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Rules - 2020 Hal Leonard Vocal Competition The 2020 HAL LEONARD VOCAL COMPETITION THE NORTH AMERICAN COMPETITION FOR SINGERS, SPONSORED BY THE WORLD LEADER IN VOCAL MUSIC $10,000 IN PRIZES FOR YOUNG SINGERS, CHILDREN THROUGH COLLEGE UNDERGRADUATES Home Previous Winners Rules Art Song Musical Theatre 2020 will be the tenth year of the Hal Leonard Vocal Competition, the innovative online competition for singers. This is the only vocal competition for all of North America aimed at young singers, ages 23 and under, and one of the first legitimate competitions for music students held entirely online on YouTube. In keeping with our founding values for the competition, there is no entry fee, making it accessible to any qualifying singer, from any location in North America (and U.S. territories), who records a video comprised of songs from the required repertoire, and then posts it on the internet in the prescribed manner by the deadline. This eliminates the commonly encountered expenses of travel to a designated destination on a specific date, as is the case in conventional music competitions. Cash prizes are awarded to first place winners in each category, and valuable gift certificates are awarded to those singers placing second and third. Gift certificates are also possible for those named Honorable Mention. All these prizes are in the spirit of supporting further music study among talented singers. We also very much value the sense of shared community that singers and teachers may find in watching video entries of others from all over North America. We give an inadequate salute to all the thousands of music teachers in North America. You inspire us by keeping our musical heritage alive, passing it on to one student at a time. Best of luck to all! We congratulate our past prize winners! Click on the year to see the video entries of past prize winners: View the Winning Videos from our Previous Years Choose a Previous Year 2019 2018 2017 2016 2015 2014 2013 2012 2011 Official Rules Common Problems with Rules and Other Topics Judging OFFICIAL RULES In the spirit of fairness to all entries, these rules must be followed explicitly, without exception. It simply would not be fair to all other entrants if we allow an entry that does not follow all the rules. The rules and guidelines apply to both categories, Art Song and Musical Theatre. Official Entry Forms may be accessed at the end of the Required Repertoire for each age division within a category. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Video entries must be submitted by 1:59 am Central time on February 2, 2020. Any entries after that strict deadline will be disqualified. To be absolutely clear when your video is due please consult the list of time zones below: Atlantic Time Zone: February 2, 3:59 am Eastern Time Zone: February 2, 2:59 am Central Time Zone: February 2, 1:59 am Mountain Time Zone: February 2, 12:59 am Pacific Time Zone: February 1, 11:59 pm Alaskan Time Zone: February 1, 10:59 pm Hawaiian Time Zone: February 1, 8:59 pm Designated winners may be asked to provide proof of age before the dispensation of prizes. Results will be announced to entrants via email and on www.halleonard.com/vocalcomp by May 1, 2020. We have added an optional field for teacher's email address to the official entry form; if the teacher's email address is entered, the teacher will also receive notification of results. An entrant may only win a first place cash prize once per age division within a category (art song or musical theatre). For instance, if you win first place in the Early Teen Voices Art Song category at age 14, you cannot enter again in that category the next year at age 15. Second Place, Third Place and Honorable Mentions are free to re-enter in the same age division. In the interest of fairness, employees of Hal Leonard, Hal Leonard published composers, editors, arrangers or authors, or members of their immediate families, or their students, are not allowed to enter the Hal Leonard Vocal Competition. You must follow the repertoire guidelines. Music competitions generally have required repertoire, and the Hal Leonard Vocal Competition is no different in this regard. The publications in the required repertoire list for each category and age division have been carefully considered, and generally offer a variety of material from which to choose. In fairness, we must insist that all entrants abide by these prescribed rules. Make certain that you have chosen songs from the required repertoire publications for your age division. It is not acceptable to sing repertoire from another age division, even a higher age division. Doing so will require us to disqualify your entry. For the Children's Voices and Early Teens Voices categories only, we will allow transposition if the voice teacher feels this solves a vocal problem for the singer. If you wish to transpose a song, it is required that you seek permission for each song that you wish to transpose. Permissions must be sought via email to vocal@halleonard.com. Transpositions are allowed only to address vocal issues common to children and voices going through puberty. Transpositions will not be allowed for the high school and college categories. Two contrasting songs are required. Do not sing two slow songs or two fast songs or two songs of similar character. Accompanists are forbidden to use photocopies. Pianists accompanying singers must play from original publications in printed or ebook form. Entries with visible photocopies or visible loose pages of any kind will be automatically disqualified. Photocopying music is illegal. The purchase of a publication does not grant the right to photocopy for rehearsal or performance with a pianist. Singers are responsible for the accompanist's compliance with this strict rule. We cannot make any exceptions. Pianists must play from original publications, whether this is their preference or not. There is no other choice for this competition. We urge the use of page turners as necessary. The performance recorded for the video entry must be acoustic and not amplified. The only microphone(s) involved should be for recording, and your voice must not be amplified. No mixing or sound enhancement is allowed through any kind of soundboard, including at a recording studio. No reverb can be added to the recording. The recording must be honest and acoustic. As closely as possible, it needs to be as if the judges were in the room listening to you perform live. You must sing live on the video. No audio dubbing over your video is allowed. Be aware that if your video entry sounds as if you have added reverb or enhanced the sound in any way, even if this is not the case, the judges will question and possibly disqualify your entry. If you are recording your video in a professional recording studio (which is completely unnecessary and possibly unwise for this competition), the sound engineer must not add reverb, sound enhancement or sound mixing in any way. Complete introductions, interludes, etc., must be performed. All repeats must be performed. If a singer is uncomfortable with a song which has a long introduction or interlude, choose a different song! Tasteful, stylistic ornamentation is allowed for Baroque selections in the art song category. Note any specific repertory requirements for each category. For musical theatre selections, a few interpretive liberties are allowed, but these should be deliberately chosen stylistic choices, not musical inaccuracies. The style of singing remains musical theatre, and should not venture into pop/rock/jazz improvisation. The taste and interpretive choices a singer makes will be part of what is judged. If the judges believe the singer has strayed too far away from the song as written, or from the way it is traditionally performed, it could impact the judging. Some teachers seem to think that if a singer does not sing exactly the notes and rhythms that are on the page, that the student audition should not be judged positively. It's up to the judges to decide what is acceptable within the style, and what is not. This applies to the piano accompaniment. Appropriate stylistic deviation is acceptable, however reharmonization and widely varying distractions will not be accepted. For the Art Song competition, in any age category, your video must be titled as follows: HL Art Song 2020 [Your Name] For instance: HL Art Song 2020 Mary Smith To be explicit: HL(one space)Art(one space)Song(one space)2020(one space)Mary(one space)Smith Note that HL is capitalized with no space between the H and L, and the first letter of Art and Song are capitalized. Also note that Art and Song are two separate words, with one space between them. For the Musical Theatre competition, in any age category, your video must be titled as follows: HL Theatre 2020 [Your Name] For instance: HL Theatre 2020 Mary Smith To be explicit: HL(one space)Theatre(one space)2020(one space)Mary(one space)Smith Note that HL is capitalized with no space between the H and L, and the first letter of theatre is capitalized. Note the spelling of Theatre (We have chosen Theatre as the spelling, not Theater, which is another acceptable spelling.) The judges will not spend time searching for your video if it is incorrectly labeled. In the official entry form, you will be providing the link with the web address of your video posting. Hal Leonard will also be copying your posting into the Hal Leonard Vocal Channel. Please double check the link provided. The video must clearly show your face. A stationary camera position throughout, showing your face and most of your body, is perfectly acceptable, even preferable. Singers are required to sing their selections from memory. If a singer's performance is not memorized, the entry will be disqualified. You may sing with a live pianist in your video entry, or you may sing with official Hal Leonard recorded accompaniments which are packaged with or are companion to the required publications. Only official Hal Leonard recorded accompaniments are allowed. No other recorded accompaniments will be accepted, including orchestrated accompaniments and MIDI generated backing tracks. We will not accept unaccompanied entries. You may not accompany yourself. Note that the quality of the accompanist's playing can affect not only your singing, but also the judging. An accompaniment with many wrong notes creates a bad impression. If you believe this may be an issue, we urge you to use Hal Leonard recorded accompaniments instead. The video should be in the spirit of a recital or audition. It may be shot in a home, school, church, synagogue, recital hall, or some other appropriate location, with or without an audience. Please take into account the acoustics of the room. A small room with dead acoustics will not flatter a voice. We encourage you to dress appropriately, as you would for a recital or an audition. You are required to introduce yourself and your selections in the video, either verbally before your selection or with a title card before the songs. This is a simple introduction in the spirit of an audition. This introductory portion of the video entry must be limited to the following: FOR THE ART SONG COMPETITION Your name The composer and title of your selection (prior to each song) FOR THE MUSICAL THEATRE COMPETITION Your name The title of the song The show the song is from Do not say or write anything more in your video entry to the Hal Leonard Vocal Competition. Those departing from this stated direction may be disqualified. For the Art Song Competition, a typical model of spoken introduction before the first selection is: I am __________________. I will sing "The Silver Swan" by Orlando Gibbons (Or after your name you could simply state the selection without saying 'I will sing') Before the second selection, simply state the song title and the composer. For example: "Per la gloria d'adorarvi" by Giovanni Bononcini Take very special care to pronounce the title of your song and the composer's name correctly. For the Musical Theatre Competition, a typical model of spoken introduction before the first selection is: I am __________________. I will sing "Part of Your World" from The Little Mermaid. (Or after your name you could simply state the selection without saying 'I will sing') Before the second selection, simply introduce the song by stating the song title and the show the song is from: "Where Is Love" from Oliver! Video editing during a song is not allowed under any circumstances. This will be automatic grounds for disqualification. Each song should be filmed in one continuous take. The only editing allowed in the audition video is the insertion of an introduction, if necessary, and the editing together of two required songs. Do not change camera angles within the performance of a song. Each singer should submit both required songs within one video entry for a category. A singer is allowed to enter both the Art Song and Musical Theatre Competitions. There is no fee required for entry in the Hal Leonard Vocal Competition. We have attempted to thoroughly address all issues in these rules and guidelines. We repeat that, in fairness to all entrants, the official rules must be followed explicitly, without exception. The repertoire requirements must be strictly followed. If you write to us asking us to make an exception for you regarding required repertoire, or asking to submit a video entry to the competition after the stated deadline, we will simply write back stating that we must enforce the rules. We believe questions about topics beyond those covered should be very rare. If they arise, they may be directed to vocal@halleonard.com. COMMON PROBLEMS WITH RULES AND OTHER TOPICS THE USE OF VISIBLE PHOTOCOPIES IS PROHIBITED We have had to disqualify some video entries because of use of photocopies by accompanists, a clear violation of the rules. Most music competitions ban photocopies. Because we are, after all, a music publisher, we must take this rule very seriously. We have also added to this rule a ban of playing from any visible loose pages of music of any kind, whether they are photocopies or pages cut from a book, or any visible loose pages placed in any kind of binder, because the judges cannot tell that loose pages such as these are not photocopies. Singers are responsible for the accompanist's compliance with this strict rule. Pianists must play from original publications, whether this is their preference or not. The purchase of a publication does not grant the right to photocopy for rehearsal or performance with a pianist. We urge the use of page turners as necessary. SONGS MUST BE FROM THE REQUIRED REPERTOIRE LIST Each year we are forced to disqualify a few entries because the singer sings songs that are not from the list of specified required repertoire publications for a category. This has particularly been a problem in the children's categories. Singers must sing songs from the publications listed in the required repertoire list for the category of entry. Music competitions generally have required repertoire, and the Hal Leonard Vocal Competition is no different in this regard. The publications in the required repertoire list for each category and age division have been carefully considered, and generally offer a wide array of material from which to choose. In fairness, we must insist that all entrants abide by these prescribed rules. Each year we receive inquiries that essentially ask, "May I sing a song from a book not on the required repertoire list?" Or, "I have this book not on your repertoire list. May I sing a song from this instead? The answer to these questions will always be no. In fairness to all entrants we must insist that the repertoire rules be followed. If you sing a song not from one of the publications in the required repertoire list, you will be disqualified. Also, many singer entries make mistakes in listing which publication a song is from. Please accurately list in your entry form the title of the book in which your song is published. ENTER THE APPROPRIATE AGE DIVISION AND CATEGORY Age is defined as the entering singer's age on the deadline of February 1, 2020. Make certain that you enter the correct age division of the competition. Each year we have entries in the wrong age division or wrong category, Art Song or Musical Theatre. THE DEADLINE FOR ENTRY MUST BE RESPECTED Video entries must be submitted by 1:59 am Central time on February 2, 2020. Any entries after that strict deadline will be disqualified. To be absolutely clear when your video is due please consult the list of time zones below: Atlantic Time Zone: February 2, 3:59 am Eastern Time Zone: February 2, 2:59 am Central Time Zone: February 2, 1:59 am Mountain Time Zone: February 2, 12:59 am Pacific Time Zone: February 1, 11:59 pm Alaskan Time Zone: February 1, 10:59 pm Hawaiian Time Zone: February 1, 8:59 pm TRANSPOSITIONS For High School and College/Young Adult age divisions, the video entries in the Hal Leonard Vocal Competition, songs must be sung in a published key that is in a publication on the required repertoire list for a category. Note that some of the publications on the required repertoire list come in more than one key (such as High Voice or Low Voice). As long as it is a published key from one of the publications on the required repertoire list, the entry is acceptable. For the Hal Leonard Vocal Competition we will not accept entries of transposed keys that are not in the required repertoire list of publications. We have decided to allow transpositions for the Children's Voices and Early Teen Voices categories, but you must follow the specific instructions stated in the Official Rules and Guidelines. VIDEO AND AUDIO QUALITY While we do not expect professional quality video and audio, after hearing thousands of video auditions for the competition, we have observed that those videos with notably poor video and audio quality make a less than good impression. On some entries the audio is so distorted that it is impossible to get a good impression of the singer's voice. We urge you to do the best you can. Take acoustics and the placement of microphones into account. Please test the recording set up before recording your video. A video audition sung in a small room with dead acoustics will generally make a less flattering vocal impression than a video audition recorded in a room with more sympathetic acoustics. When using a smartphone to make a recording, a better result can be achieved by holding the phone horizontally rather than vertically. YOUTUBE PUBLIC SETTING Every year we have entries that do not understand the "public" view setting on YouTube, and we have to ask the video to be made viewable. If you do not want your video to be publicly accessible, this is not the right competition for you. AMPLIFICATION AND SOUND ENHANCEMENT There must be no amplification of the voice, no added reverb, or any sound enhancement added to the voice. Carefully read rules 15 and 16. Each year we have to disqualify singers who violate this rule. This must be an acoustic audition. If you choose to record in a recording studio (which is completely unnecessary), the sound engineer must not mix the sound, balance the voice and piano, multi-track record the voice and piano, add reverb, or alter in any way the acoustic sound of the voice. There should just be microphones for recording set up in the live room in the recording studio. Please do not make the mistake of overproducing this video audition regarding sound engineering. Also, a live performance with a microphone that is amplified through speakers is not allowed. Each entry must be via video posted at www.youtube.com, with the link provided on the entry form. For information on posting videos we recommend exploring the Help section found on the YouTube homepage. Please note that you must select "Public" in the Privacy settings found under the broadcasting and Sharing Options section when uploading your video file to YouTube. If you select "Unlisted" or "Private" your submission will be invalid. Please only enter the Hal Leonard Vocal Competition if you are comfortable posting a public video on YouTube. Every year we have entries that do not understand the public video point, and we have to ask them to make their video viewable, and we sometimes have a reply that says, "I don't want my video publicly viewed." That's the spirit of YouTube. Don't enter if you don't want your video publicly viewed. JUDGING Art Song Judging will be by a qualified panel selected by Hal Leonard. Decisions made will be final. Criteria for judging will be most importantly voice quality and overall vocal talent. Additionally, judges will consider clarity of voice, diction, musicianship, musicality and expression, the singer's choice of repertoire, communication, presentation, and the performing personality of the singer. Musical Theatre We remind you that this is a singing competition. We urge performers to refrain from choreography in the musical video entries; however, we want lively, theatrical singing. Classical singers with good voices singing theatre repertoire need to sing in an appropriate theatre style, with persuasive acting and expression. Bland classical performances of theatre songs will not likely get a good judging result. Judging will be by a qualified panel selected by Hal Leonard. Decisions made will be final. Criteria for judging singing actors will be voice quality and overall vocal talent combined with theatrically persuasive ability to communicate. Additionally, judges will consider acting ability, clarity of voice, diction, musicianship, musicality, and expression, the singer's choice of repertoire, communication and presentation, and the performing personality of the singer. Competition Age Divisions with Required Repertoire See required repertoire details for each category and age division below. To find out more about any of the required repertoire publications listed, including viewing complete contents, enter the 8-digit publication number in the Search field at www.halleonard.com. Official 2020 Art Song Entry Form Children's Voices Ages 12 & Under Early Teen Voices Ages 13-15 High School Voices Ages 16-18 College/University Voices Ages 18-23 CHILDREN'S VOICES, AGE 12 AND UNDER - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $250 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Children's Voices category The purpose of having a children's art song category is to hear natural, lyrical singing with a "classical" approach, as opposed to a child's natural belting sound appropriate to musical theatre. To be explicit, we are not looking for the child's belting style of singing in this category. If that is the child's natural singing voice, please enter in the Musical Theatre category only. There is a limited amount of "classical" repertoire suitable to children. Two contrasting songs are required. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. You must sing repertoire as stated below. No substitutions of other repertoire is allowed. We inexplicably get questions every year from quite a few people asking if they can sing songs not on the required repertoire list. The answer will always be no. Please do not ask us for allowances or exceptions to the required repertoire list for this category. If you sing songs outside of the publications listed below on the required list, your entry will be disqualified. Note to teachers and parents: We have more disqualifications in the children's categories than any other category because repertoire rules are not followed. Fairness must prevail, and we cannot have a publicly declared winner with songs not on the required repertoire list. Be absolutely certain that the contestant is singing songs from the required repertoire only. Do not sing songs from a higher category. Art Songs for Children Book/Audio The Boy's Changing Voice (for a boy's voice in transition; not recommended for a boy's voice not yet in transition as the range will be too low) Hal Leonard Book/Audio Daffodils, Violets & Snowflakes compiled by Joan Frey Boytim High Voice, Book/Audio Low Voice, Book/Audio 36 Solos for Young Singers compiled by Joan Frey Boytim; Hal Leonard Book/Audio DO NOT SING THE FOLLOWING from 36 Solos for Young Singers: Sit Down, Sister The Desperado Git Along, Little Dogies He's Got the Whole World in His Hand Macnamara's Band 36 More Solos for Young Singers compiled by Joan Frey Boytim; Hal Leonard Book/Audio 25 Folksong Solos for Children Book/Audio EARLY TEEN VOICES, AGES 13-15 - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $500 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Early Teen Voices category Any two contrasting songs from the following publications. Your entry may be two songs in English, or one song in English and one song in Italian. Two songs in Italian are not allowed. The contrast between the songs should include differences in mood and tempo. Do not sing two fast songs, or two slow songs. Only editions of songs from these designated publications are allowed for entry. You must sing repertoire as stated below. No substitutions of other repertoire is allowed. We inexplicably get questions every year from quite a few people asking if they can sing songs from publications not on the required repertoire list. The answer will always be no. Please do not ask us for allowances or exceptions to the required repertoire list for this category. Entries with songs not from one of the publications below will be disqualified. Do not sing songs from a higher category. A helpful comment: You will not necessarily do better in the judging by choosing a more difficult and challenging song if you cannot master it well. It is better to sing something you do well. American Art Songs for the Progressing Singer compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Soprano Mezzo-Soprano Tenor Baritone/Bass The Boy's Changing Voice Hal Leonard Book/Audio NOTE: For male voices in transition; not for treble, unchanged voices. Easy Songs for the Beginning Soprano Easy Songs for the Beginning Soprano - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Part I, Book/Audio Part II, Book/Audio Easy Songs for the Beginning Mezzo-Soprano/Alto Easy Songs for the Beginning Mezzo-Soprano/Alto - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Part I, Book/Audio Part II, Book/Audio Easy Songs for the Beginning Tenor Easy Songs for the Beginning Tenor - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonar Part I, Book/Audio Part II, Book/Audio Easy Songs for the Beginning Baritone/Bass Easy Songs for the Beginning Baritone/Bass - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Part I, Book/Audio Part II, Book/Audio English Songs: Renaissance to Baroque edited by Steven Stolen and Richard Walters; Hal Leonard High Voice | Book/Audio Low Voice | Book/Audio 15 Easy Folksong Arrangements for the Progressing Singer edited by Richard Walters; Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Easy Spiritual Arrangements for the Progessing Singer edited by Richard Walters; Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio Harry T. Burleigh: 25 Spirituals Hal Leonard, The Vocal Library High Voice, Book/Audio Low Voice, Book/Audio Lovers, Lasses & Spring compiled by Joan Frey Boytim; Hal Leonard Book/Audio Roses, Laughter & Lullabies compiled by Joan Frey Boytim; Hal Leonard Book/Audio The Student Singer Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 28 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries edited by Richard Walters; G. Schirmer/Hal Leonard High Voice | Book/Audio Medium High Voice | Book/Audio Medium Voice | Book/Audio Medium Low Voice | Book/Audio Low Voice | Book/Audio NOTE: DO NOT SING TWO SONGS IN ITALIAN Young Ladies, Shipmates and Journeys Hal Leonard, Vocal Collection Tenor, Book/Audio Baritone/Bass, Book/Audio HIGH SCHOOL VOICES, AGES 16-18 - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada and attending a High School or its equivalent or studying with a teacher at the time of entry. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. See Rule 13. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $750 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the High School Voices category Any two contrasting songs in two different languages from the following publications. The contrast between the songs should include differences in language, mood and tempo. Do not sing two slow songs, or two fast songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. Aaron Copland: Old American Songs Complete Boosey & Hawkes/Hal Leonard High Voice | Book/Audio Medium Voice | Medium Voice Book/Audio Low Voice | Low Voice Book/Audio American Art Songs for the Progressing Singer G. Schirmer, Inc. Soprano Mezzo-Soprano Tenor Baritone Anthology of Spanish Song edited by Maria DiPalma and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs | Book/Audio Low Voice | Low Voice Accompaniment CDs | Book/Audio The Art Song Anthology edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Benjamin Britten: Complete Folksong Arrangements Boosey & Hawkes High Voice Medium/Low Voice Benjamin Britten: 12 Selected Folksong Arrangements Boosey & Hawkes/Hal Leonard High Voice Book/Audio Medium/Low Voice Book/Audio Classical Contest Solos Hal Leonard Soprano Book/Audio Mezzo-Soprano/Alto Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio The Developing Classical Singer Boosey & Hawkes Soprano Mezzo-Soprano Tenor Baritone/Bass Dominick Argento: Six Elizabethan Songs Boosey & Hawkes High Voice Book/Audio Medium/Low Voice Book/Audio English Songs: Renaissance to Baroque edited by Steven Stolen and Richard Walters; Hal Leonard, The Vocal Library High Voice | Book/Audio Low Voice | Book/Audio Favorite French Art Songs (Volume 1 or 2) Hal Leonard, The Vocal Library High Voice Vol. 1 Book/Audio High Voice Vol. 2 Book/Audio Low Voice Vol. 1 Book/Audio Low Voice Vol. 2 Book/Audio Favorite German Art Songs (Volume 1 or 2) Hal Leonard, The Vocal Library High Voice Vol. 1 Book/Audio High Voice Vol. 2 Book/Audio Low Voice Vol. 1 Book/Audio Low Voice Vol. 2 Book/Audio Favorite Spanish Art Songs Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio 15 American Art Songs G. Schirmer/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 More American Art Songs G. Schirmer/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Art Songs by American Composers Boosey & Hawkes/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Art Songs by British Composers Boosey & Hawkes/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Recital Songs in English Boosey & Hawkes/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio The First Book of Soprano Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Soprano Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Soprano Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Mezzo-Soprano/Alto Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Mezzo-Soprano/Alto Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Mezzo-Soprano/Alto Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Tenor Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Tenor Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Tenor Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Baritone/Bass Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Baritone/Bass Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Baritone/Bass Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. Franz Schubert: 15 Selected Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio The French Song Anthology edited by Carol Kimball and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Gabriel Fauré: 15 Selected Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Harry T. Burleigh: 25 Spirituals Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Henry Purcell: 12 Selected Songs realizations by Benjamin Britten Boosey & Hawkes/Hal Leonard High Voice Book/Audio Medium/Low Voice Book/Audio Introduction to Art Song Compiled by Joan Boytim/G. Schirmer Soprano, Book/Audio Mezzo-Soprano/Alto, Book/Audio Tenor, Book/Audio Baritone/Bass, Book/Audio Johannes Brahms: 15 Selected Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Leonard Bernstein: I Hate Music! Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice The Lieder Anthology edited by Virginia Saya and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Ned Rorem: 10 Selected Songs Boosey & Hawkes/Hal Leonard High Voice Book/Audio Low Voice Book/Audio Ralph Vaughan Williams: Songs of Travel edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Roger Quilter: Collected Songs Boosey & Hawkes High Voice Low Voice Roger Quilter: 55 Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Low Voice Samuel Barber: 65 Songs G. Schirmer High Voice Book/Audio Low Voice Book/Audio Samuel Barber: 10 Selected Songs G. Schirmer/Hal Leonard High Voice Book/Audio Low Voice Book/Audio Songs of John Jacob Niles G. Schirmer, Inc. High Voice Low Voice Standard Vocal Literature edited by Richard Walters/The Vocal Library Soprano, Book/Audio Mezzo-Soprano, Book/Audio Tenor, Book/Audio Baritone, Book/Audio Bass, Book/Audio Note: Opera, oratorio or operetta arias from Standard Vocal Literature are not allowed. Art Songs only. 28 American Art Songs G. Schirmer High Voice, Book/Audio Low Voice, Book/Audio 28 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries edited by Richard Walters; G. Schirmer/Hal Leonard High Voice | Book/Audio Medium High Voice | Book/Audio Medium Voice | Book/Audio Medium Low Voice | Book/Audio Low Voice | Book/Audio COLLEGE/UNIVERSITY ADULT VOICES (UNDERGRADUATES), AGES 18-23 - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada and enrolled as an undergraduate at a college, university or conservatory or studying with a private teacher at time of entry. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $1000 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $50.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the College/University Voices category Choose any two contrasting songs in two different languages only from the following publications. The contrast between the songs should include differences in language, mood and tempo. We advise you to choose songs that show your vocal and expressive capabilities, revealing a true feeling for art song and some degree of sophistication as a recitalist. The judges like to hear singers explore art song repertoire beyond the most famous and often sung songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. Aaron Copland: Art Songs and Arias (art songs only) Boosey & Hawkes High Voice Medium/Low Voice Aaron Copland: Old American Songs Complete Boosey & Hawkes/Hal Leonard High Voice | High Voice Book/Audio Medium Voice | Medium Voice Book/Audio Low Voice | Low Voice Book/Audio Alexander Borodin: Collection of Romances Forberg Musikverlag High Voice Medium/Low Voice Anthology of Spanish Song edited by Maria DiPalma and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs | Book/Audio Low Voice | Low Voice Accompaniment CDs | Book/Audio The Art Song Anthology edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Art Song in English Boosey & Hawkes/Hal Leonard High Voice Low Voice Benjamin Britten: Collected Songs Boosey & Hawkes High Voice Medium/Low Voice Benjamin Britten: Complete Folksong Arrangements Boosey & Hawkes High Voice Medium/Low Voice Charles Ives: 114 Songs Peermusic Classical Book Dominick Argento: Collected Song Cycles Boosey & Hawkes High Voice Medium Voice Dominick Argento: Six Elizabethan Songs Boosey & Hawkes High Voice Medium Voice Erik Satie: 22 Songs Salabert High Voice Medium-Low Voice Folksongs in Recital concert arrangements by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Franz Schubert: 100 Songs edited by Steven Stolen and Richard Walters; Hal Leonard, The Vocal Library High Voice Low Voice The French Song Anthology edited by Carol Kimball and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Gabriel Fauré: 50 Songs edited by Laura Ward and Richard Walters; Hal Leonard, The Vocal Library High Voice Medium/Low Voice Gerald Finzi: Collected Songs Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice Gioachino Rossini: Arie de Camera High/Medium High Voice G. Schirmer Collection of American Art Song G. Schirmer/Hal Leonard High Voice Medium/Low Voice Italian Art Songs Ricordi High Voice Medium Voice Italian Art Songs of the 20th Century Ricordi High Voice Medium Voice Jake Heggie: The Faces of Love Complete Associated Music Publishers Book Johannes Brahms: 75 Songs edited by Richard Walters, Laura Ward and Elaine Schmidt; Hal Leonard, The Vocal Library High Voice Low Voice John Musto: Collected Songs Peermusic Classical High Voice Vol. 1 High Voice Vol. 2 High Voice Vol. 3 High Voice Vol. 4 High Voice Vol. 5 High Voice Vol. 6 Medium Voice Vol. 1 Medium Voice Vol. 2 Medium Voice Vol. 3 Medium Voice Vol. 4 Medium Voice Vol. 5 Medium Voice Vol. 6 Joseph Marx: 30 Songs Hal Leonard, The Vocal Library High Voice/Medium Voice Leonard Bernstein: Art Songs and Arias (art songs only) Boosey & Hawkes High Voice Medium/Low Voice The Lieder Anthology edited by Virginia Saya and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Maurice Ravel: 46 Melodies Editions Durand High Voice Medium/Low Voice Ned Rorem: 50 Collected Songs Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice The Opera America SongBook (46 Art Songs) Schott Book Poulenc: 50 Mélodies High Voice Medium/Low Voice The Purcell Collection: Realizations by Benjamin Britten Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice (Note: Selections from Dido and Aeneas are not acceptable because they are opera arias and not art songs.) Richard Strauss: 57 Lieder Boosey & Hawkes High Voice Richard Strauss: 52 Lieder Boosey & Hawkes Medium/Low Voice Richard Strauss: 40 Songs edited by Laura Ward and Richard Walters; Hal Leonard, The Vocal Library High Voice Medium/Low Voice Roger Quilter: Collected Songs Boosey & Hawkes High Voice Low Voice Roger Quilter: 55 Songs Hal Leonard, The Vocal Library High Voice Low Voice Samuel Barber: 65 Songs edited by Richard Walters; G. Schirmer High Voice Medium/Low Voice Songs of Claude Debussy edited by James Briscoe; Hal Leonard, The Vocal Library High Voice Medium Voice The Songs of John Jacob Niles G. Schirmer High Voice Low Voice 20th Century French Art Song Compiled and Edited by Carol Kimball/Editions Durand High Voice Medium/Low Voice Vincenzo Bellini: 15 Composizioni da Camera Ricordi High Voice Low Voice William Bolcom: Concert Songs Volume 1 1975-2000 Edward B. Marks Music High Voice Medium/Low Voice William Bolcom: Concert Songs Volume 2 2001-2012 Edward B. Marks Music High Voice Medium/Low Voice Women Composers edited by Carol Kimball; Hal Leonard, The Vocal Library High Voice Low Voice Official 2020 Art Song Entry Form Competition Age Divisions with Required Repertoire See required repertoire details for each category and age division below. To find out more about any of the required repertoire publications listed, including viewing complete contents, enter the 8-digit publication number in the Search field at www.halleonard.com. Official 2020 Musical Theatre Entry Form Children's Voices Ages 12 & Under Early Teen Voices Ages 13-15 High School Voices Ages 16-18 Young Adult Voices Ages 18-23 CHILDREN'S VOICES, AGE 12 AND UNDER - MUSICAL THEATRE Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $250 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Children's Voices category Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Do not sing two fast songs or two slow songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. You must sing repertoire as stated below. No substitutions of other repertoire is allowed. There are plenty of choices of songs in the publications listed below. We inexplicably get questions every year from quite a few people asking if they can sing songs not on the required repertoire list. The answer will always be no. Please do not ask us for allowances or exceptions to the required repertoire list for this category. If you sing songs outside of the publications listed below on the required list, your entry will be disqualified. Note to Teachers and Parents: We have more disqualifications in the children's categories than any other category because repertoire rules are not followed. Fairness must prevail, and we cannot have a publicly declared winner with songs not on the required repertoire list. Be absolutely certain that the contestant is singing songs from the required repertoire publications only. Boys' Songs from Musicals Hal Leonard Book/Audio Broadway Presents! Kids' Musical Theatre Anthology Alfred, distributed by Hal Leonard Book/Audio Broadway Songs 4 Kids Hal Leonard Book/Audio Disney Collected Kids' Solos Hal Leonard Book/Audio Disney Solos for Kids Hal Leonard Book/Audio Girls' Songs from Musicals Hal Leonard Book/Audio Girls' Songs from 21st Century Musicals Hal Leonard Book/Audio Kids' Broadway SongBook Hal Leonard Book/Audio Book Only Accompaniment CD The Kid's Musical Theatre Audition Hal Leonard Girl's Edition Book/Audio Boy's Edition Book/Audio Kids' Musical Theatre Collection Volume 1 Hal Leonard Book/Audio Kids' Musical Theatre Collection Volume 2 Hal Leonard Book/Audio Kids' Musical Theatre Collection Volumes 1 and 2 Combined Hal Leonard Book Kids' Songs from Contemporary Musicals Hal Leonard Book/Audio Kids' Stage & Screen Songs Hal Leonard Book/Audio Kid's Vocal Solo Collection Hal Leonard Book/Audio More Disney Solos for Kids Hal Leonard Book/Audio Rodgers & Hammerstein Solos for Kids Hal Leonard Book/Audio The Singer's Musical Theatre Anthology - Children's Edition Hal Leonard Book Only Book/Audio Solos from Musicals for Kids Hal Leonard Book/Audio Still More Disney Solos for Kids Hal Leonard Book/Audio EARLY TEEN VOICES, AGES 13-15 - MUSICAL THEATRE Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $500 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Early Teen Voices category Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Do not sing two fast songs, or two slow songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. Belter's Book of Comedy Songs - Third Edition Book Broadway for Teens Hal Leonard Young Women's Edition Book/Audio Young Men's Edition Book/Audio The Broadway Ingénue Hal Leonard Book Book/Audio Broadway Presents! Teens' Musical Theatre Anthology Alfred, distributed by Hal Leonard Female Edition Male Edition Character Songs from Musical Theatre Women's Edition Men's Edition Disney For Teen Singers Young Women's Edition Young Men's Edition Disney Ingenue Songbook Book Disney Songs for Singers High Voice Low Voice The First Book of Broadway Solos Hal Leonard Soprano | Book/Audio Mezzo-Soprano | Book/Audio Tenor | Book/Audio Baritone/Bass | Book/Audio The First Book of Broadway Solos Part II Hal Leonard Soprano Book/Audio Mezzo-Soprano Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio The Giant Book of Songs for Teens from Musicals Young Women's Edition Young Men's Edition Great Songs from Musicals for Teens Hal Leonard Young Women's Edition- Book/Audio Young Men's Edition- Book/Audio Musical Theatre Anthology for Teens Hal Leonard Young Women's Edition | Book/Audio Young Men's Edition | Book/Audio The Singer's Anthology of Gershwin Songs Soprano Mezzo-Soprano/Belter Tenor Baritone NOTE: Do not sing the operatic selections from Porgy and Bess The Singer's Musical Theatre Anthology Teen's Edition edited by Richard Walters Soprano | Book/Audio Mezzo-Soprano/Belter | Book/Audio Tenor | Book/Audio Baritone/Bass | Book/Audio Songs from 21st Century Musicals for Teens Young Women's Edition Young Men's Edition The Songs of Rodgers & Hammerstein Hal Leonard Soprano Book/Audio Mezzo-Soprano/Belter Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio Teen Broadway Songs of the 2010s Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Teen Pop Broadway Collection Cherry Lane, distributed by Hal Leonard Book Teen Theatre Songs Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio The Teen's Musical Theatre Collection Hal Leonard Young Women's Edition | Book/Audio Young Men's Edition | Book/Audio Theatre and Cabaret Comedy Songs Women's Edition Men's Edition Tunes for Teens from Musicals Hal Leonard Young Women's Edition - Book/Audio Young Men's Edition- Book/Audio HIGH SCHOOL VOICES, AGES 16-18 - MUSICAL THEATRE Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada and attending a High School or its equivalent or studying with a teacher at the time of entry. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $750 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the High School Voices category Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. The Actor's SongBook Hal Leonard Women's Edition Men's Edition Andrew Lloyd Webber for Singers Hal Leonard Women's Edition Men's Edition Andrew Lloyd Webber Theatre Songs Hal Leonard Women's Edition Men's Edition Belter's Book of Comedy Songs Hal Leonard Book Broadway Belter's SongBook Hal Leonard Book The Broadway Ingénue Hal Leonard Soprano | Book/Audio Broadway Presents! Teens' Musical Theatre Anthology Alfred, distributed by Hal Leonard Female Edition Male Edition Comedy Songs for Women Book/Audio Contemporary Musical Theatre for Teens Young Women's Edition Volume 1 Young Women's Edition Volume 2 Young Men's Edition Volume 1 Young Men's Edition Volume 2 The Contemporary Singing Actor Hal Leonard Women's Edition Volume 1 Women's Edition Volume 2 Men's Edition Volume 1 Men's Edition Volume 2 Contemporary Theatre Songs Soprano Belter/Mezzo-Soprano Tenor Baritone Dear Evan Hansen Vocal Selections Book Disney For Singers High Voice Low Voice Disney For Teen Singers Young Women's Edition Young Men's Edition The Giant Book of Songs for Teens from Musicals Young Women's Edition Young Men's Edition Jason Robert Brown Plays Jason Robert Brown Hal Leonard Women's Edition Book/Audio Men's Edition Book/Audio The Singer's Musical Theatre Anthology - Teen's Edition Hal Leonard Soprano | Book/Audio Mezzo-Soprano/Alto/Belter | Book/Audio Tenor | Book/Audio Baritone/Bass | Book/Audio The Singer's Musical Theatre Anthology - Volumes 1-7 Hal Leonard Soprano Volume 1 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 2 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 3 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 4 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 5 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 6 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 7 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 1 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 2 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 3 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 4 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 5 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 6 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 7 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 1 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 2 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 3 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 4 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 5 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 6 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 7 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 1 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 2 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 3 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 4 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 5 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 6 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 7 | Book Only | Accompaniment CDs | Book/Audio Sondheim for Singers Hal Leonard Soprano Belter/Mezzo-Soprano Tenor Baritone/Bass Songs from 21st Century Movie Musicals for Women Singers Hal Leonard Book/Audio Songs from 21st Century Musicals for Teens Young Women's Edition Young Men's Edition The Songs of Rodgers & Hammerstein Hal Leonard Soprano Book/Audio Mezzo-Soprano/Belter Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio Teen Broadway Songs of the 2010s Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Teen Pop Broadway Collection Cherry Lane, distributed by Hal Leonard Book Teen Theatre Songs Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Theatre and Cabaret Comedy Songs Young Women's Edition Young Men's Edition 21st Century Musical Theatre Women's Edition Men's Edition YOUNG ADULT VOICES, AGES 18-23 - MUSICAL THEATRE Repertoire Requirements and Prizes Note: For this category, it is not necessary for a contestant to be enrolled in a school for entry. Working or aspiring young professionals may enter. For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2020. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $1000 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one book with a retail value of up to $50.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the College/University and Young Adult Voices category: Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. The Actor's SongBook Hal Leonard Women's Edition Men's Edition The Ahrens & Flaherty Songbook Book The Almost Unknown Stephen Sondheim Book The Andrew Lippa Songbook Book Andrew Lloyd Webber Theatre Songs Hal Leonard Women's Edition Men's Edition The Band's Visit - Vocal Selections Book Belter's Book of Comedy Songs Book Bernstein for Singers Boosey & Hawkes Soprano Belter/Mezzo-Soprano Tenor Baritone Bernstein Theatre Songs Boosey & Hawkes High Voice Medium/Low Voice Comedy Songs for Women Book/Audio Contemporary Broadway Audition Women's Edition - Book/Online Audio Men's Edition - Book/Online Audio NOTE: Sing the FULL versions of these songs ONLY; the 16-bar excerpt is not permitted for this competition. The Contemporary Singing Actor Hal Leonard Women's Edition Volume 1 Women's Edition Volume 2 Men's Edition Volume 1 Men's Edition Volume 2 Contemporary Theatre Songs Soprano Belter/Mezzo-Soprano Tenor Baritone Grateful: The Songs of John Bucchino Book The Jason Robert Brown Collection Book Jason Robert Brown Plays Jason Robert Brown Hal Leonard Women's Edition Book/Audio Men's Edition Book/Audio The Kerrigan-Lowdermilk Songbook Book La La Land Vocal Selections Book Michael John LaChiusa Songbook Book Music + Lyrics by Ryan Scott Oliver Book The Singer's Anthology of Gershwin Songs Soprano Mezzo-Soprano/Belter Tenor Baritone NOTE: Do not sing the operatic selections from Porgy and Bess The Singer's Musical Theatre Anthology - Volumes 1-7 Hal Leonard Soprano Volume 1 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 2 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 3 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 4 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 5 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 6 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 7 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 1 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 2 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 3 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 4 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 5 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 6 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 7 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 1 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 2 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 3 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 4 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 5 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 6 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 7 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 1 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 2 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 3 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 4 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 5 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 6 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 7 | Book Only | Accompaniment CDs | Book/Audio Sondheim for Singers Hal Leonard Soprano Belter/Mezzo-Soprano Tenor Baritone/Bass The Songs of Goldrich and Heisler Book Teen Broadway Songs of the 2010s Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Theatre and Cabaret Comedy Songs Women's Edition Men's Edition 21st Century Musical Theatre Hal Leonard Women's Edition Men's Edition The William Finn Songbook Book Official 2020 Musical Theatre Entry Form
Disney's Jungle Book KIDS - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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, Robert B. Sherman and Terry Gilkyson Book Adapted and Additional Lyrics by Marcy Heisler Music Adapted and Arranged by Bryan Louiselle Based on the Screenplay by Larry Clemmons Based on the Novel "The Jungle Book" by Rudyard Kipling Overview / Synopsis The jungle is jumpin' with jazz in this exciting Disney classic! Adapted for young performers from the beloved Disney film and the works of Rudyard Kipling, this musical includes all your favorite Disney tunes, including "The Bare Necessities" and "I Wan'na Be Like You." With colorful characters and that toe-tapping jungle rhythm, The Jungle Book KIDS is sure to be a crowd-pleaser for all ages. Audio Sampler - HL00160869 $10.00 ShowKit - HL00160859 $495.00 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 00160861 - Piano/Vocal Score $40.00 00160860 - Director's Guide $100.00 00160862 - Actor's Script $10.00 00160863 - Actor's Script 10 Pak $75.00 00160864 - Rehearsal/Accompaniment CD Pak $75.00 00160867 - Choreography DVD $50.00 09970693 - Audio Sampler $10.00 00160865 - Student Rehearsal CD $10.00 00160866 - Student Rehearsal CD 20 Pak $100.00 00160868 - Media Disc (CD-ROM) $10.00 00160869 - Audio Sampler $10.00 Hear A Sample Jungle Prologue [Bagheera, Baloo, Jungle, Wolves, Shere Khan] Kaa the Snake [Coconut Tree, Jungle] Trust in Me [Kaa] Night into Day [Jungle, All] Colonel Hathi's March [Hathi, Elephants] Baloo the Bear [Coconut Tree, Rock, Flower, Baloo, All] The Bare Necessities [All, Baloo, Mowgli, Jungle, Rocks, Plants] Monkey Business [Jungle] I Wan'na Be Like You [Louie, Monkeys, All, Baloo] I Wan'na Be Like You (Reprise) [Baloo] Shere Khan the Tiger [Shere Khan, Jungle] Mowgli Runs [Jungle, Mowgli] That's What Friends Are For [Jungle, All, Shere Khan] The Battle [Baloo, Trees, Prickly Pears, Rocks, All, Shere Khan, Jungle] The Bare Necessities (Finale) [All, Bees, Jungle] I Wanna Be Like You (Bows) [Groups 1-2, All] Narrators The Narrators are key to the success of Cinderella KIDS. Through these storytellers, the show's plot and the actions and reactions of the characters are expressed. Cast actors that are mature enough to stand for long periods of time. Clear, loud voices with good diction are a must. Mowgli Mowgli is a boy who gets along with everyone and who is very likeable. He has joyful and curious nature, and a twinkle in his eye. The child you cast should have a spark that can captivate the audience and should be a bit feisty. Bagheera Bagheera, the panther, is not gender-specific. You might consider casting a female to play this role to help balance the male-to-female ratio of the leading characters. Consider casting a child who might easily portray the physical attributes of a feline. Baloo Baloo, the bear, should be cast by someone who is exuberant with a great natural talent for singing and acting. Baloo provides much of the comedic relief in the story, so the actor must possess a natural sense of comedy. King Louie King Louie is King of the Monkeys. Cast an actor with strong comedic timing and good singing ability. Shere Khan Shere Khan, the tiger, is King of the Jungle. Consider casting someone who could be physically threatening, either in size, attitude, or both. Colonel Hathi Colonel Hathi, the elephant, is in charge of the elephant brigade, but is also a little forgetful. He is good at giving commands but doesn't really understand what's going on around him. Kaa Kaa, the snake, supplies threat and danger to Mowgli's journey out of the jungle. Cast someone with flair and good vocal and movement skills to be the lead Kaa (the head of the snake). Cast five others as the body. The Elephant Troupe The Elephant Troupe can have as many or as few children as you like, but cast enough to make it look like a brigade - at least eight. They don't need to be strong singers, but should be good movers/dancers so they can physicalize the behavior of elephants and march in and out of formation. Baby Elephant Baby Elephant can be cast with the smallest or youngest child. There is a solo line in the song as well as marching. Old Monkey Old Monkey should be cast with a strong actor over a singer. He or she should not be afraid to assume the physical traits of a monkey. Monkeys Monkeys should be strong dancers. "I Wan'na Be Like You" offers the chance to do great musical choreography with the monkey troupe. Shanti Shanti is the girl who takes Mowgli to the man-village at the end of the story. She should exude sweetness and kindness and have a natural ability for acting and singing. Jungle Chorus Jungle Chorus is your ensemble of singers, actors and dancers. These roles offer great opportunities to use your students' varied skills. Shanti's Family Shanti's Family is not seen, but represented by offstage voices. For fun, you might want to have a couple favorite teachers or the principal say these lines from offstage or from the back of the performance space.
Elf The Musical Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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 $645.00 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
The Music Man Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Meredith Willson Music & Lyrics by Meredith Willson Based on a story by Meredith Willson and Fraklin Lacey Overview / Synopsis Based on Meredith Wilson's six-time, Tony Award-winning musical comedy, The Music Man JR. features some of musical theatre's most iconic songs and a story filled with wit, warmth, and good old-fashioned romance. The Music Man JR. is family entertainment at its best - a bold, brassy show that will have the whole town atwitter! Master showman Harold Hill is in town, and he's got "seventy-six trombones" in tow. Can upright, uptight Marian, the town librarian, resist his powerful allure? The story follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys' band he vows to organize. The catch? He doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, whose belief in Harold's power just might help him succeed in the end in spite of himself. The Music Man JR. is the perfect vehicle for your young cast, a toe-tapping crowd-pleaser featuring a soaring soprano ing�nue part and a leading role for a charismatic actor, as well as plenty of roles for kids of every level. Audio Sampler - HL00151879 $10.00 ShowKit - HL09971792 $645.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 09971793 - Director's Guide $100.00 09971794 - Piano/Vocal Score $40.00 09971795 - Actor's Script $10.00 09971796 - Actor's Script 10-pak $75.00 09971797 - Perf/Accomp CD pack $75.00 09971798 - Student Rehearsal CD $10.00 09971799 - Student Rehearsal CD 20-pak $100.00 09971800 - Choreography DVD $50.00 09971801 - Media Disc $10.00 00151879 - Audio Sampler $10.00 Hear A Sample SCENE 1 Rock Island [Salesmen, Newspaper Readers, Charlie] SCENE 2 Iowa Stubborn [Townspeople, Farmer, Farmer's Wife] Ya Got Trouble [Harold, Townspeople] SCENE 4 Piano Lesson / If You Don't Mind My Saying So [Marian, Mrs. Paroo] Goodnight, My Someone [Marian] SCENE 5 Columbia, Gem of the Ocean [Townspeople] Seventy-Six Trombones [Harold, Townspeople] Ice Cream/Sincere [Harold, Olin, Oliver, Jacey, Ewart] SCENE 6 Pick-a-Little, Talk-a-Little (Part 1) [Alma, Ethel, Maud, Eulalie, Ladies, Harold] Pick-a-Little, Talk-a-Little (Part 2) [Alma, Eulalie, Maud,d Ethel, Mrs. Squires, Ladies, Harold] SCENE 8 The Wells Fargo Wagon [Townspeople, Winthrop] Shipoopi [Marcellus, Boys, Girls] Pick-a-Little, Talk-a-Little (Reprise) [Ladies, Ethel, Alma, Maud, Ethel, Mrs. Squires, Eulalie] SCENE 9 Gary, Indiana [Winthrop, Mrs. Paroo, Marian] SCENE 10 Till There Was You [Marian, Harold] Bows [Cast] Harold Hill Harold Hill is a great role for a young person to play. Select a boy with charisma and charm, who is comfortable on stage. He should be a great actor, an average singer, and an average mover. You'll also want to cast a boy with a changed voice. For your sanity, make sure you cast someone who memorizes lines easily and has a good sense of musical rhythm. Your Harold should look good with your Marian and the two together should exude a spark of excitement. Gender: Male Vocal Range: G5 - B3 Marian Paroo The role of Marian is a different twist on the traditional leading lady. The character progresses greatly during the show, starting as an uptight librarian and transforming into a beautiful and trusting young woman. Your Marian must have an amazing voice, be an excellent actor, and be able to move well. She must also have an air of confidence that draws Harold and your audience to her. She will also need to be comfortable kissing two boys-Harold and Charlie Cowell, which requires a certain amount of emotional maturity. Finally, take some time during auditions to try different pairs of Harolds and Marians until you reach the perfect match. Vocal Range: G5 - G3 Charlie Cowell Charlie Cowell is one of the premium acting-only roles. Consider having the actor playing Charlie perform in the ensemble or as a teen dancer or townsperson-just make sure it's clear he's NOT playing Charlie Cowell in those scenes. Cast a strong actor with a good loud voice who is a bit of a ham and likes being on the stage. He has to be comfortable kissing Marian, and should have a good sense of comic timing. Charlie is a good choice for an understudy to Harold Hill. Gender: Male Mayor Shinn You may be tempted to cast an "over-the-top" actor as Mayor Shinn, but resist and heed the warning of Meredith Willson. The actor playing Mayor Shinn certainly needs a good sense of comic timing, but should be able to perform the role very seriously. This is elemental in creating the humor of The Music Man JR., which is based in reality. Mayor Shinn does not have to sing or dance, but he is responsible for a great deal of the pacing and line pick up in the show. Make sure your actor can memorize long monologues. Gender: Male Eulalie Mackecknie Shinn Everybody wants to play Eulalie. It's a great role for a great comic actress. Again heed Mr. Willson's warning and avoid casting an actress who is over the top. If Eulalie takes herself seriously your audience will find her hysterical. Eulalie does have some singing and some dancing, or at least posing. Make sure your Eulalie works with your Mayor Shinn. Gender: Female Vocal Range: D5 - D4 Marcellus Washburn This classic sidekick to Harold has been immortalized by comedic greats like Buddy Hacket. Marcellus' big number is "Shipoopi" so the character has to act well, sing reasonably well (although a character voice is best) and be able to dance. Cast the kid who is just funny all the time and you'll have a great Marcellus. Gender: Male Vocal Range: D#5 - E4 Ethel Toffelmier Ethel is Marcellus's girlfriend. She's described by Marcellus as "a nice comfortable girl and the bosses' niece." Ethel has some acting, some singing, and some dancing. Ethel is also one of the solo Pick-a-Little ladies. Make sure she and Marcellus look good together, think Ethel and Fred from I Love Lucy! Gender: Female Vocal Range: D5 - D4 Mrs. Paroo Mrs. Paroo is the conscience of River City. She is a great mother, stands up for what she believes in, and gently pushes Marian to think of her future. The role requires an actress who can do a good Irish Brogue, and who can sing and act. She should also look right with Marian and Winthrop. Gender: Female Vocal Range: Eb5 - Ab3 Winthrop Paroo Winthrop should appear to be young, his voice must be unchanged and he should be a good actor. Winthrop also needs to be able to affect a believable lisp. Winthrop has to transform from a shy child to an outspoken child who not only sings but dances! Gender: Male Vocal Range: Eb5 - C4 Amaryllis Amaryllis is the slightly bratty girl who studies piano with Marian. Amaryllis should be a good actor, and roughly the same size as Winthrop and Gracie. Just who are Amaryllis' parents is one of the great mysteries of The Music Man JR. and something for you to decide. Gender: Female Ewart Dunlop Ewart is one of the four quartet members with the second highest voice or tenor. He is married to Maud Dunlop. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: F#5 - E4 Oliver Hix Oliver is one of the four quartet members with the second lowest voice or baritone. He is married to Alma Hix. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: F#5 - E4 Jacey Squires Jacey is one of the four quartet members with the highest voice or tenor. He is married to Mrs. Squires. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: A5 - B3 Olin Britt Olin is one of the four quartet members with the lowest voice or bass. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: D5 - A3 Tommy Djilas Tommy is the teen heartthrob in the show. Cast the best looking kid you have; with any luck he'll also be able to act and dance. Tommy's love interest is Zaneeta so make sure the two characters have chemistry between them. Gender: Male Zaneeta Shinn Zaneeta should be your best female dancer. The role is often given dance features in both "76 trombones" and "Shipoopi". Zaneeta also should look like she belongs in the Shinn Family, although this is not necessary. Zaneeta gets to deliver the classic "Ye gads" line! Gender: Female Gracie Shinn Gracie is Zaneeta's little sister. This role has one or two lines of dialogue and traditionally is the first soloist in "Wells Fargo Wagon." Gracie can also understudy Amaryllis in case of an emergency. Gender: Female Vocal Range: Eb5 - B3 Alma Hix One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Alma is married to Oliver. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Maud Dunlop One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Maud is married to Ewart. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Mrs. Squires One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Mrs. Squires is married to Jacey. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Conductor The conductor has the first line in the show, so cast an actor that is loud and energetic! Gender: Male Constable Locke The Constable is a quietly wise man who sees through Harold, but doesn't seem to mind. It's a nice feature for any young character actor. Gender: Male Ensemble The Ensemble is comprised of Adult-types, teens and kids to play townspeople, traveling salesmen, teen dancers, Wa Tan Ye girls and the boys' band. Can accommodate additional Pick-a-little ladies Gender: both Adults For some reason, some kids just read on stage as adults. You'll recognize this quality by comparing kids. Since THE MUSIC MAN JR. is about a town, you'll want to assign your cast into family units. Try to create a realistic town with married folks, single folks, etc. If you have an abundance of girls, cast a few as widows. Ask each family to create a family history, including details of their lives. By doing this you will create an ensemble that is engaged and energized and this will greatly add to the quality of your production! The adults have a few lines (which you can distribute while blocking the scenes.) They also have some solo vocal lines. You'll also want to select the Farmer and His Wife from this group. Gender: both Traveling Salesmen You'll want to cast several good actors to play traveling salesmen, especially salesmen number five, number three, and number one. If you find it necessary to cast girls as traveling salesmen make sure they play the roles as men. Gender: both Teen Dancers Create a group of teen dancers by selecting your best dancers. The Teen Dancers will be responsible for "Shipoopi," and have features in "76 Trombones." Make sure each Teen Dancer is assigned to a family to create the illusion of a real town. Gender: both Wa Tan Ye Girls All of your little girls can play Wa Tan Ye Girls. They are featured during Eulalie's "Spectacle" just prior to "76 Trombones." Again assign them to families. Gender: Female Boys' Band All of your little boys can be in the Boys' Band provided you have enough uniforms. The Boys' Band has two main features: "76 Trombones" and the finale of the show. Make sure the boys are a part of a family. Gender: both
How I Became A Pirate - Younger @ Part Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Book, Music and Lyrics by JANET YATES VOGT and MARK FRIEDMAN Based upon the book "How I Became a Pirate" Written by Melinda Long and Illustrations by David Shannon Performed by arrangement with Houghton Mifflin Harcourt and The Sandra Dijkstra Literary Agency. HOW I BECAME A PIRATE received its world premiere at First Stage Children's Theatre, Milwaukee, WI. Overview / Synopsis Sail off on a fantastic musical excursion when a band of comical pirates lands at North Beach looking for an expert digger to join their crew. Braid Beard and his mates enlist young Jeremy Jacob as they look for the perfect spot to bury their treasure. Jeremy learns that adventuring can be lots of fun, but love and home are treasures you can't find on any map. Your elementary school-age cast will love flaunting their pirate swagger in this delightful and swashbuckling musical adventure! Print Perusal - HL00298931 $19.95 ShowBox - HL00298933 $395.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00298926 - Director's Script $50.00 00298927 - Cast Script/Vocal Book $10.00 00298928 - Piano/Vocal Score $40.00 00298929 - Guide Vocals CD $50.00 00298930 - Performance Tracks CD $100.00 Hear A Sample Pirate Chant Good One to Boot 'How I Became a Pirate Talk Like a Pirate Soccer by the Rules Green Teeth Batten Down the Hatches Where Do We Bury the Treasure? It's Good to be Home Pirates Dot Arrgh Cast Size 2 lead roles, 12 featured roles, and an expandable pirate ensemble NOTE: All casting is gender-flexible JEREMY JACOB (or JESSICA JACOB) A kid BRAID BEARD The Pirate Captain, with a "braided beard" on his chin SWILL THE PIRATE Wears wire-rim eyeglasses; philosophical; intellectual; gets blamed for everything that goes wrong SHARKTOOTH THE PIRATE Foreboding; scowling grin; wears a patch on eye, but yet a "sensitive guy" PIRATE PIERRE Talks with a French accent; the ship's cook; enjoys fine French cuisine MAX THE PIRATE Wears a stuffed parrot on his shoulder; the others don't have the heart to tell him that it's not real PIRATE SEYMOUR BRAUNSCHWAGGER A Pirate First Mate PIRATE SCURVY DOG A Pirate Second Mate; with a tendency to "bark" MOM Jeremy's mother; can double as a Pirate DAD Jeremy's father; can double as a Pirate BLUNDER BESS Member of Braid Beard's Pirate crew MAD-EYE MATEY Member of Braid Beard's Pirate crew AYE AYE EILEEN Member of Braid Beard's Pirate crew WALKER DEE PLANK Member of Braid Beard's Pirate crew If your cast exceeds 14 actors, add as many additional pirates as you like. Divide the existing lines of the play and pick from the names below. Bugsy Blackjack Hammerhead Harry Swagger-Lee Tortuga Tommy (or Terry) Jamaica Jane (or Jim) Marvin Milhaus Salty Pepper Gunpowder Pete Squid Lips Larry (or Lois) Starboard Sal (or Sammy) Barnacle Boris (or Brenda) Old Yellow Tooth (or Young Yellow Tooth) Ensign Pullverized Crabby Wheelhouse Crusty Cannonball Crow's Nest Charlie Stinky Poop Deck Plunderin' Penelope (or Percy) Melinda Longjohns Natchez Patches Loch Ness Nellie Penny Penzance or Princess Penny Penzance Arrrggghhhh-gyle Annie Sweet Sally Scallywag Big Buck Buckaroo Sir Wallace Winston Rupert Bottleneck McHornswaggle (but better known as Hey There)
Dear Edwina Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Marcy Heisler Lyrics by Marcy Heisler Music by Zina Goldrich Overview / Synopsis Dear Edwina JR. is a heartwarming musical about the joys of growing up, from the creators of Junie B. Jones, The Musical. Written in a "show-within-a-show" format, Dear Edwina JR. is the perfect "girl power" musical for a new generation. Dear Edwina JR. follows the adventures of plucky advice-giver-extraordinaire, Edwina Spoonapple, as she directs the neighborhood kids in a series of buoyant production numbers for the latest edition of her weekly "Advice-a-Palooza." Edwina and her friends share wisdom on everything from trying new foods to making new friends through clever, catchy and poignant songs. Featuring a host of supporting roles that can be distributed widely or doubled (or even tripled), depending on your cast size, Dear Edwina JR. provides a perfect opportunity to showcase your young performers. Audio Sampler - HL00218201 $10.00 ShowKit - HL00218175 $645.00 This ShowKit includes: 30 Actor's Scripts Director's Guide Piano/Vocal Score 2 Rehearsal/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00218192 - Director's Guide $100.00 00218193 - Piano/Vocal Score $40.00 00218194 - Actor's Script $10.00 00218195 - Actor's Script 10-pak $75.00 00218196 - Rehearsal/Accompaniment CDs $75.00 00218197 - Student Rehearsal CD $10.00 00218198 - Student Rehearsal CD 20-pak $100.00 00218199 - Choreography DVD $50.00 00218200 - Media Disc $10.00 00218201 - Audio Sampler $10.00 Hear A Sample MUSICAL NUMBERS Paw-Paw Michigan Up On the Fridge Dear Edwina Here Comes a Letter Aphrodite Say No Thank You Becky's Cheers Another Letter Abigail Frankenguest Carrie Fork, Knife, Spoon Time for Intermission Here Come More Letters Periwinkle Hola, Lola Becky's Second Cheers Ziggy Put it in the Piggy Thanks for Coming 1 Edwina Thank for Coming 2 Up on the Fridge Breakdown Sing Your Own Song Hola, Lola (Encore) Edwina Spoonapple The creator, director and choreographer of The Dear Edwina Show and is the main-staple of the play. Her character goes through a tremendous arc throughout the series of events in the play; from frustration to relief, anger to joy, horror to happiness & all within one afternoon in her own garage! The role of Edwina demands your most talented actor to pull off her bossy yet lovable character. Also, since the play is designed around her and she has the most stage time, the actor playing Edwina should feel more than comfortable onstage. Edwina's music is also a bit challenging. Your actor should have a strong, clear voice with good diction. A musical background would be helpful. Gender: Female Vocal range: A3-C5 Becky Edwina's enthusiastic friend and the top of the cheerleading pyramid for the Paw Paw Wildcats. Cheerleading consumes her life and creating new cheers for everyday occasions brings her great joy. This girl even cheers her anger! Becky is a vocally non-demanding role with only a few vocal lines. Stage presence is more important when it comes to casting Becky. Cast the loudest, most outgoing un-shy person you can. Athletic ability, if not cheerleading experience, would be helpful, but not necessary. Gender: Female Scott A neighbor boy who is helplessly in love with Edwina. He dotes on her every move and is always conniving a way to gain her attention. Choose a strong actor who feels comfortable being bold with his emotions. A good singer is a must for this role. Scott's song requires vocal dexterity and is demanding in style. An actor with strong comedic timing will be an asset to your production during Scott's 'transformation.' Gender: Male Vocal range: C4-Ab5 Kelli Edwina's neighbor and Paw Paw, Michigan's resident ballerina. The character of Kelli can go one of two ways, depending on your talent pool. If you have a cast member with a background in ballet, great! Let her go wild, perhaps even choreograph her own piece, and turn "Poshkonozovich Dance" into a showcase. If the actor playing Kelli has no ballet experience, not a problem. We've all flapped our arms and stood on our tippy-toes pretending to be ballerinas, have her do the same and turn it into a comedy bit! No one said Kelli was a good ballerina. Gender: Female Bobby Edwina's new next-door neighbor. He is a friendly and compassionate character who goes out of his way to help others. The character of Bobby will be able to get away with imperfections throughout the show, as he is a last minute replacement for Lars. Cast an actor who is outgoing and gets along with everyone. Gender: Male Lars Vanderploonk One of the Vanderploonk triplets and a neighborhood friend of Edwina. He is incredibly accident-prone and twists his ankle in the first scene. Lars has many prat falls before he actually twists his ankle. Casting an actor with good physical comedy skills would be helpful (always remember that any staged fall or injury should be carefully choreographed and rehearsed to prevent a real injury. Safety first!). You may want to consider having Lars return to the stage a little while after his injury in a wheelchair, a cast or leg brace, or on crutches. This adds to the comedy of the play and opens up the casting of Lars for the actor who wants to be in your show so badly but isn't exactly Baryshnikov. Gender: Male Billy Vanderploonk One of the Vanderploonk triplets and a neighborhood friend of Edwina. He works double duty on The Dear Edwina Show by performing onstage and serving as Box Office Manager. Gender: Male Cordell Vanderploonk One of the Vanderploonk triplets and a neighborhood friend of Edwina. He works double duty in The Dear Edwina Show by performing onstage and serving as House Manager. Gender: Male Annie Edwina's friend and the Girl Scout of Paw Paw. Annie works for and collects her Girl Scout badges like they were buried treasure. No matter what problem may arise, she is prepared with the know-how and resources to solve it in a flash - A MacGyver for the new generation! She is perky, energetic and helpful & maybe even too helpful. Gender: Female Aphrodite One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Both Vocal range: A3-Eb5 Carrie One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Female Vocal range: B3-D5 Abigail One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Female Vocal range: B3-D5 Periwinkle One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Both Vocal range: Bb3-C5 Ziggy & The Marching Band One of the 'letter readers' in The Dear Edwina Show. They each have vocal solos (aside from the Marching Band, who only sing backup vocals) whereby they explain their dilemmas in hopes of receiving Edwina's advice. Consider casting these roles from your ensemble or you can have any of the other characters above perform one of the roles. Gender: Both Vocal range: Ab3-Ab4 Vladimir Edwina's scary uncle from afar. The actor should be a strong enough singer to feel comfortable with their own song and a strong enough actor to engage the audience with their story (and keep them engaged through the duration of the song). Impeccable diction is a must for this character as Vladimir's lines are written with a Transylvanian "Dracula" accent in mind. The actor may be pulled from the company or, depending on your cast size, carry just this one role. Gender: Male Vocal range: A3-F5 Frank A rude, self-centered, bratty, offensive, disrespectful, socially inept child and the subject of Vladimir's song, Frankenguest. This non-singing role requires the actor to speak their lines during musical breaks in the song. Cast an "over the top" actor and you'll be just fine. Gender: Male Chef Ludmilla Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Both Vocal range: A3-F5 William Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Male Vocal range: Eb4-F5 Sonoma Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Both Vocal range: Eb4-F5 Fairy Forkmother Part of a team to instruct the rest of the company on how to set a table in "Fork, Knife, Spoon." Each actor should have strong music and vocal skills. Actors may be selected from the company or, depending or your cast size, carry just their one role. Gender: Female Vocal range: Bb4-Bb5 Susie & The Napkins Susie & The Napkins are a local band who have just come from a Battle of the Bands concert at the Paw Paw Community Center to sing "Say No Thank You." Susie and The Napkins should be able to move well, if you choose to choreograph the number. Johnny and The Queen act out the story in the lyrics. They are not required to sing, but to merely speak in rhythm during the song. Be sure you cast someone who can 'feel the beat.' Your actors may be selected from the company or, depending on your cast size, carry their one role. Gender: Both Vocal range: Bb3-D5 Johnny and Queen of Boola Boola Susie and The Napkins are a local band who have just come from a Battle of the Bands concert at the Paw Paw Community Center to sing "Say No Thank You." Susie and The Napkins should be able to move well, if you choose to choreograph the number. Johnny and The Queen act out the story in the lyrics. They are not required to sing, but to merely speak in rhythm during the song. Be sure you cast someone who can 'feel the beat.' Your actors may be selected from the company or, depending on your cast size, carry their one role. Gender: Both Vocal range: A3-F5 Lola New to America, Lola expresses her shyness in the song, "Hola, Lola." It would be helpful if this actor speaks Spanish or has a good ear for languages. She may be selected from the company or, depending on your cast size, carry this one role. Gender: Female Vocal range: B2-A4 Harry Lola's cousin and the reason she flies from Lima, Peru, to Honolulu. He is a fun, happy-go-lucky character who just wants to make sure his favorite cousin is having a good time. Harry may be selected from the company or, depending on your cast size, carry this one role. Gender: Male Vocal range: Ab2-C#4 Mary Sue Betty Bob Mary Sue Betty Bob's backup for "Put it in the Piggy." The girl company members play the "Girls" and the "Pigs" are played by the boy company members. Vocal range: C4-D5 Farmer Jerry, Girls and Pigs Mary Sue Betty Bob's backup for "Put it in the Piggy." The girl company members play the "Girls" and the "Pigs" are played by the boy company members. Gender: Male Katie Spoonapple Edwina's little sister and a math wiz. Although she arrives at the end of the play, she has the very important role of influencing Edwina's thoughts and feelings. It is Katie that brings about the climax of the play, showing Edwina the "best advice of all." Choose an actor who looks younger than Edwina or is diminutive in stature. Gender: Female Ann Van Buren The Kalamazoo Advice-A-Palooza talent scout. She is represented only by a brief voice-over that may be recorded beforehand. When it comes to casting this voice, think very L.A., sweetie darling. Gender: Female Myra/Myron Spoonapple Edwina's little sister/brother and musical director of The Dear Edwina Show (played by the Musical Director). Gender: Both Joe/Jo Spoonapple Edwina's older brother/sister. Percussionist of The Dear Edwina Show. Gender: Both
Peter Pan Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Lyrics by Carolyn Leigh Music by Morris "Moose" Charlap Additional Lyrics by Betty Comden and Adolph Green Additional Music by Jule Styne Overview / Synopsis Based on J.M. Barrie's classic tale and featuring an unforgettable score by Morris "Moose" Charlap and Jule Styne with lyrics by Carolyn Leigh and Betty Comden and Adolph Green, Peter Pan is one of the most beloved and frequently performed family favorites of all time. This high-flying Tony Award-winning musical has been performed around the world and delighted audiences for 60 years and is now adapted for young performers. Peter and his mischievous fairy sidekick, Tinkerbell, visit the nursery of the Darling children late one night and, with a sprinkle of pixie dust, begin a magical journey across the stars that none of them will ever forget. In the adventure of a lifetime, the travelers come face to face with a ticking crocodile, a fierce Indian tribe, a band of bungling pirates and, of course, the villainous Captain Hook. Featuring the iconic songs, "I'm Flying," "I've Gotta Crow," "I Won't Grow Up" and "Never Never Land," and a rousing book full of magic, warmth and adventure, Peter Pan JR. is the perfect show for the child in all of us... who dreamed of soaring high and never growing up. It's is a dream come true for groups looking to bring magic to their stage and entertain countless families. Audio Sampler - HL00173430 $10.00 ShowKit - HL00173420 $645.00 This ShowKit includes: 30 Student Books Director's Guide Piano/Vocal Score 2 Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 00173421 - Director's Guide $100.00 00173422 - Piano/Vocal Score $40.00 00173423 - Student Book $10.00 00173424 - Student Book 10-pak $75.00 00173425 - Perf/Accomp CD pack $75.00 00173426 - Student Rehearsal CD $10.00 00173427 - Student Rehearsal CDs 20-Pak $100.00 00173428 - Choreography DVD $50.00 00173429 - Media Disc $10.00 00173430 - Audio Sampler $10.00 Hear A Sample Neverland [Peter, Lost Boys, Brave Girls, Darling Family] Prologue Tender Shepherd [Mrs. Darling, Wendy, John, Michael] I'm Flying [Peter, Wendy, John, Michael, Ensemble] Pirate March [Pirates, Lost Boys] Hook's Tango [Hook, Pirates] Brave Girl Dance [Tiger Lily, Brave Girls] Wendy [Peter, Lost Boys] Hook's Tarantella [Hook, Pirates] I Won't Grow Up [Peter, Lost Boys, John, Michael] Ugh-A-Wug [Peter, Tiger Lily, Brave Girls, Lost Boys, Children] Distant Melody [Wendy, Peter, Lost Boys] I Gotta Crow [Peter, Tiger Lily, Brave Girls, Lost Boys, Children] Nursery Music [Wendy, John, Michael] Finale Ultimo [Full Cast] Peter Pan Peter Pan is a boy without a care in the world. Originally written for and cast as a female, this role is for a girl with a soaring can-do spirit who most certainly "won't grow up!" Cast a young girl who can do it all: act, sing, and be as physical as the part demands. Again, Peter Pan is intended to be played by a girl. Gender: Both Vocal range: C5-F3 Wendy Wendy is the eldest of the Darling children and has a certain maternal quality. Wendy is very bright, ever-practical and ready for an adventure! Cast a young lady with warm presence and great singing voice. Gender: Female Vocal range: Ab3-Db5 John John is the middle Darling child and has an amicable and open presence. A little more proper than his younger brother, look for a good actor and singer who is the perfect complement to his siblings. Gender: Male Vocal range: Ab3-Db5 Michael Michael is the youngest Darling boy and seems to have unlimited energy. Find a good actor who can easily portray the youngest and most stubborn of the Darling children. If your actor also possesses a terribly cute disposition, that's perfect! Gender: Male Vocal range: Ab3-Db5 Nana Nana is a dog, but you don't need to find a real dog to fill the part! Cast a young performer who is unafraid to jump in and play this iconic part of the story. This performer should have a knack for physicality and be comfortable making bold acting choices. Gender: Both Mrs. Darling Mrs. Darling is the mother of Wendy, John and Michael, and she is the perfect picture of a mother. Cast a young lady who reads onstage as an older character and is experienced in acting and singing. Gender: Female Vocal range: Ab3-Db4 Mr. Darling Mr. Darling is the father of Wendy, John and Michael, and he is a man with one concern: keeping his house in order. Cast a young man with an older presence who is a perfect complement to Mrs. Darling. Gender: Male Liza Liza is the Darling's housekeeper who always seems to be in a bit of a frenzy as she tries to keep everyone pleased. This is a great cameo role for a young woman who can make strong character choices. Gender: Female Tiger Lily Tiger Lily is the fearless leader of the Brave Girls. Cast a young lady who can command the stage and is a good actor, singer and mover. Gender: Female Vocal range: Ab3-Db5 Brave Girls The Brave Girls, including Brave Girl #1, Brave Girl #2 and Small Brave Girl, are a group of Neverland inhabitants. They are a fun bunch of girls who are as strong as they are kind. Cast a group of young ladies who are proficient movers as well as competent singers. Gender: Female Vocal range: Ab3-Db5 Lost Boys The Lost Boys are a group of lads who live in Neverland without a care in the world! Cast advanced performers (and good singers) in the roles of Nibs, Slightly, Curley, Tootles, Twin #1 and Twin # 2. There is no need for the actors playing the Twins to be identical. If you create strong physical action to link the two, they can be anybody. Feel free to cast as many Lost Boys as desired, ideally making sure that the group is comparable in size to that of the Brave Girls. Gender: Male Vocal range: Bb3-C5 Pirates The Pirates are a gaggle of villains who are looking to cause some trouble. Cast a group of young performers, male, female or both that can act, move well, and aren't afraid to sing! Noodles, Cecco, and Starkey are all are great cameo roles for young performers to make strong acting choices. Gender: Both Captain Hook Captain Hook, the leader of the Pirates, has a bone to pick... or rather a Peter Pan to hook! This is the perfect role for a young performer who can sing and act, but above all, has great comedic timing. Though Captain Hook is the villain of the show, he's also a bit of a clown who just can't seem to get what he wants. He has to be as treacherous to the Lost Boys as he is a complete wimp around the Crocodile. Cast a strong actor who can make bold choices. Gender: Male Vocal range: B3-E5 Smee Smee is Captain Hook's sidekick who wants nothing more than to see Captain Hook succeed in his evil plotting. Cast a young performer who is a solid actor and a great complement for Captain Hook. Gender: Male Crocodile Like Nana, the Crocodile is a silent part for a young performer who can take a leap and become the wickedest beast that ever was! Cast a performer who can fill the role with life and great presence. Gender: Both
Thoroughly Modern Millie Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Richard Morris and Dick Scanlan New Music by Jeanine Tesori New Lyrics by Dick Scanlan Overview / Synopsis Thoroughly Modern Millie is the zany new 1920's musical romp that will have everyone dancing the Charleston! Taking place in New York City in 1922, Thoroughly Modern Millie tells the story of young Millie Dillmount, who has just moved to the city in search of a new life for herself. It's a New York full of intrigue and jazz - a time when women were entering the workforce and the rules of love and social behavior were changing forever. Filled with frisky flappers, dashing leading men and a dragon-lady of a villainess audiences will love to hate, you'll present a perfectly constructed evening of madcap merriment. Songs include: Not for the Life of Me / Thoroughly Modern Millie, Not for the Life of Me (Tag), Not for the Life of Me (Reprise), The Speed Test, What Do I Need With Love, Jimmy, Back at Work, Forget About the Boy, Ah! Sweet Mystery of Life / I'm Falling in Love with Someone, I Turned the Corner, Muqin, Long As I'm Here With You, Gimme Gimme, The Speed Test (Reprise), Ah! Sweet Mystery (Reprise), Finale. Audio Sampler - HL08750921 $10.00 ShowKit - HL09971362 $645.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 09971364 - Piano/Vocal Score $40.00 09971365 - Director's Script $50.00 09971363 - Libretto/Vocal Book $10.00 09971367 - Libretto/Vocal Book 10 Pak $75.00 09971358 - Performance/Accompaniment CD $75.00 09971366 - Choreography DVD $50.00 09971369 - Student Rehearsal CDs $10.00 09971370 - Student Rehearsal CDs 20 Pak $100.00 08750921 - Audio Sampler $10.00 Hear A Sample Not for the Life of Me/Thoroughly Modern Millie Not for the Life of Me (Tag) Not for the Life of Me (Reprise) The Speed Test What Do I Need with Love Jimmy Back At Work Forget About the Boy Ah! Sweet Mystery of Life / I'm Falling in Love with Someone I Turned the Corner Mugin Long as I'm Here with You Gimme Gimme Gimme Gimme (Tag) The Speed Test (Reprise) Ah! Sweet Mystery (Reprise) Finale Bows Millie Millie is the sweet, classic ing�nue with pluck. The role requires excellent vocal chops; in fact, no other character in the Broadway Junior collection of shows sings as much as Millie. The role of Millie is the perfect star turn for that extra special performer. Cast a young woman with an excellent Broadway style voice with lots of stamina. Millie must also have charisma, a great sense of comedy, good acting skills and be able to hold her own as a dancer. Jimmy Jimmy is our male counterpart to Millie. Self-assured and cocky, cast a Jimmy who is charming, a great singer, a reasonable mover and who has a good sense of comic timing. Jimmy should be attractive in a cute, goofy sort of way. Mrs. Meers Mrs. Meers is the villain of our story. Think Cruella DeVille meets Miss Hannigan. Cast an over-the-top "scenery chewer" who has an excellent sense of comedic timing. Miss Dorothy Miss Dorothy is the perfect role for a young lady with a voice that is more classical than Broadway. She should be attractive, a good actress and should contrast physically with Millie. Miss Flannery Miss Flannery is the office manager. She's uptight (think librarian) and stern, a real no-nonsense kind of gal. Cast an up-and-comer who's not quite ready for a huge lead, but is definitely ready to break out of the chorus. Having tap skills and a good sense of comedy are definite pluses for this gem of a role. Ching Ho and Bun Foo Ching Ho and Bun Foo are brothers and emigrants from China. These two are working to bring their dear mother to the United States from China. While it's nice to cast performers of Asian descent in these roles, it is not always possible. These characters must learn some Chinese, so cast kids who live for great challenges and have a keen sense of adventure. Ching Ho must be played by a boy and is the more demanding role; Bun Foo can be played by a girl. These characters sing, dance, and act, all in Chinese. Trevor Graydon Trevor Graydon the Third is Millie's boss and she's determined to marry him. Cast your best-looking singer who's not afraid to be a bit of a goof ball. The Hotel Priscilla Girls The Hotel Priscilla Girls, are the fellow boarders at the Hotel Priscilla. If possible vary them widely in size, shape, color and attitude. They should be good singers and actresses. The girls with solo lines include: Ruth Gloria Rita Alice Cora Lucille Ethel Peas Mama Mama is Ching Ho and Bun Foo's mother from China. She makes a surprise cameo appearance during the finale of the show. This is a great walk-on part for the principal, a local celebrity or parent. No singing, no dancing involved. Ensemble The cast can be expanded in many ways and in many places. You can augment the ladies staying at the Hotel Priscilla. Street scenes, the speakeasy, the jail scene, etc. offer innumerable opportunities for many, many students to participate.
Chitty Chitty Bang Bang Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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 $645.00 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
Madagascar - A Musical Adventure Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Based on the DreamWorks Animation Motion Picture Book by Kevin Del Aguila Music and Lyrics by George Noriega and Joel Someillan Overview / Synopsis Join Alex the Lion, Marty the Zebra, Melman the Giraffe, Gloria the hip hip Hippo and, of course, those hilarious, plotting penguins as they bound onto your stage in the musical adventure of a lifetime. Based on the smash DreamWorks animated motion picture, Madagascar - A Musical Adventure JR. follows all of your favorite crack-a-lackin' friends as they escape from their home in New York's Central Park Zoo and find themselves on an unexpected journey to the madcap world of King Julien's Madagascar. Alex the lion is the king of the urban jungle, the main attraction at New York's Central Park Zoo. He and his best friends - Marty the zebra, Melman the giraffe and Gloria the hippo - have spent their whole lives in blissful captivity before an admiring public and with regular meals provided for them. Not content to leave well enough alone, Marty lets his curiosity get the better of him and makes his escape - with the help of some prodigious penguins - to explore the world. Filled with outlandish characters, adventure galore and an upbeat score, Madagascar JR. will leave audiences with no choice but to "Move It, Move It!" Audio Sampler - HL00190213 $10.00 ShowKit - HL00183412 $645.00 This ShowKit includes: 30 Student Books Director's Guide Piano/Vocal Score 2 Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 00183215 - Director's Guide $100.00 00183219 - Piano/Vocal Score $40.00 00183221 - Student Book $10.00 00183240 - Student Book 10-pak $75.00 00183241 - Performance/Accomp CD pack $75.00 00183304 - Student Rehearsal CD $10.00 00183305 - Student Rehearsal CDs 20-Pak $100.00 00183306 - Choreography DVD $50.00 00190206 - Media Disc $10.00 00190213 - Audio Sampler $10.00 Hear A Sample It's Showtime [Alex, Marty, Gloria, Melman, Zoo Guests, Zookeepers, Penguins, Lionesses] Wild and Free [Marty, Zookeepers, Zoo Guests] Best Friends [Marty, Alex, Mason] Relax, Be Cool, Chill Out [Marty, Skipper, Penguins, Police Officers, Alex, Gloria, Melman, Old Lady, Subway Announcer, Animal Control Officers] Grand Central [Marty, Alex, Gloria, Melman, Mason, Penguins] Penguins' Sea Shanty [Penguins] I Like to Move It [King Julien, Lynn, Lars, Lee, Lew, Lemurs, Marty, Alex, Gloria, Melman] Steak [Alex, Lead Servers, Servers] Penguins' Sea Shanty (Reprise) [Penguins] Living in Paradise [Marty, Alex, Gloria, Melman, King Julien, Lemurs] Foosa Hungry [Foosa] Best Friends (Reprise) [Marty, Alex, Foosa] The King of Madagascar [Marty, Alex, Gloria, Melman, Foosa, Penguins, Lemurs, King Julien] Together Forever [Marty, Alex, Gloria, Melman, Penguins] I Like to Move It (Reprise) [Company] Alex Alex, the lion, is the main attraction at the Central Park Zoo and undoubtedly "The King of New York City." He's a fun-loving fella whose devotion to steak is matched only by his devotion to his friends. Cast a great singer and actor but most importantly, someone who has that magnetic quality of a showman. Gender: Male Vocal range: A3-Eb5 Marty Marty is a zebra with dreams of exploring beyond the confines of the Central Park Zoo and into the wild. Cast a young man who is a solid singer and actor who also possesses a sweet disposition. You want your audience to root for Marty. He should be a perfect complement to Alex. Gender: Male Vocal range: A3-D5 Gloria Gloria, the hippopotamus, is a bold young lady with a maternal streak that shines when she's with her three closest friends: Alex, Marty and Melman. This a great part for a performer who can act, sing and who can serve as the caretaker of the group. Gender: Female Vocal range: Eb4-E5 Melman Melman is a kind-hearted giraffe who is a bit of a hypochondriac. He's always just a little bit nervous, but when it comes down to it, he'll rise to the situation. Pick a performer who can sing well but more notably, can carve out this comedic part with strong acting choices. Gender: Male Vocal range: E3-Db5 The Penguins The Penguins are a group of birds on a mission: bust out of the zoo and return home to Antarctica. Skipper serves as the captain of the group, giving orders with ease and command. Kowalski is Skipper's second-in-command and a dutiful one at that. Rico is the brute of the group and can karate chop anything in sight. Private's primary job in the group is to maintain the cute and fuzzy disguise. Cast these four primary roles with performers who work well together. This is a fun opportunity to cast your youngest performers. Gender: Both The Zookeepers The Zookeepers introduce the crowds to all the sights and attractions of the Central Park Zoo. Zookeeper Zelda, Zookeeper Zeke and Zookeeper Zoe are perfect parts for proficient musicians and actors who can express a real excitement and passion for the animals. Zelda has a large solo in the opening, so cast your best singer amongst the Zookeepers in that role. Gender: Male Vocal range: B3-G4 Mason Mason is a chimpanzee with a bone to pick: though highly intelligent, his species seems to get a bad reputation for being simpleminded, and he takes that quite personally. This is a great acting role for a performer who can make bold choices from the get-go. Gender: Male The Lemurs The Lemurs are a wild band of creatures native to Madagascar trying desperately to avoid being eaten by the cat-like creatures called the Fossa. King Julien is their leader and the perfect part for the comedian of your company who can sing, dance, act and has intuitive comedic timing. Maurice is King Julien's assistant who is not so welcoming to Madagascar's new inhabitants. This part is perfect for an actor who can convey distrust and disinterest while still being a powerful second-in-command to King Julien. Mort is the littlest of the Lemurs, who can barely speak. Find a young, small, sweet performer who possesses a sense of comedy. Lynn, Lew, Lee and Lars are fun smaller roles for young actors with bold personalities. Gender: Both Vocal range: A3-B4 The Foosa The Fossa are cat-like predators with an appetite for Lemurs! The Fossa Leader is the biggest and baddest of the Fossa and is feared by most of the creatures in Madagascar. Cast an actor who has a great imagination for creating a larger-than-life creature who can strike fear with one look. For the rest of Fossa, choose an ensemble that can create a dominating pack of predators. Gender: Both Servers Servers #1, #2 and #3 are imagined servers in Alex's dream when he starts to desire meat desperately! Cast three performers who can both dance and sing well and work as a unit well together. Gender: Both Vocal range: D4-D5 The Lionesses The Lionesses are a group of lady lions and Alex's background singers and dancers. These are great featured roles for dancers. Gender: Female Cameraman, Candy Hammernose, Passerby, Old Lady, Police Officer #1 and #2, Animal Control Officers, Newspaper Man and Ship's Captain Cameraman, Candy Hammernose, Passerby, Old Lady, Police Officer #1 and #2, Animal Control Officers, Newspaper Man and Ship's Captain are all great cameo roles with speaking lines. Remember: No role is too small, and each one serves to create the larger picture of the world of Madagascar JR., so cast a colorful group of characters in these fun roles. Gender: Both New Yorkers and Animals The New Yorkers and Animals are two separate ensemble groups that are essential for setting up the world of the Central Park Zoo. Remind these groups to be bold, specific and full of energy to kick off the show with a bang! Gender: Both
Sound of Music - Getting To Know Collection Menu LEARN MORE About Getting To Know Cinderella The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits A Brand New Adaptation by iTheatrics Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse Suggested by "The Trapp Family Singers" by Maria Augusta Trapp Overview / Synopsis The final collaboration between Rodgers & Hammerstein - The Sound of Music - was destined to become the world's most beloved musical. When a postulant proves too high-spirited for the religious life, she is dispatched to serve as governess for the seven children of a widowed naval Captain. Her growing rapport with the youngsters, coupled with her generosity of spirit, gradually captures the heart of the stern Captain, and they marry. Upon returning from their honeymoon they discover that Austria has been invaded by the Nazis, who demand the Captain's immediate service in their navy. The family's narrow escape over the mountains to Switzerland on the eve of World War II provides one of the most thrilling and inspirational finales ever presented in the theatre. The motion picture version remains the most popular movie musical of all time. Created by Rodgers & Hammerstein with iTheatrics, Getting To Know... The Sound of Music has been edited to better suit younger performers, but all the elements that make this show a classic are still in place. You and your students will be enchanted by the timeless story and the dazzling score, while at the same time learning about theater and its production. Run Time: Approximately 50-70 minutes A note from iTheatrics about this new adaptation: In each iTheatrics adaptation, we pay special attention to making the material achievable for elementary and middle school students. We modify the music to fit young voices, shorten the running time of the show to make it less daunting for busy educators, and adapt the script to ensure that it's appropriate for the age group (while staying as true as possible to the original story). iTheatrics' adaptations include key points for directors and educators, advice on how to stage tricky sequences, and a number of suggestions and tips from our experience in the field. Every iTheatrics adaptation is workshopped with age-appropriate performers so that we can accurately advise teachers on the challenges they may face during their productions. Every adaptation is vetted both by the iTheatrics team and real, in-the-field teachers and students - and if they can do it, so can you! Perusal Pack - HL00124211 $15.00 Production Pack - HL008754014 $650.00 This Production Pack includes: Production Guide Includes: Performance/Accompaniment CD Choreography DVD Media Resources Disc Piano/Vocal Score 30 Student Scripts Instant Digital Download Click For an Online License Request Individual Components 00124205 - Piano/Vocal Score $50.00 00124206 - Student Script $10.00 00124217 - Student Script 10 Pak $50.00 00124207 - Production Guide $50.00 00124208 - DVD Guide to Musical Staging $25.00 00124209 - Vocal Tracks CD $25.00 00124210 - Accompaniment Tracks CD $50.00 00124212 - Digital Resources Disc $25.00 Special Feature: Instant Digital Downloads! Once you have been approved for a license, you will receive an email from the Rodgers & Hammerstein organization welcoming you to the Getting To Know... family. This email will include a download link for the following digital resources: Audition-ready materials, including ready-to-print, show-specific audition music, scenes, and even specially created audition accompaniment tracks (Audition accompanist optional!) Show-specific information, including a music cue sheet, props list, scene-by-scene set breakdown, a list of costumes by character, and official show artwork A digital copy of the Production Guide, which you can use on your tablets and mobile devices A complete set of Vocal Tracks for the show - start your rehearsals now! By accessing these digital resources, you can begin the process of planning your show, and even hold auditions, prior to receiving your printed Production Pack. No more waiting for your show materials to arrive! New Production Pack Resources: iTheatrics built on the strength of the original Getting To Know... resources and brought them up to date with the best practices from the field. Materials are streamlined and consist of: Production Guide Student Scripts Piano/Vocal Score Accompaniment and Vocal Tracks Guide to Choreography and Staging DVD Digital Resources Disc. This means fewer physical books for you to carry. It also means that the resources you need most in rehearsals like Vocal Tracks and the Production Guide can be uploaded onto your mobile device. Forgot your Production Guide? No worries, you can now access it on your iPad. This is an industry first, and something that will make putting on a show with young people even better! The Sound of Music [Maria, Ensemble] Maria [Sister Berthe, Sister Sophia, Sister Margaretta, Mother Abbess, Nuns] Do-Re-Mi [Maria, Von Trapp Children] Sixteen Going on Seventeen [Liesl, Rolf] The Lonely Goatherd [Maria, Goat, Girl in Pale Pink Coat, Von Trapp Children, Ensemble] Reprise: The Sound of Music [Von Trapp Children, Captain] Ländler [Dance] So Long, Farewell [Von Trapp Children, Guests] Climb Ev'ry Mountain [Mother Abbess, Nuns] Reprise: My Favorite Things [Von Trapp Children, Maria] Reprise: Do-Re-Mi [Captain, Maria, Von Trapp Children] Edelweiss [Captain, Maria, Von Trapp Children] Finale Ultimo: Climb Ev'ry Mountain [Mother Abbess, Nuns] Maria Rainer Postulant at Nonnberg Abbey Opening Number Ensemble Mountains, Trees, Birds, a Brook, etc. Sister Berthe Mistress of Novices Sister Margaretta Mistress of Postulants Sister Sophia The Mother Abbess In charge of the Abbey Nuns Captain Georg von Trapp A renowned navy officer Franz The butler Frau Schmidt The housekeeper The Children of Captain von Trapp Liesl von Trapp - 16 years old Friedrich von Trapp - 14 years old Louisa von Trapp - 13 years old Kurt von Trapp - 10 years old Brigitta von Trapp - 9 years old Marta von Trapp - 7 years old Gretl von Trapp - the youngest Rolf Gruber A 17-year-old telegram delivery boy Max Detweiler A friend of Captain von Trapp The Lonely Goatherd" Ensemble Goat Girl In The Pale Pink Goat Folks In The Town Mama Party Scene Herr Zeller A Nazi supporter Baron Elberfeld A party guest who is against the Nazis Party Guests A New Postulant Admiral von Schreiber An Admiral in the Nazi Navy German Officials Contestants in the Festival Concert The Trio of Saengerbund of Herwegen Fräulein Schweiger
Fiddler On The Roof Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Jerry Bock Book by Joseph Stein Lyrics by Sheldon Harnick Based on Sholem Aleichem's stories by special permission of Arnold Perl Overview / Synopsis Fiddler On The Roof Junior is a special adaptation of the classic Broadway musical, which tackles the universal theme of tradition in ways that reach across barriers of race, class, nationality, and religion. Set in the little village of Anatevka, the story centers on Tevye, a poor dairyman, and his five daughters. With the help of a colorful and tight-knit Jewish community, Tevye tries to protect his daughters and instill them with tradition in the face of changing social mores and the growing anti-Semitism of Czarist Russia. The show features a star turn in Tevye, among the most memorable roles in the musical theatre canon. Its celebrated score, by Jerry Bock and Sheldon Harnick, features songs loved the world over, including "Tradition," "If I Were A Rich Man," and "Sunrise, Sunset." Fiddler On The Roof Junior is a great introduction to the world of musical theatre. Young performers will love its humor, warmth, and honesty. Directors will love the opportunity to direct a large cast with a good balance of male and female roles. Audio Sampler - HL00147642 $10.00 ShowKit - HL00147640 $645.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor's Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00147631 - Director's Guide $100.00 00147632 - Piano/Vocal Score $40.00 00147633 - Actor's Script $10.00 00147634 - Actor's Script 10-pak $75.00 00147635 - Perf/Accomp CD pack $75.00 00147636 - Student Rehearsal CD $10.00 00147637 - Student Rehearsal CD 20-pak $100.00 00147638 - Choreography DVD $50.00 00147639 - Media Disc $10.00 00147642 - Audio Sampler $10.00 Hear A Sample Prologue Tradition [Tevye, Golde,Villagers] SCENE 1 Matchmaker [Hodel, Chava, Tzeitel] SCENE 2 If I Were a Rich Man [Tevye] SCENE 3 Sabbath Prayer [Tevye, Golde, Villagers] SCENE 4 To Life [Tevye, Lazar Wolf, Men] SCENE 8 Sunrise, Sunset [Tevye, Golde, Perchik, Hodel, Villagers] Wedding Dance [Villagers] SCENE 10 Do You Love Me? [Tevye, Golde] SCENE 11 Far from the Home I Love [Hodel] SCENE 13 Chava Sequence [Villagers] SCENE 14 Anatevka [Golde, Yente, Lazar Wolf, Mendel, Avram, Tevye] Tevye Tevye is the heart and conscience of Fiddler on the Roof. Tevye is generally cast as a larger young man, but his stature really comes from his integrity and zest for life. Tevye's emotional range runs from strong patriarch to gentle father. He should be robust. He understands his role as leader of the family, but knows his place as his wife's husband. Your Tevye should be able to show the wide range of conflict, joy and pain that his character feels throughout the story. The actor playing Tevye needs to be comfortable speaking directly to the audience, and being the spiritual leader of your production. He does not necessarily need to have a great singing voice, but he must have a strong, easily projected voice that can fill your performance space. Tevye must develop an easy-going, comfortable rapport with the audience. Vocal Range: Ab3 - D Golde Golde is the backbone of the family. She has a rather gruff exterior, but in her heart is sheer dedication to her family. When casting Golde, remember that she must be able to frighten Tevye. She runs the household and keeps Tevye's more emotional side in check. Conversely, she should be able to show a softer side when dealing with Chava and Tevye's rift. Golde lives that her daughters will be married. She, like Tevye, need not be the greatest singer in the world, but she should have a commanding voice. Vocal Range: G3 - Db5 Tzeitel Tzeitel is the oldest daughter of Tevye and Golde. She is the first to be matched by Yente and sets the plot of Fiddler into action by pleading with her father to let her marry Motel the Tailor, to whom she has pledged her love. When casting Tzeitel, keep in mind that she is the oldest daughter. She is determined to marry Motel and knows how to manipulate her father. Vocal Range: Bb3 - Cb5 Hodel Hodel is a strong, independent middle child of the three older daughters. She is outspoken, but respectful. She has her eye on the Rabbi's son at the outset of the story, but she is taken with the revolutionary Perchik from the moment she meets him. Hodel proves that her dedication to and love for Perchik is real as she follows him to Siberia after his arrest. Hodel's melancholy lament, "Far From the Home I Love," demands a good singer/actor. Vocal Range: Bb3 - Db5 Chava Chava is the third youngest daughter. She is an introspective, rather shy young woman who seems to favor books over other pursuits. Her love for the young Russian, Fyedka, tests her father's love to the limit and provides the largest conflict in the story. The actor playing Chava must be able to display a wide emotional range. Vocal Range: Bb3 - Cb5 Motel Motel is the young tailor enamored of Tzeitel. He is an endearing sort of Woody Allen type. He needn't be a great singer, but should be able to dance at his wedding. A young man with good comic timing and a vulnerable quality is ideal. Perchik Perchik is a young student who leans toward a revolutionary, or as Tevye calls him, "A radical." Your Perchik should be able to hold his own with Tevye. Being a strong character, he clashes with Tevye idealistically, but is likable, charming, and ultimately, a member of the family. Vocal Range: Bb3 - Bb5 Lazar Wolf Lazar Wolf is, by trade, a butcher. Lazar should probably be a large boy, but, frequently, opposites are funny. A kid of any size can pull off this part, but must be a little bit repugnant. Tzeitel is frightened to marry Lazar Wolf and she should have reason to be so. Lazar Wolf has featured singing in, "To Life" and must be able to sell the song. Vocal Range: A3 - C5 Constable The Constable is the local sheriff representing the anti-Semitic Russian government. Take care to cast an actor who can provide a sense of threat, foreboding, and conflict. The Constable is a complex character who is conflicted over his relative goodwill toward individuals in the Jewish community and his duty to harass them. This is a non-singing role that requires a good, strong actor. Fyedka Fyedka is a young Russian soldier who falls in love with Chava. Look for a young man who might look distinctly Russian, trying to contrast his look as a Gentile who enters the Jewish world as an outsider. He should be a strong actor, but needn't be a singer. Shprintze and Bielke Shprintze and Bielke are the youngest daughters of Tevye and Golde. They are considerably younger than the three "matchmaker" daughters. They have only a few lines, but are featured in quite a few scenes. They need to be able to carry a tune in the group songs. The Fiddler The Fiddler must be a young person who can hold the attention of an entire audience with movement, facial expression, and dance. As the title character, the Fiddler must be the physical embodiment of the theme of the show. Freedom of movement and expression are the keys to casting your Fiddler. The Fiddler is a silent, lead role. Yente Yente is your matchmaker. Try to cast a young woman who can capture the quintessential feel of the Jewish matchmaker, without necessarily making her a stereotype. She should be able to play older. She's not elderly, but mature. The Villagers The Villagers group can be as large as your stage can safely accommodate. They are the faces of Anatevka. This character group insures that you can cast any young person who auditions, regardless of their talent level or experience. The Russians The Russians are soldiers under the command of the Constable. This is a good group to case your least experienced auditioners. One, Sasha, has two lines. They needn't be singers, but can sing in a group numbers from offstage if they are able.
Once Upon a Mattress Musical - Getting To Know Collection Menu LEARN MORE About Getting To Know Cinderella The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits A Brand New Adaptation by iTheatrics Music by Mary Rodgers Book by Jay Thompson, Dean Fuller and Marshall Barer Lyrics by Marshall Barer Overview / Synopsis If you thought you knew the story of 'The Princess and The Pea,' you may be in for a walloping surprise! Did you know, for instance, that Princess Winnifred actually swam the moat to reach Prince Dauntless the Drab? Or that it may not have been the pea at all that caused the princess a sleepless night? Carried on a wave of beguiling songs, by turns hilarious and raucous, romantic and melodic, this rollicking spin on the familiar classic of royal courtship and comeuppance provides for some side-splitting shenanigans. Chances are, you'll never look at fairy tales quite the same way again. In this adaptation for pre-high school students, the content has been edited to better suit younger actors and audiences, but all the magic, hilarity and fun of the original are still in place. Getting To Know... Once Upon A Mattress is the perfect show to introduce young people to the magic of live theater. Run Time: Approximately 50-70 minutes A note from iTheatrics about this new adaptation: In each iTheatrics adaptation, we pay special attention to making the material achievable for elementary and middle school students. We modify the music to fit young voices, shorten the running time of the show to make it less daunting for busy educators, and adapt the script to ensure that it's appropriate for the age group (while staying as true as possible to the original story). iTheatrics' adaptations include key points for directors and educators, advice on how to stage tricky sequences, and a number of suggestions and tips from our experience in the field. Every iTheatrics adaptation is workshopped with age-appropriate performers so that we can accurately advise teachers on the challenges they may face during their productions. Every adaptation is vetted both by the iTheatrics team and real, in-the-field teachers and students - and if they can do it, so can you! Perusal Pack - HL00125290 $15.00 Production Pack - HL00125282 $650.00 This Production Pack includes: 1 Piano / Vocal Score 30 Student Scripts 1 Production Guide 1 Vocal Tracks CD 1 Accompaniment Tracks CD 1 Guide to Choreography & Staging Disc 1 Digital Resources Disc Instant Digital Download Click For an Online License Request Individual Components 00125283 - Piano/Vocal Score $50.00 00125284 - Student Script $10.00 00125285 - Student Script 10-pak $50.00 00125286 - Production Guide $50.00 00125287 - Guide to Choreography & Staging $25.00 00125288 - Vocal Tracks CD $25.00 00125289 - Accompaniment Tracks CD $50.00 00125290 - Perusal Pack $15.00 00125291 - Digital Resources Disc $25.00 Special Feature: Instant Digital Downloads! Once you have been approved for a license, you will receive an email from the Rodgers & Hammerstein organization welcoming you to the Getting To Know... family. This email will include a download link for the following digital resources: Audition-ready materials, including ready-to-print, show-specific audition music, scenes, and even specially created audition accompaniment tracks (Audition accompanist optional!) Show-specific information, including a music cue sheet, props list, scene-by-scene set breakdown, a list of costumes by character, and official show artwork A digital copy of the Production Guide, which you can use on your tablets and mobile devices A complete set of Vocal Tracks for the show - start your rehearsals now! By accessing these digital resources, you can begin the process of planning your show, and even hold auditions, prior to receiving your printed Production Pack. No more waiting for your show materials to arrive! New Production Pack Resources: iTheatrics built on the strength of the original Getting To Know... resources and brought them up to date with the best practices from the field. Materials are streamlined and consist of: Production Guide Student Scripts Piano/Vocal Score Accompaniment and Vocal Tracks Guide to Choreography and Staging DVD Digital Resources Disc. This means fewer physical books for you to carry. It also means that the resources you need most in rehearsals like Vocal Tracks and the Production Guide can be uploaded onto your mobile device. Forgot your Production Guide? No worries, you can now access it on your iPad. This is an industry first, and something that will make putting on a show with young people even better! PROLOGUE Many Moons Ago [Dauntless, Minstrel, Jester, King, Queen, Ensemble] SCENE 1: The Grand Hall in the Castle Opening for a Princess [Dauntless, Larken, Rowena, Lucille, Knights, Ladies] SCENE 2: A Corridor in the Castle Reprise: Many Moon Ago [Winnifred, Ensemble] SCENE 3: The Grand Hall Shy [Winnifred, 1st Knight, 2nd Knight, 3rd Knight, Dauntless, Queen, Knights, Ladies] SCENE 4: The Corridor Sensitivity [Queen, Wizard] SCENE 5: Winnifred's Bedchamber The Swamps of Home [Winnifred, Ladies, Dauntless] SCENE 6: The Corridor The Minstrel, the Jester and I [Minstrel, Jester, King] SCENE 7: Winnifred's Bedchamber Happily Ever After [Winnifred, Larken, Lucille, Rowena, Ladies] SCENE 8: The Corridor Spanish Panic Yesterday I Loved You SCENE 9: The Grand Hall Song Of Love [Dauntless, Winnifred, Ensemble] SCENE 10: The Corridor Quiet (Part 1) [Queen, Ensemble] Quiet (Part 2) [Queen, Ensemble] SCENE 11: The Corridor Finale [Minstrel, Ensemble] Princess Winnifred the Woebegone Princess Winnifred the Woebegone - is down-to-earth and without pretensions. Unlike what you might expect from of a princess, Winnifred is just an ordinary, high spirited girl. Having grown up in the swamps, she doesn't conduct herself in the formal way the others in the castle do. It is her natural, ingenuous quality that sets her apart from the other Ladies of the kingdom and makes Dauntless fall in love with her. Prince Dauntless the Drab Prince Dauntless the Drab - as him name implies, is kind of a sad-sack and somewhat listless. Although his overbearing mother controls his life and he is an obedient son, he still has hopes of someday finding a girl to marry of whom his mother will approve. Like Winnifred, he is honest and sincere. She gives him confidence in himself and within the course of the musical, we see him grow in self-assurance until he is finally able to confront his mother. Queen Aggravain Queen Aggravain - as her name suggests, is extremely vain, believing that her way of doing things is the only way. She is devoted to her son, Dauntless, and has no intention of ever allowing him to leave her or to have another woman in his life. She selfishly dominates everything that happens in the castle, never considering the feelings of others. The Silent King The Silent King - has been brow-beaten by the Queen and is very passive. He has learned that it is easier just to let the Queen have her own way than to fight her. Because he has not been able to speak for so long, he has learned to communicate through pantomime, or gestures. He loves his son and sympathizes with him but realizes he can do little to help him. Despite his frustrations, he is extremely good natured. Lady Larken Lady Larken - is a sweet girl but, perhaps because she is in love but unable to marry, she tends to be oversensitive. She is extremely frustrated that she can't marry Harry, but also extremely excited at the opportunity to be Lady-in-Waiting to Princess Winnifred. Of all the Ladies, it is Larken who most hopes that Winnifred will pass the test. Sir Harry Sir Harry - is a regular guy and, like Larken, is eager for Dauntless to find a bride so that he and Larken can marry. He is brave and dedicated enough to venture on a "perilous journey" in hopes of finding a genuine princess whom the Queen will find suitable as a bride for Dauntless. The Minstrel and The Jester The Minstrel and The Jester - are court entertainers and they have a great sense of joy in what they do. They sometimes serve as narrators and are assured in their ability to tell the story with authority. There is also something playful and mischievous about them. Either role may be played by a boy or girl. The Wizard The Wizard - is the Queen's confidant, her only friend and therefore the only person she can really talk to. However, he, like everyone else in the kingdom, is apprehensive of the Queen and would never have to courage to contradict her. Essemble Lady Lucille Sir Studley Lady Rowena Lady Beatrice Sir Harold Princess No. 12 Ladies and Knights of the Kingdom
Disney's High School Musical 2 Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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 David Simpatico Songs by Matthew Gerrard and Robbie Nevil and David N. Lawrence and Faye Greenberg and Randy Petersen and Kevin Quinn and Jamie Houston and Andy Dodd and Adam Watts Music Adapted, Arranged and Produced by Bryan Louiselle Based on the Disney Channel Original Movie written by Peter Barsocchini Overview / Synopsis Disney Channel's smash hit musical comes to life on your stage! The gang's all here for an action-packed summer extravaganza as Troy, Gabriella and the rest of the Wildcats finish junior year and blast onto the summer scene. At the Lava Springs Country Club, Sharpay reigns supreme while the Wildcats get to work - literally! Keeping every ounce of the light-hearted fun that makes High School Musical a household name, this buoyant sequel takes on the questions of real kids facing the realities of the adult world. Friendships are tested, summer romances go haywire, and the meaning of success is redefined. Growing with the characters, HSM2 doesn't miss one fabulous beat as the kids from East High get a taste of what it means to grow up. Rockin' songs, action-packed dance numbers, and ample opportunities to highlight a strong ensemble make this an ideal show for young actors. Jump into pool with the Wildcats as you swim along with this crowd-pleasing, fun-filled charmer. Audio Sampler - HL08750665 $10.00 ShowKit - HL09971343 $550.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 09971344 - Piano/Vocal Score $40.00 09971345 - Director's Script $50.00 09971346 - Libretto/Vocal Book $10.00 09971347 - Libretto/Vocal Book 10 Pak $75.00 09971348 - Performance/Accompaniment CD $75.00 09971349 - Choreography DVD $50.00 09971351 - Student Rehearsal CD $10.00 09971352 - Student Rehearsal CD 20 Pak $100.00 08750665 - Audio Sampler $10.00 Hear A Sample Scene 1 What Time Is It [All] What Time Is It (Reprise) [All] Scene 2 Fabulous [Sharpay, Ryan, Sharpettes, Poolboys, All] What Time Is It (Wildcats Exit) [Chad, All] Scene 3 Transition: To Kitchen [Wildcats] Work This Out [Chad, Taylor, Jack, Scott, Kelsi, Martha, Zeke, Girls, Troy, Gabriella, All] Scene 5 You Are the Music in Me (Pt. 1 and 2) [Kelsi] You Are the Music in Me (Pt. 3) [Kelsi, Gabriella, Troy, Taylor, Chad, Kelsi, Jack, Zeke, Martha, All] Scene 7 Fabulous (Troy's Transformation) [Sharpay, Ryan, Ensemble] Scene 8 Humuhumunukunukuapua'a (Pt. 1) [Kelsi, All] Humuhumunukunukuapua'a (Pt. 2) [Guys, Girls, Sharpay, Ryan] Scene 9 You Are the Music in Me (Rock Version) [Sharpay, Sharpettes, Troy] You Are the Music in Me (Tag) [Troy, Sharpay, Sharpettes] Scene 11 I Don't Dance [Ryan, Chad, Wildcats] Scene 12 "Every Day" Rehearsal (Pt. 1, 2 and 3) [All] Scene 13 Fabulous (Sharpay's Triumph) [Sharpettes, Sharpay] Gotta Go My Own Way [Gabriella, Troy] Scene 14 Talent Show 4: Theresa Templeton Every Day [Troy,Chad] Scene 15 Every Day [All] All For One (Finale) [All] High School Musical 2 Megamix (Bows) [All] TROY BOLTON Troy Bolton is the most popular kid at East High, the star of the basketball team and Gabriella's boyfriend. Troy is in a tough place this summer - he needs to make as much money as possible in order to afford college. When a scholarship opportunity arises, he does everything he can to make it happen. Look for a solid young actor who can convey the full range of Troy's emotions and character traits: independent, driven, athletic, yet smitten with Gabriella. Troy should be one of your strongest male singers. CHAD DANFORTH Chad Danforth is a jock and Troy's best friend. He and Taylor share a special bond, but he is good friends with all the Wildcats. As Troy gets wrapped up in his scholarship world, Chad becomes concerned about the person Troy is becoming. Cast an actor/singer that partners naturally with Troy, is a leader of his own accord, and can handle Chad's large solo numbers as well as his acting challenges. JACK SCOTT Jack Scott is the school announcer who is confident and suave behind the microphone, but not so sure of himself when he isn't. He has a great friendship with Kelsi and they bring out the best in each other. Try casting a student who will enjoy making this quirky role his own, and can portray a "gift of gab" radio voice. Look for a character actor with superior diction, good comic timing, and a pleasant singing voice. RYAN EVANS Ryan Evans is Sharpay's barely younger twin and a true star. He loves singing and dancing, and is learning to be his own person outside of Sharpay's shadow. He wants what's best for his sister but is having a hard time dealing with her ego. Everything Ryan does is executed to the extreme and usually with enthusiasm. You want to find an actor who is a "triple threat" for this character: strong singer, dancer and actor. ZEKE BAYLOR Zeke Baylor is a basketball player and good friend of Troy and Chad. His love of baking is matched only by his crush on Sharpay. Find an actor who works well as part of a team, but is able stand out in his own, especially when revealing his feelings for baking and Sharpay. Zeke has a number of solos, so make sure your actor can sing as well as act. GABRIELLA MONTEZ Gabriella Montez is an intelligent, charming girl who is loved by everyone... except Sharpay. She is dating Troy and can't wait to spend the summer with him at Lava Springs. Gabriella is a strong, loyal character who sticks up for her beliefs. Cast a young woman who is a solid singer and actor and can portray intelligence and independence. If you have time, pair up your potential Troys and Gabriellas at your audition to see how each pair works together. TAYLOR MCKESSIE Taylor McKessie is Gabriella's best friend who has started hanging out with Chad more often. She is organized and intelligent and doesn't like to see people take advantage of her friends, namely Gabriella. Find a young woman who can sing and can portray Taylor's assertiveness and brains. SHARPAY EVANS Sharpay Evans is the egocentric daughter of the Lava Springs owner and barely older twin sister of Ryan. She does everything she can to get what she wants, particularly Troy Bolton. Find an actress who can portray different sides of being a diva so Sharpay doesn't come off as a one-note caricature. Make sure your Sharpay has solid acting, singing and dancing skills as she carries many scenes. MARTHA COX Martha Cox is the fun-loving, big-personality girl of the group. She loves to dance, specifically hip-hop. Cast an actress who understands comic timing and enjoys being overthe- top. The role does have solo singing lines, but the vocal quality is not as important as the character. KELSI NIELSEN Kelsi Nielsen is an up-and-coming theatre composer who struggles with how to further her career. Cast an actor who can blend into the background while having the intelligence and ability to shoot the "zingers" at Sharpay with timing and accuracy. You should also coach your actress to look like a pianist as she "accompanies" the songs onstage. Kelsi has solos throughout the show. BLOSSOM, VIOLET and PEACHES Blossom, Violet and Peaches are the Sharpettes, Sharpay's debutante gal pals. They are bubbly, excitable and will back Sharpay up in all her endeavors. The Sharpettes should be good singers and dancers who exude lots of focused energy onstage. Feel free to cast more than three Sharpettes. Use the following names for the additional girls: Jasmine, Lily, Ruby, Beneatha, Orchid, Susan, Lindsay, Colleen. FULTON Fulton is the efficient club manager of Lava Springs. When it comes to the Wildcats, he doesn't have difficulty being in charge, but Sharpay is a different story. He is overly concerned with pleasing the daughter of the country club's owner. It isn't until Sharpay pushes him too far that Fulton is able to stand up to her. Find an actor with excellent comic timing for this role. While he does sing with the ensemble in a few songs, his solo lines are to be spoken, so acting skills should be the priority. ENSEMBLE The Ensemble makes up the other characters who populate Lava Springs Country Club. Some have small featured roles: pool boys, hairdressers, tailors, dermatologists. Other members of the ensemble work primarily as specific groups: the Wildcats, Lava Springs employees, Waiters, etc. These roles vary in size and in vocal, acting and dance requirements, so cast performers with a wide range of abilities. The ensemble participates in several self-contained numbers, which provide great opportunities to use groups of students that can rehearse together. (For example, the sixth-grade chorus in one number, the seventh-grade classes in another, etc.) Look for students with enthusiasm and the ability to take direction, and students that let your ensemble look like a perfect representation of your school and community.
Magic Tree House: Dinosaurs Before Dark KIDS - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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 $495.00 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.
Seussical Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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 Stephen Flaherty Lyrics by Lynn Ahrens Book by Lynn Ahrens and Stephen Flaherty Co-Conceived by Lynn Ahrens, Stephen Flaherty and Eric Idle Based on the works of Dr. Seuss Music Supervised, Adapted and Produced by Bryan Louiselle Overview / Synopsis After all those years being stuck on a page, Did you ever imagine you'd see me onstage?" So says the mischievous Cat in the Hat at the onset of this fantastical, magical, musical extravaganza! All of our favorite Dr. Seuss characters come to life in this delightful Seussian gumbo of musical styles, ranging from Latin to pop, swing to gospel, and R&B to funk! So let your toes tap, your fingers snap, and your imagination run wild for "Oh, the thinks you can think, when you think about Seuss!" Audio Sampler - HL00257760 $10.00 ShowKit - HL00257761 $645.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 00257751 - Director's Guide $100.00 00257752 - Piano/Vocal Score $40.00 00257753 - Actor's Script $10.00 00257754 - Actor's Script 10-Pak $75.00 00257755 - Performance/Accompaniment CDs $75.00 00257756 - Student Rehearsal CD $10.00 00257757 - Student Rehearsal CD 20-Pak $100.00 00257758 - Choreography DVD $50.00 00257759 - Media Disc $10.00 00257760 - Audio Sampler $10.00 Hear A Sample Oh, The Thinks You Can Think! Horton Hears a Who Biggest Blame Fool Biggest Blame Playoff / Gertrude McFuzz Here on Who Meet JoJo the Who How to Raise a Child Oh, The Thinks You Can Think! (Reprise) It's Possible (Pt. 1) It's Possible (Pt. 2) Alone in the Universe The One Feather Tail of Miss Gertrude McFuzz / Amayzing Mayzie Amayzing Gertrude (Pt. 1) Amayzing Gertrude (Pt. 2) Monkey Around / Chasing the Whos Notice Me, Horton How Lucky You Are Mayzie's Exit / Horton Sits on the Egg / Dilemma / Hunters Egg, Nest and Tree Sold / Mayzie in Palm Beach Mayzie at the Circus Amayzing Horton Alone in the Universe (Reprise) Solla Sollew Gertrude / Espionage (Pt. 1) Gertrude / Espionage (Pt. 2) All for You The Whos Return / The People Versus Horton the Elephant (Pt. 1) The People Versus Horton the Elephant (Pt. 2) Yopp! Alone in the Universe (Reprise) Oh, The Thinks You Can Think! (Finale) Green Eggs and Ham (Finale Bows) Exit Music The Cat in the Hat The Cat in the Hat is the essence of mischief, fun, and imagination. The Cat stirs things up, causes trouble, but always sets things right again, helping JoJo to discover the power of his own imagination as they create the story for the show together. Look for a physically adept actor (male or female) to play THE CAT, one who will be able to play many comic cameos and is comfortable improvising with an audience. The Cat does not need to be your strongest singer, but should still have good rhythm and timing. JoJo JoJo is a "Thinker", a smart child with a wild imagination. He can be played as being a little bit awkward, a little bit of a loner, or simply a rambunctious kid whose Thinks get him into constant trouble. By the end of the show, he learns what it means to be a responsible member of his world, using the power and possibilities of his own Thinks. He should be one of your stronger singers. Horton the Elephant Horton the Elephant is a gentle giant. Think of him as a big-hearted blue-collar guy who is steadfast, responsible and always tries to do the right thing for his friends. He is imaginative and receptive to the world around him. He is very unselfconscious. Horton's view of the world never changes - he believes in its goodness. By the end of the show, without even realizing it, he is ready to become a parent. Gertrude McFuzz Gertrude McFuzz is very self-conscious and aware that her one-feather tail isn't perfect. Gertrude changes during the show from a neurotic, nervous and shy bird into one with the power to protect and care for a baby elephant bird and commit herself to Horton. In other words, she stops worrying about her looks and grows up. Mayzie La Bird Mayzie La Bird is self-centered, selfish, and vain. Mayzie will never admit to her own flaws. She manipulates anyone she can into doing what she wants. But Mayzie isn't all bad. In giving up her egg to Horton once and for all, she has a moment of generosity: she realizes she isn't the kind of person who would be a good parent, and she does the best thing she can for the egg. Sour Kangaroo Sour Kangaroo isn't really sour at all. She's just got a lot of attitude. She's loud, brassy, and a lot of fun. The Wickersham Brothers The Wickersham Brothers are not bad guys! They're simply a lot like kids who tease, play pranks, and get a kick out of making mischief, although often at others' expense. They enjoy hanging around with one another, making music together on the street corner, and playing off on another. Encourage each of your actors to find their own Wickersham persona. The Whos The Whos are a lot like you and me, only so small as to be invisible. Don't think of them as weird little aliens. They should be played for their inherent humanity. Encourage everyone playing a Who to try and create his or her own unique character. Mr. and Mrs. Mayos Mr. and Mrs. Mayos are Whos who are parents trying hard to raise a difficult child in a difficult world. They may get aggravated with JOJO, but they love him dearly and try to do the right thing, even if it turns out to be a mistake. The Jungle Creatures The Jungle Creatures are real people at heart, just like us, even though they may be described as animal characters. We discourage masks and literal "animal costumes." Each student should be encouraged to create his or her own individual character with human characteristics.
Disney's My Son Pinocchio Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Lyrics by Stephen Schwartz Book by David Stern Overview / Synopsis My Son Pinocchio: Geppetto's Musical Tale is a light-hearted spin on the classic Pinocchio story. Once the Blue Fairy grants Geppetto his wish for a new son, the new father finds his parenting skills are a bit rough. With a book by David Stern, Academy Award®-winning composer Stephen Schwartz creates an original score expanded from Disney's Geppetto, the live-action TV movie starring Drew Carey, and paired with much loved songs from Disney's animated feature Pinocchio. Audio Sampler - HL00112989 $10.00 ShowKit - HL00113001 $645.00 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 00112980 - Piano/Vocal Score $40.00 00112979 - Director's Script $100.00 00112981 - Actor's Script $10.00 00112982 - Actor's Script 10 Pak $75.00 00112984 - Performance/Accompaniment CD $50.00 00112987 - Choreography DVD $50.00 00112985 - Student Rehearsal CD $10.00 00112986 - Student Rehearsal CD 20 Pak $100.00 00112988 - Media Disc $10.00 00112989 - Audio Sampler $10.00 Hear A Sample When You Wish Upon A Star (Part 1) [Rosa, Viola, Arancia, Sue, The Blue Fairy] When You Wish Upon A Star (Part 2) [Rosa, Viola, Arancia, Sue, The Blue Fairy] Toys [Geppetto, Town Children, Town Mothers, Town Fathers] Empty Heart [Geppetto] Rise and Shine (Part 1) [Rosa, Viola, Arancia, Sue] Geppetto and Son (Part 1) [Geppetto, Pinocchio] Geppetto and Son (Part 2) [Geppetto] Rise and Shine (Part 2) [Rosa, Viola, Arancia, Sue] Geppetto and Son (Part 3) [Geppetto, Pinocchio] Rise and Shine (Part 3) [Rosa, Viola, Arancia, Sue] Geppetto and Son (Part 4) [Geppetto] When You Wish Upon A Star (Reprise) [Pinocchio] Geppetto's Music Box [Geppetto] I've Got No Strings [Pinocchio, Marionettes] Bravo Stromboli [Stromboli, Marionettes] Just Because It's Magic [The Blue Fairy, Rosa, Viola, Arancia, Sue] Satisfaction Guaranteed (Part 1) [Talia, Maria, Professore Buonragazzo] Satisfaction Guaranteed (Part 2) [Boy 1] Satisfaction Guaranteed (Part 3) [Boy 2, Junior, Professore Buonragazzo, Company] Bravo Stromboli (Reprise) [Stomboli, Marionettes] Pleasure Island (Part 1) [Ringleader, Roustabouts] Pleasure Island (Part 2) [Ringleader] Geppetto and Son (Whale Reprise) [Geppetto, Pinocchio] Since I Gave My Heart Away (Part 1) [Geppetto,Fairies in Training] Since I Gave My Heart Away (Part 2) [Geppetto,The Blue Fairy, Company] Bows [Company] ANIMALS Animals (Pig, Foxes, Horse) serve as voices of reason for Geppetto's journey. Performers cast in these roles do not have to sing; however, comic timing and deadpan delivery are essential. These performers should be comfortable inhabiting the mismatched animals they portray. BERNARDO & MARIA Bernardo & Maria are married residents of Idyllia who are looking to purchase a "perfect" daughter from Professore Buonragazzo. These roles require group singing only. These performers can become part of the ensemble in other group numbers. THE BLUE FAIRY The Blue Fairy is convinced of her own perfection and does not like having it called into question. The performer you cast should have good comedic instincts and a solid singing voice. This role does not require excessive dancing. Range: G3 - E5 BOY 1 Boy 1 is one of three spokespeople for a group of traveling singers. They are larger than life as they spread joy throughout Rainbow Valley with their songs.Boy 1 is the first replacement for Pinocchio, created by Professore Buonragazzo's machine. Find an actor who can mimic a comedic version of the famous puppet. Range: C3 - C4 BOY 2 Boy 2 is the second replacement for Pinocchio. He should be even more wooden than Boy 1. Range: C3 - C4 CHILDREN OF IDYLLIA Children of Idyllia (Amelia, Salvatore, Carla, Lucia, Giuseppe, Boy 1, Boy 2) are the perfect children created by Professore Buonragazzo. Performers cast in these roles should be able to sing in groups, with featured speaking lines. There are great opportunities for movement and dance. DELINQUENTS Delinquents (Malvolio, Brutto, Sporco, others) can expand to include more performers and are great roles for non-singers. Also, they must be comfortable turning into donkeys. GEPPETTO Geppetto A Sharecropper who bids his time until he can go away to college. He has a quiet strength.Geppetto is a lonely toymaker who longs to be a father. Look for a mature performer who feels comfortable playing a parent to Pinocchio and isn't afraid of showing emotion. Cast a strong singer, as Geppetto has several solos. Range: Bb3 - F5 JUNIOR Junior is Professore Buonragazzo's mirrorimage assistant, created using the child-making machine. The performer in this role will need to work closely with the performer playing the Professor to mimic his movements. A short solo is required, but it can be spoken if necessary. Range: Bb3 - C#5 MARIONETTES Marionettes are the stringed puppets in Stromboli's show. There are solos available for marionettes, if you choose to separate their voices from Stromboli. Marionettes can be added as need to the ensemble. Range: Bb3 - E5 PINOCCHIO Pinocchio is a wooden puppet who doesn't know where he belongs. Look for a performer who can handle the lively personality of a little boy while also capturing tender moments. Although Pinocchio is a boy, the role can be played by a boy or girl. Pinocchio has a few solos, but a strong character actor can easily act through them. Range: G3 - E5 PROFESSORE BUONGRAZZO Professore Buongrazzo is a passionate, mad scientist obsessed with building perfect children. While some solos are required, character work is most important for this role. Range: Bb3 - C#4 THE RINGLEADER The Ringleader runs Pleasure Island. The performer playing this role should have a real sense of showmanship. This role requires some singing and is a great opportunity to showcase a dancer. The Ringleader can be played by a boy or a girl, but be sure to cast a performer who can commit to the character's mischievous ways. Range: A3 - E5 ROSA, VIOLA & ARANCIA Rosa, Viola & Arancia, fairies in training, are sweet and kind. The performers in these roles should be expressive observers since they often oversee the action occurring onstage during flashbacks. They sing as a group, often alongside the Blue Fairy. Their individual distinctions from one another can be discovered during rehearsal. ROUSTABOUTS Roustabouts are the sidekicks to Pleasure Island's Ringleader. When performing these roles, personality is key. Group singing is required. SIGNORA GIOVANNI Signora Giovaani is Pinocchio's teacher. The role can be a great opportunity to feature a performer who doesn't sing. If needed, this performer can become part of the ensemble in other group numbers. STROMBOLI Stromboli is a bumbling, loud, incompetent puppeteer who has at least a few screws loose. Cast a versatile performer who can create silly voices to take this character and his marionettes over-the-top. Stromboli's songs are challenging, so look for someone who is comfortable with his solos and doesn't shy away from silliness. Range: Bb3 - F5 SUE Sue is a fairy in training who marches to the beat of her own drum. She isn't your typical fairy, as sweetness isn't in her nature. The performer in this role can be brooding or brash, but certainly a contrast to Rosa, Viola and Arancia, although vocally she should blend in. TALIA Talia is the "perfect child" created for Maria and Bernardo by Professore Buonragazzo's machine. Talia sings and dances to impress her parents, so this is a great role to feature a dancer. Range: C3 - C4 THE TOWN CHILDREN The Town Children (Dante, Agata, Fiorello, Francesca, Adriana, Luigi, Gina, Lia, Rico) love the toys in Geppetto's shop. The performers cast in these roles should be able to create individual personalities for their characters. There are opportunities for solos, but performers can sing in groups. TOWN PARENTS Town Parents (Signora Lisi, Signore Fucito, Signora Mancini, Signor Alcamo, Signora Sommelia, Signora Contrastana, Signora Rosati, Signore Proto, Signore Marino) are the beleaguered mothers and judgmental fathers of the town children. The performers cast in these roles should be able to create individual personalities for their characters. There are opportunities for solos, but performers can sing in groups.
Xanadu Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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 Douglas Carter Beane Music and Lyrics by by Jeff Lynne and John Farrar Based on the Universal Pictures film with a screenplay by Richard Danus & Marc Rubel Overview / Synopsis One Act, Book Musical, Rated G Broadway Junior Version A Greek muse inspires love, laughter and the world's first Roller Disco in this 1980s glitter explosion. (60-MINUTE VERSION FOR YOUNG PERFORMERS) This Tony Award-nominated hilarious, roller skating, musical adventure about following your dreams despite the limitations others set for you, rolls along to the original hit score composed by pop-rock legends Jeff Lynne and John Farrar and has been adapted for the MTI Broadway Junior Collection. Based on the Universal Pictures' cult classic movie of the same title, which starred Olivia Newton-John and Gene Kelly, XANADU JR. is hilarity on wheels for adults, children and anyone who has ever wanted to feel inspired. The year is 1980. Somewhere along the beach in Venice, California, Sonny Malone becomes frustrated with the mural he has painted of the nine muses of Greek mythology. After he storms off in frustration, the Muses come to life (I'm Alive) and Kira (a.k.a. Clio), Sonny's Muse, hatches a plan to inspire Sonny to artistic greatness. Kira disguises herself as a regular mortal from Australia and arrives at the Santa Monica pier just in time to rescue Sonny. Kira begins her work (Magic), and Sonny reveals his dream to open a roller disco. Inspiring Sonny brings Kira one step closer to being granted the gift of Xanadu. This infuriates sister Muses, Melpomene and Calliope, who hatch a plan to curse Kira so she falls in love with Sonny, a mortal, which is forbidden (Evil Woman). Sonny and Kira meet again in front of a rundown theater and receive a sign that things are coming together to fulfill Sonny's dream (Suddenly). Sonny meets with Danny, the owner of the theater, who is not interested in Sonny's plan until Kira enters and reminds him of someone he knew long ago (Whenever You're Away From Me). In a flashback, we learn that Kira once came to Danny disguised as the southern belle, Kitty, and inspired him to build the old theater. Melpomene and Calliope hide in the abandoned theater and await the arrival of Kira and Sonny so they can curse them and make them fall in love. Danny and Sonny run into each other at the theater, which is named Xanadu, and share their individual visions for its restoration (Dancin'). Danny agrees to give Sonny the theater if he can fix it up by the end of the day. Kira arrives, and they begin planning, providing Melpomene and Calliope with the moment they have been waiting for (Strange Magic). Left with only one hour to restore the theater, the Muses enter and help with the job (All Over The World). With the theater restored, Danny is back in show business, and Sonny's dreams are coming true. The two of them admire the Xanadu sign, while Kira receives a message via Hermes from Zeus reminding her of the rules she must live by. Realizing her feelings, Kira tries to leave, but Sonny begs her to stay (Don't Walk Away). Kira gets away and her evil sisters talk Danny into selling them the theater. Kira returns to Venice Beach to re-enter the mural, having failed in her quest to inspire Sonny and achieve Xanadu for herself. Confronted by her sisters and Sonny, the truth comes out, and she leaves, flying on Pegasus, back to Mount Olympus (Suspended in Time). Kira is brought before Zeus, Aprhodite, Thetis, and Hera to answer for what she has done. Zeus proclaims his sentence, but the others beg his mercy (Have You Never Been Mellow). Zeus pardons Kira, and Sonny arrives at Mount Olympus to profess his love. Zeus decrees that Kira shall return to Earth as a mortal to be with Sonny. He grants her the gift of Xanadu. XANADU JR. is a moving, electrifying tale of endless fun that will keep audiences in stitches, while the original, legendary chart-topping tunes lift them out of their seats. Filled with 80s nostalgia, students will love to strap on their roller skates and perform this silly comedic gem. With a flexible cast size, XANADU JR. is a great choice for groups looking to use a smaller cast size but can easily be expanded for larger groups. You'll want to keep the music in your head, and XANADU JR! in your heart, forever. Audio Sampler - HL00114416 $10.00 ShowKit - HL00114406 $645.00 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 00114407 - Director's Guide $100.00 00114408 - Piano/Vocal Score $40.00 00114409 - Actor's Script $10.00 00114410 - Actor's Script 10-Pak $75.00 00114411 - Rehearsal/Accompaniment CD $75.00 00114412 - Student Rehearsal CD $10.00 00114413 - Student Rehearsal CD 20-Pak $100.00 00114414 - Choreography DVD $50.00 00114415 - Media Disc $10.00 00114416 - Audio Sampler $10.00 Hear A Sample Pure Imagination I'm Alive (Part 1) I'm Alive (Part 2) Magic Evil Woman Suddenly Whenever You're Away From Me (Part 1) Whenever You're Away From Me (Part 2) Dancin' Strange Magic All Over The World Don't Walk Away Suspended In Time Have You Never Been Mellow Xanadu Cast Size Large (over 20) Cast Type Children in Cast, Ensemble Cast - Many featured roles, Star Vehicle - Female, Star Vehicle - Male Dance Requirement Heavy (Extensive Dance Sections/Solos) APRHODITE The Goddess of Love. Range: E3-C4 CALLIOPE Muse of Epics, is Melpomene's "Wing-Muse". She is equally devious and listens closely to her sister's direction. Range: G3-E5 DANNY MAGUIRE A real estate magnate and owner of the Xanadu theater. He goes from being guarded about protecting the theater to becoming partners with Sonny and then betraying him. Range: G2-C4 ENSEMBLE Eros, Cyclops, Centaur, Medusa, and the Greek Chorus HERA Zeus' wife and is known for her comparable status to her husband. Range: E4-C5 HERMES A hilarious cameo role for a performer with excellent comedic skills. KIRA The Greek heroine and loveable, young ing�nue. She begins the play as Clio, the youngest and the most idealistic of the Muses. With the addition of leg warmers and an Australian accent, she quickly becomes Kira to help Sonny realize his dreams. She is ambitious, smart and like Sonny, pure of heart. Range: G3-E5 MELPOMENE Muse of Tragedy, is the eldest of the Muses and is most responsible for plotting against Kira. Range: G3-F5 OTHER MUSES Erato, Euterpe, Polyhymnia, Terpsichore, Thalia, Urania SIRENS Melpomene's nine alluring daughters. SONNY MALONE The young male lead from the beaches of California. He is wide-eyed, full of dreams and can be a bit sensitive; after all, he is an artist! While Sonny may not be the brightest, he is very sincere and earnest. Range: G3-Bb4 THE ANDREWS SISTERS (Maxine, Patty and Laverne) An exact duplicate of the Andrews Sisters that were famous in the 1940s. Range: B3-Eb5 THE TUBES An iconic, hard-rockin' new-wave band of the 80s. Range: A3-G#4 THETIS The Goddess of the Sea who tells the pivotal story of Achilles and his vulnerable heel, which in turn, changes Kira's perspective about really loving Sonny. Range: C4-E5 ZEUS The King of the Gods Range: E3-D4
Bugsy Malone Jr. - Broadway Junior Menu LEARN MORE About Broadway Junior What Comes With the Showkit™? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals Aladdin Jr. (Disney) Alice in Wonderland Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) Bugsy Malone Jr. Children Of Eden Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) High School Musical 2 Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) The Music Man Jr. My Son Pinocchio Jr. (Disney) Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. 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) Cinderella KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) 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 $645.00 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.
20th Century French Art Songs Hal Leonard Online - French Art Songs 20th CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968). 20TH CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968).
Cinderella - Getting To Know Collection Menu LEARN MORE About Getting To Know Cinderella The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Overview / Synopsis "Impossible things are happening every day!" sings the Godmother in Rodgers & Hammerstein's musical fairy tale CINDERELLA, and impossible things will happen when young performers bring this timeless tale to life. First seen as a television spectacular in 1957, and remade for television in 1965 and 1997, Rodgers & Hammerstein's CINDERELLA spins its own version of the traditional story, woven through with such beloved songs as "In My Own Little Corner," "Ten Minutes Ago" and "Impossible." With the script and score lovingly adapted for elementary and middle school performers, this classic seems as fresh as today. After all, even if we know the story by heart, we still hold our breath until we are sure that the slipper fits. Getting to Know ... Rodgers & Hammerstein's CINDERELLA is the perfect show to introduce young people up through the 9th grade the magic of live theater. Audio Sampler - 08744442 $10.00 Production Pack - HL08744441 $500.00 This Production Pack includes: Director's Guide 2 Director's Scripts 2 Piano/Vocal Scores 20 Libretto/Vocal Books Study Guide DVD Guide to Musical Staging Vocal and Accompaniment CDs 10 Chorus Books Click For an Online License Request Individual Components 08744438 - Director's Guide $40.00 08744436 - Director's Script $25.00 08744440 - Piano/Vocal Score $50.00 08744549 - Libretto/Vocal Book $15.00 08744435 - Libretto/Vocal Book 10 Pak $120.00 08744437 - Chorus Book 10 Pak $35.00 08744433 - Performance/Accompaniment CD $100.00 08744439 - Study Guide $50.00 08744434 - DVD Guide to Musical Staging $50.00 SCENE 1: The Public Square The Prince Is Giving a Ball! [The Herald and Townspeople] SCENE 2: The Stepfamily's Home In My Own Little Corner [Cinderella] SCENE 3: The Royal Parlor Your Majesties [The King, Queen, Chef and Palace Staff] SCENE 4: The Stepfamily's Home Fol-de-rol [The Godmother] Impossible [The Godmother and Cinderella] The Transformation [The Godmother, Cinderella, Horses, Coachman and Footman] It's Possible! [Cinderella and the Godmother] Finale Scene 4 [Cinderella, the Godmother, Horses, Footman and Coachman] SCENE 5: The Palace Ballroom Gavotte [The Prince and Palace Guests] Ten Minutes Ago [The Prince, Cinderella and Palace Guests] Stepsisters' Lament [Portia and Joy] SCENE 6: The Stepfamily's Home When You're Driving Through the Moonlight [Cinderella, the Stepmother, Portia and Joy] A Lovely Night [Cinderella, the Stepmother, Portia and Joy] SCENE 7: A Street in the Kingdom The Search [The Herald and the Maidens] SCENE 8 Wedding Finale: "It's Possible!" [The Company] Cinderella Cinderella is an extremely good-natured girl despite the unpleasant environment in which she lives. As apparent in the song "In My Own Little Corner," she has a vivid fantasy life that helps her escape the dispirited reality of her everyday existence. Cinderella is an obedient child but does not allow her stepfamily's demeaning treatment of her to make her feel inferior. By retuself-sufficiency. The Prince The Prince is a warm and sensitive young man without pretensions. He is in no hurry to marry, preferring to find a bride in his own time. Despite his misgivings about the ball his mother has planned, he goes along with it so as not to hurt her feelings. When he meets Cinderella, her is insightful enough to realize that she is different from the other maidens at the ball. He is comfortable and able to share his feelings with her. The Stepmother The Stepmother, unlike in some versions of the story, is not really evil. She is self-absorbed and focused on the needs of her own daughters at Cinderella's expense. She tends to ignore Cinderella unless she needs something done, such as packages to be carried or the firestoked. She does not pay enough attention to Cinderella to see her good qualities and is self-deluded about the qualities of her own daughters. Even after they have made fools of themselves at the ball, the Stepmother holds on to her belief that the Prince might choose one of them for his bride. Joy and Portia Joy and Portia have been named in direct opposition to their true demeanors, for we will never see a genuine smile cross Joy's face, and it is obvious Portia isn't bright enough to be a great lawyer like her namesake. Like their mother, their attitudes toward Cinderella are indifferent and inconsiderate rather than downright cruel. They think of her as a nuisance unless she's doing chores. They are also somewhat resentful of her good nature. There is also a rivalry between Joy and Portia, one always trying to outdo the other while vying for their mother's affection and attention. The Godmother The Godmother is a down-to-earth woman who initially does not seem to possess any magical qualities whatsoever. (You'll note that Hammerstein chose to identify her simply as "Godmother" rather than "Fairy Godmother.") She's a realist, challenging Cinderella's notions of wishes and dreams. Only when Cinderella has demonstrated her determination and resolve does the Godmother lend her magical assistance. The King and Queen The King and Queen, although royalty, are very much a normal married couple. They are concerned about their son's happiness but disagree on how to deal with him. The Queen is convinced that all he needs is to meet the right girl and that he'll do so at the ball she has arranged. The King goes along with her plans because his wife has her heart set on it, but he is not enthused. Like any couple, they occasionally bicker but there is never any doubt about their love for each other. The Herald The Herald is the official spokesman for the royal family. It is his job to deliver the news of the day to the townspeople. In the first scene of the musical, he is especially delighted to announce the ball because he knows the townspeople will be thrilled. However, he is very formal, as befits an employee of the royal family, and so to some extent he tries to hide his excitement. Chorus Chorus includes Townspeople, Palace Staff, Maidens, Horses, Footman and Coachman.
Oklahoma - Getting To Know Collection Menu LEARN MORE About Getting To Know Cinderella The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits A Brand New Adaptation by iTheatrics Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Based on the play Green Grow the Lilacs by Lynn Riggs Originally Choreographed by Agnes de Mille Overview / Synopsis Rodgers & Hammerstein's first collaboration remains, in many ways, their most innovative, having set the standards and established the rules of musical theatre still being followed today. Set in a Western Indian territory just after the turn of the century, the high-spirited rivalry between the local farmers and cowboys provides the colorful background against which Curly, a handsome cowboy, and Laurey, a winsome farm girl, play out their love story. Although the road to true love never runs smooth, with these two headstrong romantics holding the reins, love's journey is as bumpy as a surrey ride down a country road. That they will succeed in making a new life together we have no doubt, and that this new life will begin in a brand-new state provides the ultimate climax to the triumphant Oklahoma! In this adaptation for pre-high school students, the content has been edited to better suit younger attention spans, but all the elements that make this show a classic are still in place. You and your students will be enchanted by the timeless story and the dazzling score, while at the same time learning about theater and its production. Run Time: Approximately 50-70 minutes A note from iTheatrics about this new adaptation: In each of our iTheatrics adaptations, we are careful to remain true to the storytelling of the original show. Our goal is for our adaptations to be as seamless as possible, allowing us to tell the story, but in a way that is appropriate for the age group. Our new adaptation of Oklahoma! eliminates the song "Poor Jud is Dead," as we found this song's subject matter challenging. In addition, we added back "Many A New Day" and "All Er Nuthin" to ensure more stage time for female performers. The response from teachers who attended our workshop productions, or who have piloted the show in their schools, has been incredibly positive. Perusal Pack - HL00125278 $15.00 Production Pack - HL00125281 $650.00 This Production Pack includes: 1 Piano / Vocal Score 30 Student Scripts 1 Production Guide 1 Vocal Tracks CD 1 Accompaniment Tracks CD 1 Guide to Choreography & Staging Disc 1 Digital Resources Disc Instant Digital Download Click For an Online License Request Individual Components 00125271 - Piano/Vocal Score $50.00 00125272 - Student Script $10.00 00125273 - Student Script 10-pak $50.00 00125274 - Production Guide $50.00 00125275 - Guide to Choreography & Staging $25.00 00125276 - Vocal Tracks CD $25.00 00125277 - Accompaniment Tracks CD $50.00 00125278 - Perusal Pack $15.00 00125279 - Digital Resources Disc $25.00 SCENE 1: The Front Yard of Laurey's Farmhouse Oh, What a Beautiful Mornin' [Curly, Aunt Eller, Ensemble] The Surrey with the Fringe on Top [Curly, Aunt Eller, Farmhands] Kansas City [Will, Aunt Eller, Solo 1, Solo 2, Ike, Rodeo Folk] I Cain't Say No [Ado Annie] Many a New Day* [Laurey, Girls] People Will Say We're In Love [Curly, Laurey. Ensemble] SCENE 2: The Skidmore Ranch The Farmer and the Cowman (Part 1) [Carnes, Aunt Eller, Will, Curley, Cord Elam, Fred, Vivian, Farmers, Cowman, Ensemble] The Farmer and the Cowman (Part 2) [Will, Curly, Aunt Eller, Farmers, Cowmen, Ensemble] Reprise: People Will Say We're In Love* [Curly, Laurey, Ensemble] All Er Nuthin'* [Will, Ado Annie] SCENE 3: The Back of Laurey's Farmhouse/Aunt Eller's Farm Oklahoma [Aunt Eller, Carnes, Curly, Laurey, Solo 1, Solo 2, Solo 3, Solo 4, Ensemble] Bows [Ensemble] * = Reinstated in the New Adaptation ** Eliminated in the New Adaptation: -"Poor Jud is Dead" Aunt Eller Aunt Eller is a sturdy farm woman who has managed to make a life on the frontier for herself and her niece, Laurey. She knows the value of cooperation and plays the role of peacemaker between the conflicting farmers and cowboys. She's a big-hearted woman who can easily empathize with others but who can also be tough when she has to be. Laurey Laurey is a strong, spunky farm girl. She has been raised by her Aunt Eller and has learned to be self-sufficient. Unlike some of her girl friends, she doesn't feel the need for a man to take care of her. Like Curly, she is too stubborn to let him know how she really feels about him. But when she is threatened by Jud, it's Curly she turns to for comfort. Ado Annie Ado Annie is a boy-crazy farm girl. She's too naive to know how to handle herself around men, which gets her into trouble. She tends to favor whichever boy she's with and although she has strong feelings for Will, her head is easily turned by any man who pays attention to her. Curly Curly is a confident cowboy with the kind of affable personality that people are drawn to. His strong ego sometimes causes him to be too sure of himself. He has a stubborn streak that keeps him from letting Laurey know how much he cares for her. However, when he sees Laurey in distress, he is able to drop his defenses and open up to her emotionally. Jud Fry Jud Fry is Laurey and Aunt Eller's surly hired hand and he has his eye on Laurey. He has a dark, possibly criminal past and his sullen, volatile nature frightens Laurey. He leads a solitary life of emotional isolation and, not being used to interacting with people, his social skills are limited. He feels a need to change his life but is uncertain of how to go about it. Although Jud is the putative villain of the story, there is an underlying emotional complexity that makes him, ultimately, sympathetic. Jud is a non-singing role. Will Parker Will Parker is a good-natured cowboy and champion steer roper. He's in love with Ado Annie and not afraid to express his feelings. He may not be the brightest guy around but his high-spirited energy and affectionate personality make him a good friend to everyone. There's no doubt that he'll be a good husband to Ado Annie. Gertle Cummings Gertle Cummings is a silly flirt from a nearby town with the most annoying laugh in the Territory. She's too full of herself to realize that that most people would rather not be in her company. Andrew Carnes Andrew Carnes is Ado Annie's protective father and he is determined that no man will take advantage of her innocent nature. He has never taken the dopey Will Parker seriously as a prospective son-in-law. When the Peddler tells Ado Annie that he wants to ride with her "to the end of the world," Carnes takes that as a proposal of marriage. He's also a good friend to Aunt Eller and if she ever needed help with anything, he'd be there in a shot. The Peddler The Peddler is a traveling salesman who's a bit of a shyster, his merchandise often being bogus. He fancies himself a ladies' man and when he gets too entangled with a girl, he simply moves on to the next town. So when he makes a pass at Ado Annie and her father takes it as a proposal of marriage, it looks like his days as a roving Casanova are over, much to his dismay. Essemble Large singing and dancing ensemble with numerous small roles: Ike Skidmore, a rancher Cord Elam, a rancher Fred, a rancher Slim, a rancher Mike, a farmer Joe, a cowboy Tom, a cowboy Vivian Ellen Kate Virginia
State Fair - Getting To Know Collection Menu LEARN MORE About Getting To Know Cinderella The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Book by Tom Briggs and Louis Mattioli Overview / Synopsis Rodgers & Hammerstein's only musical written directly for the screen is now a stage musical that's had critics raving from coast to coast. Set against the colorful backdrop of an American heartland tradition, STATE FAIR travels with the Frake family as they leave behind the routine of the farm for three days of adventure at the annual Iowa State Fair. Mom and Pop have their hearts set on blue ribbons while their daughter and son find romance and heartbreak on the midway. Set to the magical strains of an Academy Award-winning score and augmented by other titles from the Rodgers and Hammerstein songbook, STATE FAIR is the kind of warm-hearted family entertainment only Rodgers & Hammerstein could deliver! Getting to Know...STATE FAIR is the perfect show to introduce young people through the 9th grade to the magic of live theater. Perusal Pack - HL08751826 $10.00 Production Pack - HL08751741 $500.00 This Production Pack includes: Director's Guide 2 Director's Scripts 2 Piano/Vocal Scores 20 Libretto/Vocal Books Study Guide DVD Guide to Musical Staging Vocal and Accompaniment CDs 10 Chorus Books Click For an Online License Request Individual Components 08751746 - Director's Guide $40.00 08751744 - Director's Script $25.00 08751742 - Piano/Vocal Score $50.00 08751743 - Libretto/Vocal Book $15.00 08751747 - Libretto/Vocal Book 10 Pak $120.00 08751748 - Chorus Book 10 Pak $35.00 08747294 - Performance/Accompaniment CD $100.00 08751745 - Study Guide $50.00 08751749 - DVD Guide to Musical Staging $50.00 Opening (Our State Fair) It Might As Well Be Spring Blue Boy Enters More Than Just a Friend Isn't It Kinda Fun? That's the Way It Happens Reprise: It Might As Well Be Spring When I Go Out Walking With My Baby Into Mincemeats It's a Grand Night for Singing / Change Into Scene 8 It's a Grand Night for Singing - Part 2 All I Owe Ioway Reprises: Isn't It Kinda Fun? / That's the Way It Happens Good-bye, Harry Isn't It Kinda Sad? Finale Ultimo Abel Frake Abel Frake is a hardworking farmer whose gruff demeanor sometimes hides his caring nature. He takes great pride in his accomplishments, whether his family, his farm or Blue Boy, the hog he has nurtured so lovingly. Because of his pride, he is determined not to lose the bet he has made with Dave Miller. Therefore, seeing to it that Blue Boy wins the competition at the State Fair means everything to him. Melissa Frake Melissa Frake is a hardworking farm woman for whom family comes first. She neither asks for nor expects very much for herself her joy comes from the accomplishments of her family. She is constantly concerned with the wellbeing of her husband and children. When something wonderful actually happens to her winning the blue ribbon for her mincemeat the emotions are so unfamiliar that she really doesn't know how to react. Margy Frake Margy Frake is a simple farm girl who has just graduated from high school. She's looking to the future, but doesn't know what she wants from life. As she says in the song It Might as well Be Spring, she's “vaguely discontented” and keeps “wishing I were somewhere else,” although she has no idea of where that might be. When she agrees to answer her boyfriend Harry's marriage proposal after the fair, the impending decision weighs heavily on her. While she knows that he will be a good husband and do everything he can to make her happy, meeting the more worldly Pat Gilbert makes her realize that she won't find whatever it is she's been yearning for with Harry. Wayne Frake Wayne Frake is a young farmer who is very content with his life.He adores his girlfriend, Eleanor, but her decision to go away to collegethrows him off-balance. Receiving attention from the sophisticated Emily gives him a false sense of maturity and importance who needs Eleanor anyhow? Ultimately he realizes that he would never be happy with any life other than the one he already has. Harry Harry is an extremely earnest, hardworking farmer who has his whole future figured out, and it all revolves around Margy. Therefore, when she turns down his marriage proposal, he is suddenly faced with an uncertain future he never anticipated. Although Harry is a somewhat comic character, it is essential that we believe his proposal is a realistic option for Margy. Emily Arden Emily Arden has worked extremely hard to overcome the unhappy circumstances of her past. She dreams of a career on Broadway and is single-minded in her focus to achieve that dream. Meeting Wayne reminds her of the sort of life she is giving up in pursuit of her goal, and having been hurt herself, she wants to makes sure that Wayne doesn't get hurt in the same way. Gus The Frake's hired man. Dave Miller The local storekeeper. Eleanor Wayne's girlfriend. The Fair Announcer The Hoop-La Barker Vivian Pat Gilbert A newspaper reporter. Charlie A newspaper photographer. Lem A farmer. Clay A farmer. Hank Munson A farmer. The Chief of Police Violet The Chief of Police's daughter. The Fairtones Emily's backup act. Judge Heppenstahl Mrs. Edwin Metcalf of Pottsville Additional Cast Barkers Vendors Judges Fairgoers
Footloose - Getting To Know Collection Menu LEARN MORE About Getting To Know Cinderella The King And I Once Upon A Mattress Oklahoma! State Fair The Sound Of Music Footloose Product Information Musical Numbers Cast of Characters Credits A Brand New Adaptation by iTheatrics Stage Adaptation by DEAN PITCHFORD and WALTER BOBBIE Based on the Original Screenplay by Dean Pitchford Music by TOM SNOW Lyrics by DEAN PITCHFORD Additional Music by ERIC CARMEN, SAMMY HAGAR, KENNY LOGGINS and JIM STEINMAN Overview / Synopsis One of the most explosive movie musicals in recent memory bursts onto the live stage with exhilarating results. When Ren and his mother move from Chicago to a small farming town, Ren is prepared for the inevitable adjustment period at his new high school. What he isn't prepared for are the rigorous local edicts, including a ban on dancing instituted by the local preacher, determined to exercise the control over the town's youth that he cannot command in his own home. When the reverend's rebellious daughter sets her sights on Ren, her roughneck boyfriend tries to sabotage Ren's reputation, with many of the locals eager to believe the worst about the new kid. The heartfelt story that emerges is of a father longing for the son he lost and of a young man aching for the father who walked out on him. To the rockin' rhythm of its Oscar and Tony-nominated top 40 score (the soundtrack album reached number one on the Billboard charts and has sold over 15 million copies!) and augmented with dynamic new songs for the stage musical, FOOTLOOSE celebrates the wisdom of listening to young people, guiding them with a warm heart and an open mind. Getting to Know... FOOTLOOSE is the perfect show to introduce young people through the 9th grade to the magic of live musical theatre. Run Time: Approximately 50-70 minutes A note from iTheatrics about this new adaptation: In each iTheatrics adaptation, we pay special attention to making the material achievable for elementary and middle school students. We modify the music to fit young voices, shorten the running time of the show to make it less daunting for busy educators, and adapt the script to ensure that it's appropriate for the age group (while staying as true as possible to the original story). iTheatrics' adaptations include key points for directors and educators, advice on how to stage tricky sequences, and a number of suggestions and tips from our experience in the field. Every iTheatrics adaptation is workshopped with age-appropriate performers so that we can accurately advise teachers on the challenges they may face during their productions. Every adaptation is vetted both by the iTheatrics team and real, in-the-field teachers and students - and if they can do it, so can you! Perusal Pack - HL00279819 $15.00 Production Pack - HL00279820 $650.00 This Production Pack includes: 1 Piano / Vocal Score 30 Student Scripts 1 Production Guide 1 Vocal Tracks CD 1 Accompaniment Tracks CD 1 Guide to Choreography & Staging Disc 1 Digital Resources Disc Instant Digital Download Click For an Online License Request Individual Components 00279801 - Piano/Vocal Score $50.00 00279803 - Student Script $10.00 00279808 - Student Script 10 Pak $50.00 00279804 - Production Guide $50.00 00279815 - Guide to Choreography & Staging DVD $25.00 00265017 - Vocal Tracks CD $25.00 00279817 - Accompaniment Tracks CD $50.00 Special Feature: Instant Digital Downloads! Once you have been approved for a license, you will receive an email from the Rodgers & Hammerstein organization welcoming you to the Getting To Know... family. This email will include a download link for the following digital resources: Audition-ready materials, including ready-to-print, show-specific audition music, scenes, and even specially created audition accompaniment tracks (Audition accompanist optional!) Show-specific information, including a music cue sheet, props list, scene-by-scene set breakdown, a list of costumes by character, and official show artwork A digital copy of the Production Guide, which you can use on your tablets and mobile devices A complete set of Vocal Tracks for the show - start your rehearsals now! By accessing these digital resources, you can begin the process of planning your show, and even hold auditions, prior to receiving your printed Production Pack. No more waiting for your show materials to arrive! New Production Pack Resources: iTheatrics built on the strength of the original Getting To Know... resources and brought them up to date with the best practices from the field. Materials are streamlined and consist of: Production Guide Student Scripts Piano/Vocal Score Accompaniment and Vocal Tracks Guide to Choreography and Staging DVD Digital Resources Disc. This means fewer physical books for you to carry. It also means that the resources you need most in rehearsals like Vocal Tracks and the Production Guide can be uploaded onto your mobile device. Forgot your Production Guide? No worries, you can now access it on your iPad. This is an industry first, and something that will make putting on a show with young people even better! Footloose/On Any Sunday [Company] I Can't Stand Still [Ren, Willard] Somebody's Eyes [Rusty, Wendy Jo, Urleen, Townspeople] Holding Out for a Hero [Rusty, Urleen, Wendy Jo, Ariel, Girls] Heaven Help Me [Shaw] I'm Free/Heaven Help Me [Ren, Shaw, Kids, Choir] Still Rockin' [Cowgirls, Company] Let's Hear It for the Boy [Rusty, Company] Can You Find It in Your Heart [Vi] Mama Says [Willard, Garvin, Bickle, Jeter] Almost Paradise [Ren, Ariel] Footloose (Finale) [Company] Ren McCormack Ren McCormack has recently traded in the big city for small-town life after his father walked out on him and his mother, Ethel. He's trying his best to put his past behind him, but his new home has problems of its own. Ren tries to encourage Bomont to loosen its strict ban on dancing and live a little. Cast a young man who can do it all - act, sing, and of course, dance. This young performer should possess the magnetism to inspire a whole community to cut loose. Chicago Friends (Dani, Lindsay, Stevie, Marty) Chicago Friends (Dani, Lindsay, Stevie, Marty) celebrate with Ren on his last night in town before his big move. They only appear at the top of the show, so feel free to double cast these parts with teenagers in Bomont. Ethel McCormack Ethel McCormack has recently arrived to Bomont with her son, Ren, stepping away from a failed marriage and trying to make a fresh start. She's got a sense of humor about her situation and a great need to make sure her son is adjusting. Find a young woman with a great singing voice who can convey a mature presence. Reverend Shaw Moore Reverend Shaw Moore is the most influential figure in Bomont. His conservative, religious views became strident after his son Bobby passed away in the Potawney Bridge accident, after driving home from a big dance - in fact, he's outlawed dancing altogether. This is a great role for a young man who reads as a bit older onstage and an actor who can command the stage with his acting and singing. Chuck Cranston Chuck Cranston is Ariel's boyfriend and a recent high school dropout. He doesn't have much ambition besides making sure he has control over Ariel. Cast a young man with the acting chops to appear intimidating and physically overbearing. Ariel Moore Ariel Moore is a young lady caught between her father Reverend Shaw Moore's conservative beliefs and her own aspirations to experience life and enjoy it for herself. Ren ignites an excitement in her, and she learns quickly that she has to stand up to her father to get what she wants. Ariel is a role for a charismatic performer who can act, sing and dance. Vi Moore Vi Moore is married to Reverend Shaw Moore, and though she usually agrees with her husband's point of view, she's not afraid to disagree when the tensions rise and tempers flare in the house. Cast a young woman who possesses a more mature energy and is a proficient vocalist. Lulu Lulu has recently invited her sister Ethel to stay with her and her husband, Wes, in the small town of Bomont. As Ren struggles to fit in with the rest of the teenagers, Lulu does her best to remain a patient and supportive host. Find a young woman who is a talented actor and a suitable fit with Wes. Wes Wes is Lulu's husband and a small-town kind of a guy. He helps Ren find a job, but, unfortunately, Ren's employment doesn't last long. Wes grows impatient but continues to support his family in this tough, transitional period. Cast a young man who will make a good pairing with Lulu. Rusty Rusty is Ariel's best friend who talks a mile a minute and has a crush on the soft-spoken Willard. She's unafraid to say what she wants, if only Willard would pick up on the clues. Cast a spunky young female who can do it all and can encourage Willard to finally ask her out. Urleen & Wendy Jo Urleen & Wendy Jo are part of Ariel's group of girlfriends who stick together no matter what. While Urleen may be a little more blunt, Wendy Jo is definitely a little more eccentric. Cast a pair of young ladies who are both talented and complements to Ariel and Rusty. Willard Hewitt Willard Hewitt is a country boy of few words and even fewer dance steps. At first, he may appear physically aggressive, but really, he's just a soft-spoken guy. He quickly becomes friends with Ren, and the unlikely pair lead the charge to bring dancing back to the town. Though at the top of the show he has two left feet, he commits to learning dance steps at the Bar-B-Que and dazzles the entire club. This role is great for a young man who is a skilled actor, dancer and singer. Principal Clark Principal Clark is the boss at Bomont's high school and an adamant enforcer of the town's strict guidelines. Cast a young woman who can emulate an older presence and is unafraid to take command of the stage. Coach Dunbar Coach Dunbar is a teacher at the high school who strongly supports the town's anti-dancing laws. When Ren arrives, Coach Dunbar does not make it easy for him, and exacerbates Ren's situation by pitting him against other students. This is a great cameo role for a young man who has an authoritative energy. Lyle & Travis Lyle & Travis are two members of the wrestling team who don't like Ren, the new kid in school. This pair of cameo parts is a good fit for two young men who can make strong character choices. Betty Blast Betty Blast owns the burger joint in town and gives the struggling Ren a job when he's down on his luck. Be sure to cast a girl who can offer a bit of personality and strength. She has no trouble kicking anyone out of her restaurant if they're causing trouble. Eleanor Dunbar Eleanor Dunbar is a prominent member of the town council and Coach Dunbar's wife. She, along with other council members, must decide on whether they should uphold its existing moral laws. This is a suitable cameo role for a young woman who can make big acting choices. Cowgirl Bonnie Cowgirl Bonnie leads a band that frequents the Bar-B-Que. She's the club's favorite entertainer, so be sure to cast a young woman with a great singing voice and a lot of stage presence. Cowboy Bob Cowboy Bob is a usual patron at the Bar-B-Que and takes a liking to Rusty when the high school teens visit the dance hall for the first time. This featured role is perfect for a young man with strong dancing abilities. Cowgirl Jude, Cowboy Chet & Cowgirl Laura Jo Cowgirl Jude, Cowboy Chet & Cowgirl Laura Jo are part of Cowboy Bob's entourage who are having a routinely good night dancing when the Bomont teenagers make a visit. Cast a trio of performers who have a lot of presence and elevated dancing skills. Bickle, Jeter & Garvin Bickle, Jeter & Garvin are teenage boys ready to help Ren and Willard take on the town's laws. Find three young men who are good singers, actors and dancers, and who work well together as a team. Cop Cop in town is the ultimate enforcer of the town's strict laws. This is a wonderful cameo role for a young man or woman who can exude confidence and intimidation. Ensemble: Ensemble: Young People (including Kids, Friends, Students, Girls, Boys, Boy 1, Boy 2, Guys), Congregation (including Choir, Parishioners), Band, Cowboys, Council Members, Townspeople