01 Red Section vFinal b.qxd - Music Theatre International

Transcription

MUSIC
T H E AT R E
I N T E R N AT I O N A L
SECTION 1
STANDING
OVATIONS
SECTION ONE: STANDING OVATIONS contains some of the most
popular titles in the MTI library. These shows have a history
in professional, community and educational theatre as high
revenue generating, name-recognized hits that are
welcomed by audiences year in and year out.
ANNIE • THE APPLE TREE • BIG, THE MUSICAL • THE BOY FRIEND • CANDIDE (1973)
• CANDIDE (1999) • CHILDREN OF EDEN • A CHRISTMAS CAROL • COMPANY
• DAMN YANKEES • DOCTOR DOLITTLE • FAME—THE MUSICAL • THE FANTASTICKS
• FIDDLER ON THE ROOF • FOREVER PLAID • FOREVER PLAID: PLAID TIDINGS
• FOREVER PLAID SCHOOL VERSION: THE SOUNDS OF PLAID
• THE FULL MONTY • A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
• GODSPELL • GRAND HOTEL: THE MUSICAL • GUYS AND DOLLS
• HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING! • I DO! I DO!
• INTO THE WOODS • JANE EYRE • JEKYLL & HYDE • LES MISÉRABLES
• LES MISÉRABLES SCHOOL EDITION • A LITTLE NIGHT MUSIC • LITTLE SHOP OF HORRORS
• A MAN OF NO IMPORTANCE • MISS SAIGON • THE MUSIC MAN • ONCE ON THIS ISLAND
• THE PAJAMA GAME • PARADE • PIPPIN • THE PIRATES OF PENZANCE
• THE PRODUCERS • PUTTING IT TOGETHER • RAGTIME THE MUSICAL
• SEUSSICAL • SEVEN BRIDES FOR SEVEN BROTHERS • 1776 • SHE LOVES ME
• SINGIN’ IN THE RAIN • SWEENEY TODD • THOROUGHLY MODERN MILLIE
• THE ADVENTURES OF TOM SAWYER • THE UNSINKABLE MOLLY BROWN
• WEST SIDE STORY • WILLY WONKA • WORKING
MUSIC
T H E AT R E
“A family favorite”
—Ron Baumanis,
Ann Arbor Civic Theatre
“The best attended show in 38
years… it helped increase our
subscription base 23%!”
—Michael Spicer,
Salina Community Theatre
“Spectacular on every count”
—Newsweek Magazine
L
Book by Thomas Meehan
Music by Charles Strouse
Lyrics by Martin Charnin
Based on Little Orphan Annie® by permission of
Tribune Media Services, Inc.
Act 1: 8 scenes
Act 2: 6 scenes
Cast
3 principal men, 3 principal women, 7 orphans (including Annie), 1 dog, chorus
Musical Numbers
“Maybe” “Hard Knock Life” “Tomorrow” “Hooverville” “Little Girls”
“I Think I’m Gonna Like It Here” “N.Y.C.” “Easy Street”
“You Won’t Be An Orphan For Long” “Fully Dressed”
“Cabinet-Tomorrow” “Something Was Missing”
“I Don’t Need Anything But You” “A New Deal For Christmas”
Instrumentation
Reed I (flute, alto flute, clarinet, soprano sax, alto sax)
Reed II (baritone sax, alto sax, clarinet, flute)
Reed III (clarinet, tenor sax, bass clarinet)
Reed IV (piccolo, flute, alto flute, clarinet, alto sax)
Reed V (flute, clarinet, alto sax, baritone sax)
Trumpets I & II
Trombone I
Trombone II
Tuba
Violin
Cello
Bass
Guitar/Banjo
Percussion I & II [2]
Piano–conductor
eapin’ Lizards! The popular comic strip
heroine takes center stage in one of the
world’s best-loved musicals.
Annie is a spunky Depression-era orphan
determined to find her parents, who
abandoned her years ago on the doorstep
of a New York City orphanage run by the
cruel, embittered Miss Hannigan. In
adventure after fun-filled adventure, Annie
foils Miss Hannigan’s evil machinations,
befriends President Franklin Delano
Roosevelt and finds a new family and
home in billionaire Oliver Warbucks, his
personal secretary Grace Farrell and a
lovable mutt named Sandy.
A must for any theatre with a large family
audience, Annie has proven a sure-fire
crowd-pleaser, as its record-breaking
Broadway run, star-studded motion picture
version, hit 20th anniversary Broadway
revival and national tour, and countless
productions around the globe each year
attest. With its upbeat ending, a bright
tuneful score which has become a part of
the nation’s musical heritage, a cast of
characters which includes many scenestealing roles for children (including the
coveted title role) and a classic villainess
audiences love to hate, it’s no wonder this
hear twarming show has become an
international sensation.
BACKSTAGE BABBLE
Broadway Junior Version Available
Theatrical Resources
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• Written in only fourteen months,
Annie‘s journey to Broadway took four
and a half years, and went on to play
2,377 performances on Broadway in
its original run, picking up seven
Tony® Awards in the process.
50TH ANNIVERSARY CATALOGUE
S TA N D I N G
O VAT I O N S
“Even with a limited budget and a
small stage, The Apple Tree is a
great show... we enjoyed doing
it, and the audiences LOVED it!”
—Bobby K. Cox,
Fine Arts County of Effingham
“The first show we ever soldout... It brought the house down”
—Dennis Metnick,
Wasatch Theatre Company
“Three of the most charming and
witty musicals imaginable... the
songs are extraordinary musically
and lyrically”
™
Music by Jerry Bock
Lyrics by Sheldon Harnick
Based on Stories by Mark Twain, Frank R. Stockton & Jules Feiffer
Additional Book Material by Jerome Coopersmith
Three acts: unit set
Cast
Act 1: 2 men, 1 woman Act 2: 3 men, 2 women, chorus Act 3: 4 men, 1 woman,
chorus
Musical Numbers
The Diary Of Adam and Eve
“Here In Eden” “Feelings” “Eve” “Friends” “Forbidden Fruit” “It’s A Fish”
“Lullaby” “What Makes Me Love Him?”
The Lady Or The Tiger?
“I’ll Tell You A Truth” “Make Way” “Prisoner Choose” “Ai-Ai!” “Victory Is Ours”
“Forbidden Love” “Barbara, How Could You” “Razor Teeth” ”I’ve Got What You Want”
“Tiger, Tiger” “Which Door?”
Passionella
“Oh, To Be A Movie Star” “Gorgeous” “Who Is She?” “I Know”
“Wealth” “You Are Not Real”
Instrumentation
Trombone I
Trombone II
Trombone III
Horn
Violin [2]
Viola
Cello
Bass
Harp
Reed I (flute, piccolo, clarinet, melodica or harmonica,
alto sax, Eb clarinet)
Reed II (alto flute, C flute, clarinet, piccolo, alto sax)
Reed III (oboe, bass clarinet, English horn, tenor sax,
baritone sax)
Reed IV (flute, clarinet, bass clarinet, baritone sax,
tenor sax)
Reed V
(bassoon, clarinet, bass clarinet, baritone sax)
Trumpets I & II
Trumpet III
Guitar
F
rom the songwriting team of Fiddler
On The Roof and She Loves Me
comes a unique evening of three oneact musicals about men, women and a little
thing called temptation. The first, The
Diary Of Adam And Eve, is a quirky,
touching spin on the tale of the world’s first
couple, adapted from Mark Twain’s
Extracts From Adam’s Diary. The
second, The Lady Or The Tiger?,
explores the fickleness of love in a rock and
roll fable set in a mythical barbarian
kingdom. Finally, Passionella is based on
Jules Feiffer’s offbeat Cinderella-story about
a chimney sweep whose dreams of being a
“glamorous movie star” nearly sabotage her
one chance for true love.
Witty, tuneful and utterly charming, these
fast-paced, tongue-in-cheek musical
miniatures may be presented separately or
in any combination, to fill out a theatrical
evening. Each is modest in production
requirements and filled with the warmth and
humanity that is the hallmark of Harnick and
Bock.
(banjo, mandolin, electric guitar)
Percussion I & II
Piano–conductor
— Daily News
BACKSTAGE BABBLE
• Another one-act version of Passionella
was written by Stephen Sondheim and
directed by Mike Nichols four years
before Mr. Nichols directed The Apple
www.MTIShows.com
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MUSIC
T H E AT R E
“Near-perfect musical
entertainment”
—The Chronicle-Journal
“The ideal family musical”
—USA Today
“big, The Musical is so
exuberantly gifted, it gives you
the helium high of a balloon
flight... it worked as a movie. It
works as a show”
—New York Times
™
Book by John Weidman
Music by David Shire
Lyrics by Richard Maltby, Jr.
Act 1: 8 scenes
Act 2: 7 scenes
Cast
9 men, 5 women, 2 boys, 1 girl, chorus (including children)
Musical Numbers
“Say Good Morning To Mom” “You’re A Big Boy Now” “The Time Of Your Life” “Fun”
“Welcome To MacMillan Toys” “My Secretary’s In Love” “Let’s Not Move Too Fast”
“Do You Want To Play Games?” “Stars” “Little Susan Lawrence” “Cross The Line” “It’s
Time” “Dancing All The Time” “I Want To Know” “Coffee, Black” “The Real Thing”
“Big” “We’re Gonna Be Fine”
Instrumentation
Reed I (clarinet, alto sax, flute, piccolo)
Reed II (clarinet, tenor sax, flute, oboe, English horn)
Reed III (clarinet, alto sax, baritone sax,
Horn II
Trombone I
Trombone II
Guitar
Bass
Drums
Percussion
Keyboard I
Keyboard II
Piano-conductor
bass clarinet, bassoon, Eb clarinet, flute)
Reed IV (clarinet, tenor sax, bass clarinet, flute)
Reed V (bass sax, bassoon, clarinet)
Trumpet I
Trumpet II
Trumpet III
Horn I
T
he 1987 hit movie bursts onstage in
this vibrant, funny and touching
musical. When frustrated adolescent
Josh Baskin wishes he were “big” and
wakes up the next morning a 30-year-old
man, he discovers there’s much more to
being an adult than he’d bargained for—
and learns we must all grow up at our own
pace, in our own time.
A witty, moving, insightful book by John
Weidman
(Pacific
Overtures,
Assassins) and a dazzling, energetic,
heartfelt, contemporary score by David
Shire and Richard Maltby, Jr. (Baby,
Starting Here, Starting Now, Closer
Than Ever) make this already classic
motion picture fantasy an unforgettable
theatrical experience.
Fresh, up-to-date, relevant, and featuring
one of the most irresistible leading male
roles ever, big, The Musical holds
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S TA N D I N G
O VAT I O N S
“A great, old fashioned musical”
—Ginny Winsor,
Omaha Community Playhouse
“A terrific teaching tool… our
students interviewed their
grandparents and found how
much the 1920s were like
the present times”
—Pam Ware,
Gainesville High School
T
™
Book, Music & Lyrics by Sandy Wilson
Three acts: one scene each
Cast
8 men, 8 women (may be expanded)
Musical Numbers
“Perfect Young Ladies” “The Boy Friend” “Won’t You Charleston With Me?”
“Fancy Forgetting” “I Could Be Happy With You” “Sur La Plage” “A Room In
Bloomsbury” “The You–Don’t–Want–To–Play–With–Me Blues” “Safety In Numbers” “The
Riviera”
“It’s Never Too Late To Fall In Love” “Poor Little Pierrette” “Nicer In Nice”
Instrumentation
Reed I (clarinet, alto sax, soprano sax)
Reed II (clarinet, alto sax, soprano sax, baritone sax)
Reed III (clarinet, tenor sax, bass clarinet, bass sax,
soprano sax)
Trumpets I & II
Trombone
Percussion
Violins A-B [2]
Bass
Banjo (Doubles Guitar)
Piano–conductor
www.MTIShows.com
he Jazz Age lives on in this light,
romantic spoof of 1920s musical
comedy.
The setting is — where else? — the French
Riviera. Polly, an English heiress attending
Mme. Dubonnet’s Finishing School, falls in
love with Tony, a delivery boy. Recalling
her father’s warning to beware fortune
seekers, she poses as a working girl,
unaware Tony is in fact the missing son of
the wealthy Lord Brockhurst. Things get
complicated with the unexpected arrival in
Nice of Polly’s parents and Lord and Lady
Brockhurst—but not to worry, a happy
ending is in store for all.
The show’s many memorable roles include
the flirtatious Mme. Dubonnet, her boycrazy students and Polly (the role which
turned Julie Andrews into an overnight
sensation), making it ideal for theatre
groups with a strong female ensemble.
With its catchy tunes, period dances
(including the inevitable Charleston) and
winning sense of humor, The Boy Friend
is a sparkling, tongue-in-cheek 1920s romp
in the spirit of No, No, Nanette and
Thoroughly Modern Millie.
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MUSIC
T H E AT R E
™
“Wonderful and comical... a piece
our students could relate to”
—Dennis Smith,
Southern Oregon State College
F
eaturing a legendary score by Leonard
Bernstein, Candide is perhaps the
most oft-revived of the classic cult
musicals. Part sophisticated operetta, part
wacky screwball comedy with shades of
Monty Python, this funny, irreverent satire is
the perfect musical expression of Voltaire’s
tongue-in-cheek send-up of optimistic
philosophies.
The 1973 Broadway Revival
Music by Leonard Bernstein
Book Adapted from Voltaire by Hugh Wheeler
Lyrics by Richard Wilbur
With Additional Lyrics by Stephen Sondheim & John Latouche
One act: unit set
Cast
3 male principals, 3 female principals, chorus doubling/tripling 50 additional characters
Musical Numbers
“Life Is Happiness Indeed” “The Best Of All Possible Worlds” “Oh Happy We”
“It Must Be So” “O Miserere” “Glitter And Be Gay” “Auto Da Fe” “This World”
“You Were Dead You Know” “I Am Easily Assimilated” “My Love” “Alleluia”
“Sheep’s Song” “Bon Voyage” “Make Our Garden Grow”
Instrumentation
Reed I (flute, piccolo, recorder, Bb clarinet)
Reed II (Bb clarinet, Bb bass clarinet, soprano sax)
Reed III (Bb clarinet, oboe, bassoon)
Trumpet I & II (flugelhorn)
Trombone
Violin
Viola
Cello
Bass
Piano
Electric Keyboard (RMI)
Percussion
Piano-vocal
In one lightning-paced act, the hapless
bastard cousin Candide is expelled from
home, drafted into the Bulgarian army,
brought before the Spanish Inquisition,
swindled out of a fortune, shipwrecked on
a desert isle, and separated time and
again from his true love Cunegonde, who
bears with remarkable dignity a variety of
carnal besmirchments by almost everybody.
Through it all, Candide remembers the
lesson of his dear master Dr. Pangloss: that
“everything is for the best in this best of all
possible worlds.”
With its wicked sense of humor and
challenging musical score, Candide is
equally at home in community theatres or
opera houses. The set can be as simple or
as grand as desired. Likewise, the cast can
be large or small, depending on the
doubling of roles. Every role, from large to
small, is a gem, and the melodic, energetic
score is one to savor.
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S TA N D I N G
O VAT I O N S
™
NEW
ACQU
ISITIO
N!
S
The 1999 Royal National Version
Book Adapted from Voltaire by Hugh Wheeler
New Version by John Caird
Lyrics by Richard Wilbur
With Additional Lyrics by Stephen Sondheim, John Latouche, Lillian Hellman,
Dorothy Parker and Leonard Bernstein
Act 1:1 act 1 6 scenes
Act 2: 7 scenes: one scene each
Cast
3 male principals, 3 female principals, chorus doubling/tripling 50 additional characters
Musical Numbers
“Life Is Happiness Indeed” “The Best Of All Possible Worlds” “Universal Good”
“Oh Happy We” “It Must Be So” “Candide’s Lament“ “Dear Boy” “Paris Waltz” “Glitter And Be Gay”
“Auto Da Fe” “You Were Dead, You Know” “I Am Easily Assimilated” “Quartet Finale”
“We Are Women” “My Love” “Alleluia” “Ballad Of Eldorado” “Bon Voyage” “It Must Be Me”
“Words, Words, Words” “Quiet” “Money, Money, Money” “The Venice Gavotte”
“Nothing More Than This” “What’s The Use” “King’s Barcarolle”
“Universal Good” “Make Our Garden Grow”
Instrumentation
Reed I (flute, piccolo, clarinet)
Reed II (clarinet, Eb clarinet)
Reed III (oboe, oboe d’amore, cor anglais)
Reed IV (clarinet, bass clarinet, flute)
Reed V (bassoon)
Horn
Trumpet/Flugelhorn
Trombone
Violin
Viola
Cello
Double Bass
Keyboard
Percussion
ince it’s successful 1973 Broadway
revival, Candide has had many
productions in both theatres and
opera houses. The 1973 revival brought
new audiences to this masterpiece in an
intimate, quickly paced one-act version
with the emphasis on comedy and
characterization.
In
subsequent
productions, elements of the original 1953
version, along with songs that had been
dropped, rewritten or reconceived were
added or altered in an effort to create “the
best of all possible” Candides.
In 1999, John Caird adapted and revised
Candide for the Royal National Theatre.
His adaptation expands on the one-act
1973 version, adding characters,
rearranging scenes and putting back songs
that had been lost along the way. Richard
Wilbur, who wrote most of the original
lyrics for the show, contributed new lyrics
and Mr. Caird went back to the original
source material, Voltaire’s masterpiece of
satire, to give this new Candide
additional spice, creating a Candide that
zings and sings - and does so gloriously!
www.MTIShows.com
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MUSIC
T H E AT R E
“American musical theatre’s
best kept secret that
needs to be unleashed”
—Roy Miller,
The Paper Mill Playhouse
“Our most successful show
in 25 years… incredible
audience appeal”
—Lou Volpe,
Harry S. Truman High School
™
“Among Biblical-inspired, rockinfluenced musicals, this one
might be the best”
—Los Angeles Times
F
rom Stephen Schwartz (Godspell and
Pippin) and John Caird (Les
Misérables and Jane Eyre) comes
a joyous and inspirational musical about
parents, children and faith… not to mention
centuries of unresolved family business!
Music and Lyrics by Stephen Schwartz
Book by John Caird
Two acts: unit set
Cast
5 men, 4 women, 2 boys, chorus (8, may be expanded)
Musical Numbers
“Let There Be” “Perfect” “The Tree Of Knowledge” “The Naming” “Grateful Children”
“Father’s Day” “The Spark Of Creation” “In Pursuit Of Excellence”
“The End Of A Perfect Day” “Childhood’s End” “A World Without You” “The Expulsion”
“The Wasteland” “Wilderness Family” “Lost In The Wilderness” “Close To Home”
“A Ring Of Stones” “Clash Of The Generations” “Death Of Abel” “The Mark Of Cain”
“Children Of Eden” “Generations” “The Gathering Storm” “A Piece Of Eight”
“Blind Obedience” “The Return Of The Animals” “Stranger To The Rain”
“In Whatever Time We Have” “The Flood” “What Is He Waiting For?” “Sailor Of The
Skies” “The Hardest Part Of Love” “Words Of Doom” “Ain’t It Good?” “In The
Beginning”
Instrumentation
woodwinds and horn)
Reed I (flute, piccolo, clarinet, alto sax)
Reed II (clarinet, bass clarinet, tenor sax, *alto
recorder)
Reed III (oboe, English horn, *clarinet, *tenor sax)
Keyboard I (piano, synthesizer)
Keyboard II (synthesizer)
Keyboard III (synthesizer, may be used to cover
Piano-conductor
Horn
Guitar I (electric, acoustic, mandolin)
Guitar II (electric, acoustic)
Drums
Percussion
Cello
Bass
*optional
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Freely based on the story of Genesis,
Children Of Eden is a frank, heartfelt
and often humorous examination of the
age-old conflict between parents and
children. Adam, Eve, Noah and the
“Father” who created them deal with the
headstrong, cataclysmic actions of their
respective children. The show ultimately
delivers a bittersweet but inspiring
message: that “the hardest part of love… is
letting go.”
A deeply humanistic work, Children Of
Eden appeals to both religious and nonreligious audiences, making it an ideal
choice for any organization with a broad
audience base. Created with modest
production requirements in mind, the show
is equally at home in black-box theatres
and on large proscenium stages. The
melodic, energetic score is a mix of pop,
folk, rock, reggae, gospel, Broadway and
powerful choral moments.
BACKSTAGE BABBLE
• The acclaimed Paper Mill Playhouse
production of Children Of Eden (which
was compared favorably in the press
to The Lion King) used several children in
the chorus, who played many of the
animals by means of puppetry,
costumes and masks, to great effect.
S TA N D I N G
O VAT I O N S
CURRE
RESTR NTLY
ICTED
Call fo
r in
nforma
tion
™
C
harles Dickens' classic gets the full
Broadway treatment in Alan
Menken’s-Lynn Ahrens’-Mike Okrent's
adaptation of A Christmas Carol. This is
the version that has New Yorkers and
tourists alike gasping in wonder and
merriment every year as the story unfolds
on the stage at Madison Square Garden.
Alan Menken (Little Shop Of Horrors)
and Lynn Ahrens (Ragtime The Musical,
Once On This Island) have
collaborated on a score that is filled with
beautiful melody and emotional lyrics. Their
song "A Place Called Home" has become
a holiday standard.
Music by Alan Menken
Lyrics by Lynn Ahrens
Book by Mike Ockrent & Lynn Ahrens
Based on the story by Charles Dickens
One act: 13 scenes (may be performed in Two Acts)
Cast
13 men, 10 women, 2 boys, 1 girl, chorus
Musical Numbers
“A Jolly Good Time” “Nothing To Do With Me” “You Mean More To Me” “Link By Link”
“The Lights Of Long Ago” “God Bless Us Everyone” “A Place Called Home”
“Fezziwig’s Annual Christmas Ball” “Abundance And Charity” “Christmas Together”
“Dancing On Your Grave” “Yesterday” “Tomorrow And Today”
“London Town Carol” “God Bless Us Everyone” (Finale)
Instrumentation*
Reed I
Reed II
Reed III
Reed IV
Reed V
Horn
Trumpet I & II
Trumpet III
Trombone I & II
Violin A-C
Violin B-D
Viola I & II
Cello
Bass
Drums
Percussion
Harp
Keyboard 1
Keyboard 2
While the Madison Square Garden
staging contains spectacular special effects
and scenic elements, A Christmas Carol
can be equally effective on a more intimate
scale. The book by Mike Okrent and Lynn
Ahrens is character-driven, and all of the
featured roles are developed to give
performers many chances to shine. Of
course, at the center of the piece is
Ebenezer Scrooge himself, taken from the
pages of Dickens' immor tal tale and
delivered full-blown in a role suitable for
your local star.
There are many adaptations of A
Christmas Carol out there, but only one
Broadway version! Now this holiday treat
can delight your audiences as it has
annually in New York City for so many
years.
*Instrumentation may be revised upon release
www.MTIShows.com
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T H E AT R E
“A ground-breaking show for our
theatre... this production gave us
a new reputation for producing
innovative, modern theatre”
—Kathleen Wood,
Desert Opera Theatre
“We had a huge success…
people returned to see it
more than once”
—Lester Malizia,
Seaside Music Theatre
™
T
Music and Lyrics by Stephen Sondheim
Book by George Furth
Act 1: 6 scenes
Act 2: 5 scenes
unit set
Cast
6 men, 8 women
Musical Numbers
“Company” “The Little Things You Do Together” “Sorry–Grateful”
“You Could Drive A Person Crazy” “Have I Got A Girl For You” “Someone Is Waiting”
“Another Hundred People” “Getting Married Today” “Marry Me A Little”
“Side By Side By Side”” “Poor Baby” “Barcelona”
“The Ladies Who Lunch” “Being Alive”
Instrumentation (1995 revival)
Reed I (alto sax, flute, alto flute, piccolo, clarinet,
*Viola
*Cello
Percussion
Bass
Keyboard I (Piano-vocal)
Keyboard II (synthesizer)
Eb clarinet)
Reed II (tenor sax, clarinet, oboe, English horn)
Reed III (bassoon, baritone sax, clarinet, bass clarinet)
Trumpet
Trombone
*Violin
*optional
1970’s Original Broadway Orchestration available.
For details please contact your Licensing Representative.
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he clashing sounds and pulsing
rhythms of New York City underscore
this landmark “concept” show,
considered by many to have inaugurated
the moder n era of musical theatre.
Company follows our anti–hero bachelor
Robert as he makes his way through a series
of encounters with April (the stewardess),
Kathy (the girl who’s going to marr y
someone else), Marta (the “peculiar” one),
as well as with his married friends.
On the night of his 35th bir thday,
confirmed bachelor Robert contemplates his
unmarried state. In vignette after hilarious
vignette, we are introduced to “those good
and crazy people,” his married friends, as
Rober t weighs the pros and cons of
married life. In the end, he realizes being
alone is “alone, not alive.”
An honest, witty, sophisticated look at
relationships,
Company
is
as
contemporary and relevant as ever (witness
the recent hit revivals on Broadway and the
West End). It features a brilliant energetic
score containing many of Sondheim’s bestknown songs (including “Another Hundred
People,” “The Ladies Who Lunch” and
“Being Alive”) and an ensemble of quirky,
memorable Woody Allen-esque characters
which doubles as the show’s chorus. This,
in addition to the unit set and modest
orchestra size, makes Company a great
show for intimate stages or groups with a
limited budget.
S TA N D I N G
O VAT I O N S
“All American... a great, rousing
crowd-pleaser”
—Kathy Brombacher,
Moonlight Amphitheatre
“Devilishly good fun... a score
that hits a real grand-slam”
—Steve Isaacson,
Davis Music Theatre Company
™
Book by George Abbott and Douglass Wallop
Music and Lyrics by Richard Adler and Jerry Ross
Based on the Novel by Douglass Wallop,
The Year The Yankees Lost the Pennant
Act 1: 10 scenes
Act 2: 11 scenes
Cast
18 men, 6 women, chorus
Musical Numbers
“Six Months Out Of Every Year” “Goodbye, Old Girl” “Heart”
“Shoeless Joe From Hannibal, MO” “A Man Doesn’t Know” “A Little Brains, A Little
Talent”
“Whatever Lola Wants” “Who’s Got The Pain” “The Game” “Near To You”
“Those Were The Good Old Days” “Two Lost Souls”
Instrumentation (original)
Reed I (clarinet, flute, piccolo, alto sax)
Reed II (alto sax, clarinet, flute or piccolo)
Reed III (clarinet, tenor sax, oboe, English horn)
Reed IV (tenor sax, bass clarinet, bassoon)
Reed V (baritone sax, clarinet, bassoon, bass clarinet)
Trumpets I & II
Trumpet III
Trombone I
Trombone II
Trombone III
Horn
Violins A–C [2]
Violins B–D [2]
Viola
Cello
Guitar
Bass
Percussion
Piano-vocal
www.MTIShows.com
F
aust meets professional baseball in
this Broadway classic from the creators
of The Pajama Game.
Middle-aged baseball fanatic Joe Boyd
trades his soul to the Devil (the charming
but devious Mr. Applegate) for a chance to
lead his favorite team to victory in the
pennant race against the New York
Yankees. As young baseball sensation Joe
Hardy, he transfor ms the hapless
Washington Senators into a winning team,
only to realize the true worth of the life (and
wife) he’s left behind. With the help of a
handy escape clause and a guilt-ridden
temptress named Lola, Joe outsmar ts
Applegate, returns to his former self and
shepherds the Senators to the World
Series.
Light, fast-paced and devilishly clever,
Damn Yankees is a home-run hit whose
all-American subject matter and irreverent
sense of humor have brought many a sports
fan into the theatre. In addition to its many
strong male roles, the show features a
scene-stealing role in Lola (originally played
by a relatively unknown Gwen Verdon),
plenty of opportunities for dance (which
may be replaced by simple movement),
and a catchy score filled with rousing
production numbers and popular favorites
like “Heart” and “Whatever Lola Wants”.
BACKSTAGE BABBLE
• The cast album for Damn Yankees
originally featured Gwen Verdon in a
baseball shirt, against a green
background. It was quickly replaced
with another cover showing Verdon in
her skimpy Lola costume on a red
background.
Record
sales
skyrocketed, and the show’s poster
11
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Call fo
r in
nforma
tion
™
“A musical menagerie of
marvels...”
—London Guardian
“This is a sure-fire hit”
—London Tonight
Book, Music and Lyrics by Leslie Bricusse
Based on the “Doctor Dolittle” Stories by Hugh Lofting
Act 1: 10 scenes
Act 2: 5 scenes
Cast
6 men, 2 women, large chorus
Musical Numbers
“Talk To The Animals” “My Friend The Doctor” “The Vegetarian” “At The Crossroads”
“Doctor Dolittle” “I’ve Never Seen Anything Like It” “When I Look Into Your Eyes”
“Like Animals” “After Today” “Fabulous Places” “Where Are The Words?”
“Save The Animals” “Something In Your Smile” “The Voice Of Protest”
Reed I (Flute)
Reed II (Clarinet)
Reed III (Oboe)
Reed IV (Bassoon)
Trumpet
Trombone
Horn
Violin I & II
Viola
Instrumentation*
Cello
Harp
Bass
Drums
Percussion
Keyboard I
Keyboard II
Keyboard III
Piano-conductor
The classic tale of kindness to animals and
animal kindnesses trots, crawls and flies
onto the stage in a big Broadway-sized
family musical. All of the characters (human
and animal) we've come to love through
the stories of Hugh Lofting and the magical
movie musical are given new life in the
stage version of Doctor Dolittle.
Academy Award-winning songwriter Leslie
Bricusse, has adapted his screenplay and
score for the stage and created a show
that appeals to children and adults alike.
He has created a world near enough to
reality that makes taking a flight of fancy on
a giant lunar moth seem entirely possible
and makes "talking to the animals" seem
positively normal. It’s a story that takes the
audience on a journey from the small
English village of Puddleby-in-the-Marsh to
the far corners of the world in its desire to
entertain and amaze.
Staged to great success in a lavish London
production using animatronics developed
by Jim Henson's Creature Shop, the
wonderful thing about this musical version
of Doctor Dolittle is that it can also be
staged very simply to great effect. Perhaps
that's because at its heart is a timeless
lesson teaching us to respect all of the
creatures of the world.
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S TA N D I N G
O VAT I O N S
“A shot in the arm... it brought
in a young crowd to an
established, older theatre”
—Larry Roberts,
Savannah Theatre Company
“Fame brings audiences to their
feet and lets them leave the
theatre whistling the catchy
melodies. This version of the
musical should live a long time—
if not forever!”
—The Baltimore Sun
I
™
Conceived and Developed by David De Silva
Book by Jose Fernandez
Lyrics by Jacques Levy
Music by Steve Margoshes
Title Song “Fame” Written by Dean Pitchford and Michael Gore
Two acts: unit set
Cast
The Students: 5 men, 5 women, 8 chorus (may be expanded)
The Teachers: 2 men, 2 women
Musical Numbers
“Hard Work” “I Want To Make Magic” “Can’t Keep It Down”
“Tyrone’s Rap” “There She Goes/Fame” “Let’s Play A Love Scene” “Bring On Tomorrow”
“The Teacher’s Argument” “Mabel’s Prayer” “Think of Meryl Streep”
“Dancin’ On The Sidewalk” “These Are My Children” “In L.A.”
Reed
Instrumentation
(alto sax, tenor sax, soprano sax,
clarinet, flute)
Trumpet
Trombone
Guitar
Electric Bass
Drums
Percussion
Keyboard I/Conductor
Keyboard II
Piano-conductor
t is a global phenomenon. First came the
hit motion picture, then the long-running
television series. Today the screen
sensation of the 1980s is the stage
sensation that is destined to live forever.
Now being performed on every continent
in almost every language Fame—The
Musical is proving to be timeless and
universal in its appeal to ever y new
generation.
Set during the last years of New York City’s
celebrated High School for the Performing
Arts on 46th Street, Fame—The Musical
is the bittersweet but ultimately inspiring story
of a diverse group of students as they
commit to four years of grueling artistic and
academic work. With candor, humor and
insight, the show explores the issues that
confront many young people today: issues of
prejudice, identity, self-worth, literacy,
sexuality, substance abuse and
perseverance.
With its topical subject matter, multi-ethnic
cast of actors, singers, dancers and
instrumentalists and high-energy,
contemporary pop score which includes the
hit title song, Fame—The Musical is an
ideal musical for high schools, colleges or
any theatre with young performers or
audiences.
BACKSTAGE BABBLE
• There have been more than 4,000
performances from 300 productions in
16 countries of Fame — The Musical.
• For his work in developing the film,
television series and musical, David
De Silva, the conceptualizer, is known
affectionately world-wide as “Father
www.MTIShows.com
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“A SELL-OUT, every night
of the run”
—Jane Madolox,
Gallery Players of Oregon
“An EXCELLENT choice for our
theatre... it’s form allows for a lot
of artistic expression”
—Tom Colonna,
Dundalk Community Theatre
™
“Set in a circus atmosphere,
the expanded version worked
beautifully for us”
—Suzy Willhoft,
Stadium High School
Book and Lyrics by Tom Jones
Music by Harvey Schmidt
Two acts: unit set
Cast
6–7 men, 1–2 women (chorus with expanded version)
Musical Numbers
“Try To Remember” “Much More” “Metaphor” “Never Say No”
“It Depends On What You Pay”* “Soon It’s Gonna Rain” “Abduction Ballet”
“Happy Ending” “This Plum Is Too Ripe” “I Can See It” “Plant A Radish”
“Round And Round” “They Were You”
*revised lyrics available
Optional Numbers
“Abductions” “This Is The Perfect Time (To Be In Love)”
Instrumentation
Harp
Bass
Original Orchestration
Percussion
Piano-vocal
Large Orchestration
Percussion (triangle, timpani, glockenspiel, bells, chimes,
Reed I (piccolo, flute, clarinet, alto sax)
wood block, tambourine, castanets, finger cymbals, bell
Reed II (oboe, English horn)
tree,
Reed III (clarinet, flute, bass clarinet, piccolo)
wind chimes)
Horn
Violin I
Trumpet I
Violin II
Trumpet II
Viola
Trombone I
Cello
Trombone II
Bass
Keyboard I
Piano-conductor
Keyboard II
T
alk about a time-proven audiencepleaser! “Try to Remember” a time
when this romantic charmer wasn’t
enchanting audiences at New York’s
Sullivan Street Playhouse. The
Fantasticks is the longest-running musical
in the world, and with good reason: at the
heart of its breathtaking poetry and subtle
theatrical sophistication is a purity and
simplicity that transcends cultural barriers.
The result is a timeless fable of love that
manages to be nostalgic and universal at
the same time.
With its minimal costumes, small band and
virtually non-existent set, The Fantasticks
is an intimate show which may be
performed in virtually any space, engaging
the audience’s imagination and
showcasing a strong ensemble cast. Its
moving tale of young lovers who become
disillusioned, only to discover a more
mature, meaningful love is punctuated by a
bountiful series of catchy, memorable
songs, many of which have become
BACKSTAGE BABBLE
• The Fantasticks was originally called Joy
Comes To Dead Horse and featured two
families, one Mexican, one Caucasian,
living on adjoining ranches.
• The Fantasticks was shown on television
as part of the Hallmark Hall of Fame
series on October 18, 1964, with a cast
that included Ricardo Montalban,
John Davidson, Susan Watson, Bert
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S TA N D I N G
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“A musical with great depth of
story and character... it moves
and touches everyone involved”
—Gail Steele, Theatre At The Mount,
™
Mount Wachusett Community College
“Our highest grossing show
in 65 years”
—Whit Andrews,
Little Theatre of Winston-Salem
“One of the greatest musical
comedies of our era”
—Newsweek Magazine
Based on Sholem Aleichem stories by special permission of Arnold Perl
Book by Joseph Stein
Music by Jerry Bock
Entire Production Directed & Choreographed by Jerome Robbins
Act 1: 9 scenes
Act 2: 8 scenes
Cast
Musical Numbers
“Tradition” “Matchmaker” “If I Were A Rich Man” “Sabbath Prayer” “To Life”
“Tevye’s Monologue” “Miracle Of Miracles” “The Dream” “Sunrise, Sunset”
“Now I Have Everything” “Tevye’s Rebuttal” “Do You Love Me?” “The Rumor”
“Far From The Home I Love” “Chava Sequence” “Anatevka”
Instrumentation
Violins A–B–C (solo violin plays top line) [2]
*Viola
*Cello
Bass
Accordion
*Guitar
Percussion
Piano-vocal
Reed I (flute, piccolo)
Reed II (clarinet)
Reed III (clarinet, bass clarinet)
*Reed IV (bassoon)
*Reed V (oboe, English horn)
Trumpets I & II
*Trumpet III
Trombone
*Horn
*may be eliminated
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I
n the little village of Anatevka, Tevye, a
poor dairyman, tries to instill in his five
daughters the traditions of his tight-knit
Jewish community in the face of changing
social mores and the growing anti-Semitism
of Czarist Russia.
Rich in historical and ethnic detail, Fiddler
On The Roof has touched audiences
around the world with its humor, warmth
and honesty. Its universal theme of tradition
cuts across barriers of race, class,
nationality and religion, leaving audiences
crying tears of laughter, joy and sadness.
The show features a star turn in Tevye,
among the most memorable roles in musical
theatre. Original director/choreographer
Jerome Robbins’ staging is legendary and
available from MTI in a comprehensive
choreographic guide. Its celebrated score
by Jerry Bock and Sheldon Harnick features
songs loved the world over: “Sunrise,
Sunset,” “If I Were A Rich Man” and
“Matchmaker,” to name a few. Fiddler
On The Roof is simply Broadway at its
very best.
BACKSTAGE BABBLE
• “The Violinist,” a painting by Russian
artist Marc Chagall (1887-1985),
depicting a fiddler on the roof of a
small
house,
gave
the
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“A smash-hit that leaves
everyone who sees it with a
warm feeling”
—Mary Doveton,
Lawrence Community theatre
O
ne of the most popular and
successful musicals in recent
memor y, this deliciously goofy
revue centers on four young, eager male
singers, killed in a car crash in the 1950s
on the way to their first big concert, and
now miraculously revived for the
posthumous chance to fulfill their dreams
and perform the show that never was.
Written and Originally Directed and Choreographed by Stuart Ross
Musical Continuity Supervision and Arrangements by James Raitt
One act
Cast
4 men
Musical Numbers
“Deus Ex Plaid” “Three Coins In The Fountain” “Gotta Be This Or That” “Undecided”
“Moments To Remember” “Crazy ‘Bout Ya Baby” “No Not Much” “Perfidia” “Cry”
“Sixteen Tons/Chain Gang” “The Catering Drill/She Loves You” “The Golden Cardigan”
“Catch A Falling Star” “Caribbean Plaid” ”Heart And Soul” “Mercury” “Lady Of Spain”
“Scotland The Brave” “Shangri–La/Rags To Riches” “Love Is A Many Splendored Thing”
Instrumentation
Piano
Bass
Piano-conductor
Singing in the closest of harmony, squabbling
boyishly over the smallest intonations and
executing their charmingly outlandish
choreography with over-zealous precision,
the “Plaids” are a guaranteed smash, with a
program of beloved songs and delightful
patter that keeps audiences rolling in the
aisles when they’re not humming along to
some of the great nostalgic pop hits of the
’50s.
With a modest production size (a piano,
bass, four microphones and little else), this
theatrical morsel succeeds on the basis of
clever musical arrangements, a young
ensemble cast with strong rapport, and a
solid understanding of the “Plaid” style,
courtesy of a comprehensive staging guide
written by conceiver and director Stuart
Ross that shows how to make four naïve
kids into an international sensation!
ING
M
CO ON!
SO
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S TA N D I N G
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DEVEL IN
CCaalll ffoo OPM
rr iinnffoor ENT
rmmaattiioo
nn
F
orever Plaid has become a huge hit
around the world and a favorite among
audiences ever ywhere. Community
Theatres have come to love the four-character
show that is easy to produce and always
elicits a great audience response. Now for
the High School market comes a show that
manages to be old and new all at the same
time: The Sounds Of Plaid. Building upon
the characters and songs from Forever
Plaid, The Sounds Of Plaid features a
flexible cast size made up of both male and
female performers.
Written and Originally Directed and Choreographed by Stuart Ross
Musical Continuity Supervision and Arrangements by James Raitt
Two acts
Cast
8 males, 8 females, may be expanded
Musical Numbers*
“Anniversary Song” “Catch A Falling Star” “Chain Gang” “Come On A My House”
“Crazy ‘Bout Ya Baby” “Cry” “Day O” “Dream Along With Me” “Gotta Be This Or That”
”Heart And Soul” “Hey There” “Jamaica Farewell” “Kingston Market” “Lady Of Spain”
“Love Is A Many Splendored Thing” “Magic Moments” “Mambo Italiano“ “Matilda”
“Moments To Remember” “No, Not Much” “Papa Love Mambo” “Perfidia” “Rags To
Riches” “Round And Round” “Sh’Boom” “Shangri–La” “She Love You” “Sing To Me Mr. C”
“Sixteen Tons” “Temptation” “Theme From The Good, The Bad, And The Ugly”
“Three Coins In The Fountain” “Undecided”
Instrumentation*
Piano
Bass
Piano-conductor
The premise of The Sounds Of Plaid is
similar to Forever Plaid: In 1960s
America, friends who met in the audiovisual
club form a student choral group. When they
discover that their high school music program
was going to be cut from the curriculum, they
decide to do a benefit to raise money. On the
way to pick up their custom made plaid
tuxedos and skirts, their bus is struck by
lightning. Although The Sounds Of Plaid
are taken from this planet, through the Power
of Harmony and the Expanding Holes in the
Ozone Layer (and other astro-technical stuff)
they are allowed to come back to perform the
show they never got to do in life.
Featuring classic songs and warm funny
characters, The Sounds Of Plaid is a great
new twist on a familiar favorite, and a perfect
choice for a theatre looking to do a “big, little
show.”
*Musical Numbers and Instrumentation may be revised upon release
Two Acts
Cast: 4 men
Forever Plaid: Plaid Tidings is a brand-new show that offers the best of Forever Plaid tied-up in a nifty
package with a big Christmas bow on top! Filled with Christmas standards that have all been “Plaid-erized,” our
boys are back to do their Christmas Special. At first they aren’t sure why they’ve returned, but a phone call from the
heavenly Rosemary Clooney lets them know that they’re needed to put a little harmony into a discordant world.
Sprinkled among the Christmas offerings are audience favorites like their riotous three minute and
eleven second version of “The Ed Sullivan Show” - this time featuring the Rockettes, the Chipmunks and
The Vienna Boys Choir, and a Plaid Caribbean Christmas which puts the “Day-O” in Excelsis!
This is one holiday treat that is truly “heaven-sent!”
www.MTIShows.com
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Call fo
r in
nforma
tion
"It's a blockbuster!
David Yazbek's music
and lyrics work like a charm"
-Clive Barnes
New York Post
" Memory-grabbing melodies,
outlandish lyrics..."
-Ben Brantley
The New York Times
S
™
Music and Lyrics by David Yazbek
Book by Terrence McNally
Based on the Motion Picture Released by Fox Searchlight Pictures
and Written by Simon Beaufoy
Two acts
Cast
13 men, 7 women, 1 boy
Musical Numbers
“Scrap” “It’s A Woman’s World” “Man” “Big-Ass Rock” “Life With Harold”
“Big Black Man” “You Rule My World” “Michael Jordan’s Ball”
“Jeanette’s Showbiz Number” “Breeze Off the River” “The Goods”
“You Walk With Me” “Let It Go”
Instrumentation
Reed I
Reed II
Trumpet I
Trumpet II
Trombone I
Trombone II
Piano
Keyboard
Drums
Percussion
Guitar
Bass
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eeing how much their wives enjoy
watching male strippers during their
"girls' night out," unemployed
steelworkers in Buffalo, New York come up
with a bold way to make some quick cash.
In the process, they find renewed selfesteem, the importance of friendship and
the ability to have fun.
As the guys work through their fears, selfconsciousness, feelings of worthlessness
and anxieties (over everything from being
overweight to child custody, bigotry to
being gay), they come to discover that not
only are they stronger as a group, but that
the strength they find in each other gives
them the individual courage to face their
demons and overcome them.
There is great heart to THE FULL MONTY,
and the ultimate themes expressed in the
show – about taking charge of one's life
and following one's dreams – are great
lessons for all of us. And truth be told,
through creative directing and staging, the
final impact of "The Full Monty" can be
achieved without ever losing your jockey
shorts!
S TA N D I N G
O VAT I O N S
“A vaudevillian romp through
ancient Greece”
—Steve Isaacson,
Davis Musical Theatre
“A huge audience pleaser... the
most popular show we’ve had”
—Marty Van Kleeck,
Granbury Opera House
“Even the rehearsals had us
rolling in the aisles”
—Jennifer Jenkins, Theatre Arts Guild,
Georgia Perimeter College
“
™
Book by Burt Shevelove
and Larry Gelbart
Music and Lyrics
by Stephen Sondheim
Two acts: unit set
Cast
11 men, 7 women
Musical Numbers
“Comedy Tonight” “Love, I Hear” “Free” “The House Of Marcus Lycus” “Lovely”
“Pretty Little Picture” “Everybody Ought To Have A Maid” “I’m Calm” “Impossible”
“Bring Me My Bride” “That Dirty Old Man” “That’ll Show Him” “Funeral Sequence”
Instrumentation
Reed I (clarinet, flute, piccolo, alto sax)
Reed II (clarinet, alto sax)
Reed III (clarinet, tenor sax)
Reed IV (bass clarinet, baritone sax,
*Trombone III
*Violins A–B–C [2]
*Viola
*Cello
Bass
*Harp
Percussion
Piano-vocal
clarinet)
*Reed V (flute, piccolo, clarinet)
Trumpets I & II
*Trumpet III
Trombone I
*Trombone II
*may be eliminated
T
ragedy tomorrow, comedy tonight!”
Broadway’s greatest farce is light, fastpaced, witty, irreverent and one of the
funniest musicals ever written — the perfect
escape from life’s troubles. A Funny
Thing Happened On The Way To
The Forum takes comedy back to its
roots, combining situations from time-tested,
2000–year-old comedies of Roman
playwright Plautus with the infectious
energy of classic vaudeville. The result is a
non-stop laugh-fest in which a crafty slave
(Pseudolus) struggles to win the hand of a
beautiful but slow-witted courtesan (Philia)
for his young master (Hero), in exchange
for freedom.
With its unforgettable zany characters, a
hysterical, perfectly constructed book by Larry
Gelbart (of MASH and City Of Angels
fame) and Burt Shevelove, and witty Stephen
Sondheim songs which are modest in their
vocal demands, A Funny Thing
Happened On The Way To The Forum
allows a brilliant ensemble of comedic actors
to shine. (The lead role of Pseudolus is one of
the theatre’s greatest roles — a tour de
force for a clown par excellence.) And
as if that weren’t enough, its simple unit set
makes A Funny Thing Happened On
The Way To The Forum one of the easiest
BACKSTAGE BABBLE
• The part of Pseudolus was originally
written with Phil Silvers in mind. When
he turned down the role, it was
offered to Milton Berle and finally to
Zero Mostel, who created one of the
most legendary characters of his
career.
• Every actor who has ever played
Pseudolus on Broadway (not counting
www.MTIShows.com
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"A Hit, A big, big Hit. GODSPELL
believes in God — and people —
and possibility"
—The New York Post
"GODSPELL turns the theatre into
a joyous palace"
—Billboard
"It's marvelous… it says ‘love thy
neighbor’ and it means it"
—NBC-TV
Conceived and Originally Directed by John-Michael Tebelak
Music and New Lyrics by Stephen Schwartz
Originally Produced on the New York Stage by
Edgar Lansbury/Stuart Duncan/Joseph Beruh
Two acts: unit set
Cast
6 men, 4 women (may be expanded)
Musical Numbers
“Tower Of Babel” “Prepare Ye” “Save The People” “Day By Day” “Learn Your Lessons
Well”
“O, Bless The Lord” “All For The Best” “All Good Gifts” “Light Of The World”
“Turn Back, O Man” “Alas For You” “By My Side” “We Beseech Thee”
“Beautiful City”* “On The Willows”
*optional song pack available
Instrumentation
Guitar
Bass
Drums
Piano-vocal
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C
onceived and originally directed by
John Michael-Tebelak, with music and
new lyrics by Stephen Schwartz,
Godspell is one of the biggest off-Broadway
and Broadway successes of all time.
Based on the Gospel According to St.
Matthew, and featuring a sparkling, score
by Stephen Schwartz, Godspell boasts a
string of well-loved songs, led by the
international hit, "Day By Day." As the cast
perform "Prepare Ye The Way Of The Lord,"
"Learn Your Lessons Well," "All For The Best,"
"All Good Gifts," "Turn Back, O Man" and
"By My Side," the parables of Jesus Christ
come humanly and hearteningly to life.
Drawing from various theatrical traditions,
such as clowning, pantomime, charades,
acrobatics and vaudeville, Godspell is a
groundbreaking and unique reflection on
the life of Jesus, with a message of
kindness, tolerance and love.
Godspell can be performed virtually any
where with the simplest of sets, costumes,
lights and music. All you need is an
ensemble of ten performers to bring the
material to life.
S TA N D I N G
O VAT I O N S
NEW
ACQU
ISITIO
N!
“Transforms a 1920’s realistic
drama into an impressionistic
musical fantasy”
—Christian Science Monitor
“A kaleidoscopic world of
movement, dance and visual
elegance that magically unfolds
before your eyes”
—Wall Street Journal
™
Book by Luther Davis
Music and Lyrics by Robert Wright and George Forrest
Based on Vicki Baum’s Grand Hotel
Additional Music and Lyrics by Maury Yeston
One act: 20 scenes
unit set
Cast
Musical Numbers
“The Grand Parade” “Some Have, Some Have Not” “As It Should Be”
“At The Grand Hotel/Table With A View” “Maybe My Baby Loves Me” “Fire and Ice”
“Villa On A Hill” “I Want to Go to Hollywood” “Everybody’s Doing It” “The Crooked
Path” “As It Should Be” Who Couldn’t Dance With You” “No Encore” “Love Can’t
Happen” “What You Need” “Bonjour Amour” “H-A-P-P-Y” “We’ll Take A Glass
Together”
“I Waltz Alone” “Roses At The Station” “How Can I Tell Her?”
“As It Should Be” “Life Goes On”
Reed I (clarinet, flute, alto sax, soprano sax)
Reed II (alto sax, clarinet, flute)
Reed III (clarinet, English horn, oboe, tenor sax)
Reed IV (baritone sax, bass clarinet)
Horn
Trumpet I & II [2]
Trumpet III
Trombone I
Trombone II
Keyboard I
Keyboard II
Percussion
Drums
Violin [2]
Viola [2]
Cello
Bass
Piano-conductor
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C
ome, spend a night or two in the
world's most opulent, extravagant
hotel. Perhaps you will find your
fortune there, perhaps you will find true love,
perhaps all of your dreams will come
true…perhaps. . .
It is 1928. The world is between wars, the
stock market is booming, Berlin is the center
of high life, and optimism rules the day.
Inspired by Viki Baum's period novel, book
writer/playwright Luther Davis (Kismet,
Timbuktu!) collaborated once again with
the prolific, distinguished composer-lyricist
team Robert Wright and George Forrest
(Kismet, Timbuktu!, Magdelena, The
Anastasia Affaire). Together, they
created a seamless musical that boasts an
engaging, non-stop book and a powerful
score that is sure to sweep you away with
all of the lavishness of the 1920s.
The story, performed without an
intermission, intertwines a cast of eccentric
characters through a series of fateful
encounters. Passing through the golden light
and dark shadows of The Grand Hotel is
the fading, still-beautiful Prima Ballerina; the
charming young Baron, out of money, riding
on his looks; the ambitious Hollywood
hopeful; the mortally ill bookkeeper, meeting
society before his grave; the honest,
hardworking father-to-be; and the doctor,
whose cynical tone foreshadows the
looming Depression. Grand Hotel: The
Musical richly contrasts comedy, tragedy,
glitz, and realism and is sure to captivate
both your actors and audiences.
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“A perfect classic with strong
characters and humor”
—Wayne Bryan,
Music Theatre of Wichita
“Colorful characters and a bright
score combine to make Guys And
Dolls a celebration of the absolute
best American musical theatre
has to offer”
—Diane McFarlin,
Kaneland High School
™
Based on a Story and Characters by Damon Runyon
Music and Lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Act 1: 10 scenes
Act 2: 7 scenes
Cast
Musical Numbers
“Fugue For Tinhorns” “Follow The Fold” “The Oldest Established” “I’ll Know”
“A Bushel And A Peck” “Adelaide’s Lament” “Guys And Dolls” “If I Were A Bell”
“My Time Of Day” “I’ve Never Been In Love Before” “Take Back Your Mink”
“More I Cannot Wish You” “Luck Be A Lady” “Sue Me”
“Sit Down, You’re Rockin’ The Boat” “Marry The Man Today”
Instrumentation
Reed I (flute, alto sax, clarinet, piccolo)
Reed II (flute, alto sax, clarinet)
Reed III (tenor sax, clarinet, oboe, English horn)
Reed IV (tenor sax, clarinet)
Reed V (baritone sax, bass clarinet)
Trumpets I & II
Trumpet III
Trombone
Horn
Violins A–C [2]
Violins B–D [2]
Cello
Bass
Percussion
Piano-conductor
Piano-vocal
Concert Version Available
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S
et in Damon Runyon’s mythical New
York City, this oddball romantic
comedy — considered by many to be
the perfect musical comedy — soars with
the spirit of Broadway as it introduces us to
a cast of vivid characters who have
become legends in the canon: Sarah
Brown, the upright but uptight “mission
doll,” out to reform the evildoers of Times
Square; Sky Masterson, the slick, highrolling gambler who woos her on a bet
and ends up falling in love; Adelaide, the
chronically ill nightclub performer whose
condition is brought on by the fact she’s
been engaged to the same man for 14
years; and Nathan Detroit, her devoted
fiancé, desperate as always to find a spot
for his infamous floating crap game.
Everything works out in the end, thanks to
the machinations of Abe Burrows and Jo
Swerling’s hilarious, fast-paced book and
Frank Loesser’s bright, brassy, immortal
score, which take us from the heart of
Times Square to the cafes of Havana,
Cuba and even into the sewers of New
York City. Funny and romantic, Guys And
Dolls is ideal for audiences and
performers of any age.
BACKSTAGE BABBLE
• Kept from the wrestling team because
of knee injury, a teen-age Tom Cruise
auditioned and won the role of
Nathan Detroit in his Glen Ridge, NJ
high school production of Guys And
Dolls, and so began his acting career.
• The original production of Guys And
Dolls got what might be the most
unanimously ecstatic reviews in
Broadway history. The year it opened,
S TA N D I N G
O VAT I O N S
“A HUGE hit... very EXCITING...
accessible to new audiences
and a favorite of the regulars”
—Ron Baumanis,
“A SPECTACULAR experience…
the show sparkles”
—Murray Chase,
Venice Little Theatre
™
Book by Abe Burrows, Jack Weinstock and Willie Gilbert
Based on the Novel by Shepherd Mead
Music and Lyrics by Frank Loesser
Act 1: 14 scenes
Act 2: 10 scenes
Cast
Musical Numbers
“How To Succeed” “Happy To Keep His Dinner Warm” “Coffee Break”
“The Company Way” “A Secretary Is Not A Toy” “Been A Long Day” “Grand Old Ivy”
“Paris Original” “Rosemary” “Cinderella, Darling” “Love From A Heart Of Gold”
“I Believe In You” “Brotherhood of Man”
Instrumentation
Reed I (piccolo, flute, alto flute, clarinet, alto sax)
Reed II (oboe, alto sax, English horn, clarinet,)
Reed III (clarinet, tenor sax, flute, piccolo)
Reed IV (tenor sax, clarinet, bass clarinet)
Reed V (baritone sax, clarinet, bass clarinet)
Trumpets I & II
Trumpet III
Horn
Trombone I
Trombone II
Trombone III
Violins A–B–C–D [2]
Cello
Bass
Harp
Guitar
Percussion I & II [2]
Piano-conductor
Piano-vocal
Modified Orchestration (more difficult)
Reed I (Eb clarinet, piccolo, flute, clarinet, alto sax)
Reed II (oboe, alto sax, English horn, clarinet)
Reed III (clarinet, tenor sax, flute, piccolo)
Reed IV (tenor sax, clarinet, bass clarinet)
Trumpet
Trombone
Drums
Bass
Piano
P
ower, sex, ambition, greed… it’s just
another day at the office.
From the authors of Guys And Dolls
comes one of the most delightfully irreverent
musicals of all time. A satire of big business
and all it holds sacred, How To Succeed
In Business Without Really Trying
follows the rise of J. Pierrepont Finch, who
uses a little handbook called “How to
Succeed In Business Without Really Trying”
to climb the corporate ladder from lowly
window washer to high-powered
executive, tackling such familiar but potent
dangers as the aggressively compliant
“company man,” the boss’ whiny,
nepotistic nephew, the of fice par ty,
backstabbing co-workers, caf feine
addiction and, of course, true love.
Guaranteed to appeal to anyone who has
ever worked in an office, the show boasts a
show-stealing star role in its antihero, quirky,
memorable secondary characters, a catchy,
witty score that’s bright, brassy and easy to
learn and sing, and a wicked sense of
humor that’s as biting, unforgiving and ontarget today as ever. Add to that an
optional reduced orchestration and a scenic
plot originally designed around simple,
cartoonish sets, and you may find yourself
mounting How To Succeed… without
really trying!
www.MTIShows.com
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™
“I Do! I Do! offers enormous
opportunities to show what you
can do from both an acting and
directing perspective”
—Gail Steele, Theatre At The Mount,
Mount Wachusett Community College
“I Do! I Do! lends itself to great
theatrical design and style”
—Michael Fortner,
Theatre Memphis
“At once amusing, astonishingly
touching and truly endearing”
—New York Post
T
Book and Lyrics by Tom Jones
Music by Harvey Schmidt
Based on The Fourposter by Jan de Hartog
Act 1: 3 scenes
Act 2: 2 scenes
Cast
1 man, 1 woman
Musical Numbers
“All The Dearly Beloved” “Together Forever” “I Do! I Do!” “Goodnight” “I Love My Wife”
“Something Has Happened” “The Waiting Room” “Love Isn’t Everything”
“Nobody’s Perfect” “It’s A Well Known Fact” “Flaming Agnes” “The Honeymoon Is Over”
“Where Are The Snows?” “My Cup Runneth Over” “When The Kids Get Married”
“The Father Of The Bride” “What Is A Woman?” “Someone Needs Me”
“Roll Up The Ribbons” “This House”
Instrumentation
Reed II (flute, clarinet, bass clarinet)
Reed III (clarinet, oboe, English horn)
Reed IV (clarinet, bassoon)
Trumpets I & II
Trombone
Horns I & II
Violins [2]
Viola
Cello
Bass
Percussion I & II
Piano I
Piano II
Harp
Piano-vocal
Duo Piano Version Available
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he story of a marriage is at the center
of this intimate and nostalgic work by
Harvey Schimdt and Tom Jones, the
authors of The Fantasticks. The show
begins with Michael and Agnes on their
wedding day and traces their life together
over a period of 50 years, until the day
they leave their house to the next pair of
newlyweds. In that time we watch them go
through their wedding night jitters, raise a
family, negotiate mid-life crises, quarrel,
separate, reconcile and grow old together,
all lovingly to the strains of a tuneful,
charming score which includes the standard
“My Cup Runneth Over.”
I Do! I Do! is as universal as marriage
itself, and far easier to mount! In addition
to its minimal set and flexible orchestra size
(from two pianos to full orchestra), the show
boasts the smallest cast ever for a
Broadway musical: two larger-than-life star
roles, and no one else. I Do! I Do!
delivers Broadway quality and universal
appeal with minimal production
requirements.
BACKSTAGE BABBLE
• Mary Martin and Robert Preston
starred in the original broadway
production of I Do! I Do! Their “straight
play” counterparts in The Fourposter had
been real life married couple Jessica
Tandy and Hume Cronyn. The movie
version of The Fourposter starred real life
married couple Lilli Palmer and Rex
S TA N D I N G
O VAT I O N S
“Exciting, thrilling story-telling…
outstanding music”
—Dwight Martin,
Manoa Valley Theatre
“Our third-highest grossing
show since the theatre was
founded in 1952”
—Steven Antenucci,
Theatre In The Round Players
“A show with many wonderful
characters... a wonderful range of
material from comedy to drama”
—Debbie Carrick,
Chapparral High School
™
A
Book by James Lapine
Two acts: unit set
Cast
7 men, 12 women
Musical Numbers
“Into The Woods” “Hello, Little Girl” “I Guess This Is Goodbye” “Maybe They’re Magic”
“I Know Things Now” “A Very Nice Prince” “Our Little World”* “Giants In The Sky”
“Agony” “It Takes Two” “Stay With Me” “On The Steps Of The Palace” “Ever After”
“So Happy” “Lament” “Any Moment” “Moments In The Woods” “Your Fault”
“The Last Midnight” “No More” “No One Is Alone” “Children Will Listen”
*optional
Instrumentation
Flute/Piccolo
Clarinet
Bassoon
Horn I & 2
Bb Trumpet
C Trumpet/Piccolo Trumpet
Percussion
Piano
Synthesizer
Violins I & II [2]
Violas I & II [2]
Cello
Bass
Piano–conductor
www.MTIShows.com
n ambivalent Cinderella? A
bloodthirsty Little Red Ridinghood? A
Prince Charming with a roving eye?
A Witch… who raps? They’re all among
the cockeyed characters in James Lapine
and Stephen Sondheim’s fractured fairy tale.
When a Baker and his Wife learn they’ve
been cursed with childlessness by the Witch
next door, they embark on a quest for the
special objects required to break the spell,
swindling, lying to and stealing from
Cinderella, Little Red, Rapunzel and Jack
(the one who climbed the beanstalk).
Everyone’s wish is granted at the end of Act
One, but the consequences of their actions
return to haunt them later, with disastrous
results. What begins a lively irreverent
fantasy in the style of The Princess Bride
becomes a moving lesson about community
responsibility and the stories we tell our
children.
With plenty of unforgettable roles,
transpositions on demand and no chorus,
Into The Woods is a great way to
showcase a talented ensemble cast. And
since the show’s emphasis is on character
rather than spectacle, it is equally at home
in large or intimate spaces. One of
Sondheim’s most popular works, this
timeless yet relevant piece is a rare modern
classic.
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Pure Theatrical Joy
—WCBS-TV
A Powerful, Absorbing Musical
—Jeffrey Lyons, WNBC-TV
™
Music and Lyrics by Paul Gordon
Book and Additional Lyrics by John Caird
Based on the Novel by Charlotte Bronte
Two acts: unit set
Cast
10 men, 17 women
Musical Numbers
“The Orphan” “Children Of God” “Forgiveness” “The Graveyard”
“Sweet Liberty” “Secrets Of The House” “Perfectly Nice” “As Good As You”
“Secret Soul” “The Finer Things” “The Pledge” “Sirens” “Things Beyond This Earth”
“Painting Her Portrait” “In The Light Of The Virgin Morning” “The Gypsy” “The
Proposal” “Slip Of A Girl” “Farewell, Good Angel” “My Maker” “Rain”
“The Voice Across The Moors” “Poor Sister” “Brave Enough For Love”
Instrumentation
Reed 1 (flute, recorder, piccolo, alto flute)
Reed 2 (clarinet, bass clarinet)
Reed 3 (oboe, English horn)
Keyboard 1
Keyboard 2
Keyboard 3
Trumpet
Violin 1
Violin 2
Bass
Cello
Percussion 1
Percussion 2
Piano-vocal
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J
ane Eyre is a haunting retelling of the
Charlotte Bronte classic about an orphan
girl who grows up to become the
governess of Thornfield Hall. There she
meets and falls in love with the enigmatic
Edward Rochester, an Earl with a dark
secret. Having overcome the obstacles
brought on by an abusive childhood, the
death of a childhood friend and the
prejudice inherent in a relationship between
two people socially worlds apart, Jane
marries Rochester. Her wedding day is
marred when she discovers his secret: he
already has a wife, a half-crazed lunatic
hidden in the attic.
.Jane flees to her childhood home, to find
that her aunt is dying. Jane finds she is able
to forgive her aunt for the cruelties she
suffered as a child, even when she
discovers that the injustices shown her by
her aunt and cousin far exceeded anything
she had imagined in her years there. In her
absolution of her aunt, and the realization
that she is someone who can love and be
loved in exchange, she returns to Thornfield
Hill, only to discover it has burned to the
ground. Rochester, in a futile attempt to save
his wife from the fire, has been blinded.
Jane and Rochester are married and, like a
divine blessing, Rochester's sight partially
returns so that he is able to see his first-born
son.
Filled with soaring melodies and a romantic
lyricism uncommon in the modern
Broadway musical, Jane Eyre is a
sweeping love story, breath-taking in its
scope and beauty.
S TA N D I N G
O VAT I O N S
“Powerfully charismatic... torrents
of surging melody”
—Newark Star-Ledger
™
Book and Lyrics by Leslie Bricusse
Music by Frank Wildhorn
Conceived for the Stage by Steve Cuden & Frank Wildhorn
Act 1: 14 scenes
Act 2: 14 scenes
Cast
Musical Numbers
“Lost In The Darkness” “I Need To Know” “Façade” “Board Of Governors”
“Pursue The Truth” “The Engagement Party” “Take Me As I Am” “Letting Go”
“Bring On The Men” “This Is The Moment” “The Transformation” “Girls Of The Night”
“Alive!” “His Work And Nothing More” “Sympathy, Tenderness” “Someone Like You”
“Murder, Murder” “Once Upon A Dream” “Streak Of Madness” “In His Eyes”
“No One Knows Who I Am” “Dangerous Game” “Angst 2” “A New Life” “Lucy’s Death”
“The Confrontation” “The Wedding”
A
true musical theatre phenomenon,
Jekyll & Hyde attracted legions of
loyal fans even before the show
began its smash-hit Broadway run.
An evocative tale of the epic battle
between good and evil, Jekyll & Hyde is
based on Robert Louis Stevenson’s classic
stor y about a brilliant doctor whose
experiments with human personality create
a murderous counterpart. Convinced the
cure for his father’s mental illness lies in the
separation of Man’s evil nature from his
good, Dr. Henry Jekyll unwittingly unleashes
his own dark side, wreaking havoc in the
streets of late 19th-century London as the
savage, maniacal Edward Hyde.
Jekyll & Hyde is pure pulse-pounding
theatre, with that same macabre
combination of fun and fright that fuels such
classics as Sweeney Todd and The
Phantom Of The Opera, and a lush,
romantic pop score that includes the hit
songs “This Is The Moment” and “Someone
Like You.” The show features a trio of starmaking roles in Dr. Jekyll, his sympathetic
fiancee Emma and Lucy, the woman he
rescues from a life of sin who later
succumbs to the uncontrolled passions of
Mr. Hyde.
Instrumentation
Reed I (flute, alto flute)
Reed II (oboe, English horn)
Reed III (clarinet, bass clarinet, alto sax)
Reed IV (bassoon)
Trumpet
Trombone
Horn
Violin I & II [2]
Viola
Cello
Bass
Percussion I & II {2]
Keyboard I
Keyboard II
Keyboard III
Piano–conductor
• As Andrew Lloyd Webber did
Sarah Brightman in The Phantom Of
Opera, Frank Wildhorn tailored
part of Lucy in Jekyll & Hyde to
astonishing vocal pyrotechnics of
BACKSTAGE BABBLE
• Jekyll & Hyde has inspired a dedicated
following
of
self-proclaimed
“Jekkies” to rival the fanatic fans of
any sci-fi serial!
www.MTIShows.com
for
The
the
the
his
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RESTR NTLY
ICTED
Call fo
r in
nforma
tion
“Theater just doesn’t get any
better than this”
—Miami Herald
T
A Musical by Alain Boublil and Claude–Michel Schönberg
Lyrics by Herbert Kretzmer
Act 1: 10 scenes
Act 2: 11 scenes
Cast
4 men, 1 boy; 5 women, 1 girl; chorus
Musical Numbers
“At The End Of The Day” “I Dreamed A Dream” “The Docks” “Cart Crash”
“Fantine’s Death” “Little Cosette” “The Innkeeper’s Song” “The Bargain” “The Beggars”
“The Robbery” “Stars” “The ABC Café” “The People’s Song” “Rue Plumet”
“A Heart Full Of Love” “The Attack On Rue Plumet” “One Day More”
“Building The Barricade” “Javert At The Barricade” “The First Attack” “The Night”
“The Second Attack” “The Final Battle” “The Sewers” “Javert’s Suicide” “The Café Song”
“Marius & Cosette” “The Wedding”
Instrumentation
Reed I (flute, piccolo, clarinet, alto sax)
Reed II (English horn, oboe)
Horn I
Horn II
Trumpet I (Bb, flugelhorn, piccolo)
Trumpet II (Bb, flugelhorn, piccolo)
*Trumpet III (Bb, piccolo)
Trombone
Drums
Percussion
Guitar
Keyboard I
Keyboard II
Keyboard III
Violins
*Viola
Cello
Bass
Piano-conductor
Piano-vocal
*optional
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his international smash-hit may be the
most popular musical in the world.
In 19th century France, Jean Valjean is
released from 19 years of unjust
imprisonment, but finds nothing in store for
him but mistrust and mistreatment. He
breaks his parole in hopes of starting a
new life, initiating a life-long struggle for
redemption as he is relentlessly pursued by
police inspector Javert, who refuses to
believe Valjean can change his ways.
Finally, during the Paris student uprising of
1832, Javert must confront his ideals after
Valjean spares his life and saves that of the
student revolutionary who has captured the
heart of Valjean’s adopted daughter. His
world-view shattered, Javer t commits
suicide, and Valjean at last attains the
peace he has sought for so long.
Epic, grand and uplifting, Les
Misérables packs an emotional wallop
that has thrilled audiences all over the
world. The sung-through pop opera is ideal
for a cast of exceptional singers and
overflows with melodies that are already
standards. A spectacle on Broadway and
in London, Les Misérables is equally
ef fective with a minimal set; it is its
powerful affirmation of the human spirit that
has made Les Misérables a popular
masterpiece.
BACKSTAGE BABBLE
• After Colm Wilkinson sang the
beautiful prayer song “Bring Him
Home” for the first time in rehearsal,
director Trevor Nunn said, “See? I told
you this show is about God.” One of
the actors responded, “Yes, but you
S TA N D I N G
O VAT I O N S
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tio
!
Call fo n s A p p l y
rD
etails
“Les Misérables School Edition is
the most memorable, exciting
and rewarding production we
have ever presented”
—Danielle Rudess,
Helen Hayes Youth Theatre
B
roadway's legendary musical has
been specially adapted to meet the
needs of young performers. This
author-approved edition has been abridged
to a running time of just over two hours,
while carefully maintaining the integrity of
one the greatest musicals ever written.
Les Misérables®
School Edition
Lyrics by Herbert Kretzmer
Act 1: 10 scenes
Act 2: 11 scenes
Cast
4 male, 1 boy; 5 female, 1 girl; chorus
Musical Numbers
“At The End Of The Day” “I Dreamed A Dream” “The Docks” “The Cart Crash”
“Fantine’s Death” “Little Cosette” “The Innkeeper’s Song” “The Bargain” “The Beggars”
“The Robbery” “Stars” “The ABC Café” “The People’s Song” “Rue Plumet”
“A Heart Full Of Love” “The Attack On Rue Plumet” “One Day More”
“Building The Barricade” “Javert At The Barricade” “The First Attack” “The Night”
“The Second Attack” “The Final Battle” “The Sewers” “Javert’s Suicide” “The Café Song”
“Marius & Cosette” “The Wedding”
Reed I (flute, clarinet, alto sax)
Reed 2 (English horn, oboe)
Horn I
Horn II
Trumpet I
Trumpet II
Trombone
Drums
Percussion
Instrumentation
Guitar
Keyboard I
Keyboard II
Keyboard III
Violins [2]
Viola
Cello
Piano-conductor
Piano-vocal
For Amateur Production Only
To be performed entirely by students 19 years of age or younger.
A Sound Effects CD is available for rental
Show Shirts are available for this production
Study Guide contains the Reference Recording
Character Parts Chart available (courtesy of Lisa Carroll)
www.MTIShows.com
This epic story recounts the struggle against
adversity in 19th century France.
Imprisoned for stealing a loaf of bread,
petty thief Jean Valjean is released from his
19-year term and not only becomes and
honest man, but the mayor of a prosperous
town and a loving adoptive father violating his parole in the process. The
relentless Inspector Javert, who makes a
decent life for Valjean impossible,
consequently pursues him. Only years later,
after Valjean proves his mettle during a
bloody student uprising and saves the life of
a young man hopelessly in love with
Valjean's adopted daughter, does the exconvict finally feel fully redeemed.
Originally adapted from Victor Hugo's
timeless novel, Les Misérables School
Edition introduces a new generation to the
grand and inspirational story that has
touched the hearts of millions. Within Les
Misérables lies the universal truth "To love
another person is to see the face of God."
This message is sure to have a lasting
impact on your cast, crew, audience, and
school alike.
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“Gorgeous and successful”
—Jennifer Jenkins, Theatre Arts Guild,
“CAPTIVATING... the press viewed
it as the highlight of our season...
Our biggest single ticket seller”
™
—Steven Woolf,
Repertory Theatre of St. Louis
O
ne of Broadway’s most neglected
masterpieces, the romantic and
achingly beautiful A Little Night
Music deals with the universal subject of
love, in all its wondrous, humorous and
ironic permutations.
Book by Hugh Wheeler
Suggested by a Film by Ingmar Bergman
Act 1: 7 scenes
Act 2: 8 scenes
Cast
7 men, 10 women
Musical Numbers
“Night Waltz” “Now” “Later” “Soon” “The Glamorous Life” “Remember?”
“You Must Meet My Wife” “Liaisons” “In Praise Of Women” “Every Day A Little Death”
“A Weekend In The Country” “The Sun Won’t Set” “It Would Have Been Wonderful”
“Perpetual Anticipation” “Send In The Clowns” “The Miller’s Son”
Instrumentation
Trombone
Violins [2]
Viola
Cello
Bass
Harp
Celeste (piano)
Percussion
Piano–conductor
Reed I (flute, piccolo, alto flute)
Reed II (flute, clarinet)
Reed III (clarinet, bass clarinet, flute, English horn,
oboe)
Reed IV (oboe, English horn)
Reed V (bassoon, clarinet)
Horns I & II
*Horn III
Trumpets I & II
*optional
In turn-of-the-century Sweden, middle-aged
Fredrik Egerman brings his 18-year-old bride
Anne to a play starring his former mistress,
Desirée Armfeldt. Soon, Fredrik and Desirée
resume their romance, incurring the wrath of
her current lover, a pompous Count. The
situation culminates in a weekend at a
country estate, with Fredrik, Anne, Desirée
and the Count in attendance, as well as
Fredrik’s son (who is hopelessly in love with
Anne), Desirée’s illegitimate daughter, the
Count’s manic-depressive wife and the
Egerman’s lusty maid. And there, under the
summer night, things are set to right.
Sophisticated, literate and stylish, A Little
Night Music is also disarmingly warm,
funny, charming and very human. Its wellconstructed book is one of the best ever
written, featuring a strong ensemble cast of
vivid, memorable characters that span all
age groups. The lilting Ravel-inspired score
in three-quarter time accommodates both
strong and less accomplished singers, and
contains Sondheim’s most popular song to
date, the haunting “Send In The Clowns.”
BACKSTAGE BABBLE
• Dubbed by many as “the waltz
musical,” all of the songs in A Little
Night Music are written in variations of
three-quarter time.
• Recorded hundreds of times, Stephen
Sondheim’s most popular success,
“Send In The Clowns” was written
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S TA N D I N G
O VAT I O N S
“If you’re hungry for a hit, there’s
no bigger one than this”
—Toby Orenstein, Toby’s Dinner Theatre
“An ENORMOUS hit... it brought
in a new, young crowd”
—Pat Burdett, Caldwell Theatre
A
™
AUDR
AVAIL EY II
ABLE!
See p
age 1
for de 68
tails
Book & Lyrics by Howard Ashman
Music by Alan Menken
Based on the Film by Roger Corman; Screenplay by Charles Griffith
Act 1: Prologue and 4 scenes
Act 2: 3 scenes
Cast
6 men; 4 women
Musical Numbers
“Prologue (Little Shop of Horrors)” “Skid Row (Downtown)” “Da-Doo” “Grow For Me”
“Don’t It Go To Show Ya Never Know” “Somewhere That’s Green” “Closed For
Renovations” “Dentist!” “Mushnik And Son” “Feed Me (Git It)” “Now (It’s Just The Gas)”
“Call Back In The Morning” “Suddenly, Seymour” “Suppertime”
“The Meek Shall Inherit” “Finale (Don’t Feed The Plants)”
Instrumentation
Bass
Guitar
Drums
(Electric [6 string] with flanger and distortion
Keyboards
unit,
Acoustic [6 string] steel strings)
(Synthesizer, Organ, Electric Piano,
Mounted Tambourine)
Piano-conductor
One of the longest-running Off-Broadway
shows of all time, this affectionate spoof of
1950s sci-fi movies has become a
household name, thanks to a highly
successful film version and a score by the
songwriting team of Howard Ashman and
Alan Menken, who redefined the animated
musical film with Disney’s The Little
Mermaid, Beauty And The Beast
and Aladdin. Charming, tuneful and
hilarious, with tongue firmly planted in
cheek, Little Shop Of Horrors never
fails to entertain. A small cast, band and
unit set make the other aspects of
production a snap.
Now it’s easier than ever to mount this
constant crowd-pleaser! In addition to its
RehearScore program and original logo
artwork, MTI offers a complete set of
Audrey II puppets for rental at affordable
prices, as well as scaled blueprints to help
you build your own.
BACKSTAGE BABBLE
down-and-out skid row floral
assistant becomes an overnight
sensation when he discovers an
exotic plant with a mysterious craving for
fresh blood. Soon “Audrey II” grows into
an ill-tempered, foul-mouthed, R&B-singing
carnivore who offers him fame and fortune
in exchange for feeding its growing
appetite, finally revealing itself to be an
alien creature poised for global
domination!
• Brought to you by the letters E, V, I, and L:
The designer and puppeteer of
Audrey II was Martin Robinson, who
“moonlights” as “Mr. Snuffalupagus”
www.MTIShows.com
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“Rich in the necessary ingredient
needed to make musicals sing —
people about whom you care”
—Michael Kuchwara, Associated Press
™
Music by Stephen Flaherty
Based on the Film “A Man Of No Importance”
Two acts: unit set
Cast
9 men, 5 women
Musical Numbers
"A Man Of No Importance" "The Burden Of Life" "Going Up".
"Princess" “First Rehearsal" "The Streets Of Dublin" "Books"
"Man In The Mirror" "Love Who You Love" "Our Father" "Confession"
"The Cuddles Mary Gave" "Art" "Confusing Times"
“Tell Me Why” “Welcome To My World”
Instrumentation*
Keyboard I
Keyboard II
Guitar
Flute
(Also Doubles Piccolo, Irish Flute in D and Eb,
Penny Whistles in Bb, D and F)
Cello
(Acoustic [Steel String and Nylon String} Also
Bass
Doubles 12-String, Mandolin, Banjo)
Violin
(Acoustic and Electric)
(Also Doubles Mandolin)
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A
chamber musical about the power the
theatre has to transform our lives and
the capacity each of us has to love
one another, A Man Of No Importance
is a rare gem in the musical theatre canon.
Based on a 1994 independent film starring
Albert Finney, A Man Of No Importance
is about the journey of self-discovery and
acceptance of Alfie Byrne, a Dublin bus
conductor who is prone to reciting poetry to
the patrons on his bus. He is also the
director of the local community theatre,
which operates out of a small parish hall in
the neighborhood church. Alfie’s passengers
are also his performers: amateur thespians
that come to see the magic the theatre offers
through Alfie’s eyes.
They inhabit the world of working-class
Dublin in the 1960s, a world where the
budding sexual freedom happening in other
places is barely whispered about. Through
the beautiful book by Terrence McNally,
and the lyrical grace of the score by Lynn
Ahrens and Stephen Flaherty, the team that
brought us the magnificent Ragtime The
Musical now shine their light on A Man
Of No Importance, illuminating the
feeling we have all felt at one time or
another of being an outsider and our
universal need to love and be loved in
return, connecting to something larger than
ourselves.
S TA N D I N G
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Call fo
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“Gripping entertainment”
—New York Times
A
™
Music by Claude–Michel Schönberg
Lyrics by Richard Maltby, Jr. and Alain Boublil
Adapted from the Original French Lyrics by Alain Boublil
Act 1: 2 scenes
Act 2: 4 scenes
Cast
4 men, 2 women, 1 boy, chorus
Musical Numbers
“The Heat Is On In Saigon” “The Movie In My Mind” “Bartering For Kim”
“Kim And Chris Dance” “Why God, Why?” “This Money’s Yours” “Sun And Moon”
“Telephone Sequence” “The Wedding” “Thuy’s Intervention” “Last Night Of The World”
“The Morning Of The Dragon” “I Still Believe” “Coo-Coo Princess” “Thuy’s Death”
“If You Want To Die In Bed” “Kim And Engineer” “Bui–Doi” “Bangkok”
“Please” “Chris Is Here” “Kim’s Nightmare” “Kim And Ellen” “Now That I’ve Seen Her”
“Ellen And Chris” “The American Dream”
Instrumentation
Reed I (Asian flute, piccolo)
Reed II (English horn, oboe)
Reed III (flute, clarinet, alto sax)
Reed IV (bassoon)
Horn I
Horn II
Trumpet
Trombone
Percussion I
Percussion II
Keyboard I
Keyboard II
Keyboard III
Violin I
Violin II
Viola
Cello I
Cello II
Bass/Electric Bass
Piano-vocal
In the turmoil of the Vietnam War, an
American soldier and a Vietnamese girl fall
in love, only to be separated during the fall
of Saigon. Their struggle to find each other
over the ensuing years ends in tragedy for
her, and a fighting chance for the child he
never knew he had.
An international sensation, Miss Saigon is
an epic, daring pop opera which is
universal in its emotional power even as it
deals with controversial, contemporary
issues. Its sung-through pop-inflected score
gives a multi-ethnic cast of strong pop
singers an opportunity to shine, in show
stopping numbers like “I Still Believe,”
“Why God Why?” and “The American
Dream.” Meanwhile, its fluid, cinematic
structure gives directors and designers a
field day.
Raw and uncompromising, Miss Saigon
is an intensely personal story of the losses
we suffer and the sacrifices we make in a
world gone mad.
BACKSTAGE BABBLE
A Sound Effects CD is available for rental
Bui Doi Video Footage is available for rental
classic love story is brought up-todate in one of the most stunning
theatrical spectacles of all time. In
Miss Saigon, Alain Boublil and ClaudeMichel Schönberg (the creators of Les
Misérables), along with Richard Maltby,
Jr., bring Puccini’s Madama Butterfly to
the modern world in a moving testament to
the human spirit and a scathing indictment
of the tragedies of war.
• With the opening of Miss Saigon ,
producer Cameron Mackintosh had
four productions playing on Broadway
simultaneously (the other three being
Cats , Phantom of the Opera and Les
www.MTIShows.com
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“A huge hit with our audiences…
lots of wonderful music and
colorful costumes make it
fun to watch”
—Linda Thayer,
Good Company Players
“A great show to get kids and
local marching bands involved”
—Ralph Maffongelli,
Sheboygan Theatre Company
™
“A great ensemble of memorable,
individual characters”
—Christa Crewdson,
Uncommon Theatre Company
Book, Music and Lyrics by Meredith Willson
Based on a Story by Meredith Willson and Franklin Lacey
Act 1: 9 scenes
Act 2: 7 scenes
Cast
13 men, 10 women, chorus; plus at least 1 girl and 1 boy
Musical Numbers
“Rock Island” “Iowa Stubborn” “Ya Got Trouble”
“Piano Lesson/If You Don’t Mind My Saying So” “Goodnight My Someone”
“Columbia, Gem Of The Ocean” “Seventy–Six Trombones” “Ice Cream/Sincere”
“The Sadder–But–Wiser Girl” “Pick-a-Little, Talk-a-little/Goodnight, Ladies”
“Marian The Librarian” “My White Knight” “The Wells Fargo Wagon” “It’s You”
“Shipoopi” “Lida Rose/Will I Ever Tell You?” “Gary, Indiana” “Till There Was You”
Instrumentation
Reed I (flute, piccolo)
Reed II (clarinet, oboe, English horn)
Reed III (clarinet, Eb clarinet, soprano sax)
Reed IV (clarinet, flute, bass clarinet)
Reed V (bass sax, clarinet, bassoon)
Trumpet I
Trumpet II
Trumpet III
Trombone I
Trombone II
Trombone III
Violins A–B–C [2]
Cello
Bass
Percussion
Piano
Piano-conductor
Piano-vocal
Modified Orchestration (more difficult)
Reed II (clarinet, tenor sax)
Reed III (clarinet, bass clarinet)
Reed IV (clarinet, baritone sax)
Trumpets I & II
Trumpet III
Trombone
Percussion
Solo Violin
Bass
A
n affectionate paean to Smalltown,
U.S.A. of a bygone era, Meredith
Willson’s The Music Man follows
fast-talking traveling salesman Harold Hill
as he cons the people of River City, Iowa
into buying instruments and uniforms for a
boys’ band he vows to organize — this
despite the fact he doesn’t know a
trombone from a treble clef. His plans to
skip town with the cash are foiled when he
falls for Marian the librarian, who
transforms him into a respectable citizen by
curtain’s fall.
Perfect for professional theatres, community
groups, summer stock and schools alike, this
award-winning, critically acclaimed
Broadway classic is an all-American
institution, thanks to its quirky characters,
charmingly predictable dramatic situations,
and one-of-a-kind, nostalgic score of rousing
marches, barbershop quar tets and
sentimental ballads which have become
popular standards. The cast features a
soaring soprano ingenue, parts for young
performers and children, and one of the
musical theatre’s treasures, a tour de force
leading role for a charismatic actor who
doesn’t need to be a trained singer.
By turns wicked, funny, warm, romantic
and touching, The Music Man is family
entertainment at its best.
BACKSTAGE BABBLE
• Author Meredith Willson had been a
flutist with John Phillip Sousa in the
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S TA N D I N G
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“The music is rich… a ribbon of
flowing movement and dance”
—Suzy Willhoft,
Stadium High School
“The creative opportunities
are endless… a romantic
and sweet show”
—Kathy Chitwood,
Eastlight Theatre
“No big sets or scenery necessary
—the ensemble becomes
the settings”
—Pam Ware,
Gainesville High School
T
his highly original and theatrical
Caribbean adaptation of the popular
fairy tale “The Little Mermaid” sings
and dances the story of Ti Moune, the
black peasant girl who rescues, nurses and
falls in love with Daniel, a mulatto from a
wealthy family. When Daniel is returned to
his people, the gods who rule the island
guide Ti Moune on a quest to test the
strength of her love against the powerful
forces of prejudice, hatred and death.
™
Book and Lyrics by Lynn Ahrens
Based Upon the Novel My Love, My Love by Rosa Guy
One act: unit set
Cast
5 men, 5 women, 1 girl
Musical Numbers
“We Dance” “One Small Girl” “Waiting For Life” “And The Gods Heard Her Prayer”
“Rain” “Discovering Daniel” “Pray” “Forever Yours” “The Sad Tale Of The
Beauxhommes” “Ti Moune” “Mama Will Provide” “Some Say” “The Human Heart”
“Some Girls”
“The Ball” “A Part Of Us” “Why We Tell The Story”
Instrumentation
Reed
(alto flute, clarinet, piccolo, soprano sax)
Piano/Keyboard I
Keyboard II
Bass
Guitar
Percussion
Piano-vocal
www.MTIShows.com
Once On This Island is a
director/choreographer’s dream, an
intimate show presented in a
dance/movement-driven style reminiscent
of story theatre, with a small band and
minimal — though colorful — sets and
costumes that capture the imagination of
the audience. Its catchy, contemporary,
and Caribbean-flavored score by the Tony®
Award-winning songwriting team of Lynn
Ahrens and Stephen Flaherty (Ragtime
The Musical, Seussical, Lucky Stiff,
My Favorite Year, A Man Of No
Importance and the animated film
Anastasia) includes tender ballads and
rousing celebrator y numbers for an
ensemble cast of strong singers.
Optional text substitutions from the authors
allow Once On This Island to be
performed in the amateur market by actors
of any race, making the minimal production
requirements of this moving, uplifting show
even more flexible.
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“Great for building a community
audience... it’s a show with a lot
of parts that are perfect for kids”
—Frederick Chacon,
Alameda High School
“A hugely successful production”
—Steven J. Mokofsky,
Flint Community Players
“From the overture to the finale it
is a riot of fun... a royal flush and
a grand slam rolled into one”
—New York Daily Mirror
™
Book by George Abbott and Richard Bissell
Music and Lyrics by Richard Adler and Jerry Ross
Based on the Novel 7 1/2 Cents by Richard Bissell
Act 1: 10 scenes
Act 2: 10 scenes
Cast
Musical Numbers
“The Pajama Game” “Racing With The Clock” “A New Town Is A Blue Town”
“I’m Not At All In Love” “I’ll Never Be Jealous Again” “Hey There” “Her Is” “Sleep Tite”
“Once-A-Year Day” “Small Talk” “There Once Was A Man” “Steam Heat”
“Think Of The Time I Save” “Hernando’s Hideaway” “Seven And A Half Cents”
Instrumentation
Reed I (alto sax, piccolo, flute, clarinet)
Reed II (alto sax, clarinet)
Reed III (tenor sax, clarinet, English horn)
Reed IV (tenor sax, clarinet)
Reed V (baritone sax, bassoon, bass clarinet, clarinet)
Trumpets I & II
Trumpet III
Trombone I
Trombone II
Trombone III
Violins A–C [2]
Violins B–D [2]
Viola
Cello
Bass
Guitar
Percussion
Piano-conductor
Piano-vocal
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T
he dangers of workplace romance are
explored to hysterical effect in this
romantic comedy from the creators of
Damn Yankees. Conditions at the SleepTite Pajama Factor y are anything but
peaceful, as sparks fly between new
superintendent Sid Sorokin and Babe
Williams, leader of the union grievance
committee. Their stormy relationship comes
to a head when the workers strike for a 7½
cent pay increase, setting off not only a
conflict between management and labor,
but a battle of the sexes as well.
Bright and brassy, this unconventional, fastpaced Broadway favorite is every bit the
embodiment of legendary director George
Abbott at his very best. The energetic score
by Richard Adler and Jerry Ross is brimming
with songs and dances which have become
popular and musical theatre standards
(among them “Hey There,” “Steam Heat”
and “Hernando’s Hideaway”) and features
plenty of splashy, fun production numbers,
including a comic “dream ballet.” For solid,
classic musical comedy, it’s hard to beat
The Pajama Game.
BACKSTAGE BABBLE
•Originally approached by legendary
author/director George Abbott to pen
the score for The Pajama Game, Frank
Loesser
turned
it
down,
but
recommended his two protégés
Richard Adler and Jerry Ross for the
S TA N D I N G
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“Carries you through the gamut
of emotion while you’re in the
theatre, and it stays with you
long after you’ve left”
—Washington Square News
“Stakes claim to becoming a new,
vital form of opera in America”
—Chicago Tribune
T
Book By Alfred Uhry
Music and Lyrics by Jason Robert Brown
Co-Conceived by Harold Prince
Act 1: 15 scenes
Act 2: 11scenes
Cast
20 Men, 11 Women plus Ensemble
Musical Numbers
“The Old Red Hills Of Home” “The Dream Of Atlanta” “How Can I Call This Home?”
“The Picture Show” “Leo At Work/What Am I Waiting For?” “Interrogation” “Big News!”
“Funeral Sequence” “Watson’s Lullaby” “Somethin’ Ain’t Right” “Real Big News”
“You Don’t Know This Man” “The Trial” “A Rumblin’ And A Rollin’” “Do It Alone”
“Pretty Music” “Letter To The Governor” “This Is Not Over Yet” “Feel The Rain Fall”
“Where Will You Stand When The Flood Comes?” “All The Wasted Time”
Instrumentation
Reed I (Piccolo, Clarinet, Flute, Alto Sax, Soprano Sax)
Reed II (English Horn, Flute, Oboe, Clarinet,
Alto Sax, Soprano Sax)
Reed III (Clarinet, Bass Clarinet, Tenor Sax,
Flute, Soprano Sax)
Reed IV (Bass Clarinet, Tenor Sax, Bassoon,
Baritone Sax, Clarinet, Soprano Sax)
Horn I
Horn II
Trumpet I
Trumpet II
Trombone
Violins I, II & III [3]
Cello I & II [2]
Bass (Bass, Tuba)
Guitar (Acoustic, Electric, Banjo)
Keyboard
Percussion I
Percussion II
Piano-conductor
37
2 1 2 - 5 4 1 - w4 w6 8w 4. M T I S h o w s . c o m
he tragic true story of the trial of a
man convicted of murder by prejudice
and ignorance is the event brought to
emotional and theatrical life by acclaimed
playwright Alfred Uhry (Driving Miss
Daisy) and Jason Robert Brown, one of
Broadway’s most promising young
composers (Songs For A New World
and The Last Five Years).
In 1913, Leo Frank, a Brooklyn-born Jew
living in Georgia, is put on trial for the
murder of 13-year-old Mary Phagan, a
factory worker under his employ. Already
guilty in the eyes of everyone around him,
a sensationalist publisher and a janitor’s
false testimony seal Leo’s fate. His only
defenders are a gover nor with a
conscience and eventually, his assimilated
Southern wife, who finds the strength and
love to become his greatest champion.
Daring, innovative, and bold, Parade
won well-earned Tony® Awards for Best
Book and Best Score in 2000. Its subject
matter and true story are tragic lessons that
should not be forgotten.
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“One of the most exciting shows
we’ve put on... incredible
audience response, the biggest
crowd in several years”
—Paul Dennis,
Walla Walla High School
“Tons of fun, with a message”
—Tim Borquez,
Verdugo Hills Community Theatre
O
nce upon a time, the young prince
Pippin longed to discover the
secret of true happiness and
fulfillment. He sought it in the glories of the
battlefield, the temptations of the flesh and
the intrigues of political power (after
disposing of his father King Charlemagne
the Great). In the end, he found it in the
simple pleasures of home and family.
Book by Roger O. Hirson
Music and Lyrics by Stephen Schwartz
One act: unit set
Cast
5 men, 3 women, 1 boy, chorus
Musical Numbers
“Magic To Do” “Corner Of The Sky” “Welcome Home” “War Is A Science” “Glory”
“Simple Joys” “No Time At All” “With You” “Spread A Little Sunshine” “Morning Glow”
“The Right Track” “There He Was” “Kind Of Woman” “Extraordinary”
“Prayer For A Duck” “Love Song” “I Guess I’ll Miss The Man”
Instrumentation
Reed I (piccolo, flute, alto flute, clarinet,
Harp
Violin
Viola
Cello
soprano recorder, tenor recorder)
Reed II
(oboe, clarinet, flute, tenor recorder,
English horn)
Horn
Trumpet
Trombone I
Trombone II
Bass (electric bass)
Piano I (also harpsichord)
Piano II (also organ)
Percussion
Drums
Piano–conductor
Guitar (banjo, acoustic guitar, electric guitar,
12–string guitar)
This hip, tongue-in-cheek, anachronistic fairy
tale captivated Broadway audiences and
continues to appeal to the young at heart
everywhere (the show has become a staple
on high school and college campuses). The
energetic pop-influenced score by three-time
Oscar®-winning composer/lyricist Stephen
Schwartz (Godspell, Children Of Eden,
The Baker’s Wife and the animated films
Pocahontas, The Hunchback Of
Notre Dame and The Prince Of
Egypt) bursts with one show stopping
number after another, from soaring ballads to
infectious dance numbers.
Featuring a strong ensemble cast and a showstealing song-and-dance narrator, Pippin is
equally effective as an intimate, black-box
production (as envisioned by the authors) or
as original director/choreographer Bob
Fosse’s splashy, dance-driven spectacle,
which included some of the most brilliant
staging in Broadway history.
BACKSTAGE BABBLE
• Did you know? : In his high school
production of P i p p i n , actor Matt
Damon played the title role.
• Stephen Schwartz was only 25 years
old when Pippin opened on Broadway.
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S TA N D I N G
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Gilbert & Sullivan’s
“Our audiences LOVED it... a real
family show... kids arrived
wearing pirate hats”
—Marty Van Kleeck,
Granbury Opera House
“A popular show with our
younger audiences... this lively
adaptation appeals to the same
audience base as Tommy”
—Paula Stover,
Lyric Theatre Of Oklahoma
™
As Presented on Broadway by The
New York Shakespeare Festival
Joseph Papp, Producer Directed by Wilford Leach
Musical Adaptation by William Elliott Choreography by Graciela Daniele
Act 1: 1 scene
Act 2: 1 scene
Cast
4 principal men, 2 principal women, 7 Daughters, 15+ Pirates/Policemen
Musical Numbers
“Pour, O Pour The Pirate Sherry” “When Frederick Was A Little Lad”
“Oh, Better Far To Live And Die” “Oh, False One, You Have Deceived Me”
“Climbing Over Rocky Mountain” “Stop, Ladies, Pray!”
“Oh, Is There Not One Maiden Breast” “Poor Wandering One”
“How Beautifully Blue The Sky” “Stay, We Must Not Lose Our Senses”
“I Am The Very Model Of A Modern Major–General” “Oh, Men Of Dark And Dismal
Fate” “Oh, Dry The Glistening Tear” “When The Foreman Bares His Steel”
“When You Had Left Our Pirate Fold” “My Eyes Are Fully Open”
“Away, Away! My Heart’s On Fire!” “Stay, Frederick Stay!” “Sorry Her Lot”
“When A Felon’s Not Engaged In His Employment” “A Rollicking Band Of Pirates We”
“With Cat–Like Tread, Upon Our Prey We Steal”
“Hush, Hush! Not A Word” “Sighing Softly To The River”
Instrumentation
Bass II
Reed I (flute, piccolo) [2]
Reed IIA (clarinet, bass clarinet, alto sax)
Percussion I (xylophone, vibraphone, etc.)
Reed IIB (clarinet, bass clarinet, sax)
Percussion II (timpani, concert bass drum, etc.)
Reed III (bassoon, alto flute)
Percussion III (trap set, etc.)
Trumpets I & II (trumpet, piccolo trumpet,
Keyboard I (electric grand piano, Yamaha CP80,
flugelhorn) [2]
RMI600B)
Trombone (tenor & bass trombone)
Keyboard II (celeste, Crumar synthesizer, plus
Bass I
optional
ARP Pro soloist)
Piano-conductor
A
fresh take on one of Gilbert and
Sullivan’s most popular comic
operas, this updated version of The
Pirates Of Penzance took New York by
storm when it premiered in Central Park in
1980, leading to a subsequent smash-hit
Broadway run.
Wacky, irreverent and as entertaining
today as it was when it first opened in
1879, The Pirates Of Penzance spins
an hilarious farce of sentimental pirates,
bumbling policemen, dim-witted young
lovers, dewy-eyed daughters and an
eccentric Major-General, all morally bound
to the often-ridiculous dictates of honor and
duty.
The beauty, wit and whimsy of Gilbert and
Sullivan’s classic score is suffused with a
modern sensibility, making this Pirates an
excellent choice for opera and light opera
companies looking to expand their
audience base. The sheer number of
memorable roles makes it perfect for
community and school groups. And with
production requirements consisting of only
two sets and a medium-sized orchestra, it
should be considered by any company
featuring comic actors with excellent
singing voices.
BACKSTAGE BABBLE
• The original Broadway production of
this version of Pirates of Penzance
boasted an all-star cast led by Rex
Smith and Linda Rondstadt, and
included Kevin Kline, Estelle Parsons
www.MTIShows.com
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Call fo
r in
nforma
tion
™
“This is a gift from
the show-biz Gods!”
—Richard Zoglin, Time Magazine
“Relentless in its energy…
it is an absolutely socko
monster hit!”
—Richard Christensen, Chicago Tribune
B
Book by Mel Brooks and Thomas Meehan
Music and Lyrics by Mel Brooks
Act 1: 9 scenes
Act 2: 10 scenes
Cast
5 men, 1 woman, chorus
Musical Numbers
“Opening Night” “The King of Broadway” “We Can Do It”
“I Wanna Be A Producer” “In Old Bavaria” “Der Guten Tag Hop-Clop”
“Keep It Gay” “When You Got It, Flaunt It” “Along Came Bialy” “That Face”
“Haben Sie Gehöert Das Deutsche Band?”
“You Never Say ‘Good Luck’ On Opening Night”
“Springtime For Hitler, A Medley Including Heil Myself” “Where Did We Go Right?"
“Betrayed” “‘Til Him” “Prisoners Of Love (Leo & Max)” “Goodbye!”
Instrumentation*
Reed
Trumpets
Trombones
French Horn
Violins
Cello
Drums
Percussion
Keyboard
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ialystock and Bloom! Those names
should strike terror and hysteria in
anyone familiar with Mel Brooks’
classic cult comedy film. Now as a big
Broadway musical, The Producers once
again sets the standard for modern,
outrageous, in-your-face humor. It is a truly
“boffo” hit, winning a record twelve Tony®
Awards and wowing capacity crowds night
after night.
The plot is simple: a down-on-his-luck
Broadway producer and his mild-mannered
accountant come up with a scheme to
produce the most notorious flop in history
thereby bilking their backers (all “little old
ladies”) out of millions of dollars. Only one
thing goes awry: the show is a smash hit!
The antics of Max Bialystock and Leo Bloom
as they maneuver their way fecklessly
through finding a show (the gloriously
offensive “Springtime For Hitler”), hiring a
director, raising the money and finally going
to prison for their misdeeds is a lesson in
broad comic construction. At the core of the
insanely funny adventure is a poignant
emotional journey of two very different men
who become friends.
With a truly hysterical book co-written by
Mel Brooks and Thomas Meehan (Annie)
and music and lyrics by Mr. Brooks, The
Producers skewers Broadway traditions
and takes no prisoners as it proudly
proclaims itself an “equal opportunity
offender!” (NOTE: a PG-rated version of the
show is being prepared by Mr. Brooks for
production by amateur groups who
otherwise might be lynched by their
communities if they produced the
unexpurgated version!)
S TA N D I N G
O VAT I O N S
“A sophisticated, sumptuous, glitzy
onstage party that celebrates the
legendary artist who simply keeps
on redefining the American
musical... it’s simply terrific”
—The Hollywood Reporter
“Every element here conspires to
show Sondheim’s genius in its
best light”
—Drama-Logue
A
revue with a difference... A revue
that tells a story... A show that covers
one night and forty years... A show
that takes place today and also in 200
B.C., 1853, 1882, 1900, the 1950s, the
1970s, the 1980s and tonight.
™
Two acts: unit set
Cast
A show that takes place not only in New
York but also Greece and Rome and
London and Paris and Milan and
Sweden...
A show that takes place in a Manhattan
penthouse, but includes the stage of an
abandoned theater, an estate in Sweden,
an island outside of Paris, a street off the
Roman Forum, the woods of a fairy tale
and a mythical town in the Southwest... All
performed by only five people thrown
together at a party.
3 men, 2 women
Musical Numbers
“Invocation And Instructions To The Audience” “Putting It Together” “Rich And Happy”
“Do I Hear A Waltz?” “Merrily We Roll Along” “Lovely”
“Everybody Ought To Have A Maid” “Sooner Or Later” “Hello, Little Girl”
“My Husband The Pig” “Every Day A Little Death” “Come Play Wiz Me”
“Have I Got A Girl For You” “Pretty Women” “Now” “Bang!” “Country House”
“Could I Leave You?” “Back In Business” “Rich And Happy And Stoned”
“Medley-A Little Night Music” “Game Sequence” “Gun Song” ”The Miller’s Son”
“Live Alone And Like It” “Sorry-Grateful” “Sweet Polly Plunkett”
”I Could Drive A Person Crazy” “Marry Me A Little” “Getting Married Today”
“Being Alive” “Like It Was” “Old Friends”
Instrumentation
Keyboard I
Keyboard II
Bass
Percussion
BACKSTAGE BABBLE
• The initial production of Putting It
Together was devised by Julia
MacKenzie and performed in Oxford,
England, starring Diana Rigg.
Sondheim himself has devised this unique
and inventive musical entertainment from his
own work which includes songs from every
score he has ever written as well as some
never heard before. His delight in devising
unusual and entertaining crossword puzzles
has here found an unexpected outlet in the
way he has put together this extraordinary
collection of brilliant songs into what has
been described as the funniest show
Sondheim never wrote... but now he has.
• Julie Andrews appeared for the first
time on a New York stage in 30 years
when she starred in the 1993
Manhattan Theatre Club production.
www.MTIShows.com
41
MUSIC
T H E AT R E
NEW
ACQU
ISITIO
N!
“A RAVISHING PAGEANT”
—Ben Brantley, The New York Times
™
Based on the Novel by E.L. Doctorow
Act 1: 1 scene
Act 2: 1 scene
Cast
7 men, 4 women, 1 boy, 1 girl, chorus
Musical Numbers
“Ragtime” “Goodbye, My Love” “Journey On” “Crime Of The Century”
“What Kind Of Woman” “A Shtetl Iz Amereke” “Success”
“His Name Was Coalhouse Walker” “Gettin’ Ready Rag” “Henry Ford”
“Nothing Like The City” “Your Daddy’s Son” “The Courtship” “New Music”
“Wheels Of A Dream” “The Night That Goldman Spoke” “Gliding” “Justice” “President”
“Till We Reach That Day” “Coalhouse’s Soliloquy” “What A Game!” “Atlantic City”
“Buffalo Nickel Photoplay, Inc.” “Our Children” “Sarah Brown Eyes” “He Wanted To
Say” “Back To Before” “Look What You’ve Done” “Make Them Hear You”
Instrumentation
Reed I (Flute, Piccolo)
Reed II (English Horn, Oboe)
Reed III (Clarinet, Eb Clarinet)
Reed IV (Bass Clarinet, Clarinet, Flute)
Horn I
Horn II
Trumpet I
Trumpet II
Trombone I
Trombone II
Violin [2]
Viola
Cello
Tuba
Bass
Banjo
Harp
Keyboard I
Keyboard II
Keyboard III
Percussion I
Percussion II
Drums
Piano-vocal
Ragtime School Edition Soon To Be Available
42
212-541-4684
“Filled with the wondrous
momentum of a parade-you’re
hooked, eager for what’s next,
and helpless to resist”
—Kenneth Jones, The Detroit News
T
his epic new musical by the awardwinning composer/lyricist team
Stephen Flaherty and Lynn Ahrens
(Lucky Stiff, My Favorite Year, Once
On This Island, Seussical, A Man Of
No Importance) paints a nostalgic and
powerful portrait of life in turn of the century
America. Based on E.L. Doctorow's
distinguished novel, Ragtime The
Musical intertwines three distinct stories
that poignantly illustrate history's timeless
contradictions of wealth and poverty,
freedom and prejudice, hope and despair,
and love and hate.
Flaherty's score is just as diverse as the
Melting Pot of America that it seeks to
recreate. It draws upon traditional Jewish
folk sounds to color the haunting music of
the immigrants, Vaudeville's outrageous style
to capture the spectacle of Evelyn Nesbit,
and Joplin and Jazz to invoke the enlivened
spirit of Harlem.
With a book by Terrence McNally (A Man
of No Importance, Kiss of the Spider
Woman, Master Class), this 1998
Tony® Award winning show for best score,
book, and orchestrations, features such
show stopping songs as "Gettin’ Ready
Rag," "Your Daddy's Son," "Wheels of a
Dream," "Till We Reach That Day," "Back To
Before," and "Make Them Hear You." This
momentous musical is sure to inspire actors
and audiences alike!
S TA N D I N G
O VAT I O N S
NEW
ACQU
ISITIO
N!
“Clever, colorful, tuneful and
full of heart! Dr. Seuss comes
through again! ”
—The Indianapolis Sun
™
A
fter all those years being stuck on a
page, Did you ever imagine you'd
see me onstage? Now I'm here,
there is no telling what may ensue! No,
there's no telling what! But I'll give you a
clue...”
“
Book by Lynn Ahrens and Stephen Flaherty
Co-Conceived by Lynn Ahrens, Stephen Flaherty, and Eric Idle
Based on the Works of Dr. Seuss
Act 1: 3 scenes
Act 2: 4 scenes
Cast
9 men, 7 women, 1 boy, 2 characters, ensemble
Musical Numbers
“Oh, The Thinks You Can Think” “Horton Hears A Who” “Biggest Blame Fool”
“Here On Who” “It’s Possible (McElligot’s Pool)” “How To Raise A Child”
“The Military” “Alone In The Universe” “The One Feather Tail Of Miss Gertrude McFuzz”
“Amayzing Mayzie” “Amayzing Gertrude” “Monkey Around” “Chasing The Whos”
“How Lucky You Are” “Notice Me, Horton” “Horton Sits On The Egg” “Egg, Nest And
Tree” “The Circus McGurkus” “The Circus On Tour” “Mayzie In Palm Beach”
“Solla Sollew” “The Whos’ Christmas Pageant” “A Message From The Front”
“Havin’ A Hunch” “All For You” “The People Versus Horton The Elephant”
“Finale /Oh, The Thinks You Can Think” “Bows: Green Eggs And Ham”
Instrumentation*
Keyboards [2]
Percussion
Drums
Electric Bass
Guitars
Trombone
Trumpets [2]
Woodwinds [3]
Violins [2]
Viola
Cello
These classic, colorful tales are seamlessly
brought together by Jojo, a young boy and
"thinker of strange and wonderful thinks!" As
each story unfolds you will marvel at how
relevant and profound Seuss' subtle themes
are, making this musical one that appeals to
all ages.
The score emerges as a Seussian gumbo of
musical styles, ranging from Latin to pop,
swing to gospel, and R&B to funk! So let
your toes tap, your fingers snap, and your
imagination run wild, for
"If you open your mind,
Oh, the thinks you will find
Lining up to get loose!
Oh, the thinks you can think!
When you think about Seuss!!"
So says the mischievous Cat in the Hat at
the onset of this fantastical, magical,
musical extravaganza! Lynn Ahrens and
Stephen Flaherty (Lucky Stiff, My
Favorite Year, Once On This Island,
Ragtime The Musical, A Man Of No
Importance) have lovingly brought to life
all of our favorite Dr. Seuss characters,
including Horton the Elephant, Gertrude
McFuzz, Lazy Mayzie and all of the Whos
of Whoville!
www.MTIShows.com
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MUSIC
T H E AT R E
“A run-away box office smash
EVERY TIME we do it... a RIPROARIN’ HIT with audiences
of all ages”
—Denise S. Trupe,
Dutch Apple Dinner Theatre
“A sellout… we had to
hold it over”
—Jim Evers,
Corn Stock Theatre
G
™
Book by Lawrence Kasha and David Landay
Lyrics by Johnny Mercer • Music by Gene de Paul
New Songs by Al Kasha and Joel Hirschhorn
Based on the MGM Film and The Sobbin’ Women
by Stephen Vincent Benet
Act 1: 10 scenes
Act 2: 9 scenes
Cast
7 principal men, 7 principal women, chorus
Musical Numbers
“Bless Your Beautiful Hide” “Wonderful Wonderful Day” “One Man” “Goin’ Courting”
“Social Dance” “Love Never Goes Away” “Sobbin’ Women” “The Townsfolk’s Lament”
“A Woman Ought To Know Her Place” “We’ve Gotta Make It Through The Winter”
“Glad That You Were Born”
Instrumentation
Reed II (oboe, clarinet, flute)
Reed III (oboe, clarinet, flute, English horn)
Reed IV (bass clarinet, clarinet)
Reed V (bassoon)
Horns I & II
Trumpet I
Trumpet II
Trumpet III
Trombone I
Trombone II
Violin [2]
Viola
Cello
Bass
Harp
Guitar/Banjo
Drums
Percussion
Piano–conductor
A performance accompaniment CD is available for rental
44
212-541-4684
oin’ courting” has never been as
much fun as in this rip-roaring
stage version of the popular MGM
movie, adapted by Lawrence Kasha and
David Landay. Millie is a young bride
living in the 1850s Oregon wilderness
whose plan to civilize and marry off her six
rowdy brothers-in-law to ensure the success
of her own marriage backfires when the
brothers, in their enthusiasm, kidnap six
women from a neighboring town to be their
brides.
Bursting with the rambunctious energy of
the original film, Seven Brides For
Seven Brothers is all boisterous fun and
romance that harkens back to the glory
days of the movie musical. A large cast of
characters gives many actors a chance to
shine, making the show a perfect choice
for schools or community groups. New
songs by Al Kasha and Joel Hirschhorn
have been added to a melody-drenched
classic film score by Johnny Mercer and
Gene de Paul that includes wistful ballads,
charming comic turns and rousing show
stopping dances. And a special
orchestrated accompaniment CD makes
rehearsals and performances a cinch.
BACKSTAGE BABBLE
• Before coming to Broadway, the stage
adaptation of Seven Brides For Seven
Brothers toured the country featuring
the stars of the classic movie musical,
Howard Keel and Jane Powell.
• The Broadway production of Seven
Brides For Seven Brothers starred Debbie
Boone, a descendant of real life
pioneer, Daniel Boone.
S TA N D I N G
O VAT I O N S
“Timeless… beautifully written
our audiences responded
enthusiastically”
—Mary Britt,
Ocala Civic Theatre
“Audiences were actually in
suspense about the outcome!”
—Jennifer Jenkins, Theatre Arts Guild
T
™
Music and Lyrics by Sherman Edwards
Book by Peter Stone
Based on a Concept by Sherman Edwards
Act 1: 5 scenes
Act 2: 2 scenes
Cast
he seminal event in American history
blazes to vivid life in this most
unconventional of Broadway hits. It’s
the summer of 1776, and the nation is
ready to declare independence... if only
our founding fathers can agree to do it!
1776 follows John Adams of
Massachusetts, Benjamin Franklin of
Pennsylvania, and Richard Henry Lee and
Thomas Jefferson of Virginia as they attempt
to convince the members of the second
Continental Congress to vote for
independence from the shackles of the
British monarchy by signing the Declaration
of Independence.
1776 puts a human face on the pages of
history as we see the men behind the
national icons: proud, frightened,
uncertain, irritable, charming, often petty
and ultimately noble figures determined to
do the right thing for a fledgling nation.
25 men, 2 women
Musical Numbers
“For God’s Sake, John, Sit Down” “Piddle, Twiddle” “Till Then” “The Lees Of Old
Virginia”
“But, Mr. Adams” “Yours, Yours, Yours” “He Plays The Violin”
“Cool, Cool Considerate Men” “Momma Look Sharp” “The Egg”
“Molasses To Rum” “Compliments” “Is Anybody There?”
Instrumentation
Trombone II
Trombone III
Violin [2]
Viola [2]
Cello
Bass
Harp
Harpsichord
Percussion [2]
Reed II (clarinet, flute)
Reed III (oboe, English horn, clarinet)
Reed IV (bassoon, optional clarinet)
Trumpet (optional trumpet II) [2]
Horns I & II [2]
Trombone I
Piano–conductor
Involving a sizeable, largely male ensemble
with no chorus, the show features a striking
score by Sherman Edwards, which is
modest in its vocal requirements and a book
by Peter Stone, which is legendary in its
craftsmanship. 1776 is a funny, insightful
and compelling drama.
BACKSTAGE BABBLE
• Composer/Lyricist Sherman Edwards
was a history teacher turned
songwriter from Morristown, New
Jersey. He spent ten years working on
1776.
• Opening with a small advance sale,
word-of-mouth and critical praise
made 1776 the sleeper hit of of the
late 1960s. It was a hit all over again
www.MTIShows.com
45
MUSIC
T H E AT R E
“A gem of a musical with
built-in charm”
—Morrie Enders,
La Crosse Community Theatre
“A beguiling and charming show
that fit perfectly into the holiday
season... the audience LOVED it”
—Steven Woolf
Repertory Theatre of St. Louis
I
t is the rare musical theatre aficionado
who doesn’t have a soft spot in his heart
for this intimate show, considered by many
the most charming musical ever written.
Book by Joe Masteroff
Music by Jerry Bock
Based on a Play by Miklos Laszlo
Act 1: 4 scenes Act 2: 6 scenes
Cast
Musical Numbers
“Good Morning, Good Day” “Sounds While Selling” “Days Gone By” “No More Candy”
“Three Letters” “Tonight At Eight” “I Don’t Know His Name” “Perspective”
“Goodbye Georg” “Will He Like Me?” “Ilona” “I Resolve” “A Romantic Atmosphere”
“Mr. Nowack, Will You Please” “Dear Friend” “Try Me” “Where’s My Shoe?”
“Vanilla Ice Cream” “She Loves Me” “A Trip To The Library”
“Grand Knowing You” “Twelve Days To Christmas”
Instrumentation (1993 revival)
Viola
Cello
Bass
*Reed I (flute, alto flute, clarinet, Eb clarinet, piccolo)
*Reed II (flute, clarinet, Eb clarinet, bass clarinet,
English horn, oboe)
Trumpet/Flügelhorn
Horn
Violin I
Violin II
Violin III
Percussion
She Loves Me showcases a small but
strong ensemble cast playing a range of
vivid, memorable characters of all ages.
Dance is mostly eschewed in favor of
clever, character-driven songs full of melody
and personality. An ideal Christmas or
Valentine’s Day show, this heart-warming
work by Jerry Bock and Sheldon Harnick
(the songwriting team of Fiddler On The
Roof) and Joe Masteroff (the bookwriter of
Cabaret) is a pleasure whatever the
occasion.
(traps, timpani, xylophone, vibes, etc.)
Keyboard I
Keyboard II
Piano-conductor
*3 Reed Version also available
46
Georg and Amalia are two feuding clerks
in a European par fumerie during the
1930s who secretly find solace in their
anonymous romantic pen pals, little
knowing their respective correspondents
are none other than each other. Funny,
intelligent, honest and sentimental, She
Loves Me is a warm romantic comedy
with an endearing innocence and a touch
of old world elegance and nostalgia, yet
as universal and relevant as ever in this
age of internet romances.
212-541-4684
BACKSTAGE BABBLE
• Parfumerie (the play by Miklos Laszlo
that served as the source material for
She Loves Me) was also the source
material for the classic film, The Shop
Around The Corner (starring Jimmy
Stewart and Maureen O’Sullivan),
and the more recent You’ve Got Mail
S TA N D I N G
O VAT I O N S
“A great script with great
opportunities for character
performers... we were sold out a
week before we opened”
—Deborah McEniry,
Palm Beach Atlantic College
™
“When it began to rain, our
audiences were overcome
with delight”
—Jane Madalox,
Gallery Players of Oregon
“Sends the audience whistling
and dancing on their way out
the door”
—Norman Nielsen,
SCERA, Inc.
Based on the MGM Film
Screenplay and Adaptation by Betty Comden and Adolph Green
Songs by Nacio Herb Brown and Arthur Freed
Act 1: 14 scenes
Act 2: 5 scenes
Y
ou remember the plot. You love the
characters. You know “the song.” It’s
no less than the stage adaptation of
one of the most celebrated and beloved
films of all time.
Cast
4 principal men, 2 principal women, chorus
Musical Numbers
“Fit As A Fiddle” “You Stepped Out Of A Dream” “All I Do Is Dream Of You”
“Make ‘Em Laugh” “Beautiful Girl” “You Are My Lucky Star” “You Were Meant For Me”
“Moses Supposes” “Good Morning” “Singin’ In The Rain” “Would You”
“What’s Wrong With Me” “Broadway Melody” “Singin’ In The Rain”
Instrumentation
Reed I (alto sax, flute, piccolo, clarinet)
Reed II (alto sax, flute, clarinet)
Reed III (tenor sax, clarinet)
Reed IV (baritone sax, clarinet,
bass clarinet)
Trumpet I
Trumpet II
Trumpet III
Trombone I
Trombone II
Violins I & II
Viola
Cello
Bass
Keyboard
Percussion
Drums
Piano–conductor
The Rain Sequence
Although the Broadway and touring productions used a self-contained wagon set on
which the center portion or “street” was lower than the surrounding “sidewalk” to
contain the water used as rain (which was then re-circulated by pumps to the water pipes
above), other rain effects are easily (and more dryly) accomplished. Please call us for
more information.
1920s Hollywood is the setting for this
zany, light-hearted romantic comedy about
the early days of sound film, when many a
movie studio found itself scrambling to
salvage the career of its chipmunk-voiced
silent picture star.
The MGM classic has been faithfully and
lovingly adapted by Broadway legends
Betty Comden and Adolph Green from
their original award-winning screenplay.
Each unforgettable scene, song and dance
is accounted for, including the show
stopping title number, complete with an
onstage rainstorm! Hilarious situations,
snappy dialogue, and a hit-parade score
of Hollywood standards make Singin’ In
The Rain the perfect entertainment for any
fan of the golden age of movie musicals.
BACKSTAGE BABBLE
• The film version of Singin’ In The Rain
was named one of the top ten movies
of all time by the American Film
www.MTIShows.com
47
MUSIC
T H E AT R E
“An artistic success that brought
in a whole new clientele”
—Toby Orenstein,
Toby’s Dinner Theatre
™
“Kept the audience on the edge of
their seats”
—Dwight Martin,
Manoa Valley Theatre
“There is more artistic energy,
creative personality and plain
excitement than in a dozen
average musicals”
—New York Times
Book by Hugh Wheeler
Based on a Version of Sweeney Todd by Christopher Bond
Two acts: unit set
Cast
Musical Numbers
“The Ballad Of Sweeney Todd” “No Place Like London” “The Worst Pies In London”
“Poor Thing” “My Friends” “Green Finch And Linnet Bird” “Ah, Miss” “Johanna”
“Pirelli’s Miracle Elixir” “The Contest” “Wait” “Kiss Me” “Ladies In Their Sensitivities”
“Pretty Women” “Epiphany” “A Little Priest” “God, That’s Good!” “By The Sea” “The
Letter” “Wigmaker Sequence” “Not While I’m Around” “Parlor Songs” “Fogg’s Asylum”
“City On Fire” “Searching” “The Judge’s Return”
Instrumentation
Trombone III
Violin
Viola
Cello
Bass
Harp
Organ/Celeste
Percussion
Piano–conductor
Reed I (flute, piccolo, alto flute, recorder)
Reed II (flute, piccolo, clarinet, Eb clarinet)
Reed III (flute, clarinet, bass clarinet)
Reed IV (oboe, English horn, clarinet)
Reed V (bassoon, clarinet)
Horn
Trumpets I & II
Trombone I
Trombone II
9–Piece Orchestration
Reed I
Reed II
Horn
Trumpet
Violin
Cello
Bass
Percussion
Piano-conductor
(Full Score available)
48
212-541-4684
T
he rare instance of a musical thriller,
Stephen Sondheim and Hugh
Wheeler’s chilling, suspenseful, heartpounding masterpiece of murderous barberism and culinary crime tells the infamous
tale of the unjustly exiled barber who returns
to 19th century London seeking revenge
against the lecherous judge who framed
him and ravaged his young wife. His thirst
for blood soon expands to include his
unfortunate customers, and the resourceful
proprietress of the pie shop downstairs soon
has the people of London lining up in
droves with her mysterious new meat pie
recipe!
Sophisticated, macabre, visceral and
uncompromising, Sweeney Todd
nevertheless has a great sense of fun,
mixing intense drama with howlingly funny
moments of dark humor: audiences find
themselves laughing hysterically one
moment and gasping in surprise the next.
At the show’s core is a challenging score of
epic proportion with two tasty tour de force
roles in Sweeney and his comic female
accomplice Mrs. Lovett. Although it has been
extremely popular with opera companies and
in concert presentation, Sweeney Todd is
equally effective as an intimate chamber
musical.
BACKSTAGE BABBLE
• One intimate production of Sweeney
Todd actually had Sweeney dispatch of
his victims by use of a “meat-hook”
that took them out the door of the
theatre, since the ceilings were too
S TA N D I N G
O VAT I O N S
CURRE
RESTR NTLY
ICTED
Call fo
r in
nforma
tion
™
“As Bubbly As A Glass
Of Champagne”
—Michael Kuchwara, Associated Press
“Sheer Mind-Teasing,
Heart-Tickling Delight!”
—John Simon, New York Magazine
T
horoughly Modern Millie is a highspirited musical romp that has all of
New York dancing the Charleston. It’s
the zany new 1920’s musical that has taken
Broadway by storm!
Book by Richard Morris and Dick Scanlan
New Music by Jeanine Tesori
New Lyrics by Dick Scanlan
Original Story and Screenplay by Richard Morris for the Universal Pictures Film
Act 1: 13 scenes
Act 2: 9 scenes
Cast
Musical Numbers
“Not For The Life Of Me” “Thoroughly Modern Millie” “How The Other Half Lives”
“The Speed Test” “They Don’t Know” “The Nuttycracker Suite”
“What Do I Need With Love?” “Only In New York” “Jimmy” “Forget About The Boy”
“I’m Falling In Love With Someone” “I Turned The Corner” “Muqin”
“Long As I’m Here With You” “Gimme, Gimme”
Instrumentation*
Reed I (woodwinds)
Trumpets
Trombone
French Horn
Piano
Guitar
Violin
Cello
Bass
Harp
Drums
Percussion
Taking place in New York City in 1922,
Thoroughly Modern Millie tells the story
of young Millie Dillmount, who has just
moved to the city in search of a new life for
herself. It’s a New York full of intrigue and
jazz - a time when women were entering the
workforce and the rules of love and social
behavior were changing forever. Based on
the popular movie, the stage version of
Thoroughly Modern Millie includes a
full score of new songs and bright dance
numbers.
Filled with frisky flappers, dashing leading
men and a dragon-lady of a villainess
audiences will love to hate, Thoroughly
Modern Millie is a perfectly constructed
evening of madcap merriment. And with the
role of Millie Dillmount, musical theatre has
found a new heroine for the ages in
Thoroughly Modern Millie.
www.MTIShows.com
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T H E AT R E
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ACQU EW
ISITIO
N!
™
"Joyous, wholesome, literate and
wonderfully realized...
guaranteed to dazzle and enchant
children and adults alike"
—TalkinBroadway.com
M
Based on the Novel by Mark Twain
Conceived and Written by Ken Ludwig
Music and Lyrics by Don Schlitz
Act 1: 9 scenes
Act 2: 6 scenes
Cast
9 men, 6 women, 8 boys, 5 girls (may be expanded)
Musical Numbers
“Civilization” “Hey, Tom Sawyer” “Here’s My Plan” “Smart Like That!” “Hands All
Clean” “The Vow” “Raising A Child” “Old Hundred” “In The Bible” “It Just Ain’t Me”
“To Hear You Say My Name” “Murrel’s Gold” “The Testimony” ”Ain’t Life Fine”
“This Time Tomorrow” “I Can Read” “Angels Lost” “Light” “Finale”
ark Twain's classic story comes to
exuberant musical life in this
Broadway adaptation of America's
favorite book. The Adventures Of Tom
Sawyer is the irresistible story of a fourteenyear-old boy growing up in the heartland of
America. This Broadway musical version of
Mark Twain's immortal novel is set in 1840 in
St. Petersburg, Missouri, a bustling town on
the banks of the Mississippi River. In the
course of the story, Tom matches wits with his
stern Aunt Polly, falls in love with the beautiful,
feisty Becky Thatcher, and goes on the
adventure of his life with Becky and that
irresistible renegade, Huckleberry Finn. Along
the way we meet a terrifying villain named
Injun Joe, Tom's bratty half-brother Sid, and all
the other boys and girls in the village providing one scene-stealing children's role
after the other.
Instrumentation
Violin
Bass
Guitar [3]
Drums
Piano-vocal
One hour Tour Version also available.
Call for details
50
212-541-4684
As this fun-filled musical unfolds, we share with
Tom and his friends all of the rollicking and
heart-stopping adventures that we find in
Twain's masterpiece, whether it's Tom tricking
his friends into white-washing the fence
("Smart Like That"), crossing swords with
schoolmaster Lemuel Dobbins ("Hey, Tom
Sawyer"), getting lost in McDougal's Cave
("Angels Lost"), or taking on the Reverend
Sprague in church ("In The Bible").
Filled with foot-stomping, toe-tapping songs by
Don Schiltz ("The Gambler"), and a warm,
funny book by Ken Ludwig ("Crazy For You,"
"Lend Me A Tenor"), The Adventures Of
Tom Sawyer is a tale of thrilling escapes,
comedy and inspiration for the whole family.
S TA N D I N G
O VAT I O N S
“High energy pioneer heartiness”
— Wayne Bryan,
Music Theatre of Wichita
“A gem for your red hot leading
lady... audiences will ‘never
say no’ to this fun-loving,
romantic musical”
—Denise S. Trupe,
Dutch Apple Dinner Theatre
“Delectable at start, middle
and finish”
—NY World-Telegram and Sun
S
o long, Dolly! Move over, Mame!
Make way for the biggest of
Broadway’s “big ladies,” The
Unsinkable Molly Brown. The Titanic
may have sunk, but Molly Brown survived!
™
Music and Lyrics by Meredith Willson
Book by Richard Morris
Act 1: 11 scenes
Act 2: 13 scenes
Cast
28 men, 9 women
Musical Numbers
“I Ain’t Down Yet” “Belly Up To The Bar, Boys” “Colorado, My Home”
“I’ve Already Started In” “I’ll Never Say No” “My Brass Bed” “The Denver Police”
“Beautiful People Of Denver” “Are You Sure?” “Happy Birthday, Mrs. J.J. Brown”
“Bon Jour” “If I Knew” “Chick–A–Pen” “Keep–A–Hoppin’”
“Leadville Johnny Brown” “Dolce Far Niente”
Instrumentation
Reed I (clarinet, Eb clarinet)
Reed II (piccolo, flute, alto flute)
Reed III (clarinet)
Reed IV (clarinet, bass clarinet)
Reed V (clarinet, baritone sax)
Trumpets I & II
Trumpets III
Trombone I
Trombone II
Horns I & II & III
Violins [2]
Cello
Bass
Percussion
Piano–conductor
Piano-vocal
This spirited tale of a legendary, real-life
American original follows the exploits of
Molly Brown, whose feisty determination to
rise above her impoverished beginnings
leads her from the backwoods of Hannibal,
Missouri to the palaces of Europe. Along
the way, she marries a lucky prospector,
enters the highest echelons of Monte Carlo
society, survives the sinking of the Titanic
and most importantly, earns the approval
she so desperately seeks of those “Beautiful
People of Denver.”
Funny, light, uplifting and uniquely
American, The Unsinkable Molly
Brown charmed Broadway and film
audiences with its irresistible, outrageous
title role, in the tradition of such
unforgettable characters as Auntie Mame,
Dolly Levi and Mama Rose, as well as
Meredith Willson’s rousing score in the
tradition of his immortal The Music Man.
BACKSTAGE BABBLE
• Broadway’s Titanic is the second time
the great ship has sunk in a musical
on the Great White Way. The original
production of The Unsinkable Molly Brown
included a lavish depiction of the
sinking of the ship and Molly rallying
the troupes in her lifeboat.
• The Molly Brown Home in Denver,
Colorado continues to play host to
www.MTIShows.com
51
MUSIC
T H E AT R E
“A perennial, classic favorite...
draws on the strength of the
dancers in the community”
—Ron Baumanis,
™
“A great show to get the
entire community involved in…
we even got the police
department involved”
—Robin McKercher,
Lincoln Community Playhouse
T
he world’s greatest love story takes to
the streets in this landmark Broadway
musical that is one of the theatre’s
finest accomplishments.
Based on a Conception of Jerome Robbins
Book by Arthur Laurents
Lyrics by Stephen Sondheim
Act 1: 9 scenes
Act 2: 6 scenes
Cast
16–25 men, 11–16 women
Musical Numbers
“Jet Song” “Something’s Coming” “Maria” “Balcony Scene” “Tonight” “America” “Cool”
“One Hand, One Heart” “Tonight” “I Feel Pretty” “Ballet Sequence” “Somewhere”
“Procession and Nightmare” “Gee, Officer Krupke!” “A Boy Like That” “I Have A Love”
Instrumentation
Reed I (piccolo, flute, alto sax, clarinet)
Reed II (Eb clarinet, clarinet, bass clarinet)
Reed III (piccolo, flute, oboe, English horn, tenor sax,
Horn I & II
Violin I & II [2]
Cello
Bass
baritone sax, clarinet, bass clarinet)
Reed IV
(piccolo, flute, soprano sax, bass sax, clarinet,
bass clarinet)
Reed V (bassoon)
Trumpet I
Trumpet II
Trumpet III
Trombone I
Trombone II
Guitar
(Electric/Spanish/Mandolin)
Piano/Celeste
Percussion I (vibes, timpani, various percussion
instruments)
Percussion II (traps)
Piano-conductor
Piano vocal
Modified Orchestration Available
52
Shakespeare’s Romeo and Juliet is
transported to modern-day New York City,
as two young idealistic lovers find
themselves caught between warring street
gangs, the “American” Jets and the Puerto
Rican Sharks. Their struggle to survive in a
world of hate, violence and prejudice is
one of the most innovative, heart-wrenching
and relevant musical dramas of our time.
212-541-4684
Highlighting the talents of a young
ensemble cast, West Side Story has
found popularity in schools as well as
professional theatres throughout the world.
An exciting, sophisticated score by
Bernstein and Sondheim, coupled with a
taut, edgy book by Arthur Laurents (that
introduced a new slang into the English
language) created a work that is often
considered Broadway’s finest. As originally
staged by the legendary Jerome Robbins,
the show is an impressive showcase for
accomplished dancers (a guide featuring
the original choreography is available for
rental). And with a reduced orchestration
and transpositions on demand, this
masterpiece is easier to mount than ever
before.
BACKSTAGE BABBLE
• Originally envisioned as East Side Story
by its creators, the show was to be a
conflict centered around the romance
between a Jewish girl and an Gentile
S TA N D I N G
O VAT I O N S
DEVEL IN
CCaalll ffo OPM
orr iinnffo
orrmmaattiENT
ioonn
™
R
oald Dahl’s timeless story of the worldfamous candy man and his quest to find
an heir comes to life in this stage
adaptation of “Charlie and The Chocolate
Factory,” which features the songs from the
classic family film “Willy Wonka And The
Chocolate Factory.”
Based on the Book Charlie and The Chocolate Factory by Roald Dahl
Music and Lyrics by Leslie Bricusse and Anthony Newley
Adapted for the Stage by Leslie Bricusse and Tim McDonald
Act 1:6 Scenes
Act 2: 7 scenes
Cast*
5 male, 7 females, 4 boys, 3 girls, plus chorus of townsfolk,
school children and Oompa Loompas
Musical Numbers*
“The Golden Age Of Chocolate” ”The Candy Man” “I Eat More” “Think Positive” “On TV”
“Cheer Up Charlie” “Golden Ticket” “Pure Imagination” “Oompa Loompa”
“There's No Knowing” “Chew It!” “Oompa Loompa 2” “Flying”
“I Want It Now!” “Oompa Loompa 3” “Oompa Loompa 4” “Paradise Finale”
Instrumentation*
Orchestration to be determined
Please contact your licensing representative for further details
*Cast, Musical Numbers and Instrumentation may be revised upon release
All of your favorite characters and songs
(including “The Candy Man” and “Pure
Imagination”) are featured in this show that
overflows with music, comedy and heart.
The memorable score by Leslie Bricusse
(Jekyll & Hyde, Doctor Dolittle) and
Anthony Newley, augmented by several
new songs, has been neatly fitted into a
new script adapted under the auspices of
the Dahl Estate. Ideal for children’s matinees
or school assemblies, Willy Wonka is a
wonderful family show, perfect for the
holiday season or any season.
Since licenses are available for amateur
theatre groups only, Willy Wonka has
been created with educators and student
performers in mind. This new stage musical
adaptation is designed to help your group
bring all of the magic on the page to vivid
life on your stage.
With its flexible cast size, featured roles for
children and a tour-de-force title character,
Willy Wonka is a scrumdidilyumptious
new stage musical guaranteed to delight
everyone’s sweet tooth. In a troubled world
looking for escape, let Willy Wonka take
your theatre company and your audiences
on a fantasy ride into the land of pure
imagination.
For Amateur Production Only
Broadway Junior Version In Development
www.MTIShows.com
53
MUSIC
T H E AT R E
“We performed at an
International Theatre Festival…
what a excellent show to
represent the United States”
—Randy Wieging,
Jesters Roving Players
“Working provides a great
opportunity to showcase a
number of different actors”
—Mary Britt,
Ocala Civic Theatre
™
T
he hopes, dreams, joys and concerns
of the average working American are
the focus of this unique, eye-opening
musical. That the ever yday lives of
“common” men and women should be so
compelling and moving will surprise and
inspire anyone who has ever punched a
time clock.
From the Book by Studs Terkel
Adapted by Stephen Schwartz & Nina Faso
Songs by Craig Carnelia, Micki Grant, Mary Rodgers &
Susan Birkenhead, Stephen Schwartz, James Taylor
Two acts: unit set
Cast
8+ men, 6+ women
Musical Numbers
“All The Livelong Day” “Hey, Somebody” “Traffic Jam” “Lovin’ Al” “Nobody Tells Me
How” “I’m Just Movin’” “Un Mejor Dia Vendora” “Just A Housewife” “Millwork”
“If I Could’ve Been” “The Mason” “Brother Trucker” “It’s An Art” “Joe” “Cleanin’
Women”
“Fathers And Sons” “Something To Point To”
Instrumentation
Drums
Percussion
Keyboard I (Piano-conductor)
Guitars I & II [2]
Bass
Keyboard II
(Fender Rhodes & synthesizer)
54
212-541-4684
Based on Stud Terkel’s best-selling book of
inter views with American workers,
Working paints a vivid portrait of the
extraordinary men and women the world
so often takes for granted: the
schoolteacher, the parking lot attendant, the
waitress, the millworker, the mason, the
trucker, the fireman, the housewife, just to
name a few. It’s a highly original look at
the American landscape that’s simply
impossible to forget.
With a score by no less than the likes of
Stephen Schwar tz and James Taylor,
extremely modest set and orchestra
requirements, universal subject matter, and
featuring a multi-ethnic ensemble cast of
variable size, Working is one of the most
accessible, relevant and substantive musicals
ever created.
BACKSTAGE BABBLE
•Before she caused an “overnight”
sensation as Evita, Patti Lupone was
part of the original cast of Working.
• Working was a labor of love for
Stephen Schwartz, who not only got
all of the authors “working” on it
together, but also directed the original

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Transcription

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