplifting, Les Misérables packs an emotional wallop that has thrilled audiences all over the world. The sung-through pop opera is ideal for a cast of exceptional singers and overflows with melodies that are already standards. A spectacle on Broadway and in London, Les Misérables is equally ef fective with a minimal set; it is its powerful affirmation of the human spirit that has made Les Misérables a popular masterpiece.

BACKSTAGE BABBLE • After Colm Wilkinson sang the beautiful prayer song “Bring Him Home” for the first time in rehearsal, director Trevor Nunn said, “See? I told you this show is about God.” One of the actors responded, “Yes, but you

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“Les Misérables School Edition is the most memorable, exciting and rewarding production we have ever presented” —Danielle Rudess, Helen Hayes Youth Theatre

roadway's legendary musical has been specially adapted to meet the needs of young performers. This author-approved edition has been abridged to a running time of just over two hours, while carefully maintaining the integrity of one the greatest musicals ever written.

Les Misérables® School Edition A Musical by Alain Boublil and Claude–Michel Schönberg Lyrics by Herbert Kretzmer Act 1: 10 scenes

Act 2: 11 scenes Cast

4 male, 1 boy; 5 female, 1 girl; chorus

Musical Numbers “At The End Of The Day” “I Dreamed A Dream” “The Docks” “The Cart Crash” “Fantine’s Death” “Little Cosette” “The Innkeeper’s Song” “The Bargain” “The Beggars” “The Robbery” “Stars” “The ABC Café” “The People’s Song” “Rue Plumet” “A Heart Full Of Love” “The Attack On Rue Plumet” “One Day More” “Building The Barricade” “Javert At The Barricade” “The First Attack” “The Night” “The Second Attack” “The Final Battle” “The Sewers” “Javert’s Suicide” “The Café Song” “Marius & Cosette” “The Wedding” Reed I (flute, clarinet, alto sax) Reed 2 (English horn, oboe) Horn I Horn II Trumpet I Trumpet II Trombone Drums Percussion

Instrumentation

Guitar Keyboard I Keyboard II Keyboard III Violins [2] Viola Cello Piano-conductor Piano-vocal

For Amateur Production Only To be performed entirely by students 19 years of age or younger. Theatrical Resources A Sound Effects CD is available for rental Show Shirts are available for this production Study Guide contains the Reference Recording Character Parts Chart available (courtesy of Lisa Carroll)

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This epic story recounts the struggle against adversity in 19th century France. Imprisoned for stealing a loaf of bread, petty thief Jean Valjean is released from his 19-year term and not only becomes and honest man, but the mayor of a prosperous town and a loving adoptive father violating his parole in the process. The relentless Inspector Javert, who makes a decent life for Valjean impossible, consequently pursues him. Only years later, after Valjean proves his mettle during a bloody student uprising and saves the life of a young man hopelessly in love with Valjean's adopted daughter, does the exconvict finally feel fully redeemed. Originally adapted from Victor Hugo's timeless novel, Les Misérables School Edition introduces a new generation to the grand and inspirational story that has touched the hearts of millions. Within Les Misérables lies the universal truth "To love another person is to see the face of God." This message is sure to have a lasting impact on your cast, crew, audience, and school alike.

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“Gorgeous and successful” —Jennifer Jenkins, Theatre Arts Guild, Georgia Perimeter College

“CAPTIVATING... the press viewed it as the highlight of our season... Our biggest single ticket seller” ™

—Steven Woolf, Repertory Theatre of St. Louis

ne of Broadway’s most neglected masterpieces, the romantic and achingly beautiful A Little Night Music deals with the universal subject of love, in all its wondrous, humorous and ironic permutations.

Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler Suggested by a Film by Ingmar Bergman Act 1: 7 scenes

Act 2: 8 scenes Cast

7 men, 10 women

Musical Numbers “Night Waltz” “Now” “Later” “Soon” “The Glamorous Life” “Remember?” “You Must Meet My Wife” “Liaisons” “In Praise Of Women” “Every Day A Little Death” “A Weekend In The Country” “The Sun Won’t Set” “It Would Have Been Wonderful” “Perpetual Anticipation” “Send In The Clowns” “The Miller’s Son”

Instrumentation Trombone Violins [2] Viola Cello Bass Harp Celeste (piano) Percussion Piano–conductor

Reed I (flute, piccolo, alto flute) Reed II (flute, clarinet) Reed III (clarinet, bass clarinet, flute, English horn, oboe)

Reed IV (oboe, English horn) Reed V (bassoon, clarinet) Horns I & II *Horn III Trumpets I & II *optional

In turn-of-the-century Sweden, middle-aged Fredrik Egerman brings his 18-year-old bride Anne to a play starring his former mistress, Desirée Armfeldt. Soon, Fredrik and Desirée resume their romance, incurring the wrath of her current lover, a pompous Count. The situation culminates in a weekend at a country estate, with Fredrik, Anne, Desirée and the Count in attendance, as well as Fredrik’s son (who is hopelessly in love with Anne), Desirée’s illegitimate daughter, the Count’s manic-depressive wife and the Egerman’s lusty maid. And there, under the summer night, things are set to right. Sophisticated, literate and stylish, A Little Night Music is also disarmingly warm, funny, charming and very human. Its wellconstructed book is one of the best ever written, featuring a strong ensemble cast of vivid, memorable characters that span all age groups. The lilting Ravel-inspired score in three-quarter time accommodates both strong and less accomplished singers, and contains Sondheim’s most popular song to date, the haunting “Send In The Clowns.”

BACKSTAGE BABBLE • Dubbed by many as “the waltz musical,” all of the songs in A Little Night Music are written in variations of three-quarter time.

Concert Version Available • Recorded hundreds of times, Stephen Sondheim’s most popular success, “Send In The Clowns” was written

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“If you’re hungry for a hit, there’s no bigger one than this” —Toby Orenstein, Toby’s Dinner Theatre

“An ENORMOUS hit... it brought in a new, young crowd” —Pat Burdett, Caldwell Theatre

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AUDR AVAIL EY II ABLE! See p age 1 for de 68 tails

Book & Lyrics by Howard Ashman Music by Alan Menken Based on the Film by Roger Corman; Screenplay by Charles Griffith Act 1: Prologue and 4 scenes

Act 2: 3 scenes

Cast 6 men; 4 women

Musical Numbers “Prologue (Little Shop of Horrors)” “Skid Row (Downtown)” “Da-Doo” “Grow For Me” “Don’t It Go To Show Ya Never Know” “Somewhere That’s Green” “Closed For Renovations” “Dentist!” “Mushnik And Son” “Feed Me (Git It)” “Now (It’s Just The Gas)” “Call Back In The Morning” “Suddenly, Seymour” “Suppertime” “The Meek Shall Inherit” “Finale (Don’t Feed The Plants)”

Instrumentation Bass Guitar

Drums

(Electric [6 string] with flanger and distortion

Keyboards

unit, Acoustic [6 string] steel strings)

(Synthesizer, Organ, Electric Piano, Mounted Tambourine)

Piano-conductor

One of the longest-running Off-Broadway shows of all time, this affectionate spoof of 1950s sci-fi movies has become a household name, thanks to a highly successful film version and a score by the songwriting team of Howard Ashman and Alan Menken, who redefined the animated musical film with Disney’s The Little Mermaid, Beauty And The Beast and Aladdin. Charming, tuneful and hilarious, with tongue firmly planted in cheek, Little Shop Of Horrors never fails to entertain. A small cast, band and unit set make the other aspects of production a snap. Now it’s easier than ever to mount this constant crowd-pleaser! In addition to its RehearScore program and original logo artwork, MTI offers a complete set of Audrey II puppets for rental at affordable prices, as well as scaled blueprints to help you build your own.

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Theatrical Resources

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down-and-out skid row floral assistant becomes an overnight sensation when he discovers an exotic plant with a mysterious craving for fresh blood. Soon “Audrey II” grows into an ill-tempered, foul-mouthed, R&B-singing carnivore who offers him fame and fortune in exchange for feeding its growing appetite, finally revealing itself to be an alien creature poised for global domination!

• Brought to you by the letters E, V, I, and L: The designer and puppeteer of Audrey II was Martin Robinson, who “moonlights” as “Mr. Snuffalupagus”

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N ACQU EW ISITIO N! “Rich in the necessary ingredient needed to make musicals sing — people about whom you care” —Michael Kuchwara, Associated Press

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Book by Terrence McNally Music by Stephen Flaherty Lyrics by Lynn Ahrens Based on the Film “A Man Of No Importance” Two acts: unit set Cast 9 men, 5 women

Musical Numbers "A Man Of No Importance" "The Burden Of Life" "Going Up". "Princess" “First Rehearsal" "The Streets Of Dublin" "Books" "Man In The Mirror" "Love Who You Love" "Our Father" "Confession" "The Cuddles Mary Gave" "Art" "Confusing Times" “Tell Me Why” “Welcome To My World”

Instrumentation* Keyboard I Keyboard II Guitar

Flute

(Also Doubles Piccolo, Irish Flute in D and Eb, Penny Whistles in Bb, D and F)

Cello

(Acoustic [Steel String and Nylon String} Also

Bass

Doubles 12-String, Mandolin, Banjo)

Violin

(Acoustic and Electric)

(Also Doubles Mandolin) *Instrumentation may be revised upon release

Theatrical Resources

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chamber musical about the power the theatre has to transform our lives and the capacity each of us has to love one another, A Man Of No Importance is a rare gem in the musical theatre canon. Based on a 1994 independent film starring Albert Finney, A Man Of No Importance is about the journey of self-discovery and acceptance of Alfie Byrne, a Dublin bus conductor who is prone to reciting poetry to the patrons on his bus. He is also the director of the local community theatre, which operates out of a small parish hall in the neighborhood church. Alfie’s passengers are also his performers: amateur thespians that come to see the magic the theatre offers through Alfie’s eyes. They inhabit the world of working-class Dublin in the 1960s, a world where the budding sexual freedom happening in other places is barely whispered about. Through the beautiful book by Terrence McNally, and the lyrical grace of the score by Lynn Ahrens and Stephen Flaherty, the team that brought us the magnificent Ragtime The Musical now shine their light on A Man Of No Importance, illuminating the feeling we have all felt at one time or another of being an outsider and our universal need to love and be loved in return, connecting to something larger than ourselves.

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“Gripping entertainment” —New York Times

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A Musical by Alain Boublil and Claude–Michel Schönberg Music by Claude–Michel Schönberg Lyrics by Richard Maltby, Jr. and Alain Boublil Adapted from the Original French Lyrics by Alain Boublil Act 1: 2 scenes

Act 2: 4 scenes Cast

4 men, 2 women, 1 boy, chorus

Musical Numbers “The Heat Is On In Saigon” “The Movie In My Mind” “Bartering For Kim” “Kim And Chris Dance” “Why God, Why?” “This Money’s Yours” “Sun And Moon” “Telephone Sequence” “The Wedding” “Thuy’s Intervention” “Last Night Of The World” “The Morning Of The Dragon” “I Still Believe” “Coo-Coo Princess” “Thuy’s Death” “If You Want To Die In Bed” “Kim And Engineer” “Bui–Doi” “Bangkok” “Please” “Chris Is Here” “Kim’s Nightmare” “Kim And Ellen” “Now That I’ve Seen Her” “Ellen And Chris” “The American Dream”

Instrumentation Reed I (Asian flute, piccolo) Reed II (English horn, oboe) Reed III (flute, clarinet, alto sax) Reed IV (bassoon) Horn I Horn II Trumpet Trombone Percussion I Percussion II

Keyboard I Keyboard II Keyboard III Violin I Violin II Viola Cello I Cello II Bass/Electric Bass Piano-vocal

In the turmoil of the Vietnam War, an American soldier and a Vietnamese girl fall in love, only to be separated during the fall of Saigon. Their struggle to find each other over the ensuing years ends in tragedy for her, and a fighting chance for the child he never knew he had. An international sensation, Miss Saigon is an epic, daring pop opera which is universal in its emotional power even as it deals with controversial, contemporary issues. Its sung-through pop-inflected score gives a multi-ethnic cast of strong pop singers an opportunity to shine, in show stopping numbers like “I Still Believe,” “Why God Why?” and “The American Dream.” Meanwhile, its fluid, cinematic structure gives directors and designers a field day. Raw and uncompromising, Miss Saigon is an intensely personal story of the losses we suffer and the sacrifices we make in a world gone mad.

BACKSTAGE BABBLE

Theatrical Resources A Sound Effects CD is available for rental Bui Doi Video Footage is available for rental

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classic love story is brought up-todate in one of the most stunning theatrical spectacles of all time. In Miss Saigon, Alain Boublil and ClaudeMichel Schönberg (the creators of Les Misérables), along with Richard Maltby, Jr., bring Puccini’s Madama Butterfly to the modern world in a moving testament to the human spirit and a scathing indictment of the tragedies of war.

• With the opening of Miss Saigon , producer Cameron Mackintosh had four productions playing on Broadway simultaneously (the other three being Cats , Phantom of the Opera and Les

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I N T E R N AT I O N A L “A huge hit with our audiences… lots of wonderful music and colorful costumes make it fun to watch” —Linda Thayer, Good Company Players

“A great show to get kids and local marching bands involved” —Ralph Maffongelli, Sheboygan Theatre Company

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“A great ensemble of memorable, individual characters” —Christa Crewdson, Uncommon Theatre Company

Book, Music and Lyrics by Meredith Willson Based on a Story by Meredith Willson and Franklin Lacey Act 1: 9 scenes

Act 2: 7 scenes Cast

13 men, 10 women, chorus; plus at least 1 girl and 1 boy

Musical Numbers “Rock Island” “Iowa Stubborn” “Ya Got Trouble” “Piano Lesson/If You Don’t Mind My Saying So” “Goodnight My Someone” “Columbia, Gem Of The Ocean” “Seventy–Six Trombones” “Ice Cream/Sincere” “The Sadder–But–Wiser Girl” “Pick-a-Little, Talk-a-little/Goodnight, Ladies” “Marian The Librarian” “My White Knight” “The Wells Fargo Wagon” “It’s You” “Shipoopi” “Lida Rose/Will I Ever Tell You?” “Gary, Indiana” “Till There Was You”

Instrumentation

Reed I (flute, piccolo) Reed II (clarinet, oboe, English horn) Reed III (clarinet, Eb clarinet, soprano sax) Reed IV (clarinet, flute, bass clarinet) Reed V (bass sax, clarinet, bassoon) Trumpet I Trumpet II Trumpet III Trombone I

Trombone II Trombone III Violins A–B–C [2] Cello Bass Percussion Piano Piano-conductor Piano-vocal

Modified Orchestration (more difficult)

Reed I (flute, piccolo, clarinet) Reed II (clarinet, tenor sax) Reed III (clarinet, bass clarinet) Reed IV (clarinet, baritone sax) Trumpets I & II

Trumpet III Trombone Percussion Solo Violin Bass

Concert Version Available Broadway Junior Version Available Theatrical Resources

n affectionate paean to Smalltown, U.S.A. of a bygone era, Meredith Willson’s The Music Man follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys’ band he vows to organize — this despite the fact he doesn’t know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian the librarian, who transforms him into a respectable citizen by curtain’s fall. Perfect for professional theatres, community groups, summer stock and schools alike, this award-winning, critically acclaimed Broadway classic is an all-American institution, thanks to its quirky characters, charmingly predictable dramatic situations, and one-of-a-kind, nostalgic score of rousing marches, barbershop quar tets and sentimental ballads which have become popular standards. The cast features a soaring soprano ingenue, parts for young performers and children, and one of the musical theatre’s treasures, a tour de force leading role for a charismatic actor who doesn’t need to be a trained singer. By turns wicked, funny, warm, romantic and touching, The Music Man is family entertainment at its best.

BACKSTAGE BABBLE • Author Meredith Willson had been a flutist with John Phillip Sousa in the

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O VAT I O N S “The music is rich… a ribbon of flowing movement and dance” —Suzy Willhoft, Stadium High School

“The creative opportunities are endless… a romantic and sweet show” —Kathy Chitwood, Eastlight Theatre

“No big sets or scenery necessary —the ensemble becomes the settings” —Pam Ware, Gainesville High School

his highly original and theatrical Caribbean adaptation of the popular fairy tale “The Little Mermaid” sings and dances the story of Ti Moune, the black peasant girl who rescues, nurses and falls in love with Daniel, a mulatto from a wealthy family. When Daniel is returned to his people, the gods who rule the island guide Ti Moune on a quest to test the strength of her love against the powerful forces of prejudice, hatred and death. ™

Book and Lyrics by Lynn Ahrens Music by Stephen Flaherty Based Upon the Novel My Love, My Love by Rosa Guy One act: unit set Cast 5 men, 5 women, 1 girl

Musical Numbers “We Dance” “One Small Girl” “Waiting For Life” “And The Gods Heard Her Prayer” “Rain” “Discovering Daniel” “Pray” “Forever Yours” “The Sad Tale Of The Beauxhommes” “Ti Moune” “Mama Will Provide” “Some Say” “The Human Heart” “Some Girls” “The Ball” “A Part Of Us” “Why We Tell The Story”

Instrumentation Reed

(alto flute, clarinet, piccolo, soprano sax)

Piano/Keyboard I

Keyboard II Bass Guitar Percussion

Piano-vocal

Broadway Junior Version Available

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Once On This Island is a director/choreographer’s dream, an intimate show presented in a dance/movement-driven style reminiscent of story theatre, with a small band and minimal — though colorful — sets and costumes that capture the imagination of the audience. Its catchy, contemporary, and Caribbean-flavored score by the Tony® Award-winning songwriting team of Lynn Ahrens and Stephen Flaherty (Ragtime The Musical, Seussical, Lucky Stiff, My Favorite Year, A Man Of No Importance and the animated film Anastasia) includes tender ballads and rousing celebrator y numbers for an ensemble cast of strong singers. Optional text substitutions from the authors allow Once On This Island to be performed in the amateur market by actors of any race, making the minimal production requirements of this moving, uplifting show even more flexible.

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“Great for building a community audience... it’s a show with a lot of parts that are perfect for kids” —Frederick Chacon, Alameda High School

“A hugely successful production” —Steven J. Mokofsky, Flint Community Players

“From the overture to the finale it is a riot of fun... a royal flush and a grand slam rolled into one” —New York Daily Mirror

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Book by George Abbott and Richard Bissell Music and Lyrics by Richard Adler and Jerry Ross Based on the Novel 7 1/2 Cents by Richard Bissell Act 1: 10 scenes

Act 2: 10 scenes Cast

10 men, 6 women, chorus

Musical Numbers “The Pajama Game” “Racing With The Clock” “A New Town Is A Blue Town” “I’m Not At All In Love” “I’ll Never Be Jealous Again” “Hey There” “Her Is” “Sleep Tite” “Once-A-Year Day” “Small Talk” “There Once Was A Man” “Steam Heat” “Think Of The Time I Save” “Hernando’s Hideaway” “Seven And A Half Cents”

Instrumentation Reed I (alto sax, piccolo, flute, clarinet) Reed II (alto sax, clarinet) Reed III (tenor sax, clarinet, English horn) Reed IV (tenor sax, clarinet) Reed V (baritone sax, bassoon, bass clarinet, clarinet) Trumpets I & II Trumpet III Trombone I Trombone II Trombone III

Violins A–C [2] Violins B–D [2] Viola Cello Bass Guitar Percussion Piano-conductor Piano-vocal

Theatrical Resources

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he dangers of workplace romance are explored to hysterical effect in this romantic comedy from the creators of Damn Yankees. Conditions at the SleepTite Pajama Factor y are anything but peaceful, as sparks fly between new superintendent Sid Sorokin and Babe Williams, leader of the union grievance committee. Their stormy relationship comes to a head when the workers strike for a 7½ cent pay increase, setting off not only a conflict between management and labor, but a battle of the sexes as well. Bright and brassy, this unconventional, fastpaced Broadway favorite is every bit the embodiment of legendary director George Abbott at his very best. The energetic score by Richard Adler and Jerry Ross is brimming with songs and dances which have become popular and musical theatre standards (among them “Hey There,” “Steam Heat” and “Hernando’s Hideaway”) and features plenty of splashy, fun production numbers, including a comic “dream ballet.” For solid, classic musical comedy, it’s hard to beat The Pajama Game.

BACKSTAGE BABBLE •Originally approached by legendary author/director George Abbott to pen the score for The Pajama Game, Frank Loesser turned it down, but recommended his two protégés Richard Adler and Jerry Ross for the

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“Carries you through the gamut of emotion while you’re in the theatre, and it stays with you long after you’ve left” —Washington Square News

“Stakes claim to becoming a new, vital form of opera in America” —Chicago Tribune

Book By Alfred Uhry Music and Lyrics by Jason Robert Brown Co-Conceived by Harold Prince Act 1: 15 scenes

Act 2: 11scenes Cast

20 Men, 11 Women plus Ensemble

Musical Numbers “The Old Red Hills Of Home” “The Dream Of Atlanta” “How Can I Call This Home?” “The Picture Show” “Leo At Work/What Am I Waiting For?” “Interrogation” “Big News!” “Funeral Sequence” “Watson’s Lullaby” “Somethin’ Ain’t Right” “Real Big News” “You Don’t Know This Man” “The Trial” “A Rumblin’ And A Rollin’” “Do It Alone” “Pretty Music” “Letter To The Governor” “This Is Not Over Yet” “Feel The Rain Fall” “Where Will You Stand When The Flood Comes?” “All The Wasted Time”

Instrumentation Reed I (Piccolo, Clarinet, Flute, Alto Sax, Soprano Sax) Reed II (English Horn, Flute, Oboe, Clarinet, Alto Sax, Soprano Sax)

Reed III (Clarinet, Bass Clarinet, Tenor Sax, Flute, Soprano Sax)

Reed IV (Bass Clarinet, Tenor Sax, Bassoon, Baritone Sax, Clarinet, Soprano Sax)

Horn I Horn II Trumpet I

Trumpet II Trombone Violins I, II & III [3] Cello I & II [2] Bass (Bass, Tuba) Guitar (Acoustic, Electric, Banjo) Keyboard Percussion I Percussion II Piano-conductor

Theatrical Resources

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2 1 2 - 5 4 1 - w4 w6 8w 4. M T I S h o w s . c o m

he tragic true story of the trial of a man convicted of murder by prejudice and ignorance is the event brought to emotional and theatrical life by acclaimed playwright Alfred Uhry (Driving Miss Daisy) and Jason Robert Brown, one of Broadway’s most promising young composers (Songs For A New World and The Last Five Years). In 1913, Leo Frank, a Brooklyn-born Jew living in Georgia, is put on trial for the murder of 13-year-old Mary Phagan, a factory worker under his employ. Already guilty in the eyes of everyone around him, a sensationalist publisher and a janitor’s false testimony seal Leo’s fate. His only defenders are a gover nor with a conscience and eventually, his assimilated Southern wife, who finds the strength and love to become his greatest champion. Daring, innovative, and bold, Parade won well-earned Tony® Awards for Best Book and Best Score in 2000. Its subject matter and true story are tragic lessons that should not be forgotten.

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“One of the most exciting shows we’ve put on... incredible audience response, the biggest crowd in several years” —Paul Dennis, Walla Walla High School

“Tons of fun, with a message” —Tim Borquez, Verdugo Hills Community Theatre

nce upon a time, the young prince Pippin longed to discover the secret of true happiness and fulfillment. He sought it in the glories of the battlefield, the temptations of the flesh and the intrigues of political power (after disposing of his father King Charlemagne the Great). In the end, he found it in the simple pleasures of home and family.

Book by Roger O. Hirson Music and Lyrics by Stephen Schwartz One act: unit set Cast 5 men, 3 women, 1 boy, chorus

Musical Numbers “Magic To Do” “Corner Of The Sky” “Welcome Home” “War Is A Science” “Glory” “Simple Joys” “No Time At All” “With You” “Spread A Little Sunshine” “Morning Glow” “The Right Track” “There He Was” “Kind Of Woman” “Extraordinary” “Prayer For A Duck” “Love Song” “I Guess I’ll Miss The Man”

Instrumentation Reed I (piccolo, flute, alto flute, clarinet,

Harp Violin Viola Cello

soprano recorder, tenor recorder)

Reed II

(oboe, clarinet, flute, tenor recorder, English horn)

Horn Trumpet Trombone I Trombone II

Bass (electric bass) Piano I (also harpsichord) Piano II (also organ) Percussion Drums Piano–conductor

Guitar (banjo, acoustic guitar, electric guitar, 12–string guitar)

Theatrical Resources

This hip, tongue-in-cheek, anachronistic fairy tale captivated Broadway audiences and continues to appeal to the young at heart everywhere (the show has become a staple on high school and college campuses). The energetic pop-influenced score by three-time Oscar®-winning composer/lyricist Stephen Schwartz (Godspell, Children Of Eden, The Baker’s Wife and the animated films Pocahontas, The Hunchback Of Notre Dame and The Prince Of Egypt) bursts with one show stopping number after another, from soaring ballads to infectious dance numbers. Featuring a strong ensemble cast and a showstealing song-and-dance narrator, Pippin is equally effective as an intimate, black-box production (as envisioned by the authors) or as original director/choreographer Bob Fosse’s splashy, dance-driven spectacle, which included some of the most brilliant staging in Broadway history.

BACKSTAGE BABBLE • Did you know? : In his high school production of P i p p i n , actor Matt Damon played the title role. • Stephen Schwartz was only 25 years old when Pippin opened on Broadway.

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Gilbert & Sullivan’s “Our audiences LOVED it... a real family show... kids arrived wearing pirate hats” —Marty Van Kleeck, Granbury Opera House

“A popular show with our younger audiences... this lively adaptation appeals to the same audience base as Tommy” —Paula Stover, Lyric Theatre Of Oklahoma

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As Presented on Broadway by The New York Shakespeare Festival

Joseph Papp, Producer Directed by Wilford Leach Musical Adaptation by William Elliott Choreography by Graciela Daniele Act 1: 1 scene

Act 2: 1 scene Cast

4 principal men, 2 principal women, 7 Daughters, 15+ Pirates/Policemen

Musical Numbers “Pour, O Pour The Pirate Sherry” “When Frederick Was A Little Lad” “Oh, Better Far To Live And Die” “Oh, False One, You Have Deceived Me” “Climbing Over Rocky Mountain” “Stop, Ladies, Pray!” “Oh, Is There Not One Maiden Breast” “Poor Wandering One” “How Beautifully Blue The Sky” “Stay, We Must Not Lose Our Senses” “I Am The Very Model Of A Modern Major–General” “Oh, Men Of Dark And Dismal Fate” “Oh, Dry The Glistening Tear” “When The Foreman Bares His Steel” “When You Had Left Our Pirate Fold” “My Eyes Are Fully Open” “Away, Away! My Heart’s On Fire!” “Stay, Frederick Stay!” “Sorry Her Lot” “When A Felon’s Not Engaged In His Employment” “A Rollicking Band Of Pirates We” “With Cat–Like Tread, Upon Our Prey We Steal” “Hush, Hush! Not A Word” “Sighing Softly To The River”

Instrumentation

Bass II Reed I (flute, piccolo) [2] Reed IIA (clarinet, bass clarinet, alto sax) Percussion I (xylophone, vibraphone, etc.) Reed IIB (clarinet, bass clarinet, sax) Percussion II (timpani, concert bass drum, etc.) Reed III (bassoon, alto flute) Percussion III (trap set, etc.) Trumpets I & II (trumpet, piccolo trumpet, Keyboard I (electric grand piano, Yamaha CP80, flugelhorn) [2] RMI600B) Trombone (tenor & bass trombone) Keyboard II (celeste, Crumar synthesizer, plus Bass I optional ARP Pro soloist) Piano-conductor

fresh take on one of Gilbert and Sullivan’s most popular comic operas, this updated version of The Pirates Of Penzance took New York by storm when it premiered in Central Park in 1980, leading to a subsequent smash-hit Broadway run. Wacky, irreverent and as entertaining today as it was when it first opened in 1879, The Pirates Of Penzance spins an hilarious farce of sentimental pirates, bumbling policemen, dim-witted young lovers, dewy-eyed daughters and an eccentric Major-General, all morally bound to the often-ridiculous dictates of honor and duty. The beauty, wit and whimsy of Gilbert and Sullivan’s classic score is suffused with a modern sensibility, making this Pirates an excellent choice for opera and light opera companies looking to expand their audience base. The sheer number of memorable roles makes it perfect for community and school groups. And with production requirements consisting of only two sets and a medium-sized orchestra, it should be considered by any company featuring comic actors with excellent singing voices.

BACKSTAGE BABBLE • The original Broadway production of this version of Pirates of Penzance boasted an all-star cast led by Rex Smith and Linda Rondstadt, and included Kevin Kline, Estelle Parsons

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“This is a gift from the show-biz Gods!” —Richard Zoglin, Time Magazine

“Relentless in its energy… it is an absolutely socko monster hit!” —Richard Christensen, Chicago Tribune

B Book by Mel Brooks and Thomas Meehan Music and Lyrics by Mel Brooks Act 1: 9 scenes

Act 2: 10 scenes Cast

5 men, 1 woman, chorus

Musical Numbers “Opening Night” “The King of Broadway” “We Can Do It” “I Wanna Be A Producer” “In Old Bavaria” “Der Guten Tag Hop-Clop” “Keep It Gay” “When You Got It, Flaunt It” “Along Came Bialy” “That Face” “Haben Sie Gehöert Das Deutsche Band?” “You Never Say ‘Good Luck’ On Opening Night” “Springtime For Hitler, A Medley Including Heil Myself” “Where Did We Go Right?" “Betrayed” “‘Til Him” “Prisoners Of Love (Leo & Max)” “Goodbye!”

Instrumentation* Reed Trumpets Trombones French Horn Violins Cello Drums Percussion Keyboard

*Instrumentation may be revised upon release

Theatrical Resources

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ialystock and Bloom! Those names should strike terror and hysteria in anyone familiar with Mel Brooks’ classic cult comedy film. Now as a big Broadway musical, The Producers once again sets the standard for modern, outrageous, in-your-face humor. It is a truly “boffo” hit, winning a record twelve Tony® Awards and wowing capacity crowds night after night. The plot is simple: a down-on-his-luck Broadway producer and his mild-mannered accountant come up with a scheme to produce the most notorious flop in history thereby bilking their backers (all “little old ladies”) out of millions of dollars. Only one thing goes awry: the show is a smash hit! The antics of Max Bialystock and Leo Bloom as they maneuver their way fecklessly through finding a show (the gloriously offensive “Springtime For Hitler”), hiring a director, raising the money and finally going to prison for their misdeeds is a lesson in broad comic construction. At the core of the insanely funny adventure is a poignant emotional journey of two very different men who become friends.

With a truly hysterical book co-written by Mel Brooks and Thomas Meehan (Annie) and music and lyrics by Mr. Brooks, The Producers skewers Broadway traditions and takes no prisoners as it proudly proclaims itself an “equal opportunity offender!” (NOTE: a PG-rated version of the show is being prepared by Mr. Brooks for production by amateur groups who otherwise might be lynched by their communities if they produced the unexpurgated version!)

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O VAT I O N S “A sophisticated, sumptuous, glitzy onstage party that celebrates the legendary artist who simply keeps on redefining the American musical... it’s simply terrific” —The Hollywood Reporter

“Every element here conspires to show Sondheim’s genius in its best light” —Drama-Logue

revue with a difference... A revue that tells a story... A show that covers one night and forty years... A show that takes place today and also in 200 B.C., 1853, 1882, 1900, the 1950s, the 1970s, the 1980s and tonight. ™

Music and Lyrics by Stephen Sondheim Two acts: unit set Cast

A show that takes place not only in New York but also Greece and Rome and London and Paris and Milan and Sweden... A show that takes place in a Manhattan penthouse, but includes the stage of an abandoned theater, an estate in Sweden, an island outside of Paris, a street off the Roman Forum, the woods of a fairy tale and a mythical town in the Southwest... All performed by only five people thrown together at a party.

3 men, 2 women

Musical Numbers “Invocation And Instructions To The Audience” “Putting It Together” “Rich And Happy” “Do I Hear A Waltz?” “Merrily We Roll Along” “Lovely” “Everybody Ought To Have A Maid” “Sooner Or Later” “Hello, Little Girl” “My Husband The Pig” “Every Day A Little Death” “Come Play Wiz Me” “Have I Got A Girl For You” “Pretty Women” “Now” “Bang!” “Country House” “Could I Leave You?” “Back In Business” “Rich And Happy And Stoned” “Medley-A Little Night Music” “Game Sequence” “Gun Song” ”The Miller’s Son” “Live Alone And Like It” “Sorry-Grateful” “Sweet Polly Plunkett” ”I Could Drive A Person Crazy” “Marry Me A Little” “Getting Married Today” “Being Alive” “Like It Was” “Old Friends”

Instrumentation Keyboard I Keyboard II Bass Percussion

BACKSTAGE BABBLE • The initial production of Putting It Together was devised by Julia MacKenzie and performed in Oxford, England, starring Diana Rigg.

Theatrical Resources

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Sondheim himself has devised this unique and inventive musical entertainment from his own work which includes songs from every score he has ever written as well as some never heard before. His delight in devising unusual and entertaining crossword puzzles has here found an unexpected outlet in the way he has put together this extraordinary collection of brilliant songs into what has been described as the funniest show Sondheim never wrote... but now he has.

• Julie Andrews appeared for the first time on a New York stage in 30 years when she starred in the 1993 Manhattan Theatre Club production.

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NEW ACQU ISITIO N! “A RAVISHING PAGEANT” —Ben Brantley, The New York Times ™

Book by Terrence McNally Music by Stephen Flaherty Lyrics by Lynn Ahrens Based on the Novel by E.L. Doctorow Act 1: 1 scene

Act 2: 1 scene Cast

7 men, 4 women, 1 boy, 1 girl, chorus

Musical Numbers “Ragtime” “Goodbye, My Love” “Journey On” “Crime Of The Century” “What Kind Of Woman” “A Shtetl Iz Amereke” “Success” “His Name Was Coalhouse Walker” “Gettin’ Ready Rag” “Henry Ford” “Nothing Like The City” “Your Daddy’s Son” “The Courtship” “New Music” “Wheels Of A Dream” “The Night That Goldman Spoke” “Gliding” “Justice” “President” “Till We Reach That Day” “Coalhouse’s Soliloquy” “What A Game!” “Atlantic City” “Buffalo Nickel Photoplay, Inc.” “Our Children” “Sarah Brown Eyes” “He Wanted To Say” “Back To Before” “Look What You’ve Done” “Make Them Hear You”

Instrumentation Reed I (Flute, Piccolo) Reed II (English Horn, Oboe) Reed III (Clarinet, Eb Clarinet) Reed IV (Bass Clarinet, Clarinet, Flute) Horn I Horn II Trumpet I Trumpet II Trombone I Trombone II Violin [2] Viola

Cello Tuba Bass Banjo Harp Keyboard I Keyboard II Keyboard III Percussion I Percussion II Drums Piano-vocal

Concert Version Available Ragtime School Edition Soon To Be Available Theatrical Resources

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“Filled with the wondrous momentum of a parade-you’re hooked, eager for what’s next, and helpless to resist” —Kenneth Jones, The Detroit News

his epic new musical by the awardwinning composer/lyricist team Stephen Flaherty and Lynn Ahrens (Lucky Stiff, My Favorite Year, Once On This Island, Seussical, A Man Of No Importance) paints a nostalgic and powerful portrait of life in turn of the century America. Based on E.L. Doctorow's distinguished novel, Ragtime The Musical intertwines three distinct stories that poignantly illustrate history's timeless contradictions of wealth and poverty, freedom and prejudice, hope and despair, and love and hate. Flaherty's score is just as diverse as the Melting Pot of America that it seeks to recreate. It draws upon traditional Jewish folk sounds to color the haunting music of the immigrants, Vaudeville's outrageous style to capture the spectacle of Evelyn Nesbit, and Joplin and Jazz to invoke the enlivened spirit of Harlem.

With a book by Terrence McNally (A Man of No Importance, Kiss of the Spider Woman, Master Class), this 1998 Tony® Award winning show for best score, book, and orchestrations, features such show stopping songs as "Gettin’ Ready Rag," "Your Daddy's Son," "Wheels of a Dream," "Till We Reach That Day," "Back To Before," and "Make Them Hear You." This momentous musical is sure to inspire actors and audiences alike!

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NEW ACQU ISITIO N! “Clever, colorful, tuneful and full of heart! Dr. Seuss comes through again! ” —The Indianapolis Sun ™

fter all those years being stuck on a page, Did you ever imagine you'd see me onstage? Now I'm here, there is no telling what may ensue! No, there's no telling what! But I'll give you a clue...”

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Music by Stephen Flaherty Lyrics by Lynn Ahrens Book by Lynn Ahrens and Stephen Flaherty Co-Conceived by Lynn Ahrens, Stephen Flaherty, and Eric Idle Based on the Works of Dr. Seuss Act 1: 3 scenes

Act 2: 4 scenes

Cast 9 men, 7 women, 1 boy, 2 characters, ensemble

Musical Numbers “Oh, The Thinks You Can Think” “Horton Hears A Who” “Biggest Blame Fool” “Here On Who” “It’s Possible (McElligot’s Pool)” “How To Raise A Child” “The Military” “Alone In The Universe” “The One Feather Tail Of Miss Gertrude McFuzz” “Amayzing Mayzie” “Amayzing Gertrude” “Monkey Around” “Chasing The Whos” “How Lucky You Are” “Notice Me, Horton” “Horton Sits On The Egg” “Egg, Nest And Tree” “The Circus McGurkus” “The Circus On Tour” “Mayzie In Palm Beach” “Solla Sollew” “The Whos’ Christmas Pageant” “A Message From The Front” “Havin’ A Hunch” “All For You” “The People Versus Horton The Elephant” “Finale /Oh, The Thinks You Can Think” “Bows: Green Eggs And Ham”

Instrumentation* Keyboards [2] Percussion Drums Electric Bass Guitars Trombone

Trumpets [2] Woodwinds [3] Violins [2] Viola Cello

*Instrumentation may be revised upon release

These classic, colorful tales are seamlessly brought together by Jojo, a young boy and "thinker of strange and wonderful thinks!" As each story unfolds you will marvel at how relevant and profound Seuss' subtle themes are, making this musical one that appeals to all ages. The score emerges as a Seussian gumbo of musical styles, ranging from Latin to pop, swing to gospel, and R&B to funk! So let your toes tap, your fingers snap, and your imagination run wild, for "If you open your mind, Oh, the thinks you will find Lining up to get loose! Oh, the thinks you can think! When you think about Seuss!!"

Theatrical Resources

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So says the mischievous Cat in the Hat at the onset of this fantastical, magical, musical extravaganza! Lynn Ahrens and Stephen Flaherty (Lucky Stiff, My Favorite Year, Once On This Island, Ragtime The Musical, A Man Of No Importance) have lovingly brought to life all of our favorite Dr. Seuss characters, including Horton the Elephant, Gertrude McFuzz, Lazy Mayzie and all of the Whos of Whoville!

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“A run-away box office smash EVERY TIME we do it... a RIPROARIN’ HIT with audiences of all ages” —Denise S. Trupe, Dutch Apple Dinner Theatre

“A sellout… we had to hold it over” —Jim Evers, Corn Stock Theatre

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Book by Lawrence Kasha and David Landay Lyrics by Johnny Mercer • Music by Gene de Paul New Songs by Al Kasha and Joel Hirschhorn Based on the MGM Film and The Sobbin’ Women by Stephen Vincent Benet Act 1: 10 scenes

Act 2: 9 scenes

Cast 7 principal men, 7 principal women, chorus

Musical Numbers “Bless Your Beautiful Hide” “Wonderful Wonderful Day” “One Man” “Goin’ Courting” “Social Dance” “Love Never Goes Away” “Sobbin’ Women” “The Townsfolk’s Lament” “A Woman Ought To Know Her Place” “We’ve Gotta Make It Through The Winter” “Glad That You Were Born”

Instrumentation Reed I (flute, piccolo, clarinet) Reed II (oboe, clarinet, flute) Reed III (oboe, clarinet, flute, English horn) Reed IV (bass clarinet, clarinet) Reed V (bassoon) Horns I & II Trumpet I Trumpet II Trumpet III Trombone I

Trombone II Violin [2] Viola Cello Bass Harp Guitar/Banjo Drums Percussion Piano–conductor

Theatrical Resources A performance accompaniment CD is available for rental

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oin’ courting” has never been as much fun as in this rip-roaring stage version of the popular MGM movie, adapted by Lawrence Kasha and David Landay. Millie is a young bride living in the 1850s Oregon wilderness whose plan to civilize and marry off her six rowdy brothers-in-law to ensure the success of her own marriage backfires when the brothers, in their enthusiasm, kidnap six women from a neighboring town to be their brides. Bursting with the rambunctious energy of the original film, Seven Brides For Seven Brothers is all boisterous fun and romance that harkens back to the glory days of the movie musical. A large cast of characters gives many actors a chance to shine, making the show a perfect choice for schools or community groups. New songs by Al Kasha and Joel Hirschhorn have been added to a melody-drenched classic film score by Johnny Mercer and Gene de Paul that includes wistful ballads, charming comic turns and rousing show stopping dances. And a special orchestrated accompaniment CD makes rehearsals and performances a cinch.

BACKSTAGE BABBLE • Before coming to Broadway, the stage adaptation of Seven Brides For Seven Brothers toured the country featuring the stars of the classic movie musical, Howard Keel and Jane Powell. • The Broadway production of Seven Brides For Seven Brothers starred Debbie Boone, a descendant of real life pioneer, Daniel Boone.

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“Timeless… beautifully written our audiences responded enthusiastically” —Mary Britt, Ocala Civic Theatre

“Audiences were actually in suspense about the outcome!” —Jennifer Jenkins, Theatre Arts Guild Georgia Perimeter College

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Music and Lyrics by Sherman Edwards Book by Peter Stone Based on a Concept by Sherman Edwards Act 1: 5 scenes

Act 2: 2 scenes

Cast

he seminal event in American history blazes to vivid life in this most unconventional of Broadway hits. It’s the summer of 1776, and the nation is ready to declare independence... if only our founding fathers can agree to do it! 1776 follows John Adams of Massachusetts, Benjamin Franklin of Pennsylvania, and Richard Henry Lee and Thomas Jefferson of Virginia as they attempt to convince the members of the second Continental Congress to vote for independence from the shackles of the British monarchy by signing the Declaration of Independence. 1776 puts a human face on the pages of history as we see the men behind the national icons: proud, frightened, uncertain, irritable, charming, often petty and ultimately noble figures determined to do the right thing for a fledgling nation.

25 men, 2 women

Musical Numbers “For God’s Sake, John, Sit Down” “Piddle, Twiddle” “Till Then” “The Lees Of Old Virginia” “But, Mr. Adams” “Yours, Yours, Yours” “He Plays The Violin” “Cool, Cool Considerate Men” “Momma Look Sharp” “The Egg” “Molasses To Rum” “Compliments” “Is Anybody There?”

Instrumentation

Trombone II Trombone III Violin [2] Viola [2] Cello Bass Harp Harpsichord Percussion [2]

Reed I (flute, piccolo, clarinet) Reed II (clarinet, flute) Reed III (oboe, English horn, clarinet) Reed IV (bassoon, optional clarinet) Trumpet (optional trumpet II) [2] Horns I & II [2] Trombone I Piano–conductor

Involving a sizeable, largely male ensemble with no chorus, the show features a striking score by Sherman Edwards, which is modest in its vocal requirements and a book by Peter Stone, which is legendary in its craftsmanship. 1776 is a funny, insightful and compelling drama.

BACKSTAGE BABBLE • Composer/Lyricist Sherman Edwards was a history teacher turned songwriter from Morristown, New Jersey. He spent ten years working on 1776. • Opening with a small advance sale, word-of-mouth and critical praise made 1776 the sleeper hit of of the late 1960s. It was a hit all over again

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“A gem of a musical with built-in charm” —Morrie Enders, La Crosse Community Theatre

“A beguiling and charming show that fit perfectly into the holiday season... the audience LOVED it” —Steven Woolf Repertory Theatre of St. Louis

t is the rare musical theatre aficionado who doesn’t have a soft spot in his heart for this intimate show, considered by many the most charming musical ever written.

Book by Joe Masteroff Music by Jerry Bock Lyrics by Sheldon Harnick Based on a Play by Miklos Laszlo Act 1: 4 scenes Act 2: 6 scenes Cast 7 men, 2 women, chorus

Musical Numbers “Good Morning, Good Day” “Sounds While Selling” “Days Gone By” “No More Candy” “Three Letters” “Tonight At Eight” “I Don’t Know His Name” “Perspective” “Goodbye Georg” “Will He Like Me?” “Ilona” “I Resolve” “A Romantic Atmosphere” “Mr. Nowack, Will You Please” “Dear Friend” “Try Me” “Where’s My Shoe?” “Vanilla Ice Cream” “She Loves Me” “A Trip To The Library” “Grand Knowing You” “Twelve Days To Christmas”

Instrumentation (1993 revival) Viola Cello Bass

*Reed I (flute, alto flute, clarinet, Eb clarinet, piccolo) *Reed II (flute, clarinet, Eb clarinet, bass clarinet, English horn, oboe)

Trumpet/Flügelhorn Horn Violin I Violin II Violin III

Percussion

She Loves Me showcases a small but strong ensemble cast playing a range of vivid, memorable characters of all ages. Dance is mostly eschewed in favor of clever, character-driven songs full of melody and personality. An ideal Christmas or Valentine’s Day show, this heart-warming work by Jerry Bock and Sheldon Harnick (the songwriting team of Fiddler On The Roof) and Joe Masteroff (the bookwriter of Cabaret) is a pleasure whatever the occasion.

(traps, timpani, xylophone, vibes, etc.)

Keyboard I Keyboard II Piano-conductor *3 Reed Version also available

Theatrical Resources

Georg and Amalia are two feuding clerks in a European par fumerie during the 1930s who secretly find solace in their anonymous romantic pen pals, little knowing their respective correspondents are none other than each other. Funny, intelligent, honest and sentimental, She Loves Me is a warm romantic comedy with an endearing innocence and a touch of old world elegance and nostalgia, yet as universal and relevant as ever in this age of internet romances.

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BACKSTAGE BABBLE • Parfumerie (the play by Miklos Laszlo that served as the source material for She Loves Me) was also the source material for the classic film, The Shop Around The Corner (starring Jimmy Stewart and Maureen O’Sullivan), and the more recent You’ve Got Mail

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“A great script with great opportunities for character performers... we were sold out a week before we opened” —Deborah McEniry, Palm Beach Atlantic College

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“When it began to rain, our audiences were overcome with delight” —Jane Madalox, Gallery Players of Oregon

“Sends the audience whistling and dancing on their way out the door” —Norman Nielsen, SCERA, Inc.

Based on the MGM Film Screenplay and Adaptation by Betty Comden and Adolph Green Songs by Nacio Herb Brown and Arthur Freed Act 1: 14 scenes

Act 2: 5 scenes

ou remember the plot. You love the characters. You know “the song.” It’s no less than the stage adaptation of one of the most celebrated and beloved films of all time.

Cast 4 principal men, 2 principal women, chorus

Musical Numbers “Fit As A Fiddle” “You Stepped Out Of A Dream” “All I Do Is Dream Of You” “Make ‘Em Laugh” “Beautiful Girl” “You Are My Lucky Star” “You Were Meant For Me” “Moses Supposes” “Good Morning” “Singin’ In The Rain” “Would You” “What’s Wrong With Me” “Broadway Melody” “Singin’ In The Rain”

Instrumentation Reed I (alto sax, flute, piccolo, clarinet) Reed II (alto sax, flute, clarinet) Reed III (tenor sax, clarinet) Reed IV (baritone sax, clarinet, bass clarinet)

Trumpet I Trumpet II Trumpet III Trombone I

Trombone II Violins I & II Viola Cello Bass Keyboard Percussion Drums Piano–conductor

The Rain Sequence Although the Broadway and touring productions used a self-contained wagon set on which the center portion or “street” was lower than the surrounding “sidewalk” to contain the water used as rain (which was then re-circulated by pumps to the water pipes above), other rain effects are easily (and more dryly) accomplished. Please call us for more information.

1920s Hollywood is the setting for this zany, light-hearted romantic comedy about the early days of sound film, when many a movie studio found itself scrambling to salvage the career of its chipmunk-voiced silent picture star. The MGM classic has been faithfully and lovingly adapted by Broadway legends Betty Comden and Adolph Green from their original award-winning screenplay. Each unforgettable scene, song and dance is accounted for, including the show stopping title number, complete with an onstage rainstorm! Hilarious situations, snappy dialogue, and a hit-parade score of Hollywood standards make Singin’ In The Rain the perfect entertainment for any fan of the golden age of movie musicals.

BACKSTAGE BABBLE • The film version of Singin’ In The Rain was named one of the top ten movies of all time by the American Film

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I N T E R N AT I O N A L “An artistic success that brought in a whole new clientele” —Toby Orenstein, Toby’s Dinner Theatre

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“Kept the audience on the edge of their seats” —Dwight Martin, Manoa Valley Theatre

“There is more artistic energy, creative personality and plain excitement than in a dozen average musicals” —New York Times

Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler Based on a Version of Sweeney Todd by Christopher Bond Two acts: unit set Cast 6 men, 3 women, chorus

Musical Numbers “The Ballad Of Sweeney Todd” “No Place Like London” “The Worst Pies In London” “Poor Thing” “My Friends” “Green Finch And Linnet Bird” “Ah, Miss” “Johanna” “Pirelli’s Miracle Elixir” “The Contest” “Wait” “Kiss Me” “Ladies In Their Sensitivities” “Pretty Women” “Epiphany” “A Little Priest” “God, That’s Good!” “By The Sea” “The Letter” “Wigmaker Sequence” “Not While I’m Around” “Parlor Songs” “Fogg’s Asylum” “City On Fire” “Searching” “The Judge’s Return”

Instrumentation Trombone III Violin Viola Cello Bass Harp Organ/Celeste Percussion Piano–conductor

Reed I (flute, piccolo, alto flute, recorder) Reed II (flute, piccolo, clarinet, Eb clarinet) Reed III (flute, clarinet, bass clarinet) Reed IV (oboe, English horn, clarinet) Reed V (bassoon, clarinet) Horn Trumpets I & II Trombone I Trombone II

9–Piece Orchestration Reed I Reed II Horn Trumpet Violin

Cello Bass Percussion Piano-conductor (Full Score available)

Theatrical Resources

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he rare instance of a musical thriller, Stephen Sondheim and Hugh Wheeler’s chilling, suspenseful, heartpounding masterpiece of murderous barberism and culinary crime tells the infamous tale of the unjustly exiled barber who returns to 19th century London seeking revenge against the lecherous judge who framed him and ravaged his young wife. His thirst for blood soon expands to include his unfortunate customers, and the resourceful proprietress of the pie shop downstairs soon has the people of London lining up in droves with her mysterious new meat pie recipe! Sophisticated, macabre, visceral and uncompromising, Sweeney Todd nevertheless has a great sense of fun, mixing intense drama with howlingly funny moments of dark humor: audiences find themselves laughing hysterically one moment and gasping in surprise the next. At the show’s core is a challenging score of epic proportion with two tasty tour de force roles in Sweeney and his comic female accomplice Mrs. Lovett. Although it has been extremely popular with opera companies and in concert presentation, Sweeney Todd is equally effective as an intimate chamber musical.

BACKSTAGE BABBLE • One intimate production of Sweeney Todd actually had Sweeney dispatch of his victims by use of a “meat-hook” that took them out the door of the theatre, since the ceilings were too

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“As Bubbly As A Glass Of Champagne” —Michael Kuchwara, Associated Press

“Sheer Mind-Teasing, Heart-Tickling Delight!” —John Simon, New York Magazine

horoughly Modern Millie is a highspirited musical romp that has all of New York dancing the Charleston. It’s the zany new 1920’s musical that has taken Broadway by storm!

Book by Richard Morris and Dick Scanlan New Music by Jeanine Tesori New Lyrics by Dick Scanlan Original Story and Screenplay by Richard Morris for the Universal Pictures Film Act 1: 13 scenes

Act 2: 9 scenes

Cast 11 men, 17 women, chorus

Musical Numbers “Not For The Life Of Me” “Thoroughly Modern Millie” “How The Other Half Lives” “The Speed Test” “They Don’t Know” “The Nuttycracker Suite” “What Do I Need With Love?” “Only In New York” “Jimmy” “Forget About The Boy” “I’m Falling In Love With Someone” “I Turned The Corner” “Muqin” “Long As I’m Here With You” “Gimme, Gimme”

Instrumentation* Reed I (woodwinds) Trumpets Trombone French Horn Piano Guitar

Violin Cello Bass Harp Drums Percussion

*Instrumentation may be revised upon release

Taking place in New York City in 1922, Thoroughly Modern Millie tells the story of young Millie Dillmount, who has just moved to the city in search of a new life for herself. It’s a New York full of intrigue and jazz - a time when women were entering the workforce and the rules of love and social behavior were changing forever. Based on the popular movie, the stage version of Thoroughly Modern Millie includes a full score of new songs and bright dance numbers. Filled with frisky flappers, dashing leading men and a dragon-lady of a villainess audiences will love to hate, Thoroughly Modern Millie is a perfectly constructed evening of madcap merriment. And with the role of Millie Dillmount, musical theatre has found a new heroine for the ages in Thoroughly Modern Millie.

Theatrical Resources

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"Joyous, wholesome, literate and wonderfully realized... guaranteed to dazzle and enchant children and adults alike" —TalkinBroadway.com

Based on the Novel by Mark Twain Conceived and Written by Ken Ludwig Music and Lyrics by Don Schlitz Act 1: 9 scenes

Act 2: 6 scenes Cast

9 men, 6 women, 8 boys, 5 girls (may be expanded)

Musical Numbers “Civilization” “Hey, Tom Sawyer” “Here’s My Plan” “Smart Like That!” “Hands All Clean” “The Vow” “Raising A Child” “Old Hundred” “In The Bible” “It Just Ain’t Me” “To Hear You Say My Name” “Murrel’s Gold” “The Testimony” ”Ain’t Life Fine” “This Time Tomorrow” “I Can Read” “Angels Lost” “Light” “Finale”

ark Twain's classic story comes to exuberant musical life in this Broadway adaptation of America's favorite book. The Adventures Of Tom Sawyer is the irresistible story of a fourteenyear-old boy growing up in the heartland of America. This Broadway musical version of Mark Twain's immortal novel is set in 1840 in St. Petersburg, Missouri, a bustling town on the banks of the Mississippi River. In the course of the story, Tom matches wits with his stern Aunt Polly, falls in love with the beautiful, feisty Becky Thatcher, and goes on the adventure of his life with Becky and that irresistible renegade, Huckleberry Finn. Along the way we meet a terrifying villain named Injun Joe, Tom's bratty half-brother Sid, and all the other boys and girls in the village providing one scene-stealing children's role after the other.

Instrumentation Violin Bass Guitar [3] Drums Piano-vocal

One hour Tour Version also available. Call for details

Theatrical Resources

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As this fun-filled musical unfolds, we share with Tom and his friends all of the rollicking and heart-stopping adventures that we find in Twain's masterpiece, whether it's Tom tricking his friends into white-washing the fence ("Smart Like That"), crossing swords with schoolmaster Lemuel Dobbins ("Hey, Tom Sawyer"), getting lost in McDougal's Cave ("Angels Lost"), or taking on the Reverend Sprague in church ("In The Bible"). Filled with foot-stomping, toe-tapping songs by Don Schiltz ("The Gambler"), and a warm, funny book by Ken Ludwig ("Crazy For You," "Lend Me A Tenor"), The Adventures Of Tom Sawyer is a tale of thrilling escapes, comedy and inspiration for the whole family.

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O VAT I O N S “High energy pioneer heartiness” — Wayne Bryan, Music Theatre of Wichita

“A gem for your red hot leading lady... audiences will ‘never say no’ to this fun-loving, romantic musical” —Denise S. Trupe, Dutch Apple Dinner Theatre

“Delectable at start, middle and finish” —NY World-Telegram and Sun

o long, Dolly! Move over, Mame! Make way for the biggest of Broadway’s “big ladies,” The Unsinkable Molly Brown. The Titanic may have sunk, but Molly Brown survived!

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Music and Lyrics by Meredith Willson Book by Richard Morris Act 1: 11 scenes

Act 2: 13 scenes Cast

28 men, 9 women

Musical Numbers “I Ain’t Down Yet” “Belly Up To The Bar, Boys” “Colorado, My Home” “I’ve Already Started In” “I’ll Never Say No” “My Brass Bed” “The Denver Police” “Beautiful People Of Denver” “Are You Sure?” “Happy Birthday, Mrs. J.J. Brown” “Bon Jour” “If I Knew” “Chick–A–Pen” “Keep–A–Hoppin’” “Leadville Johnny Brown” “Dolce Far Niente”

Instrumentation Reed I (clarinet, Eb clarinet) Reed II (piccolo, flute, alto flute) Reed III (clarinet) Reed IV (clarinet, bass clarinet) Reed V (clarinet, baritone sax) Trumpets I & II Trumpets III Trombone I

Trombone II Horns I & II & III Violins [2] Cello Bass Percussion Piano–conductor Piano-vocal

Theatrical Resources

This spirited tale of a legendary, real-life American original follows the exploits of Molly Brown, whose feisty determination to rise above her impoverished beginnings leads her from the backwoods of Hannibal, Missouri to the palaces of Europe. Along the way, she marries a lucky prospector, enters the highest echelons of Monte Carlo society, survives the sinking of the Titanic and most importantly, earns the approval she so desperately seeks of those “Beautiful People of Denver.” Funny, light, uplifting and uniquely American, The Unsinkable Molly Brown charmed Broadway and film audiences with its irresistible, outrageous title role, in the tradition of such unforgettable characters as Auntie Mame, Dolly Levi and Mama Rose, as well as Meredith Willson’s rousing score in the tradition of his immortal The Music Man.

BACKSTAGE BABBLE • Broadway’s Titanic is the second time the great ship has sunk in a musical on the Great White Way. The original production of The Unsinkable Molly Brown included a lavish depiction of the sinking of the ship and Molly rallying the troupes in her lifeboat. • The Molly Brown Home in Denver, Colorado continues to play host to

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“A perennial, classic favorite... draws on the strength of the dancers in the community” —Ron Baumanis, Ann Arbor Civic Theatre ™

“A great show to get the entire community involved in… we even got the police department involved” —Robin McKercher, Lincoln Community Playhouse

he world’s greatest love story takes to the streets in this landmark Broadway musical that is one of the theatre’s finest accomplishments.

Based on a Conception of Jerome Robbins Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim Act 1: 9 scenes

Act 2: 6 scenes

Cast 16–25 men, 11–16 women

Musical Numbers “Jet Song” “Something’s Coming” “Maria” “Balcony Scene” “Tonight” “America” “Cool” “One Hand, One Heart” “Tonight” “I Feel Pretty” “Ballet Sequence” “Somewhere” “Procession and Nightmare” “Gee, Officer Krupke!” “A Boy Like That” “I Have A Love”

Instrumentation

Reed I (piccolo, flute, alto sax, clarinet) Reed II (Eb clarinet, clarinet, bass clarinet) Reed III (piccolo, flute, oboe, English horn, tenor sax,

Horn I & II Violin I & II [2] Cello Bass

baritone sax, clarinet, bass clarinet)

Reed IV

(piccolo, flute, soprano sax, bass sax, clarinet, bass clarinet)

Reed V (bassoon) Trumpet I Trumpet II Trumpet III Trombone I Trombone II

Guitar

(Electric/Spanish/Mandolin)

Piano/Celeste Percussion I (vibes, timpani, various percussion instruments)

Percussion II (traps) Piano-conductor Piano vocal

Modified Orchestration Available Theatrical Resources

Shakespeare’s Romeo and Juliet is transported to modern-day New York City, as two young idealistic lovers find themselves caught between warring street gangs, the “American” Jets and the Puerto Rican Sharks. Their struggle to survive in a world of hate, violence and prejudice is one of the most innovative, heart-wrenching and relevant musical dramas of our time.

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Highlighting the talents of a young ensemble cast, West Side Story has found popularity in schools as well as professional theatres throughout the world. An exciting, sophisticated score by Bernstein and Sondheim, coupled with a taut, edgy book by Arthur Laurents (that introduced a new slang into the English language) created a work that is often considered Broadway’s finest. As originally staged by the legendary Jerome Robbins, the show is an impressive showcase for accomplished dancers (a guide featuring the original choreography is available for rental). And with a reduced orchestration and transpositions on demand, this masterpiece is easier to mount than ever before.

BACKSTAGE BABBLE • Originally envisioned as East Side Story by its creators, the show was to be a conflict centered around the romance between a Jewish girl and an Gentile

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DEVEL IN CCaalll ffo OPM orr iinnffo orrmmaattiENT ioonn ™

oald Dahl’s timeless story of the worldfamous candy man and his quest to find an heir comes to life in this stage adaptation of “Charlie and The Chocolate Factory,” which features the songs from the classic family film “Willy Wonka And The Chocolate Factory.”

Based on the Book Charlie and The Chocolate Factory by Roald Dahl Music and Lyrics by Leslie Bricusse and Anthony Newley Adapted for the Stage by Leslie Bricusse and Tim McDonald Act 1:6 Scenes

Act 2: 7 scenes

Cast* 5 male, 7 females, 4 boys, 3 girls, plus chorus of townsfolk, school children and Oompa Loompas

Musical Numbers* “The Golden Age Of Chocolate” ”The Candy Man” “I Eat More” “Think Positive” “On TV” “Cheer Up Charlie” “Golden Ticket” “Pure Imagination” “Oompa Loompa” “There's No Knowing” “Chew It!” “Oompa Loompa 2” “Flying” “I Want It Now!” “Oompa Loompa 3” “Oompa Loompa 4” “Paradise Finale”

Instrumentation* Orchestration to be determined Please contact your licensing representative for further details *Cast, Musical Numbers and Instrumentation may be revised upon release

All of your favorite characters and songs (including “The Candy Man” and “Pure Imagination”) are featured in this show that overflows with music, comedy and heart. The memorable score by Leslie Bricusse (Jekyll & Hyde, Doctor Dolittle) and Anthony Newley, augmented by several new songs, has been neatly fitted into a new script adapted under the auspices of the Dahl Estate. Ideal for children’s matinees or school assemblies, Willy Wonka is a wonderful family show, perfect for the holiday season or any season. Since licenses are available for amateur theatre groups only, Willy Wonka has been created with educators and student performers in mind. This new stage musical adaptation is designed to help your group bring all of the magic on the page to vivid life on your stage. With its flexible cast size, featured roles for children and a tour-de-force title character, Willy Wonka is a scrumdidilyumptious new stage musical guaranteed to delight everyone’s sweet tooth. In a troubled world looking for escape, let Willy Wonka take your theatre company and your audiences on a fantasy ride into the land of pure imagination.

For Amateur Production Only Broadway Junior Version In Development Theatrical Resources

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“We performed at an International Theatre Festival… what a excellent show to represent the United States” —Randy Wieging, Jesters Roving Players

“Working provides a great opportunity to showcase a number of different actors” —Mary Britt, Ocala Civic Theatre

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he hopes, dreams, joys and concerns of the average working American are the focus of this unique, eye-opening musical. That the ever yday lives of “common” men and women should be so compelling and moving will surprise and inspire anyone who has ever punched a time clock.

From the Book by Studs Terkel Adapted by Stephen Schwartz & Nina Faso Songs by Craig Carnelia, Micki Grant, Mary Rodgers & Susan Birkenhead, Stephen Schwartz, James Taylor Two acts: unit set Cast 8+ men, 6+ women

Musical Numbers “All The Livelong Day” “Hey, Somebody” “Traffic Jam” “Lovin’ Al” “Nobody Tells Me How” “I’m Just Movin’” “Un Mejor Dia Vendora” “Just A Housewife” “Millwork” “If I Could’ve Been” “The Mason” “Brother Trucker” “It’s An Art” “Joe” “Cleanin’ Women” “Fathers And Sons” “Something To Point To”

Instrumentation

Drums Percussion Keyboard I (Piano-conductor)

Guitars I & II [2] Bass

Keyboard II

(Fender Rhodes & synthesizer)

Theatrical Resources

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Based on Stud Terkel’s best-selling book of inter views with American workers, Working paints a vivid portrait of the extraordinary men and women the world so often takes for granted: the schoolteacher, the parking lot attendant, the waitress, the millworker, the mason, the trucker, the fireman, the housewife, just to name a few. It’s a highly original look at the American landscape that’s simply impossible to forget. With a score by no less than the likes of Stephen Schwar tz and James Taylor, extremely modest set and orchestra requirements, universal subject matter, and featuring a multi-ethnic ensemble cast of variable size, Working is one of the most accessible, relevant and substantive musicals ever created.

BACKSTAGE BABBLE •Before she caused an “overnight” sensation as Evita, Patti Lupone was part of the original cast of Working. • Working was a labor of love for Stephen Schwartz, who not only got all of the authors “working” on it together, but also directed the original

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SPOTLIGHT Some of the most interesting titles in the MTI library appear in SECTION TWO: IN THE SPOTLIGHT. Exciting and edgy, these selections can challenge a group artistically and make your audience sit up and take notice. These include shows written by some of Broadway's most talented authors. They are a perfect balance in a season filled with the tried-and-true and are also excellent choices for theatres and groups that look forward to being a little more daring in their offerings. ANNIE WARBUCKS • ANYONE CAN WHISTLE • ASSASSINS • BABY • THE BAKER’S WIFE • THE CHRISTMAS SCHOONER • THE CIVIL WAR • COPACABANA • FIORELLO! • FIVE GUYS NAMED MOE • THE FIX • FOLLIES • 4 GUYS NAMED JOSÉ... AND UNA MUJER NAMED MARIA • THE GOODBYE GIRL • HONK! • IN THE BEGINNING • JOHN & JEN • JUST SO • KEAN • KISMET • THE LAST FIVE YEARS • LUCKY STIFF • MARRY ME A LITTLE • MERRILY WE ROLL ALONG • MIRETTE • MOBY DICK! THE MUSICAL • THE MOST HAPPY FELLA • MY FAVORITE YEAR • OIL CITY SYMPHONY • PACIFIC OVERTURES • PASSION • ROADSIDE • THE ROBBER BRIDEGROOM • SATURDAY NIGHT • SUNDAY IN THE PARK WITH GEORGE • TENDERLOIN • TOMMY • TRIUMPH OF LOVE • VIOLET • WHERE'S CHARLEY? • THE WILD PARTY • ALL IN LOVE • AMEN CORNER • ANASTASIA AFFAIRE • ARCHY & MEHITABEL • BRING IN THE MORNING • BY THE BEAUTIFUL SEA • CANTERBURY TALES • CELEBRATION • COLETTE COLLAGE • CYRANO • DIVORCE ME, DARLING! • THE DRUNKARD • ERNEST IN LOVE • A FAMILY AFFAIR • THE GAME OF LOVE • HAPPY HUNTING • HERE'S LOVE • LADY AUDLEY'S SECRET • LET ’EM EAT CAKE • LUCKY IN THE RAIN • MAGDALENA • NEW GIRL IN TOWN • OF THEE I SING • PHANTOM OF THE COUNTRY OPERA • PHILEMON • PORTABLE PIONEER AND PRAIRIE SHOW • QUILT, A MUSICAL CELEBRATION • RED HOT AND COLE • REDHEAD • RIVERWIND • THE ROTHSCHILDS • SALVATION • SCROOGE, THE STINGIEST MAN IN TOWN • SIX WOMEN WITH BRAIN DEATH OR EXPIRING MINDS WANT TO KNOW • STRIKE UP THE BAND • TEDDY & ALICE • 13 DAUGHTERS • TIMBUKTU! • TINTYPES • WESTERN STAR • WHAT ABOUT LUV? • WISH YOU WERE HERE

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“Works great as an intimate musical… terrific audience appeal” —Ralph Maffongelli, Sheboygan Theatre Company

“A great sequel to Annie… a terrific follow-up” —Robin McKercher, Lincoln Community Playhouse

“Annie Warbucks wins... this orphan steals hearts” —New York Times

he world’s favorite orphan returns in the long-awaited sequel to the international smash hit Annie. All the ingredients that made Annie so successful are here once again, with an old-fashioned romance thrown in for good measure! ™

Book by Thomas Meehan Music by Charles Strouse Lyrics by Martin Charnin Based on Little Orphan Annie® by permission of Tribune Media Services, Inc. Act 1: 9 scenes

Act 2: 5 scenes Cast

4 men, 4 women, 6 girls, 1 dog, chorus

Musical Numbers “A New Deal For Christmas” “Annie Ain’t Just Annie Anymore” “Above The Law” “Changes” “The Other Woman” “That’s The Kind Of Woman” “A Younger Man” “But You Go On” “I Got Me” “Love” “Somebody’s Gotta Do Somethin’” “Leave It To The Girls” “All Dolled Up” “The Tenement Lullaby” “It Would Have Been Wonderful” “When You Smile” “Wedding, Wedding” “I Always Knew”

Instrumentation Reed I (flute, alto sax, clarinet) Reed II (flute, bass clarinet, clarinet, tenor sax, baritone sax)

Reed III (flute, clarinet, bass clarinet, oboe, English horn, tenor sax)

Trumpet I Trumpet II Trumpet III Trombone I

Piano-conductor

Trombone II Horn Violin [2] Cello Guitar/Banjo Bass Drums Percussion Synthesizer

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The action picks up right where Annie leaves of f, when Child Welfare Commissioner Harriet Doyle arrives on the scene to inform Daddy Warbucks he must marry in sixty days so the newly adopted Annie can have a proper mother. In the end, Daddy Warbucks’ whirlwind search for a fitting bride uncovers not only a plot by Doyle and her daughter to strip him of his fortune, but also his true feelings for Grace Farrell. Annie Warbucks is an ideal follow-up production for any theatre that has presented Annie (many theatres choose to run the two shows back-to-back in the same season, like episodes of an old-time movie serial). Created with both large-scale and intimate productions in mind, Annie Warbucks delivers all of the fun, warmth and adventure that made the original an instant classic!

BACKSTAGE BABBLE • Annie Warbucks began life as Annie 2: Miss Hannigan’s Revenge (the marquee had even been put up at the Marquis Theatre in anticipation of the moppet’s return to Broadway). After extensive revision (including jettisoning Miss Hannigan), the rechristened Annie Warbucks came into

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“A perfect comedy and love story that often gets overlooked... an interesting and challenging piece” —Christa Crewdson, Uncommon Theatre Company

“Frisky, inventive, far-out musical with a briskly syncopated score, educated lyrics and an imaginative story” —The Daily News

legendary cult show, this wacky, intelligent, highly unconventional musical satire points ahead to Stephen Sondheim’s groundbreaking work in the 1970s even as it keeps a foot firmly rooted in the musical theatre’s “golden age.”

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Book by Arthur Laurents Music and Lyrics by Stephen Sondheim Act 1: 7 scenes

Act 2: 6 scenes

Cast 13 men, 7 women, chorus

Musical Numbers “I’m Like The Bluebird” “Me And My Town” “Miracle Song” “There Won’t Be Trumpets” “Simple” “A-1 March” “A Parade In Town” “Come Play Wiz Me” “Anyone Can Whistle” “I’ve Got You To Lean On” “Everybody Says Don’t” “See What It Gets You” “The Cookie Chase” “With So Little To Be Sure Of”

Instrumentation Trumpets I & II Trumpet III Trombone I Trombone II (or tuba) Percussion [2] Accordion Cello A & B [2] Cello C Bass

Reed I (flute, piccolo, alto flute) Reed II (oboe, English horn, clarinet) Reed III (clarinet, E-flat clarinet, flute, piccolo, alto flute, alto sax, baritone sax)

Reed IV (clarinet, bass clarinet, flute) Reed V (bassoon, clarinet, bass sax) Horns I & II Piano–conductor

(also celeste)

Concert Version Available

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An absurdist fantasy by Arthur Laurents and Stephen Sondheim (two of the authors of West Side Story and Gypsy), Anyone Can Whistle tells the story of a corrupt mayoress who fakes a miracle to revitalize her bankrupt town (through the resulting pilgrim trade) and the ill-fated romance between the rational nurse out to expose the fraud and the easy-going doctor determined to enjoy the chaos it brings. In the end, the show delivers a poignant message about the importance of the individual in a conformist society — but not before aiming its stillrelevant barbs at government, religion, science and anything else that stands in its way! With its circus-like atmosphere, Anyone Can Whistle features plenty of memorable, lovably cartoonish roles of all sizes. The dazzling, melodic “Broadwaystyle” score overflows with the youthful energy of experimentation, consisting of one show stopper after another, including two extensive ballets which provide oppor tunities for some inspired choreography.

BACKSTAGE BABBLE • The original working title for Anyone Can Whistle was Side Show. • Anyone Can Whistle marked the Broadway Musical debut of Angela Lansbury in the role of the corrupt Mayoress Cora Hoover Hooper. She has gone on to win four “Best Actress

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“The most thrilling, most utterly satisfying show we’ve ever worked on... the best part is that it sells like gangbusters—people came back two and three times” —Scott Miller, New Line Theatre

“A great competition piece... terrifically exciting and enthusiastically received” —David Radtke, Falcon Productions

old, original, surreal, disturbing, thought-provoking and alarmingly funny, Assassins is perhaps the most controversial musical ever written.

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Music and Lyrics by Stephen Sondheim Book by John Weidman Based on an Original Idea by Charles Gilbert, Jr. One act: 17 scenes Cast 11 men (may be expanded), 4 women (may be expanded), 1 boy

Musical Numbers “Opening” “The Ballad Of Booth” “How I Saved Roosevelt” “Gun Song” “The Ballad Of Czolgosz” “Unworthy Of Your Love” “The Ballad Of Guiteau” “Another National Anthem” “Something Just Broke” “Everybody’s Got The Right”

Instrumentation Reed I (flute, piccolo, Bb clarinet, Eb clarinet,

Guitar Keyboard I (synthesizer) Keyboard II (synthesizer) Percussion Bass Piano-vocal

soprano sax, alto sax, harmonica)

Reed II

(Bb clarinet, bass clarinet, Eb clarinet, soprano sax, tenor sax, flute)

Trumpet Trombone

Theatrical Resources

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This most American of musicals lays bare the lives of nine individuals who assassinated or tried to assassinate the President of the United States in a one-act historical “revusical” that explores the dark side of the American experience. From John Wilkes Booth to Lee Har vey Oswald, Stephen Sondheim and John Weidman bend the rules of time and space, taking us on a nightmarish rollercoaster ride in which assassins and would-be assassins from different historical periods meet, interact and in an intense final scene inspire each other to harrowing acts in the name of the American Dream. An intimate acting piece for a largely male ensemble cast, Assassins contains some of the finest scenewriting in recent memory as well as a brilliant, melodic score which pastiches American music throughout the ages, from folk to ragtime to 1970s soft rock. Its modest production requirements and educational qualities make it a perfect show for schools and smaller theatre companies. Its daring makes it ideal for any group looking for a unique, challenging theatrical experience.

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“A smart & sexy production filled with a great message about family, love & children” —Michael Fortner, Theatre Memphis

“The perfect theatrical treat… our audiences had a blast” —Shannon Reilly, Topeka Civic Theatre ™

“Embraces rock, jazz and the best of Broadway schmaltz” —New York Times

I Book by Sybille Pearson Music by David Shire Lyrics by Richard Maltby, Jr. Based upon a Story developed with Susan Yankowitz Act 1: 12 scenes Act 2: 9 scenes unit set Cast 3 men, 3 women, chorus

Musical Numbers “We Start Today” “What Could Be Better?” “The Plaza Song” “Baby, Baby, Baby” “I Want It All” “At Night She Comes Home To Me” “Fatherhood Blues” “Romance” “I Know I Chose It Right” “The Story Goes On” “The Ladies Singing Their Song” “Patterns” “Easier To Love” “Two People In Love” “With You” “And What If We Had Loved Like That” “Birth Sequence”

Instrumentation Reed I

Violin Cello

(alto sax, soprano sax, flute, piccolo, alto flute, clarinet)

Reed II (tenor sax, flute, oboe, English horn, clarinet) Reed III (baritone sax, flute, clarinet, B–flat bass clarinet, bassoon)

Horn Trumpets I & II (flugelhorn) Trumpet III Trombone

Bass (electric & acoustic) Guitar (electric & acoustic, banjo) Keyboard I (electric grand piano – Yamaha CP80, Roland Jupiter 6 synthesizer)

Keyboard II (Fender Rhodes electric piano, Prophet 5 synthesizer, Roland Jupiter 6 synthesizer)

Drums (timpani, percussion) Piano–conductor

Theatrical Resources

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s there anything more exciting, frightening and utterly transformational than impending parenthood?

Baby tells the story of three couples on a university campus as they deal with the painful, rewarding and agonizingly funny consequences of this universal experience. There are the college students, barely at the beginning of their adult lives; the thirtysomethings, having trouble conceiving but determined to try; and the middle-aged parents, looking forward to seeing their last child graduate from college when a night of unexpected passion lands them back where they started. A smart, energetic show with loads of charm, Baby has a modern, up-to-date sensibility, with strong female characters, an hysterically insightful book by Sybille Pearson and a tuneful, contemporary score of showstopping numbers by David Shire and Richard Maltby, Jr (Starting Here, Starting Now, Closer Than Ever and big, The Musical). Warm, intimate and immensely likable, Baby doesn’t require a lot of dance, highlighting the singing and acting talents of a small ensemble cast that spans three generations. It’s a perfect show for anyone who’s ever had a baby... or anyone who’s ever been one!

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“The inclusion of The Baker’s Wife in our season drew patrons from several states, increased our audition attendance and generated national attention for our theatre. A score without peer for beauty, and an enchanting love story with all the humor one expects from a Joseph Stein book” —Jerry O’Boyle, Round Barn Theatre at Amish Acres

O Book by Joseph Stein Music and Lyrics by Stephen Schwartz Based on the Film La Femme de Boulanger by Marcel Pagnol and Jean Giono Act 1: 8 scenes

Act 2: 11 scenes Cast

12 men, 7 women, 1 cat

Musical Numbers “Chanson” “If It Wasn't For You” “Merci, Madame” “Bread” “Gifts Of Love” “Proud Lady” “Look For The Woman” “Serenade” “Meadowlark” “Any Day Now Day” “The World’s Luckiest Man” “Feminine Companionship” “If I Have To Live Alone” “Romance” “Where Is The Warmth?”

Instrumentation Reed I

Mandolin/Banjo Percussion Piano

(flute, piccolo, oboe)

Harp Bass Accordion/Synthesizer

Theatrical Resources

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ld world charm permeates every moment of this bittersweet, wise and gently offbeat fable of life, love and bread by Joseph Stein (Fiddler On The Roof) and Stephen Schwartz (Godspell, Pippin, Children Of Eden and the films Pocahontas, The Hunchback Of Notre Dame and The Prince Of Egypt). The bickering residents of a small Provencal town at last find peace and contentment in the heavenly bread of their newly arrived baker and his attractive young wife, but when she is lured away by the attentions of a handsome young gigolo, the middleaged baker loses all zest for life and baking, throwing the community into chaos. Based on a film by Marcel Pagnol and Jean Giono, The Baker’s Wife stirs with the quiet sophistication of the European cinema. Schwartz is at his romantic best in this rich, melodic, French – inflected score containing ballads of breathtaking beauty, spirited comic numbers for the townspeople and the showstopping “Meadowlark.” The show features a tight ensemble of townsfolk which is at the core of the drama, offering a plethora of memorable secondary roles. Revived to great success by Goodspeed Opera House in 2002, MTI now represents this new version of the show as revised by the authors.

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“A classic... humorous and heartwarming... an inheritance to be treasured” —Chicago Sun-Times

inging the Charles Dickens Blues? Nutcracker got you down? Is the thought of one more Christmas Pageant enough to make you scream? Take a ride on The Christmas Schooner! This critically acclaimed holiday treat tells the true stor y of a Michigan shipping captain who braves the deadly winter weather to bring Christmas trees to homesick German–American families in turn-of-the-century Chicago. His voyages become a yearly tradition despite his wife’s misgivings — until a fateful voyage makes her realize the true importance of his mission.

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Book by John Reeger Music and Lyrics by Julie Shannon Act 1: 6 scenes

Act 2: 7 scenes Cast

7 men, 4 women, 1 boy, 1 girl (may be expanded)

Musical Numbers “We All Have Songs” “That’s America” “The Mummers Are Here” “The Blessings Of the Branch” “The Letter” “Another Season On The Water” “When I Look At You” “What Is It About The Water” “The Christmas Schooner” “Song Of The Hungry Peasants” “Winterfest Polka” “Loving Sons” “The Strudel Waltz” “Hardwater Sailors” “Questions”

It’s not often a truly original holiday musical comes along, so it’s no surprise that with its powerful, moving story and exquisite score, The Christmas Schooner is already becoming a perennial holiday classic. This is family entertainment at its best: hearty and wholesome. Its flexible cast size makes it ideal for small theatres as well as schools, large community groups or regional theatres seeking to involve members of the community in their holiday production. The single piano accompaniment fits any budget, and with Transpositions On Demand, casting concerns are almost a thing of the past.

Instrumentation Piano

Theatrical Resources

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BACKSTAGE BABBLE • The journey that the schooner had to make is a three-hundred-mile, oneweek crossing through stormy and icy

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“Timeless in its pursuit of universal truths... hauntingly effective... a variety of musical styles” —Weekly Variety

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Book and Lyrics by Frank Wildhorn, Gregory Boyd and Jack Murphy Music by Frank Wildhorn Two acts: unit set Cast 19 men, 6 women (may be expanded), pit singers

Musical Numbers “Brother, My Brother” “A House Divided” “By The Sword/Sons Of Dixie” “The Peculiar Institution” “If Prayin’ Were Horses” “Missing You (My Bill)” “Judgment Day” “Virginia” ”Freedom Child’s” “Tell My Father” “This Old Gray Coat” “I Never Knew His Name” “Father, How Long?” “Someday” “I’ll Never Pass This Way Again” “Candle In The Window” “The Day The Sun Stood Still” “River Jordan” “Sarah” “The Honor Of Your Name” “North Bound Train” “Last Waltz For Dixie” “The Glory”

Instrumentation Violin/Mandolin Guitar I Guitar II Drums

Bass Keyboard I (Wind Controller) Keyboard II Piano-conductor

rawing on letters, diaries, firsthand accounts and the words of Abraham Lincoln, Frederick Douglass and Walt Whitman, The Civil War is a thrilling, gut-wrenching and awe-inspiring “dramatic theatrical concert” that covers the enormous emotional landscape of the most difficult test our nation has ever endured. This epic thematic revue, reminiscent of Ken Burns’ acclaimed documentary, puts a human face on the greatest tragedy of American history, exploring not only the experiences of the soldiers and leaders who fought for their way of life and the lovers and families they left behind, but also the hopes and fears of the slaves whose freedom was at stake. It passionately asks us to consider our beliefs about freedom, honor and faith. A flexible, multi-ethnic cast of dramatic singers shines in a parade of emotional, showstopping numbers which encompass the range of American popular music, from Gospel, Folk and Country to Rock to Rhythm and Blues, in a riveting score by Frank Wildhorn, one of Broadway’s most popular tunesmiths.

BACKSTAGE BABBLE Theatrical Resources

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• The Battle of Gettysburg claimed casualties of almost 51,000 lives— more than twenty times the population of the town of Gettysburg itself. The

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NEW ACQU ISITIO N! "As vibrant, playful and tropically colored as a Bahama Mama topped with a magenta paper parasol" —Pittsburgh Tribune-Review

"The kind of score that you actually find yourself humming " ™

—Pittsburgh Post-Gazette

er name was Lola. She was a showgirl… Barr y Manilow’s Grammy Award-winning song you never forgot is now brought to life onstage! A love letter to the Technicolor® musicals of the 1940s, Barry Manilow ’s C o p a c a b a n a presents the story of Lola as told through the eyes of Stephen, a present day aspiring songwriter whose imagination takes him back to a time when “music and passion were always in fashion.”

Music by Barry Manilow Lyrics by Bruce Sussman & Jack Feldman Act 1: 7 scenes

Act 2: 7 scenes Cast

12 men, 12 women (may be expanded)

Musical Numbers “Copacabana” “Just Arrived” “Dancing Fool” “Sweet Heaven” “Thank You Song” “Hoover Commercial” “The Audition” “Changing My Tune” “Copa Girl” “Man Wanted” “Who Needs To Dream” “I Gotta Be Bad” “Bolero De Amor” “Havana/Caramba” “Who Am I Kidding” “This Can’t Be Real” “El Bravo”

Instrumentation Reed 1 (alto sax, flute, piccolo, clarinet) Reed 2 (tenor sax, flute, clarinet) Reed 3 (tenor sax, flute, clarinet) Trumpet 1 Trumpet 2 Trumpet 3 Trombone 1 Trombone 2

Theatrical Resources

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Horn Guitar Bass Drums Percussion Keyboard 1 Keyboard 2 Piano-conductor

He dreams up Lola, fresh off the plane from Tulsa, who arrives in New York with show-biz aspirations. Tony (who looks amazingly like Stephen!), is a bartender/ composer who falls in love with Lola and helps her become a Copa girl. While performing, Lola attracts the amorous attentions of Rico (who wears a diamond). Rico abducts Lola, and takes her to his rival nightclub in Havana. Tony, with the help of his Copacabana friends, must now rescue Lola before… well, even if you know the song, there are still a few surprises! Full of huge, splashy production numbers and unforgettable new Barry Manilow songs, Copacabana is a return to t r a d i t i o n a l American musical theatre. You and your audiences will fall in love with it!

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“The whole show comes to life with gusto… a comic carnival” —The New York Times

“Not since Guys And Dolls has there been a musical as down-to-the-sidewalks New York as Fiorello!” —Daily News

Book by Jerome Weidman and George Abbott Music by Jerry Bock Lyrics by Sheldon Harnick Original Production Presented by Robert E. Griffith and Harold S. Prince Act 1: 12 scenes

Act 2: 8 scenes

Cast 5 men, 4 women, chorus

Musical Numbers “On The Side Of Angels” “Politics And Poker” “Unfair” “Marie’s Law” “The Name’s LaGuardia” “The Bum Won” “I Love A Cop” “Till Tomorrow” “Home Again” “When I Did Fall In Love?” “Gentleman Jimmy” “Little Tin Box” “The Very Next Man”

Instrumentation Trumpet III Trombone I Trombone II Violins (2) Viola Cello Bass Guitar Percussion (2)

Original Orchestration Reed I

(flute, clarinet, alto sax, sop sax, piccolo)

Reed II (flute, clarinet, piccolo) Reed III (oboe, clarinet, English horn) Reed IV (flute, clarinet, sop sax, tenor sax, bass clarinet)

Reed V

(baritone sax, clarinet, alto sax, bass clarinet, flute, bassoon)

Trumpet I & II Piano-conductor

Alternate Orchestration

Reed I (alto flute, flute, piccolo) Reed II (clarinet, alto sax) Reed III (clarinet, tenor sax) Reed IV (bass clarinet, baritone sax)

Accordion Trumpet I & II Trombone I Trombone II Bass Guitar

Percussion

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“A smashing victory… a box-office landslide” —Daily Mirror

iorello! tells the story of the rise to power of New York’s “Little Flower,” Mayor Fiorello LaGuardia (18821947). In a time when the crooked political machine known as “Tammany Hall” was up to its ears in graft, vice and corruption, it took this small, honest man to break their stranglehold on New York City politics. With guts and perseverance, “The Little Flower” put a bright, new shine on “The Big Apple.” Unlike most political musicals, which are usually satires, Fiorello! is really a love story set to the music and beat of a New York City in the midst of change. The little man with the big heart continues to attract and charm audiences with his warmth and humor.

With a book by Jerome Weidman and George Abbott, and a score by Jerry Bock and Sheldon Harnick, Fiorello! is a melodic masterpiece whose take on corruption in government is as timely today as when it was written. Featuring a large cast, offering many opportunities for ensemble work, Fiorello! is a witty, sweet valentine to all that is right about the way our government works.

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“A good time New Orleans party that leaves the seats empty for the right reasons... everyone is up dancing in the aisles” —Dave Steakley, Zachary Scott Theatre

“A great blast from the past... jumpin’, jivin’ and fast-paced fun” —Sherrie Dee Brewer, Riverside Theatre

“Fun so contagiously good-natured, you just don’t want to leave” —USA Today

is woman left him, he’s broke, and it’s almost five o’clock in the mornin’. But don’t be worryin’ ’bout our hero, Nomax. Out of his ’30’s-style radio pop five guys named Moe who cajole, wheedle, comfort and jazz him with the whimsical hit songs of Louis Jordan, one of the most beloved songwriting talents of the twentieth century.

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A Musical by Clarke Peters Featuring Louis Jordan’s Greatest Hits

With more than fifty top ten singles on the rhythm and blues char ts, this great composer and saxophonist brought a popular new slant to jazz that paved the way for the rock-and-roll of the 1950s.

Two acts: unit set Cast 6 men

Musical Numbers “Early In The Morning” “Five Guys Named Moe” “Beware, Brother, Beware” “I Like ‘Em Fat Like That” “Messy Bessy” “Pettin’ And Pokin’/Life Is So Peculiar” “I Know What I’ve Got/Azure-Te” “Knock Me A Kiss” “Safe, Sane And Single” “Push Ka Pi She Pie” “Saturday Night Fish Fry” “What’s The Use Of Gettin’ Sober?/ If I Had Any Sense I’d Go Back Home” “Dad Gum Your Hide Boy” “Let The Good Times Roll/Reet, Petite And Gone” “Caldonia” “Ain’t Nobody Here But Us Chickens” “Don’t Let The Sun Catch You Crying” “Choo Choo Ch’Boogie” “Look Out Sister” “Is You Is”

Instrumentation *Reed (tenor sax, alto sax, clarinet) and percussion instrument *Trumpet and percussion instrument *Trombone and percussion instrument

Bass Drum Kit Piano–conductor

* Percussion instruments: sekere, cabass, agogo

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An international sensation, the simple production design (a small band, unit set and a handful of broad, charmingly extrover ted per for mers) belies an exhilarating, all-embracing theatrical experience, complete with some uproarious “audience par ticipation” that’ll have spectators leaping out of their seats to join the celebration!

BACKSTAGE BABBLE • The original Broadway production of Five Guys Named Moe featured a conga line led by the cast that got most of the audience involved dancing through the aisles of the theatre and out into the bar for intermission.

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“A knife-edged and courageously rockedged score by two unknown Americans... never since the arrival of Sondheim and Kander/Ebb have I been so sure of a new American musical talent” —Sheridan Morley, The London Spectator ™

“A brand new “clean-sheet” musical pushing hard to evolve the form of the American musical... [after seeing The Fix] I knew I had witnessed in the emergence of its creators major new talents in music theatre” —Pete Townshend

F Book and Lyrics by John Dempsey Music by Dana P. Rowe Two acts: unit set Cast 6 men, 3 women, chorus

Musical Numbers “Let The Games Begin” “The Funeral” “One, Two, Three” “Embrace Tomorrow” “Army Chant” “Control” “Man And Wife” “America’s Son” “I See The Future” “Lonely Is A Two-Way Street” “Simple Words” “Alleluia” “Flash, Pop, Sizzle!” “Who Said?” “Don’t Blame The Prince” “Dangerous Games” “America’s Son” “Two Guys At Harvard” “Mercy Me” “Cleaning House” “Upper Hand” “Spin” “The Ballad Of Bobby ‘Cracker’ Barrel” “Child’s Play” “Mistress Of Deception”

Instrumentation* Keyboard I Guitar Bass Drums

Reed I Reed II Trumpet Piano-conductor

rom a new team of writers comes a hard-edged, hard-boiled commentary on the American political machine. Part tabloid, part “The Manchurian Candidate,” The Fix is a totally original biting satire ripped from the headlines of today, yesterday, and most likely tomorrow. A popular presidential candidate is dead, and his wife, who has power on the brain, thrusts her son into the political spotlight. Her maniacal scheming is matched by that of her crippled brother-in-law, who will stop at nothing to see the boy elected. Together, the three of them make up one of the most dysfunctional almost-first families this side of real life Washington politics. With a driving, riveting score by John Dempsey and Dana P. Rowe (T h e Witches Of Eastwick), The Fix is a powerful, nightmarish, hysterical roller coaster of a musical guaranteed to leave an audience breathless.

*Instrumentation may be revised upon release

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“The most thrilling event in the history of our theatre... we even had scalpers outside!” —Roy Miller, Paper Mill Playhouse

“An amazing success, both artistically and financially”

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—Lester Malizia, Seaside Music Theatre

The time is 1971, and theatrical impresario Dimitri Weissmann (famous for his garish Weissmann Follies of yesteryear) hosts a reunion of ex-Follies performers in his crumbling theatre, setting the stage for a parade of brilliant ’20s, ’30s and ’40s pastiche numbers that have become every bit as famous as their models: “Losing My Mind,” “I’m Still Here” and “Broadway Baby,” to name a few. Amid the reminiscing, two middle-aged couples confront some unpleasant truths about their past and present and come face to face with the future.

Music and Lyrics by Stephen Sondheim Book by James Goldman One or Two acts: unit set Cast 12 men, 16 women, 6 showgirls, chorus

Musical Numbers “Beautiful Girls” “Don’t Look At Me” “Waiting For The Girls Upstairs” “Listen To The Rain On The Roof” “Ah, Paris!” “Broadway Baby” “The Road You Didn’t Take” “Bolero D’Amour” “In Buddy’s Eyes” “Who’s That Woman?” “I’m Still Here” “Too Many Mornings” “The Right Girl” “One More Kiss” “Could I Leave You?” “Loveland” “You’re Gonna Love Tomorrow” “Love Will See Us Through” “The God-Why-Don’t-You-Love Me Blues” “Losing My Mind” “The Story Of Lucy And Jessie” “Live, Laugh, Love”

Instrumentation

Reed I (alto sax, piccolo, alto flute, clarinet, Eb clarinet, soprano sax)

Reed II (alto sax, flute, piccolo, clarinet) Reed III (tenor sax, flute, clarinet, bass clarinet) Reed IV (oboe, English horn, clarinet) Reed V (baritone sax, bassoon, clarinet, bass clarinet, flute) Trumpets I & II Trumpet III Trombone I Trombone II

Trombone III Horn Violins [2] Viola Cello Bass Harp Guitar Percussion Piano–conductor

Note: reed part doublings extensively double–lined

Concert Version Available Theatrical Resources

true theatrical event, this legendary masterpiece is considered by many to be the greatest musical ever created.

Surreal, sophisticated, compelling, heartwrenching and epic in scope, Follies uses the musical theatre as a metaphor for the collapse of American innocence and naïveté in the post-Kennedy years. It is a showcase for powerful dramatic actors, featuring a large cast rich in character which provides opportunities for seasoned older performers. Spectacular and grand in scale, Follies has also proven ideal for concert presentation and features many of Stephen Sondheim’s bestknown songs and a thrilling book by James Goldman, the author of A Lion In Winter.

BACKSTAGE BABBLE • The breathtaking Broadway production required no less than two directors, Harold Prince and Michael Bennett. Follies represents the only time either shared directorial credit. • The first draft of Follies was a murder

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NEW ACQU ISITIO N! “Que Viva! Que Bueno! Ole!” —Chita Rivera

“The show delivers..in the style of old movie musicals, perfect” —Bent Brantley, The New York Times

“All Singing, all dancing...fun terrific, dazzling” ™

Conceived by David Coffman & Dolores Prida Musical Numbers Chosen by Dolores Prida Musical Supervision and Arrangements by Oscar Hernandez Director’s Book by Susana Tubert Two Acts Cast 4 men, 1 women

Musical Numbers “Feel It” “Piensa En MI” “Perfidia” “I Make My Money With Bananas” “Babalú” “Tito Puente” “La Bamba” “Bidi Bidi Bom Bom” “Conga” “Bailamos” “Livin’ La Vida Loca” “Macarena” “La Cumbancha” “Frenesi” “Burundanga” “Corazón de Melón” “Mambo” “Latin Dance Moves” “Las Mulatas Del Cha Cha Cha” “Amor” “Te Quiero Dijiste/Magic Is The Moonlight” “Besame Mucho” “Sway/Quizas, Quizas Medley” “Es Mentiroso” “La Manisera (El Manisero)” “Muchachita Borincana” “En Mi Viejo San Juan” “Santiago” “Veracruz” “Nostalgia Habanera” “Mi Tierra” “Rhythm Divine/Ritmo Total” “Buche y Pluma” “Maria Bonita” “Maria Elena” “Maria La O” “Un, Dos, Tres Maria” “Ave Maria” “Gracias A La Vida” “La Murga De Panama” “Bang Bang/Oye Como Va” “ I Like It Like That”

Instrumentation* Piano Drums Percussion

—The New York Daily News

our young Latino men have a chance meeting at Burrito World in Omaha and discover they share the same name! Even though their ancestral roots are different (one is from Puerto Rico, one is from Cuba, one is from Mexico and one is from the Dominican Republic), not only do they share a common name, they share a common dream: to stage a show of Latin standards that puts forth a positive image to counteract Latino stereotypes. Enter Maria, a beautiful woman who provides a romantic interest as the gentlemen vie for her attentions. Performed in Spanish and English, 4 Guys Named José… And Una Mujer Named Maria features some of the most evocative Latin music ever written (including such standards as La Bamba, Guantanamera, I Like It Like That and Bésame Mucho) sung in four- and five-part harmony. Conceived by David Coffman and Dolores Prida with a wise and funny book by Ms. Prida, 4 Guys Named José… And Una Mujer Named Maria is brimming with the zest of life intrinsic to the Latino culture.

*Instrumentation may be revised upon release

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“Smart, funny and fun... The Goodbye Girl is a melodic romp with a heart of gold... the music is infectious, the lyrics are exhilarating and the book plays like a dream” —Kathy Chitwood, Eastlight Theatre

“Leaves you a bit happier to be alive! The songs have a tuneful brassiness and giddy rhythmic snap, and the clever but soulful lyrics are always deeply felt” —USA Today ™

Book by Neil Simon Music by Marvin Hamlisch Lyrics by David Zippel Act 1: 9 scenes

Act 2: 12 scenes Cast

2 men, 3 women, 3 girls, chorus

Musical Numbers “As Good As It Gets” “No More” “A Beat Behind” “My Rules” “Good News, Bad News” “Footsteps In The Park” “How Can I Win?” “Richard Interred” “Too Good To Be Bad” “Who Would’ve Thought?” “Paula (An Improvised Love Song)” “I Can Play This Part” “What A Guy”

Instrumentation Reed I (piccolo, flute, alto flute, clarinet, alto sax) Reed II (flute, clarinet, bass clarinet, tenor sax) Reed III (flute, oboe, clarinet, English horn, tenor sax) Reed IV (clarinet, bass clarinet, bassoon, baritone sax) Horn Trumpet (trumpet, piccolo trumpet, flugelhorn) Trumpet II (trumpet, piccolo trumpet, flugelhorn) Trumpet III (trumpet, flugelhorn) Trombone I Trombone II Percussion

Drums Keyboard I (synthesizer) Keyboard II (synthesizer) Harp Violin I Violin II Celli I & II Cello III Bass Piano-conductor

t’s hard to go wrong with this warm, lighthearted show which is one of the musical theatre’s rare modern romantic comedies.

The Goodbye Girl is based on Neil Simon’s well-known film about an unlikely romance between Paula, a bitter, single mother who has been jilted one too many times, and Eliot, the opinionated actor who shows up on her doorstep with a lease to sublet her apartment. It features the same unique humor that has made Neil Simon the most popular playwright in Broadway history. Add a score by Marvin Hamlisch, composer of A Chorus Line, and David Zippel, lyricist of City Of Angels and Disney’s Hercules and Mulan, and you have an instant contemporary classic! Set in New York City, this witty and tuneful musical is a love letter to the city and features two star roles (a strong-willed female lead with a showstopping belt and a charismatic leading man with a flair for comedy), as well as scene-stealing roles for a young girl wise beyond her years and a blues-singing landlady with an attitude.

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NEW ACQU ISITIO N!

“A marvelously funny, frequently touching and constantly magical theatre piece… sure to have a long and lustrous life” —The Southampton Press

“One’s inner child is not disappointed… messages about diversity have never gone down so painlessly” —The Boston Globe

Music by George Stiles Book and Lyrics by Anthony Drewe Act 1: 4 scenes

Act 2: 6 scenes Cast

4 men, 4 women, 4 children (may be expanded to 30+ adult or children's roles)

Musical Numbers “A Poultry Tale” “The Joy Of Motherhood” “Different” “Hold Your Head Up High” “Look At Him” “Play WIth Your Food” “The Elegy” “Every Tear A Mother Cries” “The Wild Goose Chase” “It Takes All Sorts” “Together” “The Collage” “Now I’ve Seen You” “Warts And All” “The Blizzard” “Transformation”

Instrumentation Reed I (flute, piccolo, alto sax) Reed II (clarinet, bass clarinet, bari sax) Horn Trumpet/Flugelhorn Guitar (acoustic, electric, steel)

Keyboard/Piano-Conductor Percussion (including standard drum kit and timpani) Cello Double Bass/Bass Guitar

Modified Orchestration Reed (flute, clarinet, alto sax) Percussion (including standard drum kit and timpani) Trumpet/Flugelhorn Double Bass/Bass Guitar Guitar (acoustic, electric, steel) Keyboard/Piano-Conductor

Broadway Junior Version Available Theatrical Resources

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n the London season featuring the appearance of The Lion King, Honk! became a stand-out by winning the 2000 Olivier Award (the British equivalent of the Tony ® Award) for "Best New Musical." Written by George Stiles and Anthony Drewe, authors of Just So, (dubbed “The brightest hopes for the future of the British musical” by The London Daily Telegraph) Honk! is the story of Ugly, whose odd, gawky looks instantly incite prejudice from his family and neighbors. Separated from the farm and pursued by a hungry Cat, Ugly must find his way home, with only his loving mother Ida searching for him. Along his rollicking and harrowing journey he not only discovers his true beauty and glorious destiny, but also finds love and acceptance in all its forms. Witty and hilarious, but also deeply moving, Honk! will treat your audiences to equal amounts of laughter and tears. Perfect for a cast as small as ten or as large as 30 (or more), Honk! can be performed with simple sets and costumes. No feathers or fur necessary! Its charm, humor and message of tolerance is perfect for a family audience… and every audience.

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“In The Beginning gave us moral with its comedy, meaning with its laughter, and a score that lifted our audiences to their feet” —Steve Peterson, Maine State Theatre

“The funniest Bible musical ever written” —Freddie Gershon

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“Smartest show in years” —Solomon

“This Show’s a giant” —Goliath

et there be laughter! The first five books of the Old Testament get a good-natured ribbing in this hysterical tribute to all of those ordinar y, ever yday people who didn’t make it into the Bible. Unremarkable though they may be, these hardy Biblical bystanders somehow survive calamity after calamity in outrageous fashion, inventing some useful and practical devices along the way (including the Life Saver – the candy, that is), escaping enslavement in ancient Egypt and helping a young man named Cain find his redemption.

Music and Lyrics by Maury Yeston Book by David W. Hahn Based Upon a Story by God Act 1: 13 scenes

Act 2: 9 scenes

Cast 7 men, 4 women, 1 boy, chorus

Musical Numbers “Busy Busy” “In The Beginning” “Is Someone Out There?” “In The Town” “Till The End Of Time” “One For A Rainy Day” “You’re There Too” “Baby At 110” “New Words” “Long Before Our Time” “Family Tree” “On The Road” “Hello Hello” “Feet” “No Women In The Bible” “Family” “No Man’s As Wonderful” “Hope”

Instrumentation Two piano arrangement or solo piano

An ensemble show for a cast of strong singers and comic actors, In The Beginning features a riotous book by David Hahn and a clever, high-spirited score by Maury Yeston, the Tony® Awardwinning composer/lyricist of N i n e , Phantom, Grand Hotel and Titanic. Filled with one-liners and hilarious situations galore, In The Beginning is a nondenominational crowd-pleaser for the religious, the irreligious and anyone who just wants to have a good time!

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N ACQU EW ISITIO N! “A powerful family affair” —Matthew Crowley The Post-Star

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Book by Andrew Lippa and Tom Greenwald Music by Andrew Lippa Lyrics by Tom Greenwald

Two acts: unit set Cast 1 man, 1women

Musical Numbers “Think Big” “Dear God” “Hold Down The Fort” “Timeline” “It Took Me A While” “Out Of My Sight” “Run And Hide” “Epilogue” “Old Clothes” “Little League” “Just Like You” “Bye Room” “Talk Show” “Smile Of Your Dreams” “Graduation” “Road Ends Here” “That Was My Way” “Every Goodbye Is Hello”

Instrumentation* Piano-conductor Cello Percussion

truly original musical that takes a look at the complexities of relationships between brothers and sisters and parents and children, set against the background of a changing America between 1950 and 1990, john & jen is a gem of a show brimming with intelligence, wit and beautiful melodies. This is the story of Jen and her relationships with the two Johns of her life: her younger brother, who was killed in Vietnam, and his namesake, her son who is trying to find his way in a confusing world. With a cast of only two people, john & jen is a tour-deforce for two actors who take Jen and John (both of them) from childhood, through adolescence and beyond. A chamber musical, beautifully scored for piano, cello and percussion, john & jen is a musical about connections, commitments and the healing of the human heart.

*Instrumentation may be revised upon release

BACKSTAGE BABBLE Theatrical Resources

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• The orchestrations for John & Jen were done by MTI author/composer Jason Robert Brown.

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NEW ACQU ISITIO N! “Compelling, witty and clever… zaniness pervades!” —The Hartford Courant

“Exudes freshness and innovation all its own… A memorable hoot!” —New London Day

“The fusion of musical, cabaret and rock entertainment is truly original… a genuinely ingenious show!” —New Haven Register

How did the Elephant get his trunk?

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How did the Leopard get his spots?

hese questions and others are answered as Rudyard Kipling’s Just So Stories are brought to thrilling a n d hilarious life on stage by the team that brought you Honk!

Music by George Stiles Book and Lyrics by Anthony Drewe Act 1: 5 scenes

Act 2: 3 scenes Cast

7 or 8 men, 4 or 5 women (may be expanded)

Musical Numbers “Go Forth” “Another Tempest” “There’s No Harm In Asking” “The Limpopo River” “Living On This Island” “Thick Skin” “The Parsee Cake Cakewalk” “The Chase” “We Want To Take The Ladies Out” “Pick Up Your Hooves And Trot” “Jungle Light” “Just So” “The Argument” “Aboriginally I Came” “Leaps And Bounds” “Wait A Bit” “Please Don’t Touch My Stove” “Little One Come Hither” “Does The Moment Ever Come?” “If-The Crab”

Instrumentation Reed I (flute, piccolo, Bb clarinet, Eb clarinet, alto sax) Reed II (Bb clarinet, bass clarinet, soprano sax, baritone sax)

Keyboard I Keyboard II Horn

Guitars (electric, acoustic) Bass (acoustic and 5 string electric) Drums Percussion (mallets, timps, and exotics) Piano-vocal

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Just So begins at the beginning of time as the Eldest Magician finds that all the animals look alike and asks them to find themselves. Pau Amma the Crab refuses to play along and becomes a menace to all as he toys with the sea. Hope is soon found in the Elephant’s Child who is not afraid to ask questions and sets off, with the reluctant help of a flightless Kolokolo Bird, to ask the Crab nicely to stop what he’s doing. Along the way he helps others like the Giraffe, the Zebra, the Leopard, the Jaguar, the Rhinoceros, the Kangaroo... until the moment comes that he must grow up and finally face the giant Crab. An epic stor y that is enter taining to children and thought-provoking to adults, Just So is an exciting adventure for all. It’s easy to produce with either a large or small cast, with spectacular effects or simple theatrics. The lessons of this timeless tale will not soon be forgetten.

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NEW ACQU ISITIO N! “Enormously ambitious entertainment ” —Walter Kerr Herald Tribune

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Music and Lyrics by Robert Wright and George Forrest Book by Peter Stone Act 1: 7 scenes

Act 2: 7 scenes Cast

20 men, 7 women

Musical Numbers “Penny Plain, Twopence Colored” “Man and Shadow” “Mayfair Affair” “Sweet Danger” “Queue At Drury Lane” “King Of London” “To Look Upon My Love” “Let's Improvise” “Elena” “The Fog And The Grog” “Civilized People” “Service For Service” “Willow, Willow, Willow” “Chime In!” “Swept Away” “Apology?”

Instrumentation* Piano-vocal *Instrumentation may be revised upon release

he swaggering adventures of noted Eighteenth Century actor Sir Edmund Kean come to breathtaking life in Wright and Forrests’ musical Kean. Considered the greatest Shakespearean actor of his time, he was as well known for his rowdy behavior offstage as he was for his stellar performances onstage. The plot of Kean finds the actor juggling two women in his life: the lovely Elena, married to the Danish Ambassador and Anna, a young aspiring actress. Complications ensue as Kean works to perfect his art and keep his paramours from finding out about each other. Originally a vehicle for the late, great musical actor Alfred Drake, Kean is filled with soaring melodies and graceful lyrics that could only come from the pens of Robert Wright and George “Chet” Forrest (Kismet, Magdalena, Anastasia Affaire, Grand Hotel: The Musical).

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“A rich tapestry: vocally, visually and artistically... this masterpiece can and should be done by any group that loves the joy of performing” —Erik Townsend, Townsend Opera Players

“Only one thing to say: SOLDOUT” —Lester Malizia, Seaside Music Theatre

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Music and Lyrics by Robert Wright & George Forrest (From Themes of Alexander Borodin) Book by Charles Lederer & Luther Davis (Based on the Play by Edward Knoblock) Act 1: 7 scenes

Act 2: 6 scenes Cast

9 men, 8 women, chorus

Musical Numbers “Sands Of Time” “Rhymes Have I” “Fate” “Bazaar Of The Caravans” “Not Since Nineveh” “Baubles, Bangles And Beads” “Stranger In Paradise” “Gesticulate” “Night Of My Nights” “Was I Wazir?” “The Olive Tree” “Rahadlakum” “And This Is My Beloved” “Zubbediya” Horn Trombone I Trombone II Tuba Violins A–C Violins B–D Viola Cello Bass Harp

Instrumentation Flute Oboe Clarinet I Clarinet II Bass Clarinet Bassoon Trumpets I & II Trumpet III

either Aladdin nor Ali Baba ever had a day like this! In the span of twenty-four hours, Hajj the beggar manages to escape the clutches of a vengeful bandit, drown the evil Wazir of Police, catch the eye of the Wazir’s voluptuous wife, serve as Emir of Baghdad, and see his daughter wed to the handsome Caliph. From the original hit Broadway and London productions to the popular MGM film and highly successful revivals around the world, this Arabian fantasy has proven a winner with audiences time and again, thanks to its exotic setting, appealing characters and wry sense of humor – not to mention a lush score adapted from the soaring melodies of Alexander Borodin. The show’s classical music roots provide an ideal showcase for trained “legit” singers, making it perfect for opera/light opera companies and concert presentation with symphony orchestras. The roguish Hajj is one of those all-too-rare bombastic leading male roles for an unabashed ham with a tremendous singing voice. Packed with mirth, mayhem and romance, Kismet has enough adventure and delight to last at least 1001 Arabian nights!

Percussion Piano–conductor

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N ACQU EW ISITIO N! “Brimming with persistent melodies, throughout lyrics and a heartfelt, compelling story” —Michael Kuchwara, Associated Press

“Unpredictably heartfelt insights, energized by a seductive, rhythmic drive” —Linda Winer, Newsday ™

Book, Music and Lyrics by Jason Robert Brown One Act: 14 scenes Cast 1 man, 1 woman

Musical Numbers “Still Hurting” “Shiksa Goddess” “See I’m Smiling” “Moving Too Fast” “A Part Of That” “The Schmuel Song” “A Summer In Ohio” “The Next Ten Minutes” “A Miracle Would Happen/When You Come Home To Me” “Climbing Uphill” “If I Didn’t Believe In You” “I Can Do Better Than That” “Nobody Needs To Know” “Goodbye Until Tomorrow/I Could Never Rescue You”

Instrumentation* Piano Acoustic Guitar Electric Bass Violin/Suspended Cymbal Cello I/Celeste Cello II/Chimes *Instrumentation may be revised upon release

contemporary song-cycle musical that ingeniously chronicles the five year life of a marriage, from meeting to break-up... or from break-up to meeting, depending on how you look at it. Written by Jason Robert Brown (Parade, Songs For A New World), The Last Five Years is an intensely personal look at the relationship between a writer and an actress told from both points of view. The show is presented in “forward time” as we follow the story of their relationship from Jamie’s perspective, starting with their first meeting and following through with their wedding and ultimate breakup. At the same time, Cathy relates the story in “reverse” starting with their breakup and moving backwards in time until their first meeting at the end of the show. Made up mostly of solo turns, with beautiful music and alternately humorous and heartfelt lyrics, it is only in the middle of the show that Jamie and Cathy come together as Jamie proposes and the two are wed. Musicals about relationships are nothing new, but The Last Five Years manages to reinvent the familiar formula and offers up one of the brightest, freshest scores of the new century.

Theatrical Resources

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SPOTLIGHT “We’re lucky to have produced Lucky Stiff... rave reviews... it helped us build an ongoing audience base in the community” —Barbara Stein, Actors’ Playhouse

“A fun change of pace… our audiences really enjoyed the craziness” —Kathy Chitwood, Eastlight Theatre

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Book and Lyrics by Lynn Ahrens Music by Stephen Flaherty Based on The Man Who Broke The Bank At Monte Carlo by Michael Butterworth Act 1: 13 scenes Act 2: 6 scenes (devised to be played on a unit set) Cast 6 men, 4 women

Musical Numbers “Something Funny’s Going On” “Mr. Witherspoon’s Friday Night” “Rita’s Confession” “Good To Be Alive” “Lucky” “Dogs Versus You” “The Phone Call” “Speaking French” “Time Likes This” “Fancy Meeting You Here” “Him, Them, It, Her?” “Nice” “Welcome Back, Mister Witherspoon” “A Woman In My Bathroom” “Confession #2”

Instrumentation Bass (electric) Percussion Synthesizer Piano-conductor

ynn Ahrens and Stephen Flaherty, the authors of Once On This Island, My Favorite Year, Ragtime The Musical, Seussical, A Man Of No Importance and the animated film Anastasia exploded on the musical theatre scene with this zany, offbeat, and very funny murder mystery farce about an unassuming English shoe salesman forced to take the corpse of his recently-murdered Atlantic City croupier uncle on a week-long vacation to Monte Carlo. Should he succeed, Harry Witherspoon stands to inherit $6,000,000. If not, the money goes to the Universal Dog Home of Brooklyn. The proceedings are sheer lunacy as Harry comes up against his uncle’s insanely jealous and legally blind mistress, her much put-upon optometrist brother and Annabel Glick, a zealous representative from the Universal Dog Home determined to see Harry’s inheritance “go to the dogs.” Originally played on a unit set, Lucky Stiff is an intimate show with extremely modest production requirements. A small ensemble cast has plenty to do, playing a variety of bizarre, memorable roles. Exuberant, energetic, and impeccably crafted, Lucky Stiff is above all fun, with a sly, contemporary sensibility.

BACKSTAGE BABBLE Theatrical Resources

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• Together since 1983 after meeting in the BMI Musical Theatre Workshop, Lucky Stiff was Lynn Ahrens and Stephen Flaherty’s first full-length musical to be produced. They would follow it with Once On This Island, My Favorite Year, Ragtime The Musical , Seussical and A Man

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“Performers enjoyed performing it as much as audiences enjoyed seeing it... it was a good draw and we got lots of positive reactions” ™

—Neal Lewing, Port Polson Players

arry Me A Little uses several unknown songs by the undisputed master of the contemporar y Broadway musical to tell a charming and bittersweet tale of love, loneliness and survival as a modern single. Two single strangers, left alone in their studio apartments on a Saturday night, pass their time with sweetly secret, unshared fantasies, never knowing they’re just a floor away from each other and the end of their lonely dreams.

Songs by Stephen Sondheim Conceived and Developed by Craig Lucas and Norman Rene One act: unit set Cast 1 man, 1 woman

Originally conceived by director Norman Rene and playwright Craig Lucas (Prelude To A Kiss), this ingeniouslyconstructed “revusical” is told entirely through songs either written early in Sondheim’s career (including numbers from that new classic Saturday Night) or cut from his groundbreaking Broadway musicals (A Funny Thing Happened On The Way To The Forum, Anyone Can Whistle, Company, Follies and A Little Night Music) . A must for Sondheim aficionados, this easily produced one-act musical is also perfect as a benefit, curtain-warmer or second-stage production, as it can be played on virtually any existing set – or no set at all. It’s a smart, funny, sophisticated and moving evening, and a fascinating look at “the songs that got away.”

Musical Numbers “Two Fairy Tales” “Saturday Night” “Can That Boy Foxtrot” “All Things Bright And Beautiful” “Bang!” “The Girls Of Summer” “Uptown, Downtown” “Who Could Be Blue” “Little White House” “So Many People” “Your Eyes Are Blue” “A Moment With You” “Marry Me A Little” “Happily Ever After” “Pour Le Sport” “Silly People” “There Won't Be Trumpets” “It Wasn't Meant To Happen”

Instrumentation Piano-conductor

Theatrical Resources

BACKSTAGE BABBLE • The original production was designed to take place on the set of a play already running at the theatre about single-occupancy hotels —hence the concept of two people living in separate apartments. • Craig Lucas also performed in the show originally. As a playwright, he gave us Reckless and Prelude To A Kiss,

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“The power of the show was magnified by using the original concept of young people in the production” — Tom Thayer, Roxy Regional Theatre

“A great fund-raiser… much more successful than we could have imagined” —Frank Galgano, Peligro Productions

“It is the story of success, the complexities of compromise, and life lived amid quicksands. It also has that surging Sondheim sound that is New York set to music”

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—New York Post

he authors of the landmark, Company, reunite to turn the traditional showbiz musical on its head in this thrilling and compelling Broadway fable about friendship, compromise and the high price of success.

Music and Lyrics by Stephen Sondheim Book by George Furth Based on the Play by George S. Kaufman and Moss Hart Act 1: 6 scenes

Act 2: 5 scenes Cast

3 principal men, 3 principal women, chorus

Musical Numbers “Merrily We Roll Along” “That Frank” “Old Friends-Like It Was” “Franklin Shepard, Inc.” “Old Friends” “Growing Up” “Not A Day Goes By” “Now You Know” “It’s A Hit!” “The Blob” “Good Thing Going” “Bobby And Jackie And Jack” “Opening Doors” “Our Time”

Instrumentation Reed I (flute, piccolo, clarinet, alto saxophone) Reed II (clarinet, alto saxophone, flute) Reed III (tenor saxophone, clarinet, oboe, English horn) Reed IV (baritone saxophone, bass clarinet, clarinet, bassoon)

Trumpet I Trumpet II Trumpet III

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Trombone Bass Drums/Percussion Synthesizer Stage Piano Piano II Piano-conductor

Merrily We Roll Along begins in the present and moves backwards, tracing the lives of wealthy, jaded composer Franklin Shepard and his two estranged friends through each milestone of their personal and professional lives (good and bad). The show ends with a touch of rueful irony, as the three best friends at the start of their careers face a bright future: young, talented and enthusiastic about the worlds waiting to be conquered. Stephen Sondheim and George Furth expertly blend the excitement and energy of a backstage musical with a poignant and emotional contemporary story about the importance of staying true to one’s ideals. Like Company, Merrily We Roll Along is a modest-sized show that crackles with the wit, humor and intensity that embody the spirit of New York City. With a brilliant “Broadway-style” score and that deep insight one expects from any Sondheim endeavor, Merrily We Roll Along is a spirited and moving cautionary tale for anyone who has ever pursued a dream.

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“Jaunty melodies... take the audience along into the upper atmosphere... reflects (the authors’) penchant for finding the music in fairy tale pairings” —New York Times

he popular award-winning children’s book is now a stirring, intimate chamber musical by the authors of The Fantasticks and Roadside.

Book by Elizabeth Diggs Music by Harvey Schmidt Lyrics by Tom Jones Based on the Book Mirette on the High Wire by Emily Arnold McCully Two Acts: Unit Set Cast 5 Men, 4 Women, 1 young girl

Musical Numbers

“Sitting On The Edge” “Madame Gateau’s Colorful Hotel” “Maybe” “Someone In The Mirror” “Irkutsk” “Practicing” “Learning Who You Are” “The Show Goes On” “Feet Upon The Ground” “Clouk And Claire” “If You Choose To Walk Upon The Wire” “She Isn’t You” “The Great God Pan” “The Great Bellini” “Sometimes You Just Need Someone” “Madame Gateau’s Desolate Hotel”

Instrumentation 2 Pianos

Modified Orchestration Reed

Drums Keyboard II Keyboard III Piano-conductor

(clarinet, bass clarinet, flute, tenor sax)

Horn Harp Bass

Set in 1890s Paris, Mirette tells of the most unusual friendship between a strongwilled ten year-old girl and a jaded tightrope walker. Young Mirette is delighted when she discovers her mother’s grumpy new boarder is none other than the Great Bellini, whose glorious tightrope-walking days were cut short when he lost his nerve. Demonstrating an innate talent for balancing, she convinces the reluctant Bellini —against her mother’s wishes — to teach her his craft. But when Bellini, determined not to disappoint the girl, stages a comeback performance only to find himself paralyzed with fear, it is Mirette who must climb the wire and help him regain his courage. With minimal production demands, an inspiring story and charming characters who will steal your audience’s hearts (including the spunky title role and the gruff man whose icy exterior she breaks), Mirette joins the ranks of Schmidt and Jones shows that are sheer theatrical poetry.

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NEW ACQU ISITIO N! "Exuberant!"

-The London Herald "Lunacy on the High Seas"

-Daily Mail (London) "Sheer Brilliance and Uninhibited Fun"

--Financial Times ™

Book by Robert Longden Additional Material by Hereward Kaye Music by Hereward Kaye and Robert Longden Lyrics by Robert Longden and Hereward Kaye Musical Arrangements by Martin Koch The authors would like to reluctantly acknowledge interference from Russell Ochocki and Cameron Mackintosh Two acts: unit set Cast 6 men, 6 women

Musical Numbers “School Hymn” “Moby Dick” “I Live And Breathe” “In Old Nantucket” “Sorry Harpooner” “A Man Happens” “Ahab’s Return” “Love Will Always” “Primitive” “A Sinking Man” “Jonah Fell” “Pequod” “At Sea One Day” “Building America” “Deck Dance” “Mr. Starbuck/Death To Moby Dick” “Heave!” “Can’t Keep Out The Night” “Whale Of A Tale” “The Rachel” “Shadows Of The Deep” “Queequeg’s Premonition” “Heave2” “Moby Dick Finale”

Instrumentation* Keyboard I Keyboard II Bass Drums *Instrumentation may be revised upon release

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he girls of St. Godley’s School are in trouble! Money for the school has run out and the place will have to close. Leave it to these resourceful girls, and their unflappable headmistress (played by a man in drag), to come up with a plan to keep the school afloat. Using whatever they can find at hand, the girls mount an original production: a musical version of Moby Dick, featuring their headmistress in the coveted role of Captain Ahab. A cult-favorite in London in the 1990s, Moby Dick! The Musical has been reconceived for an American sensibility. As Melville rolls in his grave, our spirited girls run roughshod over the classic as they carry on with their presentation. Warning: this is NOT your ordinary musical version of Moby Dick! What The Rocky Horror Show does to late night horror movies, Moby Dick! The Musical does to Herman Melville! As the girls perform their adaptation of the classic novel, they come to have an appreciation of education and camaraderie - NOT! Filled with double and triple entendre, and more goofy humor than you can imagine, the St. Godley School presentation of Moby Dick! The Musical is guaranteed to make your audiences laugh in spite of themselves.

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“Encompasses all types of music from Opera to Broadway... as good as musical theatre gets” —David Matthews, Erie Playhouse

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“Our audiences adored it... people had a fabulous time” —Steven Woolf, Repertory Theatre of St. Louis

rank Loesser, composer/lyricist of Guys And Dolls, scored his greatest artistic triumph with this touching, dramatic and intensely personal love story about a middle-aged vintner, Tony, whose mail-order marriage proposal is accepted under the girl’s mistaken assumption a photo of his young, handsome foreman is her intended husband.

Music, Lyrics and Libretto by Frank Loesser Based on Sidney Howard’s Play They Knew What They Wanted Act 1: 4 scenes

Act 2: 5 scenes

Act 3: 2 scenes

Cast 14 men, 4 women, chorus

Musical Numbers “Ooh! My Feet!” “Somebody, Somewhere” “The Most Happy Fella” “Standing On The Corner” “Joey, Joey, Joey” “Rosabella” “Abbondanza” “Sposalizio” “Benvenuta” “Don’t Cry” “Fresno Beauties” “Happy To Make Your Acquaintance” “Big D” “How Beautiful The Days” “Young People” “Warm All Over” “I Like Ev’rybody” “My Heart Is So Full Of You” “Mamma, Mamma” “Song Of A Summer Night” “Please Let Me Tell You” “I Made A Fist”

Instrumentation Violin I [2] Violin II [2] Viola Celli [2] Bass Harp Accordion Celeste Percussion I & II Piano-vocal

Reed I (flute, piccolo, alto flute) Reed II (oboe, English horn) Reed III (clarinet, soprano sax, flute) Reed IV (clarinet, bass clarinet) Reed V (bassoon) Trumpets I & II Trombone I Trombone II Horns I & II Horn III

Duo Piano Version Available Theatrical Resources

Her hurt and humiliation when she learns the truth, as well as a terrible accident which nearly kills Tony as he hurries to meet her, almost ends the relationship before it begins, but a loving understanding blossoms between them during Tony’s long convalescence. Filled with sweeping ballads, intense dramatic arias and tuneful, splashy Broadway-style numbers, this ambitious “Broadway opera” has found a home on opera and musical theatre stages alike. Its sizable score showcases strong singers, including a mature operatic baritone and a young soprano ingenue for the two lead roles. The rest of the large cast consists of a winsome comic duo for the secondary leads and a host of other compelling characters. The show’s lasting popularity has led to two Broadway revivals, the latter with a twopiano accompaniment that is available for rental.

BACKSTAGE BABBLE • Composer/Lyricist Frank Loesser met and fell in love with his wife, Jo Sullivan, after casting her as Rosabella in The Most Happy Fella. Their daughter Emily Loesser is now a star of the musical theatre as well. • The Most Happy Fella marked the first

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“A can’t miss show... has all the pizazz every director dreams of... great music and the opportunity to get lots of kids involved”

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—Phil Ridley, Holy Cross Secondary School

“The biggest musical hit we ever had in our studio theatre... bubbly and exuberant... the perfect show for a small space” —Ron Baumanis, Ann Arbor Civic Theatre

I Book by Joseph Dougherty Music by Stephen Flaherty Lyrics by Lynn Ahrens Based on the Motion Picture My Favorite Year Courtesy of Turner Entertainment Co. Screenplay by Norma Steinberg and Dennis Palumbo Story by Dennis Palumbo Act 1: 9 scenes

Act 2: 6 scenes Cast

8 men, 5 women, chorus

Musical Numbers “Twenty Million People” “Larger Than Life” “Musketeer Sketch” “Rookie In The Ring” “Manhattan” “The Gospel According To King” “Funny/The Duck Joke” “Welcome To Brooklyn” “If The World Were Like The Movies” “Exits” “Shut Up And Dance” “Professional Showbizness Comedy” “The Lights Come Up” “My Favorite Year”

Instrumentation Reed I (flute, piccolo, alto sax, clarinet) Reed II (clarinet, bass clarinet, flute, alto sax) Reed III (oboe, English horn, clarinet, tenor sax) Reed IV (bassoon, clarinet, flute, baritone sax, bass clarinet)

Horn Trumpet I (doubles flugelhorn) Trumpet II (doubles piccolo trumpet) Trumpet III (doubles flugelhorn) Trombone I

Trombone II Violins A–B–C [2] Viola Cello Bass Drums Percussion Keyboard I (piano, synthesizer) Keyboard II (synthesizer) Piano–conductor

Theatrical Resources

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t’s 1954, and Benjy Stone, freshman writer on TV’s King Kaiser Comedy Cavalcade, is assigned the daunting task of baby-sitting veteran Hollywood swashbuckler Alan Swann while he’s doing a live guest appearance on the show. The effort to keep the reckless Swann off the booze and out of the papers during the rehearsal week nearly drives Benjy to the brink, when he’s given an unexpected glimpse into Swann’s broken heart that teaches him about human frailty, tragedy, comedy, love — and about what made 1954 his favorite year. Based on the hit film starring Peter O’ Toole and Mark Linn-Baker, My Favorite Year is a solid book show in the tradition of Broadway’s classic musicals, with a bright, tuneful, contemporary score by Stephen Flaherty and Lynn Ahrens (Lucky Stiff, Once On This Island, Ragtime The Musical, Seussical, A Man Of No Importance). It’s a nostalgic and very moving comedy about growing up which is sure to put a smile on your lips and a tear in your eye.

BACKSTAGE BABBLE • In My Favorite Year, “The King Kaiser Comedy Cavalcade” is based on Sid Caesar “Your Show Of Shows” and the swashbuckling Alan Swann is based on movie legend Errol Flynn.

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“A unique and special show that our subscribers flipped over... it had the audiences dancing in the aisles” —Lars Hansen, Pasadena Playhouse

“A tremendous success… the audience left with big smiles… a terrific, fun show” —John Jacobson, Florida Studio Theatre

“This is better than John Philip Sousa played on massed kazoos with free ice-cream sodas” —New York Post

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by Mike Craver, Mark Hardwick, Debra Monk, Mary Murfitt Two Acts: Unit Set Cast 2 men, 2 women

Musical Numbers “Count Your Blessings” “Csardas” “The Anvil Chorus” “In A–Gadda–Da–Vida” “Ohio Afternoon” “Double Date” “The Hokey Pokey” “Beaver Ball At The Bug Club” “Beehive Polka” “Patriotic Fantasy” “Dizzy Fingers” “Getting Acquainted” “Iris” “The End Of The World” “Dear Miss Reeves” “Coaxing The Ivories” “Bus Ride” “In The Sweet By And By” “Old Kentucky Rock And Roll Home”

Instrumentation

Piano-conductor-”Mark” Reed I-(Violin/Tenor Saxophone/Flute)-”Mary”

Drums/Percussion-”Debbie” Synthesizer-”Mike”

Theatrical Resources

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he auditorium has been swept. The crepe paper has been hung. Four music stands sit on an improvised stage.

In this hit revue from the creators of Pump Boys And Dinettes, four graduates of Oil City High return to their alma mater for a recital in honor of their beloved music teacher, Miss Reeves. There’s Mark, the “leader” and pianist of the group, with the manner of a Sunday School teacher; Mike, the soft-spoken master of the synthesizer and vibraslap; the prim Mary, who plays violin, saxophone, flute and slide whistle; and Debbie, the gracious and energetic ex-prom queen, on drums. Proud, eager – not necessarily gifted – and slightly competitive, the four perform a bizarre program that ranges from the 1812 Overture to “The Stars And Stripes Forever” to rock standards, sentimental favorites and offbeat original songs. It’s a knee-slapping, sweetly nutty tribute that’s an ideal showcase for four charismatic actor-singermusicians. Easy and economical to produce, Oil City Symphony is good old-fashioned fun that even includes an audience-participatory rendition of “The Hokey-Pokey,” and punch and cookies served by the cast at the end of the performance.

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“Take a deep breath, count to ten, and do Pacific Overtures. The rewards are practically limitless” —Gerald Moshell, Trinity College

“Fascinating... emotionally important” —Linda Wise, Woodward Academy

ippon. The floating kingdom. An island empire which for centuries has lived in per fect peace, undisturbed by intruders from across the “sea…” That is, until Commodore Matthew Perry and an American fleet arrive in 1853 to “open” it up to the West, and a civilization of timeless tradition and seamless serenity begins to unravel under the impact of new ideas.

Music and Lyrics by Stephen Sondheim Book by John Weidman Additional Material by Hugh Wheeler Act 1: 11 scenes

Act 2: 7 scenes

Cast 15 men (doubling), 4 women Note: Both New York productions used actors playing both male and female roles; actresses were used throughout as stagehands, appearing as characters only in the last scene of the musical.

Musical Numbers “The Advantages Of Floating In The Middle Of The Sea” “There Is No Other Way” “Four Black Dragons” “Chrysanthemum Tea” “Poems” “Welcome To Kanagawa” “Someone In A Tree” “Please Hello” “A Bowler Hat” “Pretty Lady” “Next”

Instrumentation Broadway: Reed I (flute, piccolo, recorder, alto flute) Reed II (Bb clarinet, Eb clarinet, flute, piccolo) Reed III (clarinet, bass clarinet, flute) Reed IV (oboe, English horn) Reed V (bassoon, clarinet) Horns I & II Trumpets I & II Trombone Harp

Violins A–B [2] Viola Cello Bass Percussion I & II [2] Keyboard (RMI, celeste) Stage Band I (shamisen) Stage Band II (percussion) Piano-conductor

Stephen Sondheim and John Weidman, authors of Assassins, explore the painful Westernization of Japan through the story of two friends caught in the inevitable winds of change. Mixing elements of Kabuki theatre with the conventions of the Broadway musical, Pacific Overtures is considered by many to be the artistic pinnacle of the legendar y Sondheim/Prince collaborations. A highly original, inventive, powerful, educational and surprisingly humorous theatrical experience, it pushes the boundaries of musical theatre farther than ever before. Every musical number is a revelation in a groundbreaking score containing material Sondheim considers his best. Its epic scope, ethnic cast and subject matter, and sheer ambition make Pacific Overtures a unique and worthwhile effort for any theatre – large or small – looking for a challenge.

Off Broadway: Reed (Flute/Clarinet) Piano/Celeste

Keyboard (Synthesizer) Percussion

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BACKSTAGE BABBLE • Pacific Overtures was ground-breaking in that it attempted to tell of the meeting between Western and Asian cultures from a totally Asian

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“A work of art” —Tom Thayer, Roxy Regional Theatre

“Passion is the most romantic musical ever written... gorgeous rich music and deeply felt lyrics — and it’s about real, complex love, not musical comedy love... our audiences really connected to these characters” —Scott Miller, New Line Theatre

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Music and Lyrics by Stephen Sondheim Book by James Lapine Based on the Film Passione d’Amore directed by Ettore Scola 1 act: 15 scenes Cast 10 men, 4 women (may be expanded)

Musical Numbers “Happiness” “First Letter” “Second Letter” “Third Letter” “Fourth Letter” “I Read” “Garden Sequence” “Trio” “I Wish I Could Forget You” “Soldiers’ Gossip” “Flashback” “Sunrise Letter” “Is This What You Call Love?” “Forty Days” “Loving You” “Farewell Letter” “No One Has Ever Loved Me” “Finale”

Instrumentation Reed I

Violin I & II [2] Viola Cello Bass Keyboard I Keyboard II Piano-conductor

(flute, alto flute, clarinet, piccolo)

Reed II

(clarinet)

Reed III (oboe, clarinet, English horn) Reed IV (bass clarinet, clarinet, bassoon) Horn I & II [2] Trumpet Percussion [2]

o less than the wondrously complex landscape of the human heart is the subject of this haunting, intensely emotional one-act chamber opera by the uncompromising creators of Sunday In The Park With George and Into The Woods. At a remote military outpost in 1863 Italy, a handsome army captain, separated from his beautiful – but married – mistress, is forced to re-evaluate his beliefs about love when he becomes the object of the obsessive, unrelenting passions of Fosca, his Colonel’s plain, sickly cousin.

Bold, unexpected and thrilling, Passion is one of Stephen Sondheim’s most emotional works. Intimate, raw, erotic and dark, it explores universal yet often unspoken truths. The sweeping, romantic score (Sondheim describes it as one long rhapsody) accompanies an intelligent, thoughtprovoking book which bears James Lapine’s trademark lyricism and a host of well-drawn characters. As with all of Sondheim and Lapine’s works, Passion requires (and highlights) a cast of accomplished singing actors.

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NEW ACQU ISITIO N! “Lighter than a prairie breeze! Charming and colorful!” —New York Daily News

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Book and Lyrics by Tom Jones Music by Harvey Schmidt Based on the Play Roadside by Lynn Riggs Two acts: unit set Cast 3 men, 2 women

Musical Numbers “Uncle Billy’s Travellin’ Family Show” “Roadside” “Here Am I” “I Don’t Want To Bother Nobody” “Smellamagoody Perfume” “Lookin’ At The Moon” “I’m Through With You” “Peaceful Little Town” “I Toe The Line” “Back To Our Story” “Personality Plus” “Another Drunken Cowboy” “The Way It Should Be” “My Little Prairie Flower” “All Men Is Crazy” “Ain’t No Womern But You” “Borned” “Wild & Reckless”

Instrumentation Bass Guitar I Guitar II Piano-conductor

ver want to meet the folk who shaped the American West? The brave bunch that packed up their family, hopped in their covered wagons and headed for the open road, ready to face the unknown. Join Uncle Billy and his traveling tent show on an adventure into the old Wild West! Roadside is filled with the characters that have shaped our fantasies of these saddlesore American pioneers. Pap Raider, having lost his wife, only wants the best for his beautiful, fiery daughter, Hannie; will it be the farmer, Buzzey, who’s been following their wagon on foot for months, begging for her hand? Or will it be Texas, the largerthan-life, ornery cowboy on the run from the law?

Having based Roadside on a play by Lynn Riggs, the author of Green Grow The Lilacs (the source for Oklahoma!) Tom Jones and Harvey Schmidt give us a humorous and touching ride through the West as told by an old-fashioned traveling tent show. The music is as lively as the conversation and is sure to be a footstompin’ good time for the whole family.

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I N T E R N AT I O N A L “Fantastic experience... tremendous audience appeal” —Harold Herman, Shenandoah Conservatory

“Allows the total company of the show to be involved throughout the piece”

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—Linda Wise, Woodward Academy

“A sparkling, unusual, immensely invigorating musical” —New York Times

rousing, bawdy Southern fairy tale set in eighteenth century Mississippi, The Robber Bridegroom is the story of the courting of Rosamund, the only daughter of the richest planter in the countr y, by Jamie Lockhart, a rascally robber of the woods. The proceedings go awry, thanks to an unconventional case of double-mistaken identity. Throw in an evil stepmother intent on Rosamund’s demise, her pea-brained henchman and a hostile talking head-in-a-trunk, and you have the recipe for a rollicking country romp!

Book and Lyrics by Alfred Uhry Music by Robert Waldman Adapted from the Novella by Eudora Welty One act or optional Two acts: unit set Cast 5 men, 4 women, chorus

Musical Numbers “Once Upon The Natchez Trace” “Two Heads” “Steal With Style” “Rosamund’s Dream” “The Pricklepear Bloom” “Ain’t Nothin’ Up” “Deeper In The Wood” “Marriage Is Riches” “Little Piece Of Sugarcane” “Love Stolen” “Poor Tied Up Darlin’ ” “Kitchen Girl” “Goodbye Salome” “Sleepy Man” “Where, Oh Where”

Told in “story theatre” fashion with nine principal actors on a unit set, The Robber Bridegroom is extremely flexible in its staging and production possibilities. The hysterical book by Alfred Uhry, the Pulitzer Prize-winning author of Driving Miss Daisy, gives each actor his or her moment to shine. Composer Robert Waldman has created a score to be played by a small onstage band. It’s one of the only genuine bluegrass scores ever heard in a Broadway musical, giving this unusual tale of the Natchez Trace a distinctive sound all its own.

Instrumentation Violins I & II & III [3] Guitars I & II [2] Bass (acoustic and electric) [2] Banjo Piano–conductor

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BACKSTAGE BABBLE • The Robber Bridegroom actually opened on Broadway twice within one year. The first time, in October, 1975, it starred Kevin Kline and Patti Lupone. A second production was mounted at the Mark Taper Forum in Los Angeles and moved to Broadway in October 1976, this time with Barry Bostwick and Rhonda Coullet. Patti Lupone was nominated for a Tony® award, and

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“It has a charm, freshness and wit... deserves to draw more than dedicated Sondheimites ” —The Guardian

“A perfectly enjoyable evening... Saturday Night is something special ” —Time Out TM

eeking a charming, traditional book musical with the wit, craft and insight of Stephen Sondheim? Well, look no further!

Book by Julius J. Epstein and Philip G. Epstein Music and Lyrics by Stephen Sondheim Act 1: 8 scenes Act 2: 5 scenes Cast 9 principal men, 5 principal women, large chorus

Musical Numbers “Saturday Night” “Class” “Delighted, I’m Sure” “Love’s A Bond” “Isn’t It?” “In The Movies” “Exhibit ‘A’” “A Moment With You” “Montana Chemical” “So Many People” “One Wonderful Day” “I Remember That” “All For You” “It’s That Kind Of A Neighborhood” “What More Do I Need?”

Instrumentation Reed I (piccolo, flute, alto sax, clarinet) Reed II (clarinet, English horn, oboe, tenor sax) Reed III (clarinet, bass clarinet, baritone sax, bassoon) Trumpet I & II Trombone Drums

Violins I & II Viola Cello Bass Keyboard II Piano-conductor

MTI is proud to represent the musical that never was – the show that was supposed to have introduced the young composer/ lyricist Stephen Sondheim to Broadway, (had West Side Story not intervened). Saturday Night tells the unassuming story of a group of Brooklyn boys trying to make good in the stock market in 1929. Unfortunately, one of them, Gene, is so eager to climb the social ladder and impress his sweetheart, he invests his friends’ money in a swank apartment near the Brooklyn Bridge, even going so far as to sell the gang’s precious automobile! With a book by two brothers responsible for the classic film Casablanca, and a fetching, tuneful Broadway-style score that hints at Sondheim’s triumphs to come while staying firmly rooted in the Rodgers and Hammerstein tradition, Saturday Night is a nostalgic charmer that will appeal to every audience and is a must for Sondheim fans.

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“Sunday In The Park With George offers a great opportunity for design as well as a challenge for the performers” —Greg Stull, Mary Washington College

“What a joy! What an experience! I will remember it my whole life” —Toby Orenstein, Toby’s Dinner Theatre

“An audacious, haunting and, in its own intensely personal way, touching work” —New York Times

ne of the most acclaimed musicals of our time, this moving study of the enigmatic painter Georges Seurat won a Pulitzer Prize for its deeply insightful and highly personal examination of life through art and the artist.

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Music and Lyrics by Stephen Sondheim Book by James Lapine Two acts: modified unit set

Act One follows the inarticulate Seurat as he fights a losing battle to maintain a relationship with his mistress Dot as he creates his painting “A Sunday Afternoon on the Island of La Grande Jatte” amid the scorn of the artistic community. The second act takes place 100 years later, introducing us to his American descendant, also an artist, burned out and uncertain of the path he must take.

Cast 7 men, 8 women

Musical Numbers “Sunday In The Park With George” “No Life” “Color And Light” “Gossip” “The Day Off” “Everybody Loves Louis” “Finishing the Hat” “We Do Not Belong Together” “Beautiful” “Sunday” “It’s Hot Up Here” “Chromolume #7” “Putting It Together” “Children And Art” “Lesson #8” “Move On”

Instrumentation Reed I

Cello Harp Percussion Synthesizer Piano/celesta Piano–conductor

(flute, clarinet, bass clarinet, English horn, piccolo, soprano sax)

Reed II (flute, oboe, clarinet, English horn, piccolo, alto sax)

Horn (Bb and F) Violins I & II {2} Viola

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An ensemble of strong singing actors per for ms this challenging and heartbreaking work about our need to connect to the past, present and future. The show features two coveted starring roles made famous by the Broadway performances of Mandy Patinkin and Bernadette Peters. The groundbreaking book and score by Stephen Sondheim and James Lapine, the authors of Into The Woods and Passion, contain some of their most beautiful and stirring work. The show may be staged simply as in its original workshop production or with the grandeur of Seurat’s masterpiece.

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“I’ve been waiting twenty years to produce this show and it was well worth the wait” —Bobsey Mitton, Turtle Lane Playhouse

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“A wonderful score from Broadway’s Golden Age... a timeless story, more relevant today than ever” —Nancy McArthur, Turtle Lane Playhouse

Music by Jerry Bock Lyrics by Sheldon Harnick Book by George Abbott and Jerome Weidman Based on the Novel Tenderloin by Samuel Hopkins Adams Act 1: 12 scenes Act 2: 10 scenes, plus an Epilogue Cast

et in New York at the turn-of-thecentury, Tenderloin recounts the efforts of a crusading minister as he attempts to shut down the notorious red-light district on the West Side of Manhattan and the staunch defenders of debauchery out to stop him. The “do-gooder” Reverend Brock is aided by a reporter with a hidden agenda of his own.

14 Men, 14 Women, Chorus

Musical Numbers “Prologue” “Little Old New York” “Dr. Brock” “Artificial Flowers” “What’s In It For You?” “Reform” “Tommy, Tommy” “Picture Of Happiness” “My Miss Mary” “Dear Friend” “The Army Of The Just” “The Money Changes Hands” “Good Clean Fun” “My Miss Mary” “My Gentle Young Johnny” “The Trial” ”Epilogue”

Instrumentation Reed 1 (flute, alto flute, Bb clarinet, piccolo) Reed II (Eb clarinet, Bb clarinet, bass clarinet, flute, alto flute)

Reed III (flute, Bb clarinet, tenor sax, oboe, English horn)

Reed IV

(baritone sax, bassoon, Bb clarinet, bass clarinet)

Horn I&II Trumpet I & II Trombone I

Trombone II Violin A-B-C Viola Cello Bass Percussion Guitar Harp Keyboard (organ, piano, celeste)

Described as a “gay nineties Guys And Dolls,” Tenderloin reunited the authors, director and producers of the Pulitzer Prizewinning smash-hit Fiorello! The sparkling, youthful score by Sheldon Harnick and Jerry Bock (whose latter successes included Fiddler On The Roof and She Loves Me) stayed on the Billboard charts for 34 weeks when the original cast album was released. A big, rousing, somewhat risque show with lots of dancing and the hit songs “Artificial Flowers,” “Little Old New York,” and “Good Clean Fun,” Tenderloin is a vintage show that still packs quite a punch.

Piano-conductor

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I N T E R N AT I O N A L “Great turnout, incredible impact. A very challenging piece of theatre” —Lou Volpe, Harry S. Truman High School

“An incredible experience… we kicked some Rock ‘n’ Roll butt” —Lester Malizia, Seaside Music Theatre

“In concert, Tommy retains the power and flash of the Broadway version”

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—The News Journal

ete Townshend’s tale of a young boy’s journey from pain to triumph is the most electrifying evening of rock and roll ever to play in a theatre!

Music and Lyrics by Pete Townshend Book by Pete Townshend and Des McAnuff Additional Music and Lyrics by John Entwistle and Keith Moon Act 1: 12 scenes Act 2: 8 scenes modified unit set Cast 13 men, 4 women, 2 children, chorus (may be expanded)

Musical Numbers “It’s A Boy” “Twenty-One” “Amazing Journey” “Sparks” “Christmas” “Do You Think It’s Alright?” “Fiddle About”* “See Me, Feel Me” “Cousin Kevin” “Sensation” “Eyesight To The Blind” “Acid Queen”* “Pinball Wizard” “There’s A Doctor I’ve Found” “Go To The Mirror, Boy” “Tommy, Can You Hear Me?” “I Believe My Own Eyes” “Smash The Mirror” “I’m Free” “Miracle Cure” “How Can We Follow?” “Tommy’s Holiday Camp” “Sally Simpson” “Welcome” “Sally’s Question” “We’re Not Gonna Take It” “Finale” *school productions may omit these numbers

Instrumentation Horn Electric Bass Guitar I Guitar II

Drums Keyboard I Keyboard II Keyboard III Piano-conductor

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After witnessing the accidental murder of his mother’s lover by his father, Tommy is traumatized into catatonia, and as the boy grows, he suffers abuse at the hands of his sadistic relatives and neighbors. As an adolescent, he’s discovered to have an uncanny knack for playing pinball, and when his mother finally breaks through his catatonia, he becomes an international pinball superstar. The classic ‘60s rock opera by The Who was translated to the stage by theatrical wizard Des McAnuff into a high-energy, oneof-a-kind theatrical event. The exhilarating score is timeless in its youthful appeal, giving the show a cross-generational appeal that has made it a smash-hit in high schools and colleges around the world. A small rock band orchestration and spectacular original Broadway production slides allow you to capture the excitement of the New York production on a modest budget.

BACKSTAGE BABBLE • Prior to the Broadway production, Tommy had been performed in concert all over the world by The Who, including the Metropolitan Opera House in New York. It was also turned into a motion picture where Ken Russell’s directorial vision of the troubled boy featured performances by The Who, Elton John, Eric Clapton, Tina Turner, Ann-Margret and

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“A perfect blending of highbrow and lowbrow... a valentine to good oldfashioned musical comedy” —Brett Harwood, Kelley Theatre, Stuttgart

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“This is a musical that sings—gloriously... truly melodic music and literate words” —The Philadelphia Inquirer

ove can make a woman do strange things. Like lie about her past. Or give up her career for the man she loves. Or throw of f her princessly raiment and disguise herself as a young man in order to infiltrate the guarded “men-only” palace compound of an exiled prince she’s admired from afar, who is secretly plotting to murder her and usurp her throne. Such is the state of things in James Magruder, Jeffrey Stock and Susan Birkenhead’s hilarious, tongue-in-cheek, anachronistic adaptation of the classic Marivaux comedy Triumph Of Love.

Book by James Magruder Music by Jeffrey Stock Lyrics by Susan Birkenhead Based on the Play by Marivaux Two Acts: Unit Set Cast 4 men, 3 Women

Musical Numbers “This Day Of Days” “Anything” “The Bond That Can’t Be Broken” “Mr. Right” “You May Call Me Phocion” “Emotions” “The Sad And Sordid Saga Ballad Of Cecile” “Serenity” “Issue In Question” “Teach Me Not To Love You” “Have A Little Faith” “The Tree” “What Have I Done?” “Henchmen” “Love Won’t Take No For An Answer”

Instrumentation Reed I (alto sax, Bb clarinet, clarinet, flute, piccolo) Reed II (clarinet, English horn, oboe, tenor sax) Reed III (clarinet, bass clarinet, baritone sax, bassoon) Horn Percussion Piano-conductor

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Trumpet Violin Viola Cello Bass Piano

Triumph Of Love finds a parallel for the conventions of 18th century French comedy in the witty repartee, sexy comedy, inspired buffoonery and tender poignancy of this charming small-cast chamber musical. As well as making it extremely flexible in its performance space, set and costume demands, with its emphasis on character and situation rather than production values, Triumph Of Love is an excellent showcase for comic actors.

BACKSTAGE BABBLE • Broadway audiences at the original production of Triumph Of Love were greeted by the sight of a huge gold cloth entirely masking the set. During the brief instrumental music that opens the show, the cloth was slowly lifted into the flies as yard after yard of gold gave way to the stylistic topiary maze garden beneath it... it never ceased to get a deserved round of applause.

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“ A stunning piece of musical theatre that left our audiences cheering!” —Randy Adams, TheatreWorks

“A genuine sincerity and sweetness that can pierce through one’s skepticism... blessed with some lovely indigenous music... a smart amalgam of country, church and blues” —Seattle Times

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Music by Jeanine Tesori Book and Lyrics by Brian Crawley Based on The Ugliest Pilgrim by Doris Betts Two acts: unit set Cast 6 Men, 5 Women (including 1 adolescent girl)

Musical Numbers “Opening/Surprised” “On My Way” “Luck Of The Draw” “Question & Answer” “All To Pieces” “Let It Sing” “Who’ll Be The One (If Not Me)” “You’re Different” “Lonely Stranger/Anyone Would Do” “Lay Down Your Head” “Hard To Say Goodbye” “Promise Me, Violet” “Raise Me Up” “Down The Mountain” “Look At Me” “That’s What I Could Do” “Bring Me To The Light”

Instrumentation Bass Percussion Guitar I & II [2] Keyboard I Keyboard II

Keyboard III Violin Cello Piano-vocal

Theatrical Resources A Sound Effects CD is available for rental

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et in 1964 in the Deep South during the early days of the Civil Rights Movement, Violet follows the growth and enlightenment of a bitter young woman accidentally scarred by her father. In hopes that a TV evangelist can cure her, she embarks on a journey by bus from her sleepy North Carolina town to Oklahoma. Along the way, she meets a young black soldier who teaches her about beauty, love, courage and what it means to be an outsider. One of the most acclaimed off-Broadway shows of the ’90s, Violet astounded critics and audiences with its powerful story, its energetic, toe-tapping Gospel, Rock, Country, and Rhythm and Blues score by Jeanine Tesori, and its well-crafted book and lyrics by Brian Crawley that are not afraid to deal with important, sensitive issues. Its simple set and modest cast and orchestra requirements adjust to any scale production. Violet features a strong ensemble cast with bravura roles for the two leads.

BACKSTAGE BABBLE • Although a story about a disfigured girl, in the original production you never saw the scar that has haunted Violet her entire life... it was left to the

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“A delightful change of pace for our audience and cast members. Great spirit of fun, and a beautiful score” —Harold Herman, Shenandoah University

“A perennially charming musical, lively and spirited, and likely to live forever” —New York Times

hat do you get when two musical theatre masters adapt one of the most popular and successful farces ever written? A tuneful and hysterically funny classic that’s non-stop entertainment! ™

Oxford University students Charley and Jack invite the young and winsome Kitty and Amy to lunch under the chaperoning eye of Donna Lucia, Charley’s wealthy aunt (it is, after all, 1892). But when Donna Lucia doesn’t show, a desperate Charley disguises himself as his aunt so the young ladies can visit, unaware they’ve brought a chaperon on their own: Amy’s stuffy uncle, who promptly falls for Charley’s aunt-like charms! Then the real aunt shows up, and it’s all downhill from there: quick changes, fast talking, marriage proposals, compromising situations and rowdy hilarity.

Music and Lyrics by Frank Loesser Book by George Abbott Based on Brandon Thomas’ Charley’s Aunt Act 1: 4 scenes

Act 2: 5 scenes Cast

8 men, 3 women, chorus

Musical Numbers “The Years Before Us” “Better Get Out Of Here” “The New Ashmolean Marching Society And Students’ Conservatory Band” “My Darling, My Darling” “Make A Miracle” “Serenade With Asides” “Lovelier Than Ever” “The Woman In His Room” “Pernambuco” “Where’s Charley?” “Once In Love With Amy” “The Gossips” “At The Red Rose Cotillion”

Instrumentation Reed I (flute, piccolo, cowbell) Reed II (oboe, English horn, conga drums) Reed III (clarinet, washboard) Reed IV (clarinet, washboard) Reed V (bassoon, cuban drums) Trumpets I & II Trumpet III Horn Trombone

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Violin A Violin B Violin C Viola Cello Bass Percussion Piano-vocal

Where’s Charley features many roles for younger performers, including Charley himself, an excellent opportunity for a young comic actor. The score by Frank Loesser includes the popular audience-participation hit “Once In Love With Amy,” and the book by the legendary “Mr. Abbott” keeps things moving along at his trademark clip.

BACKSTAGE BABBLE • The original Broadway production of Where’s Charley? starred Ray Bolger (the scarecrow from the classic film, The Wizard Of Oz). • Highly successful when it was first on Broadway, Where’s Charley? never benefitted from an original Broadway cast recording due to a recording

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NEW ACQU ISITIO N! “Sizzling, vital and groundbreaking” —New York Daily News

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Book, Music and Lyrics by Andrew Lippa Based on the Poem by Joseph Moncure March Act 1: 6 scenes Act 2: 4 scenes

dapted from a book-length poem written in and about the Roaring Twenties, The Wild Party tells the story of one wild evening in the Manhattan apartment shared by Queenie and Burrs, a vaudeville dancer and a vaudeville clown. In a relationship marked by vicious behavior and recklessness (mirroring the time in which they live), they decide to throw a party to end all parties.

Cast 11 Men, 9 Women

Musical Numbers “The Apartment” “Out Of The Blue” “What A Party” “Raise The Roof” “Look At Me Now” “He Was Calm” “Poor Child” “An Old-Fashioned Love Story” “The Juggernaut” “A Wild, Wild Party” “The Neighbor” “Two Of A Kind” “Helpless, Drowning” “Of All The Luck” “Maybe I Like It This Way” “What Is It About Her?” “The Life Of The Party” “Who Is This Man” “The Gal For Me” “I’ll Be Here” “Listen To Me” “Let Me Drown” “The Fight” “Take A Hit” “Come With Me” “The Telephone” “ Jackie’s Last Dance” “Make Me Happy” “How Did We Come To This?”

Instrumentation Reed I (clarinet, alto sax, flute, piccolo, soprano sax) Reed II (bass clarinet, clarinet, flute, tenor sax) Reed III (clarinet, baritone sax, alto sax, bass clarinet) Trumpet Bass Guitar Drums Keyboard II Piano-conductor

As the guests arrive, we meet an assortment of people living on the edge. Queenie and Burrs set out to make each other jealous, but Queenie begins to fall in love with her conquest named Black. After a long night of decadence, Burrs' jealousy erupts and he comes to a violent end at Black's hand. In the stark light of a new day, Queenie moves out into a brighter world, although not necessarily a brighter future, leaving the passed-out revelers in her wake. An award-winning score by Andrew Lippa (john & jen) provides excitement and drive for this tale of passions out of control. Capturing the sound of a bygone era with a nod to the present one, he makes us realize that moral decadence is not only limited to our past.

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n holiday in Bath, England, a mismatched collection of blue-blooded 18th century Brits swap affections and misdirected love letters in this hilarious musical setting of Sheridan’s The Rivals, one of the funniest comedy of manners ever written.

Concealed identities, botched duels for honor, countless chases and an old tongue-twisted woman with the most bizarre language problem you’ve ever heard are all on display in this classic romantic farce, not to mention the requisite (and slightly-twisted) happy ending, complete with multiple marriages and betrothals. Written for an off-Broadway house, All In Love requires a medium-sized cast and a minimal orchestra, and is very much at home in smaller theatres, making it a great choice for groups accustomed to presenting intimate plays like The Rivals. A tuneful score and lavish costumes – the more outrageous the better – complete this delicious package of wit and whimsy. ™

Act 1: 6 Scenes Act 2: 5 Scenes Cast: 5 men,3 women, chorus Musical Numbers: “To Bath Derry-O” “Poor” “What Can It Be” “Odds” “I Love A Fool” “A More Than Ordinary Glorious Vocabulary” “Women Simple” “The Lady Was Made To Be Loved” “The Good Old Ways” “Honour” ”I Found Him” “Don’t Ask Me” “Why Wives?” “Quickly” “All In Love ”

Instrumentation: Piano–conductor, Bass, Drum Reference Recording available

Book and Lyrics by Bruce Geller Music by Jacques Urbont Based on Sheridan’s The Rivals

argaret Alexander, the strong-willed female pastor of a storefront church in 1960s Harlem, is suddenly all-too-human in the eyes of her devout congregation when her long-lost musician husband returns. Margaret struggles to keep herself – and her leadership of the church – together as she confronts her feelings for this “wicked” man and her wayward son who has lost his faith. Her final reconciliation with her husband purges Margaret of bitterness and gives her the strength to continue her religious mission.

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James Baldwin’s powerful play about the double-edged sword of righteousness is transformed into a rousing, emotional musical of faith and redemption with a spine-tingling contemporary Gospel score. A fine book by the authors of Purlie and Shenandoah showcases a cast of talented black actors in this fiery, inspirational and poignant drama.

Act 1: 2 scenes Act 2: 1 scene Cast: 3 men, 5 women, chorus Musical Numbers: “Amen Corner” “It Ain’t No Fault Of His” “That Woman Can’t Play No Piano” “In The Real World” “You Ain’t Gonna Pick Up Where You Left Off” “We Got A Good Thing Goin’” “In His Own Good Time” “Heat Sensation” “Ev’rytime We Call It Quits” “Somewhere Close By” “Leanin’ On The Lord” “I’m Already Gone” “Love Dies Hard” “Rise Up And Stand Again”

Instrumentation: Reed I: Alto Sax (Bb clarinet, C flute, alto flute), Reed II: Tenor Sax (Bb clarinet, C flute), Trumpet, Bass, Drums, Percussion, Organ/Synthesizer, Piano–conductor

Reference Recording available

Music by Garry Sherman Lyrics by Peter Udell Book by Philip Rose & Peter Udell Based on the Play The Amen Corner by James Baldwin

ew mysteries continue to fascinate the world like that of the Grand Duchess Anastasia, the last surviving daughter of the Russian Imperial family murdered during the Russian Revolution (witness the animated hit film Anastasia). Now the Anastasia story sings again in this chamber musical featuring the lush melodies of famed Russian composer Sergei Rachmaninoff, courtesy of Kismet’s masters of musical adaptation, Robert Wright and George Forrest. In 1926, a former Cossack general finds Anna Nielsen, a mental patient who claims to be Anastasia. With some co-conspirators, he coaches her so he can pass her off as the real princess – and make a tidy sum. But as Anna’s memory returns, his accomplices begin to wonder if she isn’t indeed the actual princess. With a magnificent two-piano accompaniment and a cast of richly dramatic roles (including the challenging Anna and her steely grandmother, the aged Dowager Empress), Anastasia Affaire is a romantic trip back to a time filled with intrigue, love and self-sacrifice. 2 acts: unit set Cast: 8 – 9 men, 4 – 6 women Musical Numbers: “The Unfinished Melody” “A Song From Somewhere” “I Can See Her Now” “Homeward” “Born Aristocrat” “Drawn To You” “My Kind Of Love” “Thanks To Her” “That Song” “Anna’s Fairy Story” “Prelude To Disaster” “Here Tonight, Tomorrow Where?” “The Anastasia Waltz” “Lost And Found” “Think Upon Something Beautiful” “I Live Again!” “If This Is Goodbye”

Instrumentation: Duo–piano arrangement Reference Recording available

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With the Music of Sergei Rachmaninoff Book by Jerome Chodorov and Guy Bolton Lyrics and Musical Adaptation by Robert Wright and George Forrest (Based on Anastasia by Marcelle Maurette and Guy Bolton) 97

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n a deserted office, a cockroach dives headfirst onto the keys of a typewriter, pouring out the ruminations of his soul. It’s “archy” (he’s too small to hold down the shift key), poet, philosopher, moralist and futile worshipper of “mehitabel,” the alley cat. This bizarre, highly original musical takes us into the streets of the big city as archy tries hopelessly to bring the “toujours gai” mehitabel off the back fence and into a respectable home as a housecat. Versatile actors play the various urbane, non-human city dwellers we encounter along the way, suggesting their animal characteristics without explicit costumes. Designers will have a field day with the unit set of oversized props and set pieces. Featuring a book by Joe Darion and comic legend Mel Brooks and a “cool” jazz score which remains one of the only examples of this genre in the commercial theatre, archy & mehitabel is one of the most daring musicals of its time, a beguiling, sexy, somewhat nostalgic modern-day fable full of wit, wisdom and the unexpected.

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Two acts: unit set Cast: 5 men, 4 women, chorus

Book by Joe Darion and Mel Brooks Music by George Kleinsinger Lyrics by Joe Darion (Based on the Stories by Don Marquis) Produced on Broadway as Shinbone Alley

Musical Numbers: “Dance Of The Cockroach” “What Do We Care” “Toujours Gai” “Queer Little Insect” “The Bragging Flea” “Big Bill” “Mehitabel And Bill Duet” “Lightning Bug Song” “Flotsam And Jetsam” “Come To Mee-ow” “Archie’s Suicide Song” “The Actor Cat” “Shakespeare To A Beat” “Lullaby” “Pretty Kitty” “Quiet Street” “Lady Bug Song” “Song Of The Moth” Instrumentation: Reed (alto sax, clarinet, baritone sax, flute, piccolo), Trumpet, Trombone, Guitar (electric, acoustic, banjo), Bass, Percussion

Full Reference Score and Reference Recording available

he thoughts and concerns of a new generation find voice in this uncompromising work about today’s youth, set to a pulsing contemporary beat. As they did a generation earlier in The Me Nobody Knows, Herb Schapiro and Gary William Friedman have fashioned an inspirational revue. Based on writings sponsored by Poets In Public Service and other material, Bring In The Morning chronicles the lives of a multi-racial ensemble of adolescents and near-adolescents from age 13 to their early 20s – the joys and desires as well as the pressures, burdens and all-too-early lessons in heartache. With humor, pathos and an eclectic contemporary score of reggae, rap, gospel and pop, Bring In The Morning is an educational, relevant and socially-conscious celebration of the amazing resilience and vitality of a generation that is growing up faster than ever.

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Two acts: unit set Cast: 5 men, 6 women

Adaptation and Lyrics by Herb Schapiro Music by Gary William Friedman Based on and inspired by contributors to Poets in Public Services, Inc. and other material

Musical Numbers: “Come Into My Jungle” “Bring In The Morning” “I–Rap: The Best–Kept Secret” “Let It Rain” “The Ghetto Of My Mind” “The Light Of Your Love (La Luz De Tu Amor) ” “The Have–A–Heart–Take–A–Chance–Gimme–A–Break Blues” “I’m On My Way” “Never Stop Believin’” “Another Cry” “Funky Eyes” “You (Tu) ” “Trip” “The Glory Of Each Morning” “Deliver My Soul” “I Want to Walk In A Garden”

Instrumentation: Reed (saxophone, flute), Bass, Guitar, Drums, Keyboard I (piano), Piano-conductor

Reference Recording available

ostalgia abounds in this breezy charmer set by the seashore in the “good old summertime” of yore.

It’s 1907, and vaudeville performer Lottie Gibson wraps up another tour of the circuit, returning to her family-owned Coney Island boarding house with dashing dramatic actor Dennis Emery in tow. When she discovers her new beau needs $1000 to get his show back on the road, Lottie becomes intent on doing whatever it takes to make the money, even jumping out of a hot air balloon at 3000 feet! As if that weren’t hard enough, Dennis’ ex-wife shows up and saddles him with their bitter 17-year-old daughter, who’s not about to share her father with anyone. Written by Broadway veterans whose separate credits include The Band Wagon, Annie Get Your Gun and Sweet Charity, By The Beautiful Sea is a splashy, wholesome celebration of days gone by, with lots of dance, vaudeville numbers galore, a spirited leading lady and a large cast which includes roles Act 1: 12 scenes Act 2: 6 Scenes Cast: 12 men, 8 women, chorus Musical Numbers: “Mona From Arizona” “By The Beautiful Sea” “Old Enough To Love” “Coney Island Boat”

Book by Herbert & Dorothy Fields Lyrics by Dorothy Fields Music by Arthur Schwartz 98

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“In The Good Old Summertime” “Alone Too Long” “Happy Habit” “Good Time Charlie” “I’d Rather Wake Up By Myself” “Hooray For George The Third!” “Hang Up!” “More Love Than Your Love” “Please Don’t Send Me Down A Baby Brother” “Throw The Anchor Away”

Instrumentation: Reed I (clarinet, alto sax, bass clarinet), Reed II (flute, alto sax, piccolo and clarinet), Reed III (clarinet, tenor sax, oboe, English horn), Reed IV (flute, tenor sax, clarinet), Reed V (clarinet, baritone sax, bassoon), Trumpets I & II, Trumpet

III, Trombone I, Trombone II, Horn, Violins A–C–E, Violins B–D, Viola, Cello, Bass, Piano–conductor

Reference Recording available

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he universal, age-old battle between the sexes roars to musical life in this rollicking adaptation of the lusty treatise on human nature and sexual politics that has illuminated scholars for hundreds of years.

As they make their annual pilgrimage to Canterbury, a group of English commoners laugh, sing and frolic through some of Geoffrey Chaucer’s most appealing tales, filling the stage with a beguiling blend of boisterous comedy, lilting romance and fetching images, and entertaining themselves and the audience with great wit and charm. Represented here are five of Chaucer’s best (“The Miller’s Tale,” “The Manciple’s Tale,” “The Steward’s Tale,” “The Merchant’s Tale” and “The Wife of Bath’s Tale”), all set to a delightful and quirky “baroque rock” score.

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Light-hearted, joyous, sophisticated and a little naughty, Canterbury Tales is an enchanting, fastpaced entertainment guaranteed to put hair on your chest! Prologue Act 1: 8 scenes Act 2: 6 scenes Cast: Varied because of doubling: 7, 15, 25+ Musical Numbers: “Song Of Welcome” “Good Night Hymn” “Canterbury Day” “I Have A Noble Cock” “Darling, Let Me Teach You How To Kiss” “Pater Noster” “There’s The Moon” “It Depends On Where You’re At” “Love Will Conquer All” “Beer Is Best” “Come On And Marry Me, Honey” “Where Are The Girls Of Yesterday” “Hymen, Hymen” “If She Has Never Loved Before” “I’ll Give My Love A Ring” “Pear Tree Quintet” “I Am All A-Blaze” “Love Pas De Deux” “What Do Women Want?” “April Song”

Instrumentation: Trumpets I & II, Trumpet III, Horn, Trombone I, Trombone II (bass trombone or tuba), Guitars I & II, Bass, Percussion I & II, Piano–conductor

Reference Recording available

Book by Martin Starkie and Nevill Coghill Based on a Translation from Geoffrey Chaucer by Nevill Coghill Music by Richard Hill and John Hawkins Lyrics by Nevill Coghill

om Jones and Harvey Schmidt bring the bold, adventurous theatrical techniques they pioneered in The Fantasticks a step further with this allegorical winter’s tale.

On a magical New Year's Eve, a young Orphan stumbles into the home of the richest man in the world, whose bizarre entourage includes a beautiful fallen Angel. With the Orphan’s help, the jaded Mr. Rich regains his humanity, only to find himself locked in ritualistic battle with the youth for the Angel's love. All of this takes place on a platform surrounded by masked Revelers who participate in the action and wait to see what the winter night will bring. Like The Fantasticks, Celebration features a minimal set and cast and flexible orchestrations, and is an ideal choice for black box theatres. Its engaging book exhibits Jones’ unique blend of wry humor and powerful drama while dipping into the waters of experimental theatre; its tuneful score has an edge that makes it one of Jones’ and Schmidt’s most memorable creations. Two acts: unit set Cast: 3 men, 1 women, The Revelers Musical Numbers: “Celebration” “Orphan In The Storm” “Survive” “Somebody” “Bored” “My Garden” “Where Did It Go” “Love Song” “To The Garden” “I’m Glad To See What You Want” “It’s You Who Makes Me Young” “Not My Problem” ”Fifty Million Years Ago” “Beautician Ballet” “Saturnalia” “Under The Tree” “Winter And Summer” Instrumentation: (Trio to Nonet scoring-Three to nine players) Piano I, Piano II, *Guitar, *Bass, *Harp, *Electric Piano (RMI), Percussion A,B and C (for solo percussion), Piano-vocal *-may be eliminated

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Words by Tom Jones Music by Harvey Schmidt

Choreographic/Director’s Guide, Logo Pack and Reference Recording available

he joys, fears and loves of the celebrated French writer are at the center of this poignant, lifeaffirming musical by Harvey Schmidt and Tom Jones, the authors of The Fantasticks and I Do! I Do!, featuring one of their most sophisticated scores to date. Act One finds Colette a naïve young bride – and ghostwriter – of an older, highly successful author. Ultimately, his opportunistic, philandering ways force her to assert her independence. In Act Two, an older, wiser Colette – now divorced and successful in her own right – learns to lower her defenses in the arms of a younger man when her newfound happiness is threatened by the ravages of World War II. In good times and bad, we see how her determination to “experience it all” leads Colette to create such world-famous characters as Claudine, Cheri and Gigi.

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Charming, witty, bold, sensual and entirely unconventional, this intimate, highly theatrical show captures the essence of one of the most liberated women of all time. Its simple production requirements highlight the talents of a small cast and offer an accomplished actor (or two) the irresistible opportunity to play the legendary author over a period of sixty years. Two acts: unit set Cast: 3 men, 2 women, 6 chorus (may be expanded) Musical Numbers: “Joy” “Come To Life” “A Simple Country Wedding” “Do It For Willy” “Willy Will Grow Cold” “The Claudines” “Why Can’t I Walk Through That Door?” “The Music Hall” “The Dog And Cat Duet” “I Miss You” “La Vagabonde” “Now I Must Walk Through That Door” “Autumn Afternoon” “Decorate The Human Face” “Riviera Nights” “Ooh–La–La” “Something For The Summer” “Madame Colette” “Be My Lady” “The Room Is Filled With You” “Growing Older” Instrumentation: Two piano arrangement or solo piano

Book and Lyrics by Tom Jones Music by Harvey Schmidt

Modified Orchestration Available Reference Recording available

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Rostand’s classic love story Cyrano de Bergerac has captivated the romantic in us all for Etimedmond more than a century, inspiring countless stage and film adaptations. MTI is proud to offer for the first the spectacular 1973 Broadway version of this immortal tale, with book and lyrics by the preeminent translator of Rostand’s masterpiece. A phenomenal swordsman, a born leader and an artistic, intelligent poet with the ability to enchant the hardest of souls, Cyrano is plagued with one tragic flaw – a nose bigger than can ever be imagined. He never comes to terms with his looks and how he thinks he appears to the woman he secretly loves, the beautiful Roxana; thus, when she tells him of her interest in the handsome yet inarticulate soldier Christian, Cyrano helps the young man, acting as his muse and penning eloquent love letters that win her over.

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A lavish addition to any season, with soaring ballads and rousing word- and swordplay, Cyrano is an ideal star vehicle to boot, winning the 1974 Tony® Award for Christopher Plummer. Act 1: 2 scenes Act 2: 3 scenes Cast: 6 men, 4 women, large chorus

Music By Michael J. Lewis Book & Lyrics by Anthony Burgess Based on the Play Cyrano de Bergerac by Edmond Rostand, as Translated by Anthony Burgess

Musical Numbers: “Cyrano’s Nose” “Tell Her” “Till Forever” “Bergerac” “No Thank You” “Roxana” “It’s She And It’s Me” “You Have Made Me Love” “Panache” “Paris Cuisine” “Love Is Not Love” “Autumn Carol” “I Never Loved You” Instrumentation: Flute I, Flute II, Clarinet, Oboe, Horn I (horn, flugelhorn), Horn II (horn, flugelhorn), Trumpet I (Bb trumpet), Trumpet II (Bb trumpet), Trombone I, Trombone II, Trombone III, Violin A, Violin B, Viola, Cello, Bass, Piano, Percussion, Guitar, Harp, Piano-conductor

Logo Pack and Reference Recording available years have passed since Mme. Dubonnet’s boy-crazy students wreaked havoc on the French TsomeenRiviera in The Boy Friend. Now it’s the 1930s, and Polly and her friends are back in Nice for fun under the sun – without their husbands – in the swinging sequel to that hit musical, by Sandy Wilson. The trouble begins when they discover handsome ex-playboy Bobby Van Husen is also in town… sans his wife, their old schoolmate Maisie. Polly and Bobby spend an evening catching up, opening the door to another series of misunderstandings and complications, this time involving a tell-tale lipstick smear, a trio of health nuts, a mysterious cabaret singer and a plot to assassinate a South American president, as Maisie and the girls’ husbands descend on Nice. Soon, divorce is in the air! Divorce Me, Darling! may be performed on its own or as a sequel to The Boy Friend, bringing the same deft, loving parodistic touch to the 1930s musicals as The Boy Friend did to the Roaring ‘20s. All the elements that made The Boy Friend a smash-hit are back in this perfect theatrical confection.

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Act 1: 4 scenes Act 2: 4 scenes Cast: 6 principal men, 6 principal women, chorus Musical Numbers: “Here We Are In Nice Again” “Whatever Happened To Love” “Someone To Dance With” “Lights! Music!” “Maisie” “Back To Nature” “On The Loose” “Paradise Hotel” “No Harm Done” “Together Again” “Divorce Me, Darling!” “Here Am I” “Out Of Step” “Fancy Forgetting” “You’re Absolutely Me” ”Back Where We Started” “Blondes For Danger” “Swing Time Is Here To Stay”

Book, Music and Lyrics by Sandy Wilson

Instrumentation: Flute, Tenor Sax, Trumpet, Percussion, Bass, Piano-vocal

19th century melodrama… by Barry Manilow?!

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Based on “the world-famous melodrama by W.H.S. Smith,” Bro Herrod and the king of 1970s pop take us back to a simpler, infinitely less subtle day in this deliciously coy and exaggerated play about the good, bad and the besotted. When sweet Mary Wilson weds the virtuous Edward, the villainous lawyer Cribbs, determined to foreclose on the quaint little cottage Mary shares with her poor widowed mother, sees to it that the devil’s beverage – alcohol – is served. Alas and alack! Edward is lured to the city and ensnared in a web of sin and drunkenness! Can Mary and her innocent young child save her inebriated husband from the evils of the bottle? And what of the diabolical Cribbs? With corny theatrics, an over-dramatic piano accompaniment and specialty acts of your own to cover the scene changes, The Drunkard is an old-fashioned round of pure, comic genius!

Act 1: 4 scenes Act 2: 3 scenes Act 3: 3 scenes

Adapted by Bro Herrod Music and Lyrics by Barry Manilow Based on the World–Famous Melodrama by W.H.S. Smith 100

Cast: 4 men, 4 women, chorus Musical Numbers: “Something Good” “Don’t Swat Your Mother” “Peace And Love And Apple Pie” “Good Is Good” “Mrs. Mary Middleton” “Have Another Drink” “The Curse Of An Aching Heart” “For When You’re Dead” “A Cup of Coffee” “Something Good” “Garbage Can Blues” “Julia’s Song” “Do You Wanna Be Saved?”

Instrumentation: Piano-conductor

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n enticing musical version of a classic theatrical staple, Ernest In Love is based on Oscar Wilde’s sparkling play about social hypocrisy among the crème de la crème of Victorian England.

Two young gentlemen well-versed in the art of “Bunburying” (i.e., using a fictitious relative as an alibi to circumvent the responsibilities of proper social behavior) are beside themselves when they find their innocent fabrications taking over their love lives. A faithful adaptation of Wilde’s comic masterpiece, Ernest In Love features all of its much-beloved characters and most of the same production demands, with the addition of a small band. The clever, tuneful score is the perfect complement to Wilde’s incomparable wordplay and immortal witticisms in

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Act 1: 5 scenes Act 2: 4 scenes Cast: 10 men, 6 women Musical Numbers: “Come Raise Your Cup” “Proposal” “The Hat” “Bunbury” “Perfection” “A Handbag Is Not A Proper Mother” “A Wicked Man” “Metaphorically Speaking” “You Can’t Make Love” “Lost” “My Very First Impression” “Eternal Devotion” “The Muffin Song”

Instrumentation: Reed I (flute, clarinet), Reed II (oboe, clarinet), Reed III (bassoon double lined for bass clarinet), Bass, Piano–conductor

Reference Recording available

Book and Lyrics by Anne Croswell Music by Lee Pockriss

erry Siegal and Sally Nathan, a young suburban Chicago couple, decide to get married… thereby setting off a marital World War III! Between Sally’s Uncle/Mother/Father Alfie Nathan and Gerry’s extensive extended family, the couple’s wedding arrangements could prove more difficult than anything their marriage might ever present. It’s the biggest family feud since the Montagues and Capulets, as caterers, dressmakers, rabbis, florists, photographers and a domineering wedding planner are put through the proverbial wringer in the looniest wedding this side of Father Of The Bride!

An early work by John Kander (Cabaret, Chicago), James Goldman (Follies, A Lion In Winter) and William Goldman (Butch Cassidy And The Sundance Kid, The Princess Bride), A Family Affair is a neurotic, tuneful, wickedly funny and universally appealing picture of what really goes into the smiling wedding portrait in the family album. ™

Act 1: 9 scenes Act 2: 9 scenes Cast: 3 principal men, 3 principal women, chorus Musical Numbers: “Anything For You” “Beautiful” “My Son, The Lawyer” “Every Girl Wants To Get Married” “Right Girls” “Kalua Bay” “There’s A Room In My House” “Football” “Harmony” “Now Morris” “Bachelor Party” “Revenge!” “Summer Is Over” “I’m Worse Than Anybody” “What I Say Goes”

Instrumentation: Reed I (alto sax, clarinet, Eb clarinet, piccolo, flute), Reed II (alto sax, flute, piccolo, clarinet), Reed III (tenor sax, clarinet, oboe, English horn), Reed IV (bassoon, baritone sax, bass clarinet, flute, clarinet), Trumpets I & II, Trumpet III, Trombone, Horn, Percussion, Violin A-B [2], Cello, Bass, Guitar, Harp, Piano-conductor

By James Goldman, John Kander and William Goldman

Logo Pack and Reference Recording available

he frivolities and foibles of love in all its deceptive permutations are the bubbly subjects of this thoughtful, romantic musical based on the wise and witty Anatol plays of famed Austrian playwright Arthur Schnitzler. Anatol is a handsome and experienced late 19th-century Viennese man about town with a fondness for everything female. With the assistance of his wily friend (and our narrator) Max, Anatol’s merry rendezvous with five very special women are recounted before our delighted eyes as our hero discovers love is indeed a game with amusing, bemusing rules. With book and lyrics by The Fantasticks Tom Jones and a bewitching score adapted by Nancy Ford (I’m Getting My Act Together And Taking It On The Road) from the music of operetta king Jacques Offenbach, The Game Of Love is a lyrical theatrical confection that sparkles with the taste, humor, insight, sophistication and hint of melancholy we expect from its cumulative authors. As with all of Jones’ works, the piece is minimal in its production, cast and orchestra demands, reveling in the magic of the audience’s imagination. Act 1: 3 scenes Act 2: 2 scenes Cast: 2 male principals, 5 female principals, chorus of 4 men who double Musical Numbers: “In Vienna” “I Love To Be In Love” “The Hypnotism Song” “The Music Of Bavaria” “Finishing With An Affair” “The Oyster Waltz” “Come Buy A Trinket” “There’s A Room” “Anatol’s Last Night” “Love Conquers All” “Listen To The Rain” “Seasons” “It’s For The Young” “Menage–A–Trois” “There’s A Flower I Wear” “The Game Of Love” Instrumentation: Violin, Cello, Piano–conductor Logo Pack and Reference Recording available

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Book and Lyrics by Tom Jones Music by Jacques Offenbach With Arrangements and Additional Music by Nancy Ford Based upon the Anatol plays by Arthur Schnitzler as Translated into English by Lilly Lessing

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ama Rose meets “The Hostess With The Mostes’ On The Ball” in this side-splitting star vehicle written for the incomparable Ethel Merman celebrating the American mother, in full war paint!

When Liz Livingstone – rich, widowed Philadelphia hostess with a heart of gold – perceives a snub at the Grace Kelly-Prince Rainier “Wedding Of The Year” in Monaco, she single-mindedly sets out to snare an even more impressively titled husband for her daughter. Things get predictably complicated when she succeeds and then promptly falls for her intended son-in-law herself! Meanwhile, the bride-to-be only has eyes for the society lawyer, and Liz’s dashing Duke turns out to be very possibly penniless. It’s a huge, flamboyant, bubbly, light-hearted romp with a gag-filled book by the authors of Anything Goes, Call Me Madam and The Sound Of Music and a delectable score featuring the Merman classic, “Mutual Admiration Society.” Act 1: 9 scenes Act 2: 7 scenes Cast: 6 principal men, 5 principal women, chorus ™

Book by Howard Lindsay and Russel Crouse Lyrics by Matt Dubey Music by Harold Karr

Musical Numbers: “Postage Stamp Principality” “Don’t Tell Me” “It’s Good To Be Here” “Mutual Admiration Society” “For Love Of Money” “Bikini Dance” “It’s Like A Beautiful Woman” “Wedding-Of-The-Year Blues” “Mr. Livingstone” “If’N” “This I What I Call Love” “A New Fangled Tango” “She’s Just Another Girl” “The Game Of Love” “Happy Hunting” “I’m A Funny Dame” “This Much I Know” “Just Another Guy” “Everyone Who’s ‘Who’s Who’” Instrumentation: Reed I (alto sax, clarinet, flute, piccolo), Reed II (alto sax, clarinet, bass clarinet), Reed III (tenor sax, clarinet, flute, oboe, English Horn), Reed IV (tenor sax, clarinet, flute), Reed V (baritone sax, bassoon, bass clarinet), Trumpet I & II, Trumpet III, Trombone I, Trombone II, Horn, Percussion, Violin A-C, Violin B-D, Viola, Cello, Bass, Guitar, Piano-conductor

Reference Recording available

ris Kringle takes on the cynics among us in this musical adaptation of the popular holiday favorite. In his inimitable style, Meredith Willson, the author of The Music Man and The Unsinkable Molly Brown, tells us the classic story of the year. A white-bearded gentleman claiming to be the real Santa Claus brings about a genuine “Miracle on 34th Street,” spreading a wave of love throughout New York City, fostering camaraderie between Macy’s and Gimbel’s Department Stores, and convincing a divorced, cynical single mother, her somber daughter and the entire state of New York that Santa Claus is no myth.

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Filled with humor, spectacle (the opening scene takes place at none other than Macy’s famous Thanksgiving Parade) and such beloved songs as “Pinecones and Hollyberries,” “It’s Beginning To Look A Lot Like Christmas” and “My State, My Kansas,” this joyous, heart-warming musical is pure family entertainment, wholesome without being cloying. With its built-in audience base, Here’s Love is the perfect holiday treat for any theatre! Act 1: 16 scenes Act 2: 8 scenes Cast: 10 men, 10 women

Book, Music and Lyrics by Meredith Willson Based on Miracle On 34th Street Story by Valentine Davies Screenplay by George Seaton

Musical Numbers: “Big Ca–lown Balloons” “Arm In Arm” “You Don’t Know” “Plastic Alligator” “Bugles” “Here’s Love” “My Wish” “Pinecones And Hollyberries” “Look, Little Girl” “Expect Things To Happen” “She Hadda Go Back” “That Man Over There Is Santa Claus” “My State, My Kansas” Instrumentation: Reed I, Reed II, Reed III, Reed IV, Reed V, Trumpets I & II, Trumpets III, Trombone I, Trombone II, Trombone III, Horn, Violins A-B-C [2], Viola, Celli I & II [2], Bass, Guitar, Percussion [2], Keyboard, Piano–conductor

Reference Recording available

ll is not right in this mannered, macabre and mercilessly mirthful musical melodrama of 1890s England.

The young, beautiful and gracious Lady Audley, who has recently married the elderly Sir Michael, has a dark and sinister secret. (Only her maid knows the truth, and she’s not telling.) Enter our Lady’s dashing step-nephew Robert with his friend George Talboys, who is grieving over the death of his beloved wife. Lady Audley is immediately taken by Robert, but distressed when George seems to recognize her. The sanctity of her dreaded secret in peril, Lady Audley resorts to desperate measures to keep the truth concealed – including deceit, arson and cold-blooded murder – while maintaining that lovely poise. Poor Lady Audley! Has she lost her mind? ™

Absurdity abounds in this hilarious Victorian-era Serial Mom where style is simply everything.

Act 1: 1 scene Act 2: 6 scenes Cast: 4 men, 3 women, small chorus Musical Numbers: “The English Country Life” “A Mother’s Wish Is A Daughter’s Duty” “The Winter Rose”

Book by Douglas Seale Music by George Goehring Lyrics by John Kuntz 102

“That Lady In Eng–A–Land” “Civilized” “Dead Men Tell No Tales” “An Old Maid” “Repose” “The Audley Family Honor” “La De Da Da” “I Know What I Knows” “How? What? Why?” “Forgive Her, Forgive Her”

Instrumentation: Piano

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ust when you thought it was safe to vote again, the Gershwins, George S. Kaufman and Morrie Ryskind serve up another helping of blistering political satire in this sequel to the unforgettable Of Thee I Sing. The whole twisted administration is back with a vengeance in an uproarious spoof of political ideologies that makes its more light-hearted predecessor seem like a picnic!

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As the Depression rages on, President John P. Wintergreen loses his re-election campaign and is reduced to running a modest clothing store with his wife Mary in New York City. When the store goes bankrupt, he hits upon a way to capitalize on the discontent of the American people by promising them a revolution with each shirt sold. His business thrives and, with the help of a revolutionary named Kruger, he retakes the White House by force! Aiming its barbs at everything from totalitarianism to fashion shows, Let ‘em Eat Cake is a dark, cynical yet hilarious American operetta featuring one of the Gershwins’ most ambitious, forward-looking scores, making it a natural choice for concert presentation. Perfect for politically-minded audiences, it’s enjoyable as a sequel or on its own. Act 1: 7 scenes Act 2: 5 scenes Cast: 13 men, 7 women, chorus Musical Numbers: “Tweedledee For President” “Union Square” “Comes The Revolution” “Mine” “The Union League” “On And On And On” “All The Mothers Of The Nation” “Let ‘Em Eat Cake” “Blue, Blue, Blue” “Who’s The Greatest” “No Comprenez, No Capish, No Versteh!” “Up And At ‘Em” “I Know A Foul Ball” “Throttle Throttlebottom” “A Hell Of A Hole” “It Isn’t What You Did” “First Lady And First Gent” “Hanging Throttlebottom In The Morning” Instrumentation: Reed I, Reed II, Reed III, Reed IV, Reed V, Horn, Trumpet I, Trumpet II, Trumpet III, Trombone, Drums, Violin A, Violin B, Violin C, Viola A, Viola B, Cello, Bass, Piano–vocal

Music and Lyrics by George Gershwin and Ira Gershwin Book by George S. Kaufman and Morrie Ryskind

he Paris of Hemingway, Picasso, Josephine Baker and F. Scott Fitzgerald comes to life in this romantic comedy about two headstrong, career-minded American journalists who fall in love in 1920s France, where hopes were high, living was cheap, and youthful ideals were everything. Henderson Booth and Jane Wiley are the two reporters in question, matching wits, locking lips and hobnobbing with the likes of Josephine Baker and Isadora Duncan. Fast-paced and endlessly entertaining, Lucky In The Rain is a nostalgic and unabashedly sentimental love story featuring such popular standards as “I Can’t Give You Anything But Love,” “Doin’ The New Low Down,” the title number, and an unforgettable version of “Sunny Side Of The Street” sung by none other than Gertrude Stein and Alice B. Toklas! Choreographers take note: opportunities abound for period dance numbers, including a smoldering, showstopping South American tap number for one of the secondary male leads. Act 1: 11 scenes Act 2: 4 scenes Cast: 6 men, 8 women, small ensemble Musical Numbers: “Montmartre” “I’m Shooting High” “Exactly Like You” “On The Sunny Side Of The Street” “Comin’ In On A Wing And A Prayer” “It’s A Wonderful World” “Doin’ The New Low Down” “A Lovely Way To Spend An Evening” “I Walked In” “Where Are You?” “Love Me As Though There Were No Tomorrow” “When Love Goes Wrong/Nothin’ Goes Right” “Here Comes Heaven Again” “You” “I Must Have That Man” “I Couldn’t Sleep A Wink Last Night” “Don’t Blame Me” “South American Way” “You’re A Sweetheart” “I Can’t Give You Anything But Love” “The Music Stopped” “It’s A Most Unusual Day” “I Got Lucky In The Rain”

Instrumentation: Reed I, Reed II, Trumpet, Trombone, Violin, Bass, Drums, Piano-conductor Logo Pack and Reference Recording, Transpositions On Demand available

omposer/lyricists Robert Wright and George Forrest collaborated with the great Brazilian composer Heitor Villa-Lobos, to create this “musical adventure” for Broadway.

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Conceived and Written by Sherman Yellen Music by Jimmy McHugh, Lyrics by Harold Adamson and Dorothy Fields Additional Music and Lyrics by Hoagy Carmichael, Walter Donaldson, Al Dubin, Ted Koehler,

Jan Savitt and Johnny Watson

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A lavish folk opera, Magdalena is set along the Magdalena River in Colombia, where emerald mining Indians labor for their faraway European masters. The conflict between Christianity and Indian folk religion is explored in intertwining stories of a young Indian couple and a populist uprising against the tyranny of the absentee mine owners. Reminiscent of such great “Broadway operas” as Candide, Porgy And Bess and Street Scene, Magdalena features challenging and beautiful solo and choral work for a cast of trained “legit” singers, in an enthralling epic that spans the globe from the cafes of Paris to the lush jungles of South America. Like Kismet, its soaring, classically-based score makes it an ideal show for opera companies, symphony orchestras (in concert presentation) or any group catering to an audience of Act 1: 4 scenes Act 2: 4 scenes Cast: 7 men, 5 women, 2 children, chorus Musical Numbers: “The Jungle Chapel” “The Omen Bird” “My Bus And I” “The Emerald” “The Civilized People” “Food For Thought” “Colombia Calls” “Magdalena” “The Festival” “The Forbidden Orchid” “The Singing Tree” “Lost” “Freedom!” “Pièce De Resistance” “The Seed Of God”

Instrumentation: Clarinet I, Clarinet II (doubles alto sax), Flute, Oboe, Bassoon, Trumpets I & II, Horns I & II, Trombone I, Trombone II, Tuba, Violin I, Violin II, Viola, Cello, Bass, Harp, Percussion, Piano-vocal

Reference Recording available

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Music by Heitor Villa-Lobos Adaptation and Lyrics by Robert Wright and George Forrest Book by Frederick Hazlitt Brennan and Homer Curran 103

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roadway master George Abbott and then-newcomer Bob Merrill (Carnival, Funny Girl) bring O’Neill’s 1921 classic to colorful turn of the century New York in this solid star vehicle which blends the moving tenderness of the original play with appealing melodies and infectious dances. An old Swedish sailor is overjoyed when his daughter Anna visits him after fifteen years of living in St. Paul, but his crony Marthy realizes she is not the sweet innocent her father imagines, but a former streetwalker come back to reassemble the pieces of her shattered life. Anna gradually fits in with her father’s friends, even falling in love for the first time – until an envious Marthy spills the truth about Anna’s past at a neighborhood ball, nearly destroying her dream of happiness.

Act 1: 11 scenes Act 2: 5 scenes ™

Cast: 2 principal men, 2 principal women, chorus Musical Numbers: “Roll Your Socks Up” “Anna Lilla” “Sunshine Girl” “On The Farm” “Flings” “It’s Good To Be Alive” “Look At ‘Er” “Yer My Friend” “Did You Close Your Eyes” “At The Check Apron Ball” “There Ain’t No Flies On Me” “Ven I Valse” “If That Was Love” “Seaman’s Home”

Based on the Play Anna Christie by Eugene O’Neill Book by George Abbott Music and Lyrics by Bob Merrill

Instrumentation: Reed I (clarinet, Eb clarinet, flute, piccolo), Reed II (flute, piccolo, clarinet), Reed III (oboe, English horn), Reed IV (bass clarinet, clarinet, flute), Reed V (clarinet, baritone sax, bassoon), Trumpet I & II, Trumpet III, Trombone I, Trombone II, Horn, Violins A, B & C [2], Viola, Cello, Bass, Guitar, Percussion, Piano–conductor

Reference Recording available

he celebrated authors of Strike Up The Band teamed with librettist Morrie Ryskind for another noholds-barred assault on the American way of life in one of the longest running shows of the 1930s and the first musical to win the Pulitzer Prize. This all-American political satire focuses on the election campaign and Presidency of John P. Wintergreen, whose party, lacking a viable platform, runs on love, promising that if elected he will marry the partner chosen for him at an Atlantic City beauty pageant. When he falls for Mary Turner (a campaign secretary who bakes a mean corn muffin) instead of Diana Deveraux (the fairest flower of the South and winner of the pageant), trouble begins!

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With politicians skewered right and left – including a Vice President who wanders the White House unrecognized by his own staff – Of Thee I Sing is an hilarious and timeless send-up of national institutions that is as relevant as ever. (It even features its own impeachment proceedings!) The extensive hit-filled score, one of the Gershwin’s finest creations, makes the show as suitable for concert presentation as full production. Amateur Production Rights Are Not Available For This Revised Version In The U.S. And Canada Act 1: 8 scenes Act 2: 5 scenes Cast: 9 men, 2 women, chorus

Music and Lyrics by George Gershwin and Ira Gershwin Book by George S. Kaufman and Morrie Ryskind

Musical Numbers: “Wintergreen For President” “Who Is the Lucky Girl To Be?” “Because, Because” “Some Girls Can Bake A Pie” “Love Is Sweeping The Country” “Of Thee I Sing” “A Kiss For Cinderella” “Hello, Good Morning” “Who Cares?” “The Illegitimate Daughter” “The Senator From Minnesota” “Jilted, Jilted” “Posterity Is Just Around the Corner” “Trumpeter Blow Your Golden Horn”

Instrumentation: Reed I, Reed II, Reed III, Reed IV, Reed V, Horn, Trumpet I, Trumpet II, Trumpet III, Trombone, Percussion, Piano, Bass, Violin A, Violin B, Violin C, Viola A, Viola B, Cello

Concert Version, Full Ref. Score, Reference Recording, Study Guide, Video Conversation Piece available

he plot may sound oddly familiar: operatic sensation Christina Joseph leaves a promising career at La Scala and returns to her roots in Nashville, Tennessee, singing backup at the Country Palace. There she finds an enemy in an aging Country-Western diva and a mentor in a mysterious janitor determined to make her Country Music's newest star... It’s a splashy, hilarious Country-Western send-up of the classic tale of horror, “The Phantom Of The Opera”! Filled with irreverent wit, painful punning, sly contemporary references and more than a touch of the absurd, this shameless romp is a bit like The Nashville Network on acid. And with an unforgettable score that runs the gamut from Grand Opera to Country to Broadway – including a little ditty called “Hog Butcher’s Daughter” – Phantom Of The Country Opera has audiences tapping their toes and rolling in the aisles. Act 1: 8 scenes Act 2: 9 scenes Cast: 5 men, 5 women, chorus ™

Music by Michael Duff Lyrics by Cheryl Coons Book by Sean Grennan and Kathy Santen 104

Musical Numbers: “Somebody’s Calling Me Home” “Did You Want To Hear A Country Tune?” “Hog Butcher’s Daughter” “If I Could Hold You-Sally” “For Better, For Worse” “The Audition” “A Telegram” “Voice Lesson” “Two Roads Meet” “Extravaganza Montage” “Does Your Daddy Know You Like To Kiss Cowboys?” “Train Of Adolescence” “If I Could Hold You” “Country Music Is My Home” “Night Of Terror” “An Open Door” “God Save Our Glorious Queen” “Ghost Town” “Spaghetti Western” “Fly Away/If I Could Hold You”

Instrumentation: Reed (tenor sax, clarinet, flute) Trumpet, Trombone, Violin I/Mandolin, Violin II/Viola, Bass, Steel Guitar/Guitar, Guitar/Banjo, Drums, Piano-conductor

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ith their distinctive blend of poetry, humor and theatrical flair, the authors of The Fantasticks and I Do! I Do! serve up an engaging, inspiring morality play in this, their more adventurous Broadway venture. In the third-century Roman Empire, Cockian the clown finds himself face-to-face with a rigid Commander who feels Cockian should be sent to his death. But because the Commander likes him, Cockian is granted life on one condition: that he impersonate a missing Christian leader, Philemon, to enable the Roman Empire to catch and execute more Christians. With no choice, Cockian does the Commander's bidding, but in doing so begins to feel for the persecuted. Cockian "becomes" Philemon, overflowing with love and the hope for a more humane world, thus earning his redemption… and his death.

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Philemon has minimal cast, orchestra and production requirements, capitalizing on the intimacy, daring, imagination and mythic quality that are the hallmarks of Jones’ and Schmidt’s astounding body Two acts: unit set Cast: 4 men, 3 women Musical Numbers: “Within This Empty Space” “The Streets Of Antioch Stink” “Gimme A Good Digestion” “Don’t Kiki Me” “I’d Do Almost Anything To Get Out Of Here And Go Home” “He’s Coming” “You’re Old” “Name: Cockian” “I Love Order” “My Secret Dream” “I Love His Face” “Sometimes” “The Protest” “The Nightmare” “The Greatest Of These” “The Confrontation”

Instrumentation: Piano/Guitar, RMI/Recorder, Percussion/Horn Choreographic/Director’s Guide and Reference Recording available

Words by Tom Jones Music by Harvey Schmidt

lively band of traveling players relates the story of their ancestors in this exhilarating tale of American life on the mid-Western prairies. This warm and touching late 19th-century saga takes Lars and Kristina Andersson from the barren fields of Warmeland, Sweden to the rich black soil of America. There, the Anderssons strive to make a home through childbirth, ravaging locusts and a tour through the Midwest as the unlikely stars of a popular traveling troupe. A unique blend of folk legend and half-forgotten prairie history, Portable Pioneer And Prairie Show is a stirring, compelling and highly original celebration of a little-known immigrant experience. In true traveling show fashion, a small, versatile ensemble handles all of the performing chores with gusto (they can even double as the show’s musicians), highlighted by an appealing score of dazzling breadth by Mel Marvin (Tintypes). Two acts: unit set Cast: 4 men, 3 women

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Musical Numbers: “Band Of Brothers” “Seasons Of Change” “The Perilous Crossing” “Ancient Waters” “Government Claim” “Speak To The Earth” “Paradin’ Down The Main” “Children’s Games” “Dancing Sam” “Locusts” “Traveling On” “Talkin’ Shoes” “The Bard On Wheels” “Dancin’ With The Air” “Temperance Play” “The Iron Horse”

Instrumentation: Electric bass, Drums/Percussion/Chimes, Flute/Clarinet, Piano–conductor Reference Recording available

Book by David Chambers Music by Mel Marvin Lyrics by David Chambers and Mel Marvin

ew who have seen the NAMES Project AIDS Memorial Quilt can ever forget the experience or the powerful emotions evoked by this patchwork of panels celebrating the memory of a friend or family member who has died of this terrible scourge.

This series of stories for, from and about the Quilt is threaded together by a volunteer's experience while making a panel in memory of a friend. In monologues and songs that bring the audience through the full range of emotions, Quilt, A Musical Celebration commemorates the victims and survivors of this disease and the ones left behind. Quilt, A Musical Celebration is a unique and affecting work dealing with a timely, contemporary subject. Its educational qualities have been embraced by many schools. Minimal band, set and cast requirements and a flexible running order make it perfect for theatres of any size, as well as for benefit or concert performances. A portion of all royalties from Quilt, A Musical Celebration is donated to various AIDS organizations, including the NAMES Project and Equity Fights AIDS. Act 1: 19 scenes Act 2: 14 scenes Unit set Cast: 17-25 men & women Musical Numbers: “Something Beautiful” “Karen’s Song – 9AM” “Hot Sex” “At A Distance – Part I” “Todd’s Song” “Karen’s Song – 12:00 Noon” “Living With The Little Things” “Victim Of AIDS” “Couldja Do Me A Favor” “Karen’s Song – 3:30PM” “I Believe In You” “Absence Of Angels” “Autobiography” “Karen’s Song – 10:00PM” “One Voice” “Robert Knows”

Instrumentation: Piano, Synthesizer, Percussion, Piano-conductor Reference Recording and Transpositions On Demand available

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Lyrics by Jim Morgan Music by Michael Stockler Book by Jim Morgan, Merle Hubbard & John Schak Puppet Show Conceived with Lynnie Raybuck 105

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e’s “throwing a ball tonight” – and you're all invited, to a “swellegant” theatrical party spanning the life of Broadway’s greatest wit, the irrepressible Cole Porter.

A scintillating mixture of biography and song, Red Hot & Cole celebrates the great American songwriter who brought style, elegance and sophistication to the stages and soundstages of Broadway and Hollywood, delighting the world with his devilishly clever rhymes, fresh and unexpected melodies and sassy, sexy sensibility. Red Hot & Cole bubbles with songs that have become international standards, from such classic shows and movies as Anything Goes, Kiss Me Kate, High Society and Can-Can among others. It traces Porter’s life from his childhood in Indiana to the stages and penthouses of New York, London, Paris and Venice. It’s a champagne tribute to a glittering age gone by, and the man and talent who was Cole Porter. Two acts: unit set Cast: 7 men, 6 women

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Musical Numbers: “I’m Throwing A Ball Tonight” “I’m A Gigolo” “Tomorrow” “War Song” “I Love Paris”

Music and Lyrics by Cole Porter Book by James Bianchi, Muriel McAuley and Randy Strawderman Conceived by Randy Strawderman Musical Concepts and Arrangements by Dougee Zeno

“I’m In Love Again” “Who Said Gay Paree?” “Come Along With Me” “Anything Goes” “Let’s Do It, Let’s Fall In Love” “Let’s Misbehave” “What Is This Thing Called Love?” “Love For Sale” “I Get A Kick Out Of You” “You’re The Top” “Miss Otis Regrets” “Begin The Beguine” “Just One Of Those Things” “In The Still Of The Night” “Ridin’ High” “Red, Hot And Blue” “It’s Delovely” “Let’s Do It” “The Physician” “Don’t Fence Me In” “Ca, C’est L’Amour” “Friendship” “My Heart Belongs To Daddy” “I’m In Love With A Soldier Boy” “Ours” “Kiss Me, Kate” “Bull Dog” “Every Time We Say Goodbye” “True Love” “Wake Up And Dream” Instrumentation: Piano-conductor

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he enchanting story of Essie Whimple, a rather plain girl with a hyperactive imagination, provides the basis for a rare murder mystery musical and an impressive star turn for a captivating “triple-threat” performer.

When a young actress has been murdered in early 1900s London, the enterprising Simpson Sisters’ Waxworks installs a tableau of the grisly deed. The exhibit offends musclebound actor Tom Baxter, who considered the deceased actress to be like a kid sister – and with whom the Simpsons’ excitable niece Essie promptly falls in love. Determined to see Tom again, Essie pretends she’s been attacked by the murderer, and so begins a romantic, fast-paced adventure involving cunning disguises, spine-tingling chases, startling visions, an ill-fated show at the Odeon Music Hall, and a cold-blooded killer on the loose… not to mention some great songs and high-spirited dancing! Act 1: 11 scenes Act 2: 6 scenes Cast: 8 men, 7 women, chorus Musical Numbers: “Simpson Sisters” “The Right Finger On My Left Hand” “Just For Once” “Merely Marvelous”

Book by Herbert and Dorothy Fields, Sidney Sheldon and David Shaw Music by Albert Hague Lyrics by Dorothy Fields

“The Uncle Sam Rag” “‘Erbie Fitch’s Dilemma” “She’s Not Enough Woman For Me” “Behave Yourself” “Look Who’s In Love” “My Girl Is Just Enough” “Two Faces In The Dark” “I’m Back In Circulation” “We Loves Ye, Jimey” “I’ll Try”

Instrumentation: Reed I (flute, piccolo, clarinet, alto sax), Reed II (clarinet, alto sax), Reed III (clarinet, oboe, English horn, tenor sax), Reed IV (clarinet, flute, tenor sax), Reed V (bass clarinet, baritone sax, bassoon), Trumpets I & II, Trumpet III,

Trombone I, Trombone II, Horn, Percussion, Guitar, Violin A–B–C [2], Viola, Cello, Bass, Piano–conductor

Reference Recording available

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hree generations of restless souls search for contentment at a summer cabin retreat in this intimate, poignant musical about love in the face of life.

Fred and Louise Sumner, a middle-aged couple plagued with serious marital troubles, return to the idyllic spot of their honeymoon 18 years ago: Riverwind, a tranquil, secluded inn on the banks of the Wabash River, whose beauty and simplicity grant clear vision and peace to those lucky enough to recognize it. Also at the inn are Virginia and Burt (a young unmarried couple whose relationship is at a crossroads of its own), a handsome young man named John, and Jenny, the naïve young daughter of Riverwind’s unflappable manager and matron, Leona. Riverwind works its magic as the couples sort through their troubles and emotions, emerging a little stronger and, with any luck, a little wiser. A tender, humorous book and a fresh, well-crafted, witty and eclectic score made this very human drama one of the most successful off-Broadway shows of the 1960s. Act 1: 4 scenes Act 2: 4 scenes Cast: 3 men, 4 women Musical Numbers: “I Cannot Tell Her So” “I Want A Surprise” “Riverwind” “American Family Plan”

A New Musical by John Jennings

“Wishing Song” “Pardon Me While I Dance” “Sew The Buttons On” “Almost But Not Quite” “A Woman Must Think Of These Things” “I Love Your Laughing Face” “A Woman Must Never Grow Old” “I’d Forgotten How Beautiful”

Instrumentation: Piano–conductor, Bass, Percussion Reference Recording available

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urope’s most famous rags-to-riches story is the subject of this extraordinary musical epic. Shrewd, Eprejudice charismatic, resourceful and ambitious, Mayer Rothschild and his five sons struggle to overcome the of late eighteenth century European society as they build a family banking business which takes them from the Jewish ghetto to the courts of the rich and powerful. On the way, they come to dominate European finance, help fund Napoleon’s defeat, and secure a Declaration of Rights for their people from the Crowned Heads of State. The sophisticated, tuneful and witty score by Jerry Bock and Sheldon Harnick, composer and lyricist of Fiddler On The Roof and She Loves Me, is one of their most complex and ambitious, capturing the human essence as few others can. With its engaging and uncompromising book, The Rothschilds is one of the boldest – and most overlooked – book musicals of its time, a heartfelt testament to family, dignity, honor and unflinching tenacity.

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Act 1: 9 scenes Act 2: 8 scenes Cast: 8 men, 2 women, 4 boys, chorus(may be expanded) Musical Numbers: “Pleasure And Privilege” “One Room” “He Tossed A Coin” “Sons” “Everything” “Rothschild And Sons” “Allons” “Give England Strength” “They Say” “This Amazing London Town” “I’m In Love! I’m In Love!” “In My Own Lifetime” “Have You Ever Seen A Prettier Little Congress?” “Stability” “Bonds”

Instrumentation: Reed I (flute, piccolo), Reed II (oboe, English horn), Reed III (clarinet), Reed IV (clarinet, bass clarinet), Reed V (bassoon), Trumpet, Horn I & II [2], Trombone, Euphonium Percussion I & II [2], Violin I & II, Viola, Cello, Bass, Harp, Piano-conductor

Reference Recording available

Lyrics by Sheldon Harnick Music by Jerry Bock Book by Sherman Yellen Based on The Rothschilds by Frederic Morton

tructured as a satirical revival meeting, Salvation is an unorthodox rock musical that voices the problems, needs and fears of a generation of youth confused by change, frustrated by constraints and yearning for a greater understanding of their world. Smart, rebellious and boldly irreverent, eight energetic, charismatic youths – Monday, Betty Lou, Farley, Dierdre, Marc, Boo and Ranee – spout forth their anti-establishment philosophy in a heady mixture of catchy, heartfelt rock tunes and incisive, acerbic dialogue reminiscent of the classic 1968 “tribal rock musical” Hair or the 1996 smash-hit Rent. All you need supply is a small band, a simple unit set of your own design and a passionate need for change!

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Two acts: unit set Cast: 4 men, 4 women Musical Numbers: “Salvation” “In Between” “1001” “Honest Confession” “Ballin’ ” “Let The Moment Slip By” “Gina” “Why Can’t I Touch You” “Ain’t No Flies” “Daedalus” “Deuteronomy” “For Ever” “Footloose Youth” “Schwartz” “Let’s Get Lost In Now” “Back To Genesis” “Tomorrow Is The First Day”

Instrumentation: Reed (alto sax, clarinet, flute, bass clarinet), Trumpet (flugelhorn), Organ (piano, electric piano), Guitar, Electric bass, Drums

Reference Recording available

Book, Music and Lyrics by Peter Link and C.C. Courtney

o holiday season is complete without a retelling of Dickens’ beloved “A Christmas Carol,” and what better way to enjoy the classic story of “good will toward men” than with this lavish, enchanting musical adaptation. With the goose and holly of a Victorian Christmas surrounding him, miserly old Ebenezer Scrooge rejects the companionship of his fellow men and women for the sterile pleasure of gold. He is saved from this loveless life by the intercession of the Ghosts of Christmas Past, Present, and Future, who take him on a fantastic trip through the times of his life and show him a glimpse of the tragic future that awaits him should he not mend his ways. In the end, a transformed Scrooge realizes that “mankind should be my business” and that one little boy is of greater weight than all the gold in his strongbox.

With a jaunty, melodious score, lots of dancing and a large cast which includes several children and one of the more irresistible lead roles ever, Scrooge, The Stingiest Man In Town is a warmhearted holiday treat for all! Act 1: 8 scenes Act 2: 6 scenes Act 3: 7 scenes Cast: 10 men, 10 women, chorus Musical Numbers: “A Christmas Carol” “An Old Fashioned Christmas” “Humbug” “The Stingiest Man In Town” “I Wear A Chain” “Golden Dreams” “It Might Have Been” “The Christmas Spirit” “Yes, There Is A Santa Claus” “One Little Boy” “The Birthday Party Of The King” “Mankind Should Be My Business” Instrumentation: Clarinet I, Clarinet II, Oboe, Flute/Piccolo, Bassoon, Trumpets I, Trumpet II, Trombone, Horn I, Horn II, *Advanced Violin, Violin I, Violin II, Violin III, Viola, Cello, Bass, Percussion, Celeste, Piano–conductor *Optional replacement for Violin I

Reference Recording available

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A Musical Play Based on Charles Dickens’ A Christmas Carol Music by Fred Spielman Book and Lyrics by Janice Torre 107

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verweight Prom Queen Candidate Loses Crown! Housewife Keeps Severed Head On Cake Plate! Bambi Goes Haywire in Forest With Uzi! To the expiring mind of a modern American woman, life can read like a tabloid headline. A fast-paced, take-no-prisoners satire of life and pop culture at the end of the millennium, Six Women With Brain Death is a wild and very left-of-center view of the world from an entirely feminine standpoint. In a series of bizarre but hysterical songs and sketches, the authors explore TV soap operas, “genuine press-on nails,” Barbie and Ken’s secret fantasy life, divas, a unique and new way of recycling, and what “is” and “is not” feminine – with an unforgettable detour through a forest where Bambi meets Rambo. Definitely not for the faint-hearted, Six Women With Brain Death is a hard rockin’, harder talking’ cult classic. Act 1: 11 scenes Act 2: 6 scenes Cast: 6 women (no substitution)

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Musical Numbers: “Expiring Minds” “David, Don't Fly Lufthansa” “Divas At Motown” “Rambi” “Prom Queen” “We've Arrived” “I Think I Read Too Much” “Get Proud Of Me” “Divas At Nashville” “I Should Have Known” “The Real Thing” “God Is An Alien” “Toll Road”

Written by Cheryl Benge, Christy Brandt, Rosanna E. Coppedge, Valerie Fagan, Ross Freese, Mark Houston,

Instrumentation: Piano–conductor, Synthesizer, Bass, Percussion

Sandee Johnson, Peggy Pharr Wilson Music and Lyrics by Mark Houston

Reference Recording available

orace J. Fletcher, proud owner of the Fletcher American Cheese Co., outraged when Switzerland protests a tariff on imported cheese, convinces the U.S. government to declare a war, financed by himself and dubbed “The Horace J. Fletcher Memorial War.” When his daughter announces her love for Jim Townsend, a newspaperman who has publicly criticized both the war and the quality of milk going into his cheese, Fletcher drafts Townsend and sends him off to war – room and board provided by the Swiss Hotel Owners Association at a modest rate. Everything ends in patriotic triumph with the lovers reunited, Townsend a hero and a new war brewing with Russia over a tariff on caviar!

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Pointed and uncompromising, this inspired lunacy is as relevant today as when it opened. The glorious Gershwin score includes the classic “The Man I Love” and makes Strike Up The Band a great choice for the concert hall as well.

1927 Version Act 1: 3 scenes Act 2: 3 scenes Cast: 7 men, 3 women, chorus Musical Numbers: “Fletcher’s American Cheese Choral Society” “17 And 21” “A Typical Self–Made American”

Music and Lyrics by George Gershwin and Ira Gershwin Book by George S. Kaufman

“Meadow Serenade” “Unofficial Spokesman” “Patriotic Rally” “The Man I Love” “Yankee Doodle Rhythm” “Strike Up The Band” “Oh This Is Such A Lovely War” “Hoping That Someday You’d Care” “Military Dancing Drill” “How About A Man?” “Homeward Bound” “The Girl I Love” “The War That Ended War”

Instrumentation: Flute I/Piccolo, Flute II (optional), Oboe, Clarinet I, Clarinet II, Bassoon, Horn I, Horn II, Trumpet I, Trumpet II, Trombone, Violin A, Violin B, Violin C, Viola I, Viola II, Cello, Bass, Harp, Piano Vocal

Concert Version, Full Ref. Score, Reference Recording, Study Guide, Video Conversation Piece available

“ can do one of two things,” says Teddy Roosevelt at the top of Teddy & Alice, “I can either be President of the United States or I can control Alice. I cannot possibly do both.” The battle of wills between the great American President and his free-spirited daughter provides a spectacular double-star turn in this high-stepping, flag-waving and heart-warming family drama, set to the immortal strains of John Philip Sousa.

Spurred by Roosevelt’s disapproval of Alice’s interest in upstart Congressman Nick Longworth, the power brokers of Washington connive to marry her off so their Head of State can concentrate on more important matters – like Panama!

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Brimming with rousing marches and patter songs a la The Music Man, and featuring a cast of outrageous, larger-than-life characters which includes the five younger Roosevelt children, J. P. Morgan, William Howard Taft and a young Franklin and Eleanor, Teddy & Alice is an hysterical and historical Act 1: 9 scenes Act 2: 6 scenes

Music by John Philip Sousa Book by Jerome Alden Lyrics by Hal Hackady Adaptations and Original Music by Richard Kapp Artistic Consultant Alan Jay Lerner 108

Cast: 5 principal men, 3 principal women, 5 children, chorus Musical Numbers: “This House” “But Not Right Now” “She’s Got To Go” “The Fourth Of July” “Charge” “Her Father’s Daughter” “Perfect For Each Other” “He’s Got To Go” “Wave The Flag” “Nothing To Lose” “We Told Him So” “Can I Let Her Go” “Private Thoughts”

Instrumentation: Reed I (piccolo, flute, alto flute, clarinet), Reed II (piccolo, flute, clarinet), Reed III (oboe, English horn, clarinet), Reed IV (clarinet, bass clarinet), Reed V (bassoon, baritone sax), Trumpet I (cornet, piccolo trumpet), Trumpet II, Trumpet III, Trombone I, Trombone II, Trombone III (tuba), Horn I, Horn II, Violins I & II, Celli I & II, Bass, Harp, Guitar (banjo, ukulele), Drums, Piano–conductor (Yamaha DX7)

Reference Recording available

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he beauty, history, culture and spirit of 19th century Hawaii fill the stage in this hilarious and heart-warming family musical.

With thirteen daughters, Chun, a rich Chinese merchant, and his wife, a Hawaiian princess, have a slight problem: by tradition, the eldest daughter must marry first – and she seems more interested in missionary work than romance. As if that weren’t bad enough, an old family curse stipulates none of the daughters must marry! But when the eldest daughter’s mission work turns into matrimony, the younger sisters happily forget their decision to remain old maids and twelve very proper suitors promptly enliven the scene. Big, bright and dripping with melody, author Eaton Magoon, Jr. – himself a native of the Islands – combines universal themes with a lush, exotic locale for a one-of-a-kind experience that will have your audiences saying “Aloha mahalo!” (“Thank you very much!”) 2 acts: 8 scenes

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Cast: 14 men, 11 women, 6 children, chorus Musical Numbers: “Hiiaka–E” “A House On The Hill” “Kuli Kuli” “Paper Of Gold” “Thirteen Daughters” “Let–A–Go Your Heart” “Children's Hymn” “A Long And Beautiful Life” “Alphabet” “Throw A Petal In The Stream” “Ka Wahine Akamai” “Daughter Or Dowry” “You Set My Heart To Music” “Thirteen Old Maids” “When You Hear The Wind” “Calabash Cousins” “Goodbye Is Hard To Say” “Hoomalimali” “My Pleasure” “Puka Pants” “My Hawaii” “Lei Of Memories” Instrumentation: Reed I (flute, piccolo), Reed II (oboe, English horn, clarinet), Reed III (clarinet), Reed IV (clarinet, flute, piccolo), Reed V (clarinet, bass clarinet, bassoon), Trumpets I & II, Trombone I, Trombone II, Horn, Violin, Viola, Cello, Bass, Guitar, Harp, Percussion, Piano–conductor

Book, Music and Lyrics by Eaton Magoon, Jr.

Reference Recording available

imbuktu was Moslem, black, opulent and remote. Travelers died in attempts to cross the Sahara in search of this fabled city, and so its reputation grew even faster than its wealth. Set against this exotic locale, in the year 1361 (Of Islam 752), this musical retelling of Kismet has all of the thrills of the original tale, with the additional heat that only a West African setting can provide. Still among us are the Beggar-Poet, Hadji, his beautiful daughter, Marsinah, the evil Wazir, his restless Wife of Wives, Sahleem-La-Lume and the handsome Prince of the Realm, Kasa, The Mansa of Mali. The twisting twine of Fate unravels in many thrilling and exciting ways before the sun sets on the two lovers. For Timbuktu!, book writer Luther Davis has given Kismet a lushly romantic, sexy new take, while retaining all of the magic of the original. The score by Robert Wright and George Forrest features some of the most beautiful melodies and lyrics ever written for Broadway, including “Baubles, Bangles and Beads,” “And This Is My Beloved,” and “Stranger In Paradise.” The music, based on the musical themes of Alexander Borodin, coupled with new songs based on African folk rhythms and melodies, makes Timbuktu! a delight for the senses. Act 1: 6 scenes Act 2: 6 scenes Cast: 5 men, 4 women, large chorus Musical Numbers: “Rhymes Have I” “Fate” “In The Beginning, Woman” “Baubles, Bangles, And Beads” “Stranger In Paradise” “Gesticulate” “Night Of My Nights” “Rahadlakum” “And This Is My Beloved” “Golden Land, Golden Life” “Zubbediya” “Sands Of Time” Instrumentation: Reed I (piccolo, flute, Eb clarinet), Reed II (piccolo, flute, alto Flute, Bb clarinet), Reed III (bass clarinet, oboe, English horn), Reed IV (clarinet, bass clarinet) Trombone I, Trombone II, Trumpet, Horns I & II, Violins I, II, III [2], Cello, Bass, Guitar, Harp I, Harp II, Percussion, Drum, Piano–conductor

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Book by Luther Davis A New Musical Comedy Based on “Kismet” By Charles Lederer and Luther Davis From the play by Edward Knoblock Music and Lyrics by Robert Wright and George Forrest (From the Themes of Alexander Borodin and African Folk Music)

he growing pains of a nation chronicled in this grand pageant of pre-World Ward I America, told in the exuberant words and music of the day.

Like Ragtime, this nostalgic but thrillingly subversive revue takes us back to turn of the century America, when the innocent, slower-paced days of ice cream socials and hoop skirts are giving way to a bustling world of automobiles, electricity and the telephone, where American optimism and ingenuity run high in leaders like J.P. Morgan, Thomas Edison and Henry Ford. It is also a time of growing social turmoil, as increased immigration begins to change the cultural and ethnic makeup of the nation. The story of these changing times blazes to life in a tuneful, high-spirited brew of popular songs from 1890 to 1917, performed by five archetypes of the period: Anna Held, the beautiful music hall star; Emma Goldman, the notorious socialist; a black domestic worker; a Chaplin-esque Russian immigrant; and the outrageous Teddy Roosevelt, the youngest man ever to be elected President. Despite its small cast, orchestra and unit set, Tintypes is an epic work about the end of an era. 2 acts: unit set

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Cast: 3 men, 3 women Musical Numbers: “Arrivals Medley” “Electricity” “El Capitan” “Wheels Medley” “The Factory” “What It Takes To Make Me Love You” “The Maiden With The Dreamy Eyes” “If I Were On The Stage” “Shortnin’ Bread” “Nobody” “I’m Goin’ To Live Anyhow” “The Ragtime Dance” “I Want What I Want” “It’s Delightful To Be Married!” “Fifty–Fifty” “Satisfied With Life” “Jonah Man” “When It’s All Goin’ Out” “Soap Boxes” “Teddy Da Roose” “A Bird In A Gilded Cage” “Bill Bailey” Vaudeville Ending” “Toyland” “Smiles”

Instrumentation: Piano, Reed (flute, clarinet, piccolo), Trombone (tenor, bass), Violin,

Conceived by Mary Kyte with Mel Marvin and Gary Pearle

Cello, Percussion, Piano-conductor

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rom the pen of Dale Wasserman (librettist of “Man Of La Mancha”) comes a tale of con-men, bankrupts and runners-awayers – flawed men and women lured West by the promise of new beginnings. The setting is the Colorado Territory, circa 1875. When the citizens of the town of Esperanza offer the pulpit of the proposed town church to a scheming flim-flam man, events are set in motion which will lead to the return of a recluse, the redemption of a lost soul, and the conversion of a confirmed conman. With composers Scott DeTurk and Bill Francoeur, Wasserman has created a moving tale of redemption and romance, rich in haunting melodies, lilting waltzes, plaintive Country-Western ballads and footstompin' show stoppers. A rare instance of a serious musical Western, Western Star: is also one of that vanishing breed of well-constructed character-based book shows in the tradition of Rodgers and Hammerstein. Act 1: 10 scenes Act 2: 4 scenes Cast: 9 men, 5 women (may be expanded) Musical Numbers: “Damn Near Perfection” “Those Who’ve Gone Astray” “Voices In The Wind”

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“Hey Diddle-ee” “Grab A Little Glory” “The Robbery” “Boys Of The Flim Flam” “The Mandolin Waltz” “Celebrate Your Darkside” “Holdin’ On Or Lettin’ Go” “It’s A Temporary Romance” “Springtime Fever” “Ballad Of The Bandit Queen” “Western Star” “Too Late For Runnin’” “Adam’s Rave”

A Musical Play by Dale Wasserman Music and Lyrics by Bill Francoeur and Scott DeTurk

Instrumentation: *Reed I, *Reed II, *Reed III, *Reed IV, *Trumpet I, Trumpet II, Horn, Trombone, Violin I, Violin II, Cello, Banjo, Guitar, Bass, Percussion I, Percussion II, Piano-conductor/Keyboard I, Keyboard II

Logo Pack, Reference Recording, and Transpositions On Demand available

etching melodies, razor-sharp lyrics and zinging one-liners are the order of the day in this brilliant adaptation of the hilarious tongue-in-cheek comedy about love (what else?) in all its neurotic glory and pain. It all takes place on the Brooklyn Bridge. Harry, despondent and depressed, is about to end it all by jumping off; but his old school buddy Milt (who also happens to be at the bridge that night – to kill his wife, Ellen) coaxes him off the ledge. When neurotic Harry and brainy Ellen fall in love, allowing Milt to run off with the girl from the office, it looks like everything will turn out rosy. But one year later, Ellen no longer loves Harry, Milt wants his wife back, and together they plot Harry’s demise on the same bridge where they’d saved his life.

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What About Luv? features a small band, unit set and great comic roles, as well as a scintillating mix of deadpan comedy and incisive writing, and some of the funniest lyrics ever, courtesy of Triumph Of Love’s Susan Birkenhead. Two acts: unit set Cast: 2 men, 1 woman

Based on the Play Luv by Murray Schisgal Book by Jeffrey Sweet Music by Howard Marren Lyrics by Susan Birkenhead

Musical Numbers: “Reunion” “Poly Arts U” “Paradise” “Carnival Ride” “The Chart” “Harry Meets Ellen” “Election Statistics” “I Believe In Marriage” “Somebody” “The Test” “Yes, Yes I Love You” “What A Life” “Lady” “If Harry Weren’t Here” “My Brown Paper Hat” “Do I Love Him” “Harry’s Resolution”

Instrumentation: Flute, Trombone, Percussion, Piano–conductor Reference Recording available

nable to stop her crying spells, Teddy Stern is sent by her doctor to an adult summer camp in the Catskills, Camp Karefree – “where friendships are formed to last a whole lifetime through.” She hopes to relax enough to clear her head for her upcoming wedding, but ends up becoming one of the most sought-after female prizes for the oversexed wait staff of eager college men – among them the aggressive, womanizing Pinky Harris and the charming law student Chick Miller, who eventually makes her realize she doesn’t want to be married after all.

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Warm, exuberant and a little hokey, Wish You Were Here is an appealing romantic comedy that harkens back to a more innocent time when young adults flocked to mountain retreats for a summer of fun, sun, friendship and love – a sort of wholesome Dirty Dancing! With a large cast of young performers and a charming, witty, score featuring the wistful title song, Wish You Were Here is the perfect show for schools, stock companies or anyone nostalgic for the carefree summers of youth. Act 1: 10 scenes Act 2: 5 scenes Cast: 5 principal men, 2 principal women, chorus

Book by Arthur Kober and Joshua Logan Music and Lyrics by Harold Rome Based on Mr. Kober’s Having A Wonderful Time

Musical Numbers: “Camp Karefree” “There’s Nothing Nicer Than People” “Social Director” “Shopping Around” “Bright College Days” “Mix and Mingle” “Could Be” “Tripping The Light Fantastic” “Where Did The Night Go?” “Certain Individuals” “They Won’t Know Me” “Summer Afternoon” “Don Jose” “Everybody Loves Everybody” “Wish You Were Here” “Relax” “Flattery” Instrumentation: Reed I (alto sax, clarinet, flute, piccolo), Reed II (alto sax, clarinet, baritone sax, bass clarinet), Reed III (tenor sax, clarinet, oboe, English horn), Reed IV (tenor sax, clarinet, flute) Reed V (baritone sax, alto sax, bass clarinet), Trumpets I & II, Trumpet III, Trombone I, Trombone II, Horn, Percussion, Violin A, Violin B, Violin C, Violin D, Viola, Cello, Bass, Harp, Piano–conductor, Piano-vocal Logo Pack and Reference Recording available

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LL SINGING INGING! ALL LL DANCING ANCING! ALL Looking for a way to keep production costs down? A Musical Revue from SECTION THREE: ALL SINGING! ALL DANCING! can be the perfect solution. Generally with small cast and orchestral requirements, revues can be a director's dream. Intimate and exciting, musical revues are a great way to pack the audience in and bring the house down.

AIN'T MISBEHAVIN’ • THE ALL NIGHT STRUT! • BERLIN TO BROADWAY WITH KURT WEILL • BLAME IT ON THE MOVIES! • BLUES IN THE NIGHT • CLOSER THAN EVER • EUBIE! • THE NO-FRILLS REVUE • OH, COWARD! • SECRETS EVERY SMART TRAVELER SHOULD KNOW • SIDE BY SIDE BY SONDHEIM • SONGS FOR A NEW WORLD • STARTING HERE, STARTING NOW • TAPESTRY • TOMFOOLERY • THE WORLD GOES ‘ROUND • YOU'RE GONNA LOVE TOMORROW OTHER SUGGESTED TITLES

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“Fun, Jazzy and Sassy... a BLAST!” —Mary Beth Shumate, Brevard High School

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“Pure fun with great swing music for audiences of all ages” —Rueden Murray, Albuquerque Civic Light Opera

“Electrifying!... a funny, devastating, startlingly beautiful, heart-stopping show” —New York Times

he outrageously prodigious comic and musical soul of 1930s Harlem lives on in this rollicking, swinging, fingersnapping revue that is still considered one of Broadway’s very best.

Music by Thomas “Fats” Waller with additional songs recorded by him Based on an Idea by Murray Horwitz and Richard Maltby, Jr. Two acts: unit set Cast 2 men, 3 women

Musical Numbers “Ain’t Misbehavin’ ” “Lookin’ Good But Feelin’ Bad” “‘T’Ain’t Nobody’s Biz–ness If I Do” “Honeysuckle Rose” “Squeeze Me” “Handful Of Keys” “I’ve Got A Feeling I’m Falling” “How Ya Baby” “The Jitterbug Waltz” “The Ladies Who Sing With The Band” “Yacht Club Swing” “When The Nylons Bloom Again” “Cash For Your Trash” “Off–Time” “The Joint Is Jumpin’” “Spreadin’ Rhythm Around” “Lounging At The Waldorf” “The Viper’s Drag” “Mean To Me” “Your Feet’s Too Big” “That Ain’t Right” “Keepin’ Out Of Mischief Now” “Find Out What They Like” “Fat And Greasy” “Black And Blue” “I’m Gonna Sit Right Down And Write Myself A Letter” “Two Sleepy People” “I’ve Got My Fingers Crossed” “I Can’t Give You Anything But Love” Reed II (tenor sax, clarinet) “It’s A Sin To Tell A Lie” Trumpet Instrumentation Trombone Reed I (alto sax, clarinet) Bass Drums Piano (onstage player)

The inimitable Thomas “Fats” Waller rose to international fame during the Golden Age of the Cotton Club, honky tonk dives along Lenox Avenue, rent parties, stride piano players and that jumpin’ new beat, swing. Although not quite a biography, Ain’t Misbehavin’ evokes the delightful humor and infectious energy of this American original as a versatile cast struts, strums and sings the songs he made famous in a career that ranged from uptown clubs to downtown Tin Pan Alley to Hollywood and concert stages in the U.S., Canada and Europe. Assembled under the expert eye of director/lyricist Richard Maltby, Jr., Ain’t Misbehavin’ is one of the most popular, well-crafted revues of all time – sometimes sassy, sometimes sultry, with moments of devastating beauty. Ain’t Misbehavin’ is simply unforgettable.

BACKSTAGE BABBLE • Ain’t Misbehavin’ launched the career of the irrepressible Nell Carter. • In 1978, Ain’t Misbehavin’ won the Tony® Award for “Best Musical”—the first time in the history of the awards a

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“With the current interest in Big Bands and Ballroom dancing, this show appeals to the entire community” —Dr. Cynthia Allen, Dakota State University

“Great nostalgic appeal... people came out in droves... our older patrons enjoyed it, and it brought in a whole new generation of young fans” —Widge Yager, Helen Hocker Center of Performing Arts

rom coast to coast, in dance clubs, television commercials and major motion pictures, folks young and old are rediscovering the joys of the Charleston, the Lindy Hop and the Shag. Yes, the Swing revival is in full… well, swing! And nowhere more than in this classy, sassy musical celebration of the 1930s and ’40s.

Conceived and Originally Directed and Choreographed by Fran Charnas Two acts: unit set Cast 2 men, 2 women

Musical Numbers “Chattanooga Choo-Choo” “Minnie The Moocher” “Brother, Can You Spare A Dime?” “In The Mood” “Gimme A Pigfoot And A Bottle Of Beer” “A Nightingale Sang In Berkeley Square” “Fascinating Rhythm” “Java Jive” “America The Beautiful” “GI Jive” “Shoo Shoo Baby” “White Cliffs Of Dover” “Don’t Sit Under The Apple Tree” “Rosie The Riveter” “You’re a Lucky Fellow, Mr. Smith” “Praise The Lord And Pass The Ammunition” “Comin’ In On a Wing And A Prayer” “I’ll Be Seeing You” “I Get Ideas(When We Are Dancing)” “Ain’t Misbehavin’” “Operator” “Dream” “Beat Me, Daddy, Eight To The Bar” “A Fine Romance” “Tuxedo Junction” “Juke Box Saturday Night” “As Time That Swing” “Lullaby Of Broadway” Goes By” “Hit That Jive, Jack” “Billie’s Bounce” Instrumentation “It Don’t Mean A Thing If It Ain’t Got Reed (alto saxophone, clarinet, flute) Trombone Trumpet

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The All Night Strut! struts its stuff in a two act bonanza that carries us through the Depression, World War II and the post war boom. From the funky jive of Harlem to the sophisticated elegance of El Morocco and the romance of the Stage Door Canteen, this is an evening filled with jazz, blues, bebop and classic song standards that tug at the heart, tickle the funny bone and raise the rafters, by such legendary songwriters as Hoagy Carmichael, Frank Loesser, Duke Ellington and Johnny Mercer. An international hit, The All Night Strut! is a slick slice of yesteryear with sublime music and unbeatable energy that’s perfect for the new generation of Swing fans as well as die-hard devotees!

BACKSTAGE BABBLE • After seeing The All Night Strut! in Toronto, Ella Fitzgerald burst into the dressing room scatting “It Don’t Mean A Thing If It Ain’t Got That Swing.” The cast didn’t skip a beat, coolly joining her in an improvised jam. But when she left, this “cool” cast collapsed on the floor fanning themselves and gasping, “I just sang with Ella, I’ve died and gone

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I N T E R N AT I O N A L “SOLD OUT HOUSES... the biggest complaint we got was ‘why aren’t you doing more performances?’” —Patrice Maginnis, University of California, Santa Cruz

“It really gives an audience something to think about” —Mark Amo, D’Youville College

“Stuffed with some of the greatest theatre music ever written” —New York Times

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Music by Kurt Weill Lyrics by Maxwell Andersen, Marc Blitzstein, Bertolt Brecht, Jacques Deval, Michael Feingold, Ira Gershwin, Paul Green, Langston Hughes, Alan Jay Lerner, Ogden Nash, George Tabori, Arnold Weinstein Text and Format by Gene Lerner Two acts: unit set Cast 3 men, 2 women (may be expanded)

Musical Numbers “How To Survive” “Barbara Song” “Useless Song” “Jealousy Duet” “Mack The Knife” “March Ahead To The Fight” “Don’t Be Afraid” “Bilbao Song” “Surabaya Johnny” “Don’t Give Up The Ghost” “Childhood’s Bright Endeavor” “Mandalay Song” “Alabama Song” “Deep In Alaska” “Oh, Heavenly Salvation” “As You Make Your Bed” “Pirate Jenny” “I Wait For A Ship” “Sailor Tango” “Songs Of Peace And War” “Hymn To Peace” “Johnny’s Song” “How Can You Tell An American” “September Song” “Girl Of The Moment” “Saga Of Jenny” “My Ship” “Speak Low” “That’s Him” “Progress” “Ain’t It Awful, The Heat?” “Lonely House” “Lullaby” “Train To Johannesburg” “Cry, The Beloved Country” “Lost In Instrumentation The Stars” “Love Song” “Happy Reed (flute, clarinet, soprano sax, alto sax) Ending” Trumpet (flugelhorn) Electric guitar/Banjo

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he life and times of one of the most extraordinary artists of the twentieth centur y is the subject of this remarkable musical voyage through the career of composer Kurt Weill. Weill’s greatest theatre works are presented in a fluid blend of song and story spanning twenty eventful years, from Von Hindenburg and Hitler in Germany, where Weill became an outstanding theatre composer by the age of thirty, to Roosevelt and Truman in the United States, where he became a renowned citizen of his adopted country and a master of the Broadway musical. Along the way, he created some of the most popular and daring musical theatre pieces of his day, collaborating with a dazzling array of literary giants, including Bertolt Brecht, Langston Hughes, Maxwell Andersen, Alan Jay Lerner and Ira Gershwin, and blurring the boundar y between “serious” and “popular” music. This thrilling evening features songs from Happy End, Lady In The Dark, One Touch Of Venus, Street Scene, Lost In The Stars and more, not to mention Weill’s masterpiece, The Threepenny

BACKSTAGE BABBLE • Kurt Weill’s greatest theatrical success came after his death with The Threepenny Opera when it opened offBroadway in 1954. Starring his widow, Lotte Lenya, it went on to run over 2,600 performances. It had been written over thirty years before with

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“Attracted great talent and audiences, because it’s filled with songs everyone wants to sing and hear” — Lars Hansen, Pasadena Playhouse

“Never a dull moment... It was our first show, and it went over BIG” — Susan Kahn, McLean Theatre Alliance

“Easy-to-mount with great audience appeal, it was a terrific show for fund-raising” ™

Musical Sequences Compiled and Conceived by Ron Abel, Billy Barnes and David Galligan from an Original Idea by Franklin R. Levy Original Music and Lyrics by Billy Barnes Musical Direction & Arrangements by Ron Abel Two acts: unit set Cast 5 women, 3 men

Musical Numbers “An Affair To Remember” “April Love” “As Time Goes By” “Aurora” “The Best Of Everything” “A Certain Smile” “Dream” “The Fleet's In” “Full Moon And An Empty Heart” “Have Yourself A Merry Little Christmas” “I Get The Neck Of The Chicken” “I Said No” “In Love In Vain” “It Only Happens When I Dance With You” “I've Got A Gal In Kalamazoo” “Jungle Love” “Laura” “The Long Hot Summer” “Love Is A Many Splendored Thing” “Make Way For Tomorrow” “A Man And A Woman” “Milkman, Keep Those Bottles Quiet” “The Road To Morocco” “The Second Time Around” “Shoo–Shoo Baby” “Two For The Road” “You'll Never Know” “Alfie” “All The Way” “The Ballad Of Cat Ballou” “Blazing Saddles Theme” “Chitty, Chitty Bang Bang” “Ding Dong The Witch Is Dead” “Goldfinger” “Gone With The Wind Theme” “The Good, The Bad And The Ugly Theme” “Help!” “Hi Lili Hi Lo” “It's A Mad, Mad, Mad, Mad World” “Jaws Theme” “Let's Hear It For The Boy” “Midnight Express Theme” “Miss Celie's Blues” “Mule Train” “My Foolish Heart” “On The Road Again” “The Pink Panther Theme” “A Place In The Sun” “Psycho Theme” “Rocky Theme” “Something's Gotta Give” “That's Amore” “Town Without Pity” Tonight” “Walk On The Wild Side” “The Way “What's New Pussycat?” “The We Were” “The Way You Look Windmills Of Your Mind” “You

— Michael Cochran, Market House Theatre

he sound of movies is saluted in this cheer ful musical cavalcade of wonderful songs and themes from the world’s favorite films. Fresh and fast-paced, Blame It On The Movies! is a nostalgic treat that covers more ground than your average Friday night at the karaoke bar, featuring unforgettable tunes from The Wizard Of Oz, Meet Me In St. Louis, The Pink Panther, Rocky, Psycho, Jaws, Gone With The Wind, Goldfinger, The Color Purple, Footloose and countless others, in a fun-filled homage to movie musicals, screwball comedies, shoot-em-up wester ns, sizzling screen romances, thrillers, action-adventure flicks, historical epics and auteurs alike. It’s the perfect celebration of the silver screen – onstage, live and in person – and a great way to get some of those movie buffs back into the theatre. So serve up the popcorn, sit back and enjoy!

Stepped Out Of A Dream”

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“Allows the women to be a force of nature... powerfully opens the heart and lets it well over” —Dave Steakley, Zachary Scott Theatre

“We drew HUGE crowds... a show that works well in a small space... A musical delight” —Jo Huseman, Helen Hocker Center of Performing Arts

“A dark-toned honey of a show. This is entertainment to warm body and soul together” —New York Post

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Conceived and Originally Directed by Sheldon Epps Two acts: unit set Cast 3 women, 1 man

Musical Numbers “Blue Blues” “Four Walls (And One Dirty Window) Blues” “I‘ve Got A Date With A Dream” “New Orleans Hop Scop Blues” “Stompin’ At the Savoy” “Taking A Chance On Love” “It Makes My Love Come Down” “Lush Life” “I’m Just A Lucky So–And–So” “Take Me For A Buggy Ride” “Wild Women Don’t Have The Blues” “Lover Man” “Willow Weep For Me” “Kitchen Man” “When Your Lover Has Gone” “Take It Right Back” “Blues In The Night” “Dirty No–Gooder’s Blues” “When A Woman Loves A Man” “Am I Blue?” “Rough And Ready Man” ”Reckless Blues” “Wasted Life Blues” “Baby Doll” “Nobody Knows You When You’re Down And Out” “I Instrumentation Gotta Right To Sing The Blues” Tenor Saxophone

he universal language of the blues wails out full and strong in this dynamite “dramatic revue” of twentysix hot and torchy numbers that tells of the sweet, sexy and sorrowful experiences three women have with the lying, cheating snake of a man who does them wrong. With little spoken text, the interweaving stories are defined through glorious songs which cover the range of this indigenous American art form, from Bessie Smith to Duke Ellington, Johnny Mercer, Harold Arlen, Alberta Hunter, Jimmy Cox, Ida Cox and more, telling of the pain and misery of life and love and also of the dogged determination to get through it all that is the essence of the blues. Alternately wistful, tender and raunchy, Blues In The Night is a modest production with a larger-than-life score and vocal arrangements designed to bring down the house.

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“Closer Than Ever is still being talked about at our theatre. It was unanimously embraced by critics and inspired a fierce loyalty in our audiences... make sure you have plenty of CD’s on sale in the lobby” — Jerry O’Boyle, Round Barn Theatre at Amish Acres

n this brilliant companion to their hit revue Starting Here, Starting Now, Richard Maltby, Jr. and David Shire follow up their earlier “songs of innocence” with twenty-four funny, wise and witty “songs of experience.”

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As with their earlier revue, each song in Closer Than Ever is a story: an intimate, insightful tale about love, security, happiness – and holding onto them in a world that pulls you in a hundred directions at once. Maltby and Shire bring their celebrated craft and contemporar y sensibility to songs about aging, mid-life crisis, second marriages and role reversals with parents, as well as wicked satirical jabs at Muzak, working couples and unrequited love. Included are several songs that were cut from the acclaimed Baby.

Music by David Shire Lyrics by Richard Maltby, Jr. Two acts: unit set Cast 2 men, 2 women

Musical Numbers “Doors” “She Loves Me Not” “You Wanna Be My Friend?” “What Am I Doin’?” “The Bear, The Tiger, The Hamster, And The Mole” “Like A Baby” “Miss Byrd” “The Sound Of Muzak” “One Of The Good Guys” “There's Nothing Like It” “Life Story” “Next Time” “I Wouldn't Go Back” “Three Friends” “Fandango” “There” “Patterns” “Another Wedding Song” “If I Sing” “Back On Base” “The March Of Time” “Father Of Fathers” “It's Never That Easy/I've Been Here Before” “Closer Than Ever”

Featuring a minimum cast of two women, two men and two musicians, Closer Than Ever is as comfortable in a cabaret setting as in a larger theatre, filling either space with a steady stream of remarkable showstoppers.

Instrumentation Piano-vocal Bass

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“A beautiful show... the music transcends cultures and appeals to all across various generations” —Virgie Nobles Harris, Fort Valley State University

“We did standing-room only business… with the audience jumping to their feet at the end” —John Jacobson, Florida Studio Theatre ™

“A tornado of song and dance and a great good time” —CBS-TV

his toe-tapping revue of Eubie Blake songs stormed Broadway during the 1978-79 season to become the most recent success of a 75-year professional career.

Music by Eubie Blake Conceived by Julianne Boyd Two acts: unit set Cast 5 men, 6 women (may be reduced or expanded)

Musical Numbers “Good Night Angeline” “Charleston Rag” “Shuffle Along” “In Honeysuckle Time” “I’m Just Wild About Harry” “Baltimore Buzz” “Daddy” “I’m A Great Big Baby” “My Handyman Ain’t Handy Anymore” “Low Down Blues” “Gee, I Wish I Had Someone To Rock Me In The Cradle Of Love” “I’m Just Simply Full Of Jazz” “High Steppin’ Days” “Dixie Moon” “Weary” “Roll Jordan” “Memories Of You” “If You’ve Never Been Vamped By A Brownskin, You’ve Never Been Vamped At All” “You Got To Git The Gittin While The Gittin’s Good” “Oriental Blues” “I’m Instrumentation Craving For That Kind Of Love” “Hot Soprano Sax Feet” Trumpet I Trumpet II Trombone

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Particularly active in the teens, ’20s and ’30s, Blake helped break down racial barriers in the landmark 1921 musical Shuffle Along, the first Broadway musical written, directed by and starring AfricanAmericans. The show was a smash hit, opening Broadway to a whole range of black artists and bringing a vital musical influence to the American theatre which continues to this day. The indomitable spirit of the celebrated composer, pianist and raconteur is evoked in over twenty wonderful songs spanning the century, including the classic “I’m Just Wild About Harry.” With its sizzling score, flexible cast requirements and energetic dance numbers, Eubie! is a per fect showcase for dynamic performers (the original Broadway production featured the incomparable Gregor y and Maurice Hines), as well as a crowd-pleasing salute to a true American pioneer.

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“Fast-paced and funny... our audiences ate it up” — John T. Oertling, Mars Hill College

“An easy production to mount that is TOTALLY ENTERTAINING... great word of mouth brought in large audiences...”

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— Marlene Strollo, Move Over Broadway Productions, Inc.

“All you need are a few stools, a sense of humor and an imagination... our audiences loved it” — Jim Hoare, Holy Trinity High School

Sketches, Music and Lyrics Mostly by: (in alphabetical order) Michael Abbott, Douglas Bernstein & Denis Markell, Craig Carnelia, Martin Charnin, Ronny Graham, Marvin Hamlisch, Brian Lasser, Michael Leeds, Thomas Meehan, Billy Weeden, Sarah Weeks, David Finkle & Sally Fay Dialogue and Segues by Martin Charnin, Douglas Bernstein & Denis Markell Entire Production Conceived and Originally Directed by: (in alphabetical order) Martin Charnin One act: unit set Cast 3–6 women, 3 men

Musical Numbers “The No–Frills Revue” “Stools” “My Reunion Prayer” “Being With Me” “Someone’s Got To Do It” “Privacy” “A Brand New Hammer” “We Have To Sing This Song” “I Know Where The Bodies Are Buried” “Tippy–Tappy” “In The Quiet Of Your Arms” “Yes! We Have The Manuscripts!” “It Hasn’t Been Easy”

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bevy of accomplished Broadway and off-Broadway composers and writers have created the ultimate revue – a no-frills, melodic, “not liable to date in our lifetime” satire: a sort of musical “Saturday Night Live!” Conceived by director/lyricist Martin Charnin (Annie), The No-Frills Revue takes its cue from the brilliantly sardonic topical revues of the 1950s, employing original songs, sketches, a small cast and trio of musicians in an hilarious all-out assault on the world as we know it: onomatopoetic names; the terrors of a high school reunion; extravagant rock concert benefits for obscure causes; ginsu knives; obligatory tap numbers; people who go through the ten-item express lane with twenty; and some intriguing “first drafts” of well-known musicals, including Annie as written by Stephen Sondheim and Jerry Herman’s West Side Story. Performed without intermission, this snappy, fast-paced revue is guaranteed not to bore, run on or wrinkle with age.

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“A charming revue... Oh, Coward! gives great insight into the genius of Noël Coward and how he reflected the events and people around him in his writing” —Jeff Fickes, Seattle Repertory Theatre

“A SMASH HIT! A great way to introduce people to Noël Coward’s fabulous music and lyrics... elegant, sophisticated and inspirational” —R. Bobby Cohen, Willits Community Theatre

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Words and Music by Noël Coward Production Devised by Roderick Cook Two acts: unit set Cast 2 men, 1 woman

Musical Numbers “Something To Do With Spring” “Bright Young People” “Poor Little Rich Girl” “Ziegeuner” “Let’s Look On Love” “This Is A Changing World” “Dance Little Lady” “Room With A View” “Sail Away” “The End Of The News” “The Stately Homes Of England” “London Pride” “Uncle Harry” “The Music Hall” “If Love Were All” “Why Do The Wrong People Travel” “The Passenger’s Always Right” “Mrs. Worthington” “Mad Dogs And Englishmen” “Dance Little Lady” “You Were There” “Three White Feathers” “Mad About The Boys” “Nina” “Mrs. Wentworth-Brewster” “World Weary” “Let’s Do It” “

Instrumentation Piano I (piano-conductor) Piano II Bass Percussion

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nterspersing his songs with biographical anecdotes and sketches from his various writings, Oh, Coward! celebrates the life and work of British legend Noël Coward. A wildly successful playwright, composer, lyricist, librettist, director and actor, Coward did it all with equal skill and abandon. His work and personality enchanted the world for over fifty years, from the time he wrote and starred in his first musical at the age of twenty-three. In countless songs, musicals and plays (including the beloved Private Lives and Blithe Spirit), the multi-talented Coward made an indelible mark on the international theatrical landscape with his unique “talent to amuse.” For sheer sophistication, style and urbane wit, only Wilde and Cole Porter could touch him. A minimal band and small cast allow Noël Coward’s memorable melodies and masterful lyrics to shine, and make Oh, Coward! an easy, entertaining show to produce – on its own, or as a companion to any Coward play.

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“A razor sharp musical send-up of the foibles of travel” —NY Law Journal

“Goofy and savvy! A hoot!” —The New Yorker

“Soars with flying colors” —New York Magazine

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Songs and Sketches by Douglas Bernstein, Francesca Blumenthal, Michael Brown, Barry Creydon, Lesley Davison, Addy Fieger, Stan Freeman, Dave Frishberg, Murray Grand, Glen Kelly, Jay Leonhart, Denis Markell, Nick Santa Maria Inspired by Wendy Perrin’s Secrets Every Smart Traveler Should Know (Fodor’s) 2 acts: unit set Cast

f you’ve ever traveled anywhere by boat, plane, train or bus and lived to tell about it, this is the show for you! Based on the best-selling book from Fodor’s, this hilarious revue offers travel tips and cautionary tales certain to tickle the ribs – or chill the spine – of anyone who has ever set foot outside of his or her hometown. Everything from the coach class blues to pesky customs officials is lampooned in this smash-hit off-Broadway revue. One segment lambastes “automated flight reservation systems” as a man tries to book a flight with “Miracle Airlines” (“If it’s a good flight, it’s a Miracle.”) Lost luggage is the subject of another about a hapless business traveler who finds himself “Naked in Pittsburgh.”

2 men, 2 women

Musical Numbers “Secrets Every Smart Traveler Should Know” “Naked In Pittsburgh” “Star Search” “Customs” “Hertz” “Acapulco” “Seeing America First” “What Did I Forget?” “French Song” “The Buffet” “See It Now” “Please, Mr. Trailways” “Red Hot Lava” “Paradise Found” “Me & Margarita” “Salzburg” “Aging Planes” “She Spoke Spanish” “Honey, Sweetie, Baby” “Home”

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Originally presented in a cabaret setting with two men, two women, and a pianist and bass player who both sing, Secrets Every Smart Traveler Should Know can be performed by virtually any number of people, virtually anywhere. So hop on for the ride – it’s sure to be a hysterical hit for your theatre company.

Piano-vocal Bass

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“That rare, sophisticated show that has four performers and two pianos, with wonderful tunes and witty lyrics” —Bill Millerd, Arts Club Theatre

“A lovely, literate musical review and a definite crowd-pleaser” —Mark Edelman, Theatre League

he sophistication, wit, insight, heart and genius of Broadway’s most innovative and influential artist is at the center of this tribute to composer-lyricist Stephen Sondheim.

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Music and Lyrics by Stephen Sondheim and Music by Leonard Bernstein, Mary Rodgers, Richard Rodgers, Jule Styne Continuity by Ned Sherrin Two acts: unit set Cast 2 men, 2 women

Musical Numbers “Comedy Tonight” “If Momma Was Married” “You Must Meet My Wife” “The Little Things You Do Together” “Getting Married Today” “I Remember” “Can That Boy Foxtrot” “Company” “Another Hundred People” “Barcelona” “Marry Me A Little” “I Never Do Anything Twice” “Beautiful Girls” “Ah, Paris!” “Buddy’s Blues” “Broadway Baby” “You Could Drive A Person Crazy” “Everybody Says Don’t” “Anyone Can Whistle” “Send In The Clowns” “We’re Gonna Be Alright” “A Boy Like That” “The Boy From…” “Pretty Lady” “You Gotta Get A Gimmick” “Losing My Mind” “Could I Leave You?” “I’m Still Here” “Conversation Piece”

Please note: No songs other than those included in the revue may be performed. No additions, deletions or substitutions may be allowed apart from those noted in the script.

Instrumentation Piano I Piano II

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This dazzling array of some of Sondheim’s best-known songs features numbers from landmark shows that revolutionized the musical theatre with their masterful craft and astounding creativity: Company, Follies, A Little Night Music, A Funny Thing Happened On The Way To The Forum, Anyone Can Whistle and Pacific Overtures, not to mention the classics written with musical theatre giants Leonard Bernstein, Jule Styne, Richard Rodgers, and Arthur Laurents: West Side Story, G y p s y and D o I H e a r A Waltz? Also included are delectable rarities from the television musical Evening Primrose, the film The Seven Percent Solution and the hit revue The Mad Show. Minimal sets and costumes, a small cast and two pianos allow the brilliant songs to shine. The proceedings are run by a charming, pithy narrator whose virtually non-existent musical requirements are ideal for a non-singing local celebrity with limited rehearsal time. The narration puts Sondheim’s songs in context, elucidating the creative process and offering behindthe-scenes information about the shows from which the songs are drawn. Simple and unpretentious, this Tony ® Awardwinning musical is a perfect introduction to the work of this contemporary master and a must for die-hard fans.

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“Fear not for the future of the American musical theatre as long as talent like Jason Robert Brown keep coming” —Gannett Newspapers

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Music and Lyrics by Jason Robert Brown

Two acts: unit set Cast 2 men, 2 women

Musical Numbers “Opening Sequence - 1: The New World” “Opening Sequence - 2: On The Deck Of A Spanish Sailing Ship, 1492” “Just One Step” “I'm Not Afraid” “The River Won't Flow” “Stars And The Moon” “She Cries” “The Steam Train” “The World Was Dancing” “Surabaya Santa” “Christmas Lullaby” “King Of The World” “I'd Give It All for You” “The Flagmaker, 1775” “Flying Home” “Hear My Song”

Instrumentation Piano-vocal Keyboard II Drums Percussion

ays the author of this gripping revue, “It’s about one moment. It’s about hitting the wall and having to make a choice, or take a stand, or turn around and go back.” Jason Robert Brown (composerlyricist of Parade and The Last Five Years) has the whole theatre community talking about his blend of savvy showmanship and exciting contemporary sound. Brown transports his audience from the deck of a 1492 Spanish sailing ship to a ledge 57 stories above Fifth Avenue to meet an startling array of characters ranging from a young man who has determined that basketball is his ticket out of the ghetto to a woman whose dream of marrying rich nabs her the man of her dreams and a soulless marriage. These are the stories and characters of today, the songs for a new world. With a small, powerhouse, multi-ethnic cast and a driving, exquisitely crafted score running the gamut of today’s popular music, Songs For A New World is a great way to bring the next generation into the theatre. It’s a remarkable achievement from a remarkable new voice.

Bass

BACKSTAGE BABBLE • The original production at the WPA theatre was directed by Harold Prince’s daughter, Daisy.

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“Maltby and Shire bring a unique voice to the musical theatre genre” —Randall Kramer, Summerfare!

“A wonderful, intimate show that works well in a cabaret setting” —Ben Debaldo, Full Moon Productions

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Lyrics by Richard Maltby, Jr. Music by David Shire

Two acts: unit set Cast 1 man, 2 women

Musical Numbers “I Am In Love” “Starting Here, Starting Now” “I’m A Little Bit Off” “I May Want To Remember Today” “Beautiful” “We Can Talk To Each Other” “Just Across The River” “Crossword Puzzle” “Autumn” “I Don’t Remember Christmas” “I Don’t Believe It” “I Hear Bells” “I’m Going To Make You Beautiful” “Pleased With Myself” “Hey There, Fans” “The Girl Of The Minute” “A Girl You Should Know” “Travel” “Watching The Big Parade Go By”“Flair” “What About Today?” “One Step” “Song Of Me” “Today Is the First Day” “A New Life Coming”

Instrumentation Piano–conductor Bass Drums

he excitement of young love and the confusion of growing up (or is it the other way around?) are explored in this intimate revue from one of the most respected teams in the contemporar y musical theatre, Richard Maltby, Jr. and David Shire (Baby, big, The Musical). Using songs from their various early musicals (produced or other wise), this bold, extroverted journey takes a winsome cast of three through the maze of modern relationships with its heart firmly on its sleeve. As with all of Maltby and Shire’s work, each song is an impeccably crafted stor y, original, engaging, bursting with character, and showcasing the versatility and charisma of its performer. From tender ballads to hysterical husbandhunting laments, from wry comments on trendy marriages to ecstatic shouting-fromthe-rooftop celebration, Starting Here, Starting Now has an appealing freshness that has made it a perennial favorite throughout the world.

BACKSTAGE BABBLE • The title song of Starting Here, Starting Now was recorded by Barbra Streisand, and featured in her television special,

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“Terrific... a real crowd pleaser... the music is incredibly popular with beautiful lyrics” —Jennifer Orth, Tennessee Repertory

“A perfect baby-boomer show” —Alexandra Vansuch, Oakland Center For The Arts

“ Feel The Earth Move.” “You’ve Got A Friend.” “Up On The Roof.” “Natural Woman.” Songs we’ve lived by, songs we’ve loved by. Songs that have made us strong, songs that have made us cry. These are the songs that defined one generation and became the classics of another, the songs of Carole King. Tapestry takes us on a musical journey through the career of this songwriting legend, from the turbulent Sixties through the present. Hers are some of the most beloved songs in the canon, presented in ways both familiar and unexpected in this rock and roll revue. Tapestry encourages the audience to relive and savor whatever moments of their lives – good or bad – this string of platinum hits evokes.

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All Music by Carole King Lyrics by Carole King and Gerry Goffin Two acts Cast 3 men, 3 women

Musical Numbers “Music/Ride the Music” “Where You Lead” “Sweet Seasons/Been To Canaan” “Up On The Roof” “I Feel The Earth Move” “Growing Away From Me/ It's Gonna Take Some Time/ It's Too Late” “Where Does Love Go?” “So Far Away/ Home Again” “Jazz Man” “Chains/ Don't Say Nothing Bad About My Baby/ Will You Love Me Tomorrow?/ Every Breath I Take/ (Something Tells Me) I'm Into Something Good/ Take Good Care of My Baby/ Go Away, Little Girl/ One Fine Day/ Hey Girl/ (The) Locomotion” “Looking Out For Number One” “Child Of Mine/ Daughter Of Light/ Only Love Is Real” “Speeding Time” “No Easy Way Down” “Beautiful” “Smackwater Jack” “Tapestry” “Will You Love Me Tomorrow?” “Some Kind Of Wonderful” “(You Make Me Feel Like A) Natural “We Are All In This Together” Woman” “Hi De Ho” “Way Over “You've Got A Friend” Yonder”

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Reed

(alto sax, soprano sax, flute)

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With a score that ranges from immortal ballads like “Will You Love Me Tomorrow?” to the rousing “One Fine Day” this fresh, contemporary revue is sure to be a spirited and stirring evening for Baby-Boomers, Gen-X’ers and beyond.

BACKSTAGE BABBLE • After the album Tapestry hit the number one spot on the record charts, it remained on the charts for six years, becoming at that time, the biggestselling album in the history of the record business. It has sold more than 19 million copies to date... the best-

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“Tomfoolery hits the bullseye” —United Press International

“All the best Tom Lehrer ditties” —New York Times

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our actors, stools, a piano and a healthy dose of attitude are all you need to enter the witty, wicked, offbeat and thoroughly twisted world of famed satirical songwriter Tom Lehrer.

The Words and Music of Tom Lehrer Adapted by Cameron Mackintosh and Robin Ray Musical Arrangements by Chris Walker and Robert Fisher Two acts: unit set Cast 2 men, 2 women

Musical Numbers “Be Prepared” “Poisoning Pigeons In The Park” “I Wanna Go Back To Dixie” “My Home Town” “Pollution” “Bright College Days” “Fight Fiercely Harvard” “The Elements” “The Folk Song Army” “In Old Mexico” “She’s My Girl” “When You Are Old And Gray” “Wernher Von Braun” “Who’s Next” “I Got It From Agnes” “National Brotherhood Week” “So Long, Mom” “The Hunting Song” “The Irish Ballad” “Smut” “New Math” “Silent E” “George Murphy” “Oedipus Rex” “I Hold Your Hand In Mine” “Masochism Tango” “The Old Dope Peddler” “The Vatican Rag” “We Will All Go Together” “Send In The Marines” “The Wiener Schnitzel Waltz” Trombone Instrumentation Percussion Reed (alto saxophone, clarinet) Bass Piano-conductor Piano-vocal

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In concerts, television appearances and a series of now-classic recordings, the Harvard-educated math professor delighted millions of fans during the 1950s and ’60s with his dry, cynical but good-humored attacks on the A-bomb, racism, pollution, pornography, the military, the boy scouts and, of course, mathematics. Nothing is sacred in this hysterical revue featuring such Lehrer favorites as “Poisoning Pigeons in the Park,” “When You Are Old and Grey,” “The Masochism Tango,” “The Old Dope Peddler,” “The Vatican Rag” and an unforgettable Gilbert and Sullivan-esque recitation of the table of elements, linked together with his own inimitable concert patter. Rediscover the man and songs that have delighted and skewered the world for over forty years.

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“Broke our summer box-office records” —John Jacobson, Florida Studio Theatre

“A smash, a delight. A handsome, tasteful, snazzily staged outpouring of song and dance” —New York Times

ometimes you’re happy and sometimes you’re sad – but the world goes ’round.” Life – with its glories, indignities, hopes and quiet dreams – is the subject of this stunning revue of the beloved songs of John Kander and Fred Ebb.

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Music and Lyrics by John Kander and Fred Ebb Conceived by Scott Ellis, Susan Stroman and David Thompson Two acts: unit set Cast 2 men, 3 women

Musical Numbers “And The World Goes ‘Round” “Yes” “Coffee In A Cardboard Cup” “The Happy Time” “Colored Lights” “Sara Lee” “Arthur In The Afternoon” “My Coloring Book” “I Don't Remember You/Sometimes A Day Goes By” “All That Jazz” “Class” “Mister Cellophane” “Me And My Baby” “There Goes The Ballgame” “How Lucky Can You Get” “The Rink” “Ring Them Bells” “Kiss Of The Spider Woman” “Only Love/Marry Me/A Quiet Thing” “When It All Comes True” “Pain” “The Grass Is Always Greener” “We Can Make It” “Maybe This Time” “Isn’t This Better?” “Money, Money” “Cabaret” “New York, New York” Trumpet Instrumentation Trombone Reed (piccolo, flute, clarinet, soprano sax, alto Synthesizer Stage Piano (for “And All That Jazz” only) sax) Drums Bass

The vast range of human experience is explored in song after impeccable song by one of Broadway’s most daring and successful teams, and masters of the heartgrabbing Broadway show stopper. This glittering revue features unforgettable gems from throughout their incredible career in theatre, film and television, spotlighting songs from Cabaret, Chicago, New York, New York, Funny Lady, Kiss Of The Spider Woman and more. Director Scott Ellis and choreographer Susan Stroman shaped the original production into one of the most memorable, well-constructed revues since Ain’t Misbehavin’, with a small, multi-talented cast, gorgeous vocal arrangements, sizzling orchestrations and delightfully inventive staging involving banjos, roller skates, shopping carts and more! (Their helpful suggestions are available in an optional staging guide.) Filled with humor, romance, drama, nonstop melody and brassy, insightful lyrics, The World Goes ’Round is a thrilling celebration of life and the fighting spirit that keeps us all going.

BACKSTAGE BABBLE • John Kander and Fred Ebb’s first collaborations were recorded by a young Barbra Streisand — ”My Coloring

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“A great mix of familiar and unfamiliar songs... the cast size may be small, but it’s a big crowd-pleaser” — Lori Koopman, Lumin Artists Repertory Co.

he lesser-known songs of Stephen Sondheim reclaim the spotlight in this marvelously understated overview of the career of Broadway’s reigning genius.

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YOU’RE GONNA LOVE TOMORROW A Stephen Sondheim Evening Music and Lyrics by Stephen Sondheim Continuity by Paul Lazarus 1 act: unit set Cast 4 men, 3 women

Musical Numbers “Invocation And Instructions” “It's That Kind Of Neighborhood” “Saturday Night” “Isn't It” “Poems” “What More Do I Need?” “Another Hundred People” “With So Little To Be Sure Of” “Pretty Little Picture” “The House Of Marcus Lycus” “Echo Song” “There's Something About A War” “Fear No More” “Being Alive” “You're Gonna Love Tomorrow” “The Miller's Son” “Johanna” “Not A Day Goes By” “Some One In A Tree” “Send In The Clowns”

Instrumentation Guitar

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The exhilarating work represented here is nothing short of a revelation: the appealing melodies and astonishing craft of his first unproduced Broadway musical, written in his early 20s; the gut-busting numbers that didn’t make it into A Funny Thing Happened On The Way To The Forum; the stark beauty of Pacific Overtures; the sweeping romanticism of Anyone Can Whistle; and a heartrendingly gorgeous ballad from his adaptation of The Frogs, originally staged in the Yale University swimming pool. These rare gems are performed alongside some of Sondheim’s best-loved miniature masterpieces in the simplest of one-act revues that is ideal for intimate theatres, cabaret spaces and concer t halls. A perfect follow-up to the popular Side By Side By Sondheim, it is by tur ns howlingly funny, astoundingly clever, hauntingly beautiful and always entertaining. If you like Sondheim, you’re gonna love You’re Gonna Love Tomorrow.

BACKSTAGE BABBLE • You’re Gonna Love Tomorrow was originally staged as a concert organized by The Whitney Museum in 1983 in Stephen Sondheim’s honor— the same year he was elected to the

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SECTION 4

FAMILY/YOUTH MUSICAL COLLECTIONS MUSICALS FOR YOUNG AUDIENCES

With popular family appeal, the musicals in this section have casts that incorporate both adult and young performers. While they are full-length shows, their running time is generally a little shorter than the average “big” musical, making them prime candidates for matinee series and assemblies. THE BROADWAY JUNIOR COLLECTION®

Broadway’s best-loved musicals have been specially adapted for young performers — abridged to 60-80 minutes, with music transposed into keys appropriate for young voices. Each BROADWAY JUNIOR package includes educational tools and performance materials designed to introduce your students to the magic of putting on a show. NATIONAL YOUTH MUSIC THEATRE COLLECTION Developed by Jeremy James Taylor, noted director of the NATIONAL YOUTH MUSIC THEATRE

of Great Britain, the following musicals were written specifically to be performed by young casts. With a mix of British history, social commentary and just plain fun, these works are an attractive addition to any season. THEATREWORKS USA COLLECTION

One of the premiere producers of original youth musicals touring throughout the United States to rapturous acclaim for thirty years. Ranging from histories to topical revues, these works have become a special part of America’s childhood. PRINCE STREET PLAYERS COLLECTION

These musicals are designed to be performed by adults or young adults for young audiences, and are considered by many to be simply the best around. Featuring scores by Jim Eiler and Jeanne Bargy in classic Broadway style, each title can be performed by as few as 10 people, or can be expanded to include full choruses. JOSEF WEINBERGER COLLECTION

From the leading licensing house in Great Britain come four youth musicals perfect for production by imaginative young people looking to stretch their theatrical education.

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“A delight for youngsters, and their elders...music and lyrics are jaunty and fresh” —Los Angeles Times

“A wonderful little play that richly deserved the standing ovation” —Miami News

asper the friendly you-know-what has nothing on this non-conformist witch who’d rather be chic than “shock”! This enchanting children’s musical tells the story of Annabelle Broom, who clashes with her tough witch superiors over her unconventional beliefs, nearly losing her haunting card when she decides to help – instead of frighten – two lost children.

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Book & Lyrics by Eleanor and Ray Harder Music by Eleanor Harder Act 1: 3 Scenes Act 2: 2 Scenes

Cast 6+ women, 1 boy, 1 girl

Musical Numbers “Pink Is My Color” “Hop ‘Round The Trees” “Yoo Hoo, You Hoo!” “I Tint My Hair” “Home, Home” “Windershin” “We’ll Boil Her In Oil” “The Prayer” “Lullaby” “Witch Chant” “Laugh And Dance And Sing”

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With its delightful charm, gentle wit and winning sense of humor, Annabelle Broom, The Unhappy Witch... is the perfect family show and a natural choice for Halloween. It’s message, that witches only have the power to scare us if we believe in them, makes Annabelle Broom, The Unhappy Witch... a terrific show for younger children. The script provides a lot of interaction between the audience and the actors, guaranteeing squeals and screams of delight from the children watching the shenanigans onstage. A small, predominantly female cast and simple piano accompaniment make it particularly easy to produce for schools or community theatres. Throw in some lively dialogue, catchy songs, and an exciting chase scene, and you’ve got an utterly bewitching entertainment!

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any kids dream of being an astronaut and Brandon Fitzgerald Atwater the Third is no different. Unfortunately, Brandon feels that his name is too absurd to be such an important person, so he sets about to change it. During the course of Brandon Finds His Star, he comes to realize that your name IS you - we create the definitions of ourselves and of our destinies.

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Music and Lyrics by Jerry Bock Book by Sidney Berger

1 act: unit set Cast 6 men, 3 women

Musical Numbers “What’s In A Name” Spanglish” “To Be An Astronaut” “When You Find Your Star” “The Song Of The Planets” “Beyond Pluto” “The Blue Planetarian Blues” “The Wizard Of Ahs”

Instrumentation Piano Bass Drums Performance Accompaniment CD

An inventive book by Sidney Berger and a score by Tony and Pulitzer Prize-winning composer, Jerry Bock (Fiorello!, Fiddler On The Roof, She Loves Me), Brandon Finds His Star is light years beyond most children’s theatre writing. Brandon’s fantastic journey to the Blue Planet, beyond the planet Pluto, is a story of imagination, daring and self-discovery. Aided by his friend, a shy young girl from Guatemala named Estrella, Brandon helps the Blue Planetarians get their names back from the Wizard of Ahhhs. Along the way, Estrella gains self-confidence and Brandon learns that he can be whatever he wants to be as long as he continues to apply himself. Brandon Finds His Star, with its charming story and appealing score, is sure to delight parents and children alike. Performed in one act and running about an hour, this show is a perfect choice for assemblies, theatre competitions and school tours.

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“This show is fun from start to finish...lots of great songs that are catchy and lyrical” —London Theatre Guide Online

So full of life it is irresistible” —News Of The World

he pie-flinging, pinstripe-wearing, pintsized classic has finally made it to the musical stage in this adaptation of the hit film that catapulted a young Jodie Foster to stardom!

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Book by Alan Parker Music & Lyrics by Paul Williams Two acts: Unit Set Cast 17 Boys, 2 Girls, plus a chorus

Musical Numbers “Bugsy Malone” “Fat Sam’s Grand Slam” “That’s Why They Call Him Dandy” “Tomorrow” “Show Business” “Bad Guys’ Song” “I’m Feeling Fine” “My Name Is Tallulah” “So You Wanna Be A Boxer” “Ordinary Fool” “Down And Out” “You Give A Little Love”

Instrumentation Clarinet I Clarinet II Bassoon Trumpet Trombone

Guitar Bass Drums Piano Piano-vocal

Amateur Production Rights Are Available In The U.S. And Canada Only. Broadway Junior Version Available Theatrical Resources

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A cast of youngsters play Prohibition-era mobsters in a tongue-in-cheek tribute to the 1920s gangster flick. It seems Fat Sam, who runs one of the most popular speakeasies in town, is in danger of being closed down by his “business rival” Dandy Dan. Enter baby-faced Bugsy Malone (Scott Baio in the film), a killer with the ladies and a definite asset to Fat Sam. Unfortunately, Bugsy has also caught the eye of Sam’s girlfriend Tallulah (Jodie Foster in the film) – though he’s set his designs on showgirl Blousey Brown… As in the film, the “non-violent” gang war is fought with “splurge guns” which spew forth custard pies instead of bullets. It’s a thoroughly charming, irreverent and clean (though very messy) showcase for a cast of talented young performers, with a book by Alan Parker, and a catchy, honky-tonk score by Paul Williams, one of the most popular songwriters of the ’70s and ’80s.

BACKSTAGE BABBLE • When the original production was done in London, the producers auditioned over 13,000 children between the ages of 9 and 16. • The director of the original production of Bugsy Malone in London was Michael Dolenz, better known as “Mickey” on the television show, “The

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“Zina Goldrich and Marcy Heisler are the most gifted new writing team of their musical theatre generation. They create music and lyrics that are as fresh, bright, witty and accessible as have ever been written” —Maury Yeston

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hirteen-year-old Edwina Spoonapple would do just about anything to be a part of the Kalamazoo Advice-apalooza Festival. While her siblings both have proof “up on the fridge” of their accomplishments, poor Edwina has nothing. When a talent scout from the convention visits her hometown of Paw Paw, Michigan, she trots out her musical advice-giving show live from the family garage in hopes of finding her place in the spotlight.

Book & Lyrics by Marcy Heisler Music by Zina Goldrich One act: unit set Cast An ensemble of 8-10 players, various M and F

Musical Numbers “The Rehearsal” “Up On The Fridge” “Dear Edwina””Here Comes A Letter” “Aphrodite” “Say ‘No Thank You’””Another Letter” “Abigail” “Frankenguest” “Carrie” “Fork Knife Spoon” “Time For Intermission” “Here Come More Letters” “Hola Lola” “Quads” “Aretha Spoonapple” “Gimme Gimme I Want” “Seamus” “R.S.V.P.” “Ziggy” “Put It In The Piggy” “Thanks For Coming” “Edwina” “Sing Your Own Song”

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She is assisted by her older siblings (on piano and drums) and a host of quirky friends and neighbors: Becky, the perky cheerleader; Kelli, the cool, sophisticated ballerina; Annie, the girl-scout cookieselling champion; the Vanderploonk triplets; Bobby, the befuddled new kid on the block; and Scott, who is helplessly and hopelessly in love with Edwina. Together they set out to tackle the world’s problems, in number after hysterical number about everything from birthday party etiquette to the proper way to set a table (“salad fork, fork, plate, knife, spoon”). This beguiling one-act charmer can be played anywhere, with extremely modest sets and costumes. Sweet, smart and tuneful, it appeals to audiences of all ages, as Edwina doles out advice and finally learns to listen to some of it herself.

Piano-vocal

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A Musical based on The Adventures of Huckleberry Finn Book by Jeff Tambornino Music and Lyrics by John Braden

Act 1: 5 scenes

Act 2: 9 scenes

Cast 8 men, 4 women, plus a chorus

Musical Numbers “Bound Away” “Till Our Good Luck Comes Along” “The Musicale” “You’ve Brightened Up My Day” “Come Home Runaway” “He’s On His Way Hallelujah” “River Rats” “Just Like Love” “What A Grand Day For An Auction Sell” “Downriver” “Tom And Huck’s Argument” “Shine Down Lord”

Instrumentation Guitar Bass Drums Piano-conductor

rambunctious kid and a runaway slave ply the Mississippi in this musical version of Mark Twain’s masterpiece, T h e A d v e n t u r e s o f Huckleberry Finn – a novel so rich in character and meaning that it may be the most frequently adapted work in American literature. Writers have returned to it time and again for inspiration, resulting in countless film and stage versions, including the spectacular Broadway hit Big River and this intimate, smaller-scale production. Downriver misses none of the fun in Twain’s greatest work, while illuminating its central themes of freedom and responsibility and providing meaty classic roles for its two leads. Through hurtling steamboats, boyish pranks and a couple of crafty river rats named the King of France and the Duke of Bridgewater, Huck and Jim pursue their own precious American dreams while meeting a score of unforgettable characters in this mythic story of early 19th century America.

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“Lively musical sure to please every generation... the lyrics by Sheldon Harnick go straight to the heart”

—Nina Schuessler, Harwich Junior Theatre

ven surrounded by dozens of toys, Milo is bored. Nothing interests him at all. The Demons of Ignorance are certain he will be their next victim, telling him “If you get the urge to do anything - don’t. It could be dangerous.” To the rescue comes The Phantom Tollbooth!

Illustration by Jules Feiffer

Based on the Novel by Norton Juster Music by Arnold Black Lyrics by Sheldon Harnick Book by Norton Juster and Sheldon Harnick

Two Acts: Unit Set (May be performed in One Act) Cast 7 principal men, 3 principal women, children, chorus

Musical Numbers “Another Boring Afternoon” “Gotcha” “The Birth Of The Booth” “The Whether Man” “The Chaconne Of The Lethargarians” “The Lethargarian Shuffle” “Tock’s Narrative” “At The Market” "Do I Dare?" “Hail, Digitopolis” “Subtraction Stew” “Milo” “Finale”

Instrumentation*

With a book adapted by Mr. Juster himself, witty lyrics full of wordplay by Sheldon Har nick (Fiddler On The Roof, She Loves Me) and a melodious score by Arnold Black, The Phantom Tollbooth is an endearing show that audiences of all ages will find appealing.

Piano *Instrumentation may be revised upon

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Norton Juster’s beloved children’s book is given full musical treatment in this acclaimed stage version of the modern tale of a boy who must save the princesses Rhyme and Reason and reunite the brother Kings who rule over the cities of Dictionopolis and Digitopolis. Aided by a trusty timekeeping dog, Tock, Milo successfully brings harmony to the Land of Wisdom and learns many things about words and numbers along his journey. Perhaps the most important lesson he takes with him, however, is that ever ything we learn has a purpose and whatever we do af fects ever ything and ever yone. When he returns home, he realizes there is never a reason to be bored in a world full of so many things to discover.

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“We could have run for another week” —Jill Patchin, Grand Rapids Civic Theatre

“A fun production that appeals to a wide range of age groups” —Daniel Rubalcava, Brown College

From the Series Created by George Newall and Tom Yohe Based on an Idea by David McCall Book by Scott Ferguson, George Keating and Kyle Hall Music and Lyrics by Lynn Ahrens, Bob Dorough, Dave Frishberg, Kathy Mandry, George Newall and Tom Yohe One act: unit set Cast 3 men, 3 women (may be expanded)

Musical Numbers “Verb: That’s What’s Happening” “A Noun Is A Person, Place Or Thing” “Three Is A Magic Number” “Mother Necessity” “Sufferin’ Till Suffrage” “Lolly, Lolly, Lolly” “Unpack Your Adjectives” “Just A Bill” “The Preamble” “Ready Or Not, Here I Come” “Do The Circulation” “Rufus Xavier Sarsaparilla” “Figure Eight” “A Victim Of Gravity” “Zero, My Hero” “Conjunction Junction” “Great American Melting Pot” “Elbow Room” “Interplanet Janet” “Interjections” “The Tale Of Mr. Morton”

Instrumentation Bass Drums Piano-conductor

pop culture phenomenon comes to the musical stage! The Emmy Awardwinning 1970s Saturday morning cartoon series that taught history, grammar, math, science and politics through clever, tuneful songs is not only making a smallscreen comeback, instructing a whole new generation to “Unpack Your Adjectives” and “Do The Circulation,” it’s lighting up stages ever ywhere, from school multipurpose rooms to university and regional theatres all around the country. Tom, a ner ve-wracked school teacher nervous about his first day of teaching, tries to relax by watching TV when various characters representing facets of his personality emerge from the set and show him how to win his students over with imagination and music, through such beloved Schoolhouse Rock songs as “Just A Bill,” “Lolly, Lolly, Lolly” and “Conjunction Junction.” With its flexible band, set, costume and cast requirements, the show may be performed in virtually any space, bringing its infectious zest to a cross-generational audience. Children just discovering the TV series to “Generation X-ers” seeking a taste of nostalgia will delight in this sure-fire entertainment that’s simply good, clean— and educational—fun.

BACKSTAGE BABBLE • Lynn Ahrens, (lyricist for Lucky Stiff, Once On This Island, My Favorite Year, Ragtime The Musical , Seussical , and A Man Of No Importance) not only wrote music and lyrics for several of the original Schoolhouse Rock songs but sang them too, including “The Preamble.” • Speaking of “The Preamble,” if you look closely at the original cartoon you will see Lynn’s name, along with several of the other SHR collaborators

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N ACQU EW ISITIO N! “Schoolhouse Rock Live Too! is a great family show, filled with memories for the parents and educational and fun songs for the kids” —Post-Tribune ™

I From the Series Created by George Newall and Tom Yohe Based on an Idea by David McCall Book and Original Lyrics by Scott Ferguson Arrangements and Original Music by Dennis Curley Music and Lyrics by Lynn Ahrens, Bob Dorough, Stephen Flaherty, Dave Frishberg, and George Newall One act: unit set Cast 3 men, 3 women (may be expanded)

Musical Numbers “”Throw Away The Key” “The Rockin’ Medley” “I Got Six” “Electricity” “Four-Legged Zoo” “Body Machine” “Fireworks” “Naughty Number Nine” “Lucky Seven Sampson” “I’m just A Bill” “Elementary My Dear” “Dollars And Sense” “The Energy Blues” “Tax Man Max” “Three Ring Government” “Them Not-So-Dry Bones” “Telegraph Lines” “Good Eleven” “No More Kings” “Interjections” “Conjunction Junction/Finale”

Instrumentation Bass Drums Piano-conductor

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f you are looking for an energetic, colorful, fast-paced musical with zany, loveable characters that just happens to be educational, then look no further! The creators of Schoolhouse Rock Live Too! have returned with more of your favorite instructional tunes! Like its predecessor, Schoolhouse Rock Live Too! draws its inspiration from the Emmy Award-winning Saturday morning cartoon series, popular in the 1970s. Far from outmoded, however, Schoolhouse Rock Live Too! is full of modern lyrics, catchy melodies, upbeat dance sections, and witty banter. Audiences of all ages will fall in love with Nina, the owner of a fading diner and her wacky friends. Together, this charismatic crew (made up of a friendly waitress, a “regular” at the diner, a chef and a firstday schoolteacher) tries to brainstorm ways to save their run down diner. As they reject one idea after the next, they remain encouraged by songs from their favorite show, Schoolhouse Rock. Songs like “The Rockin’ Medley,” “Electricity,” “Dollars and Sense,” and “Good Eleven.” In the end, they realize that the answer was right in front of them all along…the Conjunction Junction Diner is up and running and open for business!

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“One of the finest achievements in make believe” —Life Magazine

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Based on James Thurber’s Fantastic Fairy Tale Book by Fred Sadoff Music & Lyrics by Mark Bucci 5 scenes

Cast 4 men, 3 women, chorus

Musical Numbers “When It’s Once Upon A Time” “I Dreamt” “Hark, Hark, The Dogs Do Bark” “March” “Saralinda” “The Todal Trio” “Hark Utility” “I Can Find A Thing I Cannot See” “The Story of Hagga” “To Hagga’s House” “Golux’ Limerick” “Hurry, Hurry” “In The Land Of Ever After”

Instrumentation

Trombone Violin I Violin II Viola Cello Bass Harp Percussion

Flute/Piccolo Oboe/English Horn Clarinet Bass Clarinet/Bb Clarinet Bassoon Trumpets I & II Horns I & II

red Sadoff and Mark Bucci have transformed a deliciously offbeat fairy tale by one of America’s greatest humorists into an enchanting hour of musical wit and magic for adults and children alike. When an evil Duke captures a beautiful Princess, her beloved Prince must find one thousand jewels and unfreeze thirteen clocks which the Duke has stopped. If he fails, the Duke will be devoured by the invisible Todal. With the help of a fumbling sprite named Golux and an old woman whose tears turn to gems, the Prince frees the Princess, leaving the evil Duke to the terrible Todal. A masterpiece of make-believe, The Thirteen Clocks is a char ming, whimsical work in the tradition of Lewis Carroll and L. Frank Baum.

Theatrical Resources Piano-conductor

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“Jazzy, perky delight” —Rohan Preston, Star Tribune

rnold Lobel's well-loved characters hop from the page to the stage in Robert and Willie Reale's musical A Year With Frog And Toad. Conceived by Mr. Lobel's daughter, Adrianne Lobel, A Year With Frog And Toad remains true to the spirit of the original stories as it follows two great friends, the cheerful and popular Frog and the rather grumpy Toad through four fun-filled seasons. Waking from hiber nation in the spring, they proceed to plant gardens, swim, rake leaves and go sledding, learning life lessons along the way, including a most impor tant one about friendship and rejoicing in the attributes that make each of us different and special.

Music by Robert Reale Book and Lyrics by Willie Reale Based on the Books by Arnold Lobel Two acts: unit set

Cast 3 men, 2 women

Musical Numbers “A Year With Frog And Toad” “It’s Spring” “Seeds” “The Letter” “Getta Loada Toad” “Alone” “Cookies” ”The Kite” “He’ll Never Know” “Shivers” “Down The Hill” “I’m Coming Out Of My Shell” “Toad To The Rescue” “Merry Almost Christmas”

Instrumentation* Piano Bass/Tuba Drums/Percussion Guitar/Banjo Woodwinds Trumpet Trombone *Instrumentation may be revised upon

A score that bubbles with melody and wit, it's jazzy upbeat sound is a perfect match for the hopping, crawling and flying denizens that inhabit Frog and Toad's world. Featuring a small cast that doubles in several roles and simple, suggestive costumes and staging, A Year With Frog And Toad is a per fect show for an ensemble group of actors. It’s clever book and lyrics and snazzy music can serve as a great introduction to theatre for youngsters, while keeping adults entertained as well. A new show, destined to become a classic, A Year With Frog And Toad is inventive, exuberant and totally enchanting.

Theatrical Resources

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OTHER SUGGESTED TITLES

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Les Misérables® School Edition

Scrooge, The Stingiest Man In Town Page 80

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ANNIE JUNIOR • BUGSY MALONE JUNIOR • DEAR EDWINA JUNIOR • FIDDLER ON THE ROOF • GUYS AND DOLLS JUNIOR • GODSPELL JUNIOR • HONK! JUNIOR • INTO THE WOODS JUNIOR • THE MUSIC MAN JUNIOR • ONCE ON THIS ISLAND JUNIOR • SCHOOLHOUSE ROCK LIVE! JUNIOR • WILLY WONKA JUNIOR

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mas Meehan Book by Tho les Strouse ar Music by Ch n Charnin ti ar ® by M y Lyrics b rphan Annie O e tl it s, Inc. L n o Based edia Service M e n u ib Tr f permission o have made nt characters ya bo m fla d an s in history— It’s upbeat plot e most beloved musical title role or th e Annie one of dreamed of performing th ast size is C ’t sn n? ha ga rl ni gi t an wha us Miss H eo ag akes Annie tr m ou s rt e of the pa playing th e e ng ra e ag the different grad flexible, and ns involving be tio uc ay od m pr ts r fo where studen l score is Junior ideal middle school r fo or ight, tunefu , ls ve le rates. The br mbers. nt re ffe di at miliar nu maturing d filled with fa easy to sing an Depression, The : d re lo p x E es essness and Themes/Issu l, Unemployment, Homel ea The New D n. Adoptio l le at your loca Also availab r Deale

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Book by Alan Parker Music & Lyrics by Paul Williams The popular pint-sized, pin-striped classic leaps off the silver screen and onto the stage. Like the film, this wild and wacky musical includes a child’s dream come true: a classic pie fight fought with “splurge blasters” which spew forth “silly string” instead of pies! With a catchy, swinging score by the composer of The Muppet Movie, Bugsy Malone Junior includes a chorus which may be expanded to include as many performers as desired. Themes/Issues Explored: Prohibition and the Roaring Twenties, Gang Violence, Conflict Resolution.

Book and Lyr ic Music by Zin s by Marcy Heisler a Goldrich

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At last a mus ical that featur es a cast of ne girl performer s! Follow the arly all adventures of giver extraord adviceinaire, Edwin a Spoonapple directs the kids as number after in the neighborhood in prod she hilarious prod uction uc “Advice-A-Pal ooza” extravag tion number in her style of Schoo an lhouse Rock za. Written in the Good Man C Live! and You ha the perfect rlie Brown, Dear Edwina Ju ’re A girl power musical for nior is generation. a new Themes/Issu e Saving Money s Explored: Table Ma nners, , Sibling Rival Like, Toleranc ry e, Making New , Foods You Don’t in Yourself Friends, Belie ving

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Based o by spe n Sholem A cial pe le Book b rmissio ichem Storie y n of Ar s J ose Music nold P by Jer ph Stein e rl ry Lyrics by She Bock ldon H arnick This sp ecial e dition o master p f covers ieces, Fiddle one of Broad w r On th e fu presen The R ay's great ting y ll range of o oung acting human of Junior p e c emoti r h f a o lle rm young man sta nges—espec ers with un ons, ially t memor ique rring as h a theatre ble and rew Tevye—amo e mature ng . arding roles in the most musica Theme l s Comm /Issues Exp u Faith. nity, Cultura lored: Ethnic l Trad Herita itions, Toleran ge, ce,

ory Based on a st by Damon Runyon rs te ac ar ch Loesser and rics by Frank e Burrows Ly d an c si u M Ab Swerling and Book by Jo s York City, Guy mythical New ul characters s n' yo un R us to colorf Set in Damon nior introduces in the musical theatre Ju ls ol D nd A s ht "mission come legend who have be rown, the up-right but uptig gambler g B canon: Sarah terson, the slick, high-rollin in love; ng as lli M fa ky up S ds "; doll, d en ronic flu is r on a bet an who woos he tclub performer whose ch d to the ge gh Adelaide, a ni the fact she's been enga roit, her et D by n on ha t at d N brough 14 years; an ays to find a spot for r fo an m e w sam as al é, desperate devoted fianc ing dice game. at is infamous flo d eferences an d: Literary R lications of re lo xp E es Social Imp Themes/Issu g, Statistics, 1940's Slan bability. Gambling, Pro

l le at your loca Also availab r le ea D

Also a vailab

le at y our loc al Dealer Conceived and Originally Directed by John-Michael Tebelak, with Music and New Lyrics by Stephen Schwartz

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This best loved musical by two-time Academy Award-winner Stephen Schwartz is now available in a Junior version! Drawing from various theatrical traditions, such as clowning, pantomime, charades, acrobatics and vaudeville, Godspell Junior is a groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. Featuring the international hit "Day By Day," Godspell Junior can be performed virtually anywhere with the simplest of sets, costumes, lights and music. Themes/Issues Explored: Ancient History, Faith, Character, Communication, Tolerance. Soon to be available at your local Dealer

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Book a Music nd Lyrics by by Geo A rge Stil nthony Drew es e Produc e the Oli the show th a v Tony ® ier award (th t beat The Lio Award) e Britis n King ! retellin g of H Honk! Junio h equivalent out of r is a ans C story, to the co h " Joseph The Ugly D ristian Ander ntemporary s . everyw .. Dreamco uckling" and en's classic here w at-like f perform ill enjo score eatures a feather ed with simp y. Honk! Ju that kids s le Broadw or fur neces sets and c nior can be os sary, m ay Jun ior mus aking it tumes. No ic the pe a l! Theme rfect s/Issu Prejud ice, Ru es nning A Explored: way, S ibling R Tolerance, ivalry

ondheim by Stephen S cs ri Ly d an c Musi es Lapine Book by Jam dheim adway" as Son re all ro B o "g m he Grim The Brothers r up a cockeyed fairy tale w e Red ttl fe Li of , ne lla pi re La de Cin and e characters— and The of your favorit ck (and his beanstalk) Ja ys. With d, ne oo ur their jo Riding H on ct ra te in and no chorus, Witch—meet dancing and mediumtle lit s, le ro owcases a unforgettable ds Junior sh ngers and actors. oo W he T to si In ted to ble of talented sized ensem ed score has been adap —for at ing The sophistic r—though still challeng e or is a si ni a e Ju it ds oo ke ma The W to In s. er ople to m pe or ung young perf way to get yo 've grown up ng gi ga en d funny an which they e stories with think about th issues raised therein. l and the ethica in se of Parable lored: The U sequence of xp E es su /Is Themes and Con esponsibility Storytelling, R , Ethics. ions Individual Act l le at your loca Also availab r le Dea

Meredith Willson's The Music Man Junior Book, Music and Lyrics by Meredith Willson Based on a story by Meredith Willson and Frank Lacey Direct from Broadway, this American classic is sweeping schools nationwide! You'll have no "trouble" convincing kids to perform in this masterful musical that features over 20 roles for kids of every level. With a pop standard that includes "Trouble," "76 Trombones," and "Till There Was You," The Music Man Junior is the perfect production for young people!

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Themes/Issues Explored: Ethics, Gossip, Origins of Rap and Hip Hop Music, Single Parent Families, The Scientific Method, Censorship.

Also available at your local Dealer

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From the seri es created b y George New all and Tom Yohe Based on an id Book by Sco ea by David McCall tt Ferguson, George Keati ™ n Music and L g and Kyle Hall yrics by Lyn nA Bob Doroug h, Dave Frish hrens, ns re h A berg, Kathy G n n eo Ly rg e Newall and rics by Mandry, Tom Yohe y Book and Ly en Flaherty u G sa o R y b h p ve o te L S y y b Love, M Music The Emmy® the Novel My Aw e, or Based Upon sc ed d ucational cart ard-winning Saturday m re an flavo be ib oon series is orning ar C hy d tc ca d, an of the most nt story and the heart, min tion fun, energetic now the basis for one With its poigna land Junior is a feast for ta , and easily musicals ever Is aribbean adap ttle mounted to hit the stag Li Once On This theatrical musical is a C st he e! A loose, re ru "T ct , ur le e ta al ly iry lo fa gh w vue-like n s hi s se fo hi er r T a . great deal of n And soul Once staging and ca flexibility in r Hans Christia gardless of its cast size, sets la st pu si ze po . e S th et re of and be as simpl ally effective ough colorful— e or complex costume design can Mermaid." Equ nior features minimal—th of the audience. im as your budg ag in at io n allo Ju n et or On This Island at capture the imaginatio calling are so famili w. And because most of e, yl st 's th ow th ar sh es e e an so um th d st ngs of ea co a sy to learn, re part en and bound to be hearsals are ement is also ees, wild animals and ev a ov sn m ap e . iv P at er re fect fo C y tr of all ages an ers to portra d experience r young performers upon perform . R oc levels, Schoo k Li ve ! Ju m fierce rainstor amily, audiences al nior will be a hit for ac lhouse F s, le g g u tr ike! tors and d: Class S es Explore ons. u s s /I s e m e h T iti Themes/Issu Cultural Trad e Perseverance, Arithmetic, H s Explored: Languag istory, Social e Arts, Sciences. l le at your loca Also availab Also availab Dealer le at your loca l Dealer

Based on the book Charlie and The Chocolate Factory by Roald Dahl Music and Lyrics by Leslie Bricusse and Anthony Newley Adapted for the stage by Leslie Bricusse and Tim McDonald

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IN ENT OPM DEVELall for C ation inform

50TH ANNIVERSARY CATALOGUE 1999 MASTER CATALOG

Roald Dahl's timeless story of the world famous candy man and his quest to find an heir comes to life in this stage adaptation of Charlie and The Chocolate Factory, which features the songs from the classic family film "Willy Wonka and the Chocolate Factory." The memorable score features “The Candy Man”, “Pure Imagination”, “Oompa Loompa” and ”I Want it Now” by Academy® and Grammy® award winners Leslie Bricusse and Anthony Newley, neatly fitted into a new script adapted under the auspices of the Dahl Estate. With a flexible cast size, featuring roles for children and a tour-de-force role in the title character. Themes/Issues Explored: Imagination, Poverty, Multi-Generational Families, Ethics and Character.

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Here’s what you get! Broadway Junior Showkits

2 Performance 20 Student Libretto/Vocal 2 Piano/Vocal Scores 10 Chorus Books (not available for Director’s Production Choreographic Video (not available for all Cross-Curricular Activities

an iding such h my v ro p r fo u it “Thank yo ol for me to use w e tr to a e le b th a o lu inva me I have n students. your showkit allows e a iv nd g e, yet experienc d with confidence ae show” e th e c l to to pro ssional fee -Judy Kay real profe mentar y Wood Ele gton,TX Arlin

Enrichment Guide

Performance CDs Adapted from the original Broadway

and professionally produced Great keys for young singers Guide-vocal tracks allow students to “sing making music rehearsals easy and fun Fully orchestrated accompaniment-only excellent for live performances with good and easy to follow cues

Student Libretto/Vocal Each showkit comes with 20 Special Memory Book pages includes for autographs, reviews and Includes complete script and Pages of helpful hints on Cross-referenced for productive rehearsals

Chorus Books include a “To

Actor” section making feel like a star! Interactive rehearsal calendar All of the chorus Pages of helpful hints on

Available for all titles except

Piano/Vocal

2 complete scores for the rehearsal/performance Complete piano/vocal score with Transposed into age-appropriate Easy-to-read format 148

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It ’s easy to Director’s Includes full script Includes background information

on the show and suggestions for set design, costumes, props, lighting, casting, tips for using the Accompaniment CD, and poster and program art Staging notes are included in the margin throughout Calendar template and suggested

Production

Detailed glossary of theatre terms Guidelines for assembling a production staff Detailed guide to audition and rehearsal processes Diagrams, designs, templates for theatres, seating charts and cue sheets Marketing, publicity and box office suggestions

Choreographic Video

Features John Jacobson’s 10 steps to choreographic success Major dance sections choreographed in an easy-to-follow-andcopy format Major dance sections are performed by young performers Geared for performers of every level

Please inquire as to release dates for Bugsy Malone Jr., Dear Edwina Jr., Honk Jr.,

Cross-Curricular Activities and

Language arts, history, math, art, science, music and more! Sample lesson plans and reproducible activity sheets Ideas for establishing outreach programs A great resource for “team teaching” 50TH ANNIVERSARY CATALOGUE 1999 MASTER CATALOG

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“ accomp The quality of t anim he The dire ent CD was su perb. c t o r’s guid extre librettos mely helpful, a e was cross-cu were easy to fond the offered rricular activitie llow. The some s cer the who interesting insigtainly le exper h ience t to -Rex Wil” Prairie Jr k . High S inson c hool Alsip, IL

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ADDITIONAL RESOURCES Chorus Books Find yourself with a cast of 50 and needing more student books? Try our new Chorus The â&#x20AC;&#x153;to the Actorâ&#x20AC;? section making everyone feel like a star! Interactive rehearsal calendar section All of the chorus music Less expensive than ordering additional Student Libretto/Vocal Books Make sure everyone in your cast has a legal rehearsal book, not an

Logo Packs Now available: Officially licensed Each Logo Pack Black-and-white, camera ready slick A color slick A computer CD with digital format files ready to be inserted into your program, handbills, flyers, posters, or even your

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ADDITIONAL RESOURCES Logo T-Shirts Featurin Eye-Popping, full-color screen printed logos Officially licensed to your school Dark shirts (perfect for actors and backstage crew!) Shipping in as few as three days A great fund-raising idea: sell to cast, crew, and parents before the show and during intermission Affordably priced

Production Slides Take your production into the 21st Century with MTI’s Production Each slide package has been designed by Broadway’s top scenic and projection designers Slides can take the place of backdrops Or use the slides as a “paint-by-number” for backdrops Easy to use Soon to be available for all shows. Contact your Broadway Jr. Saves time and money Rep for further details.

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Wa n t m o r e i n f o r m a t i o n ? Too busy to reach us during business hours? Check out the Broadway Junior Website, open 24 hours a day, seven days a week! Our website puts the world of Broadway Junior at your

Order perusals in your

Apply for a

performance

Find out whatâ&#x20AC;&#x2122;s

currently Download show-specific audition Listen to sound clips from the Check out our new interactive press Join the Broadway Junior Community. See a listing of current Broadway Junior Performances.

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he irrepressible Mr. Toad tears up the English countryside in this engaging adaptation of Kenneth Grahame’s endearing novel. Toad’s passion for excitement has his slower-paced friends Mole, Rat and Badger reluctantly bailing him out of scrape after scrape, until an attempted coup of Toad Hall by some evil Weasels presses the four into action and quenches his appetite for adventure.

Act 1: 6 Scenes

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Act 2: 5 Scenes

Cast: 5 – 6 men, 2 – 3 women, chorus Instrumentation: Piano, Guitar, Bass, Percussion Reference Recording available

Book, Lyrics and Music by Piers Chater–Robinson Based on The Wind In The Willows by Kenneth Grahame

he story of the Nativity is told to a rock beat in this modern “mystery play.” With a contemporary sensibility and a pop score which incorporates several well-known Christmas carols, Rock Nativity is the perfect holiday pageant for today’s youth. Flexible casting requirements and a small rock combo make it easy for any group to produce. 2 acts: unit set Cast: 14 men, 2 women, chorus (Note: roles may be doubled or assigned against type.) Instrumentation: Electric Guitar doubling Acoustic, Bass Guitar (or Bass), Piano, Electric Organ (preferably 2 players), Drums

Reference Recording available

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Book and Lyrics by David Wood Music by Tony Hatch and Jackie Trent

he nightmarish world of Dotheboys Hall from Nicholas Nickleby is brought to vivid life for a modern class of rebellious students in this highly original pop adaptation of Charles Dickens’ celebrated novel. An English teacher leads his class in a dramatic re-creation of the story of Nicholas, his friend Smike and the tyrannical headmaster Mr. Squeers, to teach them a lesson about learning, ™

Act 1: 5 scenes

Act 2: 2 scenes

Cast: 7 men (2 adults opt.), 3 women (1 adult opt.), chorus Instrumentation: Flute/Clarinet, Alto Sax/Clarinet, Tenor Sax, Trumpet, Trombone, Guitar, Bass Guitar, Drums

Music and Lyrics by Roger Holman and Simon May Book by Simon May and Clive Barnett

cat and fox awake one morning to find a wild life park on their turf and a lost lion cub on their doorstep. Before long they are drawn into a scheming panther’s dastardly plot to depose the mighty King Lion. It’s a thoroughly charming and amusing adventure for young children with avid audience participation throughout. Act 1: 4 scenes

Act 2: 2 scenes

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Cast: 5 – 6 men, 1 – 2 women, optional chorus Instrumentation: Saxophone (flute), Guitar, Keyboards, Bass, Percussion Reference Recording available

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n a farm in the Kentish countryside, the clash of cultures between Kentish locals, London cockneys, and a Romany gypsy tribe spells tragedy for an unlikely romance between a gypsy boy and a beautiful cockney girl. A heart-rending examination of the dangers of prejudice, with an ending and message as powerful and poignant as West Side Story.

Act 1: 11 scenes

Act 2: 12 scenes

Cast: 19 men, 8 women, chorus

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Book by David Scott and Jeremy James Taylor Lyrics by Jeremy James Taylor Music Composed and Arranged by Peter Allwood

Instrumentation: Flute/Piccolo, Clarinet, Trumpet/Coronet, Trombone, Tuba, Violin, Piano/Dulcimer, Concertina, Double Bass

et in 1807 England, this dark, compelling thriller tells the harrowing tale of the manipulative leader of a gang of thieving children who gets his comeuppance at London’s Bartholomew Fair, thanks to a mysterious Punch and Judy puppet which seems to have a mind of its own. A wonderfully original yarn,

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Book by David Scott and Jeremy James Taylor Lyrics by Jeremy James Taylor Music based on the Ballads of Old London by Richard Brett

Act 1: 4 scenes

Act 2: 5 scenes

Cast: 14 men, 6 women, chorus Instrumentation: Violin/Clarinet, Treble Recorder, Guitar, Concertina, Trumpet, Trombone, Tuba,

ir Francis Drake lives in this light-hearted, decidedly un-historic romp. Presented in the style of English pantomime, Drake tells the story of the legendary sea captain of the Golden Hind who is credited with circumnavigating the globe, defeating the Spanish Armada and – at least according to this musical charmer – romancing Queen Elizabeth I. Act 1: 6 scenes

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Act 2: 5 scenes

Cast: 7 men, 4 women, large chorus Instrumentation: Reed I (alto sax, clarinet, bass clarinet, recorders), Reed II (alto sax, clarinet, recorders), Reed III (tenor sax, clarinet, flute, piccolo, recorders), Reed IV (tenor sax, clarinet, flute, piccolo, recorders), 3 Trumpets, 2 Trombones, Piano, Bass, Drums

Book and Lyrics by Jeremy James Taylor Music by David Nield

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Book by David Scott and Jeremy James Taylor Lyrics by Jeremy James Taylor Music by Peter Allwood 154

hree friends at two English country schools learn lessons about courage, responsibility and commitment which steady and reunite them later, during World War I. Maggie and Henry help 13 year-old Jack Spratt overcome a fear of water brought on by years of abuse by his mother, little knowing their success will save two of their lives during the war. A touching, inspiring story about friendship and personal triumph.

Prologue

Act 1: 9 scenes Act 2: 13 scenes Cast: 17 men, 14 women

Epilogue

Instrumentation: Flute/Piccolo, Oboe, Clarinet, Bassoon, 2 Horns, Trumpet, Trombone, Violin, Viola,

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he 19th century children’s corps de ballets at the Paris Opera provides the setting for this moving story about a former dancer whose determination to spare her talented daughter from the heartbreak and hardships of the ballet stage is undermined by the patronage of the man who long ago deserted them both. An excellent show for young dancers, Les Petits Rats features two optional ballets: “Cinderella,” and the comic “Vegetable Ballet.”

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A Prologue and 2 acts: various scenes Cast: 16 men; 6 boys, 9 women; 7 girls, chorus (Note: roles may be doubled) Instrumentation: *Flute/Piccolo, *Oboe/English horn, *2 Clarinets, *Bassoon, 2 Horns, *Trumpet, Trombone , Tuba, Timpani, *2 Percussion, *Piano, Harp, *2 Violin, Viola, *Cello, *Bass * minimum orchestration

Reference Recording available

Book and Lyrics by Jeremy James Taylor and David Scott Music by Peter Allwood

he plight of the homeless and the impoverished is examined through the eyes of abandoned and abused children in mid-19th century London. A cobbler and a philanthropic earl struggle against the ignorance of the poor, the indifference of the rich, and the unforgiving wheels of blind justice to educate and improve the fortunes of 13-year-old Joe Cooper and the other “Ragged Children” of London. ™

Act 1: 7 scenes

Act 2: 6 scenes

Cast: 24 men, 15 women, optional chorus Instrumentation: Flute, Clarinet, 2 Horns, Cornet, Trombone, Piano/Harmonium, Percussion I, Percussion II, Violin, Bass

Reference Recording available

Book and Lyrics by Jeremy James Taylor and Frank Whately Music by David Nield

he setting is 9th century Roman Britannia, and only two things stand in the way of Sicilian mafia boss Don Baloni’s plan to commandeer the new British roads and turn the future England into a bonanza of Italian take-out restaurants and ice cream stands: a quaint pub sitting smack in the middle of the construction zone, and its feisty British patrons. It’s an hilarious, anachronistic and very English farce with shades of Monty Python.

A Prologue and 3 acts: 4 scenes Cast: 17 men; 1 boy, 7 women; 1 girl, chorus

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Instrumentation: *Reed I (alto sax, clarinet, bass clarinet, contrabass clarinet) *Reed II (alto sax, clarinet, bass clarinet), *Reed III (tenor sax, clarinet), *Reed IV (tenor sax, flute, clarinet), 3 Trumpets (*2 trumpets), 2 Trombones (*trombone), *Bass, *Drums, *Piano * minimum orchestration

Book and Lyrics by Jeremy James Taylor Music by David Nield

t’s the familiar story of Ali Baba, the Arabian peasant whose discovery of a magic cave containing a trove of stolen riches leads to wealth and relentless pursuit by a band of forty thieves, except now the setting is Prohibition-era Chicago, our hero is a street sweeper, and the thieves are a bunch of inept gangsters – a tuneful, charming, inspired adaptation of an old chestnut. Act 1: 4 scenes

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Act 2: 3 scenes

Cast: 7 principal men, 5 principal women, large chorus Instrumentation: Four Saxophones doubling: Alto 1 (clarinet, soprano and baritone saxophones (optional), Alto 2 (clarinet, preferably B–flat and A), Tenor 1 (clarinet, flute), Tenor 2 (clarinet, bass clarinet), 3 Trumpets, 2 Trombones, Piano (plays from Vocal Score), Double Bass, Drums

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his highly original take on “A Christmas Carol” follows a young Charles Dickens as he struggles to provide his publisher with a Christmas story he has promised to write. With the aid of his artistic muse, Dickens faces – and comes to terms with – his own troubled youth, learning the true meaning of Christmas and finding in his past the inspiration for his immortal holiday classic. ™

1 act: unit set Cast: 4 men (may be expanded), 2 women (may be expanded)

Book by Robert Owens Scott Lyrics by Tom Toce • Music by Douglas J. Cohen Conceived and Originally Directed by Bruce Colville

Instrumentation: Tape accompaniment only; no piano score available Logo Pack available

ew subjects continue to captivate the youthful heart, mind and spirit like the promise of space exploration. The space race is on again in this funny, educational revue chronicling one of the most thrilling periods of history. From the delights of space food to the excitement of lift-off, from John Glenn’s momentous flight to Neil Armstrong’s first step on the moon, this sparkling musical reminds young and old alike of the enormous power of the human imagination.

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1 act: unit set Cast: 4 men (may be expanded), 1 woman (may be expanded) Instrumentation: Tape accompaniment only; no Piano score available

Book and Lyrics by Arthur Perlman Music by Jeffrey Lunden

Logo Pack available

ith warmth and humor, Theatreworks’ longest-running musical sings of the American legend who smuggled more than 300 slaves – including her aged parents – to freedom on the Underground Railroad. Using traditional songs of the period, (including such classics as “Follow The Drinking Gourd” and “Good News, The Chariot’s A-Comin’”), Freedom Train recounts a powerful and inspiring tale of courage, dedication, perseverance and the strength of the human spirit. 1 act: unit set

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Cast: 3 – 8 men, 2 – 4 women

Written by Marvin Gordon with traditional music

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Instrumentation: Tape accompaniment only; no Piano score available Logo Pack available

armth, humor, and melody abound in this fresh take on the beloved story about a Swiss orphan who restores joy and meaning to the life of her bitter, lonely grandfather. A skillful and spirited reworking of the Alpine classic, this exquisite adaptation is a touching celebration of optimism, determination and friendship – with plenty of fun, excitement… and yodeling, to boot!

1 act: unit set

Book by Sarah Schlesinger and David Evans Music by David Evans Lyrics by Sarah Schlesinger 156

Cast: 2–4 men (may be expanded), 3–4 women (may be expanded) Instrumentation: Piano score; no tape accompaniment available Logo Pack available

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his quirky, but compelling adaptation of Robert Louis Stevenson’s classic, updates the gothic thriller to tell an engrossing story of substance abuse and the self-esteem issues that so often play a role in addiction. A mild-mannered, teenage chemistry whiz produces a potion which transforms him into the coolest kid in school, only to find his uncontrollable craving for the substance has taken over his life. ™

1 act: unit set Cast: 3 – 8 men, 2 – 4 women Instrumentation: Tape accompaniment only; no Piano score available Logo Pack available

Book and Lyrics by David Crane and Marta Kauffman Music by Michael Skloff

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his witty, tongue-in-cheek retelling of a perennial favorite gives us a possessive mother who happens to be a witch, a tentative young man who happens to be a prince, and a strong-willed but naïve young girl with the longest hair you’re ever likely to come across – not to mention a contemporary moral about parent-child relationships which will have young audiences rejoicing. With book and lyrics by two creators of the hit television show Friends, rest assured this fairy tale isn’t going to be business as usual! 1 act: unit set Cast: 2 – 8 men, 2 – 4 women Instrumentation: Piano score or Tape accompaniment available Logo Pack available

Book and Lyrics by David Crane and Marta Kauffman Music by Michael Skloff

hough the most modest toy in the nursery, the Velveteen Rabbit earns the love of a young boy and learns about the joys and pain of becoming “Real.” Margery Williams’ classic book springs to magical life in this enchanting musical about love, loss and self-esteem, with music by the composer of the smash Off-Broadway revue I Love You, You’re Perfect, Now Change.

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1 act: unit set Cast: 4 – 6 men, 2 – 4 women Instrumentation: Piano score or Tape accompaniment available Logo Pack available

Book and Lyrics by James Still Music by Jimmy Roberts

his honest and direct musical revue about divorce uses skits, songs, humor, and common sense to explore an issue which is growing more timely every day. Full of hope and heart, When The Cookie Crumbles… helps children to understand and cope with the pressures, fears, guilt and loneliness divorce can bring, stressing that no matter how painful the experience, there is life – and love 1 act: unit set Cast: 3 men (may be expanded), 3 women (may be expanded) Instrumentation: Tape accompaniment only; no Piano score available Logo Pack available

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et in ancient China, Aladdin uses artful Chinese theatre techniques to sing and dance the familiar tale of a poor boy, a beautiful princess and a very large genie in a very tiny lamp. Based on the classic Arabian Nights story re-popularized by the recent animated film, this Aladdin does Disney

Act 1: 9 scenes

Act 2: 7 scenes

Cast: 6 men, 4 women, chorus

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

Reference Recording available

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ewis Carroll’s unflappable young heroine takes a tumble down an enchanted rabbit hole to an offkilter world of mock turtles, dancing flora, punctual rabbits, and mad tea parties. A world where playing cards hold court, and nothing is as it seems. Whimsy and wordplay are the order of the day in this imaginative musical adaptation of a favorite of generations of children, adults and psychoanalysts! This version is just good, clean fun.

2 acts: unit set Cast: 6 men, 4 women

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

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Reference Recording available

he beloved fairy tale is retold in the style of English pantomime. A young woman triumphs over her nasty, abusive Stepmother and Stepsisters and marries her Prince Charming, thanks to a zany Fairy Godmother, a trip to the Royal Ball in an enchanted coach, and a glass slipper. The Fairy Godmother’s two comical helpers keep things moving along in this delightful version of a classic known the world over.

Act 1: 4 scenes

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy 158

Act 2: 4 scenes

Cast: 4 men, 5 women, chorus

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wo con-men “play the palace” in this breezy adaptation of Hans Christian Andersen’s well-known satirical tale. Mr. Stitch and Mr. Sew wreak havoc at Wits Ends Palace when they present the Emperor with a special gift: an exquisitely beautiful “magic” suit of clothes, invisible to all but the wisest of men. A charming exploration of the dangers of vanity, with a host of hilarious characters that includes a brassy, tap-dancing, bugle-playing Empress. Act 1: 5 scenes

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Act 2: 7 scenes

Cast: 7 men, 3 women, chorus (optional)

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

et in medieval England, this outrageous musical comedy turns a childhood favorite on its head as our boy Jack climbs the fabled beanstalk, only to find a friendly, lovable Giant and a tap-dancing Golden Goose. Along the way, he encounters his long-lost father (a victim of – what else? – amnesia) and a villainous Baron. Fresh, wacky and unexpected, Jack & The Beanstalk is sure to delight even the most jaded of audiences! ™

Act 1: 2 scenes

Act 2: 2 scenes

Cast: 4–5 men, 3–4 women, cow, chorus

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

ld Italy comes to life in this acclaimed musical adaptation of the classic tale of the wooden puppet who yearns to become a real boy. An evocative score, colorful costumes and exotic locales – including the sinister Land Of The Toys and the interior of a genuine Italian whale – made this fantastic adventure a wild success when it was shown on CBS television.

Act 1: 4 scenes

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Act 2: 4 scenes

Cast: 10–11 men, 2–3 women, chorus Reference Recording available

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

other Goose introduces the next generation to her “greatest hits” in this energetic musical revue. Classic nursery rhymes are set to a catchy contemporary score that covers the range of 20th century music. Enormously popular, the original production – staged with only a chair and six blocks – played limited engagements on Broadway and even inspired a CBS television series. ™

2 acts: unit set Cast: 4 men, 4 women (includes Mother Goose) Cast may be expanded

Logo Pack and Reference Recording available

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sleeping princess, a spellbound Prince and more fairies than you can shake a stick at are all part of this quirky adaptation of the popular tale. The evil Trollarina exacts her revenge on the royal family by sending the beautiful Princess Melinda into an everlasting sleep; but little does she realize more than one spell is about to be broken by the kiss of an enchanted Faun. 2 acts: unit set Cast: 3–4 men, 5–6 women, chorus

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

Reference Recording available

t’s Snow White with a Stetson! Set during the California Gold Rush, this rambunctious, tongue-in-cheek retelling of the timeless classic pits the hapless heroine against an ill-tempered saloon hall owner named Queenie and her assistant Sneaky Sam. In true fairy tale fashion, all ends well, thanks to handsome marshal Joe Prince and the seven prospecting Dwarf Brothers.

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2 acts: unit set Cast: 10 men, 2 women, chorus

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

Reference Recording available

xcitement runs high in this musical adaptation of a favorite childhood adventure story. Robert Louis Stevenson’s thrilling tale of pirates, treasure maps, mutiny on the high seas and pieces of eight follows Jim Hawkins, an ordinary youth drawn into a dangerous race for buried treasure against the treacherous Long John Silver. As the author himself wrote, “If this don’t fetch the kids, why, they have gone rotten since my day.”

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2 acts: unit set Cast: 12 men, 2 women, men’s chorus, women’s chorus

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy

Logo Pack and Reference Recording available

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s there a soul alive who has not been swept away by the wonder of L. Frank Baum’s masterpiece? After a tornado whisks her away to the magical land of Oz, young Kansas farmgirl Dorothy Gale teams up with a Scarecrow, a Tin Woodsman and a Cowardly Lion to avoid the clutches of the Wicked Witch Of The West and find the mighty Wizard who can send her home. Act 1: 4 scenes

Book and Lyrics by Jim Eiler Music by Jim Eiler and Jeanne Bargy 160

Act 2: 6 scenes

Cast: 6 men, 3 women, chorus

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SECTION 5

THEATRICAL RESOURCES MTI has lead the industry for the last decade in creating support products for our shows, beginning in 1989 with RehearScore®, the MIDI Rehearsal Pianist and continuing with our newest resource: The OrchEXTRA™.

Included in this section is in-depth, up-to-date information about all of the THEATRICAL RESOURCES currently available from MTI.

ORCHEXTRA™ • REHEARSCORE® • LOGO PACK • AUDREY II • STUDY GUIDE • REFERENCE RECORDING • TRANSPOSITIONS ON DEMAND • PRODUCTION SLIDES • CHOREOGRAPHIC/DIRECTOR’S GUIDE • TV SPOTS • FULL REFERENCE SCORE • VIDEO CONVERSATIONPIECE™

ORCHEXTRA™

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Give your production FULL ORCHESTRAL SOUND!

“The worst thing about our musicals was the music. Now with the OrchEXTRA™, the quality of the music matches the rest of our production's high quality.” --Morrie Enders, Artistic Director La Crosse Community Theatre

“I Love it! If MTI offered OrchEXTRA™ for every one of their shows - we would rent it every time!” --Kathy Chitwood, Artistic Director Eastlight Theatre

evolutionalizing the production of musicals throughout the United States, OrchEXTRA™ is a user-friendly music enhancement system capable of augmenting student musicians and professionals alike.

THE SHOW IS ORCHESTRATED FOR 16... BUT YOU ONLY HAVE 6? You are NOT alone! Many organizations interested in producing musicals don’t have access to enough musicians to make up an orchestra. OrchEXTRA™ was developed to assist these groups by providing the missing instruments needed to realize a full Broadway score, while at the same time encouraging all available musicians to participate. 162

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HOW IT WORKS or each musical, every part of the orchestration is recorded by a trained musician, then put together with the other parts to create a “sequence.” Each sequence can then be played back “beat by beat” using the OrchEXTRA™ system. Since each orchestra part is on a separate track, they can be turned “on” or “off” depending upon the musicians you have available. Your musicians play, as usual, while the instruments missing from your ensemble but required in the score are played by OrchEXTRA™.

What sets OrchEXTRA™ apart from other music enhancement systems is its extraordinary ability to follow a conductor’s fluctuating tempo as well as its ability to handle subtle musical expression.

TITLES AVAILABLE:

re o M or n and f l l Ca matio ity l r Info vailabi A

Annie A Christmas Carol* Fiddler On The Roof A Funny Thing Happened On The Way To The Forum Guys And Dolls Into The Woods Jekyll & Hyde Les Misérables Les Misérables School Edition Miss Saigon* The Music Man Ragtime The Musical Seussical* Willy Wonka*

TITLES AVAILABLE:

*in development

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RehearScore™®

Our most popular resource now plays on Mac or Windows without any additional MIDI equipment needed! [older Macs will still require a MIDI setup]

ehearScore® is a computerized rehearsal pianist/musical director's tool for PC/Windows and Macintosh computers. This easy-to-use rehearsal aide is available with your performance license for an additional $250.00* for the entire rental period.

* Price valid as of 3/03 — Subject to change.

“We have had nothing but success in using RehearScore®! This phenomenal service allows the Music Director to focus on the singers and with the system flexibility, allows the performers to learn faster. It saves us time and money and makes our production better!” --Douglas Berlon Community Arts Institute

WHAT IT DOES MTI's RehearScore® is a proprietary sequencing software program designed specifically with the needs of a musical rehearsal in mind. Simply point-and-click to: • Change the tempo (faster or slower) without affecting the pitch of the song (perfect for rehearsing dance numbers"under tempo") • Start the song at any given point during the number (no more "fast-forwarding" and waiting for a cassette to get to the proper place — easy dialogue and lyric cues put you in the right place instantly) • Transpose the key up or down in half-step increments an octave in each direction • Isolate or increase the volume of any particular vocal line ("pull up" the altos in the chorus number, so they can hear and learn their part faster) • Remove any particular vocal line (once the actor knows their part, they can rehearse with just the accompaniment) 164

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TITLES AVAILABLE:

Each RehearScore is a complete rendition of the Piano-Conductor Score on CD-Rom, sequenced by a top Broadway pianist. Each disk includes the RehearScore® player that works on either the Piano-Conductor Score Windows or Mac operating system. Each show disk includes the entire piano/conductor score with the piano part, any orchestral cues, and each vocal line on its own track. Every musical number, from “Overture” to “Exit Music,” including scene changes, dance music, and underscoring, is recorded in its entirety. ®

SK I D MO ON E D FREE ILABLE AVA QUEST! RE

COMPLETE INSTRUCTIONS INCLUDED ON

THIS CD

MUSIC THEATRE INTERNATIONAL 421 West 54th Street New York, NY 10019 212-541-4684 www.MTIShows.com

Ain't Misbehavin' Annie Annie Warbucks The Apple Tree Baby The Baker's Wife big, The Musical The Boy Friend Bugsy Malone Candide (1973 version) Children Of Eden Closer Than Ever Company Damn Yankees Fame—The Musical The Fantasticks Fiddler On The Roof Forever Plaid Forever Plaid School Version: The Sounds Of Plaid A Funny Thing Happened On The Way To The Forum Godspell The Goodbye Girl Guys And Dolls Honk! How To Succeed In Business Without Really Trying! Into The Woods Jekyll & Hyde Les Misérables Les Misérables School Edition A Little Night Music Little Shop of Horrors The Most Happy Fella The Music Man Once On This Island The Pajama Game Pippin The Pirates Of Penzance Ragtime The Musical Saturday Night Schoolhouse Rock Live! Seussical Seven Brides For Seven Brothers 1776 She Loves Me Singin' In The Rain Sweeney Todd Thoroughly Modern Millie The Adventures of Tom Sawyer Tommy West Side Story Willy Wonka Working The World Goes ’Round Denotes new addition

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LOGO PACK

Make Your Advertising “POP” and Your Playbills Look Like a “MILLION BUCKS” WHY GAMBLE WITH SUCCESS? or a licensing fee of $50*, MTI can authorize the use of any of our available logos. We also supply you with a Logo Pack that includes camera-ready slicks and digital files—so, no matter what your design needs are, the logo is ready-to-use, right out of the pack. All of the logos in the MTI collection have been designed by professional artists—in many cases, they are the original designs used for the Broadway or off-Broadway productions. GET CARRIED AWAY!

Your licensing fee allows you to use the logo in many ways: on posters, programs, handbills, flyers, commercials... even your website to advertise and attract more people to come to your show. * Price valid as of 3/03 — Subject to change. 166

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NEW LOGO GALLERY

TITLES AVAILABLE: Annie Annie Warbucks The Baker’s Wife big, The Musical The Boy Friend Bugsy Malone Celebration Children of Eden The Christmas Schooner The Civil War Copacabana Cyrano Dear Edwina Divorce Me Darling! Doctor Dolittle Fame — The Musical A Family Affair The Fantasticks Fiddler On The Roof Five Guys Named Moe Forever Plaid Forever Plaid School Edition: The Sounds of Plaid The Full Monty A Funny Thing Happened On The Way To The Forum The Game of Love Godspell Grand Hotel: The Musical Guys and Dolls Honk! How To Succeed In Business Without Really Trying! In The Beginning Into The Woods Jekyll & Hyde The Last Five Years Les Misérables Les Misérables School Edition Little Shop of Horrors Lucky In The Rain A Man Of No Importance Mirette Moby Dick! The Musical The Music Man Once On This Island The Pajama Game Parade Passion Phantom Of The Country Opera Pippin The Producers Ragtime The Musical Roadside Saturday Night Secrets Every Smart Traveller Should Know She Loves Me Singin' In The Rain Songs For A New World The Thirteen Clocks The Adventures of Tom Sawyer Tomfoolery Tommy Triumph Of Love Unsinkable Molly Brown Violet West Side Story Western Star Willy Wonka Wish You Were Here The World Goes ’Round Denotes new addition

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AUDREY II

LOOK OUT... HERE COMES AUDREY II! Renting or building the diabolical plants required for Little Shop Of Horrors has long been a factor in a theatre's consideration about producing the show. The cost of renting plants can easily eat up profits faster than Audrey II goes through a sirloin (or a dentist!). The quality of the plants available varies widely. Many of them are unwieldy or so heavy that it takes a body-builder to operate them. And building them yourself can be a lesson in frustration. I’M IGHT E TW FUL! H LIG AUTI E &B

GET WHAT’S COMIN’ TO YOU!

IT AFFO ’ S RDAB LE! 168

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Have no fear! Audrey II is available for rental through MTI. All four plants — from seedling to psychopath — are included and priced based on your theatre's size and length of your run. MTI representatives are ready to work with you to make sure that the cost of Audrey II won't get you down. 50TH ANNIVERSARY CATALOGUE

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RE ES SO OU UR RC CE ES S

GROW FOR ME! MTI's Audrey II has been fabricated by one of the most respected "character" builders in the industry. Based on Martin P. Robinson's original designs but utilizing new lightweight materials developed since the original run of Little Shop Of Horrors, the new Audrey II plants weigh almost half as much as its original predecessor. This means that it looks great, but it's easier to operate and less expensive to ship. “The four “Audrey II” puppets were beautiful! Our contact representatives couldn’t have been more helpful and supportive — it was like hiring a creative team to help with this aspect of the production! The plants were easy to operate and the instructions given with the plants were very thorough. There was even a “plant hotline” in case there were any questions or problems.” – Carolyn B. Newman, Producer/Director ShowKids Invitational Theatre, Inc.

AUDREY II

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STUDY GUIDE

Perfect research tools for actors and designers, or cross-curricular enrichment guides for students and teachers TI Study Guides were created for educational use but are equally valuable as informative production aids. Each Study Guide includes a plot synopsis, discusses historical perspective, and provides topics for discussion, research projects and essays. Th

MUSIC THEATRE INTERNATIONAL STUDY GUID E

For each show, timely and important issues are addressed in an engaging and entertaining style. Discussions, essays, seminars and other educational projects on these issues can provide an entire semester of education in literature, history, politics and the fine arts â&#x20AC;&#x201D; pre- and post-performance. E

for

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TITLES AVAILABLE:

The Fiddler On The Roof guide asks students to explore the importance of tradition in society and how it affects their own lives. The Assassins table of contents illustrates how the guide focuses on social and political issues, including political violence in America, the media and gun control, as well as musical and theatrical issues. MTI Study Guides are available for $5.95* each, or $3.95* for 20 or more copies of the same or mixed titles. Now available: The first ENHANCED STUDY GUIDE from MTI for Les Misérables School Edition. MTI’s ENHANCED STUDY GUIDES include a Reference CD, and are available for $20.00* each, or $15.00* for 10 or more copies.

Annie Annie Warbucks Assassins big, The Musical Candide (1973 version) Children Of Eden The Civil War Company Damn Yankees Fame—The Musical The Fantasticks Fiddler On The Roof Five Guys Named Moe Follies A Funny Thing Happened On The Way To The Forum Godspell Guys And Dolls Honk! How To Succeed In Business Without Really Trying! Into The Woods Jekyll & Hyde Les Misérables Let 'Em Eat Cake Little Shop Of Horrors Miss Saigon The Music Man Of Thee I Sing Once On This Island The Pajama Game Saturday Night 1776 She Loves Me Strike Up The Band Sunday In The Park With George Sweeney Todd Tommy West Side Story Willy Wonka Working !

NEW

ENHANCED STUDY GUIDES Les Misérables School Edition Denotes new addition

* Price valid as of 3/03 — Subject to change.

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REFERENCE RECORDING

MUSIC

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Music can make you laugh or break your heart... whatever it does, it touches you he one thing that sets musical theatre apart from all other kinds of theatre is… music. And there’s no better way to get a feeling about a show than to listen to a recording. Unfortunately, not every show gets recorded, and even if a show has been recorded, many times it goes “out of print” or is difficult to find in a local record store. MTI has built a library of Reference Recordings equal to none for the shows in our catalogue. These are available for perusal for a shipping and handling fee of $20*.

* Price valid as of 3/03— Subject to change.

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T H E AT R I C A L R E S O U R C E S T H E AT R I C A L R E S O U R C E S

TITLES AVAILABLE:

Provided on CD, they are the perfect tool for getting the feeling of a score you are unfamiliar with, or reminding you of the sound of a show you’ve come to love in the past. Some of the recordings are studio– released original cast albums and some are “demos” made by the authors. Please note: MTI has identified these recordings as excellent aural references for the score; however, please be aware that in some cases, the recording may not be an exact match of the final score as it exists in the acting edition of the show.

The Adventures of Mr. Toad Ain’t Misbehavin’ Aladdin Alice In Wonderland All In Love The All Night Strut! Amen Corner Anastasia Affaire Annabelle Broom, The Unhappy Witch Annie Annie Warbucks Anyone Can Whistle The Apple Tree archy & mehitabel Assassins Baby The Baker’s Wife Bendigo Boswell Berlin To Broadway With Kurt Weill big, The Musical Blame It On The Movies! Blues In The Night The Boy Friend Brandon Finds His Star Bring In The Morning Bugsy Malone By The Beautiful Sea Candide (1973 or 1999) Canterbury Tales Celebration Children Of Eden A Christmas Carol The Christmas Schooner The Civil War Closer Than Ever Colette Collage Company Copacabana Cyrano Damn Yankees Dear Edwina Divorce Me, Darling! Doctor Dolittle Downriver Drake Ernest In Love Eubie! Fame—The Musical A Family Affair The Fantasticks Fiddler On The Roof Fiorello! Five Guys Named Moe The Fix Follies Forever Plaid 4 Guys Named José... And Una Mujer Named Maria The Full Monty A Funny Thing Happened On The Way To The Forum The Game Of Love Godspell The Goodbye Girl Grand Hotel: The Musical Guys And Dolls Happy Hunting Here’s Love Honk! How To Succeed In Business Without Really Trying! I Do! I Do! In The Beginning Into The Woods Jane Eyre Jekyll & Hyde john & jen Kean Kismet The Last Five Years Les Misérables Les Misérables School Edition Les Petits Rats Let ‘Em Eat Cake A Little Night Music Little Shop Of Horrors Lucky In The Rain

Lucky Stiff Magdelena A Man Of No Importance Marry Me A Little Merrily We Roll Along Mirette Miss Saigon Moby Dick! The Musical The Most Happy Fella The Music Man My Favorite Year New Girl In Town Of Thee I Sing Oh, Coward! Oil City Symphony Once On This Island Pacific Overtures The Pajama Game Parade Passion Phantom Of The Country Opera Philemon Pinocchio Pippin The Pirates Of Penzance A Pocketful Of Rhymes Portable Pioneer and Prairie Show The Producers Putting It Together Quilt, A Musical Celebration The Ragged Child Ragtime The Musical Redhead Riverwind Roadside The Robber Bridegroom Rock Nativity The Rothschilds Salvation Saturday Night Scrooge, The Stingiest Man In Town Secrets Every Smart Traveler Should Know Seussical Seven Brides For Seven Brothers 1776 She Loves Me Side By Side By Sondheim Singin’ In The Rain Six Women With Brain Death Sleeping Beauty Smike Snow White Goes West Songs For A New World Starting Here, Starting Now Strike Up The Band Sunday In The Park With George Sweeney Todd Tapestry Teddy And Alice Tenderloin The Thirteen Clocks 13 Daughters Thoroughly Modern Millie Timbuktu! Tin Pan Ali Tintypes The Adventures Of Tom Sawyer Tomfoolery Tommy Treasure Island Triumph Of Love The Unsinkable Molly Brown Violet West Side Story Western Star What About Luv? Where’s Charley? Wildcat On Safari The Wild Party Willy Wonka Wish You Were Here Working The World Goes ’Round A Year With Frog And Toad You’re Gonna Love Tomorrow

Denotes new addition

REFERENCE RECORDING

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TRANSPOSITIONS ON DEMAND MUSIC

T H E AT R E

I N T E R N AT I O N A L

YOUR KEY... For A Successful Production! t happens all the time: you hire the right actor for the role, but the right actor has the wrong vocal range for the character's songs. He's perfect in every other way, but no matter what you do, he just can't hit that high note (or low note). So you decide to transpose the songs to a more suitable key. That's a lot of work. And it can be expensive. In fact, transposing the Piano-Conductor Score and orchestra parts for just one song could take days or even weeks by hand.

Well, now you can get almost any song from certain shows in virtually any key, printed in state-of-the-art, easy-to-read computer typeset.

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ere's how it works. You'll receive a transposition order form when you receive your rehearsal materials. Or you can obtain one from MTI’s website or by calling our offices. Establish a performance key and stick with it for a while. Once you're sure of the key, fill out the order form and send it to MTI along with your full payment. We'll send you the transposed piano/conductor part and the required orchestra parts in about two weeks. We'll ship your transpositions unbound on individual sheets so you can insert them into your existing parts.

TITLES AVAILABLE: N G, R S CORE O S H EAC N DU CT O R O F O- CO R TS A P L N A A or ES TR F EE! * HE PI H C T T R E G O F OONE LOW T E S PLETEOTH FO R M O C TH E R GE T B O

Annie Warbucks Brandon Finds His Star Children Of Eden The Christmas Schooner The Civil War Dear Edwina Five Guys Named Moe The Full Monty Godspell In The Beginning Into The Woods Jekyll & Hyde Les Misérables School Edition Lucky In The Rain Merrily We Roll Along Mirette

Moby Dick! The Musical The Music Man Putting It Together Quilt, A Musical Celebration Roadside Saturday Night Schoolhouse Rock Live! Secrets Every Smart Traveler Should Know The Adventures Of Tom Sawyer Triumph Of Love Violet West Side Story Western Star Willy Wonka Denotes new addition

By the way, don't forget to order the RehearScore® rehearsal aide. With its unique transposition feature, this computerized rehearsal pianist can help you determine the best key and makes rehearsing in the new key (until the transpositions arrive) much easier. * Price valid as of 3\03 — Subject to change.

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PRODUCTION SLIDES

MUSIC

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I N T E R N AT I O N A L

Illuminating the SCENE

reated by some of Broadway's top scenic and projection designers, these slides help create just the right setting for your production, whether you're producing a fully staged version or presenting a concert performance.

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TITLES AVAILABLE: Annie Guys and Dolls Into The Woods The Music Man Secrets Every Smart Traveler Should Know Tommy

roduction Slides can be used in a variety of ways:

• As an additional scenic element,adding a "multi-media" feel to a production • As a replacement for cumbersome scenery — especially effective for "concert" or fund-raising performances • As a guide (almost like “painting-bynumbers”) for backdrop or scrim designs • In a combination of all of the above

The uses for Production Slides are only limited by the imagination of the production team.

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CHOREOGRAPHIC/DIRECTORâ&#x20AC;&#x2122;S GUIDE

Staging By The Book ome shows have images so strongly identified with them that it is virtually impossible to perform the show without them. Directors and Choreographers like Jerome Robbins and Susan Stroman have made contributions to shows like West Side Story and The World Goes â&#x20AC;&#x2122;Round that are integral to the fabric of those works. While the book, lyrics and music exist on paper, musical staging and directorial conception are ethereal and not as easy to pin down. Fortunately, several authors, directors and choreographers have supplied Music Theatre International with their notes and thoughts, not to mention precise dance notation information, as an aide for your production.

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uthors’ Tom Jones and Harvey Schmidt have edited detailed Director’s scripts for many of their shows. Alan Johnson, the premiere Jerome Robbins’ stager for West Side Story, has created a detailed dance-by-dance choreographic guide for the show. Jerome Robbins himself put all of the denizens of Anatevka’s moves into a comprehensive guide for Fiddler On The Roof. And Susan Stroman’s breath-taking staging for The World Goes ‘Round is notated down to each beat.

TITLES AVAILABLE:

Provided as part of the basic rental package for some shows or as an optional additional rental item for others, MTI’s Choreographic/Director’s Guides can be an invaluable resource for YOUR production.

Celebration The Fantasticks Fiddler On The Roof I Do! I Do! Les Misérables School Edition Philemon The Robber Bridegroom 1776 West Side Story The World Goes ’Round Denotes new addition

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FULL REFERENCE SCORE

MUSIC

T H E AT R E

I N T E R N AT I O N A L

YOUR Music Director wants the “BIG PICTURE” — Now they can have it!

id you ever wish you could see the entire orchestration on one page? The Full Reference Score includes every note of the entire orchestration and includes all markings and cues found in the vocal score. It's perfect for conducting the show, orchestra rehearsals and score study.

“Giants In The Sky” from the Into The Woods Full Reference Score 182

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A CLASSIC TRADITION Available for most operas and classical compositions, Full Reference Scores for musical theatre works are not as commonplace, usually replaced in the pit by either a Piano-Conductor Score or a Piano-Vocal Score. With the advent of computer music engraving, Full Reference Scores are now being generated as a natural part of the orchestrating process. MTI is pleased to offer, as an optional additional rental, Full Reference Scores for several of our shows, and we look forward to adding more in the future.

TITLES AVAILABLE: archy & mehitabel Assassins Bugsy Malone Candide (1973 version) Children Of Eden Into The Woods Jane Eyre Jekyll & Hyde Just So Les Misérables Les Misérables School Edition Let ‘Em Eat Cake Merrily We Roll Along Miss Saigon Of Thee I Sing Ragtime The Musical She Loves Me Strike Up The Band The Thirteen Clocks Timbuktu! Violet West Side Story

“Giants In The Sky” from the Into The Woods Piano-Conductor Score

Denotes new addition

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Video Conversationpiece™™ MUSIC

T H E AT R E

I N T E R N AT I O N A L

Have a private meeting with the show’s creators! ouldn’t it be great if, during rehearsals, you had the opportunity to have the creators of a musical talk to you directly about their show? Impossible? Not with MTI’s Video Conversationpieces™. These 30-60 minute videos offer sessions with Broadway’s most successful directors, lyricists, composers and writers, inviting you to explore the impetus and ideas behind such shows as Assassins, She Loves Me, Into The Woods and The World Goes ’Round.

Assassins — Stephen Sondheim (music and lyrics) and John Weidman (book) discuss their compelling creation along with original set designer Loren Sherman. This hour-long video invites you to study the elements that make this surreal drama flow. STEPHEN SONDHEIM Composer and Lyricist

Baby — Composer David Shire and director/lyricist Richard Maltby, Jr. take the viewer through an in-depth, detailed view of the characters and plot of Baby, as they talk and sing through the score and discuss the plot and musical devices that make Baby a show that glows with an inner joy.

Forever Plaid — Director/choreographer/writer Stuart Ross explains how you, too, can assemble the most successful musical revue in years. With members of the original cast and musical director Kevin Cole, Ross lays out the do’s and don’ts of making this hilarious and touching show fly.

The G er s hw i ns O n B r oadw ay

— Entertainer and Gershwin expert Michael Feinstein provides, with photos, film clips and musical examples, an “insiders profile” of the Brothers Gershwin, as they redefined musical theatre through shows like Strike Up The Band, Of Thee I Sing, and Let ‘Em Eat Cake (included with every license of these shows). STUART ROSS

AUTHOR/DIRECTOR

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RESOURCES RESOURCES

Into The Woods — James Lapine (book and original director) and Stephen Sondheim (music and lyrics) discuss the staging and musical elements that are critical to the show’s performance. Lapine tells you how to create your own scary woods; Sondheim performs a few numbers while giving hints on how to get across the main themes of the show; and both advise on fairy tale motifs and musical interpretation.

JAMES LAPINE

LIBRETTIST & DIRECTOR

She Loves Me — Jerry Bock (music), Sheldon Harnick

JOE MASTEROFF

SHELDON HARNICK

JERRY BOCK

(lyrics), Joe Masteroff (book) and David Loud (musical director, Broadway revival) provide fascinating details about the way the material was created and provide rich historical context for both its story and score.

Starting Here, Starting Now & Closer Than Ever —

The journey of life begins with the jaunty Starting Here, Starting Now and continues with the older and wiser Closer Than Ever. Through discussion and example, David Shire and Richard Maltby, Jr. show us the heart, wit and wisdom to be found in these two revues of their talented collaborations.

The World Goes ’Round — The creative team of Scott Ellis, Susan Stroman and David Thompson, share their insights, staging tips and conceptual approach for this wonderful revue. Special appearances by John Kander and Fred Ebb highlight this entertaining and informative video which celebrates the show that is a tribute to the genius of their collaboration.

When you license one of these shows, a single copy of the Video Conversationpiece™ is provided as part of your standard set of rental materials free of charge. Each Video Conversationpiece™ may also be rented separate from a show license for three weeks for a fee of $25*, plus a security deposit refunded to you upon the safe return of the video. MTI also offers a free multi-title sampler for your perusal, available on request.

TITLES AVAILABLE: Assassins Baby Closer Than Ever/Starting Here, Starting Now Forever Plaid The Gershwins On Broadway Into The Woods She Loves Me The World Goes ’Round

Video Video ™ Conversationpiece Conversationpiece * Price valid as of 3/03 — Subject to change.

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H E AT R I C A L M U ST IC T H E AT R E

R ESOURCES IN T E R N AT I O N A L

INDICES

Different ways to look at the 50TH Anniversary Catalogue, including by Author, Cast Size, Special Interests, Holidays and more!

VISUAL INDEX • MUSICALS BY AUTHOR • MUSICALS BY CAST SIZE • MUSICALS BY CATEGORY

MUSIC

T H E AT R E

I N T E R N AT I O N A L

VISUAL INDEX

6-2

Page 153

Page 112

Page 158

Page 97

Page 113

Page 97

Page 132

Page 2

Page 144

Page 56

Page 57

Page 3

Page 98

Page 58

Page 59

Page 60

Page 154

Page 114

Page 4

Page 115

Page 116

Page 5

Page 133

Page 98

Page 134

Page 144

Page 98

Page 6

Page 7

Page 99

Page 154

Page 99

Page 156

Page 8

Page 9

Page 61

Page 158

Page 62

Page 117

Page 99

Page 10

Page 63

Page 100

Page 11

Page 135

Page 144

Page 100

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Page 12

Page 136

Page 154

Page 100

Page 159

Page 101

Page 118

Page 13

Page 101

Page 14

Page 15

Page 145

Page 64

Page 65

Page 66

Page 67

Page 156

Page 16

Page 17

Page 68

Page 156

Page 18

Page 19

Page 101

Page 20

Page 145

Page 69

Page 21

Page 22

Page 145

Page 102

Page 156

Page 102

Page 70

Page 146

Page 23

Page 24

Page 71

Page 25

Page 146

Page 159

Page 154

Page 26

Page 27

Page 157

Page 72

Page 73

Page 74

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T H E AT R E

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VISUAL INDEX

6-4

Page 75

Page 102

Page 76

Page 28

Page 29

Page 155

Page 103

Page 30

Page 31

Page 103

Page 77

Page 103

Page 32

Page 78

Page 79

Page 80

Page 33

Page 81

Page 82

Page 34

Page 146

Page 83

Page 104

Page 119

Page 104

Page 120

Page 84

Page 35

Page 147

Page 85

Page 36

Page 37

Page 86

Page 104

Page 137

Page 105

Page 159

Page 38

Page 39

Page 159

Page 105

Page 40

Page 41

Page 105

Page 155

Page 42

Page 157

Page 106

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Page 106

Page 87

Page 88

Page 153

Page 155

Page 107

Page 89

Page 138

Page 147

Page 139

Page 107

Page 121

Page 43

Page 44

Page 45

Page 46

Page 122

Page 47

Page 108

Page 160

Page 153

Page 160

Page 123

Page 124

Page 108

Page 90

Page 48

Page 125

Page 108

Page 91

Page 140

Page 109

Page 49

Page 109

Page 155

Page 109

Page 50

Page 126

Page 92

Page 160

Page 93

Page 51

Page 157

Page 94

Page 52

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I N T E R N AT I O N A L

VISUAL INDEX

Page 95

Page 153

Page 160

6-6

Page 96

Page 54

Page 53

Page 127

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INDICES MUSICALS

AUTHOR

Authors of underlying material (except for composers) on which the musicals are based are not included. Abbott, George Damn Yankees. . . . . . . . . . . . 11 Fiorello! . . . . . . . . . . . . . . . . . 64 New Girl In Town. . . . . . . . . 104 The Pajama Game . . . . . . . . . 36 Tenderloin . . . . . . . . . . . . . . . 91 Where’s Charley?. . . . . . . . . . 95 Abbott, Michael The No-Frills Revue . . . . . . . 119 Abel, Ron Blame It On The Movies! . . . 115 Adamson, Harold Lucky In The Rain . . . . . . . . 103 Adler, Richard Damn Yankees. . . . . . . . . . . . 11 The Pajama Game . . . . . . . . . 36 Ahrens, Lynn A Christmas Carol . . . . . . . . . . 9 Lucky Stiff. . . . . . . . . . . . . . . . 77 A Man Of No Importance . . . 32 My Favorite Year . . . . . . . . . . 83 Once On This Island . . . . . . . 35 Once On This Island Junior . 147 Ragtime The Musical . . . . . . . 42 Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Schoolhouse Rock Live Too! . 139 Seussical. . . . . . . . . . . . . . . . . 43 Alden, Jerome Teddy & Alice . . . . . . . . . . . . 108 Andersen, Maxwell Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Ashman, Howard Little Shop Of Horrors . . . . . . 31 Barnes, Billy Blame It On The Movies! . . . 115 Benge, Cheryl Six Women With Brain Death Or Expiring Minds Want To Know. 108 Berger, Sidney Brandon Finds His Star . . . . 133 Bernstein, Douglas The No-Frills Revue . . . . . . . 119 Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Bernstein, Leonard Candide (1973) . . . . . . . . . . . . 6 Candide (1999) . . . . . . . . . . . . 7 Side By Side By Sondheim . . 122 West Side Story . . . . . . . . . . . 52 Bianchi, James Red Hot And Cole . . . . . . . . 106

50TH ANNIVERSARY CATALOGUE

Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Birkenhead, Susan Triumph Of Love . . . . . . . . . . 93 What About Luv? . . . . . . . . . 110 Working . . . . . . . . . . . . . . . . . 54 Bissell, Richard The Pajama Game . . . . . . . . . 36 Black, Arnold The Phantom Tollbooth . . . . 137 Blake, Eubie Eubie! . . . . . . . . . . . . . . . . . . 118 Blitzstein, Marc Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Blumenthal, Francesca Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Bock, Jerry The Apple Tree . . . . . . . . . . . . 3 Brandon Finds His Star . . . . 133 Fiddler On The Roof. . . . . . . . 15 Fiddler On The Roof Junior . 145 Fiorello! . . . . . . . . . . . . . . . . . 64 The Rothschilds . . . . . . . . . . 107 She Loves Me . . . . . . . . . . . . . 46 Tenderloin . . . . . . . . . . . . . . . 91 Bolton, Guy Anastasia Affaire . . . . . . . . . . 97 Boublil, Alain Les Misérables . . . . . . . . . . . . 28 Les Misérables School Edition 29 Miss Saigon . . . . . . . . . . . . . . 33 Boyd, Gregory The Civil War . . . . . . . . . . . . . 62 Boyd, Julianne Eubie! . . . . . . . . . . . . . . . . . . 118 Braden, John Downriver . . . . . . . . . . . . . . 136 Brandt, Christy Six Women With Brain Death Or Expiring Minds Want To Know. 108 Brecht, Bertolt Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Brennan, Frederick Hazlitt Magdalena . . . . . . . . . . . . . 103 Bricusse, Leslie Doctor Dolittle . . . . . . . . . . . . 12 Jekyll & Hyde. . . . . . . . . . . . . 27 Willy Wonka . . . . . . . . . . . . . 53 Willy Wonka Junior . . . . . . . 147 Brooks, Mel archy & mehitabel . . . . . . . . . 98 The Producers . . . . . . . . . . . . 40 Brown, Jason Robert The Last Five Years . . . . . . . . 76 Parade . . . . . . . . . . . . . . . . . . 37 Songs For A New World. . . . 123 Brown, Michael WWW.MTIShows.com

Brown, Nacio Herb Singin’ In The Rain . . . . . . . Bucci, Mark The Thirteen Clocks . . . . . . . Burgess, Anthony Cyrano . . . . . . . . . . . . . . . . . Burrows, Abe Guys And Dolls . . . . . . . . . . Guys And Dolls Junior . . . . . How To Succeed In Business Without Really Trying! . . . . . . . . . .

. 47 140 100 . 22 145

. 23

Caird, John Candide (1999) . . . . . . . . . . . . 7 Children Of Eden . . . . . . . . . . . 8 Jane Eyre . . . . . . . . . . . . . . . . 26 Carmichael, Hoagy Lucky In The Rain . . . . . . . . 103 Carnelia, Craig The No-Frills Revue . . . . . . . 119 Working . . . . . . . . . . . . . . . . . 54 Chambers, David Portable Pioneer And Prairie Show . . . . . . . . . . . 105 Charnas, Fran The All Night Strut! . . . . . . . 113 Charnin, Martin Annie . . . . . . . . . . . . . . . . . . . . 2 Annie Junior . . . . . . . . . . . . 144 Annie Warbucks. . . . . . . . . . . 56 The No-Frills Revue . . . . . . . 119 Chodorov, Jerome Anastasia Affaire . . . . . . . . . 97 Coffman, David 4 Guys Named José... And Una Mujer Named Maria. . 68 Coghill, Nevill Canterbury Tales . . . . . . . . . . 99 Comden, Betty Singin’ In The Rain . . . . . . . . 47 Cook, Roderick Oh, Coward!. . . . . . . . . . . . . 120 Coons, Cheryl Phantom Of The Country Opera 104 Coopersmith, Jerome The Apple Tree . . . . . . . . . . . . 3 Coppedge, Rosanna E. Six Women With Brain Death Or Expiring Minds Want To Know. 108 Courtney, C. C. Salvation . . . . . . . . . . . . . . . 107 Coward, Noël Oh, Coward!. . . . . . . . . . . . . 120 Craver, Mike Oil City Symphony . . . . . . . . . 84

6-7

MUSIC MUSICALS

I N T E R N AT I O N A L

AUTHOR

Crawley, Brian Violet . . . . . . . . . . . . . . . . . . . 94 Creydon, Barry Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Croswell, Anne Ernest In Love . . . . . . . . . . . Crouse, Russell Happy Hunting . . . . . . . . . . Cuden, Steve Jekyll & Hyde. . . . . . . . . . . . Curley, Dennis Schoolhouse Rock Live Too! . Curran, Homer Magdalena . . . . . . . . . . . . .

101 102 . 27 139

Ebb, Fred The World Goes ‘Round . Edwards, Sherman 1776 . . . . . . . . . . . . . . . . Ellis, Scott The World Goes ‘Round . Entwistle, John Tommy . . . . . . . . . . . . . .

. . . 127 . . . . 45 . . . 127 . . . . 92

Epps, Sheldon Blues In The Night . . . . . . . . 116 Epstein, Julius J. Saturday Night . . . . . . . . . . . 89 Epstein, Philip G. Saturday Night . . . . . . . . . . . 89

103

Darion, Joe archy & mehitabel . . . . . . . . . 98 Davis, Luther Grand Hotel: The Musical . . . 21 Kismet . . . . . . . . . . . . . . . . . . 75 Timbuktu!. . . . . . . . . . . . . . . 109 Davison, Lesley Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 de Paul, Gene Seven Brides For Seven Brothers . . . . . . . . . . . . . . . . . 44 De Silva, David Fame—The Musical . . . . . . . . 13

Dempsey, John The Fix . . . . . . . . . . . . . . . . . . 66 DeTurk, Scott Western Star . . . . . . . . . . . . 110 Deval, Jacques Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Diggs, Elizabeth Mirette . . . . . . . . . . . . . . . . . . 80 Donaldson, Walter Lucky In The Rain . . . . . . . . 103 Dorough, Bob Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Schoolhouse Rock Live Too! . 139 Dougherty, Joseph My Favorite Year . . . . . . . . . . 83 Drewe, Anthony Honk! . . . . . . . . . . . . . . . . . . . 70 Honk! Junior . . . . . . . . . . . . 146 Just So . . . . . . . . . . . . . . . . . . 73 Dubey, Matt Happy Hunting . . . . . . . . . . 102 Dubin, Al Lucky In The Rain . . . . . . . . 103 Duff, Michael Phantom Of The Country Opera 104

6-8

T H E AT R E

Fagan, Valerie Six Women With Brain Death Or Expiring Minds Want To Know. 108 Faso, Nina Working . . . . . . . . . . . . . . . . . 54 Fay, Sally The No-Frills Revue . . . . . . . 119 Feingold, Michael Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Feldman, Jack Copacabana. . . . . . . . . . . . . . 63 Ferguson, Scott Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Schoolhouse Rock Live Too! . 139 Fernandez, Jose Fame—The Musical . . . . . . . . 13 Fieger, Addy Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Fields, Dorothy By The Beautiful Sea . . . . . . . 98 Lucky In The Rain . . . . . . . . 103 Redhead. . . . . . . . . . . . . . . . 106 Fields, Herbert By The Beautiful Sea . . . . . . . 98 Redhead. . . . . . . . . . . . . . . . 106 Finkle, David The No-Frills Revue . . . . . . . 119 Fisher, Robert Tomfoolery . . . . . . . . . . . . . . 126 Flaherty, Stephen Lucky Stiff. . . . . . . . . . . . . . . . 77 A Man Of No Importance . . . 32 My Favorite Year . . . . . . . . . . 83 Once On This Island . . . . . . . 35 Once On This Island Junior . 147 Ragtime The Musical . . . . . . . 42 Schoolhouse Rock Live Too! . 139 Seussical. . . . . . . . . . . . . . . . . 43 Ford, Nancy The Game Of Love. . . . . . . . 101

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Forrest, George Anastasia Affaire . . . . . . . . . . 97 Grand Hotel: The Musical . . . 21 Kean. . . . . . . . . . . . . . . . . . . . 74 Kismet . . . . . . . . . . . . . . . . . . 75 Magdalena . . . . . . . . . . . . . 103 Timbuktu!. . . . . . . . . . . . . . . 109 Francoeur, Bill Western Star . . . . . . . . . . . . 110 Freed, Arthur Singin’ In The Rain . . . . . . . . 47 Freeman, Stan Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Freese, Ross Six Women With Brain Death Or Expiring Minds Want To Know. 108 Friedman, Gary William Bring In The Morning . . . . . . 98 Frishberg, Dave Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Schoolhouse Rock Live Too! . 139 Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Furth, George Company . . . . . . . . . . . . . . . . 10 Merrily We Roll Along . . . . . . 79 Galligan, David Blame It On The Movies! . . . 115 Gelbart, Larry A Funny Thing Happened On The Way To The Forum . . . . . . . 19 Geller, Bruce All In Love . . . . . . . . . . . . . . . 97 Gershwin, George Let ’Em Eat Cake . . . . . . . . . 103 Of Thee I Sing . . . . . . . . . . . 104 Strike Up The Band . . . . . . . 108 Gershwin, Ira Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Let ’Em Eat Cake . . . . . . . . . 103 Of Thee I Sing . . . . . . . . . . . 104 Strike Up The Band . . . . . . . 108 Gilbert, W.H.S. The Pirates Of Penzance . . . . 39 Gilbert, Willie How To Succeed In Business Without Really Trying! . . . . . . . . . . . 23 Goehring, George Lady Audley’s Secret . . . . . . 102 Goffin, Gerry Tapestry . . . . . . . . . . . . . . . . 125 Goldman, James A Family Affair . . . . . . . . . . . 101

50TH ANNIVERSARY CATALOGUE

INDICES

Follies. . . . . . . . . . . . . . . . . . . 67 Goldman, William A Family Affair . . . . . . . . . . . 101 Goldrich, Zina Dear Edwina . . . . . . . . . . . . 135 Dear Edwina Junior . . . . . . . 144 Gordon, Paul Jane Eyre . . . . . . . . . . . . . . . . 26 Graham, Ronny The No-Frills Revue . . . . . . . 119 Grand, Murray Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Grant, Micki Working . . . . . . . . . . . . . . . . . 54 Green, Adolph Singin’ In The Rain . . . . . . . . 47 Green, Paul Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Greenwald, Tom john & jen . . . . . . . . . . . . . . . 72 Grennan, Sean Phantom Of The Country Opera 104 Hackady, Hal Teddy & Alice . . . . . . . . . . . . 108 Hague, Albert Redhead. . . . . . . . . . . . . . . . 106 Hahn, David W. In The Beginning . . . . . . . . . . 71 Hall, Kyle Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Hamlisch, Marvin The Goodbye Girl . . . . . . . . . 69 The No-Frills Revue . . . . . . . 119 Harder, Eleanor Annabelle Broom, The Unhappy Witch . . . . . 132 Harder, Ray Annabelle Broom, The Unhappy Witch . . . . . 132 Hardwick, Mark Oil City Symphony . . . . . . . . . 84 Harnick, Sheldon The Apple Tree . . . . . . . . . . . . 3 Fiddler On The Roof. . . . . . . . 15 Fiddler On The Roof Junior . 145 Fiorello! . . . . . . . . . . . . . . . . . 64 The Phantom Tollbooth . . . . 137 The Rothschilds . . . . . . . . . . 107 She Loves Me . . . . . . . . . . . . . 46 Tenderloin . . . . . . . . . . . . . . . 91 Hawkins, John Canterbury Tales . . . . . . . . . . 99 Heisler, Marcy Dear Edwina . . . . . . . . . . . . 135 Dear Edwina Junior . . . . . . . 144

50TH ANNIVERSARY CATALOGUE

Hellman, Lillian Candide (1999) . . . . . . . . . . . . 7 Hernandez, Oscar 4 Guys Named José... And Una Mujer Named Maria. . 68 Herrod, Bro The Drunkard . . . . . . . . . . . 100 Hill, Richard Canterbury Tales . . . . . . . . . . 99 Hirschhorn, Joel Seven Brides For Seven Brothers . . . . . . . . . . . . . . . . . 44 Hirson, Roger O. Pippin. . . . . . . . . . . . . . . . . . . 38 Horwitz, Murray Ain’t Misbehavin’. . . . . . . . . 112

Houston, Mark Six Women With Brain Death Or Expiring Minds Want To Know. 108 Hubbard, Merle Quilt, A Musical Celebration 105 Hughes, Langston Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Idle, Eric Seussical. . . . . . . . . . . . . . . . . 43 Jennings, John Riverwind . . . . . . . . . . . . . . . 106 Johnson, Sandee Six Women With Brain Death Or Expiring Minds Want To Know. 108 Jones, Tom Celebration . . . . . . . . . . . . . . 99 Colette Collage. . . . . . . . . . . . 99 The Fantasticks . . . . . . . . . . . 14 The Game Of Love. . . . . . . . 101 I Do! I Do! . . . . . . . . . . . . . . . 24 Mirette . . . . . . . . . . . . . . . . . . 80 Philemon . . . . . . . . . . . . . . . 105 Roadside . . . . . . . . . . . . . . . . 87 Jordan, Louis Five Guys Named Moe . . . . . 65 Juster, Norton The Phantom Tollbooth . . . . 137 Kander, John A Family Affair . . . . . . . . The World Goes ‘Round . Kapp, Richard Teddy & Alice . . . . . . . . . Karr, Harold Happy Hunting . . . . . . . Kasha, Al Seven Brides For Seven Brothers . . . . . . . . . . . . .

. . . 101 . . . 127 . . . 108 . . . 102

. . . . 44

WWW.MTIShows.com

Kasha, Lawrence Seven Brides For Seven Brothers . . . . . . . . . . . . . . . . . 44 Kaufman, George S. Let ’Em Eat Cake . . . . . . . . . 103 Of Thee I Sing . . . . . . . . . . . 104 Strike Up The Band . . . . . . . 108 Kaye, Hereward Moby Dick! The Musical . . . . . 81 Keating, George Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Kelly, Glen Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 King, Carole Tapestry . . . . . . . . . . . . . . . . 125 Kleinsinger, George archy & mehitabel . . . . . . . . . 98 Kober, Arthur Wish You Were Here . . . . . . 110 Koch, Martin Moby Dick! The Musical . . . . . 81 Koehler, Ted Lucky In The Rain . . . Kretzmer, Herbert Les Misérables . . . . . . Les Misérables School Kuntz, John Lady Audley’s Secret . Kyte, Mary Tintypes . . . . . . . . . . .

. . . . . 103 . . . . . . 28 Edition 29 . . . . . 102 . . . . . 109

Lacey, Franklin The Music Man . . . . . . . . . . . . 34 The Music Man Junior . . . . . 146 Landay, David Seven Brides For Seven Brothers . . . . . . . . . . . . . . . . . 44 Lapine, James Into The Woods . . . . . . . . . . . 25 Into The Woods Junior. . . . . 146 Passion. . . . . . . . . . . . . . . . . . 86 Sunday In The Park With George . . . . . . . . . . . . . . . . . . 90 Lasser, Brian The No-Frills Revue . . . . . . . 119 Latouche, John Candide (1973) . . . . . . . . . . . . 6 Candide (1999) . . . . . . . . . . . . 7 Laurents, Arthur Anyone Can Whistle. . . . . . . . 57 West Side Story . . . . . . . . . . . 52 Lazarus, Paul You’re Gonna Love Tomorrow. . 128 Lederer, Charles Kismet . . . . . . . . . . . . . . . . . . 75

6-9

MUSIC MUSICALS

I N T E R N AT I O N A L

AUTHOR

Timbuktu!. . . . . . . . . . . . . . . 109 Leeds, Michael The No-Frills Revue . . . . . . . 119 Lehrer, Tom Tomfoolery . . . . . . . . . . . . . . 126 Leonhart, Jay Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Lerner, Alan Jay Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Lerner, Gene Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Levy, Jacques Fame—The Musical . . . . . . . . 13 Lewis, Michael J. Cyrano . . . . . . . . . . . . . . . . . 100 Lindsay, Howard Happy Hunting . . . . . . . . . . 102 Link, Peter Salvation . . . . . . . . . . . . . . . 107 Lippa, Andrew john & jen . . . . . . . . . . . . . . . 72 The Wild Party . . . . . . . . . . . . 96 Loesser, Frank Guys And Dolls . . . . . . . . . . . 22 Guys And Dolls Junior . . . . . 145 How To Succeed In Business Without Really Trying! . . . . . . . . . . . 23 The Most Happy Fella . . . . . . 82 Where’s Charley?. . . . . . . . . . 95 Logan, Joshua Wish You Were Here . . . . . . 110 Longden, Robert Moby Dick! The Musical . . . . . 81 Lucas, Craig Marry Me A Little . . . . . . . . . . 78 Ludwig, Ken The Adventures Of Tom Sawyer 50 Mackintosh, Cameron Moby Dick! The Musical . . . . . 81 Tomfoolery . . . . . . . . . . . . . . 126 Magoon, Junior, Eaton 13 Daughters . . . . . . . . . . . . 109 Magruder, James Triumph Of Love . . . . . . . . . . 93 Maltby, Junior, Richard Ain’t Misbehavin’. . . . . . . . . 112 Baby . . . . . . . . . . . . . . . . . . . . 59 big, The Musical. . . . . . . . . . . . 4 Closer Than Ever . . . . . . . . . 117 Miss Saigon . . . . . . . . . . . . . . 33 Starting Here, Starting Now 124 Mandry, Kathy Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. .

6-10

T H E AT R E

147 Manilow, Barry Copacabana. . . . . . . . . . . . . . 63 The Drunkard . . . . . . . . . . . 100 Margoshes, Steve Fame—The Musical . . . . . . . . 13 Markell, Denis The No-Frills Revue . . . . . . . 119 Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Marren, Howard What About Luv? . . . . . . . . . 110 Marvin, Mel Portable Pioneer And Prairie Show . . . . . . . . . . . 105 Tintypes . . . . . . . . . . . . . . . . 109 Masteroff, Joe She Loves Me . . . . . . . . . . . . . 46 McAnuff, Des Tommy . . . . . . . . . . . . . . . . . . 92 McAuley, Muriel Red Hot And Cole . . . . . . . . 106 McDonald, Tim Willy Wonka. . . . . . . . . . . . . . 53 Willy Wonka Junior . . . . . . . 147 McHugh, Jimmy Lucky In The Rain . . . . . . . . 103 McNally, Terrence The Full Monty . . . . . . . . . . . . 18 A Man Of No Importance . . . 32 Ragtime The Musical . . . . . . . 42 Meehan, Thomas Annie . . . . . . . . . . . . . . . . . . . . 2 Annie Junior . . . . . . . . . . . . 144 Annie Warbucks. . . . . . . . . . . 56 The No-Frills Revue . . . . . . . 119 The Producers . . . . . . . . . . . . 40 Menken, Alan A Christmas Carol . . . . . . . . . . 9 Little Shop Of Horrors . . . . . . 31 Mercer, Johnny Seven Brides For Seven Brothers . . . . . . . . . . . . . . . . . 44 Merrill, Bob New Girl In Town. . . . . . . . . 104 Monk, Debra Oil City Symphony . . . . . . . . . 84 Moon, Keith Tommy . . . . . . . . . . . . . . . . . . 92 Morgan, Jim Quilt, A Musical Celebration 105 Morris, Richard Thoroughly Modern Millie . . . 49 The Unsinkable Molly Brown. 51 Murfitt, Mary Oil City Symphony . . . . . . . . . 84 Murphy, Jack The Civil War . . . . . . . . . . . . . 62 Nash, Ogden

212-541-4684

Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 National Youth Music Theatre musicals by Peter Allwood, Richard Brett, David Nield, David Scott, Jeremy James Taylor, Frank Whatley Bendigo Boswell . . . . . . . . . 154 Captain Stirrick . . . . . . . . . . 154 Drake . . . . . . . . . . . . . . . . . . 154 Jack Spratt V.C. . . . . . . . . . . 154 Les Petits Rats . . . . . . . . . . . 155 The Ragged Child . . . . . . . . 155 The Roman Invasion Of Ramsbottom . . . . . . . . . . . 155 Tin Pan Ali . . . . . . . . . . . . . . 155 Newall, George Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Schoolhouse Rock Live Too! . 139 Newley, Anthony Willy Wonka. . . . . . . . . . . . . . 53 Willy Wonka Junior . . . . . . . 147 Ochocki, Russell Moby Dick! The Musical . . . . . 81 Ockrent, Mike A Christmas Carol . . . . . . . . . . 9 Offenbach, Jacques The Game Of Love. . . . . . . . 101 Parker, Alan Bugsy Malone . . . . . . . . . . . 134 Bugsy Malone Junior . . . . . . 144 Parker, Dorothy Candide (1999) . . . . . . . . . . . . 7 Pearle, Gary Tintypes . . . . . . . . . . . . . . . . 109 Pearson, Sybille Baby . . . . . . . . . . . . . . . . . . . . 59 Peters, Clarke Five Guys Named Moe . . . . . 65 Pockriss, Lee Ernest In Love . . . . . . . . . . . 101 Porter, Cole Red Hot And Cole . . . . . . . . 106 Prida, Dolores 4 Guys Named José... And Una Mujer Named Maria. . 68 Prince, Harold Parade . . . . . . . . . . . . . . . . . . 37 Prince Street Players musicals by Jim Eiler, Jeanne Bargy Aladdin . . . . . . . . . . . . . . . . 158 Alice In Wonderland . . . . . . 158 Cinderella . . . . . . . . . . . . . . 158 The Emperor’s New Clothes. 159 Jack And The Beanstalk . . . 159 Pinocchio . . . . . . . . . . . . . . . 159 A Pocketful Of Rhymes . . . . 159 Sleeping Beauty. . . . . . . . . . 160 Snow White Goes West . . . . 160

50TH ANNIVERSARY CATALOGUE

INDICES

Treasure Island . . . . . . . . . . 160 The Wizard Of Oz . . . . . . . . 160 Rachmaninoff, Sergei Anastasia Affaire . . . . . . . . . . 97 Raitt, James Forever Plaid . . . . . . . . . . . . . 16 Forever Plaid: Plaid Tidings . 16 Forever Plaid School Version: The Sounds Of Plaid . . . . . 17 Ray, Robin Tomfoolery . . . . . . . . . . . . . . 126 Reale, Robert A Year With Frog And Toad. 141 Reale, Willie A Year With Frog And Toad. 141 Reeger, John The Christmas Schooner . . . . 61 Rene, Norman Marry Me A Little . . . . . . . . . . 78 Robbins, Jerome West Side Story . . . . . . . . . . . 52 Rodgers, Mary Working . . . . . . . . . . . . . . . . . 54 Side By Side By Sondheim . . 122 Rodgers, Richard Side By Side By Sondheim . . 122 Rome, Harold Wish You Were Here . . . . . . 110 Rose, Philip Amen Corner . . . . . . . . . . . . . 97 Ross, Jerry Damn Yankees. . . . . . . . . . . . 11 The Pajama Game . . . . . . . . . 36 Ross, Stuart Forever Plaid . . . . . . . . . . . . . 16 Forever Plaid: Plaid Tidings . 16 Forever Plaid School Version: The Sounds Of Plaid . . . . . 17

Rowe, Dana P. The Fix . . . . . . . . . . . . . . . . . . 66 Ryskind, Morrie Let ’Em Eat Cake . . . . . . . . . 103 Of Thee I Sing . . . . . . . . . . . 104 Sadoff, Fred The Thirteen Clocks . . . . . . . 140 Santa Maria, Nick Secrets Every Smart Traveler Should Know. . . . . . . . . . . 121 Santen, Kathy Phantom Of The Country Opera 104 Savitt, Jan Lucky In The Rain . . . . . . . . 103 Scanlan, Dick Thoroughly Modern Millie . . . 49 Schak, John Quilt, A Musical Celebration 105 Schapiro, Herb

50TH ANNIVERSARY CATALOGUE

Bring In The Morning . . . . . . 98 Schlitz, Don The Adventures Of Tom Sawyer 50 Schmidt, Harvey Celebration . . . . . . . . . . . . . . 99 Colette Collage. . . . . . . . . . . . 99 The Fantasticks . . . . . . . . . . . 14 I Do! I Do! . . . . . . . . . . . . . . . 24 Mirette . . . . . . . . . . . . . . . . . . 80 Philemon . . . . . . . . . . . . . . . 105 Roadside . . . . . . . . . . . . . . . . 87 Schönberg, Claude-Michel Les Misérables . . . . . . . . . . . . 28 Les Misérables School Edition 29 Miss Saigon . . . . . . . . . . . . . . 33 Schwartz, Arthur By The Beautiful Sea . . . . . . . 98 Schwartz, Stephen The Baker’s Wife . . . . . . . . . . 60 Children Of Eden . . . . . . . . . . . 8 Godspell. . . . . . . . . . . . . . . . . 20 Godspell Junior . . . . . . . . . . 145 Pippin. . . . . . . . . . . . . . . . . . . 38 Working . . . . . . . . . . . . . . . . . 54 Seale, Douglas Lady Audley’s Secret . . . . . . 102 Shannon, Julie The Christmas Schooner . . . . 61 Shaw, David Redhead. . . . . . . . . . . . . . . . 106 Sheldon, Sidney Redhead. . . . . . . . . . . . . . . . 106 Sherman, Gary Amen Corner . . . . . . . . . . . . . 97 Sherrin, Ned Side By Side By Sondheim . . 122 Shevelove, Burt A Funny Thing Happened On The Way To The Forum . . . . . . . 19 Shire, David Baby . . . . . . . . . . . . . . . . . . . . 59 big, The Musical. . . . . . . . . . . . 4 Closer Than Ever . . . . . . . . . 117 Starting Here, Starting Now 124 Simon, Neil The Goodbye Girl . . . . . . . . . 69 Sondheim, Stephen Anyone Can Whistle. . . . . . . . 57 Assassins . . . . . . . . . . . . . . . . 58 Candide (1973) . . . . . . . . . . . . 6 Candide (1999) . . . . . . . . . . . . 7 Company . . . . . . . . . . . . . . . . 10 Follies. . . . . . . . . . . . . . . . . . . 67 A Funny Thing Happened On The Way To The Forum . . . . . . . 19 Into The Woods . . . . . . . . . . . 25 Into The Woods Junior. . . . . 146 A Little Night Music . . . . . . . . 30 WWW.MTIShows.com

Marry Me A Little . . . . . . . . . . 78 Merrily We Roll Along . . . . . . 79 Pacific Overtures . . . . . . . . . . 85 Passion. . . . . . . . . . . . . . . . . . 86 Putting It Together. . . . . . . . . 41 Saturday Night . . . . . . . . . . . 89 Side By Side By Sondheim . . 122 Sunday In The Park With George . . . . . . . . . . . . . . . . . . 90 Sweeney Todd . . . . . . . . . . . . 48 West Side Story . . . . . . . . . . . 52 You’re Gonna Love Tomorrow. . 128 Sousa, John Philip Teddy & Alice . . . . . . . . . . . . 108 Spielman, Fred Scrooge, The Stingiest Man In Town. . . . . . . . . . . . . . . 107 Starkie, Martin Canterbury Tales . . . . . . . . . . 99 Stein, Joseph The Baker’s Wife . . . . . . . . . . 60 Fiddler On The Roof. . . . . . . . 15 Fiddler On The Roof Junior . 145 Stiles, George Honk! . . . . . . . . . . . . . . . . . . . 70 Honk! Junior . . . . . . . . . . . . 146 Just So . . . . . . . . . . . . . . . . . . 73 Stock, Jeffrey Triumph Of Love . . . . . . . . . . 93 Stockler, Michael Quilt, A Musical Celebration 105 Stone, Peter Kean. . . . . . . . . . . . . . . . . . . . 74 1776 . . . . . . . . . . . . . . . . . . . . 45 Strawderman, Randy Red Hot And Cole . . . . . . . . 106 Stroman, Susan The World Goes ‘Round . . . . 127 Strouse, Charles Annie . . . . . . . . . . . . . . . . . . . . 2 Annie Junior . . . . . . . . . . . . 144 Annie Warbucks. . . . . . . . . . . 56 Styne, Jule Side By Side By Sondheim . . 122 Sullivan, Arthur The Pirates Of Penzance . . . . 39 Sussman, Bruce Copacabana. . . . . . . . . . . . . . 63 Sweet, Jeffrey What About Luv? . . . . . . . . . 110 Swerling, Jo Guys And Dolls . . . . . . . . . . . 22 Guys And Dolls Junior . . . . . 145 Tabori, George Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Tambornino, Jeff Downriver . . . . . . . . . . . . . . 136

6-11

MUSIC MUSICALS

Udell, Peter Amen Corner . . . . . . . . . Uhry, Alfred Parade . . . . . . . . . . . . . . The Robber Bridegroom Urbont, Jacques All In Love . . . . . . . . . . .

I N T E R N AT I O N A L

AUTHOR . . . . 97 . . . . 37 . . . . 88 . . . . 97

Villa-Lobos, Heitor Magdalena . . . . . . . . . . . . . 103 Walker, Chris Tomfoolery . . . . . . . . . . . . . . 126 Waller, Thomas ”Fats” Ain’t Misbehavin’. . . . . . . . . 112 Waldman, Robert The Robber Bridegroom . . . . 88 Wallop, Douglass Damn Yankees. . . . . . . . . . . . 11 Wasserman, Dale Western Star . . . . . . . . . . . . 110 Watson, Johnny Lucky In The Rain . . . . . . . . 103 Weeden, Billy The No-Frills Revue . . . . . . . 119 Weeks, Sarah The No-Frills Revue . . . . . . . 119 Weidman, Jerome Fiorello! . . . . . . . . . . . . . . . . . 64 Tenderloin . . . . . . . . . . . . . . . 91 Weidman, John Assassins . . . . . . . . . . . . . . . . 58 big, The Musical. . . . . . . . . . . . 4 Pacific Overtures . . . . . . . . . . 85 Weill, Kurt Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Josef Weinberger Collection musicals by Alison Allen-Gray, Clive Barnett, Neil Bran, Piers Chater-Robinson, Tony Hatch, Roger Holman, Simon May, Jackie Trent, David Wood The Adventures Of Mr. Toad 153 Rock Nativity . . . . . . . . . . . . 153 Smike . . . . . . . . . . . . . . . . . . 153 Wildcat On Safari . . . . . . . . 153 Weinstein, Arnold Berlin To Broadway With Kurt Weill . . . . . . . . . . . . . 114 Weinstock, Jack How To Succeed In Business Without Really Trying! . . . . . . . . . . . 23 Wheeler, Hugh Candide (1973) . . . . . . . . . . . . 6 Candide (1999) . . . . . . . . . . . . 7 A Little Night Music . . . . . . . . 30 Pacific Overtures . . . . . . . . . . 85 Sweeney Todd . . . . . . . . . . . . 48 Wilbur, Richard Candide (1973) . . . . . . . . . . . . 6

6-12

T H E AT R E

Candide (1999) . . . . . . . . . . . . 7 Wildhorn, Frank The Civil War . . . . . . . . . . . . . 62 Jekyll & Hyde. . . . . . . . . . . . . 27 Williams, Paul Bugsy Malone . . . . . . . . . . . 134 Bugsy Malone Junior . . . . . . 144 Willson, Meredith Here’s Love . . . . . . . . . . . . . 102 The Music Man . . . . . . . . . . . . 34 The Music Man Junior . . . . . 146 The Unsinkable Molly Brown. 51 Wilson, Peggy Pharr Six Women With Brain Death Or Expiring Minds Want To Know. 108 Wilson, Sandy The Boy Friend . . . . . . . . . . . . . 5 Divorce Me, Darling! . . . . . . 100 Wright, Robert Anastasia Affaire . . . . . . . . . . 97 Grand Hotel: The Musical . . . 21 Kean. . . . . . . . . . . . . . . . . . . . 74 Kismet . . . . . . . . . . . . . . . . . . 75 Magdalena . . . . . . . . . . . . . 103 Timbuktu!. . . . . . . . . . . . . . . 109 Yazbek, David The Full Monty . . . . . . . . . . . . 18 Yellen, Sherman Lucky In The Rain . . . . . . . . 103 The Rothschilds . . . . . . . . . . 107 Yeston, Maury In The Beginning . . . . . . . . . . 71 Grand Hotel: The Musical . . . 21 Yohe, Tom Schoolhouse Rock Live! . . . . 138 Schoolhouse Rock Live! Junior. . 147 Schoolhouse Rock Live Too! . 139 Zeno, Dougee Red Hot And Cole . . . . . . . . 106 Zippel, David The Goodbye Girl . . . . . . . . . 69

212-541-4684

50TH ANNIVERSARY CATALOGUE

INDICES MUSICALS

CAST SIZE

SMALL (2-10)

The Adventures Of Mr. Toad* . . 153 Ain’t Misbehavin’. . . . . . . . . 112 Aladdin*. . . . . . . . . . . . . . . . 158 Alice In Wonderland* . . . . . 158 All In Love . . . . . . . . . . . . . . . 97 The All Night Strut! . . . . . . . 113 Anastasia Affaire* . . . . . . . . . 97 Annabelle Broom, The Unhappy Witch* . . . . 132 Berlin To Broadway With Kurt Weill* . . . . . . . . . . . . 114 Blame It On The Movies! . . . 115 Blues In The Night . . . . . . . . 116 Brandon Finds His Star . . . . 133 Celebration*. . . . . . . . . . . . . . 99 A Charles Dickens Christmas * . 156 Cinderella*. . . . . . . . . . . . . . 158 Closer Than Ever . . . . . . . . . 117 Colette Collage. . . . . . . . . . . . 99 Dear Edwina . . . . . . . . . . . . 135 The Drunkard*. . . . . . . . . . . 100 The Emperor’s New Clothes* 159 The Fantasticks*. . . . . . . . . . . 14 Fiorello!* . . . . . . . . . . . . . . . . 64 Five Guys Named Moe . . . . . 65 Footprints On The Moon* . . 156 Forever Plaid . . . . . . . . . . . . . 16 Forever Plaid: Plaid Tidings . 16 4 Guys Named José...And Una Mujer Named Maria. . 68 Freedom Train* . . . . . . . . . . 156 The Game Of Love. . . . . . . . 101 Godspell* . . . . . . . . . . . . . . . . 20 Heidi*. . . . . . . . . . . . . . . . . . 156 I Do! I Do! . . . . . . . . . . . . . . . 24 Jack And The Beanstalk* . . 159 john & jen . . . . . . . . . . . . . . . 72 Lady Audley’s Secret . . . . . . 102 The Last Five Years . . . . . . . . 76 Little Shop Of Horrors* . . . . . 31 Lucky Stiff. . . . . . . . . . . . . . . . 77 Marry Me A Little . . . . . . . . . . 78 Mirette* . . . . . . . . . . . . . . . . . 80 The No-Frills Revue . . . . . . . 119 Oh, Coward!. . . . . . . . . . . . . 120 Oil City Symphony . . . . . . . . . 84 The Phantom Tollbooth* . . . 137 Philemon . . . . . . . . . . . . . . . 105 Pinocchio* . . . . . . . . . . . . . . 159 A Pocketful Of Rhymes*. . . . 159 Portable Pioneer And Prairie Show . . . . . . . . . . . 105 The Producers* . . . . . . . . . . . 40 Putting It Together. . . . . . . . . 41 Rapunzel . . . . . . . . . . . . . . . 157 Riverwind . . . . . . . . . . . . . . . 106 Roadside . . . . . . . . . . . . . . . . 87 Salvation . . . . . . . . . . . . . . . 107 Schoolhouse Rock Live!* . . . 138 Schoolhouse Rock Live Too!* 139 Secrets Every Smart Traveler Should Know* . . . . . . . . . . 121 Side By Side By Sondheim . . 122 Six Women With Brain Death Or Expiring Minds Want To Know. 108 Sleeping Beauty* . . . . . . . . . 160 Snow White Goes West* . . . 160

50TH ANNIVERSARY CATALOGUE

*may be expanded. †may be cut.

Songs For A New World. . . . 123 Starting Here, Starting Now 124 Tapestry . . . . . . . . . . . . . . . . 125 Tintypes . . . . . . . . . . . . . . . . 109 Tomfoolery* . . . . . . . . . . . . . 126 Treasure Island* . . . . . . . . . 160 Triumph Of Love . . . . . . . . . . 93 The Velveteen Rabbit . . . . . 157 What About Luv? . . . . . . . . . 110 When The Cookie Crumbles, You Can Still Pick Up The Pieces* . . 157 Wildcat On Safari . . . . . . . . 153 The Wizard Of Oz* . . . . . . . 160 The World Goes ‘Round . . . . 127 A Year With Frog And Toad. 141 You’re Gonna Love Tomorrow. . 128

MEDIUM (11-20)

Amen Corner* . . . . . . . . . . . . 97 The Apple Tree† . . . . . . . . . . . . 3 archy & mehitabel* . . . . . . . . 98 Assassins* . . . . . . . . . . . . . . . 58 Baby† . . . . . . . . . . . . . . . . . . . 59 The Baker’s Wife* . . . . . . . . . 60 Bendigo Boswell*. . . . . . . . . 154 The Boy Friend* . . . . . . . . . . . . 5 Bring In The Morning*. . . . . . 98 Bugsy Malone*. . . . . . . . . . . 134 Candide (1973)*. . . . . . . . . . . . 6 Candide (1999)*. . . . . . . . . . . . 7 Canterbury Tales* . . . . . . . . . 99 Captain Stirrick* . . . . . . . . . 154 The Christmas Schooner . . . . 61 Company . . . . . . . . . . . . . . . . 10 Divorce Me, Darling!* . . . . . 100 Doctor Dolittle* . . . . . . . . . . . 12 Downriver*. . . . . . . . . . . . . . 136 Drake* . . . . . . . . . . . . . . . . . 154 Ernest In Love . . . . . . . . . . . 101 Eubie!† . . . . . . . . . . . . . . . . . 118 A Family Affair* . . . . . . . . . . 101 The Fix . . . . . . . . . . . . . . . . . . 66 Forever Plaid School Version: The Sounds Of Plaid* . . . . . 17 The Full Monty* . . . . . . . . . . . 18 A Funny Thing Happened On The Way To The Forum* . . . . . . 19 The Goodbye Girl*. . . . . . . . . 69 Happy Hunting . . . . . . . . . . 102 Honk!* . . . . . . . . . . . . . . . . . . 70 In The Beginning . . . . . . . . . . 71 Into The Woods* . . . . . . . . . . 25 Jekyll And Hyde (Youth Version) 157 Just So* . . . . . . . . . . . . . . . . . 73 Les Misérables School Edition* . 29 A Little Night Music . . . . . . . . 30 Lucky In The Rain*. . . . . . . . 103 A Man Of No Importance . . . 32 Merrily We Roll Along* . . . . . 79 Moby Dick! The Musical . . . . . 81 My Favorite Year* . . . . . . . . . 83 New Girl In Town* . . . . . . . . 104 Once On This Island . . . . . . . 35 Pacific Overtures* . . . . . . . . . 85 Passion* . . . . . . . . . . . . . . . . . 86 Phantom Of The Country Opera WWW.MTIShows.com

* 104 Pippin* . . . . . . . . . . . . . . . . . . 38 Quilt, A Musical Celebration*† . . 105 Red Hot And Cole*. . . . . . . . 106 The Robber Bridegroom . . . . 88 Rock Nativity* . . . . . . . . . . . 153 Saturday Night*. . . . . . . . . . . 89 Seussical* . . . . . . . . . . . . . . . . 43 She Loves Me . . . . . . . . . . . . . 46 Smike . . . . . . . . . . . . . . . . . . 153 Sunday In The Park With George . . . . . . . . . . . . . . . . . . 90 Teddy & Alice* . . . . . . . . . . . 108 The Thirteen Clocks . . . . . . . 140 Violet* . . . . . . . . . . . . . . . . . . 94 Western Star*. . . . . . . . . . . . 110 Where’s Charley?* . . . . . . . . . 95 The Wild Party . . . . . . . . . . . . 96 Willy Wonka* . . . . . . . . . . . . . 53 Wish You Were Here* . . . . . 110 Working* . . . . . . . . . . . . . . . . 54

LARGE (OVER 20)

Annie† . . . . . . . . . . . . . . . . . . . . 2 Annie Warbucks† . . . . . . . . . . 56 Anyone Can Whistle† . . . . . . . 57 big, The Musical† . . . . . . . . . . . 4 By The Beautiful Sea† . . . . . . . 98 Children Of Eden† . . . . . . . . . . 8 A Christmas Carol . . . . . . . . . . 9 The Civil War . . . . . . . . . . . . . 62 Copacabana. . . . . . . . . . . . . . 63 Cyrano . . . . . . . . . . . . . . . . . 100 Damn Yankees† . . . . . . . . . . . 11 Fame—The Musical . . . . . . . . 13 Fiddler On The Roof. . . . . . . . 15 Follies. . . . . . . . . . . . . . . . . . . 67 Grand Hotel: The Musical . . . 21 Guys And Dolls† . . . . . . . . . . . 22 Here’s Love . . . . . . . . . . . . . 102 How To Succeed In Business Without Really Trying! . . . . . . . . . . . 23 Jack Spratt V.C.† . . . . . . . . . . 154 Jane Eyre . . . . . . . . . . . . . . . . 26 Jekyll & Hyde† . . . . . . . . . . . . 27 Kean. . . . . . . . . . . . . . . . . . . . 74 Kismet† . . . . . . . . . . . . . . . . . . 75 Les Misérables . . . . . . . . . . . . 28 Les Petits Rats† . . . . . . . . . . . 155 Let ’Em Eat Cake . . . . . . . . . 103 Magdalena . . . . . . . . . . . . . 103 Miss Saigon . . . . . . . . . . . . . . 33 The Most Happy Fella . . . . . . 82 The Music Man† . . . . . . . . . . . 34 Of Thee I Sing . . . . . . . . . . . 104 The Pajama Game† . . . . . . . . 36 Parade . . . . . . . . . . . . . . . . . . 37 The Pirates Of Penzance . . . . 39 The Ragged Child† . . . . . . . . 155 Ragtime The Musical†. . . . . . . 42 Redhead† . . . . . . . . . . . . . . . 106 The Roman Invasion Of Ramsbottom† . . . . . . . . . . 155 The Rothschilds† . . . . . . . . . . 107 Scrooge, The Stingiest Man In Town. . . . . . . . . . . . . . . 107 Seven Brides For Seven Brothers . . . . . . . . . . . . . . . . . 44 1776 . . . . . . . . . . . . . . . . . . . . 45

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MUSIC MUSICALS

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