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Magic Tree House: A Ghost Tale For Mr. Dicken's Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Jenny Laird and Will Osborne Lyrics by Randy Courts and Will Osborne Music by Randy Courts Based on Magic Tree House #44: A Ghost Tale for Christmas Time by Mary Pope Osborne Overview / Synopsis What would you do if a tree house in your neighborhood could transport you anywhere you wanted to go? The magic tree house whisks Jack and Annie back in time to the foggy streets of Victorian London, where they must help Charles Dickens. But the famous author has everything he could possibly want. How are they supposed to help him? It's not until Mr. Dickens rescues them from being thrown in jail that they discover his secret past and the sad memories that haunt him. Jack and Annie will need all their magic-and help from three ghosts - to save the great writer. Magic Tree House: A Ghost Tale for Mr. Dickens is an adaptation of book #44 of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series. The books are number one New York Times bestsellers - more than 100 million copies have been sold in North America alone. The series has been translated into many languages and is available in more than 100 countries around the world. Audio Sampler - HL00149057 $10.00 ShowKit - HL00149047 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00149048 - Director's Guide $100.00 00149049 - Piano/Vocal Score $40.00 00149050 - Actor's Script $10.00 00149051 - Actor's Script 10-pak $75.00 00149052 - Perf/Accomp CD pack $75.00 00149053 - Student Rehearsal CD $10.00 00149054 - Student Rehearsal CD 20-pak $100.00 00149055 - Choreography DVD $50.00 00149056 - Media Disc $10.00 00149057 - Audio Sampler $10.00 Hear A Sample Prologue Christmas In the Air [Carolers, Merlin, Morgan] How Far Can You See? [Carolers, Merlin, Morgan] SCENE 1 Two Gentlemen of Means [Annie, Jack, Carriage Driver, People at Inn, Theatre Folk, High Society, Olive, Emma] Trading Places (Parts 1 & 2) [Colin, Harry, Annie, Jack] SCENE 2 Faces In the Mirror [Mr. Dickens, Pickwick, Oliver Twist, Nickleby, Dickens' Characters] SCENE 3 Stop Thief! [Jack, Annie, Olive, Emma, Crowd] SCENE 4 Right This Way [Mrs. Pinch, Mr. Pinch, Waitstaff, Jack, Annie, Fans] Bah! Humbug! (Part 1 & 2) [Mr. Pinch, Restaurant Workers, Mr. Dickens, Jack, Annie, Tiny Tim] SCENE 5 Who Will Hear My Song? [Orphans, Jack, Annie, Mr. Dickens] Come Three Ghosts [Jack, Annie, Ghost Chorus] The White Ghost [White Ghost, Mr. Dickens, Ghost Chorus, Young Dickens, Mrs. Dickens] The Green Ghost [Annie, Green Ghost, Ghost Chorus, Miss Twigby, Class] Enter the Black Ghost [Annie, Ghost Chorus, Mr. Dickens] Who Will Hear My Song? (Reprise) [Ghost Chorus, Mourners] SCENE 6 You Must Give Your Gifts (Part 1 & 2) [Mr. Dickens, Jack, Annie, Dressmaker, Baker, Mrs. Tibbs, Harry, Colin, Policeman, Emma, Olive, Miss Twigby, Henrietta, Newsies, Mr. Pinch, Chorus] Bows [Entire Cast] Jack Jack is a young boy. He is bookish, careful and thoughtful, but he is NOT a nerd! Jack has tremendous curiosity about the world around him and loves to take notes about his observations. Jack tends to be very cautious in new situations, and his adventures in the Magic Tree House help him develop his confidence. He has a good (and protective) relationship with his younger sister, Annie, though her more impetuous nature often gets on his nerves. This is a big role and requires a strong singer and actor. When auditioning, you might mix and match your Jack and Annie hopefuls to see which ones have the best brother-sister chemistry. Vocal Range: A3 - D5 Annie Annie is Jack's younger sister and, in many ways, his opposite in terms of personality. She is a risk taker who often follows her heart instead of her head. She sometimes teases Jack about his careful attitude toward life and often encourages him to be more adventurous. She loves animals of any kind and has a very loving heart. Like Jack, this role requires strong singing and acting. When auditioning, you might mix and match your Jack and Annie hopefuls to see which ones have the best brother-sister chemistry. Vocal Range: A3 - D5 Mr. Dickens Mr. Dickens is a man in his prime and has a flair for the dramatic, both in writing and speech. His public persona is that of a charismatic celebrity, but privately he is deeply depressed by the suffering he sees all around him in Victorian England, particularly the suffering of children. This leading part requires your most mature male performer with strong singing and acting skills (and a changed voice). Vocal Range: Bb3 - E5 Merlin Merlin is a wise old magician who joyfully introduces the play to the audience and sends Jack and Annie on their mission to help Mr. Dickens. Look for a lively actor with a commanding speaking voice. Merlin has the option of singing (or not) on the choral parts of the opening and closing songs, so this would be a good role for a strong actor who may not be an experienced singer. With clever costuming, this role could be played by a girl if necessary Morgan Le Fay Morgan Le Fay is an ageless librarian enchantress. Merlin and Morgan are dear old friends and are playful with one another. Like Merlin, Morgan also has the option of singing (or not) on the choral parts of the opening and closing songs, so this would be another good role for a strong actor who many not be an experienced singer. Vocal Range: Speaking Role The Carolers The Carolers, including Caroler #1, Caroler #2, Caroler #3 and Young Caroler, can be as small as a handful of performers or as large as your stage and theater can accommodate. If your cast is large enough that you are not double-casting your carolers as other named characters, consider assigning Dickensian-sounding names to your Carolers, or even have them invent backstories so that they feel more connected to their roles. Vocal Range: Caroler 1: C4 - C5 Caroler 2: F4 - C5 Young Caroler: F4 - C5 Carriage Driver Carriage Driver is a cheerful, friendly character who is especially impressed by his well-to-do patrons. Costuming would allow for this role to be played by a girl if necessary. Look for an actor who is outgoing, has a strong voice and can move well, as driving a pretend horse-drawn carriage will require some miming and choreographed blocking. Vocal Range: B3 - Eb5 People At Inn, Theatre Folk and High Society People At Inn, Theatre Folk and High Society are non-speaking roles with only a small bit of singing (unless they are double cast), so these are good roles for beginning actors who can sing. Cast as few or as many actors in these roles as your production allows. Emma and Olive Emma and Olive are orphans who must resort to petty thievery to survive on the streets of London. Olive targets Jack and Annie when she notices their expensive-looking bag, and Emma follows her lead in a plot to steal it. These characters do not need to sing much, so these are good roles for younger actors who might want to build confidence before taking on larger singing roles. Vocal Range - Emma: B3 - D5 Vocal Range - Olive: D4 - C5 Harry and Colin Harry and Colin are young chimney sweeps who agree to trade places with Jack and Annie for a day. These comedic characters sing a duet and need to be able to change a few items of clothing (jackets and hats) during their song, so look for actors capable of moving and singing at the same time. Costuming (faces smudged with ashes, etc.) would allow for these roles to played by girls if necessary. Cast two strong actors who get along well onstage and off. Vocal Range - Harry: F3 - C5 Vocal Range - Colin: Gb3 - Eb5 Mrs. Tibbs Mrs. Tibbs is the peculiar and proud housekeeper of the Dickens estate. Look for a strong actor who understands comedy. She does not need to sing if she is not double cast in a singing role, so this is a good part for an actor who may not possess the strongest singing voice. Vocal Range: F4 - A4 Pickwick, Oliver Twist, Nickleby and other Dickens Characters Pickwick, Oliver Twist, Nickleby and other Dickens Characters are the "faces in the mirror" Dickens sees when he is in his office trying to write. These characters have little dialogue, so you can use these roles to cast kids who are more experienced singers than actors. Since the "other Dickens characters" only sing choral parts, you can cast as large a number of kids as you like/ need. For fun, you could assign all of the kids in the chorus names from a variety of books by Dickens - or let them research and pick out their own. If you have a smaller cast, all of these actors could also be double cast as Carolers, High Society, Street Vendors, and Restaurant Workers. Vocal Range: Speaking Roles Newsies, Newsie #1, Baker, Butcher, Bootblacks, Dressmaker, Street Person, Cabbie, Hawkers, Hawker 1 Newsies, Newsie #1, Baker, Butcher, Bootblacks, Dressmaker, Street Person, Cabbie, Hawkers, Hawker 1 are small acting parts, but these roles are essential for creating the feel of Victorian London. Look for actors who can pull off a cockney accent and who can also handle the kind of choreographed blocking required in "Stop Thief!" Vocal Range - Baker: G4 - A4 Vocal Range - Dressmaker: G4 - A4 Policeman The Policeman arrests Jack and Annie, believing they have stolen their own bag. He is chastised by Charles Dickens, and when he realizes his mistake, quickly and humbly apologizes. This is a small role that does not require a lot of subtlety, and singing is optional, so it would be good part for a beginning actor and/or singer. Vocal Range: E4 - F4 Mr. Pinch Mr. Pinch is the mean and miserly owner of the Purple Peacock Inn who refuses to give food scraps to a hungry Tiny Tim and his mother. He is the prototype for Dickens's Scrooge. While the song "Bah! Humbug!" is meant to be comical, the actor playing Pinch doesn't need to be comedic; instead, he should be confident enough to play a shameless misanthrope without needing to wink at the audience. Look for someone who is both a strong actor and singer, but if there is a tough call, lean toward the stronger actor, as much of his solo can be sung/spoken. Vocal Range: G3 - D5 Mrs. Pinch Mrs. Pinch is nothing like her ill-tempered husband; she is warm, hardworking and high-spirited. Though she is not onstage for much of the play, this role requires a good actor/singer who has a strong, energetic, mature presence. Vocal Range: C4 - C5 Francois the Chef Francois the Chef is the chef at Pinch's Purple Peacock Inn. He is proud and passionate and highly sensitive to criticism. This is a small, fun role that does not require any singing, so it would be a good part for an inexperienced singer. Vocal Range: Speaking Role Waitstaff, Restaurant Workers, Restaurant Patrons, Waitress, Dishwasher, Women Fans and Men Fans Waitstaff, Restaurant Workers, Restaurant Patrons, Waitress, Dishwasher, Women Fans and Men Fans are the employees and patrons of Mr. Pinch's Purple Peacock Inn. These roles have little or no spoken dialogue, but "Right This Way" has solo lines as well as choral work and some fairly intricate movement/choreography built into the song, so look for strong singers who can also move/dance. Vocal Range - Waitstaff #1: Bb3 - D5 Vocal Range - Waitstaff #2: Bb3 - E5 Vocal Range - Waitress: Bb3 - Bb4 Vocal Range - Dishwasher: Eb4 - Bb4 Tiny Tim Tiny Tim is a poor and sickly child who will not survive without the charity of others. Though his body is weak, his spirit is robust, and though his family is impoverished, he is rich in love and is remarkably cheerful and good-natured. As the name implies, try to cast your smallest child in this role. A girl dressed as a boy would work. Vocal Range: Speaking Role Roberta Roberta is Tiny Tim's humble, yet proud, mother. This is a small role and singing is optional, so, unless double or triple casting the actor in this role, this would be a good part for a beginner looking to gain some confidence and experience onstage. Vocal Range: Speaking Role Orphans Orphan #1 and the Orphans are street urchins who 'haunt' Mr. Dickens after his disheartening encounter with Mr. Pinch. These are non-speaking roles, so this is a great opportunity to cast singers who are interested in exploring what musical theatre id all about without the pressure of having to memorize lines, etc. However, these roles do require kids who are able to "mime" factory workers during a lengthy speech by Mr. Dickens and who must stay focused and "in character" on stage even when they are not singing. Consider double casting as the Mourners who will sing a reprise of "Who Will Hear My Song?" Vocal Range: Orphan 1: A3 - Bb4 White Ghost, Green Ghost, and Black Ghost White Ghost, Green Ghost, and Black Ghost are conjured by Jack and Annie's magic violin in order to convince Mr. Dickens to keep writing by showing him meaningful scenes from his past, present and future. All three can be played by girls. Although the Black Ghost doesn't speak or sing, the actor needs to have a strong stage presence and must be able to stay focused and in character through the lengthy "Come Three Ghosts" segment. The GHOST CHORUS is made up of your entire ensemble - no need to cast a separate group of students. Vocal Range - White Ghost: C4 - Bb4 Vocal Range - Green Ghost: D4 - Bb4 Mrs. Dickens Mrs. Dickens is the mother of Charles Dickens. This is a small acting role and unless the actor is cast in other roles, requires no singing, so if you have a large pool of actors to cast, this would be an ideal role for a beginner. Vocal Range: Speaking Role Young Dickens Young Dickens is Charles as a small boy who is conjured by the White Ghost to remind Mr. Dickens of his love of reading, his passion for stories and the importance of The Arabian Nights in igniting his imagination as a boy. This is a small speaking role, with no singing required. Consider casting the same actor who plays Tiny Tim. Vocal Range: Speaking Role Miss Twigby, Sara, and the Class Miss Twigby, Sara, and the Class are characters conjured by the Green Ghost to show Mr. Dickens how teachers in Victorian classrooms are using his stories to impart important lessons to their young students. These roles require memorizing and delivering in quick succession actual lines written by Charles Dickens, so cast some of your more confident performers. Vocal Range: Speaking Role Queen Victoria and her Lady in Waiting Queen Victoria and her Lady in Waiting are characters conjured by the Green Ghost to show Mr. Dickens that even the Queen is being moved to make social reforms based on his stories. These are small, speaking-only roles, so look to double cast these actors if they want to sing, or use the roles for beginners who want to be part of the process but don't want a lot of responsibility. Vocal Range: Speaking Role Bookseller, Henrietta and Barber Bookseller, Henrietta and Barber are more characters conjured by the Green Ghost to show how much the "common" people of London are enlivened and changed by the stories of Charles Dickens. Consider casting with the same group of actors who play the Street Vendors, etc., especially the actors capable of pulling off a Cockney accent. Vocal Range: Speaking Role The Mourners The Mourners, including Mourner #1, sing a reprise of "Who Will Hear My Song?" gathered around the gravestone of Charles Dickens and create a mournful tableau during Mary's monologue. Consider using the same actors who played the orphans. If you have a large enough cast that you don't want to double cast, these are good parts for strong singers. Vocal Range: Speaking Role Mary Dickens Mary Dickens is the grown daughter of Charles Dickens. She has a fairly large monologue at her father's gravesite, so look for a strong, confident actor with good memorization skills. Vocal Range: Speaking Role

20th Century French Art Songs | Hal Leonard Hal Leonard Online - French Art Songs 20th CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968). 20TH CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968).

Disney's Aladdin Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Book Adapted and Additional Lyrics by Jim Luigs Music Adapted and Arranged by Bryan Louiselle Based on the Screenplay by Ron Clements, John Musker, Ted Elliot and Terry Rossio Overview / Synopsis Welcome to Agrabah, City of Enchantment, where every beggar has a story and every camel has a tail! Aladdin and his three friends, Babkak, Omar, and Kassim, are down on their luck until Aladdin discovers a magic lamp and the Genie who has the power to grant three wishes. Wanting to earn the respect of the princess, Jasmine, Aladdin embarks on an adventure that will test his will and his moral character. With expanded characters, new songs, and more thrills, this new adaptation of the beloved story will open up "a whole new world" for your young performers! Based on the Tony Award®-winning Broadway musical, audiences' spirits will soar with excitement over magic, mayhem, flying carpet rides, and songs from the Academy Award®-winning score. Audio Sampler - HL00253555 $10.00 ShowKit - HL00253556 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Script Performance/Accompaniment & Guide Vocal Audio (Digital Only) Choreography Videos (Digital Only) Downloadable Media Resources (Digital Only) Digital Delivery Update Now you can receive digital access to many of the ShowKit components you know and love. Look forward to easily distributing these crucial components to your cast and creative team: Performance Accompaniment Tracks and Guide Vocal Tracks (Formerly Accompaniment CD & Rehearsal CD, respectively) will now be delivered together as a digital download and easily shared with your entire team, cast, and crew Choreography Videos (formerly the Choreography DVD) will be available to stream directly from mtishows.com. Now not only your choreographer but the entire cast will have access to fantastic step-by-step instruction for every Broadway Junior title! Downloadable Resources (formerly the Resources (or Media) Disc), including Audition Materials, a customizable press release, program and other helpful templates, and more can all be accessed with a click of a button 60-Minute JR. Request Individual Components 09970682 - Piano/Vocal Score $40.00 09970684 - Director's Script $50.00 09970685 - Actor's Script $10.00 09970686 - Actor's Script Book 10 Pak $75.00 09970689 - Rehearsal/AccompanimentRehearsal / Accomp. CD $75.00 00253553 - Choreography DVD $50.00 09970758 - Student Rehearsal CD $10.00 09970759 - Student Rehearsal CDs (20-Pak) $100.00 00253554 - Resources Disc $10.00 00253555 - Audio Sampler $10.00 Hear A Sample Prologue Arabian Nights (Part 1) [Narrators, Aladdin, Jasmine, Genie, All] SCENE 1 Arabian Nights (Part 2) [All] Arabian Nights (Part 3) [All, Jafar] One Jump Ahead (Part 1) [Groups 1-2, Aladdin, Shoekeepers, Townspeople, Harem Girls, Matron] One Jump Ahead (Part 2) [Townspeople, Aladdin, Groups 1-2, Crowd, Shoekeepers] SCENE 2 One Jump Ahead (Reprise) [Jasmine] SCENE 3 Arabian Nights (Reprise 1) [Narrators] Why Me? [Jafar, Iago] SCENE 4 Arabian Nights (Reprise 2) [Narrators, Aladdin] Friend Like Me [Genie, Chorus, All, Groups 1-2] SCENE 6 A Whole New World [Aladdin, Jasmine, All] Why Me? (Reprise) [Guards, Jafar] SCENE 7 Prince Ali (Reprise 1) [Chorus, Jafar] Prince Ali (Reprise 2) [Crowd, Jafar, Iago, Razoul] A Whole New World (Finale) [All, Aladdin, Jasmine] Friend Like Me (Bows) [All, Genie, Groups 1-2] Aladdin Aladdin is the title character and therefore carries most of the show. You'll want your most charming, best singing and best acting student for this role. He'll need the versatility to play the funny, slick prankster as well as the romantic lead. Genie Genie is the fast-talking, scene-stealing funny man. Your Genie doesn't need to be the strongest sing and dancer - the ability to do comedy is much more important. Cast a naturally funny actor that will make this character his or her own. Princess Jasmine Princess Jasmine should be cast as feisty and rebellious, yet genuinely sweet and somewhat naï¿½ve. Jasmine is a future leader with strong opinions on how things should be done, and the audience needs to see this side of her as well as the side that Aladdin falls for. Iago Iago is another great comedic role. Like the Genie, he or she need not be the strongest singer, but comedic skills are a must. Iago has several sarcastic jibes and asides. Jafar Jafar is the villain. In order to portray this through casting, consider a taller boy with a changed voice. His songs will not only be more effective, but a deeper voice will help convey Jafar's menace. The Sultan The Sultan should be able to play a father figure convincingly. Although a bit scattered, he needs to be able to portray love and care for Jasmine. Narrators The Narrators (5) can be any combination of boys and girls. All should be able to sing well and speak clearly since they are responsible for setting scenes and advancing the plot. Guards The Guards, including Razoul, need not be the strongest singers. Cast students with good comedic skills who can carry a tune. Ensemble The Ensemble consists of Townspeople, Shop Owners, a Baker, a Matron, Harem Girls, etc. They should be good actors who sing well, as they are featured in all of the production numbers. Magic Carpet The Magic Carpet works best when treated as a character in the show. Rather than a platform on wheels with no personality, having two actors puppeteer the Carpet adds much more fun and creativity. Details on how to create and manipulate the Magic Carpet can be found in the Props section of the Director's Guide.

Chitty Chitty Bang Bang Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music and Lyrics by Richard M. Sherman and Robert B. Sherman Music by Special Arrangement with Sony/ATV Publishing Adapted for the Stage by Jeremy Sams Based on the MGM Motion Picture Licensed Script Adapted by Ray Roderick Overview / Synopsis Take a fantastic musical adventure with an out-of-this-world car that flies through the air and sails the seas. Based on the record-breaking West End production and the beloved film, and featuring an unforgettable score by the Sherman Brothers (Mary Poppins), Chitty Chitty Bang Bang JR. is one blockbuster that audiences will find "Truly Scrumptious." Eccentric inventor, Caractacus Potts, sets about restoring an old race car with the help of his children Jeremy and Jemima. They soon discover the car is magic, and has the ability to float and take flight. When the evil Baron Bomburst desires the magic car for himself, the family joins forces with Truly Scrumptious and Grandpa Potts to outwit the dastardly Baron and Baroness and their villainous henchman, the Child Catcher. Filled with amazing stage spectacle and unforgettable songs, including the Academy Award nominated title song, Chitty Chitty Bang Bang JR. is a high-flying fun-filled adventure that will dazzle audiences and Broadway Junior Stars alike. Audio Sampler - HL00219934 $10.00 ShowKit - HL00219924 $695.00 This ShowKit includes: 30 Actor's Scripts Director's Guide Piano/Vocal Score Piano/Vocal Score 2 Rehearsal/Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 00219925 - Director's Guide $100.00 00219926 - Piano/Vocal Score $40.00 00219927 - Actor's Script $10.00 00219928 - Actor's Script 10-pak $75.00 00219929 - Rehearsal/Accompaniment CDs $75.00 00219930 - Student Rehearsal CD $10.00 00219931 - Student Rehearsal CD 20-pak $100.00 00219932 - Choreography DVD $50.00 00219933 - Media Disc $10.00 00219934 - Audio Sampler $10.00 Hear A Sample MUSICAL NUMBERS You Two Them Three To the Sweet Factory Toot Sweets Chu-Chi Face Hushabye Mountain Me Ol' Bamboo Chitty Chitty Bang Bang Truly Scrumptious Chitty to the Rescue Vulgarian Town Square Teamwork The Bombie Samba Doll on a Music Box Jeremy Potts Jeremy and Jemima Potts are energetic children who are always up for an adventure. They are friends and do everything together, and their greatest wish is to save Chitty Chitty Bang Bang from the junkyard. Cast two performers who work well together and are good actors and singers. It's helpful if these performers read as younger than Potts, Truly, and Grandpa onstage. Gender: Male Vocal Range: C4-Eb5 Jemima Potts Jeremy and Jemima Potts are energetic children who are always up for an adventure. They are friends and do everything together, and their greatest wish is to save Chitty Chitty Bang Bang from the junkyard. Cast two performers who work well together and are good actors and singers. It's helpful if these performers read as younger than Potts, Truly, and Grandpa onstage. Gender: Female Vocal Range: C4-Eb5 Chitty Chitty is the famous race car that beats the Vulgarians multiple times in the Grand Prix. Feel free to cast four to eight actors to create this magical car. While the car should have a distinct personality and a mind of its own, make sure the performers cast to operate the car work as an excellent team. They should be singers who are very comfortable onstage. Gender: Both Caractacus Potts Caractacus Potts is Jeremy and Jemima's father. He is an eccentric inventor who cares deeply about his children. Cast an experienced performer with a great voice who is very comfortable onstage. The role was played by Dick Van Dyke in the film version, and he's a great example: a charming, charismatic leading man with great comic timing. (Referred to as POTTS in the script.) Gender: Male Vocal Range: C3-Eb4 Mr. Coggins Mr. Coggins owns Coggins Garage and ultimately sells Chitty to Potts and the children. Cast a good actor who can portray Mr. Coggins's humor and kindness. This role is non-singing. Gender: Male Junkman The Junkman is mean and a bit scary. Cast a good actor who can lean into this character's threatening persona. This role is non-singing. Gender: Male Truly Scrumptious Truly Scrumptious is the smart, confident, adventurous daughter of Lord Scrumptious who quickly earns the Potts family's trust. Cast a fantastic singer, actor, and dancer who pairs well with the Potts family and can command the stage. Gender: Female Vocal Range: C4-D5 Grandpa Grandpa loves Jeremy, Jemima, and Potts with all his heart. Though his experience in the military drives many of his interactions, underneath all his bluster, the most important thing to Grandpa is his family. Cast a great actor and a good singer who is unafraid to make bold choices onstage. Gender: Male Vocal Range: C3-C4 Miss Phillips Miss Phillips is the no-nonsense assistant to Lord Scrumptious. This is a great feature for someone who can create a strong character but might not be quite ready for a larger role. Miss Phillips does not have a singing solo, so cast a good actor with good stage presence. Gender: Female Lord Scrumptious Lord Scrumptious is the all-powerful owner of the candy factory. Cast a strong, confident performer who is comfortable commanding the stage and pairs well with Truly. This role is non- singing. Gender: Male Baron The Baron and Baroness are larger- than-life villains. Cast excellent performers who can act, sing, dance, and who aren't afraid to chew the scenery a bit. The Baron and Baroness should pair together well and embody both the comically inept villain and the real threat to the Potts family. Gender: Male Vocal Range: D3-C#4 Baroness The Baron and Baroness are larger- than-life villains. Cast excellent performers who can act, sing, dance, and who aren't afraid to chew the scenery a bit. The Baron and Baroness should pair together well and embody both the comically inept villain and the real threat to the Potts family. Gender: Female Vocal Range: C4-D5 Boris Boris and Goran are the worst spies ever. These comical roles play off each another throughout the entire show and have some of the funniest dialogue, so cast two hilarious performers who can really land a joke. Boris and Goran do not sing but should be good movers since they have some physical comedy. Gender: Male Goran Boris and Goran are the worst spies ever. These comical roles play off each another throughout the entire show and have some of the funniest dialogue, so cast two hilarious performers who can really land a joke. Boris and Goran do not sing but should be good movers since they have some physical comedy. Gender: Male Morris Dancers The Morris Dancers perform during "Me Ol' Bamboo." Cast good singers and great dancers who can carry the number. Gender: Both Fair Announcer The Fair Announcer kicks off the Fun Fair by introducing the Morris Dancers. This is a great role for a newer performer who might not be ready to take on a large role. Make sure this actor has a big voice! Gender: Both Violet Violet and Sid are great featured roles, and they are involved in a bit of stage magic during "Me Ol' Bamboo." Cast good actors and responsible performers who can perform the staging the same way for each performance. Gender: Female Sid Violet and Sid are great featured roles, and they are involved in a bit of stage magic during "Me Ol' Bamboo." Cast good actors and responsible performers who can perform the staging the same way for each performance. Gender: Male Turkey Farmer The Turkey Farmer has a brief scene after "Me Ol' Bamboo." This is a good place for an actor who can make a big impression in a short amount of time. This role is non-singing. Gender: Both Soldiers Soldier 1 and Soldier 2 are the Baron and Baroness's lackeys. These are great non- singing, featured roles for newer performers. Gender: Both Toymaker The Toymaker has been secretly working to save children right under the Baron and Baroness's noses. The Toymaker is compassionate, clever, and never gives up trying to help people. Cast a great actor and a good singer to portray the Toymaker's kindness. The Toymaker should be a total contrast to the Child Catcher. Gender: Male Vocal Range: C#3-A3 Toby Toby, Marta, and Greta are Hidden Children who help Potts plan Jeremy and Jemima's rescue. They should be fine actors and good singers who shine onstage. Gender: Male Vocal Range: C3-A3 Marta Toby, Marta, and Greta are Hidden Children who help Potts plan Jeremy and Jemima's rescue. They should be fine actors and good singers who shine onstage. Gender: Female Vocal Range: C4-Bb4 Greta Toby, Marta, and Greta are Hidden Children who help Potts plan Jeremy and Jemima's rescue. They should be fine actors and good singers who shine onstage. Gender: Female Vocal Range: D4-A4 Chef 1 An ensemble role featured in "Toot Sweets". Gender: Both Vocal Range: G4-Ab4 Chef 2 An ensemble role featured in "Toot Sweets". Gender: Both Vocal Range: G4-C5 Ensemble The ensemble for Chitty Chitty Bang Bang JR. is made up of a myriad of vibrant characters including Chef 1, Chef 2, Chef 3, additional Chefs, Workers, Townspeople, Dogs, Soldiers, Star Chorus, Fairgoers, Seagulls, Vulgarians, and Hidden Children. All of these characters help fill out the world of the show, so the bolder your actors' choices the better. Gender: Both Child Catcher The Child Catcher is a villain with none of the Baron and Baroness's humor. Cast a performer who isn't afraid to be terrifying! The Child Catcher doesn't sing but should be a great actor. Gender: Both

Dear Edwina Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Marcy Heisler Lyrics by Marcy Heisler Music by Zina Goldrich Overview / Synopsis Dear Edwina JR. is a heartwarming musical about the joys of growing up, from the creators of Junie B. Jones, The Musical. Written in a "show-within-a-show" format, Dear Edwina JR. is the perfect "girl power" musical for a new generation. Dear Edwina JR. follows the adventures of plucky advice-giver-extraordinaire, Edwina Spoonapple, as she directs the neighborhood kids in a series of buoyant production numbers for the latest edition of her weekly "Advice-a-Palooza." Edwina and her friends share wisdom on everything from trying new foods to making new friends through clever, catchy and poignant songs. Featuring a host of supporting roles that can be distributed widely or doubled (or even tripled), depending on your cast size, Dear Edwina JR. provides a perfect opportunity to showcase your young performers. Audio Sampler - HL00218201 $10.00 ShowKit - HL00218175 $695.00 This ShowKit includes: 30 Actor's Scripts Director's Guide Piano/Vocal Score 2 Rehearsal/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00218192 - Director's Guide $100.00 00218193 - Piano/Vocal Score $40.00 00218194 - Actor's Script $10.00 00218195 - Actor's Script 10-pak $75.00 00218196 - Rehearsal/Accompaniment CDs $75.00 00218197 - Student Rehearsal CD $10.00 00218198 - Student Rehearsal CD 20-pak $100.00 00218199 - Choreography DVD $50.00 00218200 - Media Disc $10.00 00218201 - Audio Sampler $10.00 Hear A Sample MUSICAL NUMBERS Paw-Paw Michigan Up On the Fridge Dear Edwina Here Comes a Letter Aphrodite Say No Thank You Becky's Cheers Another Letter Abigail Frankenguest Carrie Fork, Knife, Spoon Time for Intermission Here Come More Letters Periwinkle Hola, Lola Becky's Second Cheers Ziggy Put it in the Piggy Thanks for Coming 1 Edwina Thank for Coming 2 Up on the Fridge Breakdown Sing Your Own Song Hola, Lola (Encore) Edwina Spoonapple The creator, director and choreographer of The Dear Edwina Show and is the main-staple of the play. Her character goes through a tremendous arc throughout the series of events in the play; from frustration to relief, anger to joy, horror to happiness & all within one afternoon in her own garage! The role of Edwina demands your most talented actor to pull off her bossy yet lovable character. Also, since the play is designed around her and she has the most stage time, the actor playing Edwina should feel more than comfortable onstage. Edwina's music is also a bit challenging. Your actor should have a strong, clear voice with good diction. A musical background would be helpful. Gender: Female Vocal range: A3-C5 Becky Edwina's enthusiastic friend and the top of the cheerleading pyramid for the Paw Paw Wildcats. Cheerleading consumes her life and creating new cheers for everyday occasions brings her great joy. This girl even cheers her anger! Becky is a vocally non-demanding role with only a few vocal lines. Stage presence is more important when it comes to casting Becky. Cast the loudest, most outgoing un-shy person you can. Athletic ability, if not cheerleading experience, would be helpful, but not necessary. Gender: Female Scott A neighbor boy who is helplessly in love with Edwina. He dotes on her every move and is always conniving a way to gain her attention. Choose a strong actor who feels comfortable being bold with his emotions. A good singer is a must for this role. Scott's song requires vocal dexterity and is demanding in style. An actor with strong comedic timing will be an asset to your production during Scott's 'transformation.' Gender: Male Vocal range: C4-Ab5 Kelli Edwina's neighbor and Paw Paw, Michigan's resident ballerina. The character of Kelli can go one of two ways, depending on your talent pool. If you have a cast member with a background in ballet, great! Let her go wild, perhaps even choreograph her own piece, and turn "Poshkonozovich Dance" into a showcase. If the actor playing Kelli has no ballet experience, not a problem. We've all flapped our arms and stood on our tippy-toes pretending to be ballerinas, have her do the same and turn it into a comedy bit! No one said Kelli was a good ballerina. Gender: Female Bobby Edwina's new next-door neighbor. He is a friendly and compassionate character who goes out of his way to help others. The character of Bobby will be able to get away with imperfections throughout the show, as he is a last minute replacement for Lars. Cast an actor who is outgoing and gets along with everyone. Gender: Male Lars Vanderploonk One of the Vanderploonk triplets and a neighborhood friend of Edwina. He is incredibly accident-prone and twists his ankle in the first scene. Lars has many prat falls before he actually twists his ankle. Casting an actor with good physical comedy skills would be helpful (always remember that any staged fall or injury should be carefully choreographed and rehearsed to prevent a real injury. Safety first!). You may want to consider having Lars return to the stage a little while after his injury in a wheelchair, a cast or leg brace, or on crutches. This adds to the comedy of the play and opens up the casting of Lars for the actor who wants to be in your show so badly but isn't exactly Baryshnikov. Gender: Male Billy Vanderploonk One of the Vanderploonk triplets and a neighborhood friend of Edwina. He works double duty on The Dear Edwina Show by performing onstage and serving as Box Office Manager. Gender: Male Cordell Vanderploonk One of the Vanderploonk triplets and a neighborhood friend of Edwina. He works double duty in The Dear Edwina Show by performing onstage and serving as House Manager. Gender: Male Annie Edwina's friend and the Girl Scout of Paw Paw. Annie works for and collects her Girl Scout badges like they were buried treasure. No matter what problem may arise, she is prepared with the know-how and resources to solve it in a flash - A MacGyver for the new generation! She is perky, energetic and helpful & maybe even too helpful. Gender: Female Aphrodite One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Both Vocal range: A3-Eb5 Carrie One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Female Vocal range: B3-D5 Abigail One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Female Vocal range: B3-D5 Periwinkle One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Both Vocal range: Bb3-C5 Ziggy & The Marching Band One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Both Vocal range: Ab3-Ab4 Vladimir Edwina's scary uncle from afar. The actor should be a strong enough singer to feel comfortable with their own song and a strong enough actor to engage the audience with their story (and keep them engaged through the duration of the song). Impeccable diction is a must for this character as Vladimir's lines are written with a Transylvanian "Dracula" accent in mind. The actor may be pulled from the company or, depending on your cast size, carry just this one role. Gender: Male Vocal range: A3-F5 Frank A rude, self-centered, bratty, offensive, disrespectful, socially inept child and the subject of Vladimir's song, Frankenguest. This non-singing role requires the actor to speak their lines during musical breaks in the song. Cast an "over the top" actor and you'll be just fine. Gender: Male Chef Ludmilla Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Both Vocal range: A3-F5 William Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Male Vocal range: Eb4-F5 Sonoma Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Both Vocal range: Eb4-F5 Fairy Forkmother Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Female Vocal range: Bb4-Bb5 Susie & The Napkins Susie & The Napkins are a local band who have just come from a Battle of the Bands concert at the Paw Paw Community Center to sing "Say No Thank You." Susie and The Napkins should be able to move well, if you choose to choreograph the number. Johnny and The Queen act out the story in the lyrics. They are not required to sing, but to merely speak in rhythm during the song. Be sure you cast someone who can 'feel the beat.' Your actors may be selected from the company or, depending on your cast size, carry their one role. Gender: Both Vocal range: Bb3-D5 Johnny and Queen of Boola Boola Susie and The Napkins are a local band who have just come from a Battle of the Bands concert at the Paw Paw Community Center to sing "Say No Thank You." Susie and The Napkins should be able to move well, if you choose to choreograph the number. Johnny and The Queen act out the story in the lyrics. They are not required to sing, but to merely speak in rhythm during the song. Be sure you cast someone who can 'feel the beat.' Your actors may be selected from the company or, depending on your cast size, carry their one role. Gender: Both Vocal range: A3-F5 Lola New to America, Lola expresses her shyness in the song, "Hola, Lola." It would be helpful if this actor speaks Spanish or has a good ear for languages. She may be selected from the company or, depending on your cast size, carry this one role. Gender: Female Vocal range: B2-A4 Harry Lola's cousin and the reason she flies from Lima, Peru, to Honolulu. He is a fun, happy-go-lucky character who just wants to make sure his favorite cousin is having a good time. Harry may be selected from the company or, depending on your cast size, carry this one role. Gender: Male Vocal range: Ab2-C#4 Mary Sue Betty Bob Mary Sue Betty Bob's backup for "Put it in the Piggy." The girl company members play the "Girls" and the "Pigs" are played by the boy company members. Vocal range: C4-D5 Farmer Jerry, Girls and Pigs Mary Sue Betty Bob's backup for "Put it in the Piggy." The girl company members play the "Girls" and the "Pigs" are played by the boy company members. Gender: Male Katie Spoonapple Edwina's little sister and a math wiz. Although she arrives at the end of the play, she has the very important role of influencing Edwina's thoughts and feelings. It is Katie that brings about the climax of the play, showing Edwina the "best advice of all." Choose an actor who looks younger than Edwina or is diminutive in stature. Gender: Female Ann Van Buren The Kalamazoo Advice-A-Palooza talent scout. She is represented only by a brief voice-over that may be recorded beforehand. When it comes to casting this voice, think very L.A., sweetie darling. Gender: Female Myra/Myron Spoonapple Edwina's little sister/brother and musical director of The Dear Edwina Show (played by the Musical Director). Gender: Both Joe/Jo Spoonapple Edwina's older brother/sister. Percussionist of The Dear Edwina Show. Gender: Both

Fiddler On The Roof Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Jerry Bock Book by Joseph Stein Lyrics by Sheldon Harnick Based on Sholem Aleichem's stories by special permission of Arnold Perl Overview / Synopsis Fiddler On The Roof Junior is a special adaptation of the classic Broadway musical, which tackles the universal theme of tradition in ways that reach across barriers of race, class, nationality, and religion. Set in the little village of Anatevka, the story centers on Tevye, a poor dairyman, and his five daughters. With the help of a colorful and tight-knit Jewish community, Tevye tries to protect his daughters and instill them with tradition in the face of changing social mores and the growing anti-Semitism of Czarist Russia. The show features a star turn in Tevye, among the most memorable roles in the musical theatre canon. Its celebrated score, by Jerry Bock and Sheldon Harnick, features songs loved the world over, including "Tradition," "If I Were A Rich Man," and "Sunrise, Sunset." Fiddler On The Roof Junior is a great introduction to the world of musical theatre. Young performers will love its humor, warmth, and honesty. Directors will love the opportunity to direct a large cast with a good balance of male and female roles. Audio Sampler - HL00147642 $10.00 ShowKit - HL00147640 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor's Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00147631 - Director's Guide $100.00 00147632 - Piano/Vocal Score $40.00 00147633 - Actor's Script $10.00 00147634 - Actor's Script 10-pak $75.00 00147635 - Perf/Accomp CD pack $75.00 00147636 - Student Rehearsal CD $10.00 00147637 - Student Rehearsal CD 20-pak $100.00 00147638 - Choreography DVD $50.00 00147639 - Media Disc $10.00 00147642 - Audio Sampler $10.00 Hear A Sample Prologue Tradition [Tevye, Golde,Villagers] SCENE 1 Matchmaker [Hodel, Chava, Tzeitel] SCENE 2 If I Were a Rich Man [Tevye] SCENE 3 Sabbath Prayer [Tevye, Golde, Villagers] SCENE 4 To Life [Tevye, Lazar Wolf, Men] SCENE 8 Sunrise, Sunset [Tevye, Golde, Perchik, Hodel, Villagers] Wedding Dance [Villagers] SCENE 10 Do You Love Me? [Tevye, Golde] SCENE 11 Far from the Home I Love [Hodel] SCENE 13 Chava Sequence [Villagers] SCENE 14 Anatevka [Golde, Yente, Lazar Wolf, Mendel, Avram, Tevye] Tevye Tevye is the heart and conscience of Fiddler on the Roof. Tevye is generally cast as a larger young man, but his stature really comes from his integrity and zest for life. Tevye's emotional range runs from strong patriarch to gentle father. He should be robust. He understands his role as leader of the family, but knows his place as his wife's husband. Your Tevye should be able to show the wide range of conflict, joy and pain that his character feels throughout the story. The actor playing Tevye needs to be comfortable speaking directly to the audience, and being the spiritual leader of your production. He does not necessarily need to have a great singing voice, but he must have a strong, easily projected voice that can fill your performance space. Tevye must develop an easy-going, comfortable rapport with the audience. Vocal Range: Ab3 - D Golde Golde is the backbone of the family. She has a rather gruff exterior, but in her heart is sheer dedication to her family. When casting Golde, remember that she must be able to frighten Tevye. She runs the household and keeps Tevye's more emotional side in check. Conversely, she should be able to show a softer side when dealing with Chava and Tevye's rift. Golde lives that her daughters will be married. She, like Tevye, need not be the greatest singer in the world, but she should have a commanding voice. Vocal Range: G3 - Db5 Tzeitel Tzeitel is the oldest daughter of Tevye and Golde. She is the first to be matched by Yente and sets the plot of Fiddler into action by pleading with her father to let her marry Motel the Tailor, to whom she has pledged her love. When casting Tzeitel, keep in mind that she is the oldest daughter. She is determined to marry Motel and knows how to manipulate her father. Vocal Range: Bb3 - Cb5 Hodel Hodel is a strong, independent middle child of the three older daughters. She is outspoken, but respectful. She has her eye on the Rabbi's son at the outset of the story, but she is taken with the revolutionary Perchik from the moment she meets him. Hodel proves that her dedication to and love for Perchik is real as she follows him to Siberia after his arrest. Hodel's melancholy lament, "Far From the Home I Love," demands a good singer/actor. Vocal Range: Bb3 - Db5 Chava Chava is the third youngest daughter. She is an introspective, rather shy young woman who seems to favor books over other pursuits. Her love for the young Russian, Fyedka, tests her father's love to the limit and provides the largest conflict in the story. The actor playing Chava must be able to display a wide emotional range. Vocal Range: Bb3 - Cb5 Motel Motel is the young tailor enamored of Tzeitel. He is an endearing sort of Woody Allen type. He needn't be a great singer, but should be able to dance at his wedding. A young man with good comic timing and a vulnerable quality is ideal. Perchik Perchik is a young student who leans toward a revolutionary, or as Tevye calls him, "A radical." Your Perchik should be able to hold his own with Tevye. Being a strong character, he clashes with Tevye idealistically, but is likable, charming, and ultimately, a member of the family. Vocal Range: Bb3 - Bb5 Lazar Wolf Lazar Wolf is, by trade, a butcher. Lazar should probably be a large boy, but, frequently, opposites are funny. A kid of any size can pull off this part, but must be a little bit repugnant. Tzeitel is frightened to marry Lazar Wolf and she should have reason to be so. Lazar Wolf has featured singing in, "To Life" and must be able to sell the song. Vocal Range: A3 - C5 Constable The Constable is the local sheriff representing the anti-Semitic Russian government. Take care to cast an actor who can provide a sense of threat, foreboding, and conflict. The Constable is a complex character who is conflicted over his relative goodwill toward individuals in the Jewish community and his duty to harass them. This is a non-singing role that requires a good, strong actor. Fyedka Fyedka is a young Russian soldier who falls in love with Chava. Look for a young man who might look distinctly Russian, trying to contrast his look as a Gentile who enters the Jewish world as an outsider. He should be a strong actor, but needn't be a singer. Shprintze and Bielke Shprintze and Bielke are the youngest daughters of Tevye and Golde. They are considerably younger than the three "matchmaker" daughters. They have only a few lines, but are featured in quite a few scenes. They need to be able to carry a tune in the group songs. The Fiddler The Fiddler must be a young person who can hold the attention of an entire audience with movement, facial expression, and dance. As the title character, the Fiddler must be the physical embodiment of the theme of the show. Freedom of movement and expression are the keys to casting your Fiddler. The Fiddler is a silent, lead role. Yente Yente is your matchmaker. Try to cast a young woman who can capture the quintessential feel of the Jewish matchmaker, without necessarily making her a stereotype. She should be able to play older. She's not elderly, but mature. The Villagers The Villagers group can be as large as your stage can safely accommodate. They are the faces of Anatevka. This character group insures that you can cast any young person who auditions, regardless of their talent level or experience. The Russians The Russians are soldiers under the command of the Constable. This is a good group to case your least experienced auditioners. One, Sasha, has two lines. They needn't be singers, but can sing in a group numbers from offstage if they are able.

Disney's Frozen Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez Book by Jennifer Lee Based on the Disney film written by Jennifer Lee and directed by Chris Buck and Jennifer Lee Overview / Synopsis The enchanting modern classic from Disney is ready for your Broadway Junior stars! Frozen JR. is based on the 2018 Broadway musical, and brings Elsa, Anna and the magical land of Arendelle to life onstage. The show features all the memorable songs from the animated film, with music and lyrics by Kristen Anderson-Lopez and Robert Lopez, plus five new songs written for the Broadway production. A story of true love and acceptance between sisters, Frozen JR. expands upon the emotional relationship and journey between Princesses Anna and Elsa. When faced with danger, the two discover their hidden potential and the powerful bond of sisterhood. With a cast of beloved characters and loaded with magic, adventure and plenty of humor, Frozen JR. is sure to thaw even the coldest heart! Audio Sampler - HL00284884 $10.00 ShowKit - HL00284886 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Script Performance/Accompaniment & Guide Vocal Audio (Digital Only) Choreography Videos (Digital Only) Downloadable Media Resources (Digital Only) Digital Delivery Update Now you can receive digital access to many of the ShowKit components you know and love. Look forward to easily distributing these crucial components to your cast and creative team: Performance Accompaniment Tracks and Guide Vocal Tracks (Formerly Accompaniment CD & Rehearsal CD, respectively) will now be delivered together as a digital download and easily shared with your entire team, cast, and crew Choreography Videos (formerly the Choreography DVD) will be available to stream directly from mtishows.com. Now not only your choreographer but the entire cast will have access to fantastic step-by-step instruction for every Broadway Junior title! Downloadable Resources (formerly the Resources (or Media) Disc), including Audition Materials, a customizable press release, program and other helpful templates, and more can all be accessed with a click of a button 60-Minute JR. Request Individual Components 00284870 - Director's Guide $100.00 00284871 - Piano/Vocal Score $40.00 00284872 - Actor's Script $10.00 00284874 - Actor's Script 10-pak $75.00 00284876 - Rehearsal/AccompanimentRehearsal/Accomp. CD $75.00 00284879 - Student Rehearsal CD $10.00 00284882 - Choreography DVD $50.00 00284883 - Media Disc $10.00 Hear A Sample Let the Sun Shine On A Little Bit of You Do You Want to Build a Snowman? For the First Time in Forever Dangerous to Dream Love is an Open Door Reindeer(s) Are Better Than People In Summer Hygge Let It Go Fixer Upper Colder by the Minute Finale Young Anna Young Anna, Middle Anna and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy and love, Anna is a hopelessly optimistic extrovert at all ages, but as she grows older, she longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once your actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: A3 - D5 Middle Anna Gender: Female Vocal Range: A3 - B4 Anna Gender: Female Vocal Range: G3 - D5 Vocal range Bottom: G3 Young Elsa Young Elsa, Middle Elsa and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, especially her beloved sister, Anna, Elsa becomes anxious and withdrawn as she grows older, before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for very strong singers who can portray Elsa's restrained nature. Once your actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: A3 - C#5 Middle Elsa Gender: Female Vocal Range: A3 - F#4 Elsa Gender: Female Vocal Range: F#3 - D5 King Agnarr The warm-hearted ruler of Arendelle is committed to protecting both his family and the Townspeople from his eldest daughter's powers. With only one singing solo, focus on casting an actor who can play this father figure convincingly. Gender: Male Queen Iduna The queen possesses a sense of rightness and kindness that guides her in her protection of her two young girls. A daughter of the Northern Nomads, this queen has the ability to communicate with the Hidden Folk of the mountains and so understands Elsa's powers deeply; look for an actor who can portray this sense of compassion. Gender: Female Pabbie Pabbie and Bulda are the mystical leaders of the Hidden Folk who have a soft spot for "strays." Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd-pleaser, "Fixer Upper." Gender: Both Bulda Pabbie and Bulda are the mystical leaders of the Hidden Folk who have a soft spot for "strays." Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd- pleaser, "Fixer Upper." Gender: Both Bishop The bishop officiates the coronation and passing of the crown to Elsa. This spiritual supervisor must communicate to the Townspeople of Arendelle in a serious and formal manner. Gender: Both Kristoff Kristoff is a hardworking ice harvester. Kristoff has a sarcastic veneer and a rough-around-the-edges exterior that hides a big heart. Taken in by the Hidden Folk when he was young, he loves Pabbie and Bulda dearly, but is a bit of a loner with a reindeer for a best friend- until he meets Anna. With only a few short singing solos, focus on casting a performer who can balance a cynical sense of humor with charming banter. Gender: Male Vocal Range: G2 - A3 Sven Sven is a reindeer of few words, fiercely loyal pal to Kristoff, and loves giving the ice harvester a hard time. Look for a performer with good comic timing and terrific physical acting skills who can devise a strong movement vocabulary to bring this furry charmer to life. Consider auditioning potential Svens and Kristoffs together as the two should share a visible bond. Gender: Both Vocal Range: A3 - A4 Hans The ambitious Prince of the Southern Isles and overlooked thirteenth son of a king. Hans constantly strives to find a way to make good and stand out. He boasts an exceedingly charming facade that fools everyone - including Anna and, ideally, the audience! - into believing he's Prince Charming, when really, he's just a jerk. Cast an actor who can play both sides of this two-faced prince with relish as well as confidently sing the moments of harmony in "Love Is an Open Door." Gender: Male Vocal Range: G2 - B3 Weselton A visiting duke who possesses a huge inferiority complex. A bombastic, overbearing sycophant, Weselton's sole purpose is to hobnob with influencers and royalty. Look for an actor who can portray the narrow-minded naysayer with over-the-top gusto. Gender: Both Olaf The magical snowman created by Anna and Elsa when they were young. Olaf is endearingly delighted by everything - especially the idea of summer. Goofy and sweet, Olaf should possess a childlike innocence and excellent comic timing. Gender: Male Vocal Range: F#2 - D4 Oaken An exceedingly cheerful and convivial wandering salesperson and ardent devotee to all things cozy and comfortable. Oaken's "Hygge" is a showstopper, so cast an actor who can portray the peppy peddler's infectious warmth with flair and good humor. Gender: Both Ensemble Includes the following roles: Townspeople, Snow Chorus, Hidden Folk, Castle Staff, Housekeeper, Butler, Handmaiden, Cook, Steward, Guards, Summer Chorus, Oaken's Family Gender: Both

Roald Dahl's James and the Giant Peach Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Timothy Allen McDonald Music and Lyrics by Benj Pasek and Justin Paul Based on the book James and the Giant Peach by Roald Dahl Overview / Synopsis Based on one of Roald Dahl's most poignantly quirky stories, Roald Dahl's James and the Giant Peach JR. is a brand new take on this "masterpeach" of a tale. Featuring a wickedly tuneful score and a witty and charming book, this adventurous musical about courage and self-discovery is destined to be a classic. When James is sent by his conniving aunts to chop down their old fruit tree, he discovers a magic potion that grows a tremendous peach, rolls into the ocean and launches a journey of enormous proportions. James befriends a collection of singing insects that ride the giant piece of fruit across the ocean, facing hunger, sharks and plenty of disagreements along the way. The possibilities for creative costuming and puppetry abound, and young actors will love playing the outlandish and larger-than-life human and insect characters. Audio Sampler - HL01132422 $10.00 ShowKit - HL01132421 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Directo's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 60-Minute JR. Request Individual Components 01132417 - Director's Guide $100.00 01132418 - Piano/Vocal Score $40.00 01132419 - Libretto/Vocal Score $10.00 01132420 - Libretto/Vocal Score 10-Pak $75.00 01132422 - Audio Sampler $10.00 Hear A Sample Overture Right Before Your Eyes On Your Way Home Shake It Up There's Money On That Tree Our Adventure Begins Floatin' Along A Getaway for Spiker and Sponge Everywhere That You Are I Got You Plump and Juicy Empire State/The Attack Welcome Home Curtain Call Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Dance Requirements: Standard James James is the hero of our story, on an epic quest to find a family of his own and gain confidence in himself. Cast a young boy with an unchanged voice and someone who has great acting instincts. Make sure he can win over an audience and is comfortable being onstage. Gender: Male Vocal range top: E5 Vocal range bottom: G#3 Ladahlord Ladahlord is a mysterious character who seems to have a hand in the magical things that are happening. Though he may seem a bit off, he carefully watches over James, making sure James moves towards to a better life. Ladahlord also serves as a guiding narrator throughout the story. This is a perfect role for a charismatic young actor who can sing and dance well. Gender: Male Vocal range top: Gb5 Vocal range bottom: G3 Centipede Centipede may be a bit of grouch, but he is ever-loyal to the pack, and by the end of the story, he's won over by James. James sees Centipede as that cranky uncle with a heart of gold. Centipede should have a good singing voice, and be able to make strong, specific acting choices. Gender: Male Vocal range top: F#5 Vocal range bottom: G3 Grasshopper Grasshopper, the leader of the Insects, is ever the optimist and assumes a paternal role in James'life. Cast a performer who can sing and act well, but foremost has a warm, inviting presence. Gender: Male Vocal range top: F#5 Vocal range bottom: A3 Angry Crowd The Angry Crowd is in search of the amazing giant peach, but they quickly turn into an angry mob when the peach is nowhere to be found. These ensemble parts are easy to cast from any of your company. Gender: Any Earthworm Earthworm is a gentle spirit, although he can be a bit of a coward. Luckily, he gains enough courage to save the day by baiting some gullible seagulls. Earthworm looks at James as a brother figure. Cast a performer who can sing well, and more importantly, someone who isn't afraid of being a little outlandish. Gender: Male Vocal range top: A5 Vocal range bottom: B3 Spiker and Sponge Spiker and Sponge are the sort of aunts (or monsters) that you fear ever being stuck with. They take James into their home but only so that he can be their own personal servant. Spiker is the brains of the operation, and Sponge is more concerned with finding something to eat. These are great character roles for two young performers who are fantastic singers and actors. To play into the humor, cast a duo that contrasts completely in physical appearance. Gender: Female Vocal range top: E5 Vocal range bottom: F3 Ladybug Ladybug immediately takes on a doting, maternal role in James'life. This is a fantastic role for a performer with a great singing voice and a regal demeanor. Gender: Female Vocal range top: D5 Vocal range bottom: A3 Vagrants The Vagrants, including Doreen Driggles, Ridgley Rapscallion, Violet Funkschmeller, and Chris Cryermouth are an ensemble of have-nots to support Spiker and Sponge's treacherous plans. These ensemble roles are important for making up the world of the musical. The Passing Man, Man (with wallet) and Passing Woman all have featured moments where they fall victim to Spiker and Sponge. Gender: Any Spider Spider is a clever creature who becomes a fun-loving older sister to James. A young woman with a spunky personality and a great voice is a perfect choice for the role. Gender: Female Vocal range top: C5 Vocal range bottom: B3 Matron Nurse The Matron Nurse runs the Painswick Orphanage, and you definitely get a sense she hasn't had a vacation in years. This is a great acting role for a young woman who can command a room. Gender: Female Sharks And Seagulls The Sharks and Seagulls are featured in "Plump and Juicy." Cast strong movers and dancers in these roles. Gender: Any Reporters The Reporters, including Ida Walters, are on the scene just as the peach is becoming larger than life. Cast a group of energetic performers. Gender: Any New Yorkers New Yorkers, including the Screaming Women, Lucille Van Kooglestein, Bunny Mackenzie The Third, Jake and Joe all witness the peach land directly on the Empire State Building and are sent into a panic! Cast a handful of characters for these cameo roles. Gender: Any Zoo Crowd Mr. Trotter, Mrs. Trotter, Karl Kreatour and the Zoo Crowd are all part of James' nightmare. These are small, featured roles, so feel free to cast from your ensemble. Gender: Any Farm Animals, Willy Wonka And Oompa-Loompas Farm Animals, Willy Wonka and Oompa-Loompas are all in harm's way as the peach outgrows its stem and rolls towards the ocean. These are very fun cameo roles for performers with personality. Gender: Any Hollywood Agents The Hollywood Agents, led by Buzz, jump in on the success of the growing peach with movie and Broadway deals for Spiker and Sponge. Like the Reporters, this is a fun group to cast with some lively performers. Gender: Any Billy and Bobby Bobby-Cop Billy and Bobby Bobby-Cop are a perfectly unified pair of cops working for Scotland Yard. This is fun cameo role for two performers who work well together. Gender: Male Ladies Bitsy Botana and the rest of the Ladies' Garden Guild are in flowery frocks and hats, intent on having Spiker and Sponge give the keynote speech at their conference. A few young performers with good voices will do the trick. Gender: Female Cruise Ensemble The Cruise Ensemble are various vacationers en route to New York with Spiker and Sponge. Use anyone from your ensemble to fill out the scene! Gender: Any Garden Chorus The Garden Chorus comes to life in "Shake It Up" as Ladahlord mixes a magical potion. This is a great place to cast kids of various skill level and get them excited about musical theater. Gender: Any

Disney's The Lion King Experience Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music and Lyrics by Elton John and Tim Rice Additional Music and Lyrics by Lebo M and Mark Mancina and Jay Rifkin and Hans Zimmer Book by Roger Allers and Irene Mecchi Based on the Broadway production directed by Julie Taymor Overview / Synopsis Disney's The Lion King has captivated the imagination of audiences around the world, and now - for the first time ever - you have the opportunity to produce this one-of-a-kind musical. The Lion King Experience is an immersive, project-based exploration of theater-making. This easy-to-use program has been developed to give you all the tools you need to introduce theater in the classroom and to produce your very own production of The Lion King. In addition to a performance license to produce The Lion King JR., a 60-minute adaptation created especially for the strengths and skill levels of middle school students, The Lion King Experience includes a ShowKit® of materials to help bring your production to life and an 18-session curriculum that explores the fundamentals of theater-making. Audio Sampler - HL00137491 $10.00 ShowKit - HL001192578 $695.00 This ShowKit includes: 30 Actor's Scripts Director's Guide Piano/Vocal Score Experience Binder Digital Access to: Performance / Acccompaniment Tracks Guide Vocal Tracks Choreography Videos Family Matters Resources 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00137483 - Piano/Vocal Score $40.00 00137482 - Director's Script $100.00 00137484 - Actor's Script $10.00 00137485 - Actor's Script 10 Pak $75.00 00137486 - Performance/Rehearsal CD* $75.00 00137489 - Choreography DVD* $50.00 00137487 - Student Rehearsal CD* $10.00 00137488 - Student Rehearsal CDs (20-Pak)* $100.00 00137490 - Media Disc* $10.00 00137492 - Experience Binder $100.00 00137493 - Djembe $50.00 00137494 - Djembe (3) $150.00 00217285 - Totems (10-Pak)* $5.00 00137876 - Demonstration DVD $50.00 00137491 - Audio Sampler $10.00 *Legacy ShowKit components with limited stock Hear A Sample Circle of Life with Nants' Ingonyama Grasslands Chant The Lioness Hunt I Just Can't Wait To Be King Be Prepared They Live In You The Stampede The Mourning Hakuna Matata (Part 1) Hakuna Matata (Part 2) Shadowland Can You Feel The Love Tonight He Lives In You Luau Hawaiian Treat Finale BANZAI A slick yet childish hyena who works for Scar. He would be the leader of the group if hyenas weren't so lazy. Look for an outgoing and confident actor who can portray nastiness and gruffness. As Banzai is always featured with Shenzi and Ed, consider auditioning the hyenas in trios. Male, Any Age ED The third member of Scar's trio of lackeys. He has a loud, cackling laugh that is his only form of communication. Ed should be played by an actor who can laugh unabashedly and communicate through physicality and facial expressions rather than words. This role can be played by a boy or girl. Male or Female, Any Age ENSEMBLE The ensemble plays various inhabitants of the Pridelands, such as giraffes, elephants, antelopes, wildebeest, and other creatures you choose to include. This group can have as few or as many performers as your production permits. Be sure to cast many strong singers. There are also several moments to showcase individual dancers in "The Lioness Hunt" and "I Just Can't Wait to Be King." HYENAS Scar's army, helping carry out his evil plot to take over the Pridelands. Hyenas are mangy, mindless creatures who sing in "Be Prepared." Cast actors who are able to sing the background parts of that song while playing the loud and raucous characters. Your hyenas can double as animals of the Pridelands or lionesses. Male or Female, Any Age LIONESSES The fierce hunters of the Pridelands and featured in "The Lioness Hunt," "The Mourning," and "Shadowland." These actors should be strong singers, as the material can be challenging. Depending on the complexity of your choreography, particuarly for "The Lioness Hunt," strong dancers may be desirable as well. Female, Any Age MUFASA The strong, honorable, and wise lion who leads the Pridelands. Mufasa should command respect onstage and also show tenderness with his son, Simba. Cast a mature actor who can convincingly portray the king. Male, Any Age Range: B3 - C5 NALA Grows from a cub to a lioness before she confronts Scar, so cast a more mature actress to play the character beginning in Scene 10, As with older Simba and Young Simba, ensure that this switch in actors performing a single role is clear. Direct the actors to share a mask or costume piece that distinctly represents Nala, as well as a movement vocabulary. Female, Any Age Range: G3 - E5 PUMBAA A kindhearted, sensitive warthog who enjoys his simple life of grubs and relaxation. Cast a boy or girl who can portray this loveable and loyal friend to Timon and Simba with deadpan humor. Male or Female, Any Age Range: D4 - G5 RAFIKI A wise mandrill who acts as healer of the Pridelands and guides Simba on his journey home. She is an omniscient character, evincing an air of mystery. Rafiki has significant solos in "Circle of Life" and "He Lives in You," and leads the African chants throughout the show, so cast a confident performer with a strong singing voice. Female, Any Age Range: A3 - C5 SARABI A featured lioness, Mufasa's mate, and Simba's mother. Sarabi has a few key speaking lines for an actor who can deliver the care and command of a queen. Female, Any Age SARAFINA A featured lioness and Nala's mother. She has one short, spoken line, so consider giving this part to an actor who is putting in a lot of effort and hard work in rehearsal as a lioness. Female, Any Age SCAR The antagonist of the show, overcome with jealousy of his brother, Mufasa, and nephew, Simba. Coldhearted and wickedly intelligent, he will stop at nothing to become king of the Pridelands. Cast a mature performer who can bring out this villain's dark side while handling Scar's sarcastic sense of humor. As his solos can be spoken, opt for an actor over a singer. Male, Any Age Range: A3 - A4 SHENZI One of Scar's hyenas who plot to take over the Pridelands. She is the sassy one of the trio and is always looking out for herself. With Banzai and Ed, she should be able to laugh loudly and long, as well as be menacing to Young Simba and Young Nala. Female, Any Age SIMBA Grows from a cub to lion in "Hakuna Matata." Older Simba has more complex moments as he reunites with Nala, mourns his father, and returns to confront Scar, so cast a more mature actor. Be sure that the change in actors is clear: Try having Young Simba hand-off a costume piece, such as a medallion, to older Simba. Also be sure that Simba and Young Simba share a movement vocabulary. Male, Any Age Range: B3 - E5 TIMON An outcast meerkat who lives in the jungle with Pumbaa. He is afraid of his own shadow, but pretends to be the confident, relaxed leader of the duo. Timon is one of the funniest characters in the show and should be played by a charismatic actor who understands comic timing. This part can be played by a boy or a girl. Male or Female, Any Age Range: B3 - B4 YOUNG NALA A courageous lion and Young Simba's best friend. She is not afraid to speak her mind. While Young Nala does sing a little, look for a strong female performer who can portray this confident cub. Female, Any Age Range: A3 - C5 YOUNG SIMBA The protagonist of the story, is an adventurous and endearing cub who can't wait to be king of the Pridelands. Simba is playful, energetic, and naive, but after his father Mufasa's death, Simba struggles with shame and his destiny. Cast a strong singer and dynamic performer in this role. Male, Any Age Range: B3 - E5 ZAZU The anxious yet loyal assistant to Mufasa who is always busy trying to do his duty. Zazu's lyrics are spoken rather than sung, and the role can be played by a boy or girl. Male or Female, Any Age

Madagascar - A Musical Adventure Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Based on the DreamWorks Animation Motion Picture Book by Kevin Del Aguila Music and Lyrics by George Noriega and Joel Someillan Overview / Synopsis Join Alex the Lion, Marty the Zebra, Melman the Giraffe, Gloria the hip hip Hippo and, of course, those hilarious, plotting penguins as they bound onto your stage in the musical adventure of a lifetime. Based on the smash DreamWorks animated motion picture, Madagascar - A Musical Adventure JR. follows all of your favorite crack-a-lackin' friends as they escape from their home in New York's Central Park Zoo and find themselves on an unexpected journey to the madcap world of King Julien's Madagascar. Alex the lion is the king of the urban jungle, the main attraction at New York's Central Park Zoo. He and his best friends - Marty the zebra, Melman the giraffe and Gloria the hippo - have spent their whole lives in blissful captivity before an admiring public and with regular meals provided for them. Not content to leave well enough alone, Marty lets his curiosity get the better of him and makes his escape - with the help of some prodigious penguins - to explore the world. Filled with outlandish characters, adventure galore and an upbeat score, Madagascar JR. will leave audiences with no choice but to "Move It, Move It!" Audio Sampler - HL00190213 $10.00 ShowKit - HL00183412 $695.00 This ShowKit includes: 30 Student Books Director's Guide Piano/Vocal Score 2 Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 00183215 - Director's Guide $100.00 00183219 - Piano/Vocal Score $40.00 00183221 - Student Book $10.00 00183240 - Student Book 10-pak $75.00 00183241 - Performance/Accomp CD pack $75.00 00183304 - Student Rehearsal CD $10.00 00183305 - Student Rehearsal CDs 20-Pak $100.00 00183306 - Choreography DVD $50.00 00190206 - Media Disc $10.00 00190213 - Audio Sampler $10.00 Hear A Sample It's Showtime [Alex, Marty, Gloria, Melman, Zoo Guests, Zookeepers, Penguins, Lionesses] Wild and Free [Marty, Zookeepers, Zoo Guests] Best Friends [Marty, Alex, Mason] Relax, Be Cool, Chill Out [Marty, Skipper, Penguins, Police Officers, Alex, Gloria, Melman, Old Lady, Subway Announcer, Animal Control Officers] Grand Central [Marty, Alex, Gloria, Melman, Mason, Penguins] Penguins' Sea Shanty [Penguins] I Like to Move It [King Julien, Lynn, Lars, Lee, Lew, Lemurs, Marty, Alex, Gloria, Melman] Steak [Alex, Lead Servers, Servers] Penguins' Sea Shanty (Reprise) [Penguins] Living in Paradise [Marty, Alex, Gloria, Melman, King Julien, Lemurs] Foosa Hungry [Foosa] Best Friends (Reprise) [Marty, Alex, Foosa] The King of Madagascar [Marty, Alex, Gloria, Melman, Foosa, Penguins, Lemurs, King Julien] Together Forever [Marty, Alex, Gloria, Melman, Penguins] I Like to Move It (Reprise) [Company] Alex Alex, the lion, is the main attraction at the Central Park Zoo and undoubtedly "The King of New York City." He's a fun-loving fella whose devotion to steak is matched only by his devotion to his friends. Cast a great singer and actor but most importantly, someone who has that magnetic quality of a showman. Gender: Male Vocal range: A3-Eb5 Marty Marty is a zebra with dreams of exploring beyond the confines of the Central Park Zoo and into the wild. Cast a young man who is a solid singer and actor who also possesses a sweet disposition. You want your audience to root for Marty. He should be a perfect complement to Alex. Gender: Male Vocal range: A3-D5 Gloria Gloria, the hippopotamus, is a bold young lady with a maternal streak that shines when she's with her three closest friends: Alex, Marty and Melman. This a great part for a performer who can act, sing and who can serve as the caretaker of the group. Gender: Female Vocal range: Eb4-E5 Melman Melman is a kind-hearted giraffe who is a bit of a hypochondriac. He's always just a little bit nervous, but when it comes down to it, he'll rise to the situation. Pick a performer who can sing well but more notably, can carve out this comedic part with strong acting choices. Gender: Male Vocal range: E3-Db5 The Penguins The Penguins are a group of birds on a mission: bust out of the zoo and return home to Antarctica. Skipper serves as the captain of the group, giving orders with ease and command. Kowalski is Skipper's second-in-command and a dutiful one at that. Rico is the brute of the group and can karate chop anything in sight. Private's primary job in the group is to maintain the cute and fuzzy disguise. Cast these four primary roles with performers who work well together. This is a fun opportunity to cast your youngest performers. Gender: Both The Zookeepers The Zookeepers introduce the crowds to all the sights and attractions of the Central Park Zoo. Zookeeper Zelda, Zookeeper Zeke and Zookeeper Zoe are perfect parts for proficient musicians and actors who can express a real excitement and passion for the animals. Zelda has a large solo in the opening, so cast your best singer amongst the Zookeepers in that role. Gender: Male Vocal range: B3-G4 Mason Mason is a chimpanzee with a bone to pick: though highly intelligent, his species seems to get a bad reputation for being simpleminded, and he takes that quite personally. This is a great acting role for a performer who can make bold choices from the get-go. Gender: Male The Lemurs The Lemurs are a wild band of creatures native to Madagascar trying desperately to avoid being eaten by the cat-like creatures called the Fossa. King Julien is their leader and the perfect part for the comedian of your company who can sing, dance, act and has intuitive comedic timing. Maurice is King Julien's assistant who is not so welcoming to Madagascar's new inhabitants. This part is perfect for an actor who can convey distrust and disinterest while still being a powerful second-in-command to King Julien. Mort is the littlest of the Lemurs, who can barely speak. Find a young, small, sweet performer who possesses a sense of comedy. Lynn, Lew, Lee and Lars are fun smaller roles for young actors with bold personalities. Gender: Both Vocal range: A3-B4 The Foosa The Fossa are cat-like predators with an appetite for Lemurs! The Fossa Leader is the biggest and baddest of the Fossa and is feared by most of the creatures in Madagascar. Cast an actor who has a great imagination for creating a larger-than-life creature who can strike fear with one look. For the rest of Fossa, choose an ensemble that can create a dominating pack of predators. Gender: Both Servers Servers #1, #2 and #3 are imagined servers in Alex's dream when he starts to desire meat desperately! Cast three performers who can both dance and sing well and work as a unit well together. Gender: Both Vocal range: D4-D5 The Lionesses The Lionesses are a group of lady lions and Alex's background singers and dancers. These are great featured roles for dancers. Gender: Female Cameraman, Candy Hammernose, Passerby, Old Lady, Police Officer #1 and #2, Animal Control Officers, Newspaper Man and Ship's Captain Cameraman, Candy Hammernose, Passerby, Old Lady, Police Officer #1 and #2, Animal Control Officers, Newspaper Man and Ship's Captain are all great cameo roles with speaking lines. Remember: No role is too small, and each one serves to create the larger picture of the world of Madagascar JR., so cast a colorful group of characters in these fun roles. Gender: Both New Yorkers and Animals The New Yorkers and Animals are two separate ensemble groups that are essential for setting up the world of the Central Park Zoo. Remind these groups to be bold, specific and full of energy to kick off the show with a bang! Gender: Both

Matilda Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Tim Minchin Book by Dennis Kelly Overview / Synopsis Rebellion is nigh in Matilda JR., a gleefully witty ode to the the anarchy of childhood and the power of imagination! This story of a girl who dreams of a better life and the children she inspires will have audiences rooting for the "revolting children" who are out to teach the grown-ups a lesson. Matilda has astonishing wit, intelligence... and special powers! She's unloved by her cruel parents but impresses her schoolteacher, the highly loveable Miss Honey. Matilda's school life isn't completely smooth sailing, however - the school's mean headmistress, Miss Trunchbull, hates children and just loves thinking up new punishments for those who don't abide by her rules. But Matilda has courage and cleverness in equal amounts, and could be the school pupils' saving grace! Packed with high-energy dance numbers and catchy songs, Matilda JR. is a joyous girl power romp. Children and adults alike will be thrilled and delighted by the story of the special little girl with an extraordinary imagination. Audio Sampler - HL00300117 $10.00 ShowKit - HL00300118 $645.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Script Performance/Accompaniment & Guide Vocal Audio (Digital Only) Choreography Videos (Digital Only) Downloadable Media Resources (Digital Only) Digital Delivery Update Now you can receive digital access to many of the ShowKit components you know and love. Look forward to easily distributing these crucial components to your cast and creative team: Performance Accompaniment Tracks and Guide Vocal Tracks (Formerly Accompaniment CD & Rehearsal CD, respectively) will now be delivered together as a digital download and easily shared with your entire team, cast, and crew Choreography Videos (formerly the Choreography DVD) will be available to stream directly from mtishows.com. Now not only your choreographer but the entire cast will have access to fantastic step-by-step instruction for every Broadway Junior title! Downloadable Resources (formerly the Resources (or Media) Disc), including Audition Materials, a customizable press release, program and other helpful templates, and more can all be accessed with a click of a button 60-Minute JR. Request Individual Components 00300108 - Director's Guide $100.00 00300109 - Piano/Vocal Score $40.00 00300110 - Actor's Script $10.00 00300111 - Actor's Script 10-pak $75.00 00300117 - Audio Sampler $10.00 Miracle Naughty Acrobat Story (Part 1) School Song The Hammer Naughty - Superglue (Part 2) The Chokey Chant This Little Girl Bruce (Part 1) When I Grow Up The Smell of Rebellion Quiet Revolting Children Matilda Wormwood The hero of the show. She's brilliant, resilient, creative, and kind, despite growing up in difficult circumstances. Her parents treat her poorly, but Matilda escapes into a world of books, which puts her reading level far above the other children in her class, and she develops a bit of magical power in an effort to defeat Trunchbull. Cast a fantastic singer and great actress in this role who can embody both Matilda's cleverness and her kindness. Gender: Female Range: D5 - Bb5 Eric A student at school with Matilda. He has the very first solo line of the entire show, so make sure to cast a good singer in this role. He also has some featured moments as one of Matilda's schoolmates, so it's helpful if Eric is also an expressive actor. Gender: Male Range: Eb4 - C3 Amanda A student at school with Matilda. She has a few solos and lines, but her most featured moment is when Trunchbull throws her through the air using her pigtails. Cast a good singer and mover in this role. Gender: Female Range: Eb5 - C4 Bruce One of Matilda's schoolmates. He has the bad luck to get caught after eating Trunchbull's cake. Bruce goes through quite a transformation throughout the show and has some important solos, so cast an excellent singer and actor. Keep in mind that just because Bruce eats the cake, it doesn't mean he has to be physically larger than the other children - just cast an actor who can portray Bruce's journey throughout the show. Gender: Male Range: F#4 - C3 Hortensia Alice, Hortensia, and Tommy are classmates of Matilda who each sing solos, and Hortensia has a few lines. These roles are great for good singers and movers who may be newer to the stage. Gender: Female Range: D5 - C4 Alice Alice, Hortensia, and Tommy are classmates of Matilda who each sing solos. These roles are great for good singers and movers who may be newer to the stage. Gender: Female Range: D5 - C4 Tommy Alice, Hortensia, and Tommy are classmates of Matilda who each sing solos. These roles are great for good singers and movers who may be newer to the stage. Gender: Male Range: Eb4 - C3 Lavender One of the kids at school with Matilda. She is kind and bright (though not as brilliant as Matilda) and quickly decides that Matilda is her best friend. Cast an actress in this role who can portray Lavender's likability and friendliness. Gender: Female Range: D5 - C4 Nigel One of the kids at school with Matilda. He is enthusiastic, sweet, and always in a bit of a panic. Nigel has a few solos and some great featured moments in the show, so cast a strong actor and singer in this great supporting role. Gender: Male Range: D4 - C3 Mr. Wormwood Matilda's father. He is egotistical, rude, and not very bright, not to mention a liar. Though Mr. Wormwood is not a good person and he is mean to Matilda, his harebrained schemes can be hilariously funny, so cast a fantastic character actor in this role who can really land the comedy and isn't afraid to play an unlikeable character. It's helpful if Mr. Wormwood reads as older onstage and makes a dynamic pair with Mrs. Wormwood. Gender: Male Mrs. Wormwood Matilda's mother. Like her husband, she dislikes Matilda and does not understand why her daughter loves to read. Mrs. Wormwood is selfish, obsessed with her own appearance, and believes everything she sees on TV. Her dancing lessons with Rudolpho are the most important part of her day. Cast a great actress who can portray Mrs. Wormwood's nastiness but also play up her ridiculousness and lean into the comedy. Gender: Female Michael Matilda's brother. He is not very bright, though he is the apple of his father's eye. This is a hilarious supporting role for a younger actor with comedic timing, as Michael's contributions to the scene usually function as deadpan one-liners. Gender: Male Mrs. Phelps The kindly librarian who loves hearing Matilda's stories. This is a great featured role for a stronger actress who reads as older than Matilda onstage. Gender: Female Escapologist A character of Matilda's creation. Everything this character does is grand and exaggerated - he's performing for the cheap seats! Cast a solid actor and mover in this fun featured role. Gender: Male Range: F3 - E3 Acrobat A product of Matilda's imagination. Cast an actor in this featured role that can give their all! Gender: Female Range: A4 - D4 Miss Honey A teacher at Matilda's school. She is kind, is generous, and really cares about the children despite her own desperate circumstances. Cast an excellent actress and singer who can portray Miss Honey's sweetness and her strength. It's helpful if the actress reads as older than the kids from onstage. Gender: Female Range: D5 - Bb3 Agatha Trunchbull The quintessential terrifying tyrant. As headmistress, she runs her school like a dictator, making up arbitrary rules to suit her every whim and dreaming up creative punishments. The Trunchbull can be played by a male or female (though the character is female). It's helpful if Trunchbull is physically larger than the actors playing children. Cast a fantastic character actor and singer who can command the stage and embody Trunchbull's larger-than-life villainy. Gender: Female Range: F#5 - C4 Rudolpho Mrs. Wormwood's self-obsessed dance teacher. This is a hilarious featured role for a comedic performer who moves well. Gender: Male Sergei A custoner swindled by Mr. Wormwood. Though he shows up looking for payback, Matilda has had quite enough of revenge, and Sergei lets the Wormwoods escape. This is a great featured role for an actor who can embody Sergei's intimidating presence. Gender: Male Ensemble Ensemble roles include Russians, Little Kids, Big Kids (including Big Kid 1, Big Kid 2, and Big Kid 3), Kids, Mums, Dads, the Cook, and the Mechanic.

Mean Girls Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Tina Fey Music by Jeff Richmond Lyrics by Nell Benjamin Based on the Paramount Pictures film Mean Girls Overview / Synopsis The Plastics have deemed Broadway Junior worthy of their presence in Mean Girls JR! This "fetch" musical from book writer Tina Fey (30 Rock), lyricist Nell Benjamin (Legally Blonde) and composer Jeff Richmond (Unbreakable Kimmy Schmidt) is packed with keen wit, an undeniably catchy score, and a sincere message for everyone. Cady Heron may have grown up on an African savanna, but nothing prepared her for the wild and vicious ways of her strange new home: suburban Illinois. How will this naïve newbie rise to the top of the popularity pecking order? By taking on The Plastics, a trio of lionized frenemies led by the charming but ruthless Regina George. Cady and her friends devise a "Revenge Party" to end Regina's reign with Cady going undercover as an aspiring Plastic. When the lines between the real Cady and her Plastic self get blurred, she must find her way back to herself and her true friends. Adapted from Fey's 2004 blockbuster film and the Broadway smash hit, Mean Girls JR. will be the queen bee of your stage! Audio Sampler - HL01138391 $10.00 ShowKit - HL01138392 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 60-Minute JR. Request Individual Components 01138388 - Piano/Vocal Score $40.00 01138387 - Director's Guide $100.00 01138389 - Libretto/Vocal Score $10.00 01138390 - Libretto/Vocal Score 10-Pak $75.00 01138391 - Audio Sampler $10.00 It Roars Mean It Roars It Roars (Reprise) Where Do You Belong? Meet the Plastics (Part 1) Meet the Plastics (Part 2) Stupid With Love Apex Predator What's Wrong With Me? Revenge Party (Part 1) Revenge Party (Part 2) Rockin' Around the Pole Fearless Whose House is This? More is Better World Burn I'd Rather Be Me I'd Rather Be Me (Tag) Do This Thing (Part 1) Do This Thing (Part 2) I See Stars Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Ensemble Cast Damian Co-chair of the Student Activities Committee and Janis's best friend. Damian is smart, witty, and confident and occasionally serves as the show's narrator. Gender: Male Range: Bb3 - G3 Janis Sarkisian Marches to the beat of her own drum and, with Damian, narrates throughout the show. After a falling-out with Regina in middle school, she became a bit of a social outcast and still holds a grudge against Regina. Damian is her best friend and lovingly refers to her as his "art freak." Gender: Female Range: A3 - D5 Cady Heron Arrives at North Shore High a clueless transfer student but is quickly wrapped up in brutal social politics. Though at her core Cady is levelheaded, self-assured, and kind, when she goes undercover with the Plastics, she becomes unrecognizable. Gender: Female Range: G2 - E5 Ms. Norbury Cady's homeroom and calculus teacher, and she oversees the Mathletes. Though she is a bit jaded and more than a little sarcastic, Ms. Norbury sees the real Cady and encourages her to be true to herself. Gender: Female Regina George The undisputed Queen Bee of North Shore High School, and she knows it. She's confident, clever, and completely unbothered by anyone else's opinion. While Regina purposefully manipulates everyone around her (including her own mom), at her heart, she's trying to fit in, just like everyone else. Gender: Female Range: Ab3 - Eb5 Gretchen Wieners Regina's stressed-out second-in-command. As much as Regina appears not to care what people think, Gretchen cares very much, and she's especially paranoid when it comes to Regina. She takes the Plastics very seriously and is completely controlled by Regina, until Cady comes along. Gender: Female Range: G2 - E5 Karen Smith The third member of the Plastics. While Karen's lack of intelligence is a running joke throughout the show, she sees the other girls more clearly than most people and is the most laid back of the three. Gender: Female Range: G2 - D#5 Aaron Samuels A nice guy who has no idea that he's the high school heartthrob. Although he doesn't enjoy the drama of high school social politics, he gets used as a pawn between Cady and Regina, though he genuinely likes Cady. Gender: Male Range: B3 - E5 Mrs. Heron and Mr. Heron Cady's Parents Mr. Duvall The school principal. Like Ms. Norbury, he's seen it all, although he's slightly more formal and sincere than Ms. Norbury's sarcasm. Gender: Male Shane Oman A couple of spoken lines but much discussed in the show's plot. Gender: Male Kevin G Captain of the Mathletes! He's confident and excited about competing with the team, and he's proud of their accomplishments. Gender: Male Martin Kevin G's second in command. Mrs. George Desperate to be a "cool mom". Gender: Female Ensemble Party Guests, the Debate Team, Dance Team, Show Choir, Mathletes, and Students. Cast Taylor, Caitlyn, Rachel, Caroline Krafft, Tony, Marymount Captain, Teary Girl, Mathletes Moderater Sonja Acquino, Glenn Cocco, Dawn, Grace, Lizzie, Sophie, and Jason from the ensemble. All these roles have a line or two, but they don't sing solos.

Oliver! Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book, Music, and Lyrics by Lionel Bart Overview / Synopsis Consider yourself at home with Oliver! JR., the Broadway Junior version of Lionel Bart's classic musical based on Charles Dickens' novel, Oliver Twist. The Tony and Olivier Award-winning show is one of the few musicals to win an Academy Award for Best Picture and is widely hailed as a true theatrical masterpiece by actors and audience members alike. The streets of Victorian England come to life as Oliver, a malnourished orphan in a workhouse, becomes the neglected apprentice of an undertaker. Oliver escapes to London and finds acceptance amongst a group of petty thieves and pickpockets led by the elderly Fagin. When Oliver is captured for a theft that he did not commit, the benevolent victim, Mr. Brownlow takes him in. Fearing the safety of his hideout, Fagin employs the sinister Bill Sikes and the sympathetic Nancy to kidnap him back, threatening Oliver's chances of discovering the true love of a family. Oliver! JR. is full of classic songs like "Consider Yourself", "Food Glorious Food", and "Oom-Pah-Pah", and perfectly showcases the talents of a large ensemble cast. Audio Sampler - HL00295941 $10.00 ShowKit - HL00295942 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos (Digital) Guide Vocal Tracks (Digital) Performance Tracks (Digital) Downloadable Resources and Media 60-Minute JR. Request Individual Components 00295942 - ShowKit $695.00 00295932 - Director's Guide $100.00 00295933 - Piano/Vocal Score $40.00 00295934 - Libretto/Vocal Score (Single) $10.00 00295935 - Libretto/Vocal Score (10 Pack) $75.00 00295941 - Audio Sampler $10.00 MUSICAL NUMBERS Food Glorious Food Oliver Boy For Sale Where Is Love? Consider Yourself Pick A Pocket Or Two Rum-Tum-Tum It's A Fine Life I'd Do Anything Be Back Soon Oom-Pah-Pah My Name As Long As He Needs Me Where Is Love? (Reprise) Who Will Buy? (Part 1) Who Will Buy? (Part 2) It's A Fine Life (Reprise) Reviewing The Situation Oliver (Reprise) As Long As He Needs Me (Reprise) London Bridge Bows Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Dance Requirements: Standard Mr. Bumble Mr. Bumble runs the workhouse where Oliver finds himself in the beginning of the show. He is cold, cruel, and he doesn't care one bit about the boys in his workhouse. Cast a good actor and decent singer who reads as older onstage and makes a good team with Widow Corney. Gender: Male Vocal range top: F4 Vocal range bottom: Bb2 Widow Corney Widow Corney runs the workhouse along with Mr. Bumble. She is cold and calculating, like Mr. Bumble, and only cares that the work gets done and puts money in her pocket. Cast a good actor and singer who works well with Mr. Bumble. Gender: Female Vocal range top: Eb5 Vocal range bottom: B3 Oliver Twist Oliver Twist is the 11-year-old orphan around which the whole plot of the show revolves. Oliver is intelligent and kind, but he is not afraid to stand up for himself when the situation calls for it. He longs for a family and escapes to London to try to make his fortune - though he has no idea what adventures await him there! Ideally, Oliver should read as younger onstage, but a great singer with a strong stage presence is more important than a physically smaller actor. Gender: Male Vocal range top: E5 Vocal range bottom: A3 Mr. Sowerberry Mr. Sowerberry is the undertaker who purchases Oliver from Mr. Bumble. He is a callous man who does not treat Oliver much better than Mr. Bumble. He does not sing a solo but should be an actor that pairs well with Mrs. Sowerberry. Gender: Male Mrs. Sowerberry Mrs. Sowerberry gives Oliver scraps left for the dog to eat. She, like her husband, does not care at all for Oliver's well-being and only wants him to work. Cast an actor who pairs well with Mr. Sowerberry. Gender: Female Charlotte Charlotte works for the Sowerberrys. She is kinder to Oliver than the others in the Sowerberry home, but not by much. Charlotte has a few lines but does not sing, so feel free to cast a performer new to the stage in this role. Gender: Female Noah Claypole Noah Claypole works for the Sowerberrys. He is a mean, nasty person who insults Oliver's mother on purpose to upset him. Noah should read as older onstage than Oliver and have good stage presence. He does not have to sing. Gender: Male Artful Dodger The Artful Dodger, a.k.a. Jack Dawkins, is one of the most famous characters in literature. He is charming, upbeat, and charismatic. Though Dodger works for Fagin as a thief, he is the first person to show Oliver real kindness and gives him a place to belong. Cast a great singer and actor who exudes charm and commands the stage. Gender: Male Vocal range top: E5 Vocal range bottom: A3 Fagin Fagin recruits, trains, and manages a gang of child-thieves. Though he claims he cares for each of his children, providing them food and shelter and characteristically calling them "my dear," he's really only concerned with the money these young thieves bring in. Cast a charismatic actor with a robust voice who can portray Fagin's nuanced charm. Gender: Male Vocal range top: G4 Vocal range bottom: C3 Charlie Bates Charlie Bates is one of Fagin's child-thieves. He is a great admirer of the Artful Dodger and an accomplished pocket-picker. Cast a good actor and singer in this fun role. Gender: Male Vocal range top: B4 Vocal range bottom: G4 Nipper Nipper is the smallest member of Fagin's gang. He has a small solo but no lines, so cast an actor of a smaller stature who can sing in this role. Gender: Any Vocal range top: E4 Vocal range bottom: A3 Captain The CAPTAIN and HANDWALKER are children in Fagin's gang. They each have small solos, so make sure these actors are comfortable singing onstage. Gender: Any Vocal range top: A4 Vocal range bottom: B3 Handwalker The CAPTAIN and HANDWALKER are children in Fagin's gang. They each have small solos, so make sure these actors are comfortable singing onstage. Gender: Any Vocal range top: B4 Vocal range bottom: D4 Nancy Nancy is an adventurous young lady with a heart of gold who has fallen in with the wrong crowd. She is vivacious and kind, the life of the party, and she immediately takes Oliver under her wing. Unfortunately, she is involved with Bill Sikes, who is a troublesome person. Cast a fantastic actress and great singer in this dynamic role. Gender: Female Vocal range top: E5 Vocal range bottom: G3 Bet Bet is a friend of Nancy's who shares her spirited nature and sense of adventure. Like Nancy, Bet has a kind heart but has fallen upon hard times. Cast a reliable singer and dancer who pairs well with Nancy. Gender: Female Vocal range top: D5 Vocal range bottom: A3 Mr. Brownlow Mr. Brownlow is a sweet man who takes Oliver in, even after Oliver has picked his pocket. Oliver is familiar to Mr. Brownlow immediately, even though he has no idea that Oliver is his grandchild. Mr. Brownlow doesn't have any solos, so he does not have to be a singer. This role is perfect for a strong, caring actor. Gender: Male Bill Sikes Bill Sikes is a quintessential villain. He is mean, selfish, and ruthless, and he always looks out for number one. He bullies everyone around him, especially Nancy, and is paranoid, always afraid that people will betray him. Cast a terrific actor and consistent singer who can lean into this character's menacing presence. Gender: Male Vocal range top: D4 Vocal range bottom: B2 Chairman The Chairman is a small featured role in the Three Cripples Public House. His few lines are crucial to the storytelling, so be sure to cast an actor in this role who has solid diction and can project. Gender: Male Mrs. Bedwin Mrs. Bedwin is Mr. Brownlow's kindhearted housekeeper. This is a lovely featured role for a singer and actor who reads as older onstage. Gender: Female Vocal range top: B4 Vocal range bottom: C4 Milkmaid The MILKMAID, STRAWBERRY SELLER, KNIFE GRINDER, and ROSE SELLER are featured roles that fill out the world of Oliver! JR. They all have solos, so cast good singers in these roles. These roles are great for younger performers who may not be ready to take on a larger part. Gender: Female Vocal range top: C5 Vocal range bottom: Eb4 Strawberry Seller The MILKMAID, STRAWBERRY SELLER, KNIFE GRINDER, and ROSE SELLER are featured roles that fill out the world of Oliver! JR. They all have solos, so cast good singers in these roles. These roles are great for younger performers who may not be ready to take on a larger part. Gender: Female Vocal range top: Eb5 Vocal range bottom: Eb4 Knife Grinder The MILKMAID, STRAWBERRY SELLER, KNIFE GRINDER, and ROSE SELLER are featured roles that fill out the world of Oliver! JR. They all have solos, so cast good singers in these roles. These roles are great for younger performers who may not be ready to take on a larger part. Gender: Male Vocal range top: G3 Vocal range bottom: Bb2 Rose Seller The MILKMAID, STRAWBERRY SELLER, KNIFE GRINDER, and ROSE SELLER are featured roles that fill out the world of Oliver! JR. They all have solos, so cast good singers in these roles. These roles are great for younger performers who may not be ready to take on a larger part. Gender: Female Vocal range top: Ab4 Vocal range bottom: Bb3 Dr. Grimwig Dr. Grimwig is a featured acting role. He is extremely intelligent but a bit pessimistic, especially compared to Mr. Brownlow. Cast a character actor who will enjoy playing an older character onstage in this non-singing role. Gender: Male Old Sally OLD SALLY and the MATRON confirm that Oliver is Agnes's son, and therefore Mr. Brownlow's grandson. These featured roles do not have solos, so they are perfect for actors who can deliver their important lines clearly. Gender: Female Matron OLD SALLY and the MATRON confirm that Oliver is Agnes's son, and therefore Mr. Brownlow's grandson. These featured roles do not have solos, so they are perfect for actors who can deliver their important lines clearly. Gender: Female Ensemble The large ensemble in Oliver! JR. fills out the world of the musical. The ensemble roles include CHILDREN (including CHILD), WORKHOUSE GOVERNORS, SERVANTS, MAID, DELIVERY PERSON, PAUPER ASSISTANTS, PEOPLE IN THE CITY (including PASSING MAN), FAGIN'S GANG, POLICEMAN, CUSTOMERS at the Three Cripples Public House, STREET SELLERS, MARKET SELLERS, CROWD in the Town square (including FIRST WOMAN, SECOND WOMAN, THIRD WOMAN and FIRST MAN), PEOPLE and POLICE at London Bridge (including LAMPLIGHTER, FIRST RUNNER, POLICE 1, POLICE 2). Gender: Any

Peter Pan Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Lyrics by Carolyn Leigh Music by Morris "Moose" Charlap Additional Lyrics by Betty Comden and Adolph Green Additional Music by Jule Styne Overview / Synopsis Based on J.M. Barrie's classic tale and featuring an unforgettable score by Morris "Moose" Charlap and Jule Styne with lyrics by Carolyn Leigh and Betty Comden and Adolph Green, Peter Pan is one of the most beloved and frequently performed family favorites of all time. This high-flying Tony Award-winning musical has been performed around the world and delighted audiences for 60 years and is now adapted for young performers. Peter and his mischievous fairy sidekick, Tinkerbell, visit the nursery of the Darling children late one night and, with a sprinkle of pixie dust, begin a magical journey across the stars that none of them will ever forget. In the adventure of a lifetime, the travelers come face to face with a ticking crocodile, a fierce Indian tribe, a band of bungling pirates and, of course, the villainous Captain Hook. Featuring the iconic songs, "I'm Flying," "I've Gotta Crow," "I Won't Grow Up" and "Never Never Land," and a rousing book full of magic, warmth and adventure, Peter Pan JR. is the perfect show for the child in all of us... who dreamed of soaring high and never growing up. It's is a dream come true for groups looking to bring magic to their stage and entertain countless families. Audio Sampler - HL00173430 $10.00 ShowKit - HL00173420 $695.00 This ShowKit includes: 30 Student Books Director's Guide Piano/Vocal Score 2 Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 00173421 - Director's Guide $100.00 00173422 - Piano/Vocal Score $40.00 00173423 - Student Book $10.00 00173424 - Student Book 10-pak $75.00 00173425 - Perf/Accomp CD pack $75.00 00173426 - Student Rehearsal CD $10.00 00173427 - Student Rehearsal CDs 20-Pak $100.00 00173428 - Choreography DVD $50.00 00173429 - Media Disc $10.00 00173430 - Audio Sampler $10.00 Hear A Sample Neverland [Peter, Lost Boys, Brave Girls, Darling Family] Prologue Tender Shepherd [Mrs. Darling, Wendy, John, Michael] I'm Flying [Peter, Wendy, John, Michael, Ensemble] Pirate March [Pirates, Lost Boys] Hook's Tango [Hook, Pirates] Brave Girl Dance [Tiger Lily, Brave Girls] Wendy [Peter, Lost Boys] Hook's Tarantella [Hook, Pirates] I Won't Grow Up [Peter, Lost Boys, John, Michael] Ugh-A-Wug [Peter, Tiger Lily, Brave Girls, Lost Boys, Children] Distant Melody [Wendy, Peter, Lost Boys] I Gotta Crow [Peter, Tiger Lily, Brave Girls, Lost Boys, Children] Nursery Music [Wendy, John, Michael] Finale Ultimo [Full Cast] Peter Pan Peter Pan is a boy without a care in the world. Originally written for and cast as a female, this role is for a girl with a soaring can-do spirit who most certainly "won't grow up!" Cast a young girl who can do it all: act, sing, and be as physical as the part demands. Again, Peter Pan is intended to be played by a girl. Gender: Both Vocal range: C5-F3 Wendy Wendy is the eldest of the Darling children and has a certain maternal quality. Wendy is very bright, ever-practical and ready for an adventure! Cast a young lady with warm presence and great singing voice. Gender: Female Vocal range: Ab3-Db5 John John is the middle Darling child and has an amicable and open presence. A little more proper than his younger brother, look for a good actor and singer who is the perfect complement to his siblings. Gender: Male Vocal range: Ab3-Db5 Michael Michael is the youngest Darling boy and seems to have unlimited energy. Find a good actor who can easily portray the youngest and most stubborn of the Darling children. If your actor also possesses a terribly cute disposition, that's perfect! Gender: Male Vocal range: Ab3-Db5 Nana Nana is a dog, but you don't need to find a real dog to fill the part! Cast a young performer who is unafraid to jump in and play this iconic part of the story. This performer should have a knack for physicality and be comfortable making bold acting choices. Gender: Both Mrs. Darling Mrs. Darling is the mother of Wendy, John and Michael, and she is the perfect picture of a mother. Cast a young lady who reads onstage as an older character and is experienced in acting and singing. Gender: Female Vocal range: Ab3-Db4 Mr. Darling Mr. Darling is the father of Wendy, John and Michael, and he is a man with one concern: keeping his house in order. Cast a young man with an older presence who is a perfect complement to Mrs. Darling. Gender: Male Liza Liza is the Darling's housekeeper who always seems to be in a bit of a frenzy as she tries to keep everyone pleased. This is a great cameo role for a young woman who can make strong character choices. Gender: Female Tiger Lily Tiger Lily is the fearless leader of the Brave Girls. Cast a young lady who can command the stage and is a good actor, singer and mover. Gender: Female Vocal range: Ab3-Db5 Brave Girls The Brave Girls, including Brave Girl #1, Brave Girl #2 and Small Brave Girl, are a group of Neverland inhabitants. They are a fun bunch of girls who are as strong as they are kind. Cast a group of young ladies who are proficient movers as well as competent singers. Gender: Female Vocal range: Ab3-Db5 Lost Boys The Lost Boys are a group of lads who live in Neverland without a care in the world! Cast advanced performers (and good singers) in the roles of Nibs, Slightly, Curley, Tootles, Twin #1 and Twin # 2. There is no need for the actors playing the Twins to be identical. If you create strong physical action to link the two, they can be anybody. Feel free to cast as many Lost Boys as desired, ideally making sure that the group is comparable in size to that of the Brave Girls. Gender: Male Vocal range: Bb3-C5 Pirates The Pirates are a gaggle of villains who are looking to cause some trouble. Cast a group of young performers, male, female or both that can act, move well, and aren't afraid to sing! Noodles, Cecco, and Starkey are all are great cameo roles for young performers to make strong acting choices. Gender: Both Captain Hook Captain Hook, the leader of the Pirates, has a bone to pick... or rather a Peter Pan to hook! This is the perfect role for a young performer who can sing and act, but above all, has great comedic timing. Though Captain Hook is the villain of the show, he's also a bit of a clown who just can't seem to get what he wants. He has to be as treacherous to the Lost Boys as he is a complete wimp around the Crocodile. Cast a strong actor who can make bold choices. Gender: Male Vocal range: B3-E5 Smee Smee is Captain Hook's sidekick who wants nothing more than to see Captain Hook succeed in his evil plotting. Cast a young performer who is a solid actor and a great complement for Captain Hook. Gender: Male Crocodile Like Nana, the Crocodile is a silent part for a young performer who can take a leap and become the wickedest beast that ever was! Cast a performer who can fill the role with life and great presence. Gender: Both

Rudolph The Red-Nosed Reindeer Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Overview / Synopsis The holiday classic soars off the screen in this Broadway Junior, 60-minute musical adaptation of the beloved television special. Filled with holiday hits like "Rudolph the Red-Nosed Reindeer" and "A Holly Jolly Christmas," Rudolph the Red-Nosed Reindeer™ JR. features all of your favorite characters including Santa and Mrs. Claus, Hermey the Elf, Bumble the Abominable Snow Monster, Clarice, Yukon Cornelius and, of course, Rudolph. It's an adventure that teaches us that what makes you different can be what makes you special. Audio Sampler - HL00295321 $10.00 ShowKit - HL00295322 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 60-Minute JR. Request Individual Components 00295313 - Piano/Vocal Score $40.00 00295310 - Director's Guide $100.00 00295314 - Libretto/Vocal Score $10.00 00295315 - Libretto/Vocal Score 10 Pak $75.00 00295321 - Audio Sampler $10.00 Hear A Sample MUSICAL NUMBERS A Holly Jolly Christmas Rudolph Intro Jingle, Jingle, Jingle When Santa Claus Gets Your Letter We're A Couple Of Misfits (Intro) We're A Couple Of Misfits (Continued) There's Always Tomorrow We Are Santa's Elves We're A Couple Of Misfits Fame And Fortune Silver And Gold The Most Wonderful Day Of The Year (The Island Of The Misfit Toys) There's Always Tomorrow (Reprise) Rockin' Around The Christmas Tree We Are Santa's Elves (Reprise) A Merry, Merry Christmas To You Rudolph The Red-Nosed Reindeer Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Sam The story's narrator - and a snowman! Sam remembers the winter of "the big storm" - so well, in fact, that he decides to tell the whole story. Sam should be a strong singer and actor. As the narrator, the audience should understand every word Sam says! Choose an actor with a warm and welcoming stage presence for this important role. Vocal range top: C5 Vocal range bottom: B3 Santa Claus Needs no introduction! Choose a more mature actor with a great stage presence who can act, carry a tune, and completely embody this significant character role. Vocal range top: D5 Vocal range bottom: B3 Mrs. Claus Another classic Christmas character. Cast an actor in this role that can make strong character choices and can be kind but firm with her husband. Donner Rudolph's father and a proud member of the team who pulls Santa's sleigh on Christmas Eve. Donner does not sing a solo but should be a strong actor. It's great if he reads as older onstage and pairs well with Mrs. Donner. Mrs. Donner Rudolph's mother. She loves her son and even sets off to find Rudolph after he runs away. Mrs. Donner does not sing a solo, so cast a good actor who reads as older onstage and pairs well with Donner. Young Rudolph The hero of the story! This lovable misfit struggles to fit in due to his glowing, red nose. Young Rudolph should be a good actor and ideally appear younger onstage. Gender: Male Vocal range top: B4 Vocal range bottom: G#3 Rudolph The hero of the story! This lovable misfit struggles to fit in due to his glowing, red nose. Rudolph should be an excellent actor and singer, and he should be able to embody the emotional heart of the story. Gender: Male Vocal range top: D5 Vocal range bottom: A#3 Bumble The Abominable Snow Monster can either be a few students operating a puppet or one student costumed as the monster. Bumble does not sing a solo, so this role should feature an actor with a great stage presence. Hermey A bit of an odd elf - he doesn't want to make toys; he wants to be a dentist! Like Rudolph, Hermey is a misfit, and they become close friends over their shared outsider status. Cast a talented actor who can sing, act, and bring this dentist elf to life! Gender: Male Vocal range top: D5 Vocal range bottom: G#3 Boss Elf A great role for a student who is a natural leader and has good comedic instincts. Boss Elf grumbles about Hermey's interest in dentistry at first, but it's only because he cares so much about making perfect toys for Santa - he doesn't mean any harm. Cast a good actor in this role. Gender: Male Fireball One of the yearlings. He is not particularly nice to Rudolph after his glowing nose is revealed. Fireball does not sing a solo, so this is a great role for a good actor who may not have the strongest singing voice. Gender: Male Clarice A doe who takes a liking to Rudolph in spite of his glowing, red nose. She is kind to him and even goes to look for him after he runs away. Clarice sings "There's Always Tomorrow," so cast an actor with a great singing voice who is able to portray Clarice's kindness, patience, and gumption. Vocal range top: C5 Vocal range bottom: B3 Elves The Elves (including Elf 1, Elf 2, Elf 3, Elf4, and Aviator Elf) are Santa's helpers and the choral backbone of the show. Elves 1 - 4 sing solos, and Aviator Elf has a featured spoken line. Be sure to cast strong singers as Elves 1 - 4, and feel free to add as many additional Elves as students who want to be involved in your production! Gender: Female Vocal range top: B4 Vocal range bottom: A3 Coach Comet The coach in charge of training the yearlings. He is good at his job, even if he is a little gruff, and doesn't take kindly at all to Rudolph's glowing red nose. Coach Comet doesn't sing a solo, so cast a good actor in this role who will read as older onstage compared to the yearlings. Gender: Male Clarice's Father A great role for a newcomer to the stage. Although he does not sing a solo, his brief cameo really drives home that Rudolph is an outcast in Christmastown. Gender: Male Yukon Cornelius A prospector in the hunt for silver and gold, Yukon has a big personality and is not afraid of anything, including Bumble. Yukon sings "Fame And Fortune," but keep in mind that this song can be done in a character voice. The most important qualities for this performer are a commanding stage presence, the ability to make strong character choices, and a willingness to chew the scenery! Gender: Male Vocal range top: D5 Vocal range bottom: C4 King Moonracer A great cameo role. This character does not sing a solo but should embody a regal, authoritative presence onstage. King Moonracer cares about the Misfit Toys on the island and wants to help them find real homes. Cast a good actor in this role who can command the stage. Gender: Male Charlie-In-The-Box The sentry on the Island of Misfit Toys. Sad to be named Charlie instead of Jack, Charlie-in-the-Box has several important lines and a few solos. This is a great role for a good actor and singer who can project and speak clearly onstage. Vocal range top: B4 Vocal range bottom: C4 Dolly Lives on the Island of Misfit Toys. This small role includes a solo and a few lines - ideal for a talented new performer who's not quite ready for a lead role. Vocal range top: G4 Vocal range bottom: E4 Cowboy One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Vocal range top: G4 Vocal range bottom: E4 Train One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Plane One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Bird-Fish One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Spotted Elephant Lives on the Island of Misfit Toys. This role is perfect for a new performer. Ensemble Roles include: Herald Reporter, Chicago Reporter, Daily Mail Reporter, Daily News Reporter, Chronicler Reporter, Reindeer (including Reindeer 1, Reindeer 2, Reindeer 3), Elves (including Elf 1, Elf 2, Elf 3, Elf 4, and Aviator Elf), Yearlings, Misfit Toys

Singing In The Rain Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Screenplay by Betty Comden & Adolph Green Songs by Nacio Herb Brown & Arthur Freed Based on the classic Metro-Goldwyn-Mayer film, by special arrangement with Warner Bros. Theatre Ventures, Inc. Overview / Synopsis The "Greatest Movie Musical of All Time" is faithfully and lovingly adapted by Broadway legends Betty Comden and Adolph Green from their original award-winning screenplay in Singin' In The Rain JR. Hilarious situations, snappy dialogue, and a hit-parade score of Hollywood standards make Singin' In The Rain JR. a guaranteed good time for performers and audience members alike. Singin' In The Rain JR. has all the makings of a Tinseltown tabloid headline - the starlet, the leading man and a love affair that could change lives and make or break careers! In silent movies, Don Lockwood and Lina Lamont are a hot item, but behind the scenes things aren't always as they appear on the big screen! Meanwhile, Lina's squeaky voice might be the end of her career in "talking pictures" without the help of a talented young actress to do the talking and singing for her. Three extraordinary roles for young dancers and a tour de force comedic turn make Singin' In The Rain JR. a perfect choice for any group with an abundance of talent ready to shine. Audio Sampler - HL00151890 $10.00 ShowKit - HL00151881 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00151882 - Director's Guide $100.00 00151883 - Piano/Vocal Score $40.00 00151884 - Actor's Script $10.00 00151885 - Actor's Script 10-pak $75.00 09971451 - Perf/Accomp CD $75.00 00151886 - Student Rehearsal CD $10.00 00151887 - Student Rehearsal CD 20-pak $100.00 00151888 - Choreography DVD $50.00 00151889 - Media Disc $10.00 00151890 - Audio Sampler $10.00 Hear A Sample SCENE 1 Fit As a Fiddle [Cosmo, Don, Crowd] SCENE 3 All I Do is Dream of You [Kathy, Kathy's Girls] SCENE 4 Make 'Em Laugh [Cosmo, Stagehands, Chorus Girls] Lucky Star [Kathy] You Were Meant For Me [Don, Kathy] SCENE 5 Moses Supposes [Don, Cosmo, Students] SCENE 6 Good Morning [Kathy, Cosmo, Don] Singin' in the Rain [Don, Ensemble] SCENE 7 Lina's Film Would You [Lina] Kathy's Film Would You [Kathy] What's Wrong With Me [Lina] SCENE 8 Broadway Melody [Broadway Melody Host, Dancers, Chorus] SCENE 9 Lina's Would You [Lina, Kathy, Cosmo] Lucky Star (Reprise) [Don, Kathy, Ensemble] Bows [Cast] Dora Bailey Always first on the scene for any major film opening, and she has the Hollywood scoop. This is a perfect non-singing role for a student with a great speaking voice who isn't quite ready for a lead. Gender: Female Don Lockwood Hollywood's leading man in silent film. Charming and charismatic, Don has no shortage of female admirers. Don is smart and levelheaded; he likes being a famous Hollywood actor, but he doesn't let the celebrity hype go to his head. Cast your best male singer and actor in this role, and someone who pairs well with Kathy. Gender: Male Vocal Range: Eb4 - Bb2 Lina Lamont A glamorous star of Hollywood's silent films. She believes everything amazing she reads about herself in the gossip magazines, including that she and Don Lockwood are madly in love. Your actress will have to work to accomplish the right amount of exasperating ditz to bring this character to life. Cast a confident, comedic actress who is not afraid to take positive risks and can keep Lina's nasal, grating voice consistent throughout the entire show. Gender: Female Vocal Range: Db5 - Bb3 Cosmo Brown Often serves as the comic relief in the show. Quick-witted and sure-footed, Cosmo is fast with a one-liner to lighten the mood. Cosmo is Don's right-hand man, and it's great to cast someone who physically contrasts with Don. Cast someone with great comedic chops and a strong musical sense as he leads many numbers in the show. Gender: Male Vocal Range: Eb5 - Bb2 Roz Always by Lina's side, or trailing after her. As Lina's manager, Roz works hard to make sure nothing upsets her. This non-singing character is a great supporting role for a promising young actress. Gender: Female R.F. Simpson The studio producer in charge of "Lockwood-Lamont" films. R.F.'s first and foremost goal is to make money, and if that means doing a talkie film that's fine with him. Cast a character actor who can show off R.F.'s anxious boss persona. This is a great non- singing role for a physically smaller actor with a big voice. Gender: Male Dexter The studio's director for Lamont and Lockwood films. He's loud and blustery, and he's easily frustrated with his assistants and Lina. This is a perfect non-singing role for an actor with a big voice who can show his frustration as he works to complete his first talkie. Gender: Male Dexter's Assistants Dexter's 1st, 2nd and 3rd Assistants are great featured roles for ensemble members who are new to the stage. Gender: Both Kathy Selden Wants to become an actress. She takes her career as an artist seriously and is embarrassed that she has to take jobs like singing and popping out of a cake just to get by. Cast your strongest singer and actress who can easily portray an honest likability as well as a tough exterior. An actress who pairs well with Don is also important as they have many scenes together. Gender: Female Vocal Range: Eb5 - G3 Miss Dinsmore and the Teacher The vocal coaches hired to turn Lina's voice into cultured perfection and to work with all of the other actors in the show. Tough, proper and slightly overworked, these characters are great roles to feature your hard-working ensemble members. These are non-solo singing roles. Gender: Female Zelda Lina's right-hand gal, who informs her that Kathy's voice is being dubbed over hers. Zelda can be dramatic and over-the-top like Lina, but at her core, she cares about her friend. This is a fantastic featured role for a confident performer who is unafraid to make bold choices. Gender: Female Sam A sound engineer, should be all business. Cast a young person who is comfortable taking charge onstage. Gender: Both Broadway Melody Host A natural leader. This role can be male or female and should be one of your stronger singers. This actor doesn't need to be an excellent dancer, but he or she needs to command the stage with an air of confidence. Gender: Both Vocal Range: F5 - Bb2 Broadway Dancers Broadway Dancers #1 and #2 are featured in "Broadway Melody" and should be excellent singers and dancers. Gender: Both Vocal Range: F5 - C3 Chorus Girls The Chorus Girls #1, #2, #3 and #4 are great featured singing roles in "Make 'Em Laugh." They don't need to be great singers as long as they can convey character and are able to be heard. Gender: Female Vocal Range: D5 - C4 Stagehands Stagehands #1, #2 and #3 are great featured singing roles in "Make 'Em Laugh." They don't need to be great singers as long as they can convey character and are able to be heard. Gender: Both Vocal Range: C5 - F4 Ensemble The ensemble roles in Singin' In The Rain JR. are comprised of the Crowd, Pedestrians, including Pedestrian #1 and Pedestrian #2, Stars, Fans, including Fan #1 and Fan #2, Policeman, Party Guests, including Young Lady, Kathy's Girls, Chorus Girls, Broadway Chorus, Guests, a Sound Engineer, Stagehands, Students, Sound Crew, Screening Guests, a Passerby, the Butler, Orchestra Leader and Audience Members. They really make the 1920s Golden Age of Hollywood come alive and are essential to this romantic light-hearted comedy. These ensemble groups are filled with named characters that have lines, so many of your ensemble students will have featured moments. Depending on your cast size, these ensemble groups can all be double or triple cast. Even if you have actors playing three or four different ensemble roles, emphasize the importance of character, and make sure your young performers make consistent character choices when they step onstage. Gender: Both

Magic Tree House: Dinosaurs Before Dark KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Jenny Laird Music and Lyrics by Randy Courts Additional Lyrics by Will Osborne Based on Magic Tree House #1: Dinosaurs Before Dark by Mary Pope Osborne Overview / Synopsis A magical tree house transports Jack and Annie to the land of the dinosaurs in this adaptation of the best-selling book series. (30-MINUTE VERSION FOR YOUNG PERFORMERS) What would you do if a tree house in your neighborhood could transport you anywhere you wanted to go? While exploring one afternoon, siblings Jack and Annie discover a tree house full of books. Jack looks through a book about dinosaurs and wishes he could see a real one. Suddenly the wind begins to blow and the tree house starts to spin wildly. When it finally stops, Jack and Annie open their eyes to find they have been transported back to the time of the dinosaurs. Join Jack and Annie on their adventure back in time to experience an amazing group of dinosaurs face to face. MAGIC TREE HOUSE: DINOSAURS BEFORE DARK KIDS is an adaptation of the first of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series. The books are number one New York Times' bestsellers - more than 100 million copies have been sold in North America alone. The series has been translated into many languages and is available in more than 100 countries around the world. It's story time in the forest, and all the young Saplings, along with Stump, a grumpy old tree stump, have gathered to hear Otto, the oak tell his latest tale. Today, Otto's story begins in Frog Creek, Pennsylvania, where a brother and sister named Jack and Annie find a mysterious tree house and discover that it is filled with a magnificent collection of books (How Far Can You See?). As Jack is looking at a picture in a book about dinosaurs, he idly wishes they could go there - and, magically, the wind begins to blow and the tree house begins to spin (Taking the Tree House for a Spin). Terrified, Jack and Annie cover their heads and cling to each other. The spinning stops. Jack and Annie look out the tree house window to discover that they have arrived in a land that looks exactly like the picture Jack was looking at in the dinosaur book. Annie spots Henry, a Pteranodon. Before Jack can stop her, Annie scrambles down the tree house rope ladder to meet the strange creature. Jack warns her about the dangers of making friends too hastily (Friend or Foe). Terri, Larry, and Gary, three Triceratops, enter the clearing. As curious about the two strange human creatures as Jack and Annie are about them, the Triceratops join in the song, with everyone finally agreeing that they can be friends. As Jack is making notes about his experience, he spots a gold medallion with the letter "M" on the ground. Before he can consider the mystery of how the medallion came to be in dinosaur times, Annie calls out that she's found something wonderful - a nest full of dinosaur eggs! Annie takes a flower from the nest and suddenly, with a huge roar, Natty the Anatosaurus rushes in to protect her nest! Annie freezes as Natty is joined by two more Anatosaurus, Susan and Joan. While Jack tries to figure out what to do, the three Anatosaurus mothers commiserate about the challenges of dinosaur motherhood (A Mother's Work is Never Done). During the song, Annie slowly crawls back to Jack and they watch from a safe distance - until Annie decides to make friends with Natty. To Jack's surprise, Natty is receptive to Annie's friendly approach, and Jack and Annie are amazed that they are having an adventure with real live dinosaurs (When We Woke). The eggs begin to hatch, and as the Baby Dinosaurs emerge they marvel at the wonders of the world into which they are being born (Wonder). Annie and Jack go to find food for the babies and discover a watering hole - the only place where plant eaters and meat eaters gather together. They watch as a variety of dinosaurs gather at the watering hole (March of the Dinosaurs). The peaceful scene at the watering hole is interrupted by the terrifying arrival of a Tyrannosaurus Rex (Roar). The Triceratops distract the T-Rex while Jack and Annie run back to the tree house but when they get there, Jack realizes he has forgotten his backpack and has to go back to get it. Jack races back and retrieves his backpack, but before he can get back to the tree house, the T-Rex spots him! Jack hides in some ferns and distracts the T-Rex by throwing a rock into another part of the clearing. Jack is about to make a run for the tree house when Henry arrives with Annie on his back. Henry rescues Jack, and Jack and Annie are thrilled to find themselves flying on the back of a Pteranodon (When We Woke - Reprise). Henry delivers Jack and Annie to the tree house, and they share a sad goodbye. Jack tells Annie the reason he had to go back for his backpack: he's figured out that the tree house magic works by pointing to a picture in a book and wishing to go there and he needed a picture of Frog Creek from his backpack to wish them home. He makes the wish and they return to the woods where the story began. The Saplings, Stump, Jack and Annie are all excited to see where the tree house will travel next (How Far Can You See? - Epilogue). Audio Sampler - HL00121237 $10.00 ShowKit - HL00121238 $545.00 This ShowKit includes: 2 Accompaniment & Guide Vocal CDs Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk Piano/Vocal Score 30-Minute KIDS Request Individual Components 00121239 - Director's Guide $100.00 00121241 - Piano/Vocal Score $40.00 00121230 - Actor's Script $10.00 00121231 - Actor's Script 10-Pak $75.00 00121232 - Rehearsal/Accompaniment CD $75.00 00121233 - Student Rehearsal CD $10.00 00121234 - Student Rehearsal CD 20-Pak $100.00 00121235 - Choreography DVD $50.00 00121236 - Media Disc $10.00 00121237 - Audio Sampler $10.00 Hear A Sample How Far Can You See? Taking The Tree House For A Spin Friend or Foe (Part 1) Friend or Foe (Part 2) A Mother's Work Is Never Done When We Woke Wonder March Of The Dinosaurs (Part 1) March of The Dinosaurs (Part 2) Roar What? The Backpack Think, Jack, Think When We Woke (Reprise) Spinning Again How Far Can You See? (Epilogue) Ankylosaurus Ankylosaurus: four-ton dinosaurs with spikes on their backs. Annie Annie: Jack's younger sister and, in many ways, his opposite in terms of personality. She is a risk-taker who often follows her heart instead of her head. She sometimes teases Jack about his careful attitude toward life and often encourages him to be more adventurous. She loves animals of any kind and has a very loving heart. Range: A3-D5 Baby Dinosaurs Baby Dinosaurs: Freshly hatched Anatosaurus dinosaurs who are filled with wonder upon encountering the world for the first time. Gary Gary: The boldest, hippest and friendliest of the Triceratops. He is the first to step out of the ferns to get a better look at Annie and Jack. He is as impulsive, curious and guileless as Annie. Range: A3-D5 Henry Henry: A pteranodon that Jack and Annie encounter upon first arriving. Annie names him Henry and believes he is magic. Iguanodons Iguanodons: The cool kids of the dinosaur lot. They have spikes for thumbs and are not afraid to brag about it. Jack Jack: He is bookish, careful and thoughtful, but he is NOT a nerd! Jack has tremendous curiosity about the world around him and loves to take notes about his observations. Jack tends to be very cautious in new situations, and his adventures in the tree house help him develop his confidence. He has a good (and protective) relationship with his younger sister, Annie, though her more impetuous nature often gets on his nerves. Range: A3-D5 Joan Joan: The most stressed out of all the Anatosaurus Mothers. Range: A3-C5 Larry Larry: The nerdiest of the Triceratops and is a little henpecked by Terri, but he isn't afraid to speak his mind. Range: A3-D5 Natty Natty: The ultimate mother hen and takes great pride in protecting the baby Anatosaurus eggs. Range: A3-C5 Otto Otto: The oldest oak tree in the forest, a mild-mannered grandfatherly or grandmotherly type and a natural storyteller. Range: C4-E5 Panoplosaurus Panoplosaurus: Tank-like dinosaurs who take a lot of pride in all of their unique characteristics. Protoceratops Protoceratops: The "runts" of the dinosaur litter Red Pines/ Hemlocks Red Pines/ Hemlocks: Groups of trees who narrate the story for the opening and closing of the show. Saplings Saplings: Young, spirited and curious Trees, eager to hear about the mysterious tree house that appears in their Woods. Stump Stump: A grumpy tree stump, who, in direct contrast to Otto, is impatient and ill-tempered. Range: C4-E5 Susan Susan: A sassy Anatosaurus Mom who is more intrigued by Jack and Annie's presence than afraid of them. Range: A3-C5 Terri Terri: The most domineering of the Triceratops, but her bossy comments toward Larry should serve as comic relief and not be perceived as bullying. Range: A3-F5 Toto Toto: Susan's pestering child. She (or he) is as sassy as her mother and a bit of an imp. Range: D4-A4 T-Rex T-Rex: A fierce, meat-eating dinosaur that Jack and Annie encounter right before getting back to the tree house. Troodon Troodon: The "brains" of the dinosaur lot but are not braggarts.

Disney's Frozen KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez Book by Jennifer Lee Overview / Synopsis Do you want to build a snowman? Designed for elementary school students, Frozen KIDS is a 30-minute adaptation of the 2018 Broadway musical, which was based on the 2013 Walt Disney Animation Studios film, written by Jennifer Lee and directed by Chris Buck and Jennifer Lee. The production features all of the songs from the animated film, with music and lyrics by the creators of the film score, Kristen Anderson-Lopez and EGOT-winner Robert Lopez. You'll love this fanciful and heartwarming stage adaptation of the celebrated animated film. Join Anna, Elsa, Olaf, Sven, and all of your favorite characters as they embark on an epic, ice-filled journey of self-discovery, camaraderie, and the real meaning of true love. Adapted for young performers, this musical includes favorite Frozen songs such as "Love Is an Open Door," "Do You Want to Build a Snowman?," and "Let It Go," as well as wonderful new songs from the Broadway production. This production of Frozen KIDS is sure to prove that "some people are worth melting for." Audio Sampler - HL00291810 $10.00 ShowKit - HL00291821 $545.00 This ShowKit includes: 30 Student Scripts Director's Guide Piano/Vocal Score Guide Vocal/Accompaniment CD Media Disc Choreography DVD Digital Guide Vocal & Performance Tracks 30-Minute KIDS Request Individual Components 00291801 - Director's Guide $100.00 00291802 - Piano/Vocal Score $40.00 00291803 - Actor's Script $10.00 00291804 - Actor's Script 10-pak $75.00 00291805 - Rehearsal/Accompaniment CD $75.00 00291806 - Student Rehearsal CD $10.00 00291807 - Student Rehearsal CD (20-pak) $100.00 00291808 - Choreography DVD $50.00 00291809 - Media Disc $10.00 00291810 - Audio Sampler $10.00 Let the Sun Shine On A Little Bit of You Do You Want to Build a Snowman? For the First Time in Forever Love Is an Open Door Let It Go In Summer Fixer Upper Finale Young Anna Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once the actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: B4-A3 Middle Anna Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once the actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: B4-A3 Anna Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once the actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: D5-G3 Young Elsa Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, Elsa becomes anxious and withdrawn before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for strong singers who can portray Elsa's restrained nature. Once the actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: B4-B3 Middle Elsa Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, Elsa becomes anxious and withdrawn before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for strong singers who can portray Elsa's restrained nature. Once the actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: F#4-A3 Elsa Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, Elsa becomes anxious and withdrawn before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for strong singers who can portray Elsa's restrained nature. Once the actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: D5-G3 Hans Hans is the ambitious Prince of the Southern Isles and overlooked thirteenth son of a king. He boasts an exceedingly charming facade that fools everyone - including Anna and, ideally, the audience! - into believing he's Prince Charming, when really, he's just a jerk. Cast an actor who can play both sides of this two-faced prince with relish as well as confidently sing "Love Is an Open Door." Gender: Male Vocal Range: C5-G3 Kristoff Kristoff is a hardworking ice harvester with a sarcastic veneer and a rough-around-the-edges exterior that hides a big heart. Taken in by the Hidden Folk when he was young, he loves Pabbie and Bulda dearly, but is a bit of a loner - until he meets Anna. Look for a performer who can balance a cynical sense of humor with charming banter. Gender: Male Olaf Olaf is a magical snowman created by Anna and Elsa when they were young and is endearingly delighted by everything - especially the idea of summer. Goofy and sweet, Olaf should possess a childlike innocence and excellent comic timing. Gender: Male Vocal Range: D5-F#3 Sven Sven is Kristoff's loyal best friend and a reindeer of few words. Look for a performer with terrific physical acting skills who can devise a strong movement vocabulary to bring this furry charmer to life. Consider auditioning potential Svens and Kristoffs together as the two should share a visible bond. King Agnarr King Agnarr is the warm-hearted ruler of Arendelle. He is committed to protecting both his family and his townspeople from his eldest daughter's powers. With no singing solos, focus on casting an actor who can play this father figure convincingly. Gender: Male Queen Iduna Queen Iduna possesses a sense of rightness and kindness that guides her in her protection of her two young girls. Born with her own powers, this queen has the ability to communicate with the Hidden Folk of the mountains and so understands Elsa more deeply; look for an actor who can portray this sense of compassion. Gender: Female Bishop The Bishop officiates the coronation and crowns Elsa. This spiritual supervisor must communicate to the townspeople of Arendelle in a serious and formal manner. Weselton Weselton is an overbearing visiting duke who possesses a huge inferiority complex. Look for an actor who can portray the narrow-minded naysayer with over-the-top gusto. Gender: Male Pabbie Pabbie and Bulda are the open and warm- hearted mystical leaders of the Hidden Folk. Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd-pleaser, "Fixer Upper." Bulda Pabbie and Bulda are the open and warm- hearted mystical leaders of the Hidden Folk. Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd-pleaser, "Fixer Upper." Ensemble The Ensemble is your show's primary group of performers from which you will pull the featured roles and other, perhaps smaller, ensembles. Be sure to select strong singers - as few or as many as your production requires - as all ensembles require group singing. Ensemble roles include: Storytellers, Townspeople, Snow Chorus, Castle Staff, Housekeeper, Butler, Handmaiden, Cook, Steward, Guard, Summer Chorus

Magic Tree House: The Knight at Dawn KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Jenny Laird Music and Lyrics by Randy Courts Additional Lyrics by Will Osborne Based on Magic Tree House #2: The Knight at Dawn by Mary Pope Osborne Overview / Synopsis Based on the best-selling book series, Jack and Annie journey to the Middle Ages and learn the power of hope. (30-MINUTE VERSION FOR YOUNG PERFORMERS) What would you do if a tree house in your neighborhood could transport you anywhere you wanted to go? Two siblings, Jack and Annie, return to visit the Magic Tree House filled with a magnificent collection of books that can transport the reader to the wonderful faraway settings featured in their pages. As they read a book about knights and the Middle Ages, Annie is intrigued by the Black Knight and the mysterious quest he says one must successfully complete before becoming a knight. When she wishes to visit the castle in the book, the siblings are whisked away to medieval times and set off to learn more about the Black Knight and his quest. Through their adventure, the two discover the power of hope and the true meaning of gallantry. MAGIC TREE HOUSE: THE KNIGHT AT DAWN KIDS is an adaptation of the second of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series. The books are number one New York Times bestsellers - more than 100 million copies have been sold in North America alone. The series has been translated into many languages and is available in more than 100 countries around the world. As the curtain rises, a Jester takes the stage and tells the tale of a magic tree house full of books that will transport the reader to wonderful faraway settings ("Prologue, How Far Can You See?"). Jack and Annie discover a book about knights and castles. In it, there is a bookmark with a strange inscription from the Black Knight, encouraging them to be brave and gallant if they wish to be knights ("You Must Pass My Test"). Inquisitive about the Black Knight and his quest, Annie wishes to visit the castle in the book. Before Jack can intercede, the tree house begins to spin and the two are whisked away to the medieval castle ("A Spin Before Dawn"). At the entrance to the castle, three guards - Mustache, Squinty and Red - stand watch while a grand feast is being held inside to win the favor of the Black Knight. The rumor of the Black Knight's presence has attracted a crowd of commoners, all wanting to catch a glimpse of the elusive hero. The guards let only the nobility into the feast and toss the Commoners out ("Mustache, Squinty and Red"). Finally, the Black Knight arrives, and the guards, star struck, scramble to show him in. Just as the drawbridge is about to be pulled up, Annie and Jack slip through the castle gate. Inside the Great Hall, the Jester and other minstrels are entertaining members of the Royal Court. The Duke requests a song about his favorite subject - himself. The Jester and Minstrels oblige, performing a song about the Duke and his brother, Harry ("The Apple Song"), whom the Duke imprisoned in the dungeon after Harry criticized the Duke's crop of apples. Just as the Black Knight is about to enter, Jack and Annie are discovered by Yates, Rikki, Baxter and other kids whose parents work in the castle kitchens. Convinced that Jack and Annie are thieves, the kids run off to tell the Duke. Before they can return, Jack and Annie hide in a dark room. Annie clicks on her flashlight and discovers rows and rows of shining Suits of Armor. With some help from the Suits of Armor, Jack and Annie imagine what it would be like to be a knight ("To Be A Knight"). Accidentally, Annie leans against a Suit of Armor, causing the whole line to topple like dominoes. Mustache, Squinty and Red appear and believe Jack and Annie are thieves or spies and are lying about their connection to the Black Knight. Keenan, the dungeon master, and the Keepers of the Dungeon welcome Jack and Annie to their new home ("Welcome to the Dungeon"). As they are shown around the premises, they are introduced to Harry, the Duke's brother, now a sad old man who won't speak to anyone, and many other Vagrants who the Duke has had imprisoned for questionable reasons. Keenan and the Keepers leave, and Jack and Annie implore Harry to reveal the location of a secret passageway that might lead them to freedom. The other Vagrants say it's no use - Harry has given up hope and will speak to no one. Annie and the others encourage him to look deep within to find a glimmer of hope ("A Light In the Dark"). Encouraged by the youngsters' moving message, Harry offers to draw a map leading to the secret passages of the castle. Jack clicks on the flashlight so Harry can see better, and everyone gasps - "Is it a wand? Like the wizards carry?" Realizing the power she has, Annie summons Keenan and the Keepers of the Dungeon. When they appear, she shines the flashlight on them and threatens to use her magic wand. With the guards stunned, the prisoners make their escape to the orchard, while Jack and Annie run toward another secret exit that leads to the moat and back to the tree house. The steps they are climbing suddenly come to an end and the two must jump into the moat and swim to safety ("The Legend Begins"). The Black Knight appears on the shore, helps Jack and Annie out of the moat, and praises them for passing his test - they helped the innocent without sword or might, but with their brains and their hearts. He dubs them knights, and thanks them for their service ("You Have Passed My Test - Reprise"). Jack and Annie climb back into the tree house and wish themselves back to Pennsylvania ("Spinning Into Dawn"). As the sun starts to come up, the two start to imagine all the places they can go and the adventures they'll have in their magic tree house ("How Far Can You See? - Epilogue"). Audio Sampler - HL00124950 $10.00 ShowKit - 00124940 $545.00 This ShowKit includes: 2 Accompaniment & Guide Vocal CDs Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk Piano/Vocal Score 30 Student Books 30-Minute KIDS Request Individual Components 00124941 - Director's Guide $100.00 00124942 - Piano/Vocal Score $40.00 00124943 - Actor's Script $10.00 00124944 - Actor's Script 10-Pak $75.00 00124945 - Rehearsal/Accompaniment CD $75.00 00124946 - Student Rehearsal CD $10.00 00124947 - Student Rehearsal CD 20-Pak $100.00 00124948 - Choreography DVD $50.00 00124949 - Media Disc $10.00 00124950 - Audio Sampler $10.00 Hear A Sample How Far Can You See? You Must Pass My Test A Spin Before Dawn Mustache, Squinty and Red The Apple Song To Be A Knight (Part 1) To Be A Knight (Part 2) Welcome To The Dungeon (Part 1) Welcome To The Dungeon (Part 2) A Light In The Dark The Legend Begins You Have Passes My Test (Reprise) Spinning Into Dawn How Far Can you See? (Epilogue) Bows Cast Size Medium (11-20), Large (over 20), Flexible Cast Type Children in Cast, Ensemble Cast - Many featured roles, Strong/Large Chorus, Teenage Roles Dance Requirement None/minimal, Standard (Musical Staging/Some Dance/Optional) Annie Annie Jack's younger sister and, in many ways, his opposite in terms of personality. She is a risk-taker who often follows her heart instead of her head. She sometimes teases Jack about his careful attitude toward life and often encourages him to be more adventurous. She loves animals of any kind and has a very loving heart. Range: G3-Bb4 Black Knight Black Knight A mysterious figure who sends Jack and Annie on their quest. In the Duke's kingdom, the Black Knight is something of a legend and a celebrity. Range: Bb3-Ab4 Commoners Commoners The common members of the kingdom who try to talk their way into the castle feast so that they can catch a glimpse of the Black Knight. Duke Duke A pompous bully who enjoys being the center of attention and wielding his power. Elf Elf Keenan's right hand man/woman and another big fan of dungeon life. Range: A3-D5 Harry Harry The Duke's brother and although he has been in the dungeon for forty-seven years, he has retained his quiet dignity and nobility. Range: F3-G4 Jack Jack He is bookish, careful and thoughtful, but he is NOT a nerd! Jack has tremendous curiosity about the world around him and loves to take notes about his observations. Jack tends to be very cautious in new situations, and his adventures in the tree house help him develop his confidence. He has a good (and protective) relationship with his younger sister, Annie, though her more impetuous nature often gets on his nerves. Range: Bb3-Bb4 Keenan Keenan The head honcho for all things concerning the Duke's dungeon. Range: A3-D5 Keepers of the Dungeon Keepers of the Dungeon The servants of Keenan and Elf who enjoy every moment of their lives in the dungeon. Range: A3-D5 Minstrels Minstrels The castle musicians and singers. Range: G3-G4 Mustache Mustache One of the main Castle Sentries/Guards. Mustache is a tough guy type and most of what he says and does is done in an effort to impress his boss, Red. Range: G3-C5 Red Red One of the main Castle Sentries/Guards. Red is the ringleader, a bit of a braggart, and the most ambitious of the three guards. Range: G3-G4 Rikki, Baxter, Yates and other Castle Kids Rikki, Baxter, Yates and other Castle Kids The children of the castle servants. They are spunky and adventurous and highly competitive with one another. Squinty Squinty One of the main Castle Sentries/Guards. Squinty is more childlike than the others, and his guilelessness helps provide much of the comic relief in their scenes. Range: G3-C5 Suits of Armor Suits of Armor The Suits are housed in the armory and brought to life by the song "To Be A Knight." Range: Bb3-Bb4 The Jester The Jester A professional entertainer/performer whose job it is to amuse the Duke and his guests, and he or she is the only person allowed to criticize or make fun of the Duke. Range: A3-C5 Vagrants Vagrants The prisoners of the dungeon being held for the "crime" of being orphaned. Range: F3-A4

Magic Tree House: Pirates Past Noon KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Jenny Laird and Will Osborne Lyrics by Randy Courts and Will Osborne Music by Randy Courts Based on Magic Tree House #4: Pirates Past Noon by Mary Pope Osborne Overview / Synopsis Magic Tree House: Pirates Past Noon KIDS is an adaptation of the fourth of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series, which has sold more than 100 million copies and is available in more than a hundred countries around the world. This time around, Jack and Annie's tree house takes them to an exotic island with pirates, where the two discover the power of friendship and the simple pleasures in everyday life. The two siblings return to visit the magic tree house on a dreary, rainy day. They find a book where the sun is shining and the waves are crashing, so they wish to travel to this tropical place. They realize that they are in the eighteenth-century Caribbean, the time of pirates! The siblings meet Captain Bones, a mean old pirate who captures the two and forces them to help him find buried treasure. It's up to Jack and Annie to find their way back to the tree house and make their way home. Magic Tree House: Pirates Past Noon KIDS is a great first pick for new directors, or if you have students who are new to the performing arts. The cast can be expanded to include plenty of pirates and island creatures, and students always enjoy a musical that takes place in a fantasy setting. Audio Sampler - HL00196012 $10.00 ShowKit - HL00196002 $545.00 This ShowKit includes: 30 - Student Books 1 - Director's Guide 1 - Piano/Vocal Score 1 - Accompaniment CD 1 - Choreography DVD 1 - Media Disc 30-Minute KIDS Request Individual Components 00196003 - Director's Guide $100.00 00196004 - Piano/Vocal Score $40.00 00196005 - Student Book $10.00 00196006 - Student Book 10-pak $75.00 00196007 - Performance/Accomp CD pack $75.00 00196008 - Student Rehearsal CD $10.00 00196009 - Student Rehearsal CD 20-pak $100.00 00196010 - Choreography DVD $50.00 00196011 - Media Disc $10.00 00196012 - Audio Sampler $10.00 Hear A Sample Pirates Putting on a Play Spinning to an Island The Tropical Island Song Row, Dogs, Row How Do You Do, I'm Captain Bones (Part 1) How Do You Do, I'm Captain Bones (Part 2) Bones, Bones, Bones Every Pirate Needs a Parrot Reading a Book Gold (Part 1) Gold (Part 2) Spinning Home Treasure Pirates Putting on a Play (Reprise) Bows Jack Jack is a young boy. He is bookish, careful and thoughtful, but he is NOT a nerd! Jack has tremendous curiosity about the world around him and loves to take notes about his observations. Jack tends to be very cautious in new situations, and his adventures in the tree house help him develop his confidence. He has a good (and protective) relationship with his younger sister, Annie, though her more impetuous nature often gets on his nerves. This is a big role and requires a strong singer and actor. Gender: Male Vocal Range: C4-D5 Annie Annie is Jack's younger sister and, in many ways, his opposite in terms of personality. She is a risk-taker who often follows her heart instead of her head. She sometimes teases Jack about his careful attitude toward life and encourages him to be more adventurous. She loves animals of any kind and has a very loving heart. Like Jack, this role requires strong singing and acting. When auditioning, you might mix and match your Jack and Annie hopefuls to see which ones have the best brother-sister chemistry. Gender: Female Vocal Range: C4-E5 Morgan/Polly Morgan is an ageless librarian enchantress. By the end of the play, Jack and Annie learn that the Magic Tree House belongs to Morgan. Morgan magically turns herself into Polly so that she can try to help the kids on this adventure, so for most of the show, Morgan will be costumed as a parrot. Look for an actor who can move easily in a more elaborate costume for most of the show. Although she doesn't speak or sing until the end, this large and important part requires one of your most mature female performers with both strong singing and acting skills. Gender: Female Vocal Range: A3-C5 First Mate The First Mate enjoys being in charge of his crew and must jumpstart the play with a commanding first line. He has solo singing lines and also helps to narrate the story, so cast an actor with a strong speaking and singing voice. This character can be played by a male or female actor. Gender: Both Vocal Range: Bb3-D5 Captain Bones Captain Bones is the epitome of a fearsome, odious pirate. He enjoys being vile and mean. Look for an actor who isn't afraid to really put himself out there - one who has both a physical and vocal swagger. Consider casting your strongest comic performer for this role - the absurd comedic tone of the play is highly dependent on Bones. If possible, it would be fun to cast an actor who is smaller in stature than his minions to highlight the comedy of his bullish ways. Although Bones does sing a solo part on "How Do You Do, I'm Captain Bones (Part 2)," those lines can be spoken, so if you have a kid who is a talented actor but a less-experienced singer, this role would be good for him. Captain Bones can be played by either a girl or a boy as long as the actor has a commanding stage presence and great comedic timing. Gender: Both Vocal Range: B3-C#5 Pinky, Stinky, Blinky and Slinky Pinky, Stinky, Blinky and Slinky are henchmen for Captain Bones. Though these pirates are devoted to Bones, they are not nearly as clever or mean. These large speaking roles all require good comedic timing. These roles are good for kids who will relish being able to dress and talk like a pirate in front of their peers. Look for strong actors who can carry a tune, are good at focusing and taking direction and who are capable of working together as a team. Cast males, females or both. Gender: Both Vocal Range: C4-B4 Jonah Jonah is a cabin boy who wants to help Jack and Annie escape from Bones. In stark contrast to the Pirates, he is kind, soft-spoken and tender-hearted. While being held captive, Jack and Annie teach Jonah how to read. Jonah's solo parts in "Reading a Book" require a strong singer, and the role requires an actor capable of quiet subtlety, so if possible, cast one of your strong performers in this role. If you are short on boys, cast a girl to play a boy. Gender: Both Vocal Range: C4-D5 Billy, Molly, Nathaniel, Wilhelmina, Peter, Pirates Billy, Molly, Nathaniel, Wilhelmina, Peter, and additional Pirates are the often funny and spirited Pirates under the command of Captain Bones. The named Pirates should be the strongest actors and singers of this group. If you don't have enough boys to play Billy and Nathaniel, cast girls who would have fun playing a boy. Casting extra Pirates is a good way to round out the chorus and to utilize performers who are less experienced. Gender: Both Vocal Range: B3-B4 Teeki the Seagull Teeki the Seagull is a jubilant bird with a need to express her joy for life. She is the matriarch of the Island Creatures on this particular Caribbean island. Cast an actor who enjoys the spotlight and who is physically uninhibited - someone who has good vocal and movement skills and isn't afraid to "get into the groove" of the "Tropical Island Song." Gender: Female Vocal Range: Bb3-Eb5 Pedro the Pelican Pedro the Pelican is a prim and proper pelican. Although not a large role, Pedro has a few solo lines. It might be comedic to watch this rather rigid, self-conscious bird get lured into the groove of "The Tropical Island Song" until he or she is the most enthusiastic dancer of them all. Cast an actor who can play shy but who isn't afraid to dance and let loose on stage. Gender: Male Stella the Starfish Stella the Starfish is a sweet, happy starfish who loves to dance. Stella has a few solo lines, so look for an actor who has a strong voice and can lead the other Starfish in a dance. Gender: Female Island Creatures Island Creatures including Pelican #1, Pelican #2, Pelican #3, Lizard #1, Lizard #2, Lizard #3, Corey the Crab, Starfish Partner, Additional Crabs, Lobsters, Starfish and Jellyfish sing "The Tropical Island Song" and "Treasure." Cast as many performers as your stage and program will allow. As long as you have a few strong performers representing each group of creatures, casting extra creatures is a great way to give additional children experience without the pressure of a large role. Feel free to assign character names to match the number of performers you cast. If needed, you can double-cast your more experienced Island Creatures as Pirates as well. Gender: Both