Cy Coleman · aftercurtain

Shows & credits

Barnum

Music · Musical · 1980

In the middle of the 19th century, Phineas Taylor (P.T.) Barnum introduces his circus acts as he stands in front of a tent, proclaiming ("There Is a Sucker Born Ev'ry Minute"). He loves spectacle and excitement, using hype and "humbug" to promote his exhibits. His wife Charity disagrees with his use of "humbug" but loves him and aims to keep him grounded. Barnum then introduces the oldest woman alive, Joice Heth, and thanks to some Barnum humbug she becomes a success ("Thank God I'm Old"). His wife Charity ("Chairy") urges him to get a job in a factory, but Barnum refuses ("The Colors of My Life [Part One]") and Charity wryly admits and accepts the disparity between their views ("The Colors of My Life [Part Two]"). Barnum enlists clowns to help in building a museum to house his attractions (with expected comical results) and it's up to Charity to encourage him to keep going ("One Brick at a Time"), with the result that "everything about [his] museum was spectacular" ("Museum Song"); however, the museum burns down accidentally. Barnum finds two new star attractions, Tom Thumb, who appears to advise that "Bigger Isn't Better", and Jumbo the elephant. Barnum then becomes manager of the famous Swedish opera singer Jenny Lind ("Love Makes Such Fools of Us All"). Barnum becomes enamored of her and sees the attraction of going on tour with her ("Out There"). He accompanies Jenny on tour, leaving Charity behind, as a marching band greets them ("Come Follow the Band"). Although all seems to be going well for Barnum, he finds that without Charity in his life he is miserable, and he decides to break ties with Jenny and return home to the woman he loves ("Love Makes Such Fools of Us All [Reprise]"). Upon his return to Charity, he promises to live the more sedate life she desires for him, in "Black and White." After a failed stint running a clockworks factory and a failed attempt to build his own city, he turns to politics; when his campaign looks doomed to fail due to lack of interest, Charity realizes how important his talents and passion are in his life and allows him to inject color and life into his campaign. He is elected Mayor of Bridgeport, and the two of them recognize the value in each other's approach to life and how they complement one another ("The Colors of My Life [Reprise]"). Barnum is prepared to run for Senator, but his beloved Charity dies suddenly, leaving Barnum bereft and alone. When Barnum finds himself cheated of the Senatorial nomination by his political party, he laments his position, realizes that his talent for Humbug will never leave him and wishes to "make it right, shoot a rocket, shine a light" ("Prince of Humbug"). James Anthony Bailey arrives and offers him the chance to "Join the Circus". Initially resisting, he relents (thanks in part to Charity's two-headed coin, which she has used to humbug him throughout the show) and joins Bailey, and they form the famous circus Barnum and Bailey. In "a princely final attraction", Barnum appears before the audience ("The Final Event: There is a Sucker Born Ev'ry Minute" [Reprise]") and reflects on his past:

City of Angels

Music · Musical · 1989

City of Angels is a satirical musical comedy with music by Cy Coleman, lyrics by David Zippel, and a book by Larry Gelbart. The show takes a critical look at Hollywood through the eyes of Stine, a successful writer who is adapting his latest novel into a film.

I Love My Wife

Music · Musical · 1977

In Trenton, New Jersey, old high school buddies Wally (now an executive in public relations) and Alvin (a furniture mover) discuss the possibility of adding some spice to their lives by having a foursome. Alvin suggests to his wife Cleo that they share their bed with Monica, Wally's wife. Cleo thinks that she would enjoy Wally. They agree that whoever enters first becomes the evening's partner, but the couple walks in together. After Monica leaves, the three discuss the situation and decide on a foursome on Christmas Eve. Alvin and Cleo arrive for dinner on Christmas Eve, and while Monica is initially unhappy with the arrangement, she ultimately agrees. Too excited to eat: they undress, get into bed, and have some pot to relax. As Wally suggests ideas from a sex manual, the group discards all the options.

Little Me

Music · Musical · 1962

Little Me is a musical written by Neil Simon, with music by Cy Coleman and lyrics by Carolyn Leigh. The original 1962 Broadway production featured Sid Caesar in multiple roles with multiple stage accents, playing all of the heroine's husbands and lovers. One of the better-known songs from the musical is "I've Got Your Number".

On the Twentieth Century

Music · Musical · 1978

On the Twentieth Century is a musical with book and lyrics by Betty Comden and Adolph Green and music by Cy Coleman. Based partly on the 1932 play Twentieth Century and its 1934 film adaptation, the musical is part operetta, part farce and part screwball comedy.

Seesaw

Music · Musical · 1973

Seesaw is a 1973 American musical with a book by Michael Bennett, music by Cy Coleman, and lyrics by Dorothy Fields. Based on the William Gibson play Two for the Seesaw, the plot focuses on a brief affair between Jerry Ryan, a young lawyer from Nebraska, and Gittel Mosca, a kooky, streetwise dancer from the Bronx. The musical numbers evoke colorful aspects of New York City life but have relatively little to do with the story. The most notable feature of the score's original orchestrations by Larry Fallon was their wide use of brass instruments.

Sweet Charity

Music · Musical · 1966

The young woman Charity Hope Valentine is a taxi dancer at a dance hall called the Fandango Ballroom in New York City. With a shoulder bag and a heart tattooed on her left shoulder, Charity meets her boyfriend Charlie in Central Park. While Charlie silently preens himself, Charity speaks the pick-up lines she imagines him saying, and tells him how handsome he is ("You Should See Yourself"). Charlie then steals her handbag and pushes her into the lake (usually the orchestra pit) before running off. Passers-by discuss the apparent drowning but do nothing, until a young Spaniard finally rescues her. In the Hostess Room of the Fandango Ballroom, Charity tries to convince both herself and the other skeptical taxi dancers that Charlie tried to save her. Nickie, a fellow dancer, tells Charity that “your big problem is you run your heart like a hotel – you got guys checkin’ in and out all the time”. The manager, Herman, arrives to tell them it is time for work. The hostess dancers proposition the audience in the front room of the Fandango Ballroom ("Big Spender"). Helene and Nickie try to comfort Charity about Charlie's absence ("Charity's Soliloquy"). On the street, after work, Charity gives to every beggar who approaches her until she realizes she has no money. Just then, film star Vittorio Vidal rushes out of the smart Pompeii Club, in pursuit of his beautiful mistress, Ursula. Ursula refuses to go back inside with Vittorio, who promptly takes the only-too-willing Charity instead. Inside the Pompeii Club, the dancers are dancing the latest craze, The Rich Man's Frug. To everyone's astonishment, the famous Vittorio is accompanied by the unknown Charity. She tries to steer him away from the subject of Ursula. Finally, he wants to dance. Not having eaten since breakfast, Charity faints. There is general agreement amongst the dancers that she needs to be "laid down". Vittorio asks "where?", and Charity recovers enough to prompt Vittorio with "your apartment!". Lying down on Vittorio's bed, Charity claims she is no longer hungry. She admits she is a dance hall hostess, putting it down to "the fickle finger of fate" (a favorite expression of hers). Vittorio is struck by her humor and honesty. Starstruck, Charity asks for a signed photograph to prove to the girls she was really in his apartment. While Vittorio fetches props from his old movies for further evidence, Charity remarks on her good fortune ("If My Friends Could See Me Now"). Ursula arrives to apologize for her jealousy; Charity is swiftly bundled into a closet before Vittorio opens the door to Ursula. ("Too Many Tomorrows") While Charity watches from the closet, Vittorio and Ursula have sex inside his four-poster bed. The following morning, Charity is escorted from the room by a mortified Vittorio. In the Hostess Room, the girls are disappointed that Charity failed to get more out of Vittorio. Nickie announces she is not going to remain at this job for the rest of her life, prompting the girls to speculate on alternative careers ("There's Gotta Be Something Better Than This"), but Herman brings them back down to earth. Charity decides to seek some cultural enlightenment at the 92nd Street Y, where she gets stuck in a broken elevator with shy tax accountant Oscar Lindquist. While trying to calm him down, Charity learns that he is not married. She declares, "Oh Oscar... You're gonna be all right." After helping Oscar overcome his claustrophobia ("I'm the Bravest Individual"), the pair are plunged into new panic when the lights stop working. After being trapped in a broken elevator, Oscar and Charity are finally rescued when it starts working again. Oscar invites Charity to go to church with him, to which she hesitantly agrees. As they walk under the Manhattan Bridge to the church, the faint cries of the next person to be stuck in the elevator are heard. The Rhythm of Life Church turns out to be a thin veneer on hippie culture ("The Rhythm of Life"). A police raid breaks up the meeting. Traveling home on the subway, Oscar proposes another date and tries to guess Charity's job, deciding that she works in a bank. Charity lies, saying she works for First National City, Williamsburg Branch. As they part, Oscar kisses her hand, and dubs her Sweet Charity ("Sweet Charity"). After two weeks, Oscar and Charity have continued dating, and she still has not confessed what she actually does for a living. At Coney Island Amusement Park they become trapped again when the Parachute Jump ride breaks. This time, Oscar is the calm one while Charity is scared — scared that she is starting to depend on him. Once again, Charity loses her nerve about telling him what her real job is. As the crowd looks on, the couple kisses. On a slow night at the Fandango, Charity loses the opportunity to snare one of the few customers to a new co-worker, Rosie. Disgusted by the whole business, she quits. However, in Times Square, she wonders what the alternative is ("Where Am I Going?"). Sending a telegram to Oscar, she asks to meet him at Barney's Chile Hacienda. She admits that she is a dance hall hostess; he admits he already knows, having followed her one night and watched her dancing. He says he does not care and wants to marry her. Relieved and elated, Charity leaves ("I'm A Brass Band") and packs a suitcase on which is printed 'Almost Married'. After a farewell party at the Ballroom ("I Love to Cry at Weddings"), Charity and Oscar walk in the park, whereupon Oscar announces that he cannot go through with the wedding, saying he is unable to stop thinking about the "other men". Eventually, believing he’s sparing her an unhappy life with him, he pushes her into the lake and runs off. Emerging from the lake, Charity, speaking directly to the audience, asks "Did you ever have one of those days?". Realizing that unlike Charlie, Oscar has not stolen her bag, she shrugs and reprises her opening dance. The stage blacks out onto three neon signs, reading "And so she lived … hopefully … ever after".

The Life

Book and Music · Musical · 1990

The Life depicts the pulsating life on the Times Square streets in the 1980s, where everything had a price, especially sex—the garish topless bars, the transvestite joints, the hookers who worked the side walks at the bidding of their pimps ("Check It Out!"). Jojo, an opportunistic, conniving white hustler in the thick of the action, has a bare knuckled plan for feeding his ambition ("Use What You Got"). But among these unsavoury characters there are appealing people who have been caught in the web of these sordid surroundings. Sonja, a veteran hooker who has seen better days, befriends Queen who is on the street because her man, Fleetwood, a displaced Vietnam veteran, needs her support. She has saved her money and on this day plans to get away with Fleetwood and leave the life for good, enjoying, with Sonja ("A Lovely Day to Be Out of Jail"). Returning to her hotel room, Queen discovers that Fleetwood has spent half of her savings to pay off his drug debts and feed his habit. Fleetwood has an unrealistic dream of attaining power and money ("A Piece of the Action"). Jojo tells him he'll never amount to anything as a pimp as long as he's romantically involved with the woman he's selling. Jojo takes him to the Port Authority where they find Mary, just off the bus from Minnesota, a girl with the mien of an angel but, as we eventually find out, she's no angel. Jojo grabs at her suitcase so that Fleetwood can rescue it and become her hero. The demi-monde hangs out at a bar owned by Lacy, who has seen it all but has certain affection for his clientele. In the company of her sister whores, Sonja bemoans the wear and tear of her life ("The Oldest Profession"). When Fleetwood and Mary arrive, Memphis, the "biggest businessman on the block" comments on the professionalism of his trade and soon zeroes in on the newcomer ("Don't Take Much"). Reluctantly, Queen takes Mary to the room she shares with Fleetwood and tries to persuade her to go home ("Go Home"). Later, as prostitutes eye potential customers, a gospel group parades by ("You Can't Get to Heaven"). The girls defiantly stand up for themselves ("My Body"), while the pimps complain about the harassment of the police ("Why Don't They Leave Us Alone?"). Jojo cajoles Mary into taking a turn as a go-go dancer. A smashing success, she celebrates her good fortune with Fleetwood and Jojo, who has her in mind for his "mentor" Lou, a gaudy Los Angeles producer of "motion pictures" of the triple X genre, who's looking for fresh corn-fed talent ("Easy Money"). Once again in jail, Queen reflects on her attachment to Fleetwood ("He's No Good"); while, enticed by Mary, Jojo and Fleetwood spend the night with her in a threesome. As Fleetwood turns his attentions toward Mary, Memphis makes his move to put "Queen in his deck". Queen discovers what's been going on between Fleetwood and Mary, and decides she's finally had enough ("I'm Leaving You"). As everyone parties at The Hookers' Ball, Lou makes off with Mary, while Queen, shunning Fleetwood, attaches herself to Memphis ("The Hooker's Ball"). Over a game of Three-card Monte ("Step Right Up"), Jojo and the pimps discuss their "silent partner", Mr. Greed ("Mr. Greed"). In Memphis' spacious apartment, Queen thanks him for getting her out of jail and for the beautiful dress he gave her to wear to the Hookers' Ball; but Memphis makes it very clear that the dress was a $6,000 loan that she must repay with her earnings ("My Way or the Highway"). He warns Queen that she better not leave town "cause you'll be coming back real soon for a funeral – Fleetwood's; followed shortly by your own". Queen tells Sonja that she must find Fleetwood and warn him about Memphis' threat. She asks Jojo to tell Fleetwood to meet her the next morning at Lacy's. Meanwhile, Mary, with Lou, toasts her acceptance of his offer of a movie career ("People Magazine"). The next morning Jojo double crosses Queen and comes to Lacy's with Memphis, who brutally flogs the terrified woman. When Fleetwood arrives, Queen reminds him of what they once had together ("We Had a Dream"). When Fleetwood returns to his hotel, he finds Mary leaving for Los Angeles. Near the Lincoln Tunnel, Memphis' henchman, Snickers, pushes Queen to get "plenty of action tonight. Memphis is dependin' on it" ("Use What You Got" (Reprise)). She, Sonja and other girls share their hopes for the future ("'Someday' is for Suckers"). Later, near the Hudson River in a spot once special to Queen and Fleetwood, Sonja hands Queen a bus ticket and a suitcase in a desperate attempt to get her away from Memphis. Fleetwood unexpectedly appears and tries to talk Queen into making a new start ("We Gotta Go"), but Queen bitterly rejects him. Jojo guides Memphis onto the scene. Fleetwood pulls a gun on Memphis, but Jojo knocks the gun loose as Memphis mortally stabs Fleetwood; Queen seizes the fallen gun and shoots Memphis. Sonja decides to take the rap for killing Memphis, claiming self-defence; she and Queen say goodbye ("My Friend"), then Queen departs for the bus, which will carry her to freedom, as Sonja surrenders to the police. ("Check It Out!" (Reprise))

The Will Rogers Follies

Music · Musical · 1991

The Will Rogers Follies is a musical with a book by Peter Stone, lyrics by Betty Comden and Adolph Green, and music by Cy Coleman. It focuses on the life and career of humorist and performer Will Rogers, using as a backdrop the Ziegfeld Follies, which he often headlined, and describes episodes in his life in the form of production numbers. The Rogers character also performs rope tricks in between scenes. The revue contains snippets of Rogers' "homespun" style of wisdom.

Welcome to the Club

Music and Lyrics · Musical · 1989

Welcome to the Club is a 1989 Broadway musical with music and lyrics by Cy Coleman. Set in a New York City jail for alimony violators, the musical was directed by Peter Mark Schifter and opened at the Music Box Theatre on April 13, 1989. Poor reviews led the production to close on April 22, after only twelve performances. The New York Times deemed the musical "embarrassingly out of touch with the present-day realities of men, women, sex, marriage and divorce", with limited praise given to Coleman's "inconsistent" score. Despite flopping at the box office, the musical garnered two Tony nominations: Best Featured Actor in a Musical (Scott Wentworth) and Best Direction of a Musical (Schifter). In her Broadway debut, actress Sally Mayes won a 1989 Theatre World award.

Wildcat

Music · Musical · 1960

Wildcat "Wildy" Jackson arrives in 1912 in Centavo City with dreams of striking oil but with neither capital nor know-how to help her accomplish her goal. Joe Dynamite, the most successful crew foreman in the territory, finds her ruggedness appealing and agrees to work with her if she can prove ownership to her claimed land and hire a crew. She finds owned by a hermit prospector, but Joe is certain the property is dry. Wildy attempts to lure him with her female charms, but when he still rejects her plans she has him falsely arrested, then released into her custody. A grateful Joe agrees to start work on the project but abandons it once he discovers it was Wildy who had him jailed. Left high and literally dry by her partner and crew, Wildy resorts to desperate measures to strike a Texas-sized gusher.

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