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Bernarda Alba is a one-act musical with music, lyrics and book by Michael John LaChiusa, based on Federico García Lorca's 1936 play The House of Bernarda Alba. Bernarda Alba tells the story of a controlling, newly widowed mother who is challenged by her five rebellious daughters. The musical opened Off Broadway at Lincoln Center's Mitzi E. Newhouse Theater in 2006, to mixed reviews.
Happy Pat (Patricia Nixon, Hannah Milhous Nixon, Tricia Nixon, and Julie Nixon) Setting: The White House East Sitting Room. Late afternoon, June 11, 1972. Patricia Nixon and her daughters, Tricia and Julie, prepare for Tricia's White House wedding under the threat of rain. Pat contends with the quarreling sisters, the hypercritical ghost of her mother-in-law Hannah Milhous Nixon, and the building scandal at which her husband is the center. Amy Carter's Fabulous Dream Adventure (Rosalynn Carter, Amy Carter, Betty Ford, and Susan Ford) Setting: The deck of the Presidential Yacht. Spring 1980. In a dream sequence from the mind of twelve-year-old Amy Carter, she and her mother Rosalynn are accompanied on the Presidential yacht by Betty Ford and her daughter Susan. The dream occurs in the wake of Amy's father, President Jimmy Carter, facing the Iran hostage crisis, and is grounded to reality by Amy's own insecurities as a young First Daughter, her want to save her father's presidency, and her fears of leaving her White House home. In the "Fabulous Dream Adventure," the group sails to Iran to free the American hostages and fend off terrorists with Amy's Barbie doll. The dream becomes increasingly chaotic as Susan kills Betty and Rosalynn then threatens Amy, who fights back with her Barbie. The dream resolves with everyone alive and well. Amy realizes her dream is too big for her to handle herself, Susan apologizes to her mother, and the group decides to vacation in Puerto Rico before Amy wakes up and they must return to their normal lives. Patti By The Pool - (Nancy Reagan, Patti Davis, and Anita Castelo) Setting: Betsy Bloomingdale's Holmby Hills Home, California. November 1986. Nancy Reagan and her rebellious daughter Patti Davis engage in a tense reunion at the home of socialite Betsy Bloomingdale. The scene depicts the strained relationship between mother and daughter following the release of Patti's fictionalized novel about her family. Throughout the mostly dialogue-driven scene, the reunion is punctuated by Patti's scathing criticisms of her mother. Just as the two seem to reconcile, Patti asks about her father and the Iran-Contra scandal. Nancy insists that he knew nothing of the situation, and that this is all Patti needs to say. Nancy amends her statement by telling her daughter that it would be best for her not to talk about her father until the situation is resolved, or as Patti sees it, covered up. Patti realizes Nancy's intent behind the conversation is to ensure Patti's silence on the scandal, and she lashes out at her mother once more. Nancy has her maid Anita bring Patti a drink spiked with Paraguayan nightshade, and Patti falls unconscious. In The Deep Bosom of the Ocean Buried - (Barbara Bush, Pauline Robinson "Robin" Bush, and Laura Bush) Setting: Walker's Point, Kennebunkport, Maine. October 11, 2003. Barbara Bush mourns the loss of her daughter Robin on the 50th anniversary of her death, and laments her disappointment in her son. She is joined by the deceased Robin, appearing as an adult despite her death from leukemia at the age of three, as well as her daughter-in-law Laura Bush. Barbara must decide whether to support her son George's reelection campaign, all while remembering the child she lost years ago and learning to "Let Go."
The plot contains four unrelated stories and a prologue. Prologue A nameless, African American First Lady reflects on her place in history. Over Texas Aboard Air Force One on November 22, 1963, Jacqueline Kennedy's underpaid, overworked Secretary Mary Gallagher complains about her demanding employer to John F Kennedy's secretary Evelyn Lincoln before a foreboding dream reconciles herself to her place in history. Where's Mamie? The White House, 1957. Feeling abandoned by her husband's absence on her birthday, Mamie Eisenhower fantasizes a trip through time and space alongside Marian Anderson to prevent her husband from having an affair and to alert him to the racial strife that will soon mar his Presidency. Olio 1950. Margaret Truman attempts to sing at a Recital, but is constantly upstaged by her mother Bess. Eleanor Sleeps Here Inside Amelia Earhart's plane, 1936. As they fly over Washington in a plane piloted by Amelia Earheart, Hickok bitterly reviews her complicated relationship with her lover, friend and employer Eleanor Roosevelt.
A princess from the Moon comes to Earth and falls in love with an emperor, encountering human emotions before eventually returning to the Moon. The work adapts the Japanese tale of Princess Kaguya, also known as The Tale of the Bamboo Cutter.
In Texas in 1922, Jordan "Bick" Benedict, a rich cattleman, marries Leslie, from Virginia. Bick is focused on working the family ranch, Reatta, but exhibits bigotry against Mexicans. This racism is seen in his older sister, Luz, who is against outsiders. Jett Rink is a handyman but discovers oil; he is infatuated with Leslie. A neighbor and Bick's reclusive uncle, Uncle Bawley, tells the tale of the legend of the coyote. Bick ends the relationship with a girlfriend, Vashti. As they age over the years, Leslie feels rejected by Bick and realizes that they do not really know each other. Leslie and Bick's son marries a Mexican woman as Leslie tries to help the downtrodden Mexican American workers and Bick comes to accept his son's choice.
Hello Again is a musical with music, lyrics and book by Michael John LaChiusa. It is based on the 1897 play La Ronde by Arthur Schnitzler (also titled Reigen). It focuses on a series of love affairs among ten characters during the ten different decades of the 20th century. The musical premiered Off-Broadway in 1993, directed and choreographed by Graciela Daniele. Since then it has been performed in London, Sweden, Australia, Germany, The Netherlands and New York.
In the present time, Charlotte, in her early 30s, lives in New York and is a short-story writer. She has given up smoking cigarettes, but without them she sees herself clearly, and believes that it is not an attractive picture. She is frightened by her new-found reality, thus her friends Marco and Kathy suggest various activities, such as collecting dolls or a new drug. However, she opts for what is presumably the least silly; swimming. Charlotte thinks back to 1993, when she lived in Buffalo with her lover Robert, in his 40s, and she studied English Literature with him. She reflects on her childhood heroine, Anne Frank, who warns her about flotsam: emotional "debris" that blocks the flow of life. As Charlotte sees that she has been addicted not only to cigarettes but "fleeing", she is able to connect with her friends and her writing. Don Shewey noted that the musical "departs from any kind of traditional book musical structure. Charlotte's tale emerges in vignettes that flicker and flash, zooming back and forth in time, held together by a narrative thread as tenuous as her nonsmoking sanity." Further, the music is "eclectic" and includes "Latin, jazz, rock, there's pure urban noise."
Marie Christine is a musical with music, lyrics, and book by Michael John LaChiusa. It opened on Broadway in 1999.
In the early 1900s, in western New York State, at Niagara Falls, Anna Edson Taylor is a 63-year-old teacher. Needing money, she decides to become the first woman to go over Niagara Falls, and designs her own barrel. She is helped by her manager, Frank Russell. "Navigating both the treacherous Falls and a fickle public with a ravenous appetite for sensationalism, this unconventional heroine vies for her legacy in a world clamoring with swindling managers, assassins, revolutionaries, moralizing family, anarchists, and activists. Convinced that there is greatness in her and determined not to live as ordinary, she sets out to battle her fear and tempt her fate." The score incorporates turn-of-the-century themes. Anna attempts to take advantage of her fame on the lecture circuit, but that does not last. Anna dies in a nursing home at age 82, a pauper.
Act 1 – "Kesa" and "R Shomon" In medieval Japan, Kesa plans to kill her lover, Morito ("Kesa"). Morito arrives, and they make love. Kesa divulges to the audience that "[her] husband knows [their] secret" and draws a knife out of her kimono and raises it to stab Morito at the height of her climax, but a blackout leaves the outcome unknown. The scene shifts to New York City in 1951, where a murder has taken place. The janitor of a movie house is being interrogated by an unseen policeman. He explains that when he left work in the late night/early morning he took a shortcut through Central Park, where he found "the scarf, the body, the blood" ("The Janitor's Statement"). He slips when he refers to the weapon as "his knife", indicating that the killer is a male, but then he claims that the police had mentioned this to him. A thief, Jimmy Mako, is also being interrogated ("The Thief's Statement"). He boasts about committing the crime, and a flashback begins as he describes how Lily looked at him on the street after leaving the movies with her husband Louie ("She Looked at Me"). The thief follows the couple to the nightclub where she flirts with both Louie and, discreetly, the Thief ("See What I Wanna See"). The Thief decides that the only way to get a chance at Lily is to get the Husband out of the way. He convinces Louie to go with him to the park to dig up "Big Money" that he knows is hidden there. After a few drinks, Louie agrees, and Lily is also persuaded to come along. The Thief knocks out the husband, ties him up and rapes Lily, who tries vainly to defend herself with a knife ("The Park"). The Thief snaps - he's infatuated with Lily and is convinced that she wants him too, vowing "You'll Go Away With Me". Lily orders the Thief to fight her husband for her ("Murder"). He does, killing Louie; but Lily runs off into the night. Back at the police department, the Thief calmly states that he will "take the chair." The Janitor explains to his interrogator his philosophy about witnessing strange situations in New York City: "Best Not To Get Involved", but he admits to remembering Lily - "how could you forget a woman like her?" The Wife enters the interrogation room to explain her version of the story ("The Wife's Statement"). After the Thief raped her, she blacked out and awoke to find her husband, Louie, glaring at her, blaming her for the rape, and feeling they no longer had anything left to live for. She begs him for his love and forgiveness ("Louie"). He indicates that they should kill themselves together. She begins to comply ("Louie guide my hand, I will honor you") but at the last second, as he pushes the knife towards her, she panics and turns it towards him, killing him and running away. Back in the interrogation room, the Janitor recalls an adage that "only the dead tell the truth." A Medium arrives and explains that the spirit of the Husband entered her during a seance. She summons his spirit again ("The Medium and The Husband's Statement"). The Husband's story is that his wife became enraptured with the Thief and turned on the husband ("You'll Go Away With Me" (Reprise)). The rape becomes passionate love-making, and the Husband attempts to block it out of his mind by recalling that the marquee of the movie house screening Rashomon was missing the "a" in the title. The Wife orders the Thief to bind the husband. She assaults her husband verbally, relishing her new-found power, and telling him everything she has kept bottled up during their marriage; she will take "No More". She orders the Thief to stab the Husband. Surprisingly, the Thief instead cuts the bonds of the Husband and holds the knife to the Wife's throat, asking, "Do you want me to slash her throat and save you the trouble later?" Louie just stares, and the Thief eventually releases the Wife, tossing the knife to the Husband. The Husband, seething with rage, chases his wife away and is left alone. He decides that the honorable thing to do would be to kill himself ("Simple as This"). The Medium and the Husband perform an elaborate ritual reminiscent of traditional Japanese Seppuku (stomach-cutting). His last memory is of "someone" removing the stiletto from his abdomen and his blood flowing into the grass. The Janitor is still in the interrogation room, exhausted. He describes the beauty and the horrors of New York City in 1951 ("Light In the East"). Again he walks home through Central Park that night. He finds the Husband, pulls the knife out of the body and flees the scene. Everyone appears as a collage of voices, telling their statements, sometimes in unison but often interjecting with their own skewed perspectives on the truth. Act 2 – "Morito" and "Gloryday" Back in feudal Japan, Morito, Kesa's lover, tells wistfully of their final night together ("Morito"). Morito has planned to murder Kesa just as she has plotted to kill him, but the audience is left in doubt as to who was the successful killer, the scene ends with Morito strangling Kesa as she reaches for her knife. Reality and truth depend on whose perspective one believes. Kesa sees murdering Morito as a way to cleanse herself of her guilt and shame, while Morito believes he is bringing justice to Kesa and renewing his honor. In New York City in 2002, the meek priest Michael is in confession with his Monsignor. The Priest has lost his faith in the wake of "the tragedy" (alluding to, but not directly referencing the September 11 attacks), having failed to bring comfort to his flock ("Confession/Last Year"). He reminisces about the first time he realized his calling to become a priest, telling his Aunt about it. The Aunt is a spitfire communist and an atheist. She reminds the Priest of all the flaws and wrongdoings in the world and berates him for being "a gullible dope", falling for "The Greatest Practical Joke" of humanity: religion. The Priest walks through Central Park to clear his mind, where he conceives a great hoax. He decides to stage a false miracle in the park. He posts fliers around the park emblazoned with the message: "In three weeks, on Tuesday, at 1 p.m. sharp, a miracle will occur here in Central Park... from the depths of the pond Christ will appear, believe and be free" ("First Message"). He meets a former C.P.A., a filthy wild man in tattered business attire. The C.P.A. becomes inspired by the Priest's message ("Central Park"). He tells of his former life as an adultering, lying, disgustingly wealthy accountant. Worried that God "doesn't see [his] life", he goes to the park, where he discovers his true calling, "to live free and wild". Yet, he remains desperate for a life with purpose, where God sees him as special and unique. The Priest meets an Actress named Deanna as he posts new fliers in the park ("Second Message"). She is jittery, jumping from one subject to the next. She seduces the Priest, and the two have sex behind a bush in the park. Visibly distraught, she explains that she is struggling with cocaine addiction. She had found success in a coffee commercial, which she calls "residual heaven" ("Coffee"). To celebrate her success, her soap opera-actor boyfriend and she binge on cocaine and vodka and go for a drive in their Jaguar through Beverly Hills. The car flies off a cliff, and the actress breaks her neck, legs, nose and arms: "ouch right?". Her wrecked face draws bad press, and her coffee commercial is withdrawn. She consoles herself with morphine and barbiturates. She tells the Priest that she hopes the miracle occurs, because she could use some hope in her life. The Priest visits his Aunt Monica again and discovers she is dying. The TV news program she is watching shows the hordes of people gathering in Central Park for the "Gloryday". The Priest goes to the park to see what he has created. He enters a bar across the street from the park where he meets Aaron, the Reporter on the news program. The Reporter mentions that he has met the Priest before, on the day of "the tragedy". He was running away from the disaster, while the Priest was running toward it. The Reporter says that he, like the Priest, is looking for answers ("Curiosity"). The other characters appear, lighting candles and praying as the Priest emotionlessly "admires [his] handicraft" ("Prayer"). With one hour left until the miracle the Priest giddily points out souvenir salesmen, religious groups and celebrities ("Third Prayer/Feed the Lions"). He is grabbed by The CPA who says that he knows The Priest's secret...he is an angel. Deanna finds the Priest and thanks him for giving her hope. Finally, the Priest sees his Aunt, who, despite being in great pain, has made her way to the park. She confesses that she has lied all these years: she knows that there is a God, and she knows that "There Will Be a Miracle". She falls asleep on a park bench, telling her nephew to wake her when the Gloryday arrives. With a few minutes left, the crowd joins in "Prayer" for forgiveness, and the Priest has a change of heart. He runs around screaming that it was a joke and that everyone should go home. Now Deanna, the CPA, the Reporter and Aunt Monica describe the scene: The sky goes black, a harsh wind picks up, lightning flashes, mist hangs in the air, the earth trembles, and a tornado hits the lake. Everyone flees, pulling coats over their heads to protect themselves from the dust and debris. The Priest tries to stop them, but he is left standing alone. Looking back, he sees something "Rising Up" from the pond, and he sobs as he sees the Glory. In rapture, he races around, but no one else has seen it. The Reporter, the C.P.A. and Deanna are angry. He wakes Aunt Monica and tells her about it, asking if she believes him. She replies, "If you say so baby, why not?" Back in the confessional, the Priest tells his Monsignor that he put the collar back on a month later at Aunt Monica's funeral, but he is still confused about his faith.
The Gardens of Anuncia is a stage musical with music, lyrics, and a book by Michael John LaChiusa. The show is based on the life of Graciela Daniele, a prolific figure in modern musical theatre. Daniele was born and raised in Buenos Aires, Argentina, where the show is set. It follows her life from a young girl in Argentina during the years of Juan Perón, and her journey that lead her to New York City and eventually becoming an acclaimed dancer, choreographer, and director.
The Vaudeville The company recounts the story of Queenie, a blonde who works as a showgirl in the Vaudeville, who is attracted to "violent and vicious" men ("Queenie Was A Blonde"). She is currently living with a man named Burrs, who works in the same vaudeville, as the act after her. His act is a minstrel show, where he performs in black face ("Marie Is Tricky"). One Sunday, Queenie wakes up restless and she and Burrs soon come to blows. To try to put less strain on their relationship (and to convince her to put a knife down), Burrs suggest they throw a huge party and invite "all the old gang". Queenie is ecstatic and they get prepared for the evening ("Wild Party"). Promenade of Guests The guests soon arrive and exchange words with Burrs, and alcohol starts flowing ("Dry"). Queenie makes her appearance in a "new" dress ("My Beautiful Blonde"), and welcomes everyone, meeting Nadine, a minor who wants to be a blonde and drink bathtub gin ("Welcome To My Party"). Queenie takes her under her wing as she mingles with the other guests. Madelaine, an "almost famous" stripper, introduces Queenie to her new girlfriend, the catatonic morphine-addicted Sally, who she met crawling outside the theatre in a drugged stupor. Madelaine believes Sally is a "post-modernist", to which Burrs replies "in need of a post mortem". Madelaine tells Queenie of their love and of Sally's genius ("Like Sally"). Next up is Jackie, an "ambisextrous" rich kid with his eye on anybody and everybody ("Breezin' Through Another Day"). The incestuously devoted D'Armono Brothers, Oscar and Phil sing a new ditty as Gold and Goldberg, two would-be producers, arrive. They are planning to move uptown, and Burrs is convinced that they want to take him. He joins in with the brothers to impress them ("Uptown"). Queenie wonders where her friend Kate is, and Burrs expresses his dislike for her. Eddie, a successful black boxer and his white wife Mae talk of their marriage ("Eddie and Mae"). Dolores, a faded star, hints to Burrs that she knows his secrets, and forces him to introduce her to Gold and Goldberg. The producers are fighting over their name (With Gold wanting to change Goldberg's name to "Golden" to hide their Jewish heritage) and how to become successful ("Gold and Goldberg"). Burrs introduces them to Dolores, who begins to seduce them with her feminine wiles ("Moving Uptown"). The Party Queenie starts a dance to raise the energy ("Black Bottom"), but Kate soon interrupts with her arrival. She has come with Mr. Black, an attractive gigolo. Queenie and Kate trade insults and love, telling Nadine of their double-edged friendship ("Best Friend"). Burrs and Kate do not get along, with Kate disapproving of Queenie's romantic entanglement with him, while Queenie and Black begin to feel an attraction to each other. Meanwhile, Jackie tries to separate the D'Armano brothers, flirting with Oscar ("A Little M-M-M"). Dolores hints to Queenie about troubles in Burrs' past ("Everybody Has Their Secrets") while Nadine sings a paean to Broadway, only to be cut off by Queenie ("The Lights Of Broadway"). Queenie and Black meet up and find their attraction growing stronger ("Tabu"). Queenie asks him to show her how he picks up ladies, and his hypothetical soon turns into a real proposition ("Takin' Care Of The Ladies") and he pulls her up to dance ("Tabu Dance"). Kate and Burrs notice how close Queenie and Black are becoming, and Burrs wonders about the demise of fidelity ("Wouldn't It Be Nice?"). Queenie tells Black of her troubled existence, wondering why she was born ("Lowdown-Down"), as Burrs hypes up the party with Gin ("Gin"). The party quickly escalates, with everybody drinking, dancing, and arguing. Dolores warns Queenie of Burrs' first wife, who he beat to death, and Queenie escapes to the bathroom. There, she is confronted by Burrs about her entanglement with Black, and he begins to assault her. Kate barges in and saves Queenie, and Burrs furiously rejoins the party with a coked-up Jackie. Kate and Queenie argue about her relationship with Burrs, as Jackie and Oscar are found having sex in the bathroom. Oscar and Phil argue publicly, while Mae and Eddie exchange heated words. Kate warns Queenie that Burrs will kill her, and when Queenie refuses to listen, Kate jumps back into the party. Eddie and Mae soon come to blows - hitting each other, as Dolores seduces Gold and Goldberg, bringing them into the bedroom. Distraught with the state of the party, Queenie is dragged out by Black, as the party continues in full swing ("Wild"). Madelaine searches for Sally and asks her to say her name. The guests all gather and culminate in an orgy ("Need") as Burrs asks Kate about Black. Kate reveals that she knows Black is using her, but she is fine with it ("Black Is A Moocher"). Outside, Queenie and Black bond at the fact that they are different from the rest, wondering where they belong and what will become of them ("People Like Us"). After Midnight Dies Sally, naked, carrying her clothes, reveals she can see clearly now what she and everyone else is ("After Midnight Dies"). She finds Eddie recounting how it feels to beat someone acclaimed, but still be detested ("Golden Boy"). She notices Oscar and Phil making up, and turns to find Gold and Goldberg, pants nowhere to be found, wondering what has happened to them. Dolores appears and warns them that their promise must be kept, or terrible things will occur ("The Movin' Uptown Blues"). She then sneaks into the bedroom, where Nadine has just done her first line of coke with Jackie ("The Lights Of Broadway (Reprise)"). At Nadine's request for more, Jackie laments how he can never get enough of anything, culminating in rape ("More"). Mae hears Nadine's muffled screams and Eddie charges in and beats Jackie. Eddie goes wild, threatening everyone as Queenie and Black arrive. When Eddie charges at Queenie, Black hits him. Queenie questions Nadine on what had happened with Jackie, but she refuses to call him out, instead saying she was scared and screamed. Jackie tries to start the party up again and takes out more cocaine. Seeing the coke, Sally goes to him, leaving Madelaine. Madelaine chases after her, but is stopped when Sally asks, "Who's Sally?" The guests are told to leave by Burrs, and they disappear into the background. Kate confronts Black, telling him that Queenie will choose Burrs and he will have nowhere to go. Burrs and Queenie come to blows as she reveals she knows about his wife ("Love Ain't Nothin'/Welcome To Her Party"). Queenie refuses to let Burrs make up her mind ("What I Need") and leaves with Black. Burrs wonders how many other women could make him feel the way she does, before concluding it is just her ("How Many Women In The World?"). Gold and Goldberg tell him they had no intention of taking him uptown with them, and he begins to put on his vaudeville makeup. Dolores recounts how she used to love the dark, but now she loves the cold hard light that spares no one. She enjoys knowing who has the stuff and who doesn't to survive ("When It Ends"). Finale Queenie and Black lie in bed as Queenie wonders what it is to live in light and love ("This Is What It Is"). Burrs, done up in blackface, mimics the guests, before entering the bedroom ("Marie Is Tricky (Reprise)"). He pulls out a gun and threatens to kill Queenie ("How Many Women In The World? (Reprise)"). Black fights back and Burrs is shot dead and falls on the bed. Kate rushes in and hurries Black to safety. The company does the opening vaudeville, trying to lure Queenie into its revelry ("Queenie Was A Blonde (Reprise)"). Queenie tries, but soon begins to take off her makeup, the company dropping the vaudeville and joining her ("This Is What It Is" (Reprise)). Queenie is bathed in morning light. Scared, unsure but hopeful, she smiles at the dawn.
Bernarda Alba is a one-act musical with music, lyrics and book by Michael John LaChiusa, based on Federico García Lorca's 1936 play The House of Bernarda Alba. Bernarda Alba tells the story of a controlling, newly widowed mother who is challenged by her five rebellious daughters. The musical opened Off Broadway at Lincoln Center's Mitzi E. Newhouse Theater in 2006, to mixed reviews.
Happy Pat (Patricia Nixon, Hannah Milhous Nixon, Tricia Nixon, and Julie Nixon) Setting: The White House East Sitting Room. Late afternoon, June 11, 1972. Patricia Nixon and her daughters, Tricia and Julie, prepare for Tricia's White House wedding under the threat of rain. Pat contends with the quarreling sisters, the hypercritical ghost of her mother-in-law Hannah Milhous Nixon, and the building scandal at which her husband is the center. Amy Carter's Fabulous Dream Adventure (Rosalynn Carter, Amy Carter, Betty Ford, and Susan Ford) Setting: The deck of the Presidential Yacht. Spring 1980. In a dream sequence from the mind of twelve-year-old Amy Carter, she and her mother Rosalynn are accompanied on the Presidential yacht by Betty Ford and her daughter Susan. The dream occurs in the wake of Amy's father, President Jimmy Carter, facing the Iran hostage crisis, and is grounded to reality by Amy's own insecurities as a young First Daughter, her want to save her father's presidency, and her fears of leaving her White House home. In the "Fabulous Dream Adventure," the group sails to Iran to free the American hostages and fend off terrorists with Amy's Barbie doll. The dream becomes increasingly chaotic as Susan kills Betty and Rosalynn then threatens Amy, who fights back with her Barbie. The dream resolves with everyone alive and well. Amy realizes her dream is too big for her to handle herself, Susan apologizes to her mother, and the group decides to vacation in Puerto Rico before Amy wakes up and they must return to their normal lives. Patti By The Pool - (Nancy Reagan, Patti Davis, and Anita Castelo) Setting: Betsy Bloomingdale's Holmby Hills Home, California. November 1986. Nancy Reagan and her rebellious daughter Patti Davis engage in a tense reunion at the home of socialite Betsy Bloomingdale. The scene depicts the strained relationship between mother and daughter following the release of Patti's fictionalized novel about her family. Throughout the mostly dialogue-driven scene, the reunion is punctuated by Patti's scathing criticisms of her mother. Just as the two seem to reconcile, Patti asks about her father and the Iran-Contra scandal. Nancy insists that he knew nothing of the situation, and that this is all Patti needs to say. Nancy amends her statement by telling her daughter that it would be best for her not to talk about her father until the situation is resolved, or as Patti sees it, covered up. Patti realizes Nancy's intent behind the conversation is to ensure Patti's silence on the scandal, and she lashes out at her mother once more. Nancy has her maid Anita bring Patti a drink spiked with Paraguayan nightshade, and Patti falls unconscious. In The Deep Bosom of the Ocean Buried - (Barbara Bush, Pauline Robinson "Robin" Bush, and Laura Bush) Setting: Walker's Point, Kennebunkport, Maine. October 11, 2003. Barbara Bush mourns the loss of her daughter Robin on the 50th anniversary of her death, and laments her disappointment in her son. She is joined by the deceased Robin, appearing as an adult despite her death from leukemia at the age of three, as well as her daughter-in-law Laura Bush. Barbara must decide whether to support her son George's reelection campaign, all while remembering the child she lost years ago and learning to "Let Go."
The plot contains four unrelated stories and a prologue. Prologue A nameless, African American First Lady reflects on her place in history. Over Texas Aboard Air Force One on November 22, 1963, Jacqueline Kennedy's underpaid, overworked Secretary Mary Gallagher complains about her demanding employer to John F Kennedy's secretary Evelyn Lincoln before a foreboding dream reconciles herself to her place in history. Where's Mamie? The White House, 1957. Feeling abandoned by her husband's absence on her birthday, Mamie Eisenhower fantasizes a trip through time and space alongside Marian Anderson to prevent her husband from having an affair and to alert him to the racial strife that will soon mar his Presidency. Olio 1950. Margaret Truman attempts to sing at a Recital, but is constantly upstaged by her mother Bess. Eleanor Sleeps Here Inside Amelia Earhart's plane, 1936. As they fly over Washington in a plane piloted by Amelia Earheart, Hickok bitterly reviews her complicated relationship with her lover, friend and employer Eleanor Roosevelt.
A princess from the Moon comes to Earth and falls in love with an emperor, encountering human emotions before eventually returning to the Moon. The work adapts the Japanese tale of Princess Kaguya, also known as The Tale of the Bamboo Cutter.
In Texas in 1922, Jordan "Bick" Benedict, a rich cattleman, marries Leslie, from Virginia. Bick is focused on working the family ranch, Reatta, but exhibits bigotry against Mexicans. This racism is seen in his older sister, Luz, who is against outsiders. Jett Rink is a handyman but discovers oil; he is infatuated with Leslie. A neighbor and Bick's reclusive uncle, Uncle Bawley, tells the tale of the legend of the coyote. Bick ends the relationship with a girlfriend, Vashti. As they age over the years, Leslie feels rejected by Bick and realizes that they do not really know each other. Leslie and Bick's son marries a Mexican woman as Leslie tries to help the downtrodden Mexican American workers and Bick comes to accept his son's choice.
Hello Again is a musical with music, lyrics and book by Michael John LaChiusa. It is based on the 1897 play La Ronde by Arthur Schnitzler (also titled Reigen). It focuses on a series of love affairs among ten characters during the ten different decades of the 20th century. The musical premiered Off-Broadway in 1993, directed and choreographed by Graciela Daniele. Since then it has been performed in London, Sweden, Australia, Germany, The Netherlands and New York.
In the present time, Charlotte, in her early 30s, lives in New York and is a short-story writer. She has given up smoking cigarettes, but without them she sees herself clearly, and believes that it is not an attractive picture. She is frightened by her new-found reality, thus her friends Marco and Kathy suggest various activities, such as collecting dolls or a new drug. However, she opts for what is presumably the least silly; swimming. Charlotte thinks back to 1993, when she lived in Buffalo with her lover Robert, in his 40s, and she studied English Literature with him. She reflects on her childhood heroine, Anne Frank, who warns her about flotsam: emotional "debris" that blocks the flow of life. As Charlotte sees that she has been addicted not only to cigarettes but "fleeing", she is able to connect with her friends and her writing. Don Shewey noted that the musical "departs from any kind of traditional book musical structure. Charlotte's tale emerges in vignettes that flicker and flash, zooming back and forth in time, held together by a narrative thread as tenuous as her nonsmoking sanity." Further, the music is "eclectic" and includes "Latin, jazz, rock, there's pure urban noise."
Marie Christine is a musical with music, lyrics, and book by Michael John LaChiusa. It opened on Broadway in 1999.
In the early 1900s, in western New York State, at Niagara Falls, Anna Edson Taylor is a 63-year-old teacher. Needing money, she decides to become the first woman to go over Niagara Falls, and designs her own barrel. She is helped by her manager, Frank Russell. "Navigating both the treacherous Falls and a fickle public with a ravenous appetite for sensationalism, this unconventional heroine vies for her legacy in a world clamoring with swindling managers, assassins, revolutionaries, moralizing family, anarchists, and activists. Convinced that there is greatness in her and determined not to live as ordinary, she sets out to battle her fear and tempt her fate." The score incorporates turn-of-the-century themes. Anna attempts to take advantage of her fame on the lecture circuit, but that does not last. Anna dies in a nursing home at age 82, a pauper.
Act 1 – "Kesa" and "R Shomon" In medieval Japan, Kesa plans to kill her lover, Morito ("Kesa"). Morito arrives, and they make love. Kesa divulges to the audience that "[her] husband knows [their] secret" and draws a knife out of her kimono and raises it to stab Morito at the height of her climax, but a blackout leaves the outcome unknown. The scene shifts to New York City in 1951, where a murder has taken place. The janitor of a movie house is being interrogated by an unseen policeman. He explains that when he left work in the late night/early morning he took a shortcut through Central Park, where he found "the scarf, the body, the blood" ("The Janitor's Statement"). He slips when he refers to the weapon as "his knife", indicating that the killer is a male, but then he claims that the police had mentioned this to him. A thief, Jimmy Mako, is also being interrogated ("The Thief's Statement"). He boasts about committing the crime, and a flashback begins as he describes how Lily looked at him on the street after leaving the movies with her husband Louie ("She Looked at Me"). The thief follows the couple to the nightclub where she flirts with both Louie and, discreetly, the Thief ("See What I Wanna See"). The Thief decides that the only way to get a chance at Lily is to get the Husband out of the way. He convinces Louie to go with him to the park to dig up "Big Money" that he knows is hidden there. After a few drinks, Louie agrees, and Lily is also persuaded to come along. The Thief knocks out the husband, ties him up and rapes Lily, who tries vainly to defend herself with a knife ("The Park"). The Thief snaps - he's infatuated with Lily and is convinced that she wants him too, vowing "You'll Go Away With Me". Lily orders the Thief to fight her husband for her ("Murder"). He does, killing Louie; but Lily runs off into the night. Back at the police department, the Thief calmly states that he will "take the chair." The Janitor explains to his interrogator his philosophy about witnessing strange situations in New York City: "Best Not To Get Involved", but he admits to remembering Lily - "how could you forget a woman like her?" The Wife enters the interrogation room to explain her version of the story ("The Wife's Statement"). After the Thief raped her, she blacked out and awoke to find her husband, Louie, glaring at her, blaming her for the rape, and feeling they no longer had anything left to live for. She begs him for his love and forgiveness ("Louie"). He indicates that they should kill themselves together. She begins to comply ("Louie guide my hand, I will honor you") but at the last second, as he pushes the knife towards her, she panics and turns it towards him, killing him and running away. Back in the interrogation room, the Janitor recalls an adage that "only the dead tell the truth." A Medium arrives and explains that the spirit of the Husband entered her during a seance. She summons his spirit again ("The Medium and The Husband's Statement"). The Husband's story is that his wife became enraptured with the Thief and turned on the husband ("You'll Go Away With Me" (Reprise)). The rape becomes passionate love-making, and the Husband attempts to block it out of his mind by recalling that the marquee of the movie house screening Rashomon was missing the "a" in the title. The Wife orders the Thief to bind the husband. She assaults her husband verbally, relishing her new-found power, and telling him everything she has kept bottled up during their marriage; she will take "No More". She orders the Thief to stab the Husband. Surprisingly, the Thief instead cuts the bonds of the Husband and holds the knife to the Wife's throat, asking, "Do you want me to slash her throat and save you the trouble later?" Louie just stares, and the Thief eventually releases the Wife, tossing the knife to the Husband. The Husband, seething with rage, chases his wife away and is left alone. He decides that the honorable thing to do would be to kill himself ("Simple as This"). The Medium and the Husband perform an elaborate ritual reminiscent of traditional Japanese Seppuku (stomach-cutting). His last memory is of "someone" removing the stiletto from his abdomen and his blood flowing into the grass. The Janitor is still in the interrogation room, exhausted. He describes the beauty and the horrors of New York City in 1951 ("Light In the East"). Again he walks home through Central Park that night. He finds the Husband, pulls the knife out of the body and flees the scene. Everyone appears as a collage of voices, telling their statements, sometimes in unison but often interjecting with their own skewed perspectives on the truth. Act 2 – "Morito" and "Gloryday" Back in feudal Japan, Morito, Kesa's lover, tells wistfully of their final night together ("Morito"). Morito has planned to murder Kesa just as she has plotted to kill him, but the audience is left in doubt as to who was the successful killer, the scene ends with Morito strangling Kesa as she reaches for her knife. Reality and truth depend on whose perspective one believes. Kesa sees murdering Morito as a way to cleanse herself of her guilt and shame, while Morito believes he is bringing justice to Kesa and renewing his honor. In New York City in 2002, the meek priest Michael is in confession with his Monsignor. The Priest has lost his faith in the wake of "the tragedy" (alluding to, but not directly referencing the September 11 attacks), having failed to bring comfort to his flock ("Confession/Last Year"). He reminisces about the first time he realized his calling to become a priest, telling his Aunt about it. The Aunt is a spitfire communist and an atheist. She reminds the Priest of all the flaws and wrongdoings in the world and berates him for being "a gullible dope", falling for "The Greatest Practical Joke" of humanity: religion. The Priest walks through Central Park to clear his mind, where he conceives a great hoax. He decides to stage a false miracle in the park. He posts fliers around the park emblazoned with the message: "In three weeks, on Tuesday, at 1 p.m. sharp, a miracle will occur here in Central Park... from the depths of the pond Christ will appear, believe and be free" ("First Message"). He meets a former C.P.A., a filthy wild man in tattered business attire. The C.P.A. becomes inspired by the Priest's message ("Central Park"). He tells of his former life as an adultering, lying, disgustingly wealthy accountant. Worried that God "doesn't see [his] life", he goes to the park, where he discovers his true calling, "to live free and wild". Yet, he remains desperate for a life with purpose, where God sees him as special and unique. The Priest meets an Actress named Deanna as he posts new fliers in the park ("Second Message"). She is jittery, jumping from one subject to the next. She seduces the Priest, and the two have sex behind a bush in the park. Visibly distraught, she explains that she is struggling with cocaine addiction. She had found success in a coffee commercial, which she calls "residual heaven" ("Coffee"). To celebrate her success, her soap opera-actor boyfriend and she binge on cocaine and vodka and go for a drive in their Jaguar through Beverly Hills. The car flies off a cliff, and the actress breaks her neck, legs, nose and arms: "ouch right?". Her wrecked face draws bad press, and her coffee commercial is withdrawn. She consoles herself with morphine and barbiturates. She tells the Priest that she hopes the miracle occurs, because she could use some hope in her life. The Priest visits his Aunt Monica again and discovers she is dying. The TV news program she is watching shows the hordes of people gathering in Central Park for the "Gloryday". The Priest goes to the park to see what he has created. He enters a bar across the street from the park where he meets Aaron, the Reporter on the news program. The Reporter mentions that he has met the Priest before, on the day of "the tragedy". He was running away from the disaster, while the Priest was running toward it. The Reporter says that he, like the Priest, is looking for answers ("Curiosity"). The other characters appear, lighting candles and praying as the Priest emotionlessly "admires [his] handicraft" ("Prayer"). With one hour left until the miracle the Priest giddily points out souvenir salesmen, religious groups and celebrities ("Third Prayer/Feed the Lions"). He is grabbed by The CPA who says that he knows The Priest's secret...he is an angel. Deanna finds the Priest and thanks him for giving her hope. Finally, the Priest sees his Aunt, who, despite being in great pain, has made her way to the park. She confesses that she has lied all these years: she knows that there is a God, and she knows that "There Will Be a Miracle". She falls asleep on a park bench, telling her nephew to wake her when the Gloryday arrives. With a few minutes left, the crowd joins in "Prayer" for forgiveness, and the Priest has a change of heart. He runs around screaming that it was a joke and that everyone should go home. Now Deanna, the CPA, the Reporter and Aunt Monica describe the scene: The sky goes black, a harsh wind picks up, lightning flashes, mist hangs in the air, the earth trembles, and a tornado hits the lake. Everyone flees, pulling coats over their heads to protect themselves from the dust and debris. The Priest tries to stop them, but he is left standing alone. Looking back, he sees something "Rising Up" from the pond, and he sobs as he sees the Glory. In rapture, he races around, but no one else has seen it. The Reporter, the C.P.A. and Deanna are angry. He wakes Aunt Monica and tells her about it, asking if she believes him. She replies, "If you say so baby, why not?" Back in the confessional, the Priest tells his Monsignor that he put the collar back on a month later at Aunt Monica's funeral, but he is still confused about his faith.
The Gardens of Anuncia is a stage musical with music, lyrics, and a book by Michael John LaChiusa. The show is based on the life of Graciela Daniele, a prolific figure in modern musical theatre. Daniele was born and raised in Buenos Aires, Argentina, where the show is set. It follows her life from a young girl in Argentina during the years of Juan Perón, and her journey that lead her to New York City and eventually becoming an acclaimed dancer, choreographer, and director.
The Vaudeville The company recounts the story of Queenie, a blonde who works as a showgirl in the Vaudeville, who is attracted to "violent and vicious" men ("Queenie Was A Blonde"). She is currently living with a man named Burrs, who works in the same vaudeville, as the act after her. His act is a minstrel show, where he performs in black face ("Marie Is Tricky"). One Sunday, Queenie wakes up restless and she and Burrs soon come to blows. To try to put less strain on their relationship (and to convince her to put a knife down), Burrs suggest they throw a huge party and invite "all the old gang". Queenie is ecstatic and they get prepared for the evening ("Wild Party"). Promenade of Guests The guests soon arrive and exchange words with Burrs, and alcohol starts flowing ("Dry"). Queenie makes her appearance in a "new" dress ("My Beautiful Blonde"), and welcomes everyone, meeting Nadine, a minor who wants to be a blonde and drink bathtub gin ("Welcome To My Party"). Queenie takes her under her wing as she mingles with the other guests. Madelaine, an "almost famous" stripper, introduces Queenie to her new girlfriend, the catatonic morphine-addicted Sally, who she met crawling outside the theatre in a drugged stupor. Madelaine believes Sally is a "post-modernist", to which Burrs replies "in need of a post mortem". Madelaine tells Queenie of their love and of Sally's genius ("Like Sally"). Next up is Jackie, an "ambisextrous" rich kid with his eye on anybody and everybody ("Breezin' Through Another Day"). The incestuously devoted D'Armono Brothers, Oscar and Phil sing a new ditty as Gold and Goldberg, two would-be producers, arrive. They are planning to move uptown, and Burrs is convinced that they want to take him. He joins in with the brothers to impress them ("Uptown"). Queenie wonders where her friend Kate is, and Burrs expresses his dislike for her. Eddie, a successful black boxer and his white wife Mae talk of their marriage ("Eddie and Mae"). Dolores, a faded star, hints to Burrs that she knows his secrets, and forces him to introduce her to Gold and Goldberg. The producers are fighting over their name (With Gold wanting to change Goldberg's name to "Golden" to hide their Jewish heritage) and how to become successful ("Gold and Goldberg"). Burrs introduces them to Dolores, who begins to seduce them with her feminine wiles ("Moving Uptown"). The Party Queenie starts a dance to raise the energy ("Black Bottom"), but Kate soon interrupts with her arrival. She has come with Mr. Black, an attractive gigolo. Queenie and Kate trade insults and love, telling Nadine of their double-edged friendship ("Best Friend"). Burrs and Kate do not get along, with Kate disapproving of Queenie's romantic entanglement with him, while Queenie and Black begin to feel an attraction to each other. Meanwhile, Jackie tries to separate the D'Armano brothers, flirting with Oscar ("A Little M-M-M"). Dolores hints to Queenie about troubles in Burrs' past ("Everybody Has Their Secrets") while Nadine sings a paean to Broadway, only to be cut off by Queenie ("The Lights Of Broadway"). Queenie and Black meet up and find their attraction growing stronger ("Tabu"). Queenie asks him to show her how he picks up ladies, and his hypothetical soon turns into a real proposition ("Takin' Care Of The Ladies") and he pulls her up to dance ("Tabu Dance"). Kate and Burrs notice how close Queenie and Black are becoming, and Burrs wonders about the demise of fidelity ("Wouldn't It Be Nice?"). Queenie tells Black of her troubled existence, wondering why she was born ("Lowdown-Down"), as Burrs hypes up the party with Gin ("Gin"). The party quickly escalates, with everybody drinking, dancing, and arguing. Dolores warns Queenie of Burrs' first wife, who he beat to death, and Queenie escapes to the bathroom. There, she is confronted by Burrs about her entanglement with Black, and he begins to assault her. Kate barges in and saves Queenie, and Burrs furiously rejoins the party with a coked-up Jackie. Kate and Queenie argue about her relationship with Burrs, as Jackie and Oscar are found having sex in the bathroom. Oscar and Phil argue publicly, while Mae and Eddie exchange heated words. Kate warns Queenie that Burrs will kill her, and when Queenie refuses to listen, Kate jumps back into the party. Eddie and Mae soon come to blows - hitting each other, as Dolores seduces Gold and Goldberg, bringing them into the bedroom. Distraught with the state of the party, Queenie is dragged out by Black, as the party continues in full swing ("Wild"). Madelaine searches for Sally and asks her to say her name. The guests all gather and culminate in an orgy ("Need") as Burrs asks Kate about Black. Kate reveals that she knows Black is using her, but she is fine with it ("Black Is A Moocher"). Outside, Queenie and Black bond at the fact that they are different from the rest, wondering where they belong and what will become of them ("People Like Us"). After Midnight Dies Sally, naked, carrying her clothes, reveals she can see clearly now what she and everyone else is ("After Midnight Dies"). She finds Eddie recounting how it feels to beat someone acclaimed, but still be detested ("Golden Boy"). She notices Oscar and Phil making up, and turns to find Gold and Goldberg, pants nowhere to be found, wondering what has happened to them. Dolores appears and warns them that their promise must be kept, or terrible things will occur ("The Movin' Uptown Blues"). She then sneaks into the bedroom, where Nadine has just done her first line of coke with Jackie ("The Lights Of Broadway (Reprise)"). At Nadine's request for more, Jackie laments how he can never get enough of anything, culminating in rape ("More"). Mae hears Nadine's muffled screams and Eddie charges in and beats Jackie. Eddie goes wild, threatening everyone as Queenie and Black arrive. When Eddie charges at Queenie, Black hits him. Queenie questions Nadine on what had happened with Jackie, but she refuses to call him out, instead saying she was scared and screamed. Jackie tries to start the party up again and takes out more cocaine. Seeing the coke, Sally goes to him, leaving Madelaine. Madelaine chases after her, but is stopped when Sally asks, "Who's Sally?" The guests are told to leave by Burrs, and they disappear into the background. Kate confronts Black, telling him that Queenie will choose Burrs and he will have nowhere to go. Burrs and Queenie come to blows as she reveals she knows about his wife ("Love Ain't Nothin'/Welcome To Her Party"). Queenie refuses to let Burrs make up her mind ("What I Need") and leaves with Black. Burrs wonders how many other women could make him feel the way she does, before concluding it is just her ("How Many Women In The World?"). Gold and Goldberg tell him they had no intention of taking him uptown with them, and he begins to put on his vaudeville makeup. Dolores recounts how she used to love the dark, but now she loves the cold hard light that spares no one. She enjoys knowing who has the stuff and who doesn't to survive ("When It Ends"). Finale Queenie and Black lie in bed as Queenie wonders what it is to live in light and love ("This Is What It Is"). Burrs, done up in blackface, mimics the guests, before entering the bedroom ("Marie Is Tricky (Reprise)"). He pulls out a gun and threatens to kill Queenie ("How Many Women In The World? (Reprise)"). Black fights back and Burrs is shot dead and falls on the bed. Kate rushes in and hurries Black to safety. The company does the opening vaudeville, trying to lure Queenie into its revelry ("Queenie Was A Blonde (Reprise)"). Queenie tries, but soon begins to take off her makeup, the company dropping the vaudeville and joining her ("This Is What It Is" (Reprise)). Queenie is bathed in morning light. Scared, unsure but hopeful, she smiles at the dawn.