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Spamalot - Young @ Part Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Original Book, Music and Lyrics: Eric Idle Music and Lyrics: John Du Prez Overview / Synopsis Lovingly ripped off from the classic film comedy Monty Python and the Holy Grail, this middle school adaptation of Monty Python's SPAMALOT retells the legend of King Arthur and his Knights of the Round Table. The 2005 Broadway production won three Tony® Awards, including Best Musical, and was followed by two successful West End runs. The outrageous, uproarious, and gloriously entertaining story of King Arthur and the Lady of the Lake will delight casts and audiences as they search for the Holy Grail and "always look on the bright side of life." Print Perusal - HL00237279 $19.95 ShowBox - HL00237275 $625.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00251185 - Director's Script $50.00 00251186 - Cast Script/Vocal Book $10.00 00251187 - Piano/Vocal Score $40.00 00251188 - Guide Vocals CD $50.00 00251189 - Performance Tracks CD $100.00 Hear A Sample Introduction Fisch Schlapping Song King Arthur I Am Not Dead Yet Lady of the Lake Laker Girls The Song That Goes All For One Knights Round Table Find Your Grail Run Away Bright Side of Life Brave Sir Robin Whatever Happened All Alone The Hand of God Finale King Arthur The King of England who sets out on a quest to form the Knights of the Roundtable and find the Holy Grail. Great humor. Good singer. Gender: Male Vocal Range: G3-D5 Patsy King Arthur's horse and servant. Underappreciated but always longing for King Arthur's approval. Good, funny, physical mover with some tap dancing. Gender: Male Vocal Range: B3-D5 Sir Lancelot A Knight of the Roundtable. He is fearless to a bloody fault but through a twist of fate, does discover his 'softer side.' Gender: Male Vocal Range: Ab3-Eb5 Sir Robin A Knight of the Roundtable. Ironically called 'Sir Robin the Brave,' though he couldn't be more cowardly. Joins the Knights for the singing and dancing. Gender: Male Vocal Range: Bb3-C5 Lady of the Lake A Diva. Strong, beautiful, possesses mystical powers. The leading lady of the show. Great singing voice is essential, as she must be able to sing effortlessly in many styles and vocal registers. Gender: Female Vocal Range: E3-G5 Sir Galahad A Knight of the Roundtable. Begins as Dennis, a lower class 'mud gatherer' who becomes Knighted and transforms into the dashing Sir Galahad. Gender: Male Vocal Range: Bb3-D5 Sir Bedevere A Knight of the Roundtable. An inept scholar. No solo singing. Gender: Male Vocal Range: D4-D5 Minstrels Gender: Both Vocal Range: B3-D5 Historians Gender: Both Vocal Range: A3-A4 Ensemble
Once Upon a Mattress Musical - Getting To Know Collection Menu LEARN MORE About Getting To Know The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits A Brand New Adaptation by iTheatrics Music by Mary Rodgers Book by Jay Thompson, Dean Fuller and Marshall Barer Lyrics by Marshall Barer Overview / Synopsis If you thought you knew the story of 'The Princess and The Pea,' you may be in for a walloping surprise! Did you know, for instance, that Princess Winnifred actually swam the moat to reach Prince Dauntless the Drab? Or that it may not have been the pea at all that caused the princess a sleepless night? Carried on a wave of beguiling songs, by turns hilarious and raucous, romantic and melodic, this rollicking spin on the familiar classic of royal courtship and comeuppance provides for some side-splitting shenanigans. Chances are, you'll never look at fairy tales quite the same way again. In this adaptation for pre-high school students, the content has been edited to better suit younger actors and audiences, but all the magic, hilarity and fun of the original are still in place. Getting To Know... Once Upon A Mattress is the perfect show to introduce young people to the magic of live theater. Run Time: Approximately 50-70 minutes A note from iTheatrics about this new adaptation: In each iTheatrics adaptation, we pay special attention to making the material achievable for elementary and middle school students. We modify the music to fit young voices, shorten the running time of the show to make it less daunting for busy educators, and adapt the script to ensure that it's appropriate for the age group (while staying as true as possible to the original story). iTheatrics' adaptations include key points for directors and educators, advice on how to stage tricky sequences, and a number of suggestions and tips from our experience in the field. Every iTheatrics adaptation is workshopped with age-appropriate performers so that we can accurately advise teachers on the challenges they may face during their productions. Every adaptation is vetted both by the iTheatrics team and real, in-the-field teachers and students - and if they can do it, so can you! Perusal Pack - HL00125290 $15.00 Production Pack - HL00125282 $650.00 This Production Pack includes: 1 Piano / Vocal Score 30 Student Scripts 1 Production Guide 1 Vocal Tracks CD 1 Accompaniment Tracks CD 1 Guide to Choreography & Staging Disc 1 Digital Resources Disc Instant Digital Download Click For an Online License Request Individual Components 00125283 - Piano/Vocal Score $50.00 00125284 - Student Script $10.00 00125285 - Student Script 10-pak $50.00 00125286 - Production Guide $50.00 00125287 - Guide to Choreography & Staging $25.00 00125288 - Vocal Tracks CD $25.00 00125289 - Accompaniment Tracks CD $50.00 00125290 - Perusal Pack $15.00 00125291 - Digital Resources Disc $25.00 Special Feature: Digital Downloads! Once you have been approved for a license, you will receive an email from the Rodgers & Hammerstein organization welcoming you to the Getting To Know... family. This email will include a download link for the following digital resources: Audition-ready materials, including ready-to-print, show-specific audition music, scenes, and even specially created audition accompaniment tracks (Audition accompanist optional!) Show-specific information, including a music cue sheet, props list, scene-by-scene set breakdown, a list of costumes by character, and official show artwork A digital copy of the Production Guide, which you can use on your tablets and mobile devices A complete set of Vocal Tracks for the show - start your rehearsals now! By accessing these digital resources, you can begin the process of planning your show, and even hold auditions. New Production Pack Resources: iTheatrics built on the strength of the original Getting To Know... resources and brought them up to date with the best practices from the field. Materials are streamlined and consist of: Production Guide Student Scripts Piano/Vocal Score Accompaniment and Vocal Tracks Guide to Choreography and Staging DVD Digital Resources Disc. This means fewer physical books for you to carry. It also means that the resources you need most in rehearsals like Vocal Tracks and the Production Guide can be uploaded onto your mobile device. Forgot your Production Guide? No worries, you can now access it on your iPad. This is an industry first, and something that will make putting on a show with young people even better! PROLOGUE Many Moons Ago [Dauntless, Minstrel, Jester, King, Queen, Ensemble] SCENE 1: The Grand Hall in the Castle Opening for a Princess [Dauntless, Larken, Rowena, Lucille, Knights, Ladies] SCENE 2: A Corridor in the Castle Reprise: Many Moon Ago [Winnifred, Ensemble] SCENE 3: The Grand Hall Shy [Winnifred, 1st Knight, 2nd Knight, 3rd Knight, Dauntless, Queen, Knights, Ladies] SCENE 4: The Corridor Sensitivity [Queen, Wizard] SCENE 5: Winnifred's Bedchamber The Swamps of Home [Winnifred, Ladies, Dauntless] SCENE 6: The Corridor The Minstrel, the Jester and I [Minstrel, Jester, King] SCENE 7: Winnifred's Bedchamber Happily Ever After [Winnifred, Larken, Lucille, Rowena, Ladies] SCENE 8: The Corridor Spanish Panic Yesterday I Loved You SCENE 9: The Grand Hall Song Of Love [Dauntless, Winnifred, Ensemble] SCENE 10: The Corridor Quiet (Part 1) [Queen, Ensemble] Quiet (Part 2) [Queen, Ensemble] SCENE 11: The Corridor Finale [Minstrel, Ensemble] Princess Winnifred the Woebegone Princess Winnifred the Woebegone - is down-to-earth and without pretensions. Unlike what you might expect from of a princess, Winnifred is just an ordinary, high spirited girl. Having grown up in the swamps, she doesn't conduct herself in the formal way the others in the castle do. It is her natural, ingenuous quality that sets her apart from the other Ladies of the kingdom and makes Dauntless fall in love with her. Prince Dauntless the Drab Prince Dauntless the Drab - as him name implies, is kind of a sad-sack and somewhat listless. Although his overbearing mother controls his life and he is an obedient son, he still has hopes of someday finding a girl to marry of whom his mother will approve. Like Winnifred, he is honest and sincere. She gives him confidence in himself and within the course of the musical, we see him grow in self-assurance until he is finally able to confront his mother. Queen Aggravain Queen Aggravain - as her name suggests, is extremely vain, believing that her way of doing things is the only way. She is devoted to her son, Dauntless, and has no intention of ever allowing him to leave her or to have another woman in his life. She selfishly dominates everything that happens in the castle, never considering the feelings of others. The Silent King The Silent King - has been brow-beaten by the Queen and is very passive. He has learned that it is easier just to let the Queen have her own way than to fight her. Because he has not been able to speak for so long, he has learned to communicate through pantomime, or gestures. He loves his son and sympathizes with him but realizes he can do little to help him. Despite his frustrations, he is extremely good natured. Lady Larken Lady Larken - is a sweet girl but, perhaps because she is in love but unable to marry, she tends to be oversensitive. She is extremely frustrated that she can't marry Harry, but also extremely excited at the opportunity to be Lady-in-Waiting to Princess Winnifred. Of all the Ladies, it is Larken who most hopes that Winnifred will pass the test. Sir Harry Sir Harry - is a regular guy and, like Larken, is eager for Dauntless to find a bride so that he and Larken can marry. He is brave and dedicated enough to venture on a "perilous journey" in hopes of finding a genuine princess whom the Queen will find suitable as a bride for Dauntless. The Minstrel and The Jester The Minstrel and The Jester - are court entertainers and they have a great sense of joy in what they do. They sometimes serve as narrators and are assured in their ability to tell the story with authority. There is also something playful and mischievous about them. Either role may be played by a boy or girl. The Wizard The Wizard - is the Queen's confidant, her only friend and therefore the only person she can really talk to. However, he, like everyone else in the kingdom, is apprehensive of the Queen and would never have to courage to contradict her. Essemble Lady Lucille Sir Studley Lady Rowena Lady Beatrice Sir Harold Princess No. 12 Ladies and Knights of the Kingdom
Robert Buckley Robert Buckley   Robert Buckley has a diverse career as a composer, arranger, performer, producer, recording artist and conductor. In the pop world, he has created several albums and hit songs with labels such as CBS and A&M. The number one single Letting Go won him a gold record. He has conducted and arranged for major artists such as Michael Bublé, Bryan Adams, Celine Dion, Our Lady Peace, Simple Plan and Aerosmith, to name a few. In the film and television world, he has scored numerous award-winning shows for Disney, Alliance, ABC, FOX, CBS, PBS, CBC and the Cartoon Network. In the live stage world, he has composed music for contemporary dance, musicals and large-scale worldwide television events such as the Calgary Olympics, the Victoria Commonwealth Games, the Vancouver Olympics and the FIFA World Cup Opening Ceremony with Cirque Du Soleil. He composed This Is My Home for the Canada Pavilion at the World Expo – a song that has been performed at every Canada Day since and has become a Canadian tradition. In the concert world, he has composed and conducted for major symphony orchestras and his symphonic wind band compositions have been performed worldwide. Robert was invited to be composer-in-residence at the Southeastern United States Concert Band Clinic held at Troy University (Alabama), where his composition Continuum was premiered. For several years he has been invited to attend the Con Brio Whistler Music Festival and was commissioned to compose Where Mountains Touch the Sky for a massed band of more than 1,500 players. Robert has received numerous awards for his work and, as a frequently commissioned composer, is always looking for interesting new ways to express his  music. He lives in Vancouver with his wife, choreographer and director Marlise McCormick. www.bobbuckley.com   Publications by Robert Buckley
Madagascar - A Musical Adventure Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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
Emma Lou Diemer Emma Lou Diemer Emma Lou Diemer was born in Kansas City, Missouri. Emma Lou played the piano and composed at a very early age and became organist in her church at age 13. Her great interest in composing music continued through College High School in Warrensburg, MO, and she majored in composition at the Yale Music School (BM, 1949; MM, 1950) and at the Eastman School of Music (Ph.D, 1960). She studied in Brussels, Belgium on a Fulbright Scholarship and spent two summers of composition study at the Berkshire Music Center. She taught in several colleges and was organist at several churches in the Kansas City area during the 1950s. From 1959-61 she was composer-in-residence in the Arlington, VA schools under the Ford Foundation Young Composers Project, and composed many choral and instrumental works for the schools, a number of which are still in publication. She was consultant for the MENC Contemporary Music Project before joining the faculty of the University of Maryland where she taught composition and theory from 1965-70. In 1971 she moved from the East Coast to teach composition and theory at the University of California, Santa Barbara. At UCSB she was instrumental in founding the electronic/computer music program. In 1991 she became Professor Emeritus at UCSB. Through the years she has fulfilled many commissions (orchestral, chamber ensemble, keyboard, choral, vocal) from schools, churches, and professional organizations. She has received awards from Yale University (Certificate of Merit), The Eastman School of Music (Edward Benjamin Award), the National Endowment for the Arts (electronic music project), Mu Phi Epsilon (Certificate of Merit), the Kennedy Center Friedheim Awards (for piano concerto), the American Guild of Organists (Composer of the Year), the American Society of Composers, Authors, and Publishers/ASCAP (annually since 1962 for performances and publications), the Santa Barbara Symphony (composer-in-residence, 1990-92), the University of Central Missouri (honorary doctorate), and many others. She is an active keyboard performer (piano, organ, harpsichord, synthesizer), and in the last few years has given concerts of her own music at Washington National Cathedral, St. Mary's Cathedral and Grace Cathedral in San Francisco, Cathedral of Our Lady of the Angels in Los Angeles, and elsewhere. Emma Lou lives in Santa Barbara, California, five minutes from the Pacific Ocean. Publications by Emma Lou Diemer
The King and I - Getting To Know Collection Menu LEARN MORE About Getting To Know The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Based on Anna and the King of Siam by Margaret Landon Originally Choreographed by Jerome Robbins Overview / Synopsis The Getting To Know Series: Uniquely adapted musicals specifically for youth performers. East versus West makes for a dramatic, richly textured and ultimately uplifting tale of enormous fascination. It is 1862 in Siam when an English widow, Anna Leonowens, and her young son arrive at the Royal Palace in Bangkok, having been summoned by the King to serve as tutor to his many children and wives. The King is largely considered to be a barbarian by those in the West and he seeks Anna's assistance in changing his image, if not his ways. With both keeping a firm grip on their respective traditions and values, Anna and the King grow to understand and, eventually, respect one another, in a truly unique love story. In this adaptation for pre-high school students, the content has been edited to better suit younger attention spans, but all the magic and beauty of the original are still in place. You and your students will be enchanted by the timeless story and the dazzling score, while at the same time learning about theater and its production. Run Time: Approximately 50-70 minutes Perusal Pack - HL00138308 $15.00 Production Pack - HL00138300 $650.00 This Production Pack includes: Production Guide Includes: Performance/Accompaniment CD Choreography DVD Media Resources Disc Piano/Vocal Score 30 Student Scripts Instant Digital Download Click For an Online License Request Individual Components 00138301 - Piano/Vocal Score $50.00 00138302 - Student Script $10.00 00138303 - Student Script 10-pak $50.00 00138304 - Production Guide $50.00 00138305 - Guide to Choreography and Staging DVD $25.00 00138306 - Vocal Tracks CD $25.00 00138307 - Accompaniment Tracks CD $50.00 00138308 - Perusal Pack $15.00 00138309 - Digital Resources Disc $25.00 Special Feature: Digital Downloads! Once you have been approved for a license, you will receive an email from the Rodgers & Hammerstein organization welcoming you to the Getting To Know... family. This email will include a download link for the following digital resources: Audition-ready materials, including ready-to-print, show-specific audition music, scenes, and even specially created audition accompaniment tracks (Audition accompanist optional!) Show-specific information, including a music cue sheet, props list, scene-by-scene set breakdown, a list of costumes by character, and official show artwork A digital copy of the Production Guide, which you can use on your tablets and mobile devices A complete set of Vocal Tracks for the show - start your rehearsals now! By accessing these digital resources, you can begin the process of planning your show, and even hold auditions. New Production Pack Resources: iTheatrics built on the strength of the original Getting To Know... resources and brought them up to date with the best practices from the field. Materials are streamlined and consist of: Production Guide Student Scripts Piano/Vocal Score Accompaniment and Vocal Tracks Guide to Choreography and Staging DVD Digital Resources Disc. This means fewer physical books for you to carry. It also means that the resources you need most in rehearsals like Vocal Tracks and the Production Guide can be uploaded onto your mobile device. Forgot your Production Guide? No worries, you can now access it on your iPad. This is an industry first, and something that will make putting on a show with young people even better! I Whistle A Happy Tune [Anna and Louis] The March of Siamese Children [Instrumental] Getting to Know You [Anna, Wives, Children] We Kiss In a Shadow [Lun Tha, Tuptim] A Puzzlement [King] Home Sweet Home - The Royal Bangkok Academy [Children] Something Wonderful [Lady Thiang, Butri, Thara, Samorn] Small House of Uncle Thomas - Introduction [Chorus] Arrival in Canada [Tuptim and Children] Shall We Dance? (Part 1) [Anna, King] Shall We Dance? (Part 2) [Anna, King] Shall We Dance? (Part 3) [Instrumental] Finale Ultimo [Instrumental] The King The King is an imposing ruler. Having been born to his royal position and educated only in preparation for the throne, his range of experience is very limited. He has a commanding presence, speaks forcefully, stands solidly on both feet, can be extremely gruff in expressing himself, while also having a keen sense of humor. Anna Leonowens Anna Leonowens is an English schoolteacher who is intelligent, poised, strong-willed and cultured. Her husband died six years ago leaving her with a young son. A well-educated and patient teacher, she expresses her opinions in a polite but firm manner. Lady Thiang Lady Thiang is the King's head wife and mother of Prince Chulalongkorn. She is dignified, humble, dependable and efficient. Louis Leonowens Louis Leonowens is Anna's son. He is smart and inquisitive, open to and fascinated by new experiences. His father died several years ago and he is very close to and protective of his mother, with whom he has a very strong relationship. Prince Chulalongkorn Prince Chulalongkorn is the King's oldest son and heir to the throne. Like his father before him, he has been groomed to be king since birth. He is supremely confident in himself, even a bit arrogant and stubborn. The Kralahome The Kralahome holds a very important position within the Royal Palace as the King's most trusted advisor and confidant. He has served the King faithfully for many years, having earned his trust and respect, and he is very protective of the King. Tuptim Tuptim is a teenage girl from Burma who has been sent to be a slave in the Royal Palace. She speaks English well and loves to read. Tuptim has great determination and is willing to take risks to get what she wants. Lun Tha Lun Tha is a young emissary for the Prince of Burma, and as such is educated and responsible. He is very much in love with Tuptim and would do anything to protect her, but this love causes him to be foolhardy. Sir Edward Ramsay Sir Edward Ramsay is an extremely dignified and cultured British diplomat. Although he has come to Siam to determine whether or not the King is a barbarian, he is open-minded, gracious and warm. Princess Ying Yaowalak Princess Ying Yaowalak is one of the King's youngest daughters. She will grow up to be Ying, the narrator of the story. She's a delightful, eager little girl who is extremely fond of Anna and heartbroken at the thought of losing her. Captain Orton Captain Orton is a middle-aged Englishman who has spent his life working on the sea. He has probably never seen a single woman with a child travel along on such a long voyage, as Anna and Louis have, and is therefore especially concerned for their well being.
Peter Pan Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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
Curtains - Young @ Part Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Book and Additional Lyrics: Rupert Holmes Music and Additional Lyrics: John Kander Lyrics: Fred Ebb Original Book and Concept: Peter Stone Overview / Synopsis It's the brassy, bright, and promising year of 1959. Boston's Colonial Theatre is host to the opening night performance of a new musical. When the leading lady mysteriously dies on stage the entire cast & crew are suspects. Enter a local detective, who just happens to be a musical theatre fan! Packed with glorious tunes and a witty, charming script filled with delightful characters, CURTAINS Young@Part® is a hilarious journey for both performers and the audience. Print Perusal - HL00237281 $19.95 ShowBox - HL00237276 $625.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00251192 - Director's Script $50.00 00251193 - Cast Script/Vocal Book $10.00 00251201 - Piano/Vocal Score $40.00 00251202 - Guide Vocals CD $50.00 00251203 - Performance Tracks CD $100.00 Hear A Sample Wide Open Spaces What Kind of Man? Show People In the Same Boat Thataway! He Did It Kansasland A Tough Act to Follow Transition to Stage A Tough Act (Finale) Lieutenant Frank Cioffi Sweetly endearing local Boston detective who idolizes the world of musical theatre and has reveled in the thrill of performing in community theatre. Called upon to solve the murder of the star of "Robbin' Hood" (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, solid dancing in one extended "Fred and Ginger" number. Gender: Male Vocal Range: Ab3-G5 Niki Harris Pretty, almost too innocent ingénue, a local performer in a small role hoping "Robbin' Hood" will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended "Fred and Ginger" number. Gender: Female Vocal Range: C4-E5 Georgia Hendricks Female half of our show-within-a-show's songwriting team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well. Gender: Female Vocal Range: G3-E5 Carmen Bernstein Brash and brassy Broadway producer. Terrific comedic actress with a belt. Gender: Female Vocal Range: Bb3-E5 Aaron Fox The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he's separated but for whom he still pines. He's a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy. Gender: Male Vocal Range: Bb3-E5 Christopher Belling English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor. Gender: May be cast male or female Vocal Range: B3-E5 Bambi "Bernét" Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong "street-smart dumb blonde" comedy, and singing. Gender: Female Vocal Range: C4-E5 Oscar Shapiro From the garment district and sole investor in "Robbin' Hood." A likeably gruff man who knows nothing about theatre and frets over every dime of his that's spent. Requires good "rough around the edges" comedy and singing. Gender: Male Vocal Range: Bb3-E5 Bobby Pepper The Gene Kelly of "Robbin' Hood," its choreographer and male star, and a handsome rival to Aaron for Georgia's affection. Requires strong dancing, singing, comedy. Gender: Male Vocal Range: A3-E5 Johnny Harmon Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing. Gender: May be cast male or female (using the name Jenny Harmon) Vocal Range: E4-Eb5 Jessica Crenshaw Faded Hollywood star, a grand diva with no right to be one, and a plague to the show-with-the-show and to her cast. An absolutely dreadful singer and inept actress who stars in the show-within-a-show and gets murdered on its opening night in Boston. Must be skillful enough to sing hilariously out-of-tune and ineptly, and adroit enough to dance perfectly out of step with the rest of the cast. Appears only in the first minutes of the musical; on Broadway, this performer then adopted a different look and became part of the ensemble. Gender: Female Vocal Range: G4-D5 Randy Dexter A member of the singing & dancing ensemble featured in "Kansasland," pleasant but with a sensitive side. Gender: Male Vocal Range: A3-E5 Harv Fremont A member of the singing & dancing ensemble who bears a bouquet. Gender: Male Vocal Range: A3-E5 Ensemble
Guys & Dolls Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Abe Burrows & Jo Swerling Music & Lyrics by Frank Loesser Originally Directed on Broadway by George S. Kaufman Overview / Synopsis One of Broadway's most hilarious shows, Guys and Dolls has been described as the perfect musical comedy. It is primarily based on Damon Runyon's short story "The Idyll of Miss Sarah Brown," which describes the unlikely romance between a pure at heart urban missionary and a slick Broadway gambler. The show's second romantic storyline involves Nathan Detroit and Miss Adelaide, who have been engaged for fourteen years. Nathan organizes "the oldest established, permanent floating craps game in New York," and Adelaide is the main attraction at the Hot Box nightclub. Guys and Dolls opened on Broadway on November 24, 1950. Producers Cy Feuer and Ernest Martin assembled an exceptional team to bring Runyon's hard-shelled, but basically softhearted characters to the stage. The team, which included composer/lyricist Frank Loesser, co-book writer Abe Burrows, director George S. Kaufman, and choreographer Michael Kidd, created an instant hit, praised by reviewers as one of the most well constructed book musicals in Broadway history. Guys and Dolls has had several successful Broadway revivals and tours, and is one of the most produced shows worldwide. The Broadway Junior version has the approval of the author's estate and was first produced in 1998. Audio Sampler - HL08754784 $10.00 ShowKit - HL09971718 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Guide 2 Performance/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 09971714 - Piano/Vocal Score $40.00 09971713 - Director's Guide $100.00 09971717 - Actor's Script $10.00 09971742 - Actor's Script 10 Pak $75.00 09971715 - Performance/Accompaniment CD $75.00 09971716 - Choreography DVD $50.00 09971720 - Student Rehearsal CD $10.00 09971743 - Student Rehearsal CD 20 Pak $100.00 09971719 - Media Disc $10.00 08754784 - Audio Sampler $10.00 Hear A Sample Scene 1 Fugue for Tinhorns [Nicely, Benny, Rusty Charlie, opt. Ensemble] Follow the Fold [Sarah and the Mission Band] The Oldest Established [Nicely, Benny, Nathan and Crapshooters] Scene 2 I'll Know [Sarah and Sky] Scene 3 A Bushel and a Peck [Adelaide and Dolls] Adelaide's Lament [Adelaide] Scene 4 Guys and Dolls [Nicely, Benny, opt. Ensemble] Scene 7 If I Were a Bell [Sarah] Scene 8 I've Never Been in Love Before [Sarah and Sky] Scene 9 Adelaide's Second Lament [Adelaide] Scene 11 Luck Be a Lady [Sky, Crapshooters] Scene 13 Sit Down You're Rockin' the Boat [Nicely, Ensemble] Scene 14 Marry the Man Today [Adelaide, Sarah] Scene 15 The Happy Ending [The Company] Nathan Detroit Nathan Detroit needn't be a great singer, but should be a good actor with excellent comic timing. Adelaide Adelaide needn't be a great singer, but must have a strong character voice and a good sense of pitch. She needs to be able to do a New York accent and have good comic timing. Sky Masterson Sky Masterson is the quintessential, smooth as velvet Broadway gambler. He needn't be a great singer, but MUST be able to own the stage in "Luck Be a Lady." Sarah Brown Sarah Brown is the girl next door with a more adventurous side that's waiting to get out. She must be an excellent singer and a good actor. Arvide Abernathy Arvide Abernathy is Sarah's grandfather. May also be cast as a girl, changing to Sarah's grandmother. Benny Southstreet Benny Southstreet is a gambler. Rusty Charlie Rusty Charlie is a gambler. Harry the Horse Harry the Horse is a gambler. Lt. Brannigan Lt. Brannigan is a New York City cop. General Cartwright General Cartwright is head of the Save-a-Soul mission. Big Jule Big Jule is a very tough, gun-toting gangster from Chicago. Mimi Mimi is a doll. Angie the Ox Angie the Ox is a gambler. Guys Guys - The rest of your male ensemble (except for the mission band) can be cast as "guys." They are the crapshooters, gamblers, workers, New York City folks of all types. Dolls Dolls - The Dolls are your Hot Box girls and other ensemble females. You will want to designate your Hot Box girls as your preferred singers and dancers. Frequently, you will have many more girls than boys audition, so you may want to cast some of your girls as "guys." Mission Band Mission Band includes Agatha and Calvin. You can fill out the ensemble of your production by adding as many members of the Mission Band as your stage can accommodate.
Thoroughly Modern Millie Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Richard Morris and Dick Scanlan New Music by Jeanine Tesori New Lyrics by Dick Scanlan Overview / Synopsis Thoroughly Modern Millie is the zany new 1920's musical romp that will have everyone dancing the Charleston! Taking place in New York City in 1922, Thoroughly Modern Millie tells the story of young Millie Dillmount, who has just moved to the city in search of a new life for herself. It's a New York full of intrigue and jazz - a time when women were entering the workforce and the rules of love and social behavior were changing forever. Filled with frisky flappers, dashing leading men and a dragon-lady of a villainess audiences will love to hate, you'll present a perfectly constructed evening of madcap merriment. Songs include: Not for the Life of Me / Thoroughly Modern Millie, Not for the Life of Me (Tag), Not for the Life of Me (Reprise), The Speed Test, What Do I Need With Love, Jimmy, Back at Work, Forget About the Boy, Ah! Sweet Mystery of Life / I'm Falling in Love with Someone, I Turned the Corner, Muqin, Long As I'm Here With You, Gimme Gimme, The Speed Test (Reprise), Ah! Sweet Mystery (Reprise), Finale. Audio Sampler - HL08750921 $10.00 ShowKit - HL09971362 $600.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 09971364 - Piano/Vocal Score $40.00 09971365 - Director's Script $50.00 09971363 - Libretto/Vocal Book $10.00 09971367 - Libretto/Vocal Book 10 Pak $75.00 09971358 - Performance/Accompaniment CD $75.00 09971366 - Choreography DVD $50.00 09971369 - Student Rehearsal CDs $10.00 09971370 - Student Rehearsal CDs 20 Pak $100.00 08750921 - Audio Sampler $10.00 Hear A Sample Not for the Life of Me/Thoroughly Modern Millie Not for the Life of Me (Tag) Not for the Life of Me (Reprise) The Speed Test What Do I Need with Love Jimmy Back At Work Forget About the Boy Ah! Sweet Mystery of Life / I'm Falling in Love with Someone I Turned the Corner Mugin Long as I'm Here with You Gimme Gimme Gimme Gimme (Tag) The Speed Test (Reprise) Ah! Sweet Mystery (Reprise) Finale Bows Millie Millie is the sweet, classic ing�nue with pluck. The role requires excellent vocal chops; in fact, no other character in the Broadway Junior collection of shows sings as much as Millie. The role of Millie is the perfect star turn for that extra special performer. Cast a young woman with an excellent Broadway style voice with lots of stamina. Millie must also have charisma, a great sense of comedy, good acting skills and be able to hold her own as a dancer. Jimmy Jimmy is our male counterpart to Millie. Self-assured and cocky, cast a Jimmy who is charming, a great singer, a reasonable mover and who has a good sense of comic timing. Jimmy should be attractive in a cute, goofy sort of way. Mrs. Meers Mrs. Meers is the villain of our story. Think Cruella DeVille meets Miss Hannigan. Cast an over-the-top "scenery chewer" who has an excellent sense of comedic timing. Miss Dorothy Miss Dorothy is the perfect role for a young lady with a voice that is more classical than Broadway. She should be attractive, a good actress and should contrast physically with Millie. Miss Flannery Miss Flannery is the office manager. She's uptight (think librarian) and stern, a real no-nonsense kind of gal. Cast an up-and-comer who's not quite ready for a huge lead, but is definitely ready to break out of the chorus. Having tap skills and a good sense of comedy are definite pluses for this gem of a role. Ching Ho and Bun Foo Ching Ho and Bun Foo are brothers and emigrants from China. These two are working to bring their dear mother to the United States from China. While it's nice to cast performers of Asian descent in these roles, it is not always possible. These characters must learn some Chinese, so cast kids who live for great challenges and have a keen sense of adventure. Ching Ho must be played by a boy and is the more demanding role; Bun Foo can be played by a girl. These characters sing, dance, and act, all in Chinese. Trevor Graydon Trevor Graydon the Third is Millie's boss and she's determined to marry him. Cast your best-looking singer who's not afraid to be a bit of a goof ball. The Hotel Priscilla Girls The Hotel Priscilla Girls, are the fellow boarders at the Hotel Priscilla. If possible vary them widely in size, shape, color and attitude. They should be good singers and actresses. The girls with solo lines include: Ruth Gloria Rita Alice Cora Lucille Ethel Peas Mama Mama is Ching Ho and Bun Foo's mother from China. She makes a surprise cameo appearance during the finale of the show. This is a great walk-on part for the principal, a local celebrity or parent. No singing, no dancing involved. Ensemble The cast can be expanded in many ways and in many places. You can augment the ladies staying at the Hotel Priscilla. Street scenes, the speakeasy, the jail scene, etc. offer innumerable opportunities for many, many students to participate.
Hairspray Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Mark O'Donnell & Thomas Meehan Music by Marc Shaiman Lyrics by Scott Wittman & Marc Shaiman Based on the New Line Cinema film written and directed by John Waters Overview / Synopsis One Act, Book Musical, Rated G Broadway Junior Version You can't stop the beat in this big and bold musical about one girl's inspiring dream to dance. (60-MINUTE VERSION FOR YOUNG PERFORMERS) The 1950s are out and change is in the air! HAIRSPRAY JR. the family-friendly musical piled bouffant high with laughter, romance, and deliriously tuneful songs is adapted from the Original Broadway Version which won 8 Tony Awards including Best Musical. It's 1962, and spunky plus-size teen Tracy Turnblad has one big dream -- to dance on the popular Corny Collins Show. When she finally gets her shot, she's transformed from social outcast to sudden star. In balancing her new-found power with her desire for justice, Tracy fights to dethrone the reigning Miss Teen Hairspray, Amber von Tussle, and integrate a TV network in the process. With the help of her outsized mom, Edna, and guest DJ Motormouth Maybelle, the rhythm of Tracy's new beat just might prove unstoppable. HAIRSPRAY JR. is filled with a host of parts for a wide cross-section of students and an abundance of energetic production numbers. HAIRSPRAY JR. is a show that will celebrate your students' diversity and bring audiences to their feet with its positive message and uproarious sense of humor. - See more HERE. Early on a Monday morning in early June, 1962, Tracy Turnblad wakes up to face another day, full of hope and big dreams (Good Morning Baltimore). After school, Tracy and her best friend Penny Pingleton race home to watch "The Corny Collins Show," a local teenage music and dance show on TV (The Nicest Kids in Town). On the show, teen idol Link Larkin pledges his love to Amber Von Tussle by giving her his Council Member ring, and Corny Collins announces auditions for new Council Members. Seeing her chance at stardom, Tracy plans to cut school and audition for the show, but her mother Edna Turnblad does not approve. Elsewhere, Penny and Amber also argue with their mothers (Mama I'm a Big Girl Now). Tracy goes to the audition, but is ridiculed by the girls on the show and sent away by Amber's mother and show producer, Velma Von Tussle. Sitting in detention, a frustrated Tracy learns some new dance moves from Seaweed J Stubbs, a black student whose mother is Motormouth Maybelle - the DJ who hosts the monthly Negro Day on "The Corny Collins Show." The next evening there is a school dance and there, Tracy is able to impress Corny with the new moves she picked up in detention, earning her a spot on "The Corny Collins Show." During her debut, Link Larkin sings a song just for Tracy (It Takes Two). Now a local star, Tracy gets an offer to be the spokes-girl for Mr. Pinky's The Hefty Hideaway, a clothing store, gets her mother out of the house for the first time in years as the duo heads to the store to update their wardrobes (Welcome to the Sixties). At school, Tracy continues to be teased by Amber and becomes the target in a dodgeball game. After the game, Link, Penny, and Seaweed stay behind to help Tracy, and there Seaweed invites them to join him at his mother's record shop (Run and Tell That). The Von Tussles barge in and spoil the party with their bigotry, however, this gives Tracy the idea to integrate "The Corny Collins Show" by having Motormouth and her daughter, Little Inez, crash Mother/Daughter Day on the show. Fears of police and jail don't stop Tracy from moving forward with the plan. Unfortunately, the plan for integration lands all of the mothers and daughters in jail (The Big Dollhouse). Everyone gets out, except Tracy who is denied bail (Baltimore - Reprise). Link comes to the rescue and professes his love for Tracy, while elsewhere Seaweed and Penny reveal their feelings for each other too (Without Love). The kids hatch a plan to get Tracy on the nationwide Miss Teenage Hairspray broadcast, and bring the news to Motormouth, who expresses that she will never stop fighting for equality (I Know Where I've Been). Corny Collins begins his nationwide broadcast ((It's) Hairspray) and introduces Amber for her dance (Cooties). Just before Amber is crowned Miss Teenage Hairspray, Tracy and her friends storm in and take over the show (You Can't Stop the Beat - Part 1). Corny declares Tracy as the new Miss Teenage Hairspray 1962, and Tracy declares that "The Corny Collins Show" is officially integrated. Edna makes a grand entrance, and even the Von Tussles can't resist the celebration (You Can't Stop the Beat - Part 2). Audio Sampler - HL00123343 $10.00 ShowKit - HL09971731 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs 60-Minute JR. Request Individual Components 09971732 - Director's Guide $100.00 09971733 - Piano/Vocal Score $40.00 09971734 - Actor's Script $10.00 00123341 - Actor's Script 10-Pak $75.00 09971735 - Rehearsal/Accompaniment CD $75.00 09971737 - Student Rehearsal CD $10.00 00123342 - Student Rehearsal CD 20-Pak $100.00 09971736 - Choreography DVD $50.00 09971738 - Media Disc $10.00 00123343 - Audio Sampler $10.00 Hear A Sample Good Morning Baltimore The Nicest Kids In Town Mama, I'm A Big Girl Now The Nicest Kids (Reprise) It Takes Two Welcome To The Sixties Run and Tell That The Big Dollhouse Baltimore (Reprise) Without Love I Know Where I've Been (It's) Hairspray Cooties You Can't Stop The Beat (Part 1) You Can't Stop The Beat (Part 2) AMBER VONTUSSLE A prom queen nightmare! She is definitely "The Corny Collins Show" favorite, but she is competitive and has a bad attitude. Range: C4-E5 CORNY COLLINS The host of "The Corny Collins Show," and a Baltimore celebrity. Foremost, Corny is a charmer. Range: C3-G4 COUNCIL MEMBERS- BRAD, TAMMY, FENDER, SKETCH, SHELLEY, IQ, BRENDA and LOU ANN The famed teenage performers on "The Corney Collins Show." EDNA TURNBLAD Tracy's loving mother who doesn't spend much time outside the house. She works days and nights as a laundress in her home, and her lack of social interaction has made her a bundle of nerves. Range: Bb3-Eb5 LINK LARKIN Baltimore's biggest heartthrob, and Tracy's dream guy. Link is considered the best performer in town. Think of any teenage idol who is able to reduce girls to tears - there's your guy! Range: G2-A4 LITTLE INEZ STUBBS Seaweed's little sister and a great breakout role for a black actress. Range: Bb3-E5 MOTORMOUTH MAYBELLE MOTORMOUTH MAYBELLE is the face of the Civil Rights Movement and sings the beautiful anthem, "I Know Where I've Been." Range: F3-F5 MR. PINKY Owner of a ladies' clothing shop and is a salesperson inside and out - he is always the first to give a compliment. Range: C3-C4 PENNY PINGLETON Tracy's fun and sheltered sidekick. She is a young lady caught between her mother's very strict rules and her own wants and desires to be just another teenage girl. Range: C4-E5 PRUDY PINGLETON Penny's eccentric but loving mother, who wants the best for her daughter but is extreme in her means. SEAWEED J. STUBBS The object of Penny's affections, and together, they are determined to defy the segregation laws of the 1960s. Range: Gb2-Bb3 THE DUNAMITES (JUDINE, KAMILAH & SHAYNA) A dynamic musical trio, iconic of the Motown era and the 1960s. Think the Supremes. Range: E4-A5 TRACY TURNBLAD A young lady with big hair and an even bigger personality! She is the hero of our story and she is sweet but also strong in her convictions. She is bigger in size than the other girls, but she isn't shy about it - she can still dance with the best of them! Range: G3-C#5 VELMA VON TUSSLE A carbon copy of Amber - just twenty years older and meaner! She is most concerned with making sure her daughter wins Miss Teenage Baltimore. Range: C4-E5 WILBUR TURNBLAD Edna's loving husband and Tracy's supportive father who just wants the best for his girls.
Junie B. Jones Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 and Lyrics by Marcy Heisler Music by Zina Goldrich Adapted from the JUNIE B. JONES Series of books by Barbara Park Overview / Synopsis From Marcy Heisler and Zina Goldrich, the creators who brought you Dear Edwina and Dear Edwina JR., comes Junie B. Jones The Musical JR. - a delightful adaptation of four of Barbara Park's best-selling books, brought to life in a delightful adaptation created specifically for Broadway Junior performers. Join Junie B. on her first day of first grade, where many changes are in store: Junie's best friend Lucille has found new best friends - and Junie B. makes friends with Herb, the new kid at school. While in Mr. Scary's class Junie has trouble reading the blackboard - and she may need glasses. Add in a friendly cafeteria lady, an intense kickball tournament and a "Top-Secret Personal Beeswax Journal," and first grade has never been more exciting. Featuring many lovable characters and fun-filled songs, Junie B. Jones JR. will capture your audiences' and Broadway Junior performers' hearts - just as the books captivated an entire generation of students. Audio Sampler - 00239857 $10.00 ShowKit - HL00239847 $695.00 This ShowKit includes: 30 Actor's Scripts Director's Guide Piano/Vocal Score 2 Rehearsal/Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 00239848 - Director's Guide $100.00 00239849 - Piano/Vocal Score $40.00 00239850 - Actor's Script $10.00 00239851 - Actor's Script 10-pak $75.00 00239852 - Rehearsal/Accompaniment CDs $75.00 00239853 - Student Rehearsal CD $10.00 00239854 - Student Rehearsal CD 20-pak $100.00 00239855 - Choreography DVD $50.00 00239856 - Media Disc $10.00 00239857 - Audio Sampler $10.00 Hear A Sample Top Secret Personal Beeswax Lucille, Camille, Chenille Post Lucille Shoobee Doo Bop You Can Be My Friend Time to Make a Drawing You Need Glasses Show and Tell Post Show and Tell Shoobee Doo Bop Lunch Box Gladys Gutzman Beeswax Cookie (Reprise) Kickball Tournament You Can't Fix It Sheldon Potts' Halftime Show Sheldon's Playoff When Life Gives You Lemons Sheldon Runs Off (Part 1) Sheldon Runs Off (Part 2) Sheldon Runs Off (Part 3) Superstar Writing Down the Story of My Life Junie B. Jones Junie B. Jones is a spunky, intelligent girl who is starting the first grade as our show begins. Determined and a bit impulsive, Junie B. finds herself at the center of many classroom antics. Cast an experienced actor with a strong singing voice and excellent comedic timing. Your actor must be able to balance Junie B.'s charm and precociousness so the audience cheers for her right from the start. Gender: Female Vocal range: Ab3-E5 Daddy Daddy is Junie B.'s encouraging father who always looks on the bright side. Look for an actor who can comfortably portray an adult figure in a world full of young school kids. Daddy sings a song with Junie B. and Mother, so find a performer with a nice voice who can portray Daddy's kind heart. Gender: Male Vocal range: A2-D4 Mother Mother is Junie B.'s no-nonsense mom. She can be tough on Junie B., but it is all out of love. As with Daddy, find a performer who can play a more mature person. Mother is a perfect role for someone with a good voice who can portray a supportive parent. Gender: Female Vocal range: A3-D5 Lucille Lucille is Junie B.'s former best friend who has moved on to new friendships. Poised, put together, and probably a bit spoiled, Lucille controls and plans everything she does - quite the opposite of Junie B.'s bold impulsiveness. Cast a strong singer and confident actor in this role. Gender: Female Vocal range: F3-C#5 Camille and Chenille Lucille's new best friends, Camille and Chenille are twins. Just like Lucille, they are well dressed and very composed. These two roles are great for performers with bright energy who are also good singers. Remember, the actors playing Camille and Chenille don't have to look exactly alike - so long as they are wearing matching costumes, the audience will get the idea. Gender: Female Vocal range: Bb3-C5 Grace Grace is another one of Junie B.'s former best friends. She is not as calculated as Lucille, she has simply made new friends apart from Junie B. This is a perfect role for a young performer who can portray a kind and laid-back character and has a good voice. Gender: Female Vocal range: C4-C5 Mr. Woo Mr. Woo is the supervisor on the school bus. This featured role is great for an actor with a commanding speaking voice as he is in charge of corralling the Kids on Bus. Gender: Male Bobbi Jean Piper Bobbi Jean Piper is Grace's new friend. Bobbi Jean happens to be in the wrong place at the wrong time and unintentionally ends up on Junie B.'s bad side. This is a nice cameo role for a new performer. Gender: Female Vocal range: B3-G4 Herb Herb is Junie B.'s new best friend. An endlessly kind and charming little boy, Herb easily balances out Junie B.'s more demanding side. Find a performer who has great chemistry with Junie B. Herb should be one of your stronger singers and a very likeable actor. Gender: Male Vocal range: A3-D5 May May is the teacher's pet. Eager to prove her brilliance, May does not prioritize making friends with any of her classmates, and they do not mind. Cast a performer who can tap into the humor and confidence of this vibrant role. Gender: Female Vocal range: C4-C5 Lennie and José Lennie and José are classmates and friends of Junie B. and Herb. These two roles are good features for actors with good energy and nice voices. Gender: Male Vocal range: A3-C5 Mr. Scary Mr. Scary is the Room One teacher. Unlike his name suggests, Mr. Scary is a supportive and encouraging teacher. This is a perfect role to showcase a mature and energetic actor. Though he has a few short singing lines, they could easily be spoken if the actor isn't a strong singer. Gender: Male Vocal range: Bb2-Bb3 Sheldon Sheldon is definitely not the most popular kid in class. Plagued by a myriad of allergies and a general clumsiness, Sheldon's good intentions often end in disaster. Cast a great singer who can bring out the nerdy charm in this endearing role. Gender: Male Vocal range: B2-E4 Shirley Shirley is a featured soloist in a few of the School Kids' songs. This is perfect introductory role for a great singer who is new to acting. Gender: Female Vocal range: B3-C5 Mrs. Gutzman Mrs. Gutzman is the sweet old lunch lady, revered by all of the School Kids. Cast a mature performer who can capture her warm, grandmotherly nature. Mrs. Gutzman does not have to sing, so this is a great opportunity for a strong actor. Gender: Female Ensemble The Ensemble consists of Tickle the dog, the School Kids, Lunch Student 1, Kids on Bus, Student 1, Student 2, Student 3, Student 4, Student 5, Lunch Server and Cheerleaders. These are great roles for anyone who wants to be involved in the production! Gender: Both
The Choral Music of Benjamin Britten Distributed by Britten Home YouTube Festival Biography Choral Publications Article: Explore the Choral Music of Benjamin Britten by Paul Spicer Benjamin Britten (1913-1976) was a unique force in British music. Of the fine composers among his contemporaries, none wrote such a wide variety of music across such a broad spectrum of genres and for such a range of ages and abilities. Read full article. Benjamin Britten Biography Benjamin Britten was born in Lowestoft, Suffolk, on the east coast of England, on 22 November 1913. Although he was already composing vigorously as a child, he nonetheless felt the importance of some solid guidance and in 1928 turned to the composer Frank Bridge; two years later he went to the Royal College of Music in London, studying with Arthur Benjamin, Harold Samuel and John Ireland. Read full biography. Choral Publications Published by Boosey & Hawkes and Chester Music Distributed in North America, South America, Australia, and New Zealand by Hal Leonard (Note: Faber Music Britten publications are available from Alfred in North America.) Click on each piece for descriptions, duration, detail and audio excerpts on selected titles. The difficulty level indicated is from 1-5, with 1 being the least difficult. Categories SATB Difficulty Level 1-2 SATB Difficulty Level 2-3 SATB Difficulty Level 3 SATB Difficulty Level 3-4 SATB Difficulty Level 4 SATB Difficulty Level 5 SSA or SSAA Difficulty Level 1 SSA (or SSS) Difficulty Level 2-3 SS or SA Difficultly Level 1 SS or SA Difficulty Level 2-3 TBB/TTBB Difficulty Level 2-3 Unison Voices Difficulty Level 1-2 *forthcoming SATB Difficulty Level 1-2 48003266 Advance Democracy 48022495 As dew in Aprille (from A Ceremony of Carols)* 48008879 Balulalow (from A Ceremony of Carols) 48003278 Concord (from Choral Dances from Gloriana) 48008907 Deus in adjutorium meum (from This Way to the Tomb) 48008950 God Save the Queen 48008927 A Hymn to St. Columba - Regis regum rectissimi 48008930 A Hymn to the Virgin 48008959 Hymns (from Noye's Fludde) 48008933 I Lov'd a Lass 14037805 Jubilate Deo in C Major 48003212 Lift Boy 48003198 Old Abram Brown (from Friday Afternoons) 14002562 A Shepherd's Carol 48009004 Song of the Fisherman (from Peter Grimes) 48022504 Two Part-Songs 14037804 Venite exultemus Domino 48011791 We are the darkness in the heat of day SATB Difficulty Level 2-3 48008922 Choral Dances (from Gloriana), SATB a cappella 48008923 Choral Dances (from Gloriana), Tenor Solo, SATB, harp, vocal score 48021233 Festival Te Deum 48008925 The Holly and the Ivy 48022499 In Freezing Winter Night (from A Ceremony of Carols)* 48008962 Old Joe has gone fishing (from Peter Grimes) 48003206 There is no rose (from A Ceremony of Carols) 48003277 Time (from Choral Dances from Gloriana) 48003279 Time and Concord (from Choral Dances from Gloriana) 48003205 Wolcum Yole (from A Ceremony of Carols) SATB Difficulty Level 3 48008875 Antiphon, Op. 56b 48008876 Ballad of Green Broom (from Five Flower Songs) 48008877 Ballad of Heroes, vocal score 48011356 Ballad of Heroes, vocal score 48008895 A Ceremony of Carols 48008896 A Ceremony of Carols, harp part 48022497 Deo Gracias (from A Ceremony of Carols) 48008905 The Evening Primrose (from Five Flower Songs) 48003282 Final Dance (from Gloriana) 48021285 God moves in a mysterious way (from Saint Nicolas)* 48008929 Hymn to St. Peter 48022502 The Morning Star (from Spring Symphony)* 48008987 Rejoice in the Lamb 48008991 Saint Nicolas, vocal score 48008992 Saint Nicolas, choral score 48008989 Saint Nicolas, full score 48008990 Saint Nicolas, study score 14037803 Te Deum in C Major, vocal score 14041490 Te Deum in C Major, full score 48003207 This little Babe (from A Ceremony of Carols) SATB Difficulty Level 3-4 48011505 Five Flower Songs 48019976 A Wedding Anthem (Amo Ergo Sum) 14041486 The World of the Spirit, vocal score SATB Difficulty Level 4 48021234 Canone ed Ostinato and Corale con Canto (from Cantata academica, Carmen basiliense)* 48008886 Cantata academica, Carmen basiliense, vocal score 48008885 Cantata academica, Carmen basiliense, study score 48008889 Cantata misericordium, vocal score 48008890 Cantata misericordium, choral score 48008888 Cantata misericordium, study score 48021230 Hymn to St. Cecilia SATB Difficulty Level 5 14037801 A Boy Was Born, SATB/Organ 14041340 A Boy Was Born, SATB a cappella 48009008 Spring Symphony, vocal score 48009007 Spring Symphony, study score 48009029 War Requiem, vocal score 48009030 War Requiem, choral score 48009031 War Requiem, boys' choir choral score 48011841 War Requiem, study score SSA or SSAA Difficulty Level 1 48003340 O can ye sew cushions? 48008961 Old Abram Brown (from Friday Afternoons) SSA (or SSS) Difficulty Level 2-3 48022496 As dew in Aprille (from A Ceremony of Carols)* 48003231 Balulalow (from A Ceremony of Carols) 48008894 A Ceremony of Carols 48008902 Deo Gracias (from A Ceremony of Carols) 48022500 In Freezing Winter Night (from A Ceremony of Carols)* 48008947 Missa Brevis in D, vocal score 48008948 Missa Brevis in D, choral score 48003743 A New Year Carol (from Friday Afternoons) 48009017 There is no rose (from A Ceremony of Carols) 48009018 This little Babe (from A Ceremony of Carols) 48022505 Wolcum Yole (from A Ceremony of Carols) SS or SA Difficulty Level 1 14037802 Three Two-Part Songs SS or SA Difficulty Level 2-3 48003280 Country Girls (from Choral Dances from Gloriana) 48008979 Psalm 150, vocal score 48008980 Psalm 150, choral score 48010354 Psalm 150, full score 48010355 Psalm 150, score and parts 48009006 Spring Carol (from A Ceremony of Carols) TBB/TTBB Difficulty Level 2-3 48021286 The Ballad of Little Musgrave and Lady Barnard 48003281 Rustics and Fishermen (from Choral Dances from Gloriana) 48010943 Three Folk Songs Unison Voices Difficulty Level 1-2 48003960 Coaching Song (from The Little Sweep) 14037798 Corpus Christi Carol 48003984 Cuckoo! (from Friday Afternoons) 48008906 Fancie 48011758 Friday Afternoons 48003983 Jazz Man 48008935 King Herod and the Cock 48004492 Lone Dog 48008951 A New Year Carol (from Friday Afternoons) 48003444 The Night Song (from The Little Sweep) 48008963 Oliver Cromwell 48003456 The Salley Gardens 48003975 Sammy's Bath (from The Little Sweep) 48009021 A Tragic Story (from Friday Afternoons)
Magic Tree House: A Ghost Tale For Mr. Dicken's Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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
Sister Act Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Glenn Slater Book by Bill & Cheri Steinkellner Additional Book Material by Douglas Carter Beane Overview / Synopsis It's Christmas Eve in 1977 Philadelphia, and Deloris is in the middle of a high- energy audition with her backup singers ("Take Me To Heaven (Nightclub)"). She and the girls are performing for Curtis, Deloris's boyfriend, and his thugs, Joey, TJ, Pablo, and Ernie. Despite praise from the thugs, Curtis doesn't believe Deloris and her singers are ready to perform in his club. After this rejection and a disappointing Christmas gift, Deloris decides that she deserves better, walking away from Curtis and his club with confidence ("Fabulous, Baby!"). However, Deloris is unwillingly drawn back in when she accidentally witnesses Curtis murdering Ernie for being a police informant. Curtis confronts her, but she flees. Deloris goes straight to the police station where Officer Eddie Souther takes an interest in what she has to say. Immediately recognizing the officer as "Sweaty Eddie," a boy who had a crush on her in high school, Deloris puts her faith in Eddie, trusting him to find her a place to hide from her dangerous boyfriend. Eddie thinks of "the perfect place," Queen of Angels Cathedral in South Philadelphia. Mother Superior hesitates to take in the "wayward woman" Monsignor O'Hara describes, but upon his insistence, she agrees. Both Deloris and Mother Superior are shocked when they discover Deloris will be hiding there for a month. Mother Superior is especially distressed to discover that Deloris is not religious. She describes Deloris's new environment to her, handing her a nun's habit to wear ("Here Within These Walls"). Mother Superior introduces Deloris to the nuns, referring to her as Sister Mary Clarence "from a more progressive order." The nuns say a prayer and begin to eat dinner, but when Deloris complains about the food, Mother Superior proposes a fast. While Deloris complains, the nuns enthusiastically share all the reasons why they love being nuns ("It's Good To Be A Nun"). Mother Superior and Deloris are left alone, and Mother Superior has a proposition: would Deloris like to join the choir? The singer quickly says she will. The next morning, Deloris arrives at choir practice and is immediately shocked at how terrible the choir sounds. The nuns, however, are amazed at Deloris's musical talent. Taking the musical baton from choir leader Mary Lazarus, Deloris reminds the nuns that they are "rejoicing" and "singing to the Lord." She encourages the nuns to sing louder, to sing on key, and to blend with each other. By the end of the rehearsal, the choir sounds incredible ("Raise Your Voice"). The choir continues to impress at the next church service, where they draw crowds the church hasn't had for a long time ("Take Me To Heaven (Nun Choir Version)"). But not everyone is impressed by the choir's new sound - Mother Superior calls Eddie to the church, asking him to take Deloris away. Eddie relays this command to Deloris, who is frustrated and concerned that Curtis will find her. She is disappointed with Eddie, and Eddie wishes desperately that he could be her knight in shining armor ("I Could Be That Guy"). Deloris approaches Mother Superior about the choir, trying to get her to understand their performances could be beneficial to the church. Mother Superior disagrees... until Monsignor O'Hara reports that the church is receiving a large number of donations. Mother Superior agrees to keep Deloris in the choir, and the next church service is even more energetic than the previous one ("Sunday Morning Fever - Part 2"). Positive publicity flows in, and the choir is even invited to perform for the pope! The nuns are ecstatic. However, all the publicity has a price - Curtis and his thugs recognize Deloris on TV. They hatch a plot to get into the convent and steal her away ("Lady In The Long Black Dress"). Right before their performance for the pope, the nuns nervously gather in Deloris's room. They ask her to lead them in a blessing, and she does ("Bless Our Show"). Suddenly, Mother Superior bursts into the room, telling Deloris she is in danger and must leave. The nuns are confused - who is Deloris? The musician reveals her true identity and the reason she has been staying in the convent. Though the nuns are shocked and saddened by the news, sweet young postulant Mary Robert approaches Deloris and asks to go with her. The young woman is beginning to doubt being a nun is her true calling ("The Life I Never Led"). Deloris tells her she can't make Mary Robert's decision for her; she must figure that out herself. Mary Robert leaves Deloris her rosary, and Deloris expresses her wish to stay with her sisters ("Sister Act"). The nuns are rehearsing for their performance for the pope when Deloris walks into the room. She has chosen to perform with them, and the nuns are overjoyed. But their joy is quickly interrupted when they hear the sound of a window breaking. Curtis has come for Deloris! The nuns scatter, attempting to hide their sister. After a few minutes of antics, Curtis corners Mary Robert, and Deloris steps in to protect her. With her sisters behind her and Curtis coming for her, Deloris kneels and prays ("Sister Act (Reprise)"). Curtis crosses to Deloris, ready to strike, when Eddie jumps out from the middle of the nuns, surprising the thug. The cops handcuff Curtis and take him away, and Deloris rewards Eddie with a kiss. Mother Superior asks if Deloris will come back to the church to visit, and Deloris says she will be back often to sing. The sisters end the show with a rousing performance for the pope ("Spread The Love Around"). Audio Sampler - HL00294768 $10.00 ShowKit - HL00294771 $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 00294756 - Director's Guide $100.00 00294757 - Piano/Vocal Score $40.00 00294758 - Actor's Script $10.00 00294759 - Actor's Script 10-pak $75.00 00294768 - Audio Sampler $10.00 MUSICAL NUMBERS TAKE ME TO HEAVEN (NIGHTCLUB) FABULOUS, BABY! THE PERFECT PLACE HERE WITHIN THESE WALLS IT'S GOOD TO BE A NUN RAISE YOUR VOICE TAKE ME TO HEAVEN (NUN CHOIR VERSION) I COULD BE THAT GUY SUNDAY MORNING FEVER TAKE ME TO HEAVEN (NEWSCAST) LADY IN THE LONG BLACK DRESS BLESS OUR SHOW THE LIFE I NEVER LED SISTER ACT SISTER ACT (REPRISE) SPREAD THE LOVE AROUND Deloris Van Cartier A strong, street- wise aspiring singer who gets caught up with the wrong crowd. When she witnesses a crime involving her ex-boyfriend, she is put in witness protection - as a nun! Deloris is reluctant at first, but the more time she spends at the convent, the more she realizes that time with the sisters is exactly what she needed. Cast a great actress and wonderful singer in this powerhouse role. Tina One of Deloris's backup singers. These featured roles are perfect for enthusiastic performers who may not be quite ready to take on a larger role. Cast solid, good singers who are comfortable with speaking lines in this fun girl group! (And feel free to add these actors to your nun ensemble later in the show.) Nina One of Deloris's backup singers. These featured roles are perfect for enthusiastic performers who may not be quite ready to take on a larger role. Cast solid, good singers who are comfortable with speaking lines in this fun girl group! (And feel free to add these actors to your nun ensemble later in the show.) Elle One of Deloris's backup singers. These featured roles are perfect for enthusiastic performers who may not be quite ready to take on a larger role. Cast solid, good singers who are comfortable with speaking lines in this fun girl group! (And feel free to add these actors to your nun ensemble later in the show.) Michelle One of Deloris's backup singers. These featured roles are perfect for enthusiastic performers who may not be quite ready to take on a larger role. Cast solid, good singers who are comfortable with speaking lines in this fun girl group! (And feel free to add these actors to your nun ensemble later in the show.) Curtis Jackson To put it frankly, a complete jerk. He's not only mean and dishonest, he's also dangerous - and he's got Deloris on his radar. Curtis does not sing a solo, so cast a fantastic actor in this role who can make the most out of playing the bad guy. Joey The wise guy of Curtis's group. He's an upbeat charmer who is always ready with a joke - even though he's one of Curtis's criminals. Cast a charismatic, funny actor with a great singing voice in this role. TJ Not the brightest bulb in the bunch, and the audience is meant to have a few laughs at his expense. Cast a solid comedic actor who has great chemistry onstage with Joey and Pablo. Pablo The strong, silent type who definitely leans into his role as the muscle of the group. He has a few lines and sings some, but most importantly, he should make a great third member of the trio with Joey and TJ. Ernie One of Curtis's thugs and, unfortunately, takes the fall for being a police informant. This is a featured role for a good actor! Feel free to double Ernie as an Altar Boy or the Monsignor O'Hara later in the show if your program is short on male actors - just make sure that the audience won't confuse the characters if they are played by the same person. Cop The first person to talk to Deloris about Ernie's murder. This is a featured role for a performer who may be new to the stage. Eddie Souther The quintessential good guy with a heart of gold. Though Eddie was overlooked by Deloris in high school, he never quite got over his crush on her, which results in a few awkwardly endearing moments throughout the show. Cast an excellent actor, singer, and dancer who can portray this hardworking, sweet, dependable cop. Mother Superior Devoted leader of the convent. Her church and her sisters come before all else - and she's not afraid to voice her opinion. Mother Superior means well and eventually comes around regarding Deloris. Mother Superior is a major role, so look for an excellent singer and actress who can portray this strong, independent woman. Monsignor O'Hara The charming spiritual leader of the Queen of Angels Cathedral. His bottom line is to save their church, and he will do anything to support the bottom line - including forcing Mother Superior to house Deloris. Monsignor O'Hara should have a good stage presence and a sense of comic timing. He does not sing a solo in the show, so cast an actor with charisma who can take over the stage! Mary Patrick A nun in the convent. She is an upbeat, over-the-top, enthusiastic person who is always looking on the bright side. She has a number of solos within songs, so cast a good singer and actor in this fun role. Mary Robert A postulant and the youngest of the abbey's inhabitants. Shy, soft- spoken, and a bit of a wallflower, she enjoys being a nun, but her friendship with Deloris lets her truly find her voice. Cast a powerhouse singer and a great actor in this role. Mary Lazarus One of the older nuns at the convent, and she leads the choir. She is rather deadpan and not particularly welcoming to Deloris at first, though Deloris's love of music eventually wins her over. Cast a great character actor with a sense of comic timing who is comfortable with character singing. Mary Martin-Of-Tours A nun who definitely exists in her own world, so cast a good actor in this role that can make strong character choices. This nun has some wonderful stand-out moments, which include delivering an excellent karate chop, but she does not sing a solo, so cast someone who is a stronger actor than singer for this memorable role. Mary Celeste Mary Celeste and Mary Irene are the convent's cooks. They have a few featured solos, so cast confident singers in these roles. Mary Irene Mary Celeste and Mary Irene are the convent's cooks. They have a few featured solos, so cast confident singers in these roles. Mary Stephen A nun in the convent with a fantastic singing voice. She's supportive of Deloris's music from the start. Cast a great singer. Mary Theresa The oldest nun in the convent. She has a few featured lines and a small solo. This role is a great opportunity for someone new to the stage, so cast a good actor in this role who is comfortable singing in a group. Nuns The Nuns (including Nun 1, Nun 2, and Nun 3) help fill out of the world of the convent. Nun 1, Nun 2, and Nun 3 have featured solos, so be sure to cast actors in these roles that are ready for their moment in the spotlight. Ensemble Roles include: additional Nuns, Altar Boys, Street People, Angry Street Person, and Members of the Congregation
Bugsy Malone Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Alan Parker Music and Lyrics by Paul Williams Overview / Synopsis Based on the hit 1976 film starring a preteen Scott Baio and Jodi Foster and featuring a catchy, swinging score by the composer of The Muppet Movie, Bugsy Malone JR. is good, clean, comedic fun! Two gangs comprised completely of children, square off in a 1920's rivalry of Capone-ian standards. Dandy Dan's gang has gotten the upper hand since obtaining the "splurge" gun (a weapon that shoots whip cream). Now Fat Sam and his bumbling buffoons are in real trouble! Bugsy Malone, a one-time boxer, is thrust not-so-willingly into the gangster limelight, when he becomes the last chance Fat Sam's gang has of surviving. All Bugsy really wants to do is spend time with his new love Blousey; but that just isn't in the cards for our hero. Bugsy Malone JR. includes a chorus, which may be expanded by adding as many members to Dandy Dan's and Fat Sam's gangs as your stage can accommodate. The Grand Slam Girls can also be expanded to incorporate more singing and dancing girls! Audio Sampler - HL00114404 $10.00 ShowKit - HL00114394 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Guide 2 Rehearsal CDs 2 Accompaniment CDs 1 Choreography DVD 1 Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00114394 - ShowKit $645.00 00114395 - Director's Guide $100.00 00114396 - Piano/Vocal Score $40.00 00114397 - Actor's Script $10.00 00114398 - Actor's Script 10-pak $75.00 00114399 - Rehearsal / Accompaniment CD $75.00 00114400 - Student Rehearsal CD $10.00 00114401 - Student Rehearsal CD 20-pak $100.00 00114402 - Choreography DVD $50.00 00114403 - Media Disc $10.00 00114404 - Audio Sampler $10.00 Hear A Sample SCENE 1 Bugsy Malone [Chorus Girls] Fat Sam's Grand Slam [Chorus, Maitre D's, Candy Cigarette Girls, Male Gamblers, Tallulah's Girls] SCENE 3 That's Why They Call Him Dandy [Dandy Dan, Hoods] Tomorrow [Fizzy] SCENE 4 Show Business [Lena, Chorus] SCENE 5 Bad Guys [Fat Sam's Gang] Ordinary Fool [Blousey] My Name is Tallulah [Tallulah, Tallulah's Girls] SCENE 6 Down and Out [Down and Outs] SCENE 7 Fat Sam's Grand Slam (Reprise) [Chorus Girls] You Give a Little Love [Bugsy, Fat Sam, Dandy Dan, Tallulah, Blousey] Bugsy Malone Bugsy Malone is the hero of the story. Cast a handsome young man who can sing and act. This role is equal parts Jimmy Stewart, James Bond and Gene Kelly. Bugsy alternates as the narrator and the star of the show. A young performer comfortable in front of an audience, who radiates a sense of charm and sincerity as well as a street-wise sensibility, will take your show a long way towards success. Blousey Brown Blousey Brown is at first a typical young, wide-eyed, would-be star, just off the bus from a small town. However, we find out that Blousey is a force to be reckoned with and is certainly nobody's fool. This is a large role that requires good singing and acting, but the key to casting Blousey is finding a young actor who is at home with comedy. A young Carol Burnett type is recommended. Tallulah Tallulah is the classic gangster's moll. Cast a young woman who is self-confident and can deliver the role with deadpan sincerity and droll appeal. Tallulah is a Mae West type with a talent for performing. She needs to be a strong singer for her self-titled number. Fizzy Fizzy is an employee of Fat Sam's at the Grand Slam, whose duties mostly involve cleaning up the place. To cast Fizzy, find an actor who can really delivery the song "Tomorrow." It is a difficult song that requires emotional singing and a significant range. Hopefully, you'll find a singer who can delivery Fizzy's sad-eyed hopes and dreams as he sweeps up. Fat Sam Stacetto Fat Sam Stacetto is the baddest of the bad guys, whose biggest rival is Dandy Dan. Fat Sam should be an adept physical comedian with a commanding stage presence. He sings, so make sure you've got an actor who can carry a tune, but moreover, finding an experienced actor with good projection and diction skills is important. Fat Sam carries much of the dialogue of the show. Note that Fat Sam does not need to be fat. You can dress him in a fat suit or cast a realty small kid with a booming voice for comedic effect. Dandy Dan Dandy Dan is the unflappably stylish, debonair, underworld businessman who outwits Fat Sam every step of the way. Your Dan should be comfortable singing his song, "That's Why They Call Him Dandy." Find an actor with just the right sense of style and grace. Lena Marelli Lena Marelli is the star of the "Lena Marelli Show!," and she lets everyone know it. Cast a young performer who can TAKE OVER THE STAGE with a strong singing voice. An affected character voice is practically a requirement to delivery this role. Lena is not very bright, but she is very loud. Think Lina Lamont from Singin' in the Rain. Fat Sam's Gang Fat Sam's Gang includes Roxy Robinson, Angelo, Snake Eyes, Ritzy, Shake Down Louis and Sam's right hand man, Knuckles. You may add as many ensemble members to the gangs as your stage can accommodate. These fellows are bumbling, funny, non-threatening hoodlums. They should be able to sing with gusto (if not in tune) and be willing to work on the rigors of physical comedy. Many productions have successfully cast girls in these roles. Dandy Dan's Gang Dandy Dan's Gang members are really bad guys. Also known as The Hoods, they sing a little, but they splurge a lot! Cast suave-looking types who can pull off slicked-back hair and double-breasted suits. Many productions have successfully cast girls in these roles. The Hoods include Bronx Charlie, Shoulders, Benny Lee, Yonkers, Laughing Boy and Doodle. Tallulah's Girls The Tallulah's Girls perform at the speakeasy, and they include Tillie, Loretta, Dotty and Bangles. These girls should be very at home singing and dancing and should work well as ensemble singers. They are basically Tallulah's gang! Bangles has the most dialogue of these girls, so you might want to put your best actor in that role. Oscar De Velt Oscar De Velt is the stage equivalent of Cecil B. DeMille. A strong, confident actor will fit the bill here. Kiki the Colorist, Cashier and Stylist Kiki the Colorist, Cashier and Stylist Part of Paulette's entourage at the salon who are very adept at the "Bend and Snap." Range: C4-A4 Marbini the Magician Marbini the Magician and The Ventriloquist are two wonderfully funny smaller roles in the audition scene with Oscar De Velt. Both of them are convinced that they are world famous. Cast performers who can really sell these roles for all they are worth. The Opera Singer and the other bits in this scene are all great cameos. Down and Outs The Down and Outs are representative of out-of-work, Depression era men and women of the soup kitchens, which include the Cooks serving in the kitchens. The Down and Outs are ready for a cause, and helping Bugsy bring peace between Fat Sam and Dandy Dan is just what the doctor ordered. Additional ensemble roles in this scene include the Priest, Clipboard Willy and two Delivery Guys. If you have a smaller cast, you can use the splurged from early scenes (Fat Sam's Gang!). Other Roles Other standout ensemble roles include: the Radio Announcer, Paperboy (or girl), Razmataz, Maiter D's, Elegantly Dressed Lady, Waitress, Louella, The Butler, The Trumpet Player on Roller Skates, the Line of Auditionees at the Bijoux, Pop Becker, the Barber and Flash Frankie. These are all good comic roles for young performers. In a smaller ensemble you can double many of these parts. Additionally, students can be case as Speakeasy staff and customers, including a Waiter, Candy Cigarette Girls, Lena's Bodygaurds, Male Gamblers, additional Chrous Girls, Splurge Attendants, Speakeasy Customers, and Members of Fat Sam and Dandy Dan's Gangs.
Singing In The Rain Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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
Footloose - Getting To Know Collection Menu LEARN MORE About Getting To Know The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits A Brand New Adaptation by iTheatrics Stage Adaptation by DEAN PITCHFORD and WALTER BOBBIE Based on the Original Screenplay by Dean Pitchford Music by TOM SNOW Lyrics by DEAN PITCHFORD Additional Music by ERIC CARMEN, SAMMY HAGAR, KENNY LOGGINS and JIM STEINMAN Overview / Synopsis One of the most explosive movie musicals in recent memory bursts onto the live stage with exhilarating results. When Ren and his mother move from Chicago to a small farming town, Ren is prepared for the inevitable adjustment period at his new high school. What he isn't prepared for are the rigorous local edicts, including a ban on dancing instituted by the local preacher, determined to exercise the control over the town's youth that he cannot command in his own home. When the reverend's rebellious daughter sets her sights on Ren, her roughneck boyfriend tries to sabotage Ren's reputation, with many of the locals eager to believe the worst about the new kid. The heartfelt story that emerges is of a father longing for the son he lost and of a young man aching for the father who walked out on him. To the rockin' rhythm of its Oscar and Tony-nominated top 40 score (the soundtrack album reached number one on the Billboard charts and has sold over 15 million copies!) and augmented with dynamic new songs for the stage musical, FOOTLOOSE celebrates the wisdom of listening to young people, guiding them with a warm heart and an open mind. Getting to Know... FOOTLOOSE is the perfect show to introduce young people through the 9th grade to the magic of live musical theatre. Run Time: Approximately 50-70 minutes A note from iTheatrics about this new adaptation: In each iTheatrics adaptation, we pay special attention to making the material achievable for elementary and middle school students. We modify the music to fit young voices, shorten the running time of the show to make it less daunting for busy educators, and adapt the script to ensure that it's appropriate for the age group (while staying as true as possible to the original story). iTheatrics' adaptations include key points for directors and educators, advice on how to stage tricky sequences, and a number of suggestions and tips from our experience in the field. Every iTheatrics adaptation is workshopped with age-appropriate performers so that we can accurately advise teachers on the challenges they may face during their productions. Every adaptation is vetted both by the iTheatrics team and real, in-the-field teachers and students - and if they can do it, so can you! Perusal Pack - HL00279819 $15.00 Production Pack - HL00279820 $650.00 This Production Pack includes: 1 Piano / Vocal Score 30 Student Scripts 1 Production Guide 1 Vocal Tracks CD 1 Accompaniment Tracks CD 1 Guide to Choreography & Staging Disc 1 Digital Resources Disc Instant Digital Download Click For an Online License Request Individual Components 00279801 - Piano/Vocal Score $50.00 00279803 - Student Script $10.00 00279808 - Student Script 10 Pak $50.00 00279804 - Production Guide $50.00 00279815 - Guide to Choreography & Staging DVD $25.00 00265017 - Vocal Tracks CD $25.00 00279817 - Accompaniment Tracks CD $50.00 Special Feature: Digital Downloads! Once you have been approved for a license, you will receive an email from the Rodgers & Hammerstein organization welcoming you to the Getting To Know... family. This email will include a download link for the following digital resources: Audition-ready materials, including ready-to-print, show-specific audition music, scenes, and even specially created audition accompaniment tracks (Audition accompanist optional!) Show-specific information, including a music cue sheet, props list, scene-by-scene set breakdown, a list of costumes by character, and official show artwork A digital copy of the Production Guide, which you can use on your tablets and mobile devices A complete set of Vocal Tracks for the show - start your rehearsals now! By accessing these digital resources, you can begin the process of planning your show, and even hold auditions. New Production Pack Resources: iTheatrics built on the strength of the original Getting To Know... resources and brought them up to date with the best practices from the field. Materials are streamlined and consist of: Production Guide Student Scripts Piano/Vocal Score Accompaniment and Vocal Tracks Guide to Choreography and Staging DVD Digital Resources Disc. This means fewer physical books for you to carry. It also means that the resources you need most in rehearsals like Vocal Tracks and the Production Guide can be uploaded onto your mobile device. Forgot your Production Guide? No worries, you can now access it on your iPad. This is an industry first, and something that will make putting on a show with young people even better! Footloose/On Any Sunday [Company] I Can't Stand Still [Ren, Willard] Somebody's Eyes [Rusty, Wendy Jo, Urleen, Townspeople] Holding Out for a Hero [Rusty, Urleen, Wendy Jo, Ariel, Girls] Heaven Help Me [Shaw] I'm Free/Heaven Help Me [Ren, Shaw, Kids, Choir] Still Rockin' [Cowgirls, Company] Let's Hear It for the Boy [Rusty, Company] Can You Find It in Your Heart [Vi] Mama Says [Willard, Garvin, Bickle, Jeter] Almost Paradise [Ren, Ariel] Footloose (Finale) [Company] Ren McCormack Ren McCormack has recently traded in the big city for small-town life after his father walked out on him and his mother, Ethel. He's trying his best to put his past behind him, but his new home has problems of its own. Ren tries to encourage Bomont to loosen its strict ban on dancing and live a little. Cast a young man who can do it all - act, sing, and of course, dance. This young performer should possess the magnetism to inspire a whole community to cut loose. Chicago Friends (Dani, Lindsay, Stevie, Marty) Chicago Friends (Dani, Lindsay, Stevie, Marty) celebrate with Ren on his last night in town before his big move. They only appear at the top of the show, so feel free to double cast these parts with teenagers in Bomont. Ethel McCormack Ethel McCormack has recently arrived to Bomont with her son, Ren, stepping away from a failed marriage and trying to make a fresh start. She's got a sense of humor about her situation and a great need to make sure her son is adjusting. Find a young woman with a great singing voice who can convey a mature presence. Reverend Shaw Moore Reverend Shaw Moore is the most influential figure in Bomont. His conservative, religious views became strident after his son Bobby passed away in the Potawney Bridge accident, after driving home from a big dance - in fact, he's outlawed dancing altogether. This is a great role for a young man who reads as a bit older onstage and an actor who can command the stage with his acting and singing. Chuck Cranston Chuck Cranston is Ariel's boyfriend and a recent high school dropout. He doesn't have much ambition besides making sure he has control over Ariel. Cast a young man with the acting chops to appear intimidating and physically overbearing. Ariel Moore Ariel Moore is a young lady caught between her father Reverend Shaw Moore's conservative beliefs and her own aspirations to experience life and enjoy it for herself. Ren ignites an excitement in her, and she learns quickly that she has to stand up to her father to get what she wants. Ariel is a role for a charismatic performer who can act, sing and dance. Vi Moore Vi Moore is married to Reverend Shaw Moore, and though she usually agrees with her husband's point of view, she's not afraid to disagree when the tensions rise and tempers flare in the house. Cast a young woman who possesses a more mature energy and is a proficient vocalist. Lulu Lulu has recently invited her sister Ethel to stay with her and her husband, Wes, in the small town of Bomont. As Ren struggles to fit in with the rest of the teenagers, Lulu does her best to remain a patient and supportive host. Find a young woman who is a talented actor and a suitable fit with Wes. Wes Wes is Lulu's husband and a small-town kind of a guy. He helps Ren find a job, but, unfortunately, Ren's employment doesn't last long. Wes grows impatient but continues to support his family in this tough, transitional period. Cast a young man who will make a good pairing with Lulu. Rusty Rusty is Ariel's best friend who talks a mile a minute and has a crush on the soft-spoken Willard. She's unafraid to say what she wants, if only Willard would pick up on the clues. Cast a spunky young female who can do it all and can encourage Willard to finally ask her out. Urleen & Wendy Jo Urleen & Wendy Jo are part of Ariel's group of girlfriends who stick together no matter what. While Urleen may be a little more blunt, Wendy Jo is definitely a little more eccentric. Cast a pair of young ladies who are both talented and complements to Ariel and Rusty. Willard Hewitt Willard Hewitt is a country boy of few words and even fewer dance steps. At first, he may appear physically aggressive, but really, he's just a soft-spoken guy. He quickly becomes friends with Ren, and the unlikely pair lead the charge to bring dancing back to the town. Though at the top of the show he has two left feet, he commits to learning dance steps at the Bar-B-Que and dazzles the entire club. This role is great for a young man who is a skilled actor, dancer and singer. Principal Clark Principal Clark is the boss at Bomont's high school and an adamant enforcer of the town's strict guidelines. Cast a young woman who can emulate an older presence and is unafraid to take command of the stage. Coach Dunbar Coach Dunbar is a teacher at the high school who strongly supports the town's anti-dancing laws. When Ren arrives, Coach Dunbar does not make it easy for him, and exacerbates Ren's situation by pitting him against other students. This is a great cameo role for a young man who has an authoritative energy. Lyle & Travis Lyle & Travis are two members of the wrestling team who don't like Ren, the new kid in school. This pair of cameo parts is a good fit for two young men who can make strong character choices. Betty Blast Betty Blast owns the burger joint in town and gives the struggling Ren a job when he's down on his luck. Be sure to cast a girl who can offer a bit of personality and strength. She has no trouble kicking anyone out of her restaurant if they're causing trouble. Eleanor Dunbar Eleanor Dunbar is a prominent member of the town council and Coach Dunbar's wife. She, along with other council members, must decide on whether they should uphold its existing moral laws. This is a suitable cameo role for a young woman who can make big acting choices. Cowgirl Bonnie Cowgirl Bonnie leads a band that frequents the Bar-B-Que. She's the club's favorite entertainer, so be sure to cast a young woman with a great singing voice and a lot of stage presence. Cowboy Bob Cowboy Bob is a usual patron at the Bar-B-Que and takes a liking to Rusty when the high school teens visit the dance hall for the first time. This featured role is perfect for a young man with strong dancing abilities. Cowgirl Jude, Cowboy Chet & Cowgirl Laura Jo Cowgirl Jude, Cowboy Chet & Cowgirl Laura Jo are part of Cowboy Bob's entourage who are having a routinely good night dancing when the Bomont teenagers make a visit. Cast a trio of performers who have a lot of presence and elevated dancing skills. Bickle, Jeter & Garvin Bickle, Jeter & Garvin are teenage boys ready to help Ren and Willard take on the town's laws. Find three young men who are good singers, actors and dancers, and who work well together as a team. Cop Cop in town is the ultimate enforcer of the town's strict laws. This is a wonderful cameo role for a young man or woman who can exude confidence and intimidation. Ensemble: Ensemble: Young People (including Kids, Friends, Students, Girls, Boys, Boy 1, Boy 2, Guys), Congregation (including Choir, Parishioners), Band, Cowboys, Council Members, Townspeople
The Music Man Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Meredith Willson Music & Lyrics by Meredith Willson Based on a story by Meredith Willson and Fraklin Lacey Overview / Synopsis Based on Meredith Wilson's six-time, Tony Award-winning musical comedy, The Music Man JR. features some of musical theatre's most iconic songs and a story filled with wit, warmth, and good old-fashioned romance. The Music Man JR. is family entertainment at its best - a bold, brassy show that will have the whole town atwitter! Master showman Harold Hill is in town, and he's got "seventy-six trombones" in tow. Can upright, uptight Marian, the town librarian, resist his powerful allure? The story follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys' band he vows to organize. The catch? He doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, whose belief in Harold's power just might help him succeed in the end in spite of himself. The Music Man JR. is the perfect vehicle for your young cast, a toe-tapping crowd-pleaser featuring a soaring soprano ing�nue part and a leading role for a charismatic actor, as well as plenty of roles for kids of every level. Audio Sampler - HL00151879 $10.00 ShowKit - HL09971792 $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 09971793 - Director's Guide $100.00 09971794 - Piano/Vocal Score $40.00 09971795 - Actor's Script $10.00 09971796 - Actor's Script 10-pak $75.00 09971797 - Perf/Accomp CD pack $75.00 09971798 - Student Rehearsal CD $10.00 09971799 - Student Rehearsal CD 20-pak $100.00 09971800 - Choreography DVD $50.00 09971801 - Media Disc $10.00 00151879 - Audio Sampler $10.00 Hear A Sample SCENE 1 Rock Island [Salesmen, Newspaper Readers, Charlie] SCENE 2 Iowa Stubborn [Townspeople, Farmer, Farmer's Wife] Ya Got Trouble [Harold, Townspeople] SCENE 4 Piano Lesson / If You Don't Mind My Saying So [Marian, Mrs. Paroo] Goodnight, My Someone [Marian] SCENE 5 Columbia, Gem of the Ocean [Townspeople] Seventy-Six Trombones [Harold, Townspeople] Ice Cream/Sincere [Harold, Olin, Oliver, Jacey, Ewart] SCENE 6 Pick-a-Little, Talk-a-Little (Part 1) [Alma, Ethel, Maud, Eulalie, Ladies, Harold] Pick-a-Little, Talk-a-Little (Part 2) [Alma, Eulalie, Maud,d Ethel, Mrs. Squires, Ladies, Harold] SCENE 8 The Wells Fargo Wagon [Townspeople, Winthrop] Shipoopi [Marcellus, Boys, Girls] Pick-a-Little, Talk-a-Little (Reprise) [Ladies, Ethel, Alma, Maud, Ethel, Mrs. Squires, Eulalie] SCENE 9 Gary, Indiana [Winthrop, Mrs. Paroo, Marian] SCENE 10 Till There Was You [Marian, Harold] Bows [Cast] Harold Hill Harold Hill is a great role for a young person to play. Select a boy with charisma and charm, who is comfortable on stage. He should be a great actor, an average singer, and an average mover. You'll also want to cast a boy with a changed voice. For your sanity, make sure you cast someone who memorizes lines easily and has a good sense of musical rhythm. Your Harold should look good with your Marian and the two together should exude a spark of excitement. Gender: Male Vocal Range: G5 - B3 Marian Paroo The role of Marian is a different twist on the traditional leading lady. The character progresses greatly during the show, starting as an uptight librarian and transforming into a beautiful and trusting young woman. Your Marian must have an amazing voice, be an excellent actor, and be able to move well. She must also have an air of confidence that draws Harold and your audience to her. She will also need to be comfortable kissing two boys-Harold and Charlie Cowell, which requires a certain amount of emotional maturity. Finally, take some time during auditions to try different pairs of Harolds and Marians until you reach the perfect match. Vocal Range: G5 - G3 Charlie Cowell Charlie Cowell is one of the premium acting-only roles. Consider having the actor playing Charlie perform in the ensemble or as a teen dancer or townsperson-just make sure it's clear he's NOT playing Charlie Cowell in those scenes. Cast a strong actor with a good loud voice who is a bit of a ham and likes being on the stage. He has to be comfortable kissing Marian, and should have a good sense of comic timing. Charlie is a good choice for an understudy to Harold Hill. Gender: Male Mayor Shinn You may be tempted to cast an "over-the-top" actor as Mayor Shinn, but resist and heed the warning of Meredith Willson. The actor playing Mayor Shinn certainly needs a good sense of comic timing, but should be able to perform the role very seriously. This is elemental in creating the humor of The Music Man JR., which is based in reality. Mayor Shinn does not have to sing or dance, but he is responsible for a great deal of the pacing and line pick up in the show. Make sure your actor can memorize long monologues. Gender: Male Eulalie Mackecknie Shinn Everybody wants to play Eulalie. It's a great role for a great comic actress. Again heed Mr. Willson's warning and avoid casting an actress who is over the top. If Eulalie takes herself seriously your audience will find her hysterical. Eulalie does have some singing and some dancing, or at least posing. Make sure your Eulalie works with your Mayor Shinn. Gender: Female Vocal Range: D5 - D4 Marcellus Washburn This classic sidekick to Harold has been immortalized by comedic greats like Buddy Hacket. Marcellus' big number is "Shipoopi" so the character has to act well, sing reasonably well (although a character voice is best) and be able to dance. Cast the kid who is just funny all the time and you'll have a great Marcellus. Gender: Male Vocal Range: D#5 - E4 Ethel Toffelmier Ethel is Marcellus's girlfriend. She's described by Marcellus as "a nice comfortable girl and the bosses' niece." Ethel has some acting, some singing, and some dancing. Ethel is also one of the solo Pick-a-Little ladies. Make sure she and Marcellus look good together, think Ethel and Fred from I Love Lucy! Gender: Female Vocal Range: D5 - D4 Mrs. Paroo Mrs. Paroo is the conscience of River City. She is a great mother, stands up for what she believes in, and gently pushes Marian to think of her future. The role requires an actress who can do a good Irish Brogue, and who can sing and act. She should also look right with Marian and Winthrop. Gender: Female Vocal Range: Eb5 - Ab3 Winthrop Paroo Winthrop should appear to be young, his voice must be unchanged and he should be a good actor. Winthrop also needs to be able to affect a believable lisp. Winthrop has to transform from a shy child to an outspoken child who not only sings but dances! Gender: Male Vocal Range: Eb5 - C4 Amaryllis Amaryllis is the slightly bratty girl who studies piano with Marian. Amaryllis should be a good actor, and roughly the same size as Winthrop and Gracie. Just who are Amaryllis' parents is one of the great mysteries of The Music Man JR. and something for you to decide. Gender: Female Ewart Dunlop Ewart is one of the four quartet members with the second highest voice or tenor. He is married to Maud Dunlop. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: F#5 - E4 Oliver Hix Oliver is one of the four quartet members with the second lowest voice or baritone. He is married to Alma Hix. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: F#5 - E4 Jacey Squires Jacey is one of the four quartet members with the highest voice or tenor. He is married to Mrs. Squires. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: A5 - B3 Olin Britt Olin is one of the four quartet members with the lowest voice or bass. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: D5 - A3 Tommy Djilas Tommy is the teen heartthrob in the show. Cast the best looking kid you have; with any luck he'll also be able to act and dance. Tommy's love interest is Zaneeta so make sure the two characters have chemistry between them. Gender: Male Zaneeta Shinn Zaneeta should be your best female dancer. The role is often given dance features in both "76 trombones" and "Shipoopi". Zaneeta also should look like she belongs in the Shinn Family, although this is not necessary. Zaneeta gets to deliver the classic "Ye gads" line! Gender: Female Gracie Shinn Gracie is Zaneeta's little sister. This role has one or two lines of dialogue and traditionally is the first soloist in "Wells Fargo Wagon." Gracie can also understudy Amaryllis in case of an emergency. Gender: Female Vocal Range: Eb5 - B3 Alma Hix One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Alma is married to Oliver. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Maud Dunlop One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Maud is married to Ewart. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Mrs. Squires One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Mrs. Squires is married to Jacey. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Conductor The conductor has the first line in the show, so cast an actor that is loud and energetic! Gender: Male Constable Locke The Constable is a quietly wise man who sees through Harold, but doesn't seem to mind. It's a nice feature for any young character actor. Gender: Male Ensemble The Ensemble is comprised of Adult-types, teens and kids to play townspeople, traveling salesmen, teen dancers, Wa Tan Ye girls and the boys' band. Can accommodate additional Pick-a-little ladies Gender: both Adults For some reason, some kids just read on stage as adults. You'll recognize this quality by comparing kids. Since THE MUSIC MAN JR. is about a town, you'll want to assign your cast into family units. Try to create a realistic town with married folks, single folks, etc. If you have an abundance of girls, cast a few as widows. Ask each family to create a family history, including details of their lives. By doing this you will create an ensemble that is engaged and energized and this will greatly add to the quality of your production! The adults have a few lines (which you can distribute while blocking the scenes.) They also have some solo vocal lines. You'll also want to select the Farmer and His Wife from this group. Gender: both Traveling Salesmen You'll want to cast several good actors to play traveling salesmen, especially salesmen number five, number three, and number one. If you find it necessary to cast girls as traveling salesmen make sure they play the roles as men. Gender: both Teen Dancers Create a group of teen dancers by selecting your best dancers. The Teen Dancers will be responsible for "Shipoopi," and have features in "76 Trombones." Make sure each Teen Dancer is assigned to a family to create the illusion of a real town. Gender: both Wa Tan Ye Girls All of your little girls can play Wa Tan Ye Girls. They are featured during Eulalie's "Spectacle" just prior to "76 Trombones." Again assign them to families. Gender: Female Boys' Band All of your little boys can be in the Boys' Band provided you have enough uniforms. The Boys' Band has two main features: "76 Trombones" and the finale of the show. Make sure the boys are a part of a family. Gender: both
Roald Dahl's Willy Wonka Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Words and Music by Leslie Bricusse and Anthony Newley Adapted for the Stage by Leslie Bricusse and Timothy A McDonald Based on the Book Charlie and the Chocolate Factory By Roald Dahl Overview / Synopsis Roald Dahl's timeless story of the world-famous candy man and his quest to find an heir comes to life in this stage adaptation of Charlie and the Chocolate Factory. With a flexible cast size, a tour-de-force role for the title character, songs from the film classic and some clever new additions, Willy Wonka Junior runs 60-70 minutes and will delight performers and audiences alike! Songs include: Pure Imagination; Golden Age of Chocolate; The Candy Man; I Eat More; Think Positive; I See It All On TV; Cheer Up, Charlie; (I've Got a) Golden Ticket; At The Gates; In This Room Here; Oompa-Loompa-Doompadee-Doo; There's No Knowing; Chew It; I Want It Now!; Finale; and more! Audio Sampler - HL00255623 $10.00 ShowKit - HL00255629 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 00255611 - Piano/Vocal Score $40.00 00255609 - Director's Guide $100.00 00255612 - Libretto/Vocal Book $10.00 00255613 - Libretto/Vocal Book 10 Pak $75.00 00190461 - Performance/Accompaniment CD $75.00 00255619 - Choreography DVD $50.00 00255620 - Media Disk $10.00 00255615 - Student Rehearsal CD $10.00 00255617 - Student Rehearsal CDs 20 Pak $100.00 00255623 - Audio Sampler $10.00 Hear A Sample Prologue Pure Imagination [Wonka] Golden Age of Chocolate [Oompas, Wonka, All] SCENE 2 The Candy Man [Candy Man, James, Charlie, Matilda] SCENE 5 I Eat More [Mrs. Gloop, Augustus, Phineous] SCENE 7 Think Positive [Charlie, Mrs. Bucket, Mr. Bucket] SCENE 10 I See It All on TV [Mike, Ms. Teavee] SCENE 11 Cheer Up, Charlie [Grandpa Joe, Mrs.Bucket, Mr. Bucket] SCENE 12 Think Positive (Reprise) [Charlie] (I've Got a) Golden Ticket [Charlie, Grandpa Joe, Mr. Bucket, Golden Ticket Winners] SCENE 13 At the Gates [Wonka] In this Room Here [All] Factory Reveal Sequence [Wonka, Kids & Parents] SCENE 14 Oompa-Loompa 1 [Oompas, Augustus, All] SCENE 15 There's No Knowing [Wonka, Mr. Salt, Mrs. Beauregarde, Grandpa Joe] SCENE 16 Chew It [Violet, Mike, Veruca, Charlie, All] Oompa-Loompa 2 [Oompas, Augustus, Violet, All] SCENE 17 Flying [Charlie, Grandpa Joe] Burping Song [Charlie, Grandpa Joe] SCENE 18 I Want It Now [Veruca] Oompa-Loompa 3 [Oompas, Veruca, All] SCENE 19 Oompa-Loompa 4 [All, Mike] SCENE 20 Finale [All] Willy Wonka Willy Wonka is an enigmatic character; at once mysterious and mischievous but also charismatic. There are a number of directions to take with Wonka, ranging from Gene Wilder's version in the original film, Willy Wonka and The Chocolate Factory, to Johnny Depp's portrayal in the recent film, Charlie and The Chocolate Factory, and everything in between. Pick a young man (or a young woman) who is charismatic, engaging and has a great voice (in the case of a young man, preferably a changed voice). The actor should be able to be funny and serious and change between the two on a dime. It is preferred that Wonka double as the Candy Man, as it helps reinforce that Wonka has staged the Golden Ticket competition and is somewhat controlling this contest along the way. Charlie Bucket The role of Charlie Bucket is the emotional heart and soul of the musical. The actor performing Charlie should have an unchanged voice and lots of pluck and enthusiasm. Think a male "Annie." Charlie is in nearly every scene, so make sure you select an actor who can handle the demands of a sizable role. Grandpa Joe Grandpa Joe is the grandfather we all wish we had when we were Charlie's age. He is caring, patient, sweet and always reminds Charlie to remain cheerful. Cast an actor who can be kind and funny. The role sings a bit, but the singing is secondary. Mr. and Mrs. Bucket Mr. and Mrs. Bucket are great roles for young people who have nice voices, and are natural nurturers. Both sing solos; Mr. Bucket performs the number "Think Positive" with Charlie and Mrs. Bucket sings "Cheer Up, Charlie" with Mr. Bucket and Grandpa Joe. Mr. and Mrs. Bucket can double as Oompa-Loompas in the second half of the show. Phineous Trout Phineous Trout is the reporter who announces the winners of the Golden Ticket contest throughout the show. The role requires some singing, and can be doubled by Wonka or played by another actor. In addition, either a boy or a girl can play the role. The Oompa-Loompa Chorus The Oompa-Loompa Chorus can be as small as a handful of performers or as large as your stage and theater can accommodate. Consider casting your youngest performers as Oompa-Loompas (like the sixth grade chorus) and augment them with a handful of older students who can take the lead and serve as Oompa-Loompa wranglers. Augustus Gloop Augustus Gloop is the overachieving eater who represents the evils of eating too much. Be extremely sensitive in casting this role as it is tempting to cast an overweight young person and that can be scarring-especially if the child struggles with this issue. Consider casting a thin child and creating the illusion of size via the costume. Either a boy or a girl acting like a boy can play Augustus. Augustus sings "I Eat More!" along with his mother and Phineous Trout. The song is on the difficult side, but does not need to be sung with a polished pretty voice, in fact, the more character the better. Mrs. Gloop Mrs. Gloop is Augustus' mother who has overindulged her son with food. She accompanies Augustus on the tour of the factory, and sings "I Eat More!" which is one of the more difficult songs in the score for young people. The role requires a character actress who isn't afraid to take positive risks both in her acting and her singing. Mike Teavee For this adaptation Mike Teavee is not just a TV junky. He is also addicted to video games, the Internet and any other mindnumbing technological device. Mike is bratty, loud and obnoxious. He does not know the word "no." Mike and Ms. Teavee sing "I See It All On TV" so he should be a reasonable singer, but does not need to be phenomenal. Mike could also be portrayed by a girl playing a boy, but generally works best with a male actor. Ms. Teavee Ms. Teavee is a take on all television moms of the distant past. Think June Cleaver (Leave it to Beaver) or Marion Cunningham (Happy Days) or even Carol Brady (The Brady Bunch). She's perfectly put together and a bit vacant. She sings "I See It All On TV" but does not require a polished voice. Violet Beauregarde Gum chewer extraordinaire, Violet Beauregarde hails from Snellville, Georgia, so it's nice if she has a Southern American accent, but not necessary. Violet should stand in stark contrast to Veruca Salt. Veruca is a wealthy refined brat; Violet is more of a bluecollar, middle class brat. She sings "Chew It" along with Willy Wonka. The song is a tour-de-force for the right voice, so cast a young lady with strong voice. Veruca Salt Veruca Salt is the wealthy, class-conscious, spoiled brat. She is often portrayed with a high British accent that is by no means required (brats come in all nationalities). Veruca's solo number "I Want It Now" is deceptively tricky and comes late in the show, so select a young woman with a strong voice. Veruca should contrast sharply with Violet Beauregarde in terms of look and physical type. Grandma Josephina, Grandma Georgina and Grandpa George Charlie's three grandparents are mainly non-singing character roles. Cast performers that are innately interesting, who have good comic timing and are solid actors. These actors can double as Oompa-Loompas in the second half of the show. James James is Charlie's friend from school. He has a few lines and sings the introduction of "The Candy Man" along with Matilda and Charlie. Matilda Matilda is also a schoolmate of Charlie's, but she's a bit of bully. Matilda has a few lines and sings the introduction of "The Candy Man" along with James and Charlie. The Candy Man The Candy Man Kids sing "The Candy Man" and their numbers may be expanded as you see fit and your program will allow. The names of the characters have been drawn from other Roald Dahl books. Feel free to assign additional names to match the number of performers you cast. (All students like to go home and exclaim "I'm playing Alfie in Willy Wonka JR." versus "I'm just Kid 2 in 'The Candy Man.'") You may also cast a single class (say the sixth grade chorus) to perform these roles, as they appear only in this number unless you choose to double them as Cooks and Oompa-Loompas. Mrs. Beauregarde Mrs. Beauregarde is a teacher of geography and has invested a great deal of hard-earned money on therapy for her orally fixated daughter, with less than stellar results. The role is virtually non-singing. Her accent should match Violet's. Mr. Salt Mr. Salt's solution to most problems is to buy his way out. He is upper class, and usually portrayed with a high British accent. (But this accent is not necessary-just make sure Veruca and Mr. Salt sound like they hail from the same place.) He sings very little. A female actress playing male may also play the role. Chorus of Cooks Chorus of Cooks is an optional chorus. The Cooks appear during "I Eat More!" presenting Augustus with a smorgasbord of food choices. (Check out the Director's Guide note in the song for more information.) Double the Candy Man Kids Chorus and Oompa-Loompa Chorus or cast a single class of kids to perform this section. (For example, Mrs. Ripley's third grade class.) The Squirrels The Squirrels are non-speaking, non-singing roles and you can cast as many as necessary. This is a great part for beginning actors.
20th Century French Art Songs 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).
Roald Dahl's James and the Giant Peach Jr. - Broadway Junior 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 Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. 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) High School Musical 2 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) Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance 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) 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 Roald Dahl's James And The Giant Peach is now a musical for the whole family to enjoy! Featuring a wickedly tuneful score by the TONY Award-nominated team of Pasek and Paul (Dogfight and A Christmas Story The Musical) and a curiously quirky book by Timothy Allen McDonald (Roald Dahl's Willy Wonka, The Musical Adventures Of Flat Stanley), critics rave James And The Giant Peach JR. is a "masterpeach!" When James is sent by his conniving aunts to chop down their old fruit tree, he discovers a magic potion which results in a tremendous peach - and launches a journey of enormous proportions. Suddenly, James finds himself in the center of the gigantic peach among human-sized insects with equally oversized personalities, but after it falls from the tree and rolls into the ocean, the group faces hunger, sharks and plenty of disagreements. Thanks to James' quick wit and creative thinking, the residents learn to live and work together as a family. The dangerous voyage is a success, but the adventure takes a whole new twist once they land on the Empire State Building. A delightfully offbeat adaptation of the classic Roald Dahl adventure, the creative possibilities with James And The Giant Peach JR. are endless. Young actors will love playing the outlandish characters and the expanded cast allows for as many performers as you can fit on your stage. Audio Sampler - 00147932 $10.00 ShowKit - HL00147933 $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 00147923 - Director's Guide $100.00 00147924 - Piano/Vocal Score $40.00 00147925 - Actor's Script $10.00 00147926 - Actor's Script 10-pak $75.00 00147927 - Perf/Accomp CD pack $75.00 00147928 - Student Rehearsal CD $10.00 00147929 - Student Rehearsal CD 20-pak $100.00 00147930 - Choreography DVD $50.00 00147931 - Media Disc $10.00 00147932 - Audio Sampler $10.00 Hear A Sample Prologue Right Before Your Eyes [Ladahlord, James, Spiker, Sponge, Insects, Company] Scene 1 On Your Way Home [James] Scene 2 Right Before Your Eyes (Reprise #1) [Ladahlord] Property of Spiker and Sponge [Spiker, Sponge, Billy Bobby-Cop, Bobby Bobby-Cop, Vagrants, Matron Nurse] Scene 3 Right Before Your Eyes (Reprise #2) [Ladahlord] Shake It Up [Ladahlord, James, Garden Chorus, Insects] Shake It Up (Reprise) [Ladahlord, James, Garden Chorus, Insects] Scene 4 There's Money on That Tree [Reporters, Spiker, Sponge, Ladies' Garden Guild, James, Hollywood Agents] Scene 5 On Your Way Home (Reprise) [James] Scene 6 Our Adventure Begins! [Landahlord, Spiker, Sponge, Oompa-Loompas, Willy Wonka, Insects, James] Floatin' Along [Insects, James] Floatin' Along (Reprise) [Insects, James] Scene 7 A Getaway for Spiker and Sponge [Spiker, Sponge, Angry Crowd] Scene 8 Everywhere That You Are [Ladybug, Grasshopper, Spider, Earthworm] Scene 9 Right Before Your Eyes (Reprise #3) [Landahlord] I Got You [Sponge, Spiker, Cruise Ensemble] Scene 10 Plump and Juicy [James, Insects, Seagulls] Right Before Your Eyes (Reprise #4) [Landahlord] Scene 11 Empire State / The Attack [Landahlord, Spiker, Sponge, New Yorkers, James] Welcome Home [James, Insects] Curtain Call [All] 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. Vocal Range: G3 - Gb5 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. Vocal Range: G#3 - E5 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. Vocal Range: A3 - D5 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. Vocal Range: A3 - F#5 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. Vocal Range: B3 - C5 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. Vocal Range: B3 - A5 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. Vocal Range: B3 - F#5 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. Vocal Range - Spiker: F3 - E5 Vocal Range - Sponge: F#3 - E5 Mr. Trotter, Mrs. Trotter, Karl Kreatour and the Zoo Crowd Mr. Trotter, Mrs. Trotter, Karl Kreatour and the Zoo Crowd are all part of the James' nightmare. These are small, featured roles, so feel free to cast from your ensemble. The 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. Vocal Range: Speaking Role 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. Vocal Range: Speaking Role The 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. Vocal Range - Doreen: F#3 - E4 Vocal Range - Ridgley: E4 - A4 Vocal Range - Violet: F3 - E4 The 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. Bitsy Botana and The Ladies' Garden Guild 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. Hollywood Agents 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. Vocal Range: F#3 - B4 Farm Animals, Willy Wonka and the Oompa-Loompas Farm Animals, Willy Wonka and the 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. The 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. The 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! Sharks and Seagulls The Sharks and Seagulls are featured in "Plump and Juicy." Cast strong movers and dancers in these roles. New Yorkers, Screaming Women, Lucille Van Kooglestein, Bunny Mackenzie the Third, Jake and Joe New Yorkers, 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.