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The Banana Boat Song View 51 Products John Henry View 51 Products The Erie Canal View 45 Products Happy Working Song View 44 Products Work Song View 38 Products Pay Me My Money Down View 22 Products The Work Song View 15 Products This Old Hammer View 9 Products I've Been Working On The Wabash Cannonball View 1 Product K'wejina Ch'ing Ch'ing Nane (Sound Of The Gong) View 1 Product The Work Song View 1 Product Weaving Lilt View 1 Product Inkosi Yamampondo View 1 Product Bayandoyika View 1 Product Manamolela View 1 Product Song Of Worker (Gretchaninoff) View 1 Product

Mark Burrows | Hal Leonard Mark Burrows Mark Burrows received his undergraduate degree in music education from Southern Methodist University and his graduate degree in conducting from Texas Christian University. Mark is currently the Director of Fine Arts at First United Methodist Church – Fort Worth. He directs choral ensembles of all ages and oversees programs in visual arts and theater. Prior to his work in Fort Worth, Mark was a music teacher at Stephen C. Foster Elementary School in Dallas, Texas. Mark has written music and curriculum for numerous major publishers. His song collections, including the Gettin’ Down with Mama Goose series, top many best-seller lists. Mark also writes extensively for video, television and the stage. Known to many little listeners as “Mister Mark,” he tours nationally, presenting high-energy family concerts. Mark’s CDs have won several awards for children’s music. Mark resides in Fort Worth, Texas, with his wife, Nina, and daughters, Emma and Grace. Publications by Mark Burrows

Mark Cabaniss | Hal Leonard Mark Cabaniss Mark Cabaniss is an ASCAP composer and arranger. His compositions have been successfully programmed in churches and schools nationally. Mark is a multiple recipient of ASCAP's Popular Music Award and an Angel Award as a producer. He is a member of The National Academy of Recording Arts and Sciences (NARAS), and serves on the Board of Advisors for "The Music Man Square," a museum and foundation in Mason City, Iowa, dedicated to furthering music education and honoring the legacy of Meredith Willson (creator of Broadway's The Music Man). As a broadcaster, Mark has produced various live and broadcast productions for over 20 years. Production credits include Eventide: Voices in Song (syndicated) and Steve Allen's Great American Songwriters heard on National Public Radio (hosted by the late, legendary entertainer). Mark's work in music business and broadcasting has led to collaborations with Andy Griffith, pop and Broadway songwriter Rupert Holmes, jazz pianist Loonis McGlohon, gospel singer Cynthia Clawson and others. Mark holds bachelors and masters degrees in music education and communications from Mars Hill College and The University of Tennessee. Publications by Mark Cabaniss

Fame Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Conceived and Developed by David De Silva Book by José Fernandez Lyrics by Jacques Levy Music by Steve Margoshes Overview / Synopsis From the hit motion pictures, television series, and international stage success, FAME is nothing short of a global phenomenon. Set during the last years of New York City's celebrated High School for the Performing Arts on 46th Street (1980-1984), FAME JR. is the bittersweet but ultimately inspiring story of a diverse group of students as they commit to four years of grueling artistic and academic work. With candor, humor and insight, the show explores the issues that confront many young people today. With its topical subject manner, multi-ethnic cast of actors, singers, dancers and instrumentalists and high-energy, contemporary pop score which includes the hit title song, FAME JR. is an ideal musical for young performers. Audio Sampler - HL08753949 $10.00 ShowKit - HL09971623 $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 09971625 - Piano/Vocal Score $40.00 09971626 - Director's Script $100.00 09971624 - Actor's Script $10.00 09971627 - Actor's Script 10 Pak $75.00 09971449 - Performance/Accompaniment CD $75.00 09971629 - Choreography DVD $50.00 09971630 - Student Rehearsal CD $10.00 09971631 - Student Rehearsal CD 20 Pak $100.00 09971632 - Media Disc $10.00 08753949 - Audio Sampler $10.00 Hear A Sample Hard Work (Part 1) Hard Work (Part 2) Hard Work (Part 3) Hard Work (Playoff) Locker Tag 1 Locker Tag 2 I Want To Make Magic Intro To Dance Class Dance Class Sophomore Year There She Goes! / Fame Fame (Playoff) Let's Play A Love Scene Bring On Tomorrow (Part 1) Bring On Tomorrow (Part 2) Bring On Tomorrow (Part 3) After Tomorrow The Teacher's Argument Junior Year Locker Tag 3 The Junior Festival Only Time Will Tell Locker Tag 4 Carmen's Goodbye Mabel's Prayer Locker Tag 5 Senior Year Let's Play A Love Scene (Reprise) Graduation Bring On Tomorrow (Reprise) Bows Exit Music The Actors Nick Piazza Serena Katz Joe (José) Vega The Dancers Tyrone Jackson Carmen Diaz Iris Kelly Mabel Washington The Muscians Schlomo Metzenbaum Grace (Lambchops) Lamb Goodman (Goody) King The Teachers Miss Esther Sherman Ms. Greta Bell Mr. Myers Mr. Sheinkopf Other Students Male and Female Ensemble

Benjamin Britten Biography | Hal Leonard Distributed by Britten Home YouTube Festival Biography Choral Publications 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. While still a student, he wrote his "official" Op. 1, the Sinfonietta for chamber ensemble, and the Phantasy Quartet for oboe and string trio, and in 1936 he composed Our Hunting Fathers, an ambitious song-cycle for soprano and orchestra, which confirmed Britten's virtuosic vocal and instrumental technique. He was already earning his living as a composer, having joined the GPO (Post Office) Film Unit the previous year; the collaboration he began there with the poet W. H. Auden was to prove an important one throughout his career. Britten found himself in the United States at the outset of World War Two and stayed there for three more years, returning to Britain in 1942. In America he produced a number of important works, among them the orchestral Sinfonia da Requiem, the song-cycle Les Illuminations for high voice and strings, and his Violin Concerto. With the opera Paul Bunyan he also made his first essay in a genre that would be particularly important to him. Back in Britain, where as a conscientious objector he was excused military service, he began work on the piece that would establish him beyond question as the pre-eminent British composer of his generation — the opera Peter Grimes, premiered to an ecstatic reaction on 7 June 1945. The Young Person's Guide to the Orchestra: Variations and Fugue on a Theme of Purcell — a cornerstone of the orchestral repertoire — was first performed in the following year. Indeed, Britten now composed one major work after another, among them the operas The Rape of Lucretia (1946), Albert Herring (1947), Billy Budd (1951), Gloriana (1953), The Turn of the Screw (1954), Noye's Fludde (1957), A Midsummer Night's Dream (1960), Owen Wingrave (1970-71) and Death in Venice (1971-73); the Nocturne for tenor and orchestra (1958), the War Requiem (1961-62), a Cello Symphony (1963) for Rostropovich and his orchestral Suite on English Folk Tunes (1974). Britten's importance in post-War British cultural life was enhanced by his founding of the English Opera Group in 1946 and the Aldeburgh Festival two years later. His career as a composer was matched by his outstanding ability as a performer: he was both a refined pianist and a spontaneous and fluent conductor — his Mozart was particularly highly esteemed. Britten's later career was clouded by bouts of ill-health, culminating in heart disease. He never fully recovered from open-heart surgery in 1973, and died on 4 December 1976, at the age of 63, a few months after being appointed a life peer — the first composer ever to know that honour.

Roy Ringwald | Hal Leonard Roy Ringwald Roy Ringwald (August 10, 1910 - July 11, 1995) Born in Helena, Montana, he grew up in Santa Monica, California and resided in the Palos Verdes Hills at the time of his death. Choir leaders everywhere rated Roy Ringwald as one of the most accomplished arrangers of our time. Before joining Fred Waring's Pennsylvanians as a singer and arranger in 1935, Roy Ringwald was associated with Earl Burnett, Raymond Paige and Andre Kostelanetz. His exclusivity with Shawnee Press began when the firm was founded in 1939. In the early 1940's, at Fred Waring's request, Mr. Ringwald arranged the poem ""The Battle Hymn of the Republic,"" which was written by Julia Ward Howe. The arrangement was performed by Waring's Pennsylvanians on radio June 22, 1943. Fans inundated Mr. Waring's New York office with letters of praise. By 1962, one million copies of the SATB arrangement had been sold and it continues to be a steady seller today. Roy Ringwald's studies in the field of music were limited to the elementary courses he received in parochial and public schools. Thereafter, he studied on his own and learned ""the hard way."" He was playing the piano at paid engagements with a dance group by the age of 12. While in high school, he studied voice, piano, organ, sight-singing, harmony, score reading and history of music. He organized dance bands and pit bands for silent motion pictures; he served as school organist and student director of the glee club; and he played viola with a classical string quartet (rehearsing at 6:30 a.m. before school), which also played paid engagements. Following high school, he went directly into a professional career as performer and arranger, organizing his own professionally successful groups. When he joined Fred Waring's Pennsylvanians in 1935, he soon retired from performing and devoted his entire attention to writing. His work as an arranger and composer has an individuality of style that has retained its freshness over many years. Battle Hymn of the Republic; Give Me Your Tired, Your Poor; God Bless America; and No Man Is An Island are but a few of the hundreds of his stirring arrangements. His larger works such as Song of America and Song of Christmas are further evidence of his talent. Roy Ringwald continued to write music until his death July 11, 1995 at the age of 84. Publications by Roy Ringwald

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

John Jacobson | Hal Leonard John Jacobson Music Educator, Choreographer, Author John Jacobson is internationally recognized for his large-scale music and choreography productions. His outstanding body of work includes producing hundreds shows in association with Walt Disney Productions (including the opening of Disney Tokyo), directing choreography for presidential inaugurations, and producing massive song and dance numbers for events such as NBC’s Macy’s Thanksgiving Day Parade. His fans are legion, launching him into an Internet Sensation, through his entertaining and gleeful YouTube dance videos which have an incredible track record for going viral, attracting millions upon millions of views. With a bachelor’s degree in Music Education from the University of Wisconsin-Madison and a Master’s Degree in Liberal Studies from Georgetown University, John has written, composed and choreographed musicals and choral works that have been performed by millions worldwide, as well as countless educational videos that have been incorporated into music teaching curriculums. John’s works are published exclusively with Hal Leonard Corporation. John is the founder and volunteer president of America Sings! Inc., a non-profit organization that encourages young performers to use their time and talents for community service. John is also recognized internationally as a creative and motivating speaker for teachers and students involved in music education and was named Presidential Point of Light by President Clinton. He founded the classroom standard John Jacobson’s Music Express Magazine (where he continues as Senior Contributing Writer) reaching nearly 4 million children world-wide. John recently penned the new book Double Dreams: Living a Life of Glee, Harmony, and Oh Yes….JAZZ HANDS! and its DVD companion, ‘Double Dream Hands – Songs for Fun and Fitness’. John’s other works include jJump! DVD fitness series for kids (of all ages), his motivational book A Place in the Choir and many new videos on his Music Express YouTube channel. Publications by John Jacobson

George Stone | Hal Leonard George Stone George Stone has enjoyed a substantial career in music performance, composition, arranging and education for 30 years. He is the Director of Audio Technology and teaches Music Theory and Composition at Cuesta College in San Luis Obispo, CA. Born and raised in Newhall, CA, George was a product of the strong local music programs and teachers of the Santa Clarita Valley. He received his degrees from Cal State University Northridge where he was a member of the renowned Jazz A-Band for whom he wrote extensively. By age 21 he was directing his own Los Angeles big band and writing for live shows and television. Some artists and groups with whom he has been privileged to work include Doc Severinson, Dave Grusin, Tom Scott, Jack Jones, Chris Vadala, Jeff Babko, Bobby Shew, Donny McCaslin, Dave Tull, Luis Bonilla, Maynard Ferguson, Wayne Bergeron, Bob McChesney, Larry Koonse and Ron Jones. He has composed and arranged for NBC, HBO, Warner Brothers, Steve Wynn and Disney. He is also the composer of the most famous MIDI song of all time, “Trip Through the Grand Canyon” (Canyon.Mid) that was released on over 66 million copies of Microsoft Windows. George has appeared as guest composer/conductor at colleges and universities throughout the world. He has adjudicated literally hundreds of jazz festivals in the United States and is commissioned regularly by high school, college and professional bands to compose new music for jazz ensemble. He performs regularly on trumpet and piano, with compositions and arrangements released through publishers worldwide. His CD entitled “The Real Deal” features his music performed by the greatest Los Angeles players who currently comprise his big band. Publications by George Stone

Godspell Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Conceived and Originally Directed by John-Michael Tebelak Music and New Lyrics by Stephen Schwartz Originally Produced on the New York Stage by Edgar Lansbury, Stuart Duncan and Joseph Beruh Overview / Synopsis Godspell JR.* is the young performer's edition of John-Michael Tebelak and Stephen Schwartz's groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. Godspell is an engaging, innovative show that draws from various theatrical traditions, including clowning, pantomime, charades, acrobatics and vaudeville. Originally conceived for a cast of ten, the Broadway Junior version of Godspell is designed to allow you to expand your cast to include as many student performers as your stage can accommodate. Each of the parables and songs used in Godspell can be cast with a different group of students and can be rehearsed separately, allowing groups to rehearse simultaneously. If you choose to add the optional Godspell JR. Choir, you can use nearly everyone from your school or group who wishes to participate. Godspell can be performed virtually anywhere with the simplest of sets, costumes, lights and music. This show will be a favorite of performers and audiences alike! The Broadway Junior Collection now offers this John-Michael Tebelak story and Stephen Schwartz score in an adapted format perfect for young performers! Audio Sampler - HL00103055 $10.00 ShowKit - HL09971784 $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 * Godspell JR. is not available in Canada Individual Components 09971786 - Piano/Vocal Score $40.00 09971785 - Director's Guide $100.00 09971787 - Actor's Script $10.00 09971788 - Actor's Script 10 Pak $75.00 09971789 - Performance/Accompaniment CD $75.00 09971790 - Choreography DVD $50.00 09971676 - Student Rehearsal CD $10.00 00103054 - Student Rehearsal CD 20 Pak $100.00 09971791 - Media Disc $10.00 00103055 - Audio Sampler $10.00 Hear A Sample Act 1 Prepare Ye the Way of the Lord [John the Baptist, Company] Save the People [Jesus, Company] Day by Day [Solo, Company] Learn Your Lessons Well [Solo1, Solo 2] O, Bless the Lord, My Soul [Solo, Company] All for the Best [Jesus, Judas, Company] All Good Gifts [Solo, Company] We Beseech Thee [Solo, Company] Light of the World [Solo 1, Solo 2, Company] Act 2 Beautiful City [Female Solo] On the Willows [Orchestra] Finale [Jesus, Company] Bows [Company] Exit [Orchestra] Jesus Jesus is first and foremost a teacher. He should come off very naturalistic, not high and mighty or judgmental. He should be charismatic with being affected; serious, but with a good sense of humor; somebody who everybody likes and wants to have as a friend. While he doesn't have to sing a lot, his first song, "Save the People," should sound beautiful, clear and unaffected. John the Baptist/Judas John the Baptist/Judas is a role played by one person. It is important to note that in the original production of Godspell, the actors all used their own names and the original script did not include characters designated as "Judas" or "John the Baptist." As you cast this role, remember it is not really two different roles, just one actor embodying the actions of these two biblical figures. The character is charismatic, but also headstrong and sometimes acts in rash ways. Be daring in your casting - this role does not necessarily have to be played by a male performer. SOLO SINGERS "Day by Day" The singer who leads "Day by Day" doesn't need to have a wide range, but the song should sit in a place where they can sing it out strongly and with conviction. "Learn Your Lessons Well" The two soloists for "Learn Your Lessons Well" should be your singers who can enunciate expertly - the song is less about the melody and more about getting the words out quickly and so the audience can understand them. "O Bless the Lord, My Soul" This is a big song with several changes in tempo and tone. It requires your singer with the biggest, most dexterous voice. Even though the tempo becomes very bright during the song, don't worry if you don't cast your best dancer: letting the soloist stand and sing while the ensemble moves around them works just fine. "All Good Gifts" The slow, beautiful ballad of Godspell. Of all the songs in the show, this one demands your most beautiful voice. "We Beseech Thee" Here's one for the class clown! It can be almost spoken and still work well, as long as your performer has personality plus! "Light of the World" Another song that can almost be spoken - but remember, it's a song about making sure your light shines throughout the world - the singer has to really "sell" the song! "Beautiful City" Beautiful and sincere, the singer must be able to let the audience know that they understand the message Jesus has been teaching. FEATURED ACTORS/ACTRESSES Narrators Most of the parables have a narrator or two. Your narrators should be among your best speakers. You should be confident that they can handle longer sections of dialogue. Players Some of the players have lines and some do not. All players should be encouraged to develop larger than life characters.

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Following are some links with helpful information about copyright law: U.S. Copyright Office Home Page - https://www.copyright.gov National Music Publishers' Association - http://nmpa.org Music Publishers' Association of the United States - https://www.mpa.org ASCAP (The American Society of Composers, Authors and Publishers) - https://www.ascap.com BMI (Broadcast Music, Inc.) - https://www.bmi.com SESAC, Inc. - https://www.sesac.com GMR (Global Music Rights) https://www.globalmusicrights.com/ Christian Copyright Licensing, Inc. - https://www.ccli.com

Kim André Arnesen Arnesen's music is lovely and worth hearing… Sacred and secular, there is much to admire.– American Record Guide Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. I denna ljuva sommartid (In this sweet summertime) SSAA (with divisi) a cappella Duration: c5 minutes 48024604 $2.50 More Info Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Arranger's note Arranger's note I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Falling into Mercy SATB (with divisi) & optional piano (maximum divisi SSAATTBB) Text by Euan Tait Duration: 4 minutes 48024608 $2.50 More Info Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” Notes from the Poet and Composer Notes from the Poet and Composer This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” The Gift to Sing SATB (with divisi) & piano (maximum divisi SSAATBB) Text by James Weldon Johnson Duration: 4:30 48024607 $2.50 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! Composer’s note Composer’s note If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! The Holy Spirit Mass Mixed Voices with Organ or Strings and Piano Vocal Score 48024610 $19.95 Release date in the US: May 2019 Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes. Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes. I will light candles this Christmas SATB (with divisi) & piano (maximum divisi SSAATTBB) Text by Howard Thurman Duration: c4 minutes 48024571 $2.95 More Info Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) Composer’s note Composer’s note Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) My flame the song SATB (with divisi) & piano (maximum divisi SSATBB) Text by Euan Tait Duration: 5 minutes 48024605 $2.95 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Composer’s note Composer’s note We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Ubi caritas et amor Duration: 4 minutes Release date in the US: March 2019 SATB (divisi) a cappella (maximum divisi SSAATTBB) 48024606 $2.50 More Info SSAA a cappella 48024609 $2.50 More Info Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried. Composer’s note Composer’s note The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried.

Bugsy Malone Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by 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.

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

Disney's Beauty And The Beast Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Book by Linda Woolverton Overview / Synopsis Based on the original Broadway production that ran for over thirteen years and was nominated for nine Tony Awards, and the Academy Award-winning motion picture, Disney's Beauty and the Beast JR. is a fantastic adaptation of the story of transformation and tolerance. Disney's Beauty and the Beast JR. features some of the most popular songs ever written by Alan Menken and the late Howard Ashman, along with new songs by Mr. Menken and Tim Rice. Audio Sampler - HL00403278 $10.00 ShowKit - HL00403279 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 60-Minute JR. Request Individual Components 00403269 - Piano/Vocal Score $40.00 00403268 - Director's Guide $100.00 00403273 - Libretto/Vocal Score $10.00 00403274 - Libretto/Vocal Score 10 Pak $75.00 00403278 - Audio Sampler $10.00 Hear A Sample MUSICAL NUMBERS Prologue Belle Maurice's Entrance Into the Forest Stranger in the House Maurice and the Beast Belle (Reprise) You Follow Me! Home Home (Tag) Gaston Gaston (Reprise) Be Our Guest Something There Human Again Beauty and the Beast The Mob Song The Battle Fight in the West Wing Home (Reprise) Transformation Finale Bows Cast of Characters Cast Size: Medium (11 to 20 performers) Cast Type: Star Vehicle Female Dance Requirements: Standard Belle Belle is a smart, confident young woman from a small village. You will want a strong singer and actress who is able to stand up to Gaston while showing compassion for Maurice, the Servants and eventually the Beast. If there are several female students in your school who could perform the role, consider casting two girls to play Belle on alternating nights. Gender: Female Vocal range top: F5 Vocal range bottom: G3 Beast The Beast is a young prince who was hideously transformed by the Enchantress's spell. Casting for size is not as important as choosing a student who can handle this complex character: a dictator, a hurt child, a hero, a defender and a smitten prince. Cast an actor who can deliver a range of conflicting emotional states. Although the Beast does sing a small bit during "Something There" and the "Finale," this is truly an acting role (and his lyrics can be spoken if you cast a non-singer). If you choose to cast the Prince separately from the Beast, the Prince would end up singing the Beast's lines in the "Finale." Gender: Male Vocal range top: E5 Vocal range bottom: B3 Narrators The Narrators provide great opportunities to involve students who are more comfortable speaking than singing. The script is written to feature four Narrators, but you can incorporate more students (or fewer) depending on the size of your cast. Be sure the students you choose for these roles can enunciate and project, as they guide the focus and pace of this beautiful tale. These roles are non-singing, but the actors can also be a part of your ensemble. Gender: Any Old Beggar Woman/Enchantress The Old Beggar Woman/Enchantress should be portrayed by an actor with a flair for the visually dramatic as this is a non-speaking role. Her transformation in the Prologue needs to entice the audience into the story. After the Prologue, this student may join the ensemble as a Villager or castle Servant. Gender: Female Gaston Gaston is pompous and dim-witted and will do whatever it takes to win Belle's hand. Gaston has all the confidence in the world but lacks the humility to balance it. Finding a strong singer and actor is more important than physical size and stature for this role. He has to be able to sell his big eponymous number with gusto and arrogance as well as lead the Villagers in "The Mob Song." Biceps can be added to the costume, but the bravura needs to come from within. Gender: Male Vocal range top: F5 Vocal range bottom: A3 Maurice Maurice is an aging and eccentric inventor, but more importantly, the adoring and protective father of Belle. This non-solo singing role is perfect for the student who can have fun interpreting this crazy old man while conveying some very strong emotions: fear and fatherly love. Gender: Male Lefou Lefou is Gaston's equally dim-witted lackey. This character needs to be Gaston's foil and should double the laughs for them both. Consider auditioning Lefou and Gaston in pairs to find the right chemistry. Lefou should be able to sing, act and dance. Choose a student who has some gymnastics training if you wish to embed tumbling into Lefou's movement. Gender: Male Vocal range top: E5 Vocal range bottom: B3 Les Filles De La Ville Les Filles De La Ville are in love with Gaston and will do almost anything just to be near him. Look for three girls who can portray the comic nature of these roles and enjoy playing off each other. Les Filles De La Ville sing together in three numbers and their sound should mix well. Gender: Female Vocal range top: F5 Vocal range bottom: C4 Lumiere Lumiere is a confident, charming French mâitre d who (under the enchantress's spell) is becoming a candelabra. He has an incessant bickering rapport with Cogsworth, so consider auditioning in pairs to find a good fit. Lumiere should be a strong singer who can light up the stage in "Be Our Guest." If you have a student who can handle the French accent, fantastic! This role covers a range of emotions (from charming entertainer to brave soldier) and requires prominent song and dance, so try to cast a strong, versatile performer.is a self-confident, charming, French mâitre d' who (under the Enhantress's spell) is becoming a candelabra. He has a never-ending give-and-take with Cogsworth, so the student playing Lumiere must work well with the child you cast for that role. Consider auditioning in pairs. Lumiere should be a strong singer who can "light up" the stage in "Be Our Guest." If you have a child who can handle the French accent, fantastic! This role covers a range of emotions (from charming entertainer to brave soldier) and requires prominent song and dance, so try to cast a strong, reliable performer. Gender: Male Vocal range top: D5 Vocal range bottom: A3 Cogsworth Cogsworth is the British major-domo of the castle who is becoming a clock. Like all of the castle's Servants, he shows a fatherly compassion for Belle yet is perfectly submissive to the master, the Beast. Cogsworth enjoys feeling like the boss and has no problem getting into it with Lumiere. Cast a strong actor and singer who can act in charge. Gender: Male Vocal range top: E5 Vocal range bottom: A3 Mrs. Potts Mrs. Potts is the castle's endearing cook who is becoming a teapot. The actor you cast needs a strong, sweet voice and should be able to convey comforting, maternal qualities amidst the chaos that is breaking out in the castle. Look for a student who can play a loving mother figure to all the characters. Gender: Female Vocal range top: E5 Vocal range bottom: F3 Chip Chip is Mrs. Potts's son who is becoming a teacup. You may cast a younger student for this role, but it is not imperative. Chip has a wonderful naïveté that endears him to all of the Servants. Cast an actor who can portray the honesty and spirit of a child and is comfortable trying to sing Chip's few solo lines. Gender: Male Vocal range top: D5 Vocal range bottom: D4 Madame De La Grande Bouche Madame De La Grande Bouche is an opera singer who is becoming a wardrobe. Madame is larger-than-life in everything she does, including her singing and dancing. Look for that student who can portray the ultimate diva with a heart with an outsized personality and voice. Madame has some harmony lines with Mrs. Potts and Babette, so cast a singer who can hold her own but knows when to pull back in order to sound good with the others. Gender: Female Vocal range top: C5 Vocal range bottom: A3 Babette Babette is the maid of the castle who is turning into a feather duster. She misses the finer things in life. Babette is happy to be at Belle's service at a moment's notice, but her true heart comes through in Human Again. Look for a good actor with solid vocal skills to handle Babette's harmonies. Gender: Female Vocal range top: B4 Vocal range bottom: A3 Monsieur D'Arque Monsieur D'Arque is a sinister townsman who works for Gaston. Cast an actor who can believably exude his sinister personality. Although Monsieur D'Arque has few lines of solo singing in "The Mob Song," this is primarily a non-singing role, so look for a solid actor first. Monsieur D'Arque can double as a Servant in the rest of the show. Gender: Male Servants The Servants of the castle can include Statues, a Dust Pan, Flatware, Plates, an Egg Timer, Napkins, a Carpet, Salt & Pepper Shakers and any other household (or castle hold items) you and your cast can imagine. These enchanted characters are the Rockettes of the castle. They should be able to handle a potentially awkward costume while singing and dancing in two big production numbers. These roles can also accommodate multiple ages if you are looking to augment your cast with some young students. Gender: Any Villagers The Villagers are the inhabitants of Belle's town. There are some featured solos and lines that will come from this ensemble (Bookseller, Baker, etc.). The group must provide vocal power throughout the show and dance in the production numbers, so be sure to cast performers with a wide base of ability. These actors can double as the castle Servants if needed. Gender: Any

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

Elf The Musical Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Thomas Meehan and Bob Martin Music by Matthew Sklar Lyrics by Chad Beguelin Based on the New Line Cinema film written by David Berenbaum Overview / Synopsis A title known the world over, Elf The Musical JR. is a must-produce holiday musical that can easily become an annual tradition for any theatre. Based on the cherished 2003 New Line Cinema hit, Elf JR. features songs by TONY Award nominees Matthew Sklar and Chad Beguelin (Disney's Aladdin On Broadway, The Wedding Singer), with a book by TONY Award winners Thomas Meehan (Annie, The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone). Buddy, a young orphan mistakenly crawls into Santa's bag of gifts and is transported to the North Pole. The would-be elf is raised unaware that he is actually a human, until his enormous size and poor toy-making abilities cause him to face the truth. With Santa's permission, Buddy embarks on a journey to New York City to find his birth father and discover his true identity. Faced with the harsh reality that his father is on the naughty list, and his stepbrother doesn't even believe in Santa, Buddy is determined to win over his new family and help New York remember the true meaning of Christmas. This modern day holiday classic is sure to make everyone young performer embrace their inner elf. After all, the best way to spread Christmas Cheer is singing loud for all to hear. Audio Sampler - HL00147944 $10.00 ShowKit - HL00147934 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor's Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00147935 - Director's Guide $100.00 00147936 - Piano/Vocal Score $40.00 00147937 - Actor's Script $10.00 00147938 - Actor's Script 10-pak $75.00 00147939 - Performance/Accompaniment CD pack $75.00 00147940 - Student Rehearsal CD $10.00 00147941 - Student Rehearsal CD 20-pak $100.00 00147942 - Choreography DVD $50.00 00147943 - Media Disc $10.00 00147944 - Audio Sampler $10.00 Hear A Sample SCENE 1 Happy All the Time [Santa, Elves, Buddy] SCENE 1/2 World's Greatest Dad [Buddy, New Yorkers] SCENE 4 Sparklejollytwinklejingley [Buddy, Macy's Employees, Manager, Jovie] SCENE 5 I'll Believe in You [Michael, Emily] SCENE 7 A Christmas Song [Buddy, Jovie, Crowd] SCENE 8 World's Greatest Dad (Reprise) [Buddy, Carolers] SCENE 9 Never Fall in Love (with an Elf) [Jovie] SCENE 10 There Is a Santa Claus [Michael, Emily, New Yorkers] SCENE 11 The Story of Buddy [Buddy, Michael, Emily, Mr. Greenway, Deb, Matthews, Chadwick, Sam, Sarah, Walter] SCENE 13 A Christmas Song (Reprise) [Entire Cast] Sparklejollytwinklejingley (Reprise) [Entire Cast] Santa Claus Santa Claus has a lot on his plate during the Christmas season, and it is starting to show. He is annoyed with the Elves, tired of lying to Buddy and sad that people seem to be losing their Christmas spirit. He is still the same jolly old St. Nick underneath it all, but the job is getting to him. This is a great role for a character performer who can play an older (and somewhat cranky) man while trying hard to keep his holiday spirit. Vocal Range: Bb3 - D5 Buddy Buddy is the perfect elf! He's good-natured, he means well, and he's happy... all the time. There's only one problem. He's not an elf - he's an adult human. This role is perfect for a young man who is an excellent actor and good singer who has the energetic earnestness and comedic timing that Buddy needs. It's helpful to cast an actor who is taller than the other Elves. This will help differentiate Buddy and adds to the humor of the show. Vocal Range: B3 - G5 Elves The Elves are Santa's special helpers who love their job making toys to meet their Christmas Eve deadline. These roles are great for younger performers, or for those who can embody a youthful spirit, enjoy singing and work well together as a group. Vocal Ranges: Solo Elf 1: F#4 - C5, Solo Elf 2: G4 - Bb5 Charlie Charlie is in charge of monitoring the other Elves, making sure every present is wrapped and every bow is tied. Cast a young performer with a good speaking voice, someone who is comfortable taking command of the stage and has authority over the rest of the Elves, but always remains friendly. Vocal Range: Speaking role Shawanda Shawanda is a dependable and caring elf. She will do whatever she can to help out others, including Buddy, even though she accidentally reveals that he is a human. Cast a good actress with a clear speaking voice for this very important moment in the story. Vocal Range: Speaking Role Sam Sam is one of Walter's Office Staff who is in a bind at the top of the show. A young performer with a good speaking voice and strong character choices will do the trick. Vocal Range: Speaking Role Walter Hobbs Walter Hobbs, Buddy's real father, is so focused on keeping his job that he is not making time for his family. He can be stern and unemotional at times, but ultimately he learns to recommit to his family. Cast a great actor with a strong, authoritative presence, but be sure they can also show his softer side. Vocal Range: B3 - E5 Deb Deb, Walter's secretary, has the big responsibility of keeping her boss and the whole office happy. She does this by sharing her positive attitude with everyone. This is a plum role for a young woman with a pleasant demeanor, yet efficient work ethic, who is a solid actor with a good speaking voice. Emily Hobbs Emily Hobbs is Walter's devoted wife who would prefer her husband to spend a little more time at home. She is a problem solver and an excellent mother who is doing everything she can to provide a positive family dynamic. Cast an excellent actress and singer who effortlessly conveys a sense of maturity and warmth. Vocal Range: G3 - D5 Michael Hobbs Michael Hobbs is the smarter-than-average 12-year-old son of Walter and Emily. He quickly befriends his new adult brother, Buddy, and does everything he can to make sure Buddy becomes a permanent part of the family. Look for a solid young actor and singer with an unchanged voice. Vocal Range: G3 - D5 Security Guard 1 and 2 Security Guard 1 and 2 are a stern duo from Walter's office, making sure everyone who enters has permission. Cast a duo that works well together and fits the bill for a tough pair. Vocal Range: Speaking Role Saleswoman The saleswoman is the first person to greet Buddy as he enters Macy's. She's the consummate sales person: smiling, overfriendly, and always trying to sell something. This is a great ensemble role for a young woman with little stage experience. Vocal Range: Speaking Role Manager The Manager is a terrific featured acting role for a performer with good comedic timing. As the manager of Macy's, he's doing everything he can to make sure all the employees stay in line. Vocal Range: Speaking Role Jovie Jovie works as a store elf at Macy's, but don't be mistaken - she doesn't quite exude the Christmas spirit. She's kind of cynical, a bit tough around the edges, and now the target of Buddy's complete adoration. This is a fantastic role for a young woman with a strong singing voice and acting chops. Vocal Range: G3 - Db5 Santa's Helper Santa's Helper works as a Macy's Employee and announces when each kid gets to visit with Santa. This is a good ensemble role for a performer with a loud voice. Vocal Range: Speaking Role Fake Santa Fake Santa is a poor replacement for the real Santa. He's an employee of Macy's who is a bit rough around the edges. Fake Santa should be played by a performer who is unafraid of being a little over-the-top and has good physical control of his body. Vocal Range: Speaking Role Policeman 1 and 2 Policeman 1 and 2 are a friendly pair of cops who return Buddy to the Hobbs household. These are perfect featured roles for two ensemble members. Vocal Range: Speaking Roles Sarah Sarah is a staff member at Walter's office. This is a nice role for a less experienced actor with a good singing voice. Vocal Range: Speaking Role Mr. Greenway Mr. Greenway is one of the crankiest businessmen around. He is the big boss, so look for an older student with a commanding presence to tackle this acting role. Vocal Range: Speaking Role Chadwick and Matthews Chadwick and Matthews are staff members at Walter's office who are doing everything they can think of to save the day and make their boss happy. Cast a pair of good character actors who work well with each other and are able to drive the action of scenes. Vocal Range: Speaking Roles Charlotte Dennon Charlotte Dennon is a TV reporter with a big personality. She does her best to keep her professional persona in public and doesn't like being shown up. This is a great role for a young woman with professional charisma and someone who can make strong acting choices. Vocal Range: A3 to A4 Finale Soloists 1, 2, 3, and 4 Finale Soloists 1,2,3 and 4 are good roles to highlight four of your strong solos singers. Vocal Ranges: Solo 1: D4 - B4, Solo 2: D4 - B4, Solo 3: D4 - F#4, Solo 4: B3 - G#4 Darlene Lambert and Emma Van Brocklin Darlene Lambert and Emma Van Brocklin are on the scene in Central Park and are convinced of Santa's magic after Buddy reveals their past Christmas gifts. Look for two young ladies with nice singing voices and some acting experience to take on these small, but featured, roles. Ensemble New Yorkers, Comforting New Yorker, Macy's Employees, Macy's Employee 1, Member of the Rockefeller Crowd, Office Staff, Business Woman, Flyer guys, Teenager, Jogger, Carolers, Passerby, Children and Parents are all important roles for creating the distinct worlds of the North Pole and New York City. These roles can all be double cast from your ensemble, and it's important to remind your young performers that the stronger and more specific their character choices, the richer and more vivid the story becomes. Vocal Range: Comforting New Yorker: F4 - C5

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

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

The Big One-Oh! Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Doug Besterman Lyrics by Dean Pitchford Book by Timothy Allen McDonald Overview / Synopsis Charley Maplewood has never been one for parties - that would require friends, which he doesn't have. Well, unless you count his monster friends, but they're only imaginary. But now that he's turning ten-the big one-oh-he decides to throw a birthday party for himself, complete with a "House of Horrors" theme. Of course, things don't work out as he plans. Will Charley be able to pull it together before the big one-oh . . . becomes the big OH-NO!? Based on the beloved book, The Big One-Oh! JR. features lyrics by Academy Award-winner (Fame, Footloose) Dean Pitchford, the author of the novel; music by three-time Tony-winner Doug Besterman (The Producers, Fosse, Elf, Young Frankenstein), and a book by iTheatric's award-winning playwright Timothy Allen McDonald (Roald Dahl's Willy Wonka, James and the Giant Peach). Audio Sampler - HL01132729 $10.00 ShowKit - HL01132730 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 60-Minute JR. Request Individual Components 01132730 - ShowKit $695.00 01132725 - Director's Guide $100.00 01132726 - Piano/Vocal Score $40.00 01132727 - Actor's Script (Single) $10.00 01132728 - Actor's Script (10 Pack) $75.00 01132729 - Audio Sampler $10.00 MUSICAL NUMBERS Happy Birthday From Scotland Monsters & Maniacs (Part 1) Monsters & Maniacs (Part 2) The Birthday Card Some Sort Of Celebration So Lame (Part 1) So Lame (Part 2) So Lame (Part 3) Delicious Can You Call This Person A Friend? (Part 1) Can You Call This Person A Friend? (Part 2) A Perfect Party Jennifer Is Gonna Have A Birthday So Lame (Reprise 1) Better Than A "Boo!" Making Invitations Lullaby The Invitation Making Special Effects So Lame (Reprise 2) This Is Big This Is Big (Encore) That Could Be Me Better Than A "Boo!"(Reprise 1) We've Got Each Other House Of Horrors Better Than A "Boo!" (Reprise 2) This Is Big Finale Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Charley Maplewood The hero of our story. he's a nine-year-old about to turn ten with no clue about how to celebrate his upcoming birthday. His family has recently moved, so he's in a new school where he feels friendless. To cope with his loneliness, Charley has conjured up three imaginary friends - his Monsters - from the pages of his favorite comic book series, Monsters & Maniacs. Cast an actor who can sing, move, and act very well. The single most important quality to look for in an actor, however, is likeability. You want a Charley with whom your audience will fall in love and cheer for from the start. Gender: Male Vocal range top: D5 Vocal range bottom: A3 Boing Boing Charley's dog, his most patient and supportive friend. Without words, Boing Boing communicates with a whimper or a bark, a turn of the head, a scowl, the lifting of a paw, or the raising of an eyebrow. Cast an actor with good physicality and a sense of playfulness. A clever and agile performer can improvise moments beyond those in the script. Mrs. Cleveland Fresno's biggest snoop and the neighborhood busybody. Cast an actress with a BIG speaking voice who's unafraid to overact - someone who can dominate the stage whenever she enters. She has no solos but should be able to contribute to ensemble numbers. Gender: Female Dad Charley's father, lives in Scotland but pops up whenever Charley refers to him. He's big-hearted and upbeat, even though he never seems to get the date of Charley's birthday right. He's a chef - a really good one, according to Charley. Look for an actor with a good voice, a strong sense of rhythm, and a big smile. Gender: Male Vocal range top: F5 Vocal range bottom: C4 Zombie King, Swampy, and Alien Charley's imaginary friends - his 3 Monsters. When Charley is feeling frazzled or friendless, his Monsters appear to talk him through any dilemma. To play these fantastical creations, cast actors who can give their own special spin to these characters, starting with quirky speaking voices that will differentiate them. Look for actors who are physically adept, since these 'creatures' might squat or slither or jump or roll as they weave their way around Charley. They sing together a lot, so be sure your actors are good with harmonies. Vocal range top: C5 Vocal range bottom: A3 Garry Quarky Charley's puzzling next- door neighbor. He starts out seeming like a scatterbrained mad scientist, but eventually reveals himself to be a talented creator of special effects who shares many of Charley's interests - not only in Monsters & Maniacs but in all sorts of scary and ooky stuff as well. Their friendship is one of the most surprising in Charley's young life. Cast an excellent actor and singer with improvisational and comedic skills who is also able to handle props with ease. Gender: Male Vocal range top: G5 Vocal range bottom: C4 Mom A nurse with a challenging work schedule, patient and supportive of both her children, always trying to figure them out as best she can. She goes out of her way to say good things about her ex-husband (Dad) whenever he comes up. Cast a steadfast actress with a calm demeanor and a ready smile whom we'll believe can weather the obstacles facing a single mother of two. She has a very small solo ("Lullaby"), but sings in group numbers. Gender: Female Vocal range top: C#5 Vocal range bottom: A3 Lorena Charley's eye-rolling older sister who works at a fast-food restaurant. Because she is always tossing her hair and scoffing in exasperation, look for an actress who's not afraid to be funny. Lorena carries one number ("So Lame"), which is deceptive in its difficulty. Cast an actress with a good sense of timing who can hold her own when singing harmonies with others. Gender: Female Vocal range top: C#5 Vocal range bottom: A3 Lillian, Lilith, and Leilani (The 3 L's) Lorena's friends who sing backup for her during "So Lame." Cast performers who can match Lorena's teenage attitude and are comfortable singing tight harmonies. Gender: Female Vocal range top: E5 Vocal range bottom: F#4 Donna Pointer The most popular girl in school. She's a bouncy social butterfly who has lots of friends and a very full calendar. She has important solo lines in several numbers, so cast someone with a solid singing voice who can exude effervescent enthusiasm. Gender: Female Vocal range top: B4 Vocal range bottom: F#4 Dina and Dana Donna's best friends. These three go everywhere together, so cast actors who can match Donna's high energy. Gender: Female Vocal range top: Bb4 Vocal range bottom: F4 Darryl Egbert The smartest boy in fourth grade. He's also a bit of a mess. His brain - and his mouth - are constantly running at a hundred miles an hour as he obsesses and processes every little thing. The role requires an actor who can explode with energy while also accurately delivering some challenging Gender: Male Vocal range top: E5 Vocal range bottom: D4 Cougar Together with Scottie - Fresno Elementary School's resident bad guys. Cougar (whose real name is Leland, but don't call them that!) enjoys swaggering through the school hallways, acting tough but never following through on their threats. Cast any actor with an imposing physicality - someone with a lot of bark but no bite. Like all of Charley's classmates, Cougar must sing with conviction and power and be able to harmonize Vocal range top: D5 Vocal range bottom: A3 Scottie Cougar's sidekick - a bully without a mean bone in their body. Scottie, lacking Cougar's inventiveness, is always ready to go along with whatever shenanigans Cougar suggests. Cougar and Scottie together form a comedy duo, so cast two actors with strong voices who can make us (and each other) laugh! Vocal range top: C5 Vocal range bottom: A3 Jennifer Mobley New to Fresno Elementary School and having trouble making friends. But because they both share an interest in Monsters & Maniacs, Jennifer has targeted Charley with her aggressive excitement, dashing into every scene she's a part of and interrupting whatever else is going on. Her indomitable high spirits seem indestructible... until Charley fails to invite her to his birthday party. She carries one of the most important songs in the show - the only ballad! - so cast an actress with a strong voice and a good vocal range who can portray manic energy as well as wounded introspection Gender: Female Vocal range top: E5 Vocal range bottom: A3 Vince Champagne A back-slapping, loud- talking party planner who's unafraid to speak his mind, no matter whom he offends in the process. Vince is dating Mom, which is how he comes to offer Charley "Vince Champagne's three basics of a good birthday party." Cast an actor who - with his voice, personality, and physicality - can fill up a stage and mow down anyone who gets in his way. Gender: Male Vocal range top: D5 Vocal range bottom: B3 Assistant Andy and Assistant Annie Vince Champagne's assistants in "A Perfect Party." They each have brief featured solo lines in the song and sing with small groups too. These are great roles for young performers who are newer to the stage. Vocal range top: B4 Vocal range bottom: B3 Stacy Garry's ex-girlfriend. She has no sung solos but can shine during her brief breakup scene with Garry. This is a good role for a fantastic actor who can do a lot with a cameo. Gender: Female Ensemble Consists of Company, Monster Chorus, Students (Popular Kids, Bullies, Nerd Herd), Lion King Performers, Lion King Soloist, Jennifer's Mom, Jeffrey Stovall, Motorcycle Cop, and Garry's Community Theater Friends. These are great spots for anyone who'd like to be involved in your show! Note that Jennifer's Mom, Jeffrey Stovall, and Motorcycle Cop are non-singing.

Legally Blonde Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Laurence O'Keefe & Nell Benjamin Book by Heather Hach Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture Overview / Synopsis One Act, Book Musical, Pop / Rock, Rated G Broadway Junior Version Harvard's beloved blonde takes the stage by glittery pink storm in this fun and upbeat musical. (60-MINUTE VERSION FOR YOUNG PERFORMERS) A fabulously fun international award-winning musical based on the adored movie, LEGALLY BLONDE JR., follows the transformation of Elle Woods as she tackles stereotypes, snobbery, and scandal in pursuit of her dreams. Adapted for younger performers and based on the popular movie, this show features an upbeat original score that's sure to leave cast members and audiences alike seeing pink! When Elle's high school boyfriend Warner dumps her and heads to Harvard, claiming she's not "serious" enough, Elle takes matters into her own hands, crafting a showy song-and-dance personal essay and charming her way into law school. Befriending classmate Emmett and spunky hairdresser Paulette along the way, Elle finds that books and looks aren't mutually exclusive - in fact, law may be her natural calling after all as she quickly begins outsmarting her peers. LEGALLY BLONDE JR. features a large, expandable cast, lead and supporting roles for male and female actors, as well as energetic production numbers. The show's sense of humor, as well as its themes of self-empowerment and open-mindedness, make LEGALLY BLONDE JR. ideal for young performers. At the Delta Nu sorority house, word is out that Elle Woods is going to dinner to get engaged to her beau Warner Huntington III ("Omigod You Guys"). Margo, Serena and Pilar lead the other Delta Nus to the mall, where Elle is having trouble choosing the right dress for the occasion. Later at dinner, just when Elle is sure Warner is going to propose, he breaks up with her, explaining that with his departure for Harvard Law School, it's time to get serious ("Serious"). Devastated, Elle locks herself in her room. Twelve days later, the Delta Nus finally get Elle to emerge ("Daughter of Delta Nu"). Elle realizes the only solution to her heartache is to get into Harvard Law and prove to Warner she's serious enough for him ("What You Want"). Sorority sister Kate helps Elle study for the LSAT, and after several attempts and a lot of hard work, Elle's application comes upon Harvard Admissions. Lowell, Winthrop and Pforzheimer, three Harvard admissions coordinators, decide to admit Elle after a very extravagant song and dance (which she submits in lieu of a personal essay) citing love as her main motivation. On the first day of class, Elle meets her fellow first-year law classmates, Aaron, Padamadan and Enid, as well as Warner, who is shocked to see her on campus. Callahan (the most feared teacher at Harvard) kicks Elle out of class for being unprepared at the suggestion of classmate Vivienne Kensington. Callahan's TA, Emmett, tries to console Elle, but her mood only worsens when Warner confesses to Elle that Vivienne is his new girlfriend. Elle finds the nearest salon and meets Paulette, who commiserates with her situation ("Ireland"). Afterward, Elle runs into Vivienne who invites her to a costume party. Elle attends, hoping to see Warner, but is dismayed to discover she is the only one who wore a costume - much to Vivienne's delight. On the way home, Elle meets Emmett, who tells Elle how hard he's worked to get where he is and encourages her to do the same ("Chip On My Shoulder"). Time is passing quickly at law school and Elle is working harder than ever, eventually winning her first court case in class and receiving a recommendation to apply for Callahan's internship. With her newfound confidence, Elle helps Paulette win her dog back from her estranged boyfriend, Dewey. Back at Harvard, Warner and Vivienne win two of Callahan's coveted internship positions, and Warner proposes to Vivienne on the spot right in front of Elle. Before her heart can break, Emmett shows her the internship list, and Elle is ecstatic to discover her name is on it as well ("So Much Better"). The interns quickly jump into the case of fitness video guru Brooke Wyndham, who is accused of killing her wealthy husband. After watching her fitness video ("Whipped into Shape"), the interns meet her at a correctional facility where she refuses to give her alibi to anyone but Elle, thanks to their Delta Nu sisterhood ("Delta Nu Nu Nu"). In confidence, Brooke shares with Elle that she was getting liposuction the day her husband was killed, so there is no way she could be guilty, but no one can know because her fitness empire would be destroyed. The other interns demand that Elle give up Brooke's alibi, but Elle refuses to go against her Delta Nu pledge. Back at the salon, Paulette has eyes for the UPS delivery man, Kyle, but isn't confident enough to go after him. Elle teaches her a guaranteed move to win any guy's affections - the Bend and Snap ("Bend and Snap"), but when Paulette tries it, she accidentally breaks Kyle's nose. Elle returns to the case, but Callahan has a different agenda and tries to kiss her, just as Vivienne returns, unnoticed. Elle rejects Callahan's advances and is fired. Defeated, she prepares to go home convinced she was only ever seen as a joke, even though Emmett asks her to stay, finally realizing that he is in love with her ("Legally Blonde"). Elle stops by the salon to say goodbye to Paulette, but Vivienne - who witnessed what happened to Elle in Callahan's office and finally understands her - convinces her to keep fighting. The entire salon rallies behind Elle as she heads back to the courtroom ("Legally Blonde - Remix") where Brooke fires Callahan and hires Elle to continue her defense. Everyone is present to witness Elle's first day in court, including Paulette and Kyle (now a couple), Margo, Serena, Pilar and the other Delta Nus. Brooke's stepdaughter Chutney takes the stand, testifying that when she got out of the shower, she witnessed Brooke standing over her father's body, covered in blood. When asked what she had been doing earlier that day, Chutney reveals she had gotten a perm, and Elle realizes a flaw in Chutney's alibi - she couldn't possibly have showered the same day as receiving a perm or her hair would be flattened. Since her perm is still intact, she has obviously lied about her alibi. Under some intense questioning from Elle, Chutney accidentally reveals that she killed her father, mistaking him for Brooke. Elle wins the case and Brooke is set free. Warner tries to propose to Elle, but she gently refuses, having gained her independence and a desire to be the best she can be ("Find My Way"). Three years later, Elle is made valedictorian of her class, and in her commencement speech she proposes to Emmett, who accepts. Everyone celebrates their legally blonde friend and heroine, Elle Woods ("Finale"). Audio Sampler - HL00125163 $10.00 ShowKit - HL00125152 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs Piano/Vocal Score 60-Minute JR. Request Individual Components 00125153 - Director's Guide $100.00 00125154 - Piano/Vocal Score $40.00 00125155 - Actor's Script $10.00 00125156 - Actor's Script 10-Pak $75.00 00125157 - Rehearsal/Accompaniment CD $75.00 00125158 - Student Rehearsal CD $10.00 00125159 - Student Rehearsal CD 20-Pak $100.00 00125160 - Choreography DVD $50.00 00125161 - Media Disc $10.00 00125163 - Audio Sampler $10.00 Hear A Sample Omigod You Guys (Part 1) Omigod You Guys (Part 2) Serious (Part 1) Serious (Part 2) Daughter of Delta Nu What You Want (Part 1) What You Want (Part 2) What You Want (Part 3) Ireland Chip On My Shoulder (Part 1) Chip On My Shoulder (Part 2) Chip On My Shoulder (Part 3) Run Rufus Run!/Elle Reflects So Much Better Whipped Into Shape Delta Nu Nu Nu And Snap Bend And Snap Legally Blonde Legally Blonde Remix (Part 1) Legally Blonde Remix (Part 2) Legally Blonde Remix (Part 3) Scene Of The Crime (Part 2) Find My Way/Finale Cast Size Large (over 20), Flexible Cast Type Ensemble Cast - Many featured roles, Mainly Women, Showcases trained dancers, Showcases trained singers, Star Vehicle - Female, Teenage Roles Dance Requirement Heavy (Extensive Dance Sections/Solos), Standard (Musical Staging/Some Dance/Optional) AARON SCHULTZ, SUNDEEP AGRAWAL PADAMADAN and ENID HOOPES Three law students with academic credits that would intimidate anyone. BROOKE WYNDAM An exercise video mogul who is also a former sorority girl. She is energetic and charismatic, yet currently on trial for murder. Range: A3-D5 CHUTNEY WYNDHAM Brooke's unhappy stepdaughter with a really bad perm and an even worse attitude. DEWEY Paulette's brash ex-husband who lives in a trailer and holds her dog captive. ELLE WOODS The quintessential Valley Girl may appear like a typical blonde California sorority girl, but don't count her out. She is hardworking, optimistic and tenacious. Range: F#3-Eb5 EMMETT FORREST A smart and sensitive law student who takes Elle under his wing. He is charming, quirky, loveable, and friendly. Range: C3-F#4 ENSEMBLE WAITERS, DELTA NUS, FRAT BOYS, GREEK CHORUS, STUDENTS and INMATES. GAELEN, JUDGE, JET BLUE PILOT, SALESWOMAN, STORE MANAGER, PRISON GUARD, BOOKISH CLIENT and SABRINA Featured roles for young performers who may have less experience on the stage but have vibrant personalities. GRANDMASTER CHAD A fun cameo role for a young guy who is a great musician but may be less experienced onstage. Range: D3-D4 KATE A featured Delta Nu sister - the acedemic of the bunch. Range: Bb3-Db5 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 KYLE The delivery man who Paulette has her eyes on each time his job brings him to the salon. MARGOT, SERENA, and PILAR Elle's trio of best friends and Delta Nu sisters. Range: F#3-C#5 PAULETTE A brash, caring, optimistic hair stylist who is friends with Elle and longs to find a man for herself. Range: A3-Bb4 PROFESSOR CALLAHAN The most-feared professor at Harvard Law School. Range: Bb2-F#4 VIVIENNE KENSINGTON A smart, savvy, and uptight law student and Warner's fiancee who initially dismisses Elle, but grows to be her friend. Range: A3-Eb5 WARNER HUNTINGTON III A good-looking but shallow and pompous guy who breaks Elle's heart and heads off to Harvard Law. He is caught between his former life with Elle and his newfound serious East Coast life with Vivienne. Range: D3-F4 WHITNEY Vivienne's law school friend and partner in mischief when it comes to bringing down Elle. WINTHROP, LOWELL and PFORZHEIMER Three admissions officers of Harvard Law School who eventually admit Elle into the program after some critical evaluation.

Dot and The Kangaroo Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Daniel Mertzlufft Lyrics by Kate Leonard Libretto by Daniel Stoddart Overview / Synopsis Based on the 1899 classic children's novel, with libretto by Daniel Stoddart, music by Daniel Mertzlufft (Ratatouille: The TikTok Musical, Breathe), and lyrics by Kate Leonard (Ratatouille: The TikTok Musical, Breathe), Dot & the Kangaroo JR. will lead audiences on a beautiful journey into the world and spirit of Australia. Young, rambunctious Dot longs for an adventure exploring everything the country has to offer. When she finds herself lost and afraid in the darkening Australian bush, Dot befriends a wise mother Kangaroo who enlists the help of Australia's favourite bush creatures to help Dot find her way back home. A charming tale full of quirky Aussie-native characters, Dot & the Kangaroo JR. transforms the endearing story that transfixed generations past into a fresh, new adventure for generations to come. Audio Sampler - HL01241752 $10.00 ShowKit - HL01241747 $695.00 This ShowKit includes: 30 Actor's Book Piano/Vocal Score Director's Guide Choreography Videos (Digital) Guide Vocal Tracks (Digital) Performance Tracks (Digital) Downloadable Resources and Media 60-Minute JR. Request Individual Components 01241747 - ShowKit $695.00 01241748 - Director's Guide $100.00 01241750 - Actor's Book (Single) $10.00 01241751 - Actor's Script (10 Pak) $75.00 01241752 - Audio Sampler $10.00 MUSICAL NUMBERS Prologue Everything, But Nothing Without You See The Country On Our Way Bottoms Up At The Waterhole The Lullaby King Of The Burrow The Ladies' Lounge Council Of The Animals (Part 1) Council Of The Animals (Part 2) Dot's Testimony See The Country (Reprise) Finale Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Dot A smart, brave, and kind 8-year-old girl who lives with her family in the Blue Mountains of New South Wales in 1815 Australia. Quick- witted Dot is tired of doing chores and longs for an adventure. Dot is a major role with lots of stage time and carries her own song. Cast a strong singer and actor in this role who reads as younger onstage and makes a good team with Mrs. Kangaroo. Gender: Female Vocal range top: D5 Vocal range bottom: A3 Mrs. Kangaroo Wise, nurturing, and driven. Though she doesn't trust the "new humans," she is willing to help Dot get home as she searches for her missing Joey. Cast a strong singer and actor in this role who will pair well with Dot and can portray Mrs. Kangaroo's compassionate nature and strength of resolve while allowing her sense of humor to shine through. Gender: Female Vocal range top: E5 Vocal range bottom: B3 Matilda Dot's older sister. She loves her family and understands that they work as a team, with everyone contributing to their life in Australia - even if some of the jobs that need to get done aren't as exciting as having an adventure. Cast a good singer and actor in this role who reads as older than Dot onstage. Gender: Female Vocal range top: D5 Vocal range bottom: C4 May Dot's mother. Though she doesn't survive past the first scene, she has a small solo holding Dot as a baby. This is a good role for a performer who may be new to the stage but can handle a solo. Whoever plays May should join the rest of the ensemble after her scene. Gender: Female Vocal range top: D5 Vocal range bottom: D4 Henry Dot and Matilda's father. Though he sadly lost his wife, May, he loves his children and works hard to provide for the family. Cast a good singer and actor in this role who pairs well with Dot and Matilda and can depict Henry's hard-working, good nature. Gender: Male Vocal range top: D5 Vocal range bottom: C4 Willie Wagtail A bird first onstage in puppet form but later leads the courtroom during Dot's trial. He is a know-it-all and considers himself an expert on the court of law because he built a nest in the Gabble-Babble Courthouse and has listened to many trials. Willie doesn't sing a solo, so cast a performer who can express Willie's self-important attitude and command the courtroom. Gender: Male Larry Lorikeet Larry Lorikeet, Mal Magpie Goose, and Wazza Waterheron are the best of waterhole friends and lead the rousing hoedown "Bottoms Up At The Waterhole." These three function as a unit, so cast character actors with excellent comic timing who can move well and easily play off one another. Vocal range top: E5 Vocal range bottom: E3 Lillian, Lilith, and Leilani (The 3 L's) Lorena's friends who sing backup for her during "So Lame." Cast performers who can match Lorena's teenage attitude and are comfortable singing tight harmonies. Gender: Female Vocal range top: E5 Vocal range bottom: F#4 Mal Magpie Goose Larry Lorikeet, Mal Magpie Goose, and Wazza Waterheron are the best of waterhole friends and lead the rousing hoedown "Bottoms Up At The Waterhole." These three function as a unit, so cast character actors with excellent comic timing who can move well and easily play off one another. Vocal range top: E5 Vocal range bottom: E3 Wazza Waterheron Larry Lorikeet, Mal Magpie Goose, and Wazza Waterheron are the best of waterhole friends and lead the rousing hoedown "Bottoms Up At The Waterhole." These three function as a unit, so cast character actors with excellent comic timing who can move well and easily play off one another. Vocal range top: E5 Vocal range bottom: E3 Koala Koala and Kookaburra share a tree and function as a comic pair. They have a hilarious scene with Dot and Mrs. Kangaroo but no sung solos, so cast two character actors with great comic timing who make an interesting twosome and can dial up the silliness onstage. Kookaburra Koala and Kookaburra share a tree and function as a comic pair. They have a hilarious scene with Dot and Mrs. Kangaroo but no sung solos, so cast two character actors with great comic timing who make an interesting twosome and can dial up the silliness onstage. Platypus Though Platypus is a genius and the king of the burrow, he is not very nice to Dot at first. Beneath his gruff exterior is a loyal friend with a strong moral compass who sees Dot for who she truly is. Platypus leads his own number, so cast a fantastic singer and actor in this role who can command the stage and embody Platypus's grumpy dignity. Gender: Male Vocal range top: G5 Vocal range bottom: C4 "King of The Burrow" Soloists Soloist 1 Vocal range top: G4 Vocal range bottom: C5 Soloist 2 Vocal range top: F4 Vocal range bottom: Ab4 Soloist 3 Vocal range top: G#4 Vocal range bottom: C#5 Soloist 4 Vocal range top: F#4 Vocal range bottom: A4 Bowerbirds Belle, Bree, and Babs Bowerbirds Belle, Bree, and Babs are fierce, fashion-forward, and fabulous, darling, thank you very much! These divas have self-confidence in spades and remind Dot that, first and foremost, she must believe in herself. Cast a triple-threat trio that screams "girl power" and can handle close harmonies. Vocal range top: Db5 Vocal range bottom: Db3 Peacock Paul The Bowerbird girls' best friend and matches their confidence level - not to mention their decor! Peacock Paul does not sing a solo but should be comfortable singing in close harmonies with the Bowerbird girls. Cast a fabulous actor and a good dancer in this fun, energetic role. Pelican The prosecutor in Dot's trial. Pelican does not sing a solo, so cast a good actor who can command the room and lean into the courthouse drama of the scene. Joey Mrs. Kangaroo's missing child. Joey has a cameo at the end of the show when he is finally reunited with his "Mimi." This is a great role for a newer performer who is comfortable having a few lines and a brief duet line and reads as younger onstage. Black Swan Vocal range top: G4 Vocal range bottom: Gb3 Cockatoo Vocal range top: G4 Vocal range bottom: Gb3 Ensemble The Ensemble is a great place for any performer who'd like to be involved in the show. Featured ensemble roles are: Brolga, Snake, British Soldiers, Families, Bowerbirds, Brolgas, Dingoes, Rainbow Lorikeets, Waterhole Birds, Council of the Animals (which include Koalas, Possums, Wallabies, Kangaroos, Bilbies, Emus, Cranes, Plovers, Ducks, Frogs, Bandicoots, and Parrots). Brolga Vocal range top: Bb4 Vocal range bottom: Gb3

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

The Pirates of Penzance Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Sir William Schwenck Gilbert Music by Sir Arthur Seymour Sullivan Lyrics by Sir William Schwenck Gilbert Overview / Synopsis Set sail with this classic comedy that boasts one of the most famous patter songs in musical theatre history. The wit and whimsy of Gilbert and Sullivan's classic score is suffused with a modern sensibility in The Pirates of Penzance JR, a swashbuckling musical journey! Set on the rocky coast of Cornwall, England, The Pirates of Penzance JR begins with a group of pirates who are celebrating the birthday of one of their own, Frederic, who has reached his 21st year. Finally having served the full length of his required time with the pirates, he decides to strike off on his own and become an upstanding citizen - which may even mean bringing the pirates to justice. Thus turns out to be a tricky prospect indeed, especially when Frederic's freedom is called into question! The Pirates of Penzance JR is a light, comic introduction to the work of Gilbert and Sullivan, featuring opportunities for singing as an ensemble or in small groups, with vocal parts written in unison or simple two-part harmony. Audio Sampler - HL00160203 $10.00 ShowKit - HL9971456 $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 9971459 - Director's Guide $100.00 9971458 - Piano/Vocal Score $40.00 9971457 - Student Book $10.00 9971461 - Student Book 10-pak $75.00 9971408 - Performance/Accomp CD pack $75.00 9971463 - Student Rehearsal CD $10.00 9971464 - Student Rehearsal CDs 20-Pak $100.00 9971460 - Choreography DVD $50.00 9971462 - Media Disc $10.00 00160203 - Audio Sampler $10.00 Hear A Sample Pour, O Pour the Pirate Sherry [Pirates, Samuel] When Frederic Was a Little Lad [Ruth] Oh, Better Far to Live and Die [Pirate King, Pirates] Oh, False One, You Have Deceived Me [Frederic, Ruth] Climbing Over Rocky Mountain [Daughters, Edith, Kate] Stop, Ladies, Pray! [Frederic, Edith, Kate, Daughters] Oh, Is There Not One Maiden [Frederic, Daughters, Mabel] Poor Wandering One [Mabel, Daughters] Stay, We Must Not Lose Our Senses [Frederic, Daughters, Pirates] I Am the Very Model of a Modern Major-General [Major-General, Chorus] Oh, Men of Dark and Dismal Fate [Major-General, Samuel, Pirate King, Pirates, Mabel, Daughters] Oh, Dry the Glistening Tear [Daughters] When the Foeman Bares His Steel (Tarantara!) [Peter, Tiger Lily, Brave Girls, Lost Boys, Children] When You Had Left Our Pirate Fold (Part 1) [Ruth, Frederic, Pirate King] When You Had Left Our Pirate Fold (Part 2) [Ruth, Frederic, Pirate King] Tarantara! (Reprise) [Sergeant, Police] A Rollicking Band of Pirates We [Pirates] With Cat-like Tread, Upon Our Prey We Steal [Pirates, Police] Now What Is This, and What Is That [Daughters, Pirates, Major-General, Mabel, Frederic] Finale [Sergeant, Pirate King, Police, Daughters, Major-General, Ruth, Pirate King, Mabel, Frederic, Edith] Samuel Samuel is a pirate and serves as the second in command to the Pirate King. Where the Pirate King is self-assured, assertive, and strong, Samuel is more bookish. Think of him as the accountant to the Pirates. Samuel has some featured solos and it is a good role for a performer who is showing good promise, but needs to nurture their skills a bit. Vocal range: Bb3-Eb3 Pirate King The Pirate King is a great comic lead for a boy who is self assured, a bit of a ham, and great at physical comedy. Cast someone who is inventive, fearless and willing to take positive risks. The Pirate King should sing reasonably well, but he doesn't need to be a polished singer. Consider casting someone who is athletically inclined and a natural leader-this is a great role for the star soccer player, or captain of the football team. Vocal range: B3-Eb5 Frederic Frederic is the male ingï¿½nue of the show. He should have a great voice that is polished. Frederic should also have looks that qualify as "dreamy" if at all possible. Think Davy Jones, Luke Perry or anyone who may be worthy of the cover of Teen Beat or Teen People. Frederic can be a better singer than an actor, but it's great if he can be both. Vocal range: B3-F5 Ruth Ruth is a humoristic tour-de-force for a young comedian. She should be able to play matronly but still be vibrant and full of energy. An actress who is physically different from Frederic is a great choice. For example, if your Frederic is tall and thin, consider a short and stocky Ruth. Ruth transforms from old matronly, to a knock-out beauty when she returns with the Pirate King in "When Fred'ric Was a Little Lad", so it's great to cast an actress who is versatile. Ruth has a featured solo, but doesn't have to be a polished singer. Cast a comedian who is naturally funny, and can be bigger than life. Someone who played Miss Hannigan in Annie Junior, or Mrs. Paroo in The Music Man Junior would make a great Ruth. Vocal range: G3-Eb5 Kate, Edith, and Isabel Kate, Edith and Isabel are the leaders of General Stanley's wards, with Edith serving as the leader among the three. Of the three, Kate and Edith have solos, although you could break-up their solos to provide Isabel with a solo as well. These three should be good singers, good dancers, and reasonable actresses. Traditionally, Edith wears glasses and is more bookish, Kate is aggressive and tomboyish, while Isabel is younger and more naï¿½ve. However, these three roles are open to interpretation. Consider having your actresses create their own character types as long as the characters are specific and can be sustained throughout the entire production. These are great roles for actresses you are nurturing for future lead parts. Vocal range: G3-F5 Mabel Mabel is the female ingï¿½nue to Frederic's male ingï¿½nue. She must have a polished, operatic or legitimate voice. Mabel should be attractive and a reasonable actress, but doesn't need to be an accomplished actress. She's the female star of the show, and the character who takes the biggest risk. Vocal range: G3-G5 Major-General Stanley Major-General Stanely is one of the signature character types in any Gilbert and Sullivan show. For Pirates the Major-General is the character who delivers the rapid fire patter song. An excellent part for a young performer who may not have great pitch, but has great rhythm. Cast that kid who listens to hip-hop and rap; they'll be a natural as the Major-General. Personality is primary in this part; acting, singing, and dancing are a definite second thought. Vocal range: A3-Eb5 Sergeant The Sergeant of Police should be a good singer and a great dancer. Don't hesitate to cast a girl in this role; simply slap on a handlebar moustache and you'll be good to go! Think "Key Stone Cops" as your inspiration. Vocal range: C4-E5 Police Chorus For this chorus, you can cast your best dancers and singers and mix boys and girls, or just girls if that's your best option. The police are traditionally portrayed as "Key Stone Cops"; so performers who are physically adept will be a great addition to your show. Vocal range: E3-F#5 Daughter Chorus These are the wards of Major General Stanley and can range in type and talent as broadly as required. Consider casting Daughters who are accomplished dancers and letting them take the lead in the dances. Cast singing Daughters to lead the singing; throw in some kids who can neither sing nor dance but are great character actresses and encourage them to be funny. Mix it up and your Daughter chorus will be an outstanding addition to your Pirates company. Vocal range: F3-G5 Pirate Chorus If you didn't read the Daughter chorus description, do so now. Everything that applies to casting the Daughters, applies to the Pirates. Don't hesitate to mix boys and girls as Pirates. (In fact sometimes girls make the best pirates!) You can have your chorus of Police play Pirates in the early numbers to give everyone more to do. Vocal range: Bb3-F#5

Disney's Aristocats KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music and Lyrics by Richard M. Sherman and Robert B. Sherman, Al Rinker and Floyd Huddleston, Terry Gilkyson Music Adapted and Arranged and Additional music and Lyrics by Bryan Louiselle Book Adapted and Additional Lyrics by Michael Bernard Based on the 1970 Disney film "The Aristocats" Overview / Synopsis Madame's jealous butler, Edgar, cat-naps Duchess and her kittens and abandons them in the Parisian countryside. What's a cat to do? Luckily, Thomas O'Malley and his rag-tag bunch of Alley Cats come to their rescue! With a beloved Disney score, the feline adventure in The Aristocats KIDS is sure to get your audiences tapping their feet to its hip, jazzy beat. Audio Sampler - HL00298986 $10.00 ShowKit - HL00298990 $545.00 This ShowKit includes: 30 Student Scripts Piano/Vocal Score Director's Script Rehearsal/Accompaniment CD Choreography DVD 30 Family Matters Booklets 30-Minute KIDS Request Individual Components 00298972 - Piano/Vocal Score $40.00 00298971 - Director's Guide $100.00 00298973 - Actor's Script $10.00 00298974 - Actor's Script Book 10 Pak $75.00 00298976 - Performance/Rehearsal CD $75.00 00298983 - Choreography DVD $50.00 00298985 - Media Disk $10.00 00298978 - Student Rehearsal CD $10.00 00298980 - Student Rehearsal CD 20 Pak $100.00 00298986 - Audio Sampler $10.00 Hear A Sample Prologue / The Aristocats [Alley Cats, Scat Cat, Duchess, Toulouse, Marie, Berlioz, Aristocats, Madame, All, Edgar] Scales and Arpeggios [Kittens, Aristocats, Duchess, Edgar, Roquefort] 'Night, Kittens [Edgar] Use Your Nose [Napoleon, Dogs] O'Malley Enters [O'Malley] Thomas O'Malley Cats [Groups, All, O'Malley, Alley Cats, Duchess] The Gabble Girls [Amelia, Abigail, O'Malley, Aristocats] Ev'rybody Wants to Be a Cat [Scat Cat, O'Malley, Wacky, Hep, Mad, Slick, Berlioz, Alley Cats, Toulouse, Marie, All] Back Home [Alley Cats] Cat Wash [Edgar] Roquefort to the Rescue [Roquefort, Aristocats] Somebody is Looking for a Cat [Alley Cats, Roquefort] Use Your Nose (Reprise) [Dogs] The Gabble Girls (Reprise) [Amelia, Abigail] The Butler Did It! / Finale [Aristocats, Edgar, Abigail, Amelia, Napoleon, Animals, Cats, Roquefort, Dogs, Geese] Ev'rybody Wants to Be a Cat (Reprise) [All, Audience] Thomas O'Malley Thomas O'Malley, an alley cat, is the charming and charismatic lead alley cat. He lives as a free spirit with no attachments but secretly desires to be part of a family. This role requires a strong actor, singer, and mover. He should also be comfortable flirting with the actress playing Duchess. When auditioning, mix and match your O'Malley and Duchess hopefuls into different pairs and look for the best chemistry. The success of the show largely hinges on the energy of this leading cat so cast your strongest performer in this role. Duchess Duchess is the elegant and nurturing mother of the Aristokittens. This leading role requires small group singing, but no solos, so cast your strongest actor and mover, rather than singer. Look for a mature actress who is able to convey a maternal figure. Try to audition Duchess hopefuls with O'Malleys and Aristokittens to see who works best together. Edgar Edgar is the villainous butler of Madame. He's allergic to the pampered Aristocats and secretly hates tending to them. This leading part requires one of your strongest and most mature performers with excellent acting and singing skills. Cast an actor who can portray a believable sneeze, possesses excellent comedic timing, and is unafraid to be mean. Toulouse and Berlioz Toulouse and Berlioz are Duchess's sons. Since these Aristokittens are in the majority of the scenes but require little solo singing, cast two of your stronger actors who can sing well. Toulouse yearns to be seen as tougher than he is and has a small singing solo, so cast accordingly. Berlioz a slightly smaller part than Toulouse and requires no solo singing. If possible, the Aristokittens should be physically smaller than Duchess. Marie Marie is the spirited and sassy daugher of Duchess. She is the youngest child and a charmer just like her mother. Since she's in the majority of the show and has a small singing solo, cast a stronger actor rather than singer. When auditioning, mix and match Aristokitten hopefuls into different trios to see who works best together. Roqueforts Roqueforts is the naive yet ultimately brave house mouse who overcomes his fears and saves the Aristokittens from Edgar. This role requires a strong singer and character actor who can believably play innocent and frightened. If possible, cast someone physically smaller than the Alley Cats to in order emphasize his vulnerability when confronting them. Roquefort can be played by either a girl or a boy. Madame Madame is the eccentric and kind human owner of the Aristocats who loves her pets more than anything else in the world. This small character role requires a good actor who possesses the maturity to play a maternal role. She should also be capable of delivering a short singing solo. Since Madame only appears at the beginning and end of the show, consider double casting her as an Alley Cat for the country section of the show. General Napoleon and Private Lafayette General Napoleon and Private Lafayette are two country dogs in a comedic power struggle throughout the show. Napoleon is the power-hungry leader and Lafayette the not-so-subservient private. These roles do not require solo singing, so cast based on acting and the ability to move like a dog. Since this comic duo feeds off of each other, cast actors who can work well together. If you have a small cast, consider double casting them as Alley Cats in the opening number and for "Ev'rybody Wants to Be a Cat." Napoleon and Lafayette can be played by either girls or boys. Vichy and Ssoise Vichy and Ssoise are two privates in the dog army who report to General Napoleon. These are smaller acting roles that require good movers and solid singing voices appropriate for small group singing. If you have a small cast, consider double casting them as Alley Cats in the opening number and for "Ev'rybody Wants to Be a Cat." Amelia and Abigail Amelia and Abigail are the two bold geese sisters who rescue O'Malley from the river and lead the way out of the country back to Paris. These comedic characters sing a duet (but no solos), so cast solid singers and actors. It's also important for Amelia and Abby to be able to move convincingly as geese. If you have a small cast, consider double casting them as Alley Cats in the opening number and for "Ev'rybody Wants to Be a Cat." Scat Cat Scat Cat is the jazzy leader of the Alley Cat narrators. He or she is ultra hip and enjoys introducing the Aristocats to jazz music. Scat Cat leads the song "Ev'rybody Want to Be a Cat" so cast a strong singer and smooth mover. When auditioning, look for a child that's willing to go over-the-top on both movement and acting improvisations. The more creative and able to perform outside the box, the better. Scat Cat can be played by either a girl or a boy. The Alley Cats The Alley Cats - Hep, Mad, Slick and Wacky although small acting parts, are the glue that holds The Aristocats KIDS together. These storytellers set up and comment on the action as well as execute the scene changes. These roles require actors with strong speaking voices who can focus onstage for long periods of time. They should also have good memories for the more complicated blocking of scene changes and transitions. Casting extra Alley Cats is a great way to use additional children you may have. Depending upon ability, they can take part in all or only some of the production numbers which call for the Alley Cats. Use some strong singers in these roles to help fill out the sound of the chorus.