Musicals · aftercurtain

1634 shows

Songbook

Musical · 1979

Through a series of witty pastiches, the musical tells the life story of a fictional songwriter, Mooney Shapiro, born Liverpool 1908, who emigrates to New York's Lower East Side, before finding Broadway and Hollywood success (cue Gershwin and deSylva/Brown/Henderson spoofs), marrying a Swedish film star and writing for early Busby Berkeley film musicals. Mooney flees the Depression for Europe, where he joins the expat Paris scene (cue Piaf spoof) and falls for an English aristocrat, whose sister is a close friend of Hitler (cue Berlin Olympics 1936). Returning to the US, Mooney scores an Andrews Sisters style hit, then returns to write patriotic numbers for Blitz-ed London (cue Cicely Courtneidge & Marlene Dietrich spoofs). After WW2, Mooney is back in the USA writing returning-GI hits (cue Como/Sinatra spoof) and hoe-down, mid-West feelgood Broadway musical before falling foul of McCarthyism. This brings him back to his native Liverpool (1960) where (surprise, surprise) he writes for a new pop group and a new generation (cue Beatles spoof)! The Swinging Sixties come and go, leaving Mooney stranded again, losing wife and lover, a teenage singer, who conquers the charts with an old Shapiro number reworked as a disco hit. Back on top again, the aged Mooney dies, rich in honours, with a parting song 'Nostalgia'. half-celebrating, half-mocking his long songwriting career.

Songs for a New World

Musical · 1995

Songs for a New World is a work of musical theatre written and composed by Jason Robert Brown. This was Jason Robert Brown's first produced show, originally produced Off-Broadway at the WPA Theatre in 1995. Brown and director Daisy Prince put together songs he had written for other venues and events, resulting in "neither musical play nor revue, it is closer to a theatrical song cycle, a very theatrical song cycle." The show lies between musical and song cycle, but it is neither; it is an abstract musical, a series of songs all connected by a theme: "the moment of decision." Because of its small cast and orchestra, Songs for a New World has become a favorite small show for colleges and local theatres, despite its vocally demanding score.

Sons O' Guns

Musical · 1929

Sons O' Guns is a musical in two acts with music by J. Fred Coots; lyrics co-authored by Arthur Swanstrom and Benny Davis; and a book co-written by Frederick A. Thompson and Jack Donahue. Donahue also starred in the original production as the central character of Jimmy Canfield, an American playboy who is forced to enlist in the United States Army during World War I and has a series of comic adventures and a romance in France.

Sons of Ham

Musical · 1900

Sons of Ham was a 1900 musical staged in the United States. Will Marion Cook wrote the music and Jesse A. Shipp the book. It was a farce, with Bert Williams and George Walker portraying two young men mistaken for twin heirs. It was their first majorly successful show.

Soon

Musical · 1970

Soon is a rock opera with music by Joseph M. Kookoolis and Scott Fagan, lyrics by Fagan, and a book by Scott Fagan and Joe Kookoolis and Robert Greenwald. It is based on a story by Fagan and Kookoolis. The story is about a group of young musicians who achieve success in New York City, but pay the price. It was an attack on the record industry, which apparently caused Fagan and Kookoolis to be blacklisted.

Soul Doctor

Musical · 2008

Soul Doctor - Journey of a Rockstar Rabbi is a Broadway musical that details the life of Rabbi Shlomo Carlebach, with music and lyrics by Shlomo Carlebach and David Schechter, and book and direction by Daniel Wise. The Soul Doctor show debuted at Le Petit Theatre du Vieux Carre in New Orleans, and had subsequent runs at The Colony Theater in Miami, The Parker Playhouse in Ft Lauderdale, and The New York Theatre Workshop in New York City. The Broadway production started previews in July 2013 with its official opening night taking place August 15, 2013 at Broadway's Circle in the Square Theatre.

Soul Sister

Musical · 2012

Soul Sister is a jukebox musical based on the life and times of Tina Turner and Ike Turner, written by John Miller and Pete Brooks, with the original production directed by Bob Eaton.

South Pacific

Musical · 1949

On a South Pacific island during World War II, two half-Polynesian children, Ngana and Jerome, happily sing as they play together ("Dites-Moi"). Ensign Nellie Forbush, a naïve U.S. Navy nurse from Little Rock, Arkansas, has fallen in love with Emile de Becque, a middle-aged French plantation owner, though she has known him only briefly. Even though everyone else is worried about the outcome of the war, Nellie tells Emile that she is sure everything will turn out all right ("A Cockeyed Optimist"). Emile also loves Nellie, and each wonders if the other reciprocates those feelings ("Twin Soliloquies"). Emile expresses his love for Nellie, recalling how they met at the officers' club dance and instantly were attracted to each other ("Some Enchanted Evening"). Nellie, promising to think about their relationship, returns to the hospital. Emile calls Ngana and Jerome to him, revealing to the audience that they are his children, unbeknownst to Nellie. Meanwhile, the restless American Seabees, led by crafty Luther Billis, lament the absence of available women – Navy nurses are commissioned officers and off-limits to enlisted men. There is one civilian woman on the island, nicknamed "Bloody Mary", a sassy middle-aged Tonkinese vendor of grass skirts, who engages the sailors in sarcastic, flirtatious banter as she tries to sell them her wares ("Bloody Mary"). Billis yearns to visit the nearby island of Bali Ha'i – which is off-limits to all but officers – supposedly to witness a Boar's Tooth Ceremony (at which he can get an unusual native artifact); the other sailors josh him, saying that his real motivation is to see the young French women there. Billis and the sailors further lament their lack of female companionship ("There Is Nothing Like a Dame"). U.S. Marine Lieutenant Cable arrives on the island from Guadalcanal, having been sent to take part in a dangerous spy mission whose success could turn the tide of the war against Japan. Bloody Mary tries to persuade Cable to visit "Bali Ha'i", mysteriously telling him that it is his special island. Billis, seeing an opportunity, urges Cable to go. Cable meets with his commanding officers, Captain George Brackett and Commander William Harbison, who plan to ask Emile to help with the mission because he used to live on the island where the mission will take place. They ask Nellie to help them find out more about Emile's background, for example, his politics and why he left France. They have heard, for instance, that Emile committed a murder, and this might make him less than desirable for such a mission. After thinking a bit more about Emile and deciding she has become attracted on the basis of little knowledge of him, Nellie tells the other nurses that she intends to end her relationship with him ("I'm Gonna Wash That Man Right Outa My Hair"). But when he arrives unexpectedly and invites Nellie to a party where he will introduce her to his friends, she accepts. Emile declares his love for Nellie and asks her to marry him. When she mentions politics, he speaks of universal freedom, and describes fleeing France after standing up against a bully, who died accidentally as the two fought. After hearing this, Nellie agrees to marry Emile. After he exits, Nellie joyously gives voice to her feelings ("I'm in Love with a Wonderful Guy"). Cable's mission is to land on a Japanese-held island and report on Japanese ship movements. The Navy officers ask Emile to be Cable's guide, but he refuses their request because of his hopes for a new life with Nellie. Commander Harbison, the executive officer, tells Cable to go on leave until the mission can take place, and Billis obtains a boat and takes Cable to Bali Ha'i. There, Billis participates in the native ceremony, while Bloody Mary introduces Cable to her beautiful daughter, Liat, with whom he must communicate haltingly in French. Believing that Liat's only chance at a better life is to marry an American officer, Mary leaves Liat alone with Cable. The two are instantly attracted to each other and make love ("Younger Than Springtime"). Billis and the rest of the crew are ready to leave the island, yet must wait for Cable who, unbeknownst to them, is with Liat ("Bali Ha'i" (reprise)). Bloody Mary proudly tells Billis that Cable is going to be her son-in-law. Meanwhile, after Emile's party, he and Nellie reflect on how happy they are to be in love (Reprises of "I'm in Love with a Wonderful Guy", "Twin Soliloquies", "Cockeyed Optimist" and "I'm Gonna Wash That Man Right Outa My Hair"). Emile introduces Nellie to Jerome and Ngana. Though she finds them charming, she is shocked when Emile reveals that they are his children by his first wife, a dark-skinned Polynesian woman, now deceased. Nellie is unable to overcome her deep-seated racial prejudices and tearfully leaves Emile, after which he reflects sadly on what might have been ("Some Enchanted Evening" (reprise)). It is Thanksgiving Day. The GIs and nurses dance in a holiday revue titled "Thanksgiving Follies". In the past week, an epidemic of malaria has hit the island of Bali Ha'i. Having visited Bali Ha'i often to be with Liat, Cable is also ill, but escapes from the hospital to be with Liat. As Liat and Cable spend more time together, Bloody Mary is delighted. She encourages them to continue their carefree life on the island ("Happy Talk") and urges them to marry. Cable, aware of his family's prejudices, says he cannot marry a Tonkinese girl. Bloody Mary furiously drags her distraught daughter away, telling Cable that Liat must now marry a much older French plantation owner instead. Cable laments his loss ("Younger Than Springtime" (reprise)). For the final number of the Thanksgiving Follies, Nellie performs a comedy burlesque dressed as a sailor singing the praises of "his" sweetheart ("Honey Bun"). Billis plays Honey Bun, dressed in a blond wig, grass skirt and coconut-shell bra. After the show, Emile asks Nellie to reconsider. She insists that she cannot feel the same way about him since she knows about his children's Polynesian mother. Frustrated and uncomprehending, Emile asks Cable why he and Nellie have such prejudices. Cable, filled with self-loathing, replies that "it's not something you're born with", yet it is an ingrained part of their upbringing ("You've Got to Be Carefully Taught"). He also vows that if he gets out of the war alive, he won't go home to the United States; everything he wants is on these islands. Emile imagines what might have been ("This Nearly Was Mine"). Dejected and feeling that he has nothing to lose, he agrees to join Cable on his dangerous mission. The mission begins with plenty of air support. Offstage, Billis stows away on the plane, falls out when the plane is hit by anti-aircraft fire, and ends up in the ocean waiting to be rescued; the massive rescue operation inadvertently becomes a diversion that allows Emile and Cable to land on the other side of the island undetected. The two send back reports on Japanese ships' movements in the "Slot", a strategic strait; American aircraft intercept and destroy the Japanese ships. When the Japanese Zeros strafe the Americans' position, Emile narrowly escapes, but Cable is killed. Nellie learns of Cable's death and that Emile is missing. She realizes that she was foolish to reject Emile. Bloody Mary and Liat come to Nellie asking where Cable is; Mary explains that Liat refuses to marry anyone but him. Nellie comforts Liat. Cable and Emile's espionage work has made it possible for a major offensive, Operation Alligator, to begin. The previously idle fighting men, including Billis, go off to battle. Nellie spends time with Jerome and Ngana and soon comes to love them. While the children are teaching her to sing "Dites-Moi", suddenly Emile's voice joins them. Emile has returned to discover that Nellie has overcome her prejudices and has fallen in love with his children. Emile, Nellie and the children rejoice ("Dites-Moi" (reprise)).

Spamalot

Musical · 2004

A recording encourages members of the audience to "let your cell phones and pagers ring willy-nilly," and comments that they should "be aware there are heavily armed knights on stage that may drag you on stage and impale you." This was recorded by Eric Idle. A historian narrates a brief overview of medieval England. In a miscommunication between the actors and the narrator, the actors sing an introductory song about Finland ("Fisch Schlapping Song"). The Historian returns, irritated, and tells the frolicking Finns that he was talking about England, not Finland. The scene immediately changes to a dreary, dark village with penitent monks in hooded robes chanting Latin and hitting themselves with wooden boards ("Monk's Chant"). King Arthur travels the land with his servant, Patsy, who follows him around banging two coconut shells together to make the sound of a horse's hooves as Arthur "rides" before him. Arthur aims to recruit Knights of the Round Table to join him in Camelot ("King Arthur's Song"). Arthur and Patsy encounter a pair of sentries who begin debating the probability of finding a coconut in a non-tropical climate. Robin, a collector of plague victims, and Lancelot, a handsome and hot-tempered man, meet as Lancelot attempts to dispose of the sickly Not Dead Fred. Although a plague victim, the man insists that he is not dead yet and he can dance and sing. He begins performing a dance number, but is soon knocked unconscious with a shovel by an impatient Lancelot ("He Is Not Dead Yet"). Lancelot and Robin agree to become Knights together; Lancelot wants to fight in battles, and Robin wants to sing and dance professionally. Not Dead Fred revives, declaring he will serve as Robin's musician, only to be promptly killed by Lancelot. While attempting to recruit a peasant named Dennis Galahad, Arthur explains that he became King of England because the Lady of the Lake gave him Excalibur, the sword given only to the man fit to rule England. However, Dennis and his mother, Mrs. Galahad, are political radicals and say that any king who has not been elected by the people has no legitimate right to rule over them. To settle the issue, Arthur asks the Lady of the Lake and her "Laker Girls" (named after the cheerleading squad) to appear before Dennis ("Come with Me"). Cheered on by the girls ("Laker Girls Cheer"), the Lady of the Lake turns Dennis into Sir Galahad; together they sing a generic Broadway love song ("The Song That Goes Like This"). Arthur knights Galahad, and subsequently Robin and Lancelot. Together with Sir Bedevere and the "aptly named" Sir Not-Appearing-In-This-Show, a knight resembling Don Quixote who promptly apologises and leaves, they become the Knights of the Round Table ("All for One"). Arthur and the four knights gather in Camelot, a deliberately anachronistic place resembling Las Vegas's Camelot-inspired Excalibur resort, complete with showgirls, oversized dice and the Lady of the Lake as a lounge singer reminiscent of Liza Minnelli ("Knights of the Round Table"/"The Song That Goes Like This (Reprise)"). In the midst of their revelry, they are contacted by God, who tells them to locate the Holy Grail. Urged on by the Lady of the Lake ("Find Your Grail"), the knights set off. They travel throughout the land until they reach a castle, only to be viciously taunted by lewd French soldiers. Bedevere comes up with the idea to retaliate by sending them a large wooden rabbit in the style of the Trojan horse; however, the knights realize after the fact that they forgot to hide inside the rabbit before the French soldiers took it in. Defeated, they leave in a hurry when the French soldiers begin taunting them again, sending cancan dancers after them and throwing barnyard animals at them ("Run Away!"). Arthur and his followers manage to run into the safety of the wings before the French soldiers catapult the Trojan rabbit back at them. The knights are separated after the French soldiers' attack. In a forest, Arthur and Patsy meet the terrifying Knights Who Say "Ni!", who demand a shrubbery. Arthur has no idea where to find a shrubbery, but Patsy cheers him up ("Always Look on the Bright Side of Life") and they find a shrubbery shortly after. Sir Robin wanders the forest with his minstrels ("Brave Sir Robin"), and they encounter the Black Knight, who scares Robin away. Arthur then encounters the Black Knight and defeats him by cutting off both his arms and legs, impaling his still-alive torso on a door, and leaving to give the shrubbery to the Knights Who Say "Ni!". Arthur and Robin reunite. The Knights Who Say "Ni!" accept the shrubbery and then demand that Arthur put on a musical and bring it to Broadway. Robin insists that it would be impossible to accomplish this next task, since a successful Broadway musical requires the involvement of Jewish people ("You Won't Succeed on Broadway"). Robin proves his point in a wild production number filled with Ashkenazi Jewish cultural references, a list of Jewish celebrities known for their work on Broadway, and a Fiddler on the Roof parody involving a bottle dance with Grails instead of bottles. Arthur and Patsy promptly set off in search of Jews. While the Lady of the Lake laments her lack of stage time ("Diva's Lament (What Ever Happened to My Part?)"), Sir Lancelot receives a letter of distress from someone who is being forced into an arranged marriage. He is very surprised to find that the supposed "damsel in distress" is actually an effeminate young man named Prince Herbert ("Where Are You?"). Herbert asks Lancelot to help him escape. Herbert's music-hating father, the King of Swamp Castle, cuts the rope that Herbert is using to climb out of the window, and Herbert falls to his apparent death. Lancelot is a bit puzzled at the king's actions, but discovers that his squire Concorde saved Herbert at the last minute. When Herbert begins to explain, in song, how he was saved, the king charges at Herbert with a spear, preparing to kill him. Lancelot steps in to save Herbert, then gives a tearful, heartfelt speech to the king about sensitivity on Herbert's behalf. The king correctly guesses that Lancelot is homosexual, and Herbert helps Lancelot accept his sexuality in a disco number ("His Name Is Lancelot"). Arthur begins to give up hope of ever putting on a Broadway musical and laments that he is alone, ignoring Patsy ("I'm All Alone"). The Lady of the Lake appears and tells Arthur that he and the Knights have been in a Broadway musical all along. The Lady of the Lake tells Arthur that to end the musical, he must find the Grail and marry someone. Arthur proposes to the Lady of the Lake, and she happily accepts. They plan to marry after Arthur finds the Grail ("Twice in Every Show"). The knights reunite, recruit Sir Bors, and meet Tim the Enchanter, a pyromancer who warns them of the danger of a killer rabbit. When the rabbit bites off Bors' head, Arthur uses the Holy Hand Grenade of Antioch against it, knocking down a nearby hill and revealing that the "evil rabbit" was actually a puppet controlled by a surprised puppeteer. A large stone block showing a combination of letters and numbers is also revealed. After pondering the final clue, a confused Arthur asks God for help. A large hand points to the audience and Arthur realises that the letters and numbers refer to a seat number in the audience. The grail is "found" under the seat, and the person sitting in the seat is invited on stage to be rewarded with a small trophy shaped like the Monty Python foot and a polaroid photo ("The Holy Grail"). Arthur marries the Lady of the Lake, who reveals that her name is Guinevere, and Lancelot marries Herbert, who finally gets a chance to sing without interruption from his father. Sir Robin decides to pursue a career in musical theatre. The King of Swamp Castle attempts to interrupt the finale and stop the singing, but Lancelot knocks him unconscious with a shovel. After the bows at curtain call, the company invites the audience to partake in a sing-along of "Always Look on the Bright Side of Life". ("Act 2 Finale / Always Look on the Bright Side of Life (Company Bow)").

Spamilton

Musical · 2016

The musical opens with a parody of the opening number of Hamilton. Leslie Odom Jr., Daveed Diggs, Okieriete Onaodowan and Renée Elise Goldsberry sing about their main star, a man named 'Lin-Manuel as Hamilton', and his quest to save Broadway with his brand new musical, unaware it will one day be parodied. ("Lin-Manuel as Hamilton") The show cuts to New York City, 2014. Lin-Manuel meets Leslie Odom Jr., and asks if he is Aaron Burr, saying "Now that I've cast you...". Leslie gives Lin-Manuel advice on making his musical in a send up of the Hamilton song, Aaron Burr, Sir ("Aaron Burr, Sir, Nervous-Er") to which Lin-Manuel gets upset and claims he isn't going to let Broadway rot, discussing his plans on how his new musical will breathe life into the dead and cash-grabbing modern Broadway business. He meets Daveed Diggs and Okieriete Onaodowan, and he recruits them for his show, and Leslie tells them they're "rocking the boat!", though they keep getting sidetracked due to things like doing pot and being scared of the song "Memory" from Cats ("His Shot") A transition occurs to the modern Broadway scene. We meet Renée Elise Goldsberry, Phillipa Soo and Jasmine Cephas Jones, (though Phillipa and Jasmine are just puppets being controlled by Renée), lamenting over the runied state of entertainment, saying all shows are yucky as they mash up right now, including such productions like An American Psycho in Paris, The Lion King & I, and Avenue Crucible. ("Look Around (The Schuyler Puppets)") Lin-Manuel as Hamilton, now bearing the iconic Hamilton coat, states he has a dream and claims his quest is to get his show mainstream, a historical epic similar to Camalot. He works on names for his show, going from 'Camalot', 'Spamalot', 'Spamilton', and after an accidental lightbulb given to him by Okieriete, 'Hamilton', calling it the 'impossible show!' (Lin-Manuel's Quest) He is interruped by a woman begging for tickets to Hamilton, so we can assume that a time-skip has occurred and Hamilton is currently being previewed. Lin-Manuel gives her tickets, but she rejects them, saying they aren't ever-lasting. Lin-Manuel asks if he knows her, and she reveals she is Bernadette Peters, to which Lin-Manuel exclaims 'Bernadette Peters!' ("Ticket-Beggar Woman"). Leslie tells Lin-Manuel not to worry, she's just a washed up actor, claiming Broadway is full of them. This transitions to a winter prom, where Lin-Manuel, Leslie, Daveed and Okieriete try their luck with the ladies ("Straight Guy's Winter Prom"), but this is interrupted by a message from King George, who berates musical theatre for once being too gay, but now with Hamilton straightness has returned to theatre ("Straight Is Back"). The show parodies the numerous time transitions in Hamilton, repeating 1789 until it turns to nonsense. Leslie wonders how the audience keeps up with the thick plot of Hamilton, finding out Daveed Diggs has been double cast as Lafeyette and Jefferson, and Daveed has the same questions as him, and he tries to help the audience catch up ("What Did You Miss?"). Lin-Manuel composes some fan-mail to his idol, Stephen Sondheim, asking for help on how to make his show better. This causes Sondheim to take the form of Ben Franklin to talk to Lin-Manuel, telling him his musical is messy and claiming he is a one-hit wonder. Franklin warns him to keep his raps and lyrics simple, or else the audience will get confused and won't listen. Renée agrees, and recounts the time she sang a song by Sondheim, remembering how hard it was ("Ben Franklin, Stephen Sondheim & Lin Manuel") Hard cut to Daveed Diggs in some 80s styled attire, and Daveed recounts his life to the beat of intro music to The Fresh Prince of Bel-Air, and shifts to singing about trying to rap as Lafeyette and Jefferson ("Daveed Diggs - The Fresh Prince of Big Hair"), to which Renée decides to rap battle him, but Lin-Manuel hijacks the song and sings about himself and, again, his show ("Rap Battle"). Suddenly, the ticket-beggar returns in flashier attire, again begging for Hamilton tickets. Lin-Manuel gives her tickets, but she declines them, saying they are for something rotten, to which Lin-Manuel retorts they are for School of Rock ("Ticket-Beggar Woman #2") The woman is revealed to be Liza Minnelli, who seems to be against the song-writing style of Lin-Manuel ("Liza's Down With Rap") Once again, a ticket-beggar appears, who turns out to be a woman named Audra McDonald, a has-been. Lin-Manuel condemns Audra and hops off, leaving Audra and Brian Stokes Mitchell to plot a new musical about Roosevelt (Whichever one is not stated), to compete with Hamilton. ("Ticket-Beggar Woman #3") Lin-Manuel returns to home, and jokingly laments over his fame and fortune, seeing his home town turned to a Lin-Manuel Miranda worshipping compound, selling souvenirs and gifts uptown, going as far as calling him a god and news reports grovelling for interviews. ("In The Hype"). Leslie asks why and how Lin-Manuel does what he does, and Lin-Manuel claims he just tries to write like it's going out of style. Much to Lin-Manuel's shock, J-Lo appears, and inflates Lin-Manuels ego, eventually asking to team up and work together. Lin-Manuel declines, and Beyoncé and Gloria Estefan appears and offers him the same option ("Lin-Manuel & J-Lo, Beyoncé & Gloria Estefan") The show turns to a Book of Mormon parody, as multiple former Broadway shows beg for attention pitifully, unable to compete with Lin-Manuel as Hamilton's smash hit, before admitting defeat ("Book of No More Mormons"). Some shows don't though. The specific ones being Assassins, The Phantom of The Opera, Aladdin, Cats, and Wicked, all itching to get back to Broadway ("Broadway Assassins") Leslie Odom Jr. tells Lin-Manuel to stop rapping so much, pushing Lin-Manuel over the edge. Leslie challenges him to a duel, and Lin-Manuel agrees. Leslie tries to debate that Broadway is already dead and his dreams are moot, to which Lin-Manuel debates with a bullet, shooting Leslie. Leslie shoots as well, and both get wounded ("Cool Duel"). Renée gets sad over this, leading to a number where she tries to make the audience cry, telling them how all these characters die, but also tries to list all her good deeds. In a last-ditch effort, she tells them she opened an orphanage ("Who Lives, Who Dies, Who Cries") One of Renée's orphans, who bears a striking resemblance to Little Orphan Annie, tells the audience that Hamilton is killing it on Broadway, to which Lin-Manuel agrees. In New York City, Lin-Manuel and his cast get rich off the success ("Lin-Manuel's New York City") The show cuts to the Tony award for Best Musical of The Century, with Hamilton being nominated. Barbra Streisand, who is presenting the award, stops before announcing the winner, and asks Lin-Manuel if she can make the movie adaptation of Hamilton, should it happen, wanting full creative control. The rest of the cast comes back and agrees they want a film version, suggesting Johnny Depp as Hamilton, Russell Crowe as Aaron Burr, Shia LaBeouf as Jefferson and have Steven Spielberg directing, even though they all agree the movie will not match up to the musical. ("The Film When It Happens") The show ends in a bar with the cast of Hamilton, celebrating the success of Hamilton, commercially and critically, all being happy that Broadway has been salvaged. The show ends with Lin-Manuel telling the audience to write their own musical ("Finale: Raise a Glass to Broadway")

Spend Spend Spend

Musical · 1998

Spend Spend Spend is a musical with book and lyrics by Steve Brown and Justin Greene and music by Brown. The musical is inspired by the life of Viv Nicholson.

Spoon River

Musical · 2014

The dead residents of a small American town speak through their epitaphs. Their memories of love, regret, secrets, and injustice form a musical portrait of the community they left behind.

Sporting Love

Musical · 1934

Sporting Love is a musical written by Stanley Lupino with music by Billy Mayerl, lyrics by Desmond Carter and Frank Eyton. Produced by Lupino, it opened at the Gaiety Theatre, London on 31 March 1934 and ran for 302 performances, closing on 26 January the following year. In 1936 it was adapted as a film Sporting Love starring Lupino, featuring some of the original stage cast.

Spring Awakening

Musical · 2006

Wendla Bergmann, an adolescent in late 19th-century Germany, laments that her mother gave her "no way to handle things" and has not taught her the lessons she is meant to know as a young woman ("Mama Who Bore Me"). She tells her mother that it is time she learned where babies come from, considering that she is about to be an aunt for the second time. Her mother cannot bring herself to explain the facts about conception clearly to Wendla, despite knowing her daughter is reaching puberty. Instead, she simply tells Wendla that to conceive a child a woman must love her husband with all of her heart. The other young girls in town – Martha, Thea, Anna and Ilse – appear to be similarly naïve and are upset about the lack of knowledge presented to them ("Mama Who Bore Me (Reprise)"). At school, some teenage boys are studying Virgil in Latin class. When Moritz Stiefel, a very nervous and anxious young man, sleepily misquotes a line, the teacher chastises him harshly. Moritz's classmate, the rebellious and highly intelligent Melchior Gabor, tries to defend him, but the teacher will have none of it, and hits Melchior with a stick. Melchior reflects on the shallow narrow-mindedness of school and society and expresses his intent to change things ("All That's Known"). Moritz describes a dream that has been keeping him up at night, and Melchior realizes that Moritz has been having erotic dreams which Moritz believes are signs of insanity. To comfort the panicked Moritz, Melchior, who has learned sexual information from books, tells Moritz that all of the boys at their age get these dreams. Moritz, Melchior and the other boys – Ernst, Hänschen, Otto and Georg – share their own sexually frustrated thoughts and desires ("The Bitch of Living"). Moritz, who is uncomfortable talking about the subject with Melchior, requests that he give him the information in the form of an essay, complete with illustrations. All the girls, except Ilse, are gathered together after school; they tease each other as they fantasize about marrying the boys in the town. Martha admits that she has a crush on Moritz, but is made fun of by the other girls. At the top of the list is the radical, intelligent, and good-looking Melchior ("My Junk"). Moritz has eagerly digested the essay that Melchior prepared for him, but complains that his new knowledge has only made his dreams even more vivid and torturous. Melchior tries to calm and comfort his friend, but Moritz runs off in frustration. All of the boys and girls express their desires for physical intimacy ("Touch Me"). While searching for flowers for her mother, Wendla stumbles upon Melchior. The two reminisce on the friendship they once shared as children and share a moment while sitting together in front of a tree. Each of them considers what it would be like to give in to their physical desires for one another ("The Word of Your Body"), but they do not do so. Meanwhile, at school, Moritz sneaks a look at his test results and is thrilled to learn that he has passed his midterm examinations, and tells the other boys. They are ecstatic, save the skeptical Hänschen. However, the teacher and schoolmaster, who claim they cannot pass everyone, decide to fail Moritz anyway, deeming his passing grade still not up to the school's lofty standards. Martha accidentally admits to her friends that her father abuses her physically and sexually and that her mother is either oblivious or uncaring. The other girls are horrified to hear this, but Martha makes them promise not to tell anyone, lest she end up like Ilse, a friend from childhood who now wanders homeless and aimless after her similarly abusive parents kicked her out of the house ("The Dark I Know Well"). Later, Wendla finds Melchior again at his spot in the woods and tells him about Martha's abuse. Melchior is appalled to hear this, but Wendla convinces him to hit her with a switch, so that she can try to understand Martha's pain. At first Melchior is determined to do nothing of the sort, but reluctantly complies. He gets carried away in the beating, taking his own frustrations out on Wendla and throws her to the ground. Disgusted with himself, Melchior runs off as Wendla is left lying on the ground, weeping. Alone, Wendla finds that Melchior has left his journal on the ground. She picks it up and takes it with her. Moritz is told he has failed his final examination; when Moritz tells his father that he will not be progressing in school, he reacts with disdain and contempt. Rather than attempting to understand his son's pain, his father is only concerned with how the others in town will react when they see "the man with the son who failed." Moritz writes to Melchior's mother, his only adult friend, asking for money to help him flee to America; she tenderly but firmly denies his request and promises to write his parents to discourage them from being too hard on him ("And Then There Were None"). Devastated by her refusal and feeling he has few choices left, Moritz considers killing himself. In a stuffy hayloft during a storm, Melchior expresses his frustration about being caught between childhood and adulthood ("The Mirror-Blue Night"). Wendla finds him once again, telling him she wants to return his journal, and each apologizes for what happened in the forest. Melchior, disappointed in himself from the night before, urges her to leave. Wendla ignores this, instead suggesting they run in the rain until they "get soaked to the skin". Before long, they begin to kiss. Both of them nervously continue to entangle themselves, and then hesitate, sensing that what they are doing is something very powerful. Wendla is not entirely sure of what they are about to do but is certain that it is unlike anything that she has known before. They continue and then have sex in the hayloft; as Melchior penetrates her, Wendla cries out ("I Believe"). (Note: This scene was very much softened from the show's Off-Broadway run, where consent from Wendla was unclear and stage notes suggest explicit rape. Later, as staged by the Broadway show, Wendla gives explicit consent to Melchior, but does so without full understanding of what they are going to do.) Wendla and Melchior are finishing their moment of confused intimacy in the hayloft; they reflect on and discuss what has just happened ("The Guilty Ones"). (In the Off-Broadway production, Act II began with "There Once Was a Pirate".) Moritz, having been thrown out of his home, wanders the town at dusk, carrying a pistol when he comes across Ilse, a childhood friend of his. Ilse tells him she has found refuge at an artists' colony, and they reminisce in some childhood memories and "remarkable times". She invites him to come home with her and join her in sharing some more childhood memories, and maybe something more. Moritz refuses and Ilse does everything she can to change his mind ("Don't Do Sadness/Blue Wind"). After affirming to Ilse that he truly wished he could go with her, Moritz refuses and Ilse leaves, distraught and upset. Realizing that Ilse was his last chance to escape the fate he's set out for himself, Moritz quickly changes his mind and calls after her, but she is gone. Alone and believing that he has nowhere to turn, Moritz shoots himself. At Moritz's funeral, each of the children drops a flower into his grave as Melchior laments the passing of his friend while touching on the factors that led to his death, including the way his parents treated him ("Left Behind"). Back at school, the schoolmaster and teacher feel the need to call attention away from Moritz, whose death was a direct result of their actions. They search through Moritz's belongings and find the essay on sex which Melchior wrote for him. They seize the opportunity to lay the blame of Moritz's death on Melchior, and although Melchior knows that he is not to blame, he knows there is nothing he can do to fight them and is expelled as a result ("Totally Fucked"). Elsewhere that night, Hänschen meets up with his shy and delicate classmate Ernst. Ernst tells Hänschen about his plans to become a pastor after school, and Hänschen shares his pragmatic outlook on life. He is amazed with how Ernst has remained so innocent despite the horrible things happening around them. They kiss and Ernst reveals that he loves Hänschen. ("The Word of Your Body (Reprise)"). Wendla has become ill, and her mother takes her to visit a doctor. He gives her some medication and assures them both that Wendla is suffering from anemia and will be fine, but takes Wendla's mother aside and tells her that Wendla is pregnant. When her mother confronts her with this information, Wendla is completely shocked, not understanding how it could have happened. She realizes that her mother lied to her about how babies are made. Although she berates her mother for leaving her ignorant, her mother rejects the guilt and insists Wendla tell her who the child's father is. Wendla reluctantly surrenders a passionate note Melchior sent her after they consummated their relationship. She reflects somberly on her current condition and the circumstances that precipitated it, but resolves with optimism about her future child ("Whispering"). Meanwhile, Melchior's parents argue about their son's fate; his mother does not believe that the essay he wrote for Moritz is sufficient reason to send him away to reform school. When Melchior's father (Callum) tells his wife about Wendla's pregnancy, she finally agrees that they must send Melchior away, which they do without telling him that Wendla is pregnant. During this time, Melchior and Wendla keep contact through letters, delivered by Ilse. At the reform school, Melchior gets into a fight with some boys who grab a letter he has just received from Wendla and use it in a masturbation game. As one of the boys reads from the letter, Melchior finally learns about Wendla and their child, and he escapes from the institution to find her.

St. Louis Woman

Musical · 1946

The story is set in St. Louis in 1898. Little Augie, a jockey who is on a winning streak, is enamoured of Della Green, the belle of St Louis. Della, however, is the girlfriend of Biglow Brown, the proprietor of the local bar. Biglow is abusive toward Della and she decides to leave him. Brown's previous mistress, Lila, is still around which produces complications. And then there is the barmaid, Butterfly. She is in love with Barney, another jockey, but unlike Little Augie, Barney is older and not that lucky. But Butterfly doesn't want things to go too far with Barney until she gets that elusive wedding ring. It's cakewalking time and Augie attracts the attention and admiration of Della with his virtuoso performance of the cakewalk. Things go so well between them that they agree to set up home together and prepare plans to marry. But, things are not destined to go smoothly. While Augie is off at the racetrack, Della gets an unwelcome visit from Biglow Brown. When she refuses to have anything more to do with him he beats her. It is at this point that Lila enters and begs Biglow to take her back. Augie returns and a shot is fired. Brown believing he has been shot by Augie swears a curse on him although it was, in fact, Lila who fired the gun. Although Augie is suspected by everyone that he killed Biglow Brown, it is at Brown's funeral that Lila confesses. However, the curse cast by Brown seems to be working. Augie's horses are no longer winning and Della blames herself for all the problems that have overcome them. She leaves, pretending that she wants a better life than that which can now be provided by Augie. Della's new friend, the new bar-owner, nonetheless tells Augie of Della's true feelings. Augie believes the curse to be so much mumbo-jumbo. He'll win his next race and he and Della can get back together again. He does - and they do!

Starlight Express

Musical · 1984

Starlight Express has been revised many times since it was first produced. These revisions range from tweaks to lyrics to adding or removing entire songs, characters and subplots. The fundamental story, however, has stayed the same. This synopsis reflects the show as it was first produced, in the West End in 1984. A young boy falls asleep while playing with his toy trains, announcing it is race night. In his dreams, the trains come to life. The reigning champion – a diesel engine from the U.S.A. called Greaseball – enters with his cavalcade train of several other diesel engines and three freight trucks. They boast of diesel's supremacy ("Rolling Stock"). Next, a steam engine called Rusty enters. Greaseball mocks Rusty, who replies that he will win the championship, despite steam being obsolete compared to diesel ("Call Me Rusty"). The dreaming boy, Control, intervenes and orders Rusty to collect a passenger train from the marshalling yard. He returns with four coaches that make up the passenger train: a dining car called Dinah, a smoking car called Ashley, a buffet car called Buffy, and an observation car called Pearl. Control sends Rusty away to fetch a freight train as the coaches introduce themselves to the audience ("A Lotta Locomotion"). Greaseball returns. He boasts again, this time to the coaches ("Pumping Iron"). Rusty returns with the six trucks that make up the freight train: three boxcars called Rocky 1, Rocky 2 and Rocky 3, a brick truck called Flat-Top, an aggregate hopper called Dustin and a caboose called C.B. They introduce themselves to the audience and argue with the coaches over whether it is preferable to carry people or cargo ("Freight"). Control declares entries for the championship open. Six trains arrive to challenge Greaseball: Bobo, the French Sud-Est; Espresso, the Italian Settebello; Weltschaft, the German Class 103; Turnov, the Trans-Siberian Express from Russia; Hashamoto, the Japanese Shinkansen Bullet Train; and the City of Milton Keynes, the Advanced Passenger Train from Great Britain. Entries are about to close when a surprise entry – an electric engine called Electra – arrives. Accompanied by his train of five components – an armaments truck called Krupp, a repair truck called Wrench, a money truck called Purse, a freezer truck called Volta and an animal truck called Joule – Electra declares that electricity is the future of the railways ("AC/DC"). Greaseball and Electra square up to each other as the entrants form a parade to celebrate the race ("Coda of Freight"). Control announces the rules of the championship: the trains will compete in pairs, with an engine pulling a coach. There will be three elimination heats, and the winner of each heat will move on to the finals to decide the fastest train. The engines start to pick their coaches. Rusty offers to race with Pearl, but she rejects him, explaining that she is waiting for her 'dream train' ("He Whistled at Me"). Electra's messenger, Purse, enters with an invitation from Electra. Even though Electra is not her dream train, she accepts, leaving Rusty alone. The first heat pits Greaseball and Dinah against Espresso, Buffy, Hashimoto, and C.B. C.B. sabotages Hashimoto by applying his brakes at critical moments in the race and then letting him derail before crossing the finish line. Greaseball and Dinah win comfortably, claiming a place in the finals. After the race, Dinah objects to Greaseball's cheating. In response, he abandons her, and C.B. comforts Dinah ("There's Me"). Meanwhile, a lonely Rusty has retreated to the freight yard where the former champion – an old steam engine called Poppa – sings a blues song to the trucks ("Poppa's Blues"). Poppa tries to persuade Rusty to race without Pearl, urging him to believe in the Starlight Express. When Rusty refuses, Poppa introduces him to an old Pullman car called Memphis Belle ("Belle The Sleeping Car"). Rusty agrees to race with Belle. They compete in the second heat against Electra, Pearl, Weltschaft, and Joule. Electra and Pearl finish first, securing a place in the finals; Rusty and Belle finish last. Already despondent after losing Pearl as his race partner, Rusty loses his last shreds of confidence. Poppa decides to step up and prove that steam power is still relevant, despite everyone's misgivings, by racing himself in the third heat. Only Dustin is willing to run with him. Rusty points out that the race is already whole, but suddenly, Control announces that the British train has been scrapped, leaving space for a late entry. Poppa interprets this as a sign from the Starlight Express and enters the race. The third heat pits Poppa and Dustin against Bobo, Ashley, Turnov and Wrench. Poppa wins the race, securing a place in the finals against Greaseball and Electra, but the effort of outracing the others and pulling the hefty Dustin exhausts him. Now worn out and half-dead, he begs Rusty to take his place. Rusty refuses at first, but then he notices Pearl with Electra and is jealous. When C.B. offers to race with him, Rusty announces that he will take Poppa's place. Greaseball and the other competitors mock him and then leave. Alone, Rusty prays to the supposedly mythical Starlight Express for help in the final ("Starlight Express"). The trains debate whether Rusty should be allowed to take Poppa's place in the finals since he's already competed and lost or whether the area should go to Bobo, who finished second in Poppa's heat ("The Rap"). They ultimately decide to let Rusty race. Control offers the engines the chance to change partners. Pearl abandons Electra and joins Greaseball, leaving Dinah feeling betrayed. Dinah expresses shame at being uncoupled, although she cannot speak the word itself ("U.N.C.O.U.P.L.E.D."). Ashley, Buffy, and Belle try to persuade Dinah to fight for Greaseball's affection ("Rolling Stock (Reprise)"/"Girls' Rolling Stock"), but instead, she accepts an offer from Electra to replace Pearl in the finals. Elsewhere, C.B. hatches a plan. He tells Greaseball he will help him win the championship by sabotaging Rusty. He then tells Electra the same thing. When Electra expresses his surprise at C.B.'s duplicity, C.B. explains that he has spent a career secretly causing train crashes for fun ("C.B."). The finals take place between Electra and Dinah, Greaseball and Pearl, and Rusty and C.B. C.B. sabotages Rusty, slowing him down so he misses a movable bridge that is part of the course and cannot finish the race. Electra and Greaseball finish in a dead heat. Control announces that there will be another race, with Electra and Greaseball going head-to-head to decide the winner. Rusty complains that he was cheated, but the marshals refuse to listen. Pearl confronts Greaseball after hearing him gloating with CB and Electra about how seamless the sabotage was, but he warns her to say nothing, as the marshals would also consider her complicit and punish her. Rusty retreats to the freight yard, where he bumps into the Rockies. They tell him he will never win without luck and should give up ("Right Place, Right Time"). The Rockies leave Rusty alone. He appeals again to the mythical Starlight Express for help, and this time, it hears. The Starlight Express, which is portrayed by the same actor as Poppa, appears in front of Rusty. The Starlight Express reminds Rusty that he already possesses the strength he needs if he believes in himself, inspiring him to enter the rerun of the final race. ("I Am The Starlight"). The Starlight Express disappears, and Rusty finds himself back in the freight yard with Dustin, who says he was asleep but felt the starlight's presence. Rusty asks Dustin to race with him in the final. He accepts, and they head off together. Moments before the race, Dinah, angry with how Electra treats her, disconnects from him. Electra quickly appeals to C.B. to take her place. The trains gather to watch what they expect will be a head-to-head final between Greaseball and Pearl and Electra and C.B.. Suddenly, Rusty arrives with Dustin, and the marshals allow him to enter the race. The race is fast and furious. This time, the downhill track turns Dustin's weight into an advantage for Rusty. Greaseball struggles with an unwilling Pearl holding him back, and Electra uses all his power to disrupt his opponents. Pearl is distracted by Rusty's presence, causing Greaseball to uncouple her at full speed. Rusty diverts from the race course just in time to save her but at the cost of falling into a distant third place. The now partner-less Greaseball and Electra dispute over the lead but suddenly CB abandons Electra and couples up to Greaseball while the ensemble sings part of the chorus to "C.B." just like they did after he put the brakes on Rusty during the Uphill Final, leaving Electra to disappear backstage for the rest of the race. Rusty and Dustin are able to overtake and right next to the finish line Greaseball and CB crash, allowing Rusty to win the race. But instead of celebrating, he leaves immediately to find Pearl. Control warns that Rusty will cancel his lap of honor if he does not return quickly. Meanwhile, humiliated and infuriated, Electra leaves the race track, swearing never to return ("No Comeback"). Greaseball and C.B. emerge in a tangled wreck. They lament the heavy toll their wreck and racing in general has taken on them ("One Rock 'n' Roll Too Many"). Poppa demands that Greaseball and C.B. help find Rusty. Away from the other engines, Pearl fears that she caused Rusty to lose the race. She realises that of all the trains she's raced with, only Rusty acted selflessly towards her ("Only He"). Rusty arrives. He tells Pearl that he won the race and confesses his love for her ("Only You"). The other trains arrive. Greaseball finally apologises to Dinah for his behaviour, and they reconcile. Greaseball complains that he's finished as a racer, but Poppa offers to rebuild him into a steam engine.

Starmites

Musical · 1980

Eleanor, a shy teenager from the 80s, creates and explores a dream world (Innerspace) featuring various fictional characters and settings pulled from her large sci-fi comic book collection. The bulk of the show follows Eleanor's self-insert character Milady and her misadventures with the Starmites, a troupe of spacefaring rogues that are portrayed as an old school boy band.

State Fair

Musical · 1992

State Fair is a musical with a book by Tom Briggs and Louis Mattioli, lyrics by Oscar Hammerstein II, and music by Richard Rodgers. Phil Stong's original 1932 novel, State Fair, was first adapted for film in 1933 in a production starring Will Rogers. In 1945, the film was remade as a musical with original songs by Rodgers and Hammerstein. This was subsequently remade in 1962 as well as adapted into a made-for-television movie in 1976. The stage production closely follows the plot of its predecessors, providing a glimpse into the life of a farming family, the Frakes, and their three-day adventure at the Iowa State Fair in Des Moines in 1946. While parents Abel and Melissa are hoping to win a few blue ribbons, siblings Margy and Wayne are more interested in finding romance on the midway.

Steel Pier

Musical · 1997

Steel Pier is a musical written by the songwriting team of Kander and Ebb with an original book by David Thompson.

Stepping Stones

Musical · 1923

Stepping Stones is a "fantastical musical play" (musical comedy) in two acts with book by Anne Caldwell and R. H. Burnside, lyrics by Anne Caldwell, and music by Jerome Kern. The show was produced by Charles Dillingham at the Globe Theater, and opened November 6, 1923.

Still Dancing

Musical · 1925

A 1925 musical revue produced by Charles B. Cochran, combining songs, comic scenes, and ballet numbers including Leonide Massine's choreography for The Rake.

Stinkfoot, a Comic Opera

Musical · 1985

Stinkfoot, a Comic Opera is an English musical with book, music, and lyrics by Vivian Stanshall and Ki Longfellow-Stanshall written for the Crackpot Theatre Company aboard the Old Profanity Showboat in Bristol, England. The show is based on a series of tales written by Longfellow about Stinkfoot, a New York City alley cat. It had been intended for children, but when told by a New York City literary agent that "No mother in America would want her child identifying with Stinkfoot the alley cat, never mind its name," the story went into a drawer, and didn't reappear until 1985 when Vivian and Ki decided to base a musical on its lead character, Stinkfoot.

Stop the World – I Want to Get Off

Musical · 1961

Stop the World – I Want to Get Off is a 1961 musical with a book, music, and lyrics by Leslie Bricusse and Anthony Newley. In 1966 Warner Bros. released a film adaptation of the play. In 1996, a film version was produced for TV, made for the A&E Network. According to Oscar Levant, the play's title was derived from a graffito.

Strictly Ballroom

Musical · 2014

Competitive dancer Scott Hastings rejects the approved steps and finds an unexpected partner in beginner Fran. As a championship approaches, they must resist family pressure and the dance establishment to perform in their own way.

Strike Up the Band

Musical · 1927

Strike Up the Band is a 1927 musical with a book by Morrie Ryskind, lyrics by Ira Gershwin and music by George Gershwin. It first ran as a satirical show in Philadelphia that year, unsuccessfully, and on Broadway in 1930 after the original book by George S. Kaufman was revised by Ryskind.

Subways Are for Sleeping

Musical · 1961

Subways Are for Sleeping is a musical produced by David Merrick with book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961–62. The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's magazine and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on an extraordinary hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order. A previous adaptation of the Harper's article was aired August 3, 1956 on CBS Radio Workshop.

Suffs

Musical · 2022

At the 1913 National American Woman Suffrage Association (NAWSA) Convention, Carrie Chapman Catt gives a speech calling for support for women's suffrage ("Let Mother Vote"). Alice Paul, exhausted by NAWSA's slow progress, proposes a march on Washington, D.C. on the day of President Woodrow Wilson's inauguration, to pressure him to support a federal amendment for suffrage. Carrie refuses, preferring NAWSA's approach of gaining suffrage state-by-state. Irritated and unwilling to give up, Alice resolves to see equality for all achieved in her lifetime ("Finish the Fight"). She recruits her college friend Lucy Burns to help organize the march themselves, and they further recruit socialite Inez Milholland and Polish labor organizer Ruza Wenclawska, and accept visiting Nebraska college student Doris Stevens as their secretary ("Find a Way"). As the march approaches, Southern delegations object to Black women marching alongside white women in their respective delegations. Not wanting to derail the march, Alice elects to compromise by setting up a separate colored women delegation; prominent African-American journalist and activist Ida B. Wells confronts the organizers to declare her intention to march with her own state delegation, and harshly criticizes Alice for being willing to compromise with the march's Southern backers at the expense of Black women ("Wait My Turn"). On the morning of the march, Ida runs into her friend and fellow Black activist Mary Church Terrell, along with her daughter Phyllis. Ida favors direct actions to draw attention, while Mary prefers an approach of "dignified agitation", working within the system to fight for colored women's rights, which causes a rift between them, though they both march with the hope of uplifting Black voices ("Terrell's Theme"). The Woman Suffrage Procession faces some violent pushback, but they succeed in completing the march ("The March (We Demand Equality)"). As the organizers celebrate, Doris expresses distress over having been called a "bitch" by one of the counter-protestors. Alice, Ruza, Inez, and Lucy encourage Doris to embrace this label as a sign of her strength in the face of sexist men ("Great American Bitch"). Carrie offers NAWSA's backing to the newly-formed Congressional Union (CU) for Woman Suffrage, made up of the march's organizers, although she and Alice still disagree on their respective approaches. The CU go to the White House for a meeting with Wilson, who offers them lip service about his condescending and chauvinistic adoration for women ("Ladies"), but continually puts off publicly showing support in his first term. A frustrated Alice suggests NAWSA withdraw their support, but Carrie refuses to antagonize Wilson as he has pledged to keep the U.S. out of the war in Europe. Alice's commitment to the movement takes a toll on her personal and social life, but she tells herself focusing on achieving women's suffrage will be worth the sacrifice ("Worth It"). Doris educates Wilson's chief of staff Dudley Field Malone on the movement by offering a hypothetical scenario of her rights if they were husband-and-wife; the two gradually fall for each other ("If We Were Married"). At the 1916 NAWSA Convention the divisions among the Suffs become clear; Mary, an invited speaker, wants to use her speech to highlight race, while Ida points out that NAWSA uses Mary to insulate themselves from being called racist. The CU disrupts the convention by publicly calling for NAWSA to organize against Wilson's reelection, criticizing the slower approach of "irrelevant old fogies" like Carrie ("The Convention Part 1"). Stunned and offended at having her contributions to the movement brushed aside ("This Girl"), Carrie publicly condemns Alice and privately informs her that her actions have no place in NAWSA ("The Convention Part 2"). With the CU effectively kicked out of NAWSA, Alice founds the National Woman's Party (NWP) and recruits Alva Belmont, a wealthy socialite and NAWSA donor, to fund it and continue with their anti-Wilson efforts ("Alva Belmont"). The NWP plans a campaign tour calling for women in states where they have voting rights to vote against Wilson. Inez tries to take a leave of absence due to exhaustion, but is convinced by Alice to go on the tour ("Show Them Who You Are"). Their efforts to vote Wilson out are unsuccessful and Wilson is re-elected ("The Campaign"); to make matters worse, a devastated Lucy returns from the tour with the news that Inez collapsed and died during one of her speeches, having hidden her anemia from the others. Heartbroken, the Suffs hold a vigil for Inez, and resolve to continue in her honor ("How Long?"). The NWP organize the Silent Sentinels, standing in silence outside the White House gates until Wilson publicly supports suffrage. When Wilson declares that the U.S. will join the Great War, they hold up banners with his own words printed on them to highlight his hypocrisy, only to be arrested on Wilson's orders ("The Young Are At The Gates") and sentenced for the trumped up charge of obstructing traffic. Dudley, disgusted with Wilson and convinced of the cause, publicly resigns ("Respectfully Yours, Dudley Malone"). At Occoquan Workhouse, the group stages a hunger strike to protest their arrest, much to the frustration of Mrs. Herndon, the strict but sympathetic prison matron. The group soon falls into conflict as Ruza accuses Alice of trying to get them all killed with her methods, with Lucy and Doris unable to quell the argument ("Hold It Together"). Meanwhile, Carrie continues to back Wilson despite misgivings about his broken promises and treatment of the suffragists in prison. Dudley helps free Doris from prison by posing as her husband and joins the NWP. Mary argues with Ida about publicly condemning the war, as both express their fatigue over constantly fighting for Black women's rights and being ignored at every turn ("Wait My Turn (reprise)"). The strikers smuggle letters out of the prison with the help of Mrs. Herndon, describing the horrific abuse by prison staff; Wilson publishes press reports contradicting the letters ("The Report"). As Alice slowly starves to death in solitary confinement, she is met by prison staff member Dr. White, who threatens to have her committed if she continues striking. A hallucination of Inez confronts Alice, warning she will be no good to the wider movement if she dies ("Show Them Who You Are (reprise)"). Taking Inez's advice, Alice tells Dr. White she is willing to be called insane so long as it is known she is still fighting for what she believes in, and ends her hunger strike ("Insane"). White is moved by her words and refuses to have her committed, despite Wilson's orders. Doris leaks the letters to the press, forcing Wilson to free the rest of the strikers. As the NWP burn Wilson in effigy after the war, a frustrated Carrie tells him that his broken promises have alienated even his less-radical base in NAWSA, and that he can easily quell dissent by supporting suffrage and publicly giving the credit to NAWSA ("Fire & Tea"). Wilson finally does so, but snidely reminds Carrie they still need enough state legislatures to ratify the amendment ("Let Mother Vote (reprise)"). In 1920, on the morning of the final vote for the Nineteenth Amendment in Tennessee, Carrie and Alice run into each other. At first they passive-aggressively blame each other for their struggles, but Carrie has an epiphany when she realizes that she was once the young upstart in the suffrage movement to the more conservative Susan B. Anthony, and that Alice chose the path of forceful resistance that Carrie had left behind ("She and I"). The Nineteenth Amendment vote comes down to a single vote from Representative Harry T. Burn, who is convinced to change his vote from a "Nay" to an "Aye" at the last minute after receiving a telegram from his mother, Febb Burn, who reveals that she blames Wilson for her husband's death in the War but lacks the ability to vote against him ("A Letter From Harry's Mother"). Ida and Mary celebrate their success, but sadly agree that Black women will still be prevented from voting, just as Black men; Phyllis encourages them to keep faith that the movement will continue. The other women celebrate the amendment's passing ("I Was Here"); as Dudley and Doris plan to wed, Carrie invites her professional and romantic partner Mollie Hay to join her on a diplomatic trip abroad, as they lament that they do not have the freedom to truly live as a married couple ("If We Were Married (reprise)"). Alice pitches the NWP's next goal of getting the Equal Rights Amendment (ERA) passed. However, the entire group is exhausted and decide to quit organizing: Doris plans to publish her memoirs about her experiences in the movement; Ruza wants to act on Broadway (“August 26th, 1920”). Lucy decides to retire from activism, though she assures Alice she values their shared fight ("Lucy's Song"). In the 1970s, an aged but still active Alice meets young activist Robin (played by the actress who played Phyllis), a representative from National Organization for Women who seeks Alice's support on radical movements. Alice disagrees with Robin's call for an intersectional approach, preferring the singular focus on the ERA, but is taken aback when Robin accuses her of being behind in her ways and points out how the 19th Amendment didn't make voting easier for Black women ("Finish the Fight (reprise)"). Realizing she has become the "old fogey" that Carrie was to her, Alice accepts she will not live to see the end of the fight for equality, but declares that it will happen one day so long as people maintain their resolve ("Keep Marching").

Sugar

Musical · 1972

Sugar is a 1972 musical with a book by Peter Stone, music by Jule Styne, and lyrics by Bob Merrill. The musical is based on the 1959 film Some Like It Hot, which was adapted by Billy Wilder and I.A.L. Diamond from a story by Robert Thoeren and Michael Logan. The musical's name, spotlighting the lead female character, resulted from producer David Merrick being unable to license the film title. A revised Sugar with additional songs would tour nationally between 2002 and 2003 as Some Like It Hot: The Musical, boosted by the casting of film star Tony Curtis as elderly millionaire Osgood.

Sugar Babies

Musical · 1979

Sugar Babies is a musical revue conceived by Ralph G. Allen and Harry Rigby, with music by Jimmy McHugh, and lyrics by Dorothy Fields, Al Dubin and various others. The show is a tribute to the old burlesque era. (The show's name is taken from one of many shows on the old Mutual Burlesque wheel of the Roaring Twenties.) First produced in 1979 on Broadway and running nearly three years, the revue attracted warm notices and was given subsequent touring productions.

Summer Song

Musical · 1956

Summer Song is a 1956 musical based on the visit of the Czech composer Antonin Dvorak to Iowa, where he wrote his symphony From the New World. The lyrics were written by Eric Maschwitz and book by Hy Kraft to music by Dvorak, arranged by Bernard Grun. Maschwitz had already worked with Grun on the Chopin musical Waltz Without End in 1942. Summer Song opened in London in 1956 at the Prince's Theatre and ran for 148 performances.

Summer: The Donna Summer Musical

Musical · 2017

Summer: The Donna Summer Musical is a jukebox musical with book by Colman Domingo, Robert Cary, and Des McAnuff and music and lyrics Donna Summer, Giorgio Moroder, Pete Bellotte, Paul Jabara, and others, based on the life of Summer. The musical made its premiere at the La Jolla Playhouse in November 2017 and opened on Broadway in April 2018.

Sunday in the Park with George

Musical · 1983

In 1884, Georges Seurat, known as George in the musical, is sketching studies for his painting A Sunday Afternoon on the Island of La Grande Jatte. He announces to the audience, "White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony." He conjures up the painting's setting, a small suburban park on an island, and retains some control of his surroundings as he draws them. His longtime mistress, Dot, models for him, despite her frustration at having to get up early on a Sunday ("Sunday in the Park with George"). More park regulars begin to arrive: a quarrelsome Old Lady and her Nurse discuss how Paris is changing to accommodate a tower for the International Exposition, but the Nurse is more interested in a German coachman, Franz. The quiet of the park is interrupted by a group of rude bathers. George freezes them with a gesture, making them the subjects of his first painting, Bathers at Asnières. The setting abruptly changes to a gallery where the painting is on display. Jules (a more successful artist friend of George's) and his wife Yvonne think George's work has "No Life". Back on the island, Jules and Yvonne have a short discussion with George and depart. They take their coachman Franz with them, interrupting his rendezvous with the Nurse. Dot, who has grown tired of standing still in the early morning sunlight, leaves the park mollified after George promises to take her to the Follies. George approaches the Old Lady, revealed to be his mother, and asks to draw her, but she bluntly refuses. In his studio, George works on his painting obsessively while Dot prepares for their date and fantasizes about being a Follies girl ("Color and Light"). When George briefly stops painting to clean his brushes, he and Dot reflect on how fascinated they are by each other. Dot is ready to leave, but George chooses to continue painting instead, greatly upsetting her. In the park on a Sunday some time later, George sketches a disgruntled Boatman to the disapproval of an observing Jules. Dot enters on the arm of Louis, a baker. Two chatting shopgirls, both named Celeste, notice Dot with a new man ("Gossip"). When Jules and Yvonne's daughter Louise attempts to pet the Boatman's dog, he shouts at her, then lashes out at George and storms off. George and Dot have a strained conversation as she works on the grammar book she is using to teach herself how to read and write. As Jules and Yvonne mock the unconventional nature of George's art, they discuss an initiative to have his work included in the next group show, which they both protest. George sketches two dogs while whimsically trying to imagine the world from their perspective, describing their relief to be free of their routines on Sunday ("The Dog Song"). As the day goes on, George quietly sketches denizens of the park ("The Day Off"): The two Celestes try to attract the attention of a pair of Soldiers, fighting over which will get the more handsome of the two; the Nurse hides from the Old Lady and attempts to attract Franz's attention; Franz and his wife Frieda argue with Louise and each other; a pair of wealthy American tourists pass by, hating everything about Paris but the pastries, and plan to return home with a baker in tow; Jules returns to further lecture George on his shortcomings as an artist, receiving in response an invitation to see his new painting; the Boatman reappears to rebuke the artists' condescending attitude. Dot sees George, but he slips away before she can speak to him, and in retaliation, she describes her satisfying new life with Louis. She clearly misses and loves George, but Louis loves, respects and needs her in a way George cannot, and she has made her choice ("Everybody Loves Louis"). As the park empties for the evening, George returns. He misses Dot and laments that his art has alienated him from those important to him, but resigns himself to the likelihood that creative fulfillment may always take precedence for him over personal happiness ("Finishing the Hat"). Time has passed, and a heavily pregnant Dot visits George's studio. She asks for a painting George made of her, but he refuses. Jules and Yvonne come to the studio to see George's nearly finished painting. While Jules goes with George to see the painting, Yvonne and Dot hold a wary conversation. They realize they have both felt neglected by an artist, their mutual dislike fades, and they discuss the difficulties of trying to maintain a romantic relationship with an artist. Meanwhile, Jules is puzzled by George's new technique and concerned that his obsession with his work is alienating him from his fellow artists and collectors alike. He refuses to support the work. Jules and Yvonne leave, and George, having forgotten Dot was there, goes back to work. Dot reveals the real reason for her visit: Despite the obvious fact that George fathered her unborn child, she and Louis are getting married and leaving for America. George angrily retreats behind his canvas, and she begs him to react in some way to her news. They argue bitterly about their failed relationship, and Dot concludes sadly that while George may be capable of self-fulfillment, she is not, and they must part ("We Do Not Belong Together"). In the park, the Old Lady finally agrees to sit for George, losing herself in fond memories of his childhood that George repeatedly disputes. She bemoans Paris's changing skyline, and he encourages her to see the beauty in the world as it is, rather than how it had been ("Beautiful"). The American Tourists arrive with Louis and Dot, who holds her newborn daughter, Marie. George refuses to acknowledge her as his child, and says that Louis will be able to care for her in a way that he cannot before offering a feeble apology as Dot sadly departs. The park grows noisy: the Celestes and the Soldier argue over their respective breakups while Jules and Frieda sneak away to have a tryst. Louise informs Yvonne of her father's infidelity and a fight breaks out among Jules, Yvonne, Franz, and Frieda. The Celestes and the Soldier squabble noisily, and soon all the park-goers are fighting until the Old Lady shouts, "Remember, George!", and he stops them all with a gesture. George takes control of the subjects of his painting, who sing in harmony, transforming them into the final tableau of his finished painting ("Sunday"). As the curtain opens the characters, still in the tableau, complain about being stuck in the painting ("It's Hot Up Here"). The characters deliver short eulogies for George, who died suddenly at 31. The stage transforms back to a blank, white canvas. The action fast-forwards a century to 1984. George and Dot's great-grandson, also an artist named George, is at a museum unveiling his latest work, a reflection on Seurat's painting in the form of a light machine called "Chromolume #7." George presents the work, grounding its connection to the painting by inviting his 98-year-old grandmother, Marie, to help him present the work. Marie shares her family history, describing how her mother, Dot, informed her on her deathbed that she was Seurat's daughter. George is skeptical of that bit of family lore, but Marie insists that the notes in Dot's grammar book, which mention George, are proof. After a brief technical failure, the Chromolume is unveiled. At the reception, various patrons and curators congratulate George on his work while George flits among them, commenting on the difficulties of producing modern art ("Putting It Together"). Like his great-grandfather, he conjures his surroundings, allowing himself to hold multiple conversations at once. The only voice he finds he cannot ignore is that of an art critic who advises him that he is repeating himself and wasting his gifts. After the museum's patrons have left for dinner, Marie speaks to her mother's image in the painting, worrying about George. When he arrives to take her home, she tells him about her mother, attempting to pass on a message about the legacy we leave behind ("Children and Art"). She dozes off and George, alone with the painting, realizes he is lacking connection. Weeks later, Marie has died and George has been invited by the French government to do a presentation of the Chromolume on the island the painting depicts. There George reveals to his friend Dennis that he has turned down his next commission. Feeling adrift and unsure, George reads from a book he inherited from his grandmother—the same one Dot used to learn to read—and ponders the similarities between himself and his great-grandfather ("Lesson #8"). A vision of Dot appears and greets George, whom she addresses as if he were the George she knew. He confides his doubts to her and she tells him to stop worrying about whether his choices are right and simply make them ("Move On"). George finds some words written in the back of the book—the words George often muttered while he worked. As George reads them aloud the characters from the painting fill the stage and recreate their tableau ("Sunday"). As they leave and the stage resembles a blank canvas, George reads: "White: a blank page or canvas. His favorite—so many possibilities."

Sunny

Musical · 1925

Sunny is a musical comedy with music by Jerome Kern and a libretto by Oscar Hammerstein II and Otto Harbach. The plot involves Sunny, the star of a circus act, who falls for a rich playboy but comes in conflict with his snooty family. This show was the follow-up to the 1920 hit musical Sally, both starring Marilyn Miller in the title roles, and it was Kern's first musical in collaboration with Hammerstein. Sunny also became a hit, with its original Broadway production in 1925 running for 517 performances. The London production starred Binnie Hale and ran for 364 performances, while the UK national tour starred Felice Lascelles and ran for nearly three years.

Sunny Days

Musical · 1928

Sunny Days is a musical in three acts with music by Jean Schwartz and both book and lyrics by Clifford Grey and William Carey Duncan. The musical was an adaptation of Grey's earlier stage play A Kiss in a Taxi (1925, produced by A. H. Woods) which was in turn adapted from Maurice Hennequin and Pierre Veber's Le Monsieur de cinq heures (1924, Théâtre du Palais-Royal). The work premiered at Broadway's Imperial Theatre on February 8, 1928. It ran there for a total of 101 performances; closing on May 5, 1928. The cast included Jeanette MacDonald as Ginette Bertin, Frank McIntyre as Leon Dorsay, Billy B. Van as Rudolph Max, Lynne Overman as Maurice Vane, Rosalie Claire as Angele Larue, and Audrey Maple as Madame Dorsay.

Sunset Boulevard

Musical · 1993

The place: A mansion on Sunset Boulevard, Los Angeles, 5 a.m. A homicide has been reported. Joe Gillis sets the scene ("Prologue"), noting that "an old-time movie star is involved / Maybe the biggest star of all", and that, if you want to know the "real facts", "you've come to the right party." Flashback to... Hollywood, 1949 – where a down-on-his-luck screenwriter, Joe Gillis, is trying to hustle up some work at Paramount Studios ("Let's Have Lunch"). His appointment with a producer goes poorly when the executive rejects both Joe's proposed script and a loan to bring his car payments up to date. Joe does, however, meet Betty Schaefer, a pretty, young script editor who suggests they collaborate to rework one of his earlier screenplays ("Every Movie's a Circus"). As they chat, car repossession agents spot Joe, who quickly escapes. During the ensuing chase, Joe evades his pursuers by pulling in to the garage of a palatial but dilapidated mansion on Sunset Boulevard. Beckoned inside the house, Joe encounters Norma Desmond ("Surrender"), a star actress of the silent-film era. Taken aback, Joe comments, "You used to be in pictures; you used to be big," to which Norma retorts, "I am big – it's the pictures that got small!" ("With One Look") The gloomy estate is inhabited only by Norma and Max von Mayerling, her loyal butler and chauffeur. Although decades past her prime and mostly forgotten by the public, Norma is convinced she is as beautiful and popular as ever. Max perpetuates this illusion by shielding her from the realities of life out of the limelight and by writing her letters purportedly from still-devoted fans. Norma informs Joe that she plans to make her comeback with Salome, a script she has written for Cecil B. DeMille to direct with her in the starring role as the teenage biblical temptress ("Salome"). Dubious but sensing opportunity, Joe accepts her offer to work on editing the script. Norma insists that Joe stay in her home while they collaborate on Salome ("The Greatest Star of All"). Joe immediately realizes the script is incoherent, but because Norma won't allow a major rewrite, the revision drags on for months. During this time Joe is virtually imprisoned within the house, but he does break away to fulfill his commitment to Betty. Their working relationship blossoms into a romance that has her reconsidering her engagement to Joe's best friend, Artie Green ("Girl Meets Boy"). Blind to Joe's opportunism, Norma lavishes him with gifts that include a wardrobe makeover and he becomes her kept man ("The Lady's Paying"). She declares her love for him and turns quite possessive ("The Perfect Year"); when he leaves her to attend Artie's New Year's Eve party ("This Time Next Year"), she is distraught and attempts suicide. As a conciliatory gesture, Joe reluctantly returns to work on Salome. Joe is now living in luxury at Norma Desmond's mansion, for reasons he bluntly states are mercenary ("Sunset Boulevard"). A cryptic message from Paramount has Norma certain that DeMille is eager to discuss her script ("There's Been A Call"). She drops in on the set of his current film and is greeted warmly by former colleagues and the famed director himself, but he is non-committal about Salome ("As If We Never Said Goodbye"). Meanwhile, Max discovers the studio had called to ask about Norma's Isotta Fraschini, not her screenplay. However, a delusional Norma leaves the lot convinced she'll soon be back in front of the cameras and begins to prepare for the role ("Eternal Youth Is Worth a Little Suffering"). Increasingly paranoid, Norma deduces that Joe and Betty are more than just friends ("Too Much in Love to Care"). Max tells Joe of the depth of his commitment to protecting Norma from discovering the truth, revealing that he was Norma's first husband and has stayed with her all these years ("New Ways to Dream" (reprise)). She calls Betty to reveal Joe's secret life at the mansion, but he overhears and grabs the phone to tell Betty to come see for herself. Realizing their affair is doomed, Joe brusquely tells Betty he enjoys being Norma's pet and that she should go back to Artie. Betty departs, confused and heartbroken, and Joe tells Norma he is leaving her and returning to his hometown of Dayton, Ohio. He also bluntly informs her that Salome is an unfilmable script and her fans have long abandoned her. Furious and grief-stricken, Norma fatally shoots Joe three times as he storms out of the house. Now completely insane, Norma mistakes the swarms of police and reporters who arrive for studio personnel. Imagining herself on the set of Salome, she slowly descends her grand staircase and utters, "And now, Mr. DeMille, I am ready for my close-up." ("The Final Scene").

Superhero

Musical · 2019

Simon Branson, a fifteen-year-old superhero-hero comic enthusiast, spends a lot of time on the fire escape of his building dreaming up stories and drawing superhero comics. He introduces the story with one of his comics ("Prologue/The Adventures of the Amazing Sea-Mariner"). Meanwhile, Charlotte Branson, Simon's mother laments on her son changing since his father, Charlotte's husband Mitch, died in an accident two years ago. Simon won't even visit the gravesite and avoids talking to his mother ("What's Happening To My Boy?"). Simon has a discussion with his building's landlord, who tells him that a superhero always makes a triumphant return, which inspires the second issue of his comic of the Sea-Mariner. As he is on the fire escape writing this issue of his comic, he notices someone on the roof of the building who appears to disappear in a streak of light ("The Adventures of the Amazing Sea-Mariner (Reprised)/You Don't Know What I Know"). With a suspicion that whoever was on the building was a superhero and little actual knowledge of him, except that he was a bus driver and lived in his building, apartment 4-B, Simon asks his Mom about who the man was. Charlotte only met the man briefly when she was returning his mail, as his mail was sent to her address by mistake. Simon is suspicious of his shy manner, but Charlotte thought that he seemed "nice" ("The Man in 4-B"). Later at school, we meet Vee, the girl Simon has a crush on, but not the courage to talk to. Simon makes an effort to make a stand against a bully in her defense while drumming up superhero fantasies, when the bully faces him, he regrets his decision and panics. Vee stands up in Simon's defense instead, protecting him from the same bully he tried to protect her from ("I'll Save The Girl"). Charlotte at home is folding laundry while lamenting her loneliness. In a passionate frenzy, she begins to cry while switching laundry batches in the laundry room, when she runs into Jim, the man in 4-B. Charlotte begins to think a lot about getting her life back in order and she begins to think more about Jim ("Laundry For Two"). The next song finds Jim and Charlotte both reflecting on how to socialize again. Both have been in isolation, lonely, and hiding from society. They meet on a date and hit it off immediately because they both shared the longing to share their life with someone else. However, near the end of their date, Jim makes a sudden run for it for an unknown reason, confusing Charlotte, while Simon watches and confirms his suspicions that there is something different about Jim ("How Do You Do This Again?/ You Don't Know What I Know (Reprise)"). Simon quizzes Jim about his super-powers. Jim says that, unlike in the movies, he's alone and can't always save everyone ("It's Not Like in the Movies"). When Charlotte tells him about her date and Jim's fast departure, Simon reveals nothing about Jim's true nature. The next day, Simon and Vee take a walk ("If I Only Had One Day"). Meanwhile, Jim apologizes to Charlotte for leaving, and they kiss ("In Between"). Simon and Charlotte imagine life with a superhero around ("My Dad, the Superhero"). Charlotte is again infuriated when Jim is again late to dinner ("It Happens to You"). She and Simon quarrel about Jim and about the way Simon handled Mitch's death. At the grave of her late husband, Charlotte makes peace with his passing, finally deciding on the words for his tombstone ("What are the Words?"). At the school assembly, Simon gives a visual comic book presentation and declares his feelings for Vee ("If I Only Had One Day (Reprise)"). Jim detects another person in distress and is forced to leave Charlotte. Vee tells Simon she only sees him as a friend. Charlotte breaks up with Jim, saying she needs somebody who can actually be there for Simon and for her. Jim tells Simon he is leaving town. Simon tells Charlotte he doesn't believe in heroes or hope anymore ("Superman is Dead"). Charlotte says she'll try to be his "superhero" ("Superhero"). They embrace each other as mother and son.

Sweet Adeline

Musical · 1929

Sweet Adeline is a musical with music by Jerome Kern, book and lyrics by Oscar Hammerstein II and original orchestration by Robert Russell Bennett. It premiered on Broadway in 1929. The story, set in the Gay Nineties, concerns a Hoboken, New Jersey girl who, unlucky in love, becomes a Broadway star.

Sweet Charity

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".

Sweet Smell of Success

Musical · 2002

Sweet Smell of Success is a musical created by Marvin Hamlisch (music), Craig Carnelia (lyrics), and John Guare (book). The show is based on the 1957 movie of the same name, which in turn was based on the 1955 novelette of the same name by Ernest Lehman. The show tells the story of a powerful newspaper columnist named J. J. Hunsecker (based on famed New York columnist Walter Winchell) who uses his connections to ruin his sister's relationship with a man he deems inappropriate. It was a critical and commercial failure.

Sweethearts

Musical · 1913

Mikel Mikeloviz, disguised as a monk, transports Princess Jeanne, the infant daughter of King René of the little kingdom of Zilinia, to Bruges to wait in safety during the war. Dame Paula runs the Laundry of the White Geese and is known as Mother Goose. Mikel gives the princess to Paula in secret to raise as her own daughter under the name of Sylvia. Paula later has six daughters of her own who help her run the laundry. Their father has been at war for ten years. 22 years later, the people are demanding the restoration of a monarchy. Mikel is conspiring to restore Princess Jeanne to the throne, which is about to be offered to Prince Franz, the heir presumptive. Franz, while travelling in disguise, has fallen in love with Sylvia. But Sylvia, who does not know that she is really a princess, is bethrothed to Lieutenant Karl, a military lothario. A sleazy politician, disguised as Paula's battle-scarred husband, tries to ensnare one of the two apparently adopted daughters as the bride for Prince Franz, but he does not know whether the real adopted daughter is the scheming Liane or the sweet Sylvia. Mikel's plans are hindered by the schemes of three villains. Mikel also mistakes Liane, a milliner who has sought temporary employment in the Laundry of the White Geese, for the lost princess. After all the complications are combed out, Franz and Sylvia marry, vowing to rule together.

Swept Away

Musical · 2022

In the early 1900s, Mate, dying of tuberculosis, is tormented by the memories of his crewmates who died after a shipwreck 22 years earlier. The spirits encourage him to "tell the truth" ("Go to Sleep"). In 1888, Mate is a whaling crew member under the Captain ("Hard Worker"). Seeking adventure, Little Brother joins the crew, and, after attempting to bring him back home to their family farm, Big Brother becomes stranded on the ship as well ("Nothing Short of Thankful"). Though excited for the journey, Little Brother laments the love he left behind on land, Melody Anne ("Swept Away"). He and Mate grow closer, much to Big Brother's disdain. On the third day of the voyage, Big Brother tries to rally the crew in prayer, but his attempts are in vain ("Lord Lay Your Hand on My Shoulder"/"Ain't No Man"). Captain ponders the future of the whaling trade and his life as a sailor ("May It Last"). Though Big Brother and Little Brother disagree on their purpose and desires in life, they value their brotherhood and agree on the importance of family ("Murder in the City"). Soon after, the ship is struck by a storm and sinks ("Complainte D'Un Matelot Mourant"). The entire crew dies in the wreckage, save for Mate, Captain, and the Brothers. After six days in a lifeboat with no food, water, or rain, the four men share their hopes for an eventual rescue ("A Gift for Melody Anne"). Little Brother, severely injured after being crushed by the falling mast, dictates a letter to Melody Anne for Mate to transcribe. Captain, distraught at having allowed his crew to perish alone, and Big Brother, insistent that Little Brother will not die alone, also dictate letters to their loved ones. Mate, realizing he has no one to write to, reflects on what he has made of his life ("Through My Prayers"). After sixteen days stranded at sea, the four are starving. Mate tells Captain that Little Brother will die soon anyway and that they should kill him in his sleep so the rest of them can have something to eat and drink ("Satan Pulls the Strings"). Captain refuses to make a decision, instead telling Mate that he is in charge now. Big Brother stops Mate from killing Little Brother, though Little Brother agrees that he will sacrifice himself after seeing one last sunrise. Big Brother concedes, but insists that he will be the one to kill him, not Mate ("No Hard Feelings"). When the time comes to make the sacrifice, however, Big Brother slits his own throat instead. Mate struggles to continue the story, but is urged by the others to "make himself clean." Mate recounts how they all ate and drank from Big Brother's body. They were found by another ship soon after, but the three never spoke of the incident again. Captain died three years after the incident, and Little Brother just one year ago, surrounded by Melody Anne and their children. With the confession of the truth, Mate completes the retelling of the story and dies ("The Once and Future Carpenter").

Swing!

Musical · 1999

Swing! is a musical conceived by Paul Kelly with music by various artists. It celebrates the music of the Swing era of jazz (1930s–1946), including many well-known tunes by artists like Duke Ellington, William "Count" Basie, Benny Goodman and others. It received a nomination for the 2000 Tony Award for Best Musical and other Tony Awards.

Taboo

Musical · 2002

Taboo is a stage musical with a book by Mark Davies Markham (extensively rewritten for the Broadway production by Charles Busch), lyrics by Boy George, and music by George, John Themis, Richie Stevens, and Kevan Frost. Set in an abandoned London warehouse, the show tells the story of a group of people (partly based on real people and partly fictional), some of whom had been connected to the New Romantic club scene some years earlier, culminating with the opening of the now-legendary Taboo (1985–87) of the title, which was the creation of Leigh Bowery, at the end of Act I. Boy George is featured as one of the club's regulars, as he was known to have been in the 1980s, and the show also focuses on George's life prior to and after achieving fame.

Take Me Along!

Musical · 1959

Take Me Along is a 1959 musical based on the 1933 Eugene O'Neill play Ah, Wilderness!, with music and lyrics by Bob Merrill and book by Joseph Stein and Robert Russell.

Take a Chance

Musical · 1932

Two small-time gamblers, Duke Stanley and Louie Webb, leave their carnival circuit to seek greater fortunes in the legitimate theater. Their friend Toni Ray wants to be a singer and her Harvard-educated boyfriend, Kenneth Raleigh, also wants to enter show business. They meet a no-nonsense nightclub singer, Wanda Brill. Wanda performs a risque number in a New Orleans club in a red dress and black boa ("Eadie Was a Lady").

Tambourines to Glory

Musical · 1963

Tambourines to Glory is a gospel play with music by Langston Hughes and Jobe Huntley which tells the story of two female street preachers who open a storefront church in Harlem. The play premiered on Broadway in 1963.

Tammy Faye

Musical · 2022

Tammy Faye is a biographic stage musical with music by Elton John, lyrics by Jake Shears and a book by James Graham, based on the life of Tammy Faye Messner.

Tangerine

Musical · 1921

Setting: Alimony Jail, New York; Main Street, fictional Isle of Tangerine Dick Owens gets jailed with his three friends, he for a brawl and his friends for not paying alimony. Owens is visited in jail by Shirley Dalton, the girl he loves. She has decided not to marry him until his jailed friends are happily back with their wives. Owens takes his friends then escapes to Tangerine, a South Sea isle run by King Home-Brew, an American expatriate. In Tangerine, the women do all the work while the men stay at home. Eventually the men are sick of the stay at home life, and all couples are reunited.

Tarzan

Musical · 2006

Off the West African coast, a young English couple and their newborn son barely survive a shipwreck and land in Africa. They construct a tree house for their son before being killed by a leopard named Sabor. In the African Jungle, Kerchak, the leader of a tribe of gorillas admires his new infant son with his mate, Kala ("Two Worlds"). Sabor suddenly appears and kidnaps the newborn baby gorilla. Kala goes off to find her son but finds the human boy instead and names him Tarzan. She mothers him and raises him despite Kerchak's refusal to treat Tarzan as his son ("You'll Be In My Heart"). As a young child, Tarzan finds that he cannot keep up with the tribe, while Kerchak views him as a threat. Despite this, Tarzan is befriended by the lighthearted Terk, a young gorilla who teaches him the ways of the gorillas ("Who Better Than Me"). However, Kerchak finds Tarzan constructing a spear, and assuming he intends to hurt the gorillas, he holds Kala accountable ("No Other Way"). Kala worries for him and goes off to find him. She discovers him despairing by the water's edge ("I Need To Know"). Kala tells him that even though they look different, underneath the skin, they are just the same, reigniting Tarzan's desire to become the best ape ever. Years pass, and Tarzan grows into a young man, athletic and resourceful ("Son of Man"), accepted by many of the gorillas as one of their own, except for Kerchak. Kala tries to convince Kerchak to accept Tarzan ("Sure As Sun Turns To Moon"). Kerchak won't change his mind until Tarzan kills Sabor to avenge his parents and prevent him from terrorizing the tribe any longer. Suddenly, gunshots are heard throughout the jungle, causing the tribe to scatter while Tarzan investigates what scared them away. Deep in the jungle, Jane Porter, a young English naturalist, is overwhelmed by the thrillingly diverse jungle life ("Waiting For This Moment"). While exploring, she is attacked by a giant spider but is rescued by Tarzan. Tarzan and Jane carefully assess each other as they realize their similar qualities ("Different"). At the Porter expedition site, Terk and the other gorillas discover the site and all of its unique features, and do some redecorating ("Trashin' The Camp"). Jane returns to the site with Tarzan, and she is thrilled by the tribe of gorillas. Kerchak arrives and scares the gorillas off. Jane tries to convince her father, Professor Porter, and their guide, Clayton, that she discovered a wild man and a tribe of apes. Kerchak forbids contact with the humans, but Tarzan and Jane grow to love each other and Jane tells her father more about the wild ape man ("Like No Man I've Ever Seen"). Tarzan soon visits the humans and becomes properly acquainted with them, especially Jane, though Clayton becomes jealous of their love. Jane tries to teach Tarzan more about humans and human life, while Tarzan shows her his jungle world, too ("Strangers Like Me"); all the while, Jane tries to cope with her emotions ("For The First Time"). She tries to tell her father to stop Clayton's plans of killing the gorillas, but Clayton, wanting to achieve his goal, tricks Tarzan into taking the humans to the gorilla nesting grounds. Tarzan asks Terk to help him by keeping Kerchak away, and Terk agrees ("Who Better Than Me (Reprise)"). As Tarzan shows the humans his gorilla family, Kerchak arrives anyway, scattering the humans and demanding that Tarzan choose who he is. Realizing her son is torn between his loyalty to his gorilla family and his need to be with humans, Kala shows Tarzan the treehouse his parents built and he discovers all of their belongings ("Everything That I Am"). He decides to go to England with Jane and live as a human and he tells Kala his decision ("You'll Be In My Heart (Reprise)"). Tarzan approaches Jane and Porter, announcing his intention to leave the jungle and be with Jane. At the same time, however, Clayton seizes the opportunity to capture the gorillas once and for all, and manages to shoot Kerchak, fatally wounding the gorilla leader. Tarzan rushes back at the sound of the gunshot and fights Clayton, nearly killing him until Porter convinces him to spare his life so they can handle Clayton in a less violent way; Clayton is soon arrested and sent back to the ship to await punishment back in England for his actions. Tarzan rushes to Kerchak, but he has already died from his wounds, and Kala and Tarzan mourn for Kerchak's demise ("Sure As Sun Turns To Moon (Reprise)"). At the beach, Jane and Porter are about to leave on their ship to return to England, until Jane realizes that she loves Tarzan and, with Porter's blessing, decides to stay with him in the jungle. Tarzan, having become the new leader of the gorillas, arrives to say goodbye to them, until Jane returns, and they share a kiss. Tarzan and Jane swing off towards their new home, planning to spend the rest of their lives together ("Two Worlds (Reprise)").

Teddy & Alice

Musical · 1987

Teddy & Alice is a musical with a book by Jerome Alden, lyrics by Hal Hackady, and music adapted from the work of John Philip Sousa, with some new songs by Richard Kapp. In its very early stages, Alan Jay Lerner contributed material before he died. The patriotic spectacle focuses on President Theodore Roosevelt's relationship with his feisty daughter during his reign in the White House. Stubbornly independent, Alice smokes, dresses provocatively, and speaks her mind about foreign policy issues in an era when modest young ladies are seen and not heard. Complications ensue when she begins a romantic relationship with considerably older Congressman Nicholas Longworth. Henry Cabot Lodge, Elihu Root, J. P. Morgan, Ida Tarbell, William Howard Taft, Samuel Gompers, and Franklin and Eleanor Roosevelt are among the historical figures who make an appearance.

Teeth

Musical · 2024

"Pastor", the leader of a congregation in the town of Eden, leads a sermon preaching against premarital sex, following the recent case of teenage pregnancy involving Amy Sue and her boyfriend Brock. His stepdaughter, Dawn O'Keefe, leads the "Promise Keeper Girls" in reiterating their abstinence pledge, insisting that their vaginas are "a precious gift" that must be protected until marriage ("Precious Gift"). Her stepbrother, Brad, rejects both Pastor and Dawn's attempts to get him more involved in the church. He joins the Truthseekers, a virtual group of men's rights activists led by the mysterious "Godfather", and tells of an incident between him and Dawn when they were young in which he fingered her and received a cut ("Between Her Thighs"). Dawn meets with her boyfriend, Tobey, and the pair express their love for each other, with the latter claiming he loves her most for her modesty ("Modest is Hottest"). However, Dawn struggles with her temptation to break her chastity vow, as she has been taught since birth to consider her sexual urges evil ("Shame in My Body"). Pastor catches Brad masturbating upon the instructions of Godfather and beats him ("A Real Man"). Tobey meets with Dawn and reveals he is not actually a virgin as he previously had sexual intercourse with his girlfriend Denise at his previous school. Dawn, intrigued by the idea that Tobey has had sexual experiences, encourages him to share a fantasy he has of her and the two nearly consummate their relationship ("Playing With Fire"), but they are interrupted by fellow congregation member Ryan. Dawn summons the Promise Keeper Girls, who shame her, but she is defended by Ryan. The girls try to criticize Ryan as well due to him being gay: Ryan freely admits to this but claims despite his sins he is able to be born again, and they too can be forgiven for straying from the path ("Born Again"). The congregation decides to have Pastor re-baptize them in the morning. Dawn goes to Tobey to tell him of these plans, but he claims he cannot wait: they go into a lake and perform the baptism ritual themselves, before Tobey proposes to her and, in the rush of emotions, begin having sex ("When She Gave Birth"). However, Tobey starts becoming aggressive and ignores Dawn's pleas to stop. Dawn's vagina abruptly cuts off Tobey's penis and leaves him, dead, floating in the lake. Unbeknownst to Dawn, Brad witnessed everything. The other Promise Keeper Girls have a vision of a mysterious female god, which they sense has been awakened in a vessel near to them. After Tobey's body is found, Pastor gathers the Promise Keeper Girls at the church, claiming an evil has awakened and sets off to find Dawn. The girls feel changes in their body as they sense whatever has awakened takes the form of teeth, while Brad leads the Truthseekers in believing the fall of man is upon them ("Teeth"). Ryan finds Dawn at her house while Brad and Pastor are out, and after learning what happened recommends she see a gynecologist outside of town. Dawn thinks back to her teachings and decides she, along with her late mother Kim, were punished simply for being women ("Always the Woman"). Brad confronts Dawn and tries to remind her of the incident from their childhood, but is stopped by Pastor. Before Brad leaves, he crudely tells Dawn that Pastor never had sexual intercourse with Kim — Pastor freely confesses to this, saying that Kim was "impure" because of her past ("Shame in My Body (reprise)"). Dawn elects to visit the gynecologist, Dr. Godfrey, who is initially sympathetic but reveals predatory tendencies during his examination ("Girls Like You") that result in Dawn cutting off his hand with her "teeth", causing him to bleed to death, but not before identifying her condition as vagina dentata. Dawn runs to Ryan, revealing she now remembers the incident with Brad and realizes she has had the "teeth" since birth. Ryan searches on the dark web for information on "vagina dentata". He, along with Brad and the Truthseekers, find a wiki revealing information on Dentata, an ancient goddess with teeth in her vagina. They realize that Dawn has become a vessel for Dentata, and supposedly the only way to defeat her is for a hero to have sex with her and cure her ("According to the Wiki"). Ryan reveals this to Dawn and offers to have sex with her, suggesting it will cure her of her dentition and him of his homosexuality ("I'm Your Guy"). The two have consensual sex and Dawn's "teeth" do not engage, but Ryan reveals he was secretly live-streaming the encounter to prove to the world he is no longer gay. The trauma of her experiences finally causes Dawn to snap ("When She Gave Birth (Reprise)"), as she fully embraces the goddess Dentata's possession and seduces Ryan into having sex again before cutting off his penis. She leads the Promise Keeper Girls, now worshipers of Dentata and having grown their own "teeth", in attacking Pastor as revenge for his teachings, emasculating him. Brad declares himself the hero of the Truthseekers and that he will defeat Dawn, before killing Pastor by setting him on fire. He leads the Truthseekers in trying to fight "the feminocracy" but they all get their penises cut off by the Promise Keeper Girls ("Dentata"). Dawn and Brad face off in a final showdown, accusing each other of being their "monster" and the source of their pain before engaging in ritualistic sex ("Take Me Down (Part 1)") but Dawn emerges victorious, cutting off Brad's penis. Having taken over Eden, the Dentata worshipers promise to take over the rest of the Bible Belt and the rest of the world, threatening the audience to beware of their "teeth" ("Take Me Down (Part 2)").

Tell Me More

Musical · 1925

Tell Me More is a musical written by Fred Thompson and William K. Wells, with music by George Gershwin and lyrics by B. G. DeSylva and Ira Gershwin. It opened on Broadway at the Gaiety Theatre in April 1925 and in London in the same year at the Winter Garden Theatre. Directed by Clifford Whitley from The Co-Optimists and starring Elsa Macfarlane, also from The Co-Optimists.

Tell Me on a Sunday

Musical · 1979

'The girl' arrives in New York City, and tells her friend that she does not want to become a hard-bitten career woman or a user of men. Shortly after, she discovers her beau has been cheating on her with numerous other women and she walks out. She meets Hollywood producer Sheldon Bloom, who takes her to Los Angeles. Sheldon's career ambitions preclude his spending much time on a personal relationship and, after realizing life in the film capital is uneventful and Sheldon has been using her as a trophy girlfriend, 'the girl' returns to Manhattan. Back in Greenwich Village, 'the girl' meets a salesman, and once again faces disappointment when she learns he frequently has been in town with other women when he supposedly was away on business. The two split up and she meets a married man. Intent on succeeding in her career and acquiring a green card, she is content with the noon-to-two relationship they share, until he announces he plans to leave his wife and marry her instead. She is horrified because not only does she not love him, but she realizes she's been using him, something she had vowed never to do. She sends him away and promises herself she will return to being the idealistic and ethical woman she was when she first arrived in the States. 'The girl' is the only person who appears on stage, despite having conversations with her friends and writing letters to her mum.

Tell Tale Harbour

Musical · 2022

Residents of a struggling Atlantic Canadian harbour try to persuade a visiting doctor to stay, hoping his presence will help secure a new factory for their community.

Tenderloin

Musical · 1960

Tenderloin is a musical with a book by George Abbott and Jerome Weidman, lyrics by Sheldon Harnick, and music by Jerry Bock, their follow-up to the highly successful Pulitzer Prize-winning Fiorello! a year earlier. The musical is based on a 1959 novel by Samuel Hopkins Adams. Set in the Tenderloin, a red-light district in 1890s Manhattan, the show's story focuses on Reverend Brock, a character loosely based on American clergyman and social reformer Charles Henry Parkhurst.

That's Entertainment

Musical · 1972

That's Entertainment is a 1972 musical revue featuring the music of songwriting team Howard Dietz and Arthur Schwartz that uses orchestrations and arrangements by Luther Henderson. The show's book was crafted by uncredited writers. Historian Howard Dietz stated that the show's authors "created character names for all the singers and utilized snatches of dialogue in an awkward attempt to place the songs in a fabricated story context."

The 1940's Radio Hour

Musical · 1974

The 1940's Radio Hour is a musical by Walton Jones. Using popular songs from the 1940s, it portrays the final holiday broadcast of the Mutual Manhattan Variety Cavalcade on the New York radio station WOV in December 1942. The show opened at St. James Theatre on October 7, 1979 after 14 previews and closed on January 6, 1980 after 105 shows.

The 25th Annual Putnam County Spelling Bee

Musical · 2004

While setting up for the spelling bee, moderator Rona Lisa Peretti has a flashback to when she won the Third Annual Spelling Bee, but is interrupted by the entrance of Chip Tolentino. The spellers are introduced as they enter, and they sing about their anticipation of the bee ("The Twenty-Fifth Annual Putnam County Spelling Bee"). Rona calls up four audience participants and requests to speak privately to Olive Ostrovsky, who has not yet paid the entrance fee. After Olive reveals that her parents are not present and she arrived by bus, Rona decides to let the fee slide for the moment. She then introduces the official word pronouncer, Douglas Panch, and comfort counselor, Mitch Mahoney. Mitch leads the spellers in the Pledge of Allegiance with everyone speaking at different speeds. While Panch explains the rules, Rona gushes over what she loves about the bee ("The Spelling Rules / My Favorite Moment of the Bee 1"). The spelling bee begins. Each time a speller is called, Rona shares a piece of information about them. When Leaf Coneybear is first called up, he has a flashback that reveals he came in third in his local spelling bee and only qualified for the county bee because the winner and first runner up couldn't make it. His word is capybara, which he ends up spelling correctly while in a trance. Olive is shown to be shy and reserved, a result of her largely absent parents. She has come to love spelling by reading the dictionary in her home ("My Friend, the Dictionary"). When William Barfée is called to spell for the first time, Rona describes his unusual technique – he spells the word out on the ground with his foot to get a visual before speaking it. After the audience spellers get easy words (except for the unlucky one who gets epicalyx), the cast spellers rant about how the element of luck makes the bee unfair ("Pandemonium"). Logainne then gets cystitis, and is shown studying with her two often-arguing fathers in a flashback. When Leaf is called the second time, he reminisces about how his family calls him "dumb" ("I'm Not That Smart"). Barfée is called, and sings about his technique ("Magic Foot"). When Marcy is called for the second time, she correctly spells qaimaqam, proving herself to be the best speller, though she is somewhat hurt when Rona claims that she is "all business". Chip is called next, but he is reluctant to take his turn because he has an erection after fantasizing about Leaf's sister, Marigold, who is sitting in the front row of the audience. Under threat of disqualification (a fact not helped because he is asked to spell tittup), he misspells his word (T-I-T-U-P) and Mitch hauls him off ("Pandemonium (Reprise) / My Favorite Moment of the Bee 2"). At this point, the last audience speller is eliminated. Mitch sings a special serenade to this audience member for making it this far ("Prayer of the Comfort Counselor"). Panch calls a snack break, and Chip passes through the audience selling snacks. He explains to the audience why he lost ("My Unfortunate Erection (Chip's Lament)"). Barfée taunts Chip, who throws a bag of peanut M&M's at him. Barfée is allergic to peanuts, so Olive picks them up for him. Olive and Barfée converse before the second half of the bee begins, with the line from Olive "Did you know that if you switch the first two vowels of Olive, it becomes I love?" Barfée responds with "Well, did you know if you switch the first two vowels of William you get... William?" Olive finishes with "But if you switch the next two, you get Will Aim?" and Barfée begins to develop a crush on Olive. Logainne describes her two overbearing fathers and the stress that they put on her ("Woe Is Me"). In a montage sequence, the bee is shown progressing through many rounds, ending with Leaf's elimination. He walks away with his head held high, having proven to himself that he is smarter than his family gave him credit for ("I'm Not that Smart (Reprise)"). Marcy reveals more about her stressful life ("I Speak Six Languages"). She is given the word camouflage, to which she sighs, "Dear Jesus, can't you come up with a harder word than that?" Jesus then appears to her and teaches her that she is in control of her own life. Resolved to do what she wants rather than what is expected of her, she intentionally misspells the word (camouflajzh) and exits excitedly ("Jesus / Pandemonium (Reprise #2)"). Olive gets a call from her father, who she has been hoping would arrive. Panch attempts to disallow her from answering the phone, but she persuades Rona to take the call for her, leading her to learn that her father will miss the bee due to working longer than expected. Logainne then begins an ad-libbed rant about the bee, her fathers, and current political events. Panch lashes out at Logainne for asking for alternate definitions of a word more than 3 times, and is escorted offstage by Rona and Mitch. One of Logainne's fathers jumps onstage to calm Logainne down and pours some of his soda on the floor to make Barfée's foot stick and thus disrupt his technique. With Panch calmed down, Olive is called to spell. She imagines her parents being there and giving her the love that she always has wanted and yearned for ("The I Love You Song"). Barfée is called to spell next, and spells his word correctly despite the soda causing his foot to stick. Logainne misspells her next word by over complicating it (vug → V-U-G-G-H-E) ("Woe Is Me (Reprise)") and Rona is excited that it has come down to the final two ("My Favorite Moment of the Bee 3"). The finals are shown through another montage ("Second"), and Olive and Barfée continue to grow closer. Eventually, Olive misspells a word, giving Barfée a chance to win. He is torn between winning and letting Olive win, but with Olive's encouragement, he spells his word correctly. Panch awards Barfée the large trophy and two hundred dollar prize, and, in a surprise act of charity, pays Olive's entrance fee, calling it a "runner-up prize." Olive congratulates Barfée, and each character reads a sentence or two about what they do in the years and decades after the main action of the musical ends ("Finale").

The Act

Musical · 1977

The Act is a musical with a book by George Furth, lyrics by Fred Ebb, and music by John Kander. It was written to showcase the talents of Kander and Ebb favorite Liza Minnelli, who portrayed Michelle Craig, a fading film star attempting a comeback as a Las Vegas singer. The musical premiered on Broadway in 1977.

The Adventures of Tom Sawyer

Musical · 2001

The Adventures of Tom Sawyer is a musical comedy based on the 1876 novel by Mark Twain conceived and written by Ken Ludwig, with music and lyrics by Don Schlitz. The musical is the story of a fourteen-year-old boy growing up in the heartland of America. This Broadway musical version of Mark Twain's 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 Huckleberry Finn. Along the way he meets a terrifying villain named Injun Joe, Tom's bratty half-brother Sid, and all the other boys and girls in the village.

The Amorous Flea

Musical · 1964

The Amorous Flea is a musical with a book by Jerry Devine and music and lyrics by Bruce Montgomery. It is based on Molière's 1662 comedy The School for Wives. The off-Broadway production, directed by Jack Sydow, opened on February 17, 1964, at the East 78th Street Playhouse and moved to York Theatre, running for a total of 93 performances. Proctor won the Theatre World Award for his performance. Songs in the production include "Lessons On Life".

The Apple Tree

Musical · 1966

The Apple Tree is a series of three musical playlets with music by Jerry Bock, lyrics by Sheldon Harnick, and a book by Bock and Harnick with contributions from Jerome Coopersmith. Each act has its own storyline, but all three are tied together by a common theme (be careful what you wish for) and common references, such as references to the color brown. The first act is based on Mark Twain's The Diaries of Adam and Eve; the second act is based on Frank R. Stockton's "The Lady, or the Tiger?"; the third act is based on Jules Feiffer's Passionella. The working title for the evening of three musicals was Come Back! Go Away! I Love You!

The Arcadians

Musical · 1909

Act I Sombra, one of the beautiful but naïve Arcadians, is troubled by reports of a place beyond the sea where "monsters" live in cages of brick and stone and never tell the truth – a place called London. The Arcadians beg Father Time to bring them a Londoner. He reluctantly agrees and causes the amateur aviator James Smith, an ageing London restaurateur with passions for aeroplanes and philandering, to crash land in Arcadia, where no one tells lies or grows older, where money is unknown, and employment is unnecessary. The Arcadians and Smith exchange stories, and Smith introduces the Arcadians to some new concepts: ugliness, jealousy and lying. He attempts to seduce Sombra by telling a lie. Far from impressed, the Arcadians immerse him in the Well of Truth, from which he emerges transformed into a young man, wearing the scanty costume of Arcadia, with a luxuriant head of hair but minus his mutton-chop whiskers. They christen him "Simplicitas", and he will remain young until he tells a lie. His hosts dispatch him with missionary zeal, and two agelessly beautiful Arcadian nymphs, Sombra and her sister, Chrysea, to wicked London to "set up the truth in England for ever more, and banish the lie." Act II They begin their crusade at Askwood races, where it is Cup Day. They cause considerable curiosity, being still clothed in the costumes of Arcady (everyone else is dressed up formally in this scene, anticipating the similar scene in My Fair Lady 50 years later). But instead of improving the Londoners, the Arcadians adopt some of their wicked ways, including betting on the races. Here Simplicitas meets his wife Mrs. Smith, who, not recognising her husband, proceeds to fall in love with the young stranger. Simplicitas flirts with her and agrees to help her open up an Arcadian restaurant in London. Then comes an opportunity for Simplicitas to distinguish himself. Jack Meadows, who was to have ridden his temperamental horse "The Deuce" has been thrown by the animal, and Peter Doody, the hapless replacement jockey, has also been injured by "The Deuce". Sombra arranges that Simplicitas shall take his mount, as the Arcadians have the gift of speech with animals, and the brute becomes as gentle as a lamb. Simplicitas (while sound asleep), upon "The Deuce," wins the race, to the great satisfaction of its owner. Romantic complications ensue between Meadows and Eileen Cavanagh, a young Irish woman. Act III Simplicitas/Smith's Arcadian restaurant has become the rage of London, as the menu is that of the simple life. Simplicitas, however, is not living and spreading the simple life as his Arcadian friends had hoped, but rather is having "the time of his life." Mrs. Smith becomes suspicious of Simplicitas, and in endeavouring to explain the reason for an all-night absence, he tells another lie. He falls into the ornamental well in the restaurant and emerges as his former self, with his bald head and shaggy whiskers, to the astonishment and somewhat to the confusion of his wife. Sombra and Chrysea, realising that their mission to make all London tell the truth has failed, return to Arcadia – but they leave two happy couples behind.

The Baker's Wife

Musical · 1989

The act opens in the early autumn of the mid-1930s in the small French village of Concorde. At a local cafe, the proprietor's wife, Denise, tends to her chores while singing "Chanson" in both French and English. Through the song, she reflects on her repetitive daily routine and expresses a desire for unexpected change. Focus is shifted to the customers at the tables. Bits of conversation are heard: complaints from a gardener whose neighbor's tree is shading his spinach; an argument between the local priest and the school teacher who has been teaching that Joan of Arc "thought" she heard voices; the owner of a well quarrelling with the neighbor whose dog had breached that well seven years previously. The bickering villagers insist to one another that their lives would be much better "If It Wasn't for You". All are anticipating the arrival of the baker: the village has been without bread since the previous baker died, and tensions are running higher than normal. The Marquis enters with his three "nieces" and welcomes the new baker, Aimable Castagnet. Accurately named, he is a jolly, middle-aged fellow. With him is his young and beautiful wife Geneviève, whom the Marquis mistakes for the baker's daughter. The error is quickly addressed, but does not go unremarked by the townspeople. With Pompom, their cat, the couple is shown to their new home — with comments from the townsfolk, about the baker robbing the cradle, following in their wake. In their new bakery, Aimable is clearly pleased with his new shop. To Geneviève, he sings "Merci, Madame", as enchanted with her as he is with his new surroundings. He is excited about the prospects of a prosperous life with a family. The villagers, too, are pleased with the return of "Bread" to the small town. The customers argue about their place in line in the small shop, eager to sample the wares of the new baker. Others gossip about the Marquis and his nieces; and Antoine, one of the villagers, asks Aimable how an old man like him was able to snare the beautiful Geneviève. "God was good to me," he replies, and Geneviève reminds the villagers that not only did her husband choose her, she chose him, too — and, she insists, she couldn't be happier. She smiles at the customers but, embarrassed by their prying, rushes inside in tears. She sings of the "Gifts of Love" she's received from men in her past: her passionate affair with a married man named Paul, and her gentler feelings for Aimable. Closing the door on her past, she resolves to be a good wife to the baker. While picking up the Marquis' pastry order, his driver, Dominique, eyes Geneviève, mistaking her for the baker's daughter, just as the Marquis himself did earlier. Geneviève corrects the handsome chauffeur, but he cockily insists on addressing her as Mademoiselle. Geneviève insists, "Madame!", but he continues flirting with her, flustering her. Aimable returns after trying to find Pompom and reports that the cat has run off. Some time later in the village square, Dominique again advances upon Geneviève. She rebuffs him, reminding him that she is happily married, but he resolves that he will be with his "Proud Lady". The villagers gather again outside the café, engaged in their usual squabbles. The baker and his wife arrive and sit at a table near Antoine who continues to tease them about the difference in their ages. He implies that while the baker may be able to create the perfect croissant, his ability to create a child might have passed. Dominique comes to the couple's defense, hitting Antoine, but Genevieve is humiliated by the entire scene and exits in a huff. The men of the village slyly advise one another to "Look For the Woman" whenever conflict arises among them: "It's when the hen walks into the barnyard that the roosters start pecking at each other." That evening, we see three couples — including the baker and his wife — getting ready for bed. Dominique and his guitar-toting friend Philippe plot their evening in the town square, and as the three couples end their reprise of "Chanson", Dominique and Philippe start their "Serenade". The baker believes their song is a tribute offered in thanks for his baking, but Geneviève understands correctly that Dominique is singing to her. Aimable, ever the good man, sends Geneviève to give Dominique some unsold baguettes. She castigates her insistent suitor, but Dominique is undeterred. Despite her protests, Geneviève is unable to resist him, and they decide to meet an hour later and run off together. Aimable calls down to Geneviève, and she replies that she'll return to bed in a minute. As he drops off to sleep, she contemplates her situation, singing the legend of the "Meadowlark". In the story, the bird decides to stay with the old king who adored her — and perishes of sadness, having missed her opportunity to fly away with the sun-god who had wooed her. Resisting the meadowlark's sad fate, Geneviève embarks for an unknown future with her "beautiful young man". The neighbors are awakened to a fire in the bakery's oven, where the baker finds charred loaves. Usually Geneviève is the early riser of the household, and he begins to search for her, believing that she has gone in search for Pompom. A crowd begins to gather and the gossip begins at once, "Buzz A-Buzz": they know Aimable's search will yield neither cat nor wife. The Marquis arrives and takes the baker aside, telling him that Geneviève had run off with his chauffeur in the Marquis' Peugeot. Philippe arrives and confirms the story, but Aimable chooses to believe that Geneviève has merely gone to visit her mother. As the gossip continues, the Marquis threatens to report his stolen car to the police, and to have the two lovers arrested. The gossiping townsfolk gleefully agree that the whole outrageous scandal is the "best thing to happen in this town in all my life!" The second act opens as the first, with Denise reprising her "Chanson". The villagers reprise "If It Wasn't for You", while keeping an eye on the baker: they are relieved to see him begin a new batch of dough. The teacher and the priest argue again, the priest accusing the villagers of contaminating Genevieve with their immoral conduct, the teacher championing free will. The Marquis dismisses both explanations, insisting that Genevieve's behavior was simple human nature—that we are all captive to the joys of the flesh. Aimable crosses to the café to inform the customers that the bread will be ready momentarily. The typically sober baker orders a cognac, and another, and sings tipsily that Genevieve will be home on an "Any-Day-Now Day": she has just gone to visit her mother. In an attempt to sober him up, the villagers follow him into the bakery, only to find it in a shambles. Aimable collapses amongst the spilled flour, dough hanging from the ceiling, and burnt loaves of bread. The villagers realize that the town is in danger of being once again without a baker, and they blame the despondent baker's runaway wife for the sorry state of affairs. In the closed bakery, they try to cheer up Aimable and get him baking again by telling him that he's the "Luckiest Man in the World": he's been spared the boredom and arguments of married life. The Marquis enters, telling Aimable that all he needs to cheer up is some "Feminine Companionship," even offering to loan his "nieces". The villagers ask the Marquis if the girls are really his nieces, to which he responds, "What is a niece but the daughter of a brother, and as I consider all men my brothers...." The girls surround the baker, flirting and caressing him. The priest enters and, shocked at the scene, begins feuding with the Marquis. The villagers join in the fray, and the baker throws them all out. At a town meeting in the church, Aimable admits that he knows that Geneviève has run off. He offers the Marquis his life savings to deter him from hunting down the couple. He leaves the church, and the villagers—chastened by the aging man's selflessness even in the face of profound anguish—vow to work together to find Geneviève and persuade her to return to her husband. Alone in the bakery, Aimable decides "If I Have to Live Alone", that he will do so with dignity. The villagers are again at the cafe, and Antoine enters claiming that he has found the young couple at a hotel in a nearby town. They agree to form a search party, and the Marquis, the priest, and the teacher go after the outcasts to persuade the baker's wife to return home. Left behind, the women of the town comment ruefully on the "Romance" that is missing from their own lives. In a small hotel room, Geneviève and Dominique are together, but all is not well. She admits her passion for the young man, but wonders "Where Is the Warmth?" She gathers her things and leaves him asleep. At a bus stop, the villagers encounter Geneviève on her way to Marseille. They beg her to return but, guilt-stricken and ashamed, she tells them that she can never go home again. They eventually convince her to return: "all sins are forgivable". The villagers are asked to remain in their houses so as to not embarrass Geneviève when she arrives. Escorted by the priest and the Marquis, Geneviève walks through the empty street to the bakery and cautiously approaches her door. She finds Aimable and attempts to tell him the truth, but he awkwardly refuses to listen, offering her dinner and insisting that she has returned from visiting her mother. Pompom arrives at the window, and Aimable angrily chastises the cat for running after "some tom that looked good in the moonlight." He unleashes all of his pent-up bitterness toward Geneviève on the small cat, but offers it a saucer of milk. He has faithfully refilled the milk each day, and when Aimable charges that the cat will run off yet again, a tearful Geneviève assures him that "she will not leave". Reconciled, the two begin to prepare the bread for the next day.

The Balkan Princess

Musical · 1910

The Balkan Princess is a musical in three acts by Frederick Lonsdale and Frank Curzon, with lyrics by Paul Rubens and Arthur Wimperis, and music by Paul Rubens. It opened at London's Prince of Wales Theatre on 19 February 1910. The cast included Isabel Jay and Bertram Wallis. There was a successful Broadway run in 1911 that used a libretto by Leonard Liebling, and the show toured widely thereafter. The piece contains some of Rubens's most tuneful music, and the production was mounted with spectacle in its settings, costumes and large chorus of beautiful girls. The show was much like Lonsdale's previous success King of Cadonia, but with the sexes reversed. Famous songs from the show included "Wonderful World" and "Dear, Delightful Woman".

The Band’s Visit

Musical · 2016

The Band’s Visit opens with a message on a projector screen that displays during the overture, reading: "Once, not long ago, a group of musicians came to Israel from Egypt. You probably didn’t hear about it. It wasn’t very important." In 1996, the Alexandria Ceremonial Police Orchestra, just arrived in Israel, are waiting in Tel Aviv's central bus station. They expect to be welcomed by a representative from a local Arab cultural organization, but no one shows up. The group's leader and conductor, the reserved and dignified Colonel Tewfiq Zakaria, gets annoyed with the behavior of Haled (the young trumpet player and ladies’ man of the band). He explains to the band that they will act with professionalism and avoid any embarrassments, lest they give their critics and sponsors ammunition against them. Tewfiq decides that the group will take the bus and instructs Haled to purchase the group's bus tickets. At the ticket office, Haled asks the clerk for a ticket to the city of Petah Tikvah, but due to his Egyptian accent, she misunderstands him and sells him tickets to the isolated desert town of "Bet Hatikvah". The scene shifts to Bet Hatikvah, where the residents bemoan the boring and monotonous lives they lead in the desert ("Waiting"). When the band arrives in Bet Hatikvah to blank stares, they approach two café workers, Papi and Itzik, to ask for directions to the Arab Culture Center for their performance the next day. Unsure who these men are and what they're asking about, they call for the café's owner, a charismatic woman named Dina. Tewfiq again asks for directions to the Culture Center before Dina realizes that they think this is Petah Tikvah, and explains that this is the wrong place, and they must have taken the wrong bus ("Welcome to Nowhere"). Tewfiq gives Haled an earful for the humiliation he has caused them, then asks Dina if the band can dine at the café on what little Israeli money they have left. As the rest of the band eats, the band’s assistant conductor and clarinetist, Simon, plays his original concerto (which he never finished). Dina returns and tells the group that the next bus does not arrive until the following day. After Camal, the band’s violinist, suggests contacting the Egyptian embassy, Dina begins to understand how much of a tight spot the band is in. She offers to have her, Papi, and Itzik house them for the night; Tewfiq is hesitant, but seeing no other option, he agrees. Dina brings Tewfiq and Haled back to her apartment for a place to sleep. In her kitchen, Dina inquires about Alexandria and muses that the big city must make you feel like you’re alive. Haled asks her why she stays in Bet Hatikvah if she wants more out of life, and Dina tells how she was once married and naïve, but nothing panned out the way she ideally hoped ("It Is What It Is"). She asks Tewfiq if he has a wife back in Egypt, and he responds that he did at one time but not anymore, leading Dina to believe that they are in the same boat. Dina then draws their attention to the only pay phone in town, which is guarded over every night by a man (known only as the "Telephone Guy") who obsessively waits for his girlfriend to call him, even though it has been a month. Dina convinces Tewfiq to let her show him around the town and buy him dinner, and Haled chooses to stay behind and let them enjoy each other’s company. Meanwhile, Itzik allows Simon and Camal to stay with him and his family, consisting of his wife Iris and their baby, as well as his father-in-law, Avrum, who is visiting for the night. Itzik and Iris sit in awkward silence at the dinner table; Itzik tells the officers that it is his wife’s birthday today, while Iris silently fumes. When asked about his café job, Itzik responds that he is in between jobs, and Iris bluntly states that her job is to "care for invalids". Avrum tells his guests that he is a musician as well, and despite Iris’s protests brings up how he met her mother that way. Camal asks what happened to Avrum's wife, and Avrum replies that she died last year. Simon rebukes Camal for his prying, but Avrum insists that it is healthy for him to talk about it. He tells the story of how he met his wife many years ago at a club, and remembers how music had been the foundation for their entire relationship ("The Beat of Your Heart"). Itzik, Simon, and Camal are touched by the story, but Iris continues to eat silently, avoiding all interaction as her father reminisces. As Dina and Tewfiq prepare to head out, Camal uses the pay phone to call the Egyptian embassy as the Telephone Guy watches him aggressively. Papi lets the rest of the band sleep in the café while he goes out; he has been invited by his friend Zelger and Zelger’s girlfriend Anna on a double date with Anna’s cousin Julia, but has anxiety about going out with her. Against Papi’s wishes, Haled tags along. Dina and Tewfiq sit down for dinner at a nearby cafeteria and quickly become the center of attention among the locals. Dina tells Tewfiq to ignore them and asks him what style of music his band plays; he claims that they are a traditional orchestra that sticks to classical Arab music. Dina recalls her childhood, and how every week she would listen to music on Egyptian radio stations from the likes of Umm Kulthum and watch Egyptian movies starring Omar Sharif. Tewfiq quotes one of the movies in question and they bond over the shared memories ("Omar Sharif"). Just then, Dina’s ex-lover Sammy enters with his family; it is implied that Dina is still having an affair with him. After an awkward greeting where Dina introduces Tewfiq, Sammy leaves with his family in a huff. Tewfiq suggests that it might be a good time for them to leave as well, but Dina decides to lighten the mood by putting on an Umm Kulthum song and having Tewfiq repeat his Omar Sharif quote. Back at Itzik and Iris’s apartment, Simon plays his concerto at Avrum and Itzik’s request. Itzik asks Simon why it was never completed, to which Simon replies that his life got too busy after he started it. Itzik relates to Simon’s writer’s block with a story about how as a child he missed his own birthday because he had climbed a tree, staying there all day because it was too relaxing to leave. Iris retorts that in actuality Itzik is afraid of growing up and is still hiding in his tree, and she grabs her coat and heads for the door. When Itzik tries to calm her down, Iris declares that she has fallen out of love with him, and storms outside. At the roller skating rink, Haled watches from afar as Papi ignores Julia and clumsily skates on his own. Papi stops a security guard from harassing Haled outside the rink, and as Julia passes him again, Papi remarks that he could never get girls the way Haled can. Upon hearing this, Haled reveals to Papi his impending arranged marriage back at home; the reason behind his Casanova attitude. Papi in turn explains his romantic anxieties to Haled, specifically that he can’t stop hearing the sea when his nerves kick in ("Papi Hears the Ocean"). After accidentally causing Julia to slip on her skates and fall down, as well as subsequently getting chewed out by Anna, Papi is petrified yet again. Haled helps to boost Papi's confidence and encourages him to "walk into the sea", which leads to Papi and Julia finally embracing each other ("Haled's Song About Love"). After their dinner, Dina takes Tewfiq to "The Park", which is just a bench in the middle of Bet Hatikvah. She asks him what it is like to have an orchestra and play music for an audience. He initially has trouble describing it, but soon he begins to show her what it's like to be a conductor by allowing her to mimic his arm motions. The topic shifts and Tewfiq opens up about his late wife, who he mentions died three years ago. Dina persuades Tewfiq to sing her the song that he sang before his wife many years ago while she conducts ("Itgara’a"). Despite not being able to understand his Arabic lyrics, she remains mesmerized by him for reasons she cannot fully explain, and wonders if his visit to Bet Hatikvah was meant for her by fate ("Something Different"). Dina asks Tewfiq if he had any children with his wife, and Tewfiq tells her that they had a son together. Their conversation is interrupted when Sammy returns to chastise Dina for their interaction at dinner, causing his current wife to ask questions. Tewfiq breaks up their argument and defiantly implores Dina to forgive Sammy for his mistakes. Sammy warns Dina before exiting, and a fatigued Tewfiq demands to leave the park; Dina reluctantly agrees. As Camal accompanies outside the scene, Itzik sings his son to sleep, lamenting that he never follows through with his plans but his patience is what gets him through life ("Itzik's Lullaby"). Simon is still concerned about Iris leaving, but Itzik tells him that this happens often and she always returns. Soon, she does, and their son begins to cry. Simon is able to soothe the infant by playing his incomplete concerto again, this time finally finishing it. Iris has a tearful reconciliation with Itzik; Avrum takes this as his cue to leave, and Simon says goodbye to him before going to bed. The Egyptian embassy calls back about sending a bus and Camal responds, afterwards letting the Telephone Guy return to his post. Dina and Tewfiq approach her apartment, and Dina makes a romantic advance toward Tewfiq, telling him that she wants to live the love that their Arab songs and movies portray despite her fears and doubts. Tewfiq refuses, informing Dina that his wife died because of him. He goes on to clarify that he never understood his son and was unnecessarily harsh with him, leading his son to take his own life, breaking his wife’s heart beyond repair. Haled returns, and they all enter the apartment in silence. Tewfiq and Haled share an uncharacteristic moment of bonding before Tewfiq heads off to bed without another word.

The Barber of Seville

Musical · 1996

Count Almaviva seeks to marry Rosina despite the schemes of her controlling guardian. With Figaro’s help, disguises and misunderstandings multiply in a musical reworking of Beaumarchais’s comedy and Rossini’s opera.

The Baroness Fiddlesticks

Musical · 1904

The Baroness Fiddlesticks is a two-act 1904 Broadway musical with a book by George de Long. It was directed by Al M. Holbrook. The show's music was composed by Emil Bruguiere, with lyrics by de Long. The show took place in contemporary England and was billed as "a musical satire on society".

The Beautiful Game

Musical · 2000

Act One Football is part of everyday life in 1960s and 1970s Northern Ireland, as the overture and opening number ("The Beautiful Game") demonstrate. It is especially important for Father O'Donnell's team, who are having their first practice on the first day of the season. The star player, John Kelly, seems to be a little more interested in one of the girls on the sidelines than he is in the priest, and as a punishment is forced to stay behind and take care of the equipment ("Clean the Kit"). Meanwhile, Thomas, a fervent Irish Catholic nationalist leads a group of thugs to force Del off the team. Mary, the girl John had been noticing during the practice, comes to the locker room to talk to him. Although they initially fight their attraction (Don't Like You), they soon decide to give it a try. Time passes. John and Mary are quite serious with each other now. She asks him one evening to join her in a civil rights march but he is more interested in going drinking with his friends. Left alone, Mary is unable to understand why anyone would not love Ireland and want to make it better. Her sentiments are echoed - almost - by a girl with the rival Protestant team ("God's Own Country"). John changes his mind and returns to go to the march with Mary, because she is more important to him ("God's Own Country", "Protestant March"). The team makes it to the final, but their celebration is cut short when a group of Protestants trash the locker room. Christine and Del emerge to find the wreckage - they had been making love in hiding during the raid. Surveying the mess, they both wish all the fighting would stop so they could get on with their lives ("Let Us Love in Peace"). It comes down to the final. After the other team tied the goal on a penalty shot, John scores the winning goal ("The Final"). The boys celebrate at a local pub ("Off to the Party, The Craic"). Del comes to see Christine, but Thomas and his friends quickly remind him that he isn't welcome. Rather than causing any more unpleasantness, he leaves. Meanwhile, Ginger has finally got up the nerve to speak to Bernadette, who returns his affection ("Don't Like You Reprise"). They have a first, small kiss, and then she has to go, and Ginger helps Daniel home. After seeing him to his door, Ginger is about to head home himself when he's confronted by a gang of Protestant thugs. He attempts, unsuccessfully, to escape. Christine and Mary are discussing the previous evening at Mary's house. Mary disapproves of the relationship with Del until Christine convinces her that love knows no boundaries ("Our Kind of Love"). They are interrupted by John who brings the horrible news - Ginger is dead. Thomas arrives and asks John to go with them to get revenge, but he refuses - more violence won't do any good. As they comfort each other and go to the funeral, they all long for an end to the division and for a chance to live a normal life ("Let Us Love in Peace Reprise"). Act Two John and Mary are getting married, and there are some nerves on all sides ("The Happiest Day"). When the time comes to make their vows though, there are no doubts ("To Have and to Hold"). Finally, they are left alone in their hotel room for their first night together. Both are nervous, but together they work it out ("The First Time"). In the middle of the night, the phone rings. It's Thomas, in trouble. He asks for John's help. Mary doesn't want him to go, but John feels he owes it to his friend even though he doesn't agree with what he's doing. He finally finds Thomas and tells him it's the only time he'll ever do something like this. Thomas tries to explain to him why he has to do what he does ("I'd Rather Die on My Feet Than Live on My Knees"). John is finally going to get his big break at the football trials. On her way to watch, Mary says goodbye to Christine and Del, who are moving to New York to escape the situation there. Mary figures she and John will go to England, and they talk about leaving their home ("God's Own Country Reprise"). John makes a great impression and the coaches want him, but someone else wants him too - the police. Someone has tipped them off and he is taken to prison, before Mary even has a chance to tell him that she's pregnant ("The Selection"). John is put with the other IRA prisoners. He tries to stay apart from them, but they work away at him and eventually he begins to think like them. Even Mary has trouble getting through to him. ("Dead Zone"). She has her baby, a boy named Sean, and Daniel comes over to visit. While he's there, Thomas and two other IRA agents barge in and accuse Daniel of betraying John. They shoot him in the knee, crippling him. Mary is horrified and wonders if any good could possibly come out of all this violence ("If This is What We're Fighting For"). John is finally released, and his first stop is to see Thomas, because he has realized that it was Thomas who turned him over to the police. After confronting him, John kills him. Mary enters. She tries to find the man within John that she fell in love with, but he is buried too deep. John is going to England to work for the IRA. He leaves his soccer jersey and a picture of the championship team for his son ("All the Love I Have"). As Father O'Donnell comes to collect Sean for the football practice, Mary hopes that the cycle of hate can be stopped with her son ("Finale"). Act One The Boys in the Photograph begins with Mary, Christine and Bernadette singing the titular number ("The Boys in the Photograph") in front of a monochrome photograph of the Belfast soccer team that is the focus of the play. After this the majority of the casts join in a number about the importance of soccer or football in the lives of the young people of Belfast, Northern Ireland which is currently on the brink of a cultural war. After this Father O'Donnell begins the roll call for the football team including: John Kelly, the team's star player who is more interested in showing off in front of girls than practicing seriously; Thomas Malloy, John's best friend, who is more driven, a fervent Catholic nationalist who wears glasses (which need to be taped to his head while playing and are referred to multiple times during the play); Del Copeland, the only Protestant on the team (who states he is an atheist); Daniel Gillen, who has a reputation of stealing radios from cars (though he argues that with so many riots taking place it only makes sense to steal the radios before the cars are burnt), and Ginger O'Shaughnessy, who wants the conflicts between Protestants and Catholics to end and to be called by his real name (Gregory). We also meet Mary a bright out-spoken young woman who believes that the conflict can be resolved through peaceful protests; Bernadette, a very religious and prudent girl who has been in love with Ginger since they were children; and Christine, who defies her Catholic up-bringing not only by going with several boys but also by the man she marries later on. After the practice Father O'Donnell gives each member of the team a copy of the team photograph along with the lecture to "…Never forget the promise of your youth. This picture is who you are, who you become is up to you". He puts John on equipment cleaning duty, much to John's annoyance ("Cleaning Kit"). While John is imagining his future as the star player for a national team, Mary walks in and tells him that he'll never make a national team since he spends too much time chasing girls. Father O'Donnell then enters the locker room and tells John that the reason he's harder on him is because he believes that John could be great if he focuses on his game and that there will be plenty of time for girls once he's famous and can have any kind of girl he wants (to the disgust of Mary, who is hiding nearby as girls aren't allowed in the locker room). John and Mary further argue with each other ("Don't Like You") and eventually grow close and fall in love. Meanwhile, Thomas, along with a couple of nameless teammates, threaten Del with violence if he comes to practice again. (Thomas has no tolerance for Protestants after one beat up his sister; this also provides a hint of things to come). Eventually Mary and John are in a steady relationship with one another and although at first he does not want to join her in civil rights demonstrations, being more interested in having fun with his teammates leaving Mary disappointed, not only with John but with her neighbours' defeatist attitude ("God's Own Country/God's Own Country", "Protestant March"). John eventually comes around and decides that he at least should be there for Mary. Meanwhile, Christine and Del have had their own romantic encounter having both taken shelter in an abandoned car during a raid and discovering that despite their different backgrounds that they have a lot in common ("Born In Belfast"). Eventually the final game of the season comes and the team has a chance to win the championship ("The Final"), and despite Thomas being caught by the referee for tripping a member of the other team giving them a penalty kick, John manages to score the winning goal. After their victory the team and their supporters go celebrate at the local pub ("Off To The Party"/"The Craic"). Del and Christine also go to the party though Thomas makes it clear that they aren't welcome while John wonders where he's been all season and despite Christine's insistence that Del has as much of a right to be there as any other member of the team, Del insists that they should leave to avoid causing any trouble. At the same time Ginger and Bernadette begin to realize their feelings for each other, their shared wishes for peace and kiss for the first time ("Let Us Love In Peace"). However, after the party Ginger helps Daniel home and on the way back to his own home, is mortally wounded by a gang of young Protestants and is unable to get away.

The Beauty Spot

Musical · 1909

The Beauty Spot was a 1909 musical comedy in two acts who composed the score in 1907. The Beauty Spot ran at the Herald Square Theatre on Broadway for 137 performances from 10 April 1909 to 7 August 1909. Set in the South of France, the choreographer was Julian Alfred and the scenic designers were H. Robert Law, Edward G. Unitt and Joseph Wickes, while Frank P. Paret was the musical director.

The Beauty of Bath

Musical · 1906

The Beauty of Bath is a musical comedy with a book by Seymour Hicks and Cosmo Hamilton, lyrics by C. H. Taylor and music by Herbert Haines; additional songs were provided by Jerome Kern (lyrics and music), F. Clifford Harris (lyrics) and P. G. Wodehouse (lyrics).

The Belle of Bohemia

Musical · 1900

The Belle of Bohemia is an Edwardian musical comedy in two acts with music by Ludwig Engländer and Harry Truman MacConnell and lyrics and musical book by Harry B. Smith. The musical opened on Broadway in 1900 before having a run on the West End of London in 1901. It was one of a series of musicals with Belle in the title that were popular on both sides of the Atlantic in the Edwardian era.

The Belle of Brittany

Musical · 1908

Babette is the only daughter of Poquelin, a prosperous miller, who holds the mortgage on the château and estate of the gay old Marquis de St. Gautier. Babette, according to the custom of her village, has been betrothed by her parents to Baptiste, a famous Paris chef, who is hourly expected to claim his bride. Facing the mill is a fine old tree known as the "Trysting Tree", to which is attached a curious legend. If man and maid meet beneath its branches and exchange vows of love at the moment the bells of a neighbouring convent chime, then a happy marriage may be expected. Had Baptiste arrived a little sooner it might have been his good fortune to have experienced that felicitous omen, but as it happens, it is young Raymond de St. Gautier, the son of a Marquis, who was the fortunate individual, and he and Babette fall in love at first sight. The old Marquis, however, has different views as to his son's matrimonial affairs. To relieve the estate from the heavy debts with which it is burdened it is necessary that Raymond should make a rich marriage, and to that end the Marquis is doing all in his power to bring about a union between Raymond and his wealthy ward, Mlle. Denise de la Vire. Denise also has a love affair to hand, with the Comte Victoire de Casserole, and she is determined that her fortune and her heart shall be placed in the same keeping. But there is a golden lining to the Marquis's cloud, and, as the old miller promises the mortgage deeds as Babette's dowry, the Marquis withdraws his objections, and the bells of Brittany give hearty and melodious salutation to the daffodil "belle".

The Belle of Mayfair

Musical · 1906

Act I A young couple, Julia Chaldicott and Raymond Mount-Highgate, fall madly in love during a sham auction taking place at a bazaar held in a London private park. This causes alarm to Julia's father, Sir John Chaldicott, Baronet, who hates Raymond's family. Among the distinguished visitors present at the auction are the Duchess of Dunmow, and Princess Carl of Ehrenbreitstein, a charming English girl, married to a German Prince. Raymond's friends advise him not to worry about marriage and to enjoy himself instead, while Julia's high powered friends, including Princess Carl, try to get him sent overseas as a diplomat. Julia's father tries to end the match by announcing that his daughter is going to become engaged to the Comte de Perrier, a conductor of a foreign band that is touring in the vicinity, and he is paid to become Julia's official suitor. As a result, Raymond threatens to punch the Comte and elope with Julia. Act II Sir John and his lady are at the opera, and Julia is being presented at Court by the Princess. A member of the orchestra brings a bag containing the band leader's costume to Sir John's house. Shortly afterwards, Sir John and Lady Chaldicott return. Some guests have been invited to meet Julia after her presentation. Soon Julia enters radiant and beautiful in her Court dress, and before long Raymond arrives to plan the elopement. Raymond shall ask Doctor Marmaduke Lawrence, the Bishop of Brighton, to officiate at the wedding. They are interrupted in their scheming, and Raymond, on Julia's inspiration, dons the costume of the missing bandmaster and confers with her father as to the programme of music. Sir John disturbed by the bandmaster's apparent change of manner. Just when everything is arranged, Princess Carl appeals to Julia not to run away with Raymond, as the shock might injure her father's health, and Julia, like a dutiful daughter, consents to wait. Sir John demands that his daughter give up Raymond entirely and unconditionally. Julia makes a tender and impassioned appeal that her heart may not be broken, and in the end Sir John gives way. Lord Mount-Highgate and his wife, who arrive to assist in frustrating the elopement, hear Julia declare her love for Raymond, and her father give his consent to the marriage. A general reconciliation takes place, and everything ends happily.

The Belle of New York

Musical · 1897

The Belle of New York is a musical comedy in two acts, with book and lyrics by Hugh Morton and music by Gustave Kerker, about a Salvation Army girl who reforms a spendthrift, makes a great sacrifice and finds true love. Opening on Broadway at the Casino Theatre on 28 September 1897, it ran for only 64 performances.

The Best Little Whorehouse Goes Public

Musical · 1994

The Best Little Whorehouse Goes Public is a 1994 musical with a book by Larry L. King and Peter Masterson and music and lyrics by Carol Hall, a sequel to The Best Little Whorehouse in Texas.

The Best Little Whorehouse in Texas

Musical · 1977

The Best Little Whorehouse in Texas is a musical with a book by Texas author Larry L. King and Peter Masterson and music and lyrics by Carol Hall.

The Best of Both Worlds

Musical · 2004

The Best of Both Worlds is a musical with book and lyrics by Randy Weiner, music by Diedre Murray, and additional scenes by Diane Paulus, loosely based on William Shakespeare's A Winter's Tale.

The Better 'Ole

Musical · 1917

The Better 'Ole, also called The Romance of Old Bill, is an Edwardian musical comedy with a book by Bruce Bairnsfather and Arthur Elliot, music by Herman Darewski, and lyrics by Percival Knight and James Heard, based on the cartoon character Old Bill, an infantryman, drawn by Bairnsfather. In the musical, Old Bill intercepts a spy's plan to destroy a bridge, trapping a French regiment after they cross it. Bill saves them by blowing up the bridge before they pass; his actions are misunderstood, however, and he is arrested for disobeying orders and holding an enemy document. After Victoire explains the situation, Bill is released and given a medal. The original London production in 1917 was a hit, running for over 800 performances, starring Arthur Bourchier as Old Bill. The piece also had success on tour and on Broadway the following year and spawned two film adaptations and a sequel.

The Big Gay Jamboree

Musical · 2024

Aspiring actress Stacey, with a musical theatre degree, finds herself trapped in a Golden Age stage musical in 1945 Bareback, Idaho, after getting black-out drunk the night before. As she tries to figure out a way to escape the seemingly never-ending nightmare of song and dance, Stacey befriends the local townsfolk, most notably the promiscuous Flora, the town music director Clarence, and Bert, the gay lumberjack. Through their time together, Stacey confronts the harmful tropes that bind these characters in the narrative world of musical theatre—namely homophobia, sexism and misogyny, and racism—shattering the rosy illusion of Broadway fantasy Stacey once believed in. In their mission to figure out how Stacey entered the musical world and return her to the present day, one that Mindelle herself affectionately calls a "millennial wizard of oz", the band of characters learn how express themselves freely and discover that there is more to the world than just the life inside of a 1940s musical.

The Big Life

Musical · 2004

The Big Life is a British ska musical with book and lyrics by Paul Sirett and music by Paul Joseph, originally produced by the Theatre Royal Stratford East in 2004. It combines Shakespeare's Love's Labour's Lost with the story of the Windrush immigrants (those Jamaicans who arrived in Britain aboard HMT Empire Windrush in 1948, which began an era of multiculturalism). The musical transferred to the West End's Apollo Theatre in 2005. It was nominated for Best New Musical at the 2006 Olivier Awards. The musical is being revived for its 20th anniversary at Stratford East in early 2024 with previews on 16 February, an opening night on 22 February, and performances to 30 March.

The Billionaire

Musical · 1902

The Billionaire is a musical in three acts with music by Gustave Kerker, and both book and lyrics by Harry B. Smith. The show was written with the backing of producers Klaw and Erlanger and was made specifically for the talents of Jerome Sykes who portrayed "The Billionaire", John Doe. The action of the musical begins in Nice, France during Carnival where the billionaire Sykes meets a young American girl, Pansy Good (portrayed by Nellie Follis), studying to be an actress. Impressed with her talents, he buys her Doe's Theatre in New York City and establishes her as a star. Later, Doe attempts to ride a horse in a race at the Longchamp Racecourse in Paris, but is too fat to succeed. Pansy rides the horse instead and wins the race. The production was later remounted for a 8 more performances at the Grand Opera House the following April. Herbert Gresham directed the production and Ned Wayburn choreographed the show. The costumes were designed by F. Richard Anderson, and the sets were designed by Ernest Albert. Others in the cast included May Robson as Mrs. Peppercorn, Sallie Fisher as Flora, and Marie Doro as Rosalba.

The Bing Boys Are Here

Musical · 1916

B.W. Findon wrote in The Play Pictorial, no. 169, vol. XXVIII, "The Bing Boys Are Here edition", London, 1916, p. 50:

The Biograph Girl

Musical · 1980

When Mary Gish and her daughters Lillian and Dorothy recognize their friend Gladys Smith in a film made by the American Mutoscope and Biograph Company, they search for her at the studio headquarters in New York City. There they discover she has been rechristened Mary Pickford and is known as the Biograph Girl. Before long Lillian and Dorothy are acting in films directed by D.W. Griffith, and when he decides to relocate to Hollywood, he brings the girls and their mother with him. Lillian is cast in The Birth of a Nation, while Mary decides to leave Griffith in order to work for Adolph Zukor at a substantially higher salary. Eventually she finds herself forced to suppress her growing sophistication in order to maintain the image of innocence her fans have embraced. Shocked by the negative public and industry reaction to The Birth of a Nation, Griffith vows to make an epic film advocating peace and tolerance. Intolerance proves to be an artistic success but a commercial flop. Griffith's financial woes threaten to end his career until Mary joins him, Charles Chaplin, and Douglas Fairbanks to form United Artists. When Griffith's monetary situation fails to improve, he urges Lillian to accept an offer from another studio, and she reluctantly does. With the arrival of sound films in 1927, the industry's pioneers are forced to re-evaluate their careers and make plans for the future.

The Black Crook

Musical · 1866

The musical is set in 1600 in the Harz Mountains of Germany. It incorporates elements from Goethe's Faust, Weber's Der Freischütz, and other well-known works. Evil, wealthy Count Wolfenstein seeks to marry the lovely village girl, Amina. With the help of Amina's scheming foster mother Barbara, the Count arranges for Amina's fiancé, Rodolphe, an impoverished artist, to fall into the hands of Hertzog, an ancient, crook-backed master of black magic (the Black Crook). Hertzog has made a pact with the Devil (Zamiel, "The Arch Fiend"): he can live forever if he provides Zamiel with a fresh soul every New Year's Eve. As the innocent Rodolphe is led to this horrible fate, he discovers a buried treasure and saves the life of a dove. The dove magically transforms into human form as Stalacta, Fairy Queen of the Golden Realm. She rewards Rodolphe for rescuing her by bringing him to fairyland and then reuniting him with his beloved Amina. Her army defeats the Count and his evil forces, demons drag Hertzog into hell, and Amina and Rodolphe live happily ever after. Comedy was provided by servants, especially J. G. Burnett as von Puffengruntz, and the most popular song was "You Naughty, Naughty Men", for the soubrette Carline.

The Black Rider

Musical · 1990

Wilhelm, a file clerk, falls in love with a huntsman's daughter. In order to marry, Wilhelm must prove his worth as a hunter and gain her father's approval, but, as "a man of pen and ink," his shot is lousy and his hopes of marriage worsen. He is offered magic bullets by the devil, Pegleg – who assures him that his bullets will always have a sure shot. However, Pegleg stipulates that, while most of the bullets will hit anything Wilhelm pleases, one of the bullets is under Pegleg's control. Foolish, naive, and overrun with desperate hope, Wilhelm accepts the Faustian pact. On the day of Wilhelm's wedding, the final bullet strikes his beloved dead. He then goes mad, and joins the previous victims of Satan's cunning in the Devil's carnival. Although based on folklore, the story contains strong autobiographical elements from Burroughs' own life: he shot and killed his own wife in a drunken attempt at recreating the William Tell legend, and the story as a whole may be construed as a warning tale about the destructive powers of addiction.

The Blue Kitten

Musical · 1922

Setting: The Foyer of "The Blue Kitten" Restaurant in Paris; At Vanderpop's Chateau at Fontainebleu; "The Blue Kitten" Café. A headwaiter pretends to be upper-class so his daughter can marry a socialite.

The Blue Moon

Musical · 1904

The Blue Moon is an Edwardian musical comedy with music composed by Howard Talbot and Paul Rubens, lyrics by Percy Greenbank and Rubens and a book by Harold Ellis and by Alexander M. Thompson. It is set in India during the days of the British Raj, and concerns the love of a singing girl for a young British army officer. It ran in London in 1905, starring Courtice Pounds, and was then played in the English provinces and in America and Australia.

The Blue Paradise

Musical · 1915

Rudolph, a frequent customer at the Blue Paradise Inn in Vienna, is in love with Mizzi, a flower girl. He travels to America to operate one of his father's businesses. During the ensuing 24 years, Mizzi marries one of Rudolph's friends, and the couple has converted the inn into their private residence. After this period, when Rudolph returns to Vienna, and not knowing what has happened, he hopes to find Mizzi at the inn, to rekindle their love just as it had been so long ago, and to return to pre-war days. When he arrives at the inn, he sees that it looks just as he remembered it. He imagines that he has travelled back in time and embraces a woman who looks as Mizzi did in their youth. She turns out to be Mizzi's daughter, Gaby. Mizzi admits that she has arranged matters in this fashion so that Rudolph will accept reality; the past is the past. Gaby is engaged to Rudolph's nephew, Hans, and despite his sense of loss, Rudolph's is pleased for his nephew; the new generation will consummate the lost love of Rudolph's youth.

The Body Beautiful

Musical · 1958

The Body Beautiful is a musical with a book by Joseph Stein and Will Glickman, lyrics by Sheldon Harnick, and music by Jerry Bock. The first collaboration by Harnick and Bock, and the only one to have a contemporary setting, its plot focuses on a wealthy Dartmouth College graduate who aspires to…

The Bodyguard

Musical · 2012

The Bodyguard is a 2012 stage musical with a book by Alexander Dinelaris, based on the 1992 film The Bodyguard, with the score featuring songs recorded by Whitney Houston including "One Moment in Time", "I Wanna Dance with Somebody" and her pop version of Dolly Parton's "I Will Always Love You". The show began previews at the Adelphi Theatre in London's West End, on 6 November 2012, and officially opened on 5 December 2012.

The Bohemian G-yurl and the Unapproachable Pole

Musical · 1877

The Bohemian G-yurl and the Unapproachable Pole is a musical burlesque in two acts, with a score by Meyer Lutz to a libretto by Henry James Byron, which played under the management of John Hollingshead at the Gaiety Theatre in London in 1877. It was a parody of the popular opera The Bohemian Girl composed by Michael William Balfe with a libretto by Alfred Bunn.

The Bomb-itty of Errors

Musical · 1998

The Bomb-itty of Errors is a hip hop theater retelling of Shakespeare's The Comedy of Errors. Written and performed by Jordan Allen-Dutton, Jason Catalano, GQ, and Erik Weiner, the show has been performed in New York City, London (West End), Chicago, Dublin, Edinburgh, Florida, Aspen, Syracuse…

The Boy

Musical · 1917

Act I Mrs. Millicent Meebles, a remarried widow, habitually understates the age of her son, Hughie Cavanaugh, to make herself appear several years younger. Consequently, the 19-year-old lad is taken for a 14-year-old boy and appears to be precocious. Hughie, that "Sporty Boy", flirts with astonishing skill with his beautiful music teacher. Act II Hughie also precociously introduces his step-father, Mr. Meebles, a magistrate, to the nightclub in the Cosmos Hotel. They are followed by Millicent, who wishes to warn a friend not to divulge the boy's true age. When the nightclub is raided by the police, Mr. Meebles escapes without capture, having a comically difficult time. Mr. Meebles arrives at court just in time to hear the case that results from the raid and must, as magistrate, sentence his wife and sister-in-law, Diana Fairlie (whose lover is Albany Pope), to incarceration. Fortunately, a fellow magistrate, Mr. Burridge comes to the ladies' rescue by over-ruling the sentence on a technicality. At home, Millicent confesses that she has exaggerated Hughie's age. All is forgiven.

The Boy Friend

Musical · 1953

The whole musical is set in the Villa Caprice where Maisie, the girls (Dulcie, Nancy, Fay), Hortense the maid, and Mme Dubonnet live at Mme Dubonnet's School for Young Ladies. Act I begins when Hortense orders a costume for "a Miss Polly Browne" and Maisie and the other girls sing the ironic "Perfect Young Ladies" with Hortense. Polly arrives and tells everyone about her made-up boy friend who is "motoring down from Paris" to meet her for the upcoming carnival ball, and sings about "The Boy Friend". Later, Bobby surprises Maisie, and they dance to "Won't You Charleston With Me?" Polly's widowed father Percival arrives at the school to discover that the headmistress, Mme Dubonnet, is an old flame of his. They sing "Fancy Forgetting" to rekindle the spark. Though Polly is a millionaire's daughter, she feels left out because she's the only one in her crowd who doesn't have a boyfriend and she needs a partner for the fancy dress ball. The errand boy, Tony, arrives to deliver her Pierrette costume and they are immediately attracted to each other and sing "I Could Be Happy With You." The curtain opens with the chorus number "Sur la Plage". After this, Polly and Tony meet at the beach and Polly lies that she is not rich, to fit in with Tony. They sing about their future lives together in "A Room in Bloomsbury." They are about to kiss when Hortense interrupts them and is shocked to find Polly with a poor messenger boy. Polly begs Hortense to keep her secret and Hortense agrees. After Tony and Polly leave, Hortense sings how everything is "Nicer in Nice" with the ensemble. Then the "aging roué" character Lord Brockhurst arrives, leading to a comical meeting with the rigidly-mannered Percival Browne. Lord Brockhurst's domineering wife Lady Brockhurst is also introduced. Percival Browne and Mme Dubonnet then sing "The 'You-Don't-Want-To-Play-With-Me' Blues". Polly goes to meet Tony on the promenade just as Lord and Lady Brockhurst are passing by, and they recognize him. When he runs off, everyone else assumes that he is a thief. The act ends with a sadder reprise of "I Could be Happy with You" sung by Polly and the other characters. At the ball, Bobby and the three boys propose to Maisie and the three girls, but the girls reply in unison that "we'll let you know at midnight" and everyone dances to "The Riviera". After everyone has left, Tony and Hortense run into each other. Hortense scolds Tony and tells him to meet Polly at the ball because she loves him as much as he loves her. Tony leaves to prepare for the ball as Lord Brockhurst sings "It's Never Too Late To Fall In Love" with the flirty Dulcie, and is caught by Lady Brockhurst. At the Carnival ball, Polly is sad that Tony is not there and she is thinking about leaving. Hortense tells Mme Dubonnet to persuade Polly to stay, so Polly sings "Poor Little Pierrette" with Mme Dubonnet. Tony later arrives at the ball and takes Polly by surprise. He asks "May I have this dance, Pierrette?" to which Polly replies, "I'm afraid I can't dance with a stranger". He then kisses her to remind her that it is he. When Tony removes his mask, Lord and Lady Brockhurst run to him, exclaiming they found their son at last. Polly and the others discover that Tony is really the son of the rich Lord and Lady Brockhurst, and he had left home to try to make his own way in the world. Polly tells Tony that she is actually rich as well, and Percival and Mme Dubonnet announce that they are getting married. The clock strikes midnight, and the girls unanimously say yes to the boys' proposals. The last scene has everyone dancing as soon as Bobby, with the last spoken line in the play, asks "So how about that dance?" The show ends with a reprise of "The Boy Friend", "I Could Be Happy With You", and "A Room In Bloomsbury".

The Boy from Oz

Musical · 1998

This synopsis applies to the North American production. Act I The musical begins with Australian performer Peter Allen recalling his life story, coming to terms with who he was ("The Lives of Me"). Afterwards, we go back to Allen's childhood in Tenterfield, Australia, where a young boy named Peter Woolnough is performing in local bars for money ("When I Get My Name in Lights"). Peter grows up and joins with Chris Bell to become the Allen Brothers, and they perform in Australian Bandstand ("Love Crazy"). After great success in Australia, the Allen Brothers perform in a Hong Kong Hilton hotel to Chinese businessmen. One evening, another person is watching them from the bar: the legendary The Wizard of Oz star Judy Garland. Peter convinces Judy to perform with them ("All I Wanted Was the Dream"), and Judy takes Peter to be the opening act in her concert in New York ("Only an Older Woman"). While in New York, Peter is introduced to Judy's daughter, Liza Minnelli, and they fall in love ("Best That You Can Do"). There are rumors of Peter's homosexuality, and Judy warns Liza ("Don't Wish Too Hard"). Liza gives no attention to her warning and marries Peter ("Come Save Me"). Peter makes some mistakes, and at one of his all night parties, Liza walks in on him ("Continental American"), further fueling her suspicions that he is gay. Liza is working hard to get her career going ("She Loves to Hear the Music"), in contrast to Peter's excessive lifestyle. Judy dies, and Peter honors her ("Quiet Please, There's a Lady on Stage"). Liza's world comes crashing down as a result of her mother's death. Liza confronts Peter on his alleged homosexuality, and their marriage ends ("I'd Rather Leave While I'm in Love"). Peter returns to Australia but realizes that he is not who people thought he was ("Not the Boy Next Door"). Act II Back in the US, Peter has gone solo and comes to terms with his bisexuality ("Bi-Coastal"). He meets the hardworking fashion model Gregory Connell. Greg does not want to be a part of Peter's life in show business, but he falls in love with Peter ("If You Were Wondering"). They soon get discovered by music producer Dee Anthony, and he gets them a gig at the Copacabana in New York ("Sure Thing Baby"). Peter's career takes off, and he wins an Oscar for "Best That You Can Do", in addition to writing songs that were covered by artists Olivia Newton-John and Frank Sinatra. Peter gives his best performance in the Radio City Music Hall with The Rockettes ("Everything Old is New Again"), and is surprised to know his mother is also in love. Greg becomes stricken with advanced HIV, (then known as AIDS defining illness), and even though Peter tries to help him carry on, he succumbs to his illness ("Love Don't Need a Reason"). Peter also becomes sick with advanced HIV, but Greg's spirit urges him to carry on ("I Honestly Love You"). Liza offers her support to Peter, and they both realize they had successful lives and careers without each other ("You and Me"). Peter returns to Australia and tries to tell his mother about his illness, but ultimately can't find a way to tell her. He then performs one last magnificent concert for Australia ("I Still Call Australia Home"), and witnesses a last flashback of his mother's love for him ("Don't Cry Out Loud"). Peter reflects on his life, realizing he has no regrets, before he ultimately succumbs to his disease ("Once Before I Go"), but not before going out in style with a farewell performance ("I Go to Rio"), joined by the entire cast.

The Boys from Syracuse

Musical · 1938

Identical twins Antipholus of Ephesus and Antipholus of Syracuse were separated from each other in a shipwreck as young children. Their servants, both named Dromio, are also long-separated identical twins. When the pair from Syracuse come to Ephesus, a comedy of errors and mistaken identities ensues when the wives of the Ephesians, Adriana and her servant Luce, mistake the two strangers for their husbands. Adriana's sister Luciana and the Syracuse Antipholus fall in love. But all ends happily.

The Bridges of Madison County

Musical · 2014

Francesca Johnson, an Italian war bride living in Winterset, Iowa in 1965, has had eighteen years of quiet, largely unfulfilling farm life ("To Build a Home"). For three days, her family—stoic husband Bud, rebellious son Michael, and reluctant daughter Carolyn—are journeying to Indianapolis for the national 4-H fair to show Carolyn's prize steer, Stevie ("Home Before You Know It"). After her family departs, Francesca plans to spend the weekend relaxing, free from responsibilities. That afternoon, a blue pick-up truck pulls into her driveway, carrying Robert Kincaid, a photographer for the National Geographic. He has traveled from Washington State to photograph the famous covered bridges of Madison County, but has been unable to find the seventh covered bridge, the Roseman Bridge. Francesca agrees to help and to accompany him to the bridge for a short scouting trip ("Temporarily Lost"). Once at the Roseman Bridge, Francesca feels something developing between her and Robert ("What Do You Call a Man Like That?"). As the two return to the Johnson farm, Francesca invites Robert in for a glass of tea. Francesca, learning Robert was recently in her hometown of Naples, is eager to see pictures of his trip, but he does not have the pictures with him. They discuss everyday life in the quiet of Winterset ("You're Never Alone"). Realizing that it is too late for Robert to eat at one of the restaurants in town, Francesca persuades Robert to stay for a supper of homegrown vegetables and one of the recipes that Francesca brought with her from Italy. Francesca's neighbors Charlie and Marge, an older couple who are firmly entrenched in the farm life of Winterset, see Robert and his truck at Francesca's home and speculate about his being there. Robert, whose hippy presence has caused some commotion in the town, prepares dinner with Francesca. Francesca asks about the guitar that Robert has brought into the house, as well as its former owner, Robert's ex-wife, Marian ("Another Life"). While cooking, Robert and Francesca share a drink from a long-neglected bottle of brandy. After dinner, where both Robert and Francesca have clearly established a connection, Robert leaves in order to shoot the Roseman Bridge at dawn. Both contemplate their shared evening together. While Robert thinks about the dinner with Francesca ("Wondering"), Francesca receives a telephone call from Bud, during which she confides that she has opened the brandy that she had been saving. The next day, while Robert is composing the photograph at the Roseman Bridge, Francesca shops for a new dress ("Look at Me"). Realizing that Robert has awoken feelings within her that she has not felt since she left Italy, she goes to the Roseman Bridge in search of him. At the bridge, Robert explains to her the process of composing a meaningful photograph ("World Inside a Frame"). Robert gives Francesca a copy of National Geographic featuring the photographs he took of post-war reconstruction in Naples. Francesca opens up, revealing her fiancé, Paolo, was killed during the war, and she tearfully describes how her life in Naples corresponds to the photographs that Robert took. Realizing that their connection is more significant than she had initially believed, Francesca again invites Robert to clean up and dine at the farm. While Robert is cleaning up, Francesca receives another call from Bud: Carolyn's steer has advanced to the final and they have to stay another day at the fair. Francesca is disoriented from her interactions with Robert and Bud. Bud celebrates Carolyn's victory in the nearest bar and reflects on his relationship with Francesca ("Something from a Dream"). Francesca bathes and prepares for her dinner with Robert. While Robert waits in the kitchen, Francesca comes downstairs in the new pink dress that she bought that day. Finally alone with Robert and the implications of the time that they have shared, Francesca asks Robert if this is what always happens when he wanders into a town—she has bought a new dress and invited him in and everything is about to change for them. Robert asserts that he never steps into a world where people belong to each other and that he never intended for their relationship to go this far. They kiss, but are interrupted by a phone call from Marge. Marge asks Francesca to make plans the next day, but Francesca tells Marge that she already has plans to go to Des Moines. After the call, Robert and Francesca dance in the kitchen to the radio ("Get Closer"), and then realize that, while both unknowingly searching for a connection, they have found each other ("Falling into You"). After their dance, Francesca leads Robert upstairs to her bedroom. At the 4-H national fair, Carolyn worries about Stevie the steer and Michael fights with Bud ("State Road 21"). At the farm, Robert is in bed with a still sleeping Francesca ("Who We Are and Who We Want to Be"). While preparing for their trip to Des Moines, Francesca explains to Robert how she came to live on an Iowa farm ("Almost Real"). Meanwhile, Charlie and Marge—having seen Robert's truck at Francesca's the whole night before—know that they have spent the night together. After returning from Des Moines and with Francesca's family due home the next day, Francesca and Robert discuss their plans for the future. He asks her to leave Winterset with him, and she considers the reality of leaving her family behind ("Before and After You"/"One Second and a Million Miles"). Waking late the next morning, Robert again asks Francesca to come away with him; he is leaving Winterset at six o'clock and she must meet him in town before then. As he sets off for town, she tearfully promises to meet him. Later in the afternoon, Bud, Michael, and Carolyn return home. As Francesca welcomes them, Bud asks what she has prepared for dinner. Francesca immediately faces the realities of her life. Preoccupied, she constantly checks her watch while unsuccessfully attempting to say her goodbyes to a frustrated Michael, to a devoted Carolyn, and to a misunderstanding Bud. Francesca is worrying about dinner when Marge shows up, lasagna in hand. She realizes her affair is known to Marge, who has no intention of outing her to Bud. Marge comforts a distraught and uncertain Francesca. While Michael and Carolyn fight in their room, Francesca tries to tell Bud about her affair and asserts to him that she needs more from their relationship—she cannot go on feeling so alone. Francesca then breaks up an argument between Bud and Michael. Attempting to ease the tension and with Francesca still in search of Robert, the whole family heads into town. Carolyn asks Francesca about the man staring at them from afar—it is Robert, waiting for Francesca to join him and leave the small Iowa town behind. Francesca—desperate and overcome—runs to Robert, but it is nothing more than a fantasy. Francesca is caught between the love of her life and the love of her family. She decides to stay with her children and her husband. Francesca and Robert, both devastated by the impossibility of their situation, exchange a final look before heading their separate ways. In the subsequent years, Carolyn marries and has a child, Michael graduates from medical school, and Charlie and Bud both succumb to illness, leaving Francesca and Marge alone ("When I'm Gone"). After Bud's funeral, Francesca thanks Marge for her unspoken support throughout the years. Francesca, now alone in her empty home, hears the telephone ring. No one is on the other end, but she wonders if it could be Robert, even so many years later. Robert, now an older man himself, calls the offices of the National Geographic to inform them that he will no longer be shooting photographs due to an illness of his own. He thanks his secretary for helping him wait for Francesca's call, which never came. Alone in his home, he packs all of his belongings save one letter, and reminisces about his time with Francesca and the following years that they have spent apart ("It All Fades Away"). In her own home, Francesca considers calling Robert, but instead looks through the National Geographic featuring the pictures of the Roseman Bridge. She finally takes the long-saved bottle of brandy off the shelf. Francesca comes to the Roseman Bridge, letter in hand. Inside, she finds the photograph Robert took of her on the bridge, as well as a letter stating that he has died. He tells her that he understands why she made the choice that she did, and that her love for her family was part of his love for her. She tearfully considers the path that brought them together and ultimately separated them, but regrets neither her affair with him nor her choice to stay with her family. In their final moments, Robert and Francesca—appearing as they were when they first fell in love—embrace on the Roseman Bridge ("Always Better").

The Bunch and Judy

Musical · 1922

The Bunch and Judy is a musical comedy in two acts with book by Anne Caldwell and R. H. Burnside, lyrics by Anne Caldwell, and music by Jerome Kern. The story centered on a Broadway starlet, who marries a Scottish nobleman, only to grow disenchanted and return to show business and the man she…

The Capeman

Musical · 1997

The Capeman is a musical play with music by Paul Simon and book and lyrics by Simon and Derek Walcott based on the life of convicted murderer Salvador Agrón. The play opened at the Marquis Theatre in 1998 to poor reviews and ran for 68 performances.

The Card

Musical · 1973

The show begins when "Edward Henry Machin first saw the smoke on the 27th May 1867"—the very day of Bennett's own birth. At age 12, Denry begins his career by altering his grade in a class enough to earn him a scholarship to grammar school. At 16, he leaves school to work for Mr. Duncalf, the town clerk and a solicitor. Duncalf is responsible for organizing an exclusive ball; Denry "invites" himself and a few others in exchange for favors, among them Ruth Earp, a dance instructor. On a bet, he audaciously asks the energetic, beautiful Countess of Chell (of whom everyone, including Machin, is in awe) to dance, thus earning himself the reputation of a "card" (a "character", someone able to set tongues wagging) – a reputation he is determined to cement. Later, when Duncalf treats a disgruntled client brusquely, Denry leaves his employ after persuading the client to hire him as a rent collector. When some of the tenants fall behind, he begins loaning them money (at a highly profitable interest rate). Ruth herself is several months in arrears and tries to sneak away in the middle of the night. Denry catches her by accident, but rather than being angry, he admires her audacity and starts courting her. While on vacation at the seaside resort town of Llandudno with Ruth and her friend Nellie Cotterill, he witnesses a shipwreck and the rescue of the sailors. Noting the interest generated, he buys a lifeboat, hires some of the stranded mariners as rowers, and conducts tours of the picturesque wreck. However, Ruth's spendthrift nature becomes alarmingly apparent during the trip and they break up. By the end of the summer, Denry has made a substantial profit from the sightseers, which he uses to finance his boldest venture. He starts up the Five Towns Universal Thrift Club. Members deposit money little by little; once they have accumulated half the sum they need to purchase whatever it is they want, the club allows them to buy on credit, but only from stores associated with the club. Denry makes money by getting a discount from the vendors in return for access to his large customer base. When his capital starts to run out, he arranges an "accident" for the Countess's coach. He drives conveniently by and gives her a lift to an urgent appointment. On the way there, he talks her into becoming the club's sponsor, ensuring easy financing. This proves to be the making of Denry's fortune. With his great success, he is appointed a town councillor. He also backs a new daily newspaper (to be bought out at a profit by its established rival anxious to keep its monopoly) and tricks his obstinate mother into moving into a luxurious new house. At this point, Ruth reappears in Denry's life, now the widow of a rich older man. He considers renewing their relationship, but at the last moment, realizes that Nellie is the one for him and marries her. The crowning achievement comes when Denry decides to become the youngest mayor in the history of Bursley. To sway the voters, he purchases the rights to native son Callear, the "greatest centre forward in England", for the failing local football club.

The Carp

Musical · 1886

Piscator is fishing when Amandus asks to drown himself over a failed romance. Amanda arrives with the same intention. As the two reveal that their former loves have betrayed them and that each has been insulted by the other’s former partner, they fall in love with one another and abandon suicide.

The Casino Girl

Musical · 1900

Act I – A Street in Cairo Act II – The Pasha's Palace Laura Lee, a former chorus girl from the Casino Theatre in New York, attempts to escape the amorous advances of Percy, an English earl, by going to Cairo in Egypt where she sets herself up as Mdlle. Estelle, a French milliner. Percy arrives in Egypt in pursuit of her. Laura Lee endures complications involving a comic Pasha and some clownish thieves before she realises that she loves Percy in return, and the two are united. After a rewrite for the London production, the Khedive became the Pasha, and Percy became a New York doctor.

The Cat and the Fiddle

Musical · 1931

In the 1930s, Shirley Sheridan, an American popular song composer, comes to Brussels to study music. She meets Romanian classical composer Victor Florescu, who is writing an operetta, The Passionate Pilgrim. Shirley and Victor fall in love, but they find themselves in conflict when the producer of the operetta says that Victor's score is too traditional and asks that Shirley's uptempo jazzy songs be interpolated into it. All ends well.

The Catch of the Season

Musical · 1904

Lady Caterham's stepdaughter Angela is a debutante about to "come out" and is "the catch of the season". She becomes engaged to the young rake, Lord St. Jermyns, although she really loves the page, Bucket. Honoria Bedford, Lady Crystal's younger daughter, who is also about to "come out", has taken up smoking, which in 1904 was considered shocking.

The Century Girl

Musical · 1916

The Century Girl is a musical comedy revue with music by Victor Herbert and Irving Berlin, and lyrics by Henry Blossom and Berlin. It opened November 6, 1916, at the Century Theatre on Broadway and ran until April 28, 1917, totaling 200 performances.

The Charlatan (operetta)

Musical · 1898

The Charlatan is an 1898 American operetta also known as The Mystical Miss, with music and lyrics by John Philip Sousa. Today only excerpts from the work—"The Charlatan March", "The Charlatan Waltzes" and "The Charlatan Overture"—are commonly known. The operetta is set in the early nineteenth century in Russia with scenes in the village of Bohkara; at Gogol's house; and in the Grand Duke's Palace in Russia.

The Cher Show

Musical · 2018

The Cher Show is a jukebox musical with a book by Rick Elice that tells the story of the life and career of Cher, using songs that she performed throughout her career. The part of Cher is played by three actresses: one portraying her in the 1950s and 60s (nicknamed "Babe"), one for the 1970s (nicknamed "Lady"), and one for the 1980s and 90s (nicknamed "Star"). The three interact with each other at various points. The musical had a workshop in the fall of 2017 in New York City, followed by its world premiere at the Oriental Theatre in Chicago, on June 12, 2018. The production opened on Broadway in December 2018. The original cast album was released on digital platforms on April 12, 2019, and on compact disc on May 10, 2019. The Cher Show played its final Broadway performance on August 18, 2019. A revised production launched at the Leicester Curve in April 2022, before embarking on a UK tour.

The Cherry Girl

Musical · 1903

The Cherry Girl was an Edwardian musical comedy in two acts based on a book by Seymour Hicks with lyrics by Aubrey Hopwood and music by Ivan Caryll. It opened at the Vaudeville Theatre in London's West End on 21 December 1903. The original cast included Hicks, Constance Hyem, Courtice Pounds and Hicks's wife, Ellaline Terriss. From August 1904, the play went on tour to the Theatre Royal in Glasgow and other British provincial theatres. The play was described as a "children's fairy play", and its story involves a prize to be given by a Fairy Queen for the creation of a statue.

The Chocolate Soldier

Musical · 1908

Swiss mercenary Bumerli escapes a battle by climbing into Nadina’s bedroom. He is no heroic soldier, and his ammunition pouch holds chocolate rather than cartridges. Nadina is charmed by him, while learning that her fiancé Alexius is not the hero she imagined. Six months later Bumerli returns, and a chain of misunderstandings reveals Nadina’s jealousy and love for him. Bumerli is also revealed to be the son of a wealthy Swiss businessman, and the couple unite.

The Choir of Man

Musical · 2017

The Choir of Man is a British musical created by Nic Doodson and Andrew Kay. Set in a traditional British or Irish pub, the show features a working on-stage bar from which pints of beer are poured for the audience during the performance. Throughout the show, the cast of nine multi-instrumentalist singers perform arrangements of well known pop and rock songs arranged and orchestrated by the show's musical supervisor Jack Blume, while dialogue takes the form of spoken word monologues written by performance poet Ben Norris. The movement direction and choreography is by tap dancer Freddie Huddleston. The show was first presented at the Edinburgh Fringe Festival in 2017, and has since had seasons at venues around the world, including the Sydney Opera House and the John F. Kennedy Center for the Performing Arts.

The Cingalee

Musical · 1904

The Cingalee or Sunny Ceylon is an Edwardian musical comedy in two acts by James T. Tanner, with music by Lionel Monckton, lyrics by Adrian Ross and Percy Greenbank, and additional material by Paul Rubens. The story is set in the Edwardian era in the then-tranquil island of Ceylon (modern-day Sri Lanka) and follows the story of British colonial tea planters (one of the most popular songs in the score is called "Tea, tea, tea"). The piece opened at Daly's Theatre in London, managed by George Edwardes, on 5 March 1904 and ran until 11 March 1905 for a total of 365 performances. The musical had a short Broadway run, opening at Daly's Theatre in New York on 24 October 1904, and running for 33 performances. A production in Sydney, Australia, in May 1905 by J C Williamson's Royal Comic Opera Company, opened on 6 May, starring Margaret Thomas as Nanoya.

The Circus Girl

Musical · 1896

The Circus Girl is a Edwardian musical comedy in two acts with a book by James T. Tanner and Walter Apllant (Palings), lyrics by Harry Greenbank and Adrian Ross, music by Ivan Caryll, and additional music by Lionel Monckton. The musical was produced at George Edwardes's Gaiety Theatre, beginning 5 December 1896, and ran for a very successful 497 performances. Set in Paris, the plot concerns a group of English tourists who get mixed up with a circus troupe. Two of the famous songs from the show are "A Simple Little String" and "The Way to Treat a Lady".

The City Chap

Musical · 1925

Nat Duncan, the City Chap, decides to forsake the hedonistic city lifestyle and become an upstanding citizen in a small, dull, town. He moves to Radford, NY, where he takes a job at Sam Graham's dilapidated drugstore, eventually transforming it through hard work into a successful, modern, tea-room, which features jazz and liquor. Nat intends to marry the rich Josie Lockwood, but realizes that he is really in love with Betty, Graham's daughter, and he proposes to her after all complications have been sorted out a party, thrown by his friend Grace, at Saratoga.

The Civility of Albert Cashier

Musical · 2017

The musical begins with an elderly Albert Cashier remembering his youth as a soldier in the Civil War ("Ghost Boy"). A flashback is shown about Young Albert enlisting into Company G of the 95th Illinois Volunteer Infantry Regiment, where Sergeant Collins is mustering troops ("Battle Cry of Freedom"). Young Albert meets several other men, including Billy Middleton, Walter Suiter, and Jeffrey N. Davis. Young Albert then ponders his potential, and how he will impact on the war ("Bullet in a Gun"). The flashback ends, revealing an older Cashier, still refusing to receive a bath. Albert appears to liken this to a skirmish he experienced, and we see Young Albert and fellow soldiers fighting Confederate troops ("I'm Alive"). Young Albert impresses his newfound friends with his use of a rifle, but is ultimately knocked unconscious by a rebel. Jeffrey N. Davis pulls him off the field to safety. Older Albert becomes confused as he tries to remember his childhood in Ireland, when the only person he remembers is a small girl ("What is Real?"). Nurse Smith enters, and attempts to get Albert to take a bath, but he refuses. He is saved by his doctor, who is concerned about Albert's mental state as well as physical health, and orders the nurse to give Albert a steak each Friday to strengthen his constitution. Young Albert sits at a fire with the African-American soldier Walter Suiter, and they argue about whether a rainstorm is coming. Young Albert laughs off Walter's conviction, and tactlessly says "That's your imagination-but then again I had always heard you slaves were full of imagination." Walter replies that he is not, nor ever was, a slave, and rain begins to pour ("Following the Sound"). Young Albert meets Jeffrey again, is exasperated by his constant nervous chatter, but declare each other friends ("Brothers in Arms"). Back in 1901, Albert is brought his weekly steak by hospital attendant John Curtis, who tells him about his dream to go to Chicago and sing ("Chicago"). Nurse Smith comes in to see John singing and dancing, and fires him for unprofessional behavior. Albert gives John money for a train to Chicago, and he leaves. Back in 1863, the Siege of Vicksburg is commencing, and the soldiers see death for the first time ("Civilized"). Walter is shot and killed during the battle, along with Billy Middleton and Sergeant Collins. Afterwards, only Albert and Jeffery remain. Jeffery leaves to fight the last several Confederate soldiers, and Albert is left alone and taken captive ("Better"). The perspective changes back to the elderly Albert, who is appalled to hear he has been taken by a new doctor, who had ordered for him to be bathed. One of the hospital attendants gives Albert a drug that renders him comatose as Nurse Smith prepares to give him a bath. As she takes off his clothing, she sees that he has breasts. The second act begins with both Alberts lamenting how they can never live in peace if they choose to live as themselves ("Praying for the Light"). Albert is in court being tried for impersonating a man and defrauding the federal government. The judge mocks Albert and tells him one of the witnesses coming to testify is Jeffrey N. Davis, who Albert has not seen in over 40 years. The scene changes to show Young Albert tied to a chair and being interrogated by two Confederate officers, and escaping ("What Will You Fight For?"). Meanwhile, Jeffrey is searching for Albert across the Mason-Dixie line, and begins to question whether he thinks of Albert as more than a friend, and comes to terms with his love for him ("Excuse Me, Sir"). Older Albert is being held in the hospital as the trial progresses, and is visited by Nurse Smith, who tries to convince him to give up acting like a man so he can be acquitted. He refuses, and she leaves angrily ("Woman to Woman"). Young Albert and Jeffrey find each other, and Jeffrey discovers Albert is not cisgender and proposes marriage to him, but Albert declines ("Perfect Home"). A bugle boy locates them and announces that the war is over. As Jeffrey rushes away to go prepare to go back to Belvidere, Albert contemplates his future, and how he could never be satisfied living as a woman ("I Gotta Try"). He runs away to create his own future, leaving Jeffrey behind. 40 years later, they meet again, and reflect fondly with each other. Albert's trial continues, and many of his fellow soldiers testify that he is a man, and the charge is dropped due to insufficient evidence. Nurse Smith returns, and takes Albert to the Watertown State Hospital for the Insane, due to one of her attendants reporting him. Albert is forced to wear a dress and corset, which restricts his breathing and strains his body to the point of killing him ("Breathe. Walk. Home."). His funeral is attended by soldiers from his regiment, and Jeffrey, who demands Albert be buried in his uniform. The play ends with Young Albert singing, "I can't deny, I heard the call." ("Finale")

The Cocoanuts

Musical · 1925

Scene 1 – Lobby of The Cocoanuts, a hotel in Cocoanut Beach, Florida. The hotel guests love Florida, but not the hotel. Eddie, a bellhop, asks Jamison, a hotel desk clerk, when the staff will get paid. Jamison gives an evasive response and suggests that he ask Mr. Schlemmer, the hotel owner. Harvey Yates enters, followed shortly by Mrs. Potter. Mrs. Potter wants her daughter, Polly, to marry Harvey, since she has known his family for a long time. She exits as Penelope Martin enters. Penelope and Harvey know each other from their backgrounds in thievery. Penelope suggests to Harvey that he can strike it rich by marrying Polly, since Mrs. Potter has millions of dollars. Polly soon enters and makes it clear that she is romantically interested in Bob Adams, an architecture student who is currently the chief clerk of the hotel. But Mrs. Potter won't allow Polly to be seen with Bob. She comments, "One who clerks, Polly, is a clerk. And that settles it." After Mrs. Potter exits, Polly laments the restrictions placed on her ("Family Reputation"). The owner of the hotel, Henry W. Schlemmer, enters, and the bellboys go after him asking for their wages. Through fast double-talk he is able to distract them and send them on their way. He has his eyes on Mrs. Potter, trying unsuccessfully to convince her to buy the hotel. Meanwhile, Bob and Polly discuss their predicament. He has a plan to build housing on a particular lot in Cocoanut Manor. The bellhops try to convince Bob that he's fortunate ("Lucky Boy"). Schlemmer and Jamison are at the desk discussing business when Willie the Wop and Silent Sam enter and start to wreak havoc. After they leave, Harvey and Penelope discuss how she will steal Mrs. Potter's valuable necklace later that evening. Schlemmer explains to the girls why he is a "Hit With The Ladies". Detective Hennessy enters along with Willie and Sam and explains that he's looking for two wanted men whose descriptions they fit. Although he won't do anything yet, he warns them. After they leave, Bob asks Polly whether she could live on that lot in Cocoanut Manor ("A Little Bungalow"). Scene 2 – Before the Palms. Schlemmer tries to make amorous advances toward Mrs. Potter. "I don't think you'd love me if I were poor" she says, to which Schlemmer responds "I might, but I'd keep my mouth shut." To prove his interest, he tells her about "A Little Bungalow" (reprise). Scene 3 – Two adjacent rooms in the hotel. Penelope is getting ready to steal Mrs. Potter's necklace and waits for Harvey. Meanwhile, Sam sneaks in and hides under Penelope's bed. Harvey discusses with Penelope where they will put the necklace. He suggests a hollow tree stump on Cocoanut Manor and draws a map. After he leaves, Penelope studies the map and throws in the garbage, but Sam immediately retrieves it, unseen. As Penelope tries to enter Mrs. Potter's room, she and Mrs. Potter have to contend with a series of encounters with Schlemmer, Willie and Hennessey. Penelope finally succeeds in stealing the necklace and re-enters her own room, proclaiming "Alone at last," not realizing that Sam is still under the bed. Scene 4 – Before the Palms. The guests extol "Florida By The Sea". Meanwhile, Schlemmer explains to Willie how to bid in the upcoming property auction. After much misunderstanding, Willie agrees. Scene 5 – Cocoanut Manor. Frances Williams and the guest await the auction ("Monkey Doodle-Doo"). Schlemmer begins the auction. He starts the bidding, but Willie bids against himself. Lot after lot is "sold" to Willie, who seems to keep bidding higher and higher against his own bids. Finally Schlemmer reaches Lot 26, which is both the lot where Bob wants to build his house and the lot containing the hollow tree stump where Penelope and Harvey are hiding Mrs. Potter's stolen necklace. Bidding between Bob and Harvey becomes fierce. Willie knocks out Harvey, and Bob wins the auction for Lot 26. Just then, Mrs. Potter proclaims that her necklace has been stolen. Hennessey steps forward and tries to investigate. Sam produces the necklace from the hollow tree stump. Harvey suggests that Bob must know something about the necklace, since he won the lot in an auction. Penelope steps forward and fabricates a story in which she teases Bob for stealing the necklace. That's enough for Hennessey, who arrests Bob and takes him away. Mrs. Potter then announces the engagement of Harvey to Polly, to be celebrated with a dinner at the hotel that night. All exit except Polly who is left crying. Sam consoles Polly but winks at the audience. Scene 1 – The Lounge of the hotel. Penelope and the guests have "Five O'Clock Tea". Polly asks Schlemmer for 2,000 dollars to get Bob out of jail. Schlemmer humorously discusses this with Willie and Sam, and eventually Mrs. Potter, without telling her what the money is for. Everyone dances ("They're Blaming the Charleston"). Harvey and Penelope worry about the map he drew, which would implicate them in the robbery. Willie enters, and they realize he has the map. They leave, and Schlemmer enters with Bob, whom he got out of jail for nineteen hundred dollars – "They had a sale," he explains. Willie shows Bob the map, and Bob realizes that the map is evidence. That makes him feel better, and together with Polly, they comment, "We Should Care". Mrs. Potter enters with Schlemmer to discuss the engagement dinner. Hennessey is conducting an investigation, hampered by Willie, Sam and Schlemmer. He asks to hear from Penelope ("Minstrel Days"). Hennessey continues the investigation, but Willie and Sam take his shirt. Hennessey wonders what happened to his shirt. Scene 2 – Before the Palms. Schlemmer introduces a musical specialty number played by the De Marcos, who he describes as not being Spaniards, but Span-Yids (i.e. Jewish musicians). Scene 3 – The Patio of the hotel. Penelope dances a tango ("Spain"). After agreement with Bob, Polly suggests to Harvey that they elope at midnight at Cocoanut Manor, and Harvey agrees. But since Polly doesn't know where it is, she gets Harvey to draw a map of how to get there. She thanks him, takes the map, and leaves. As more guests enter for dinner, Hennessey laments his lost shirt ("The Tale of a Shirt"; the melody combines the Habanera and Toreador song from Carmen). As master of ceremonies, Schlemmer makes a speech concerning the engagement of Harvey to Polly. He then introduces Mrs. Potter, who makes a few short remarks interrupted by constant interjections by Schlemmer, Willie and Sam. Harvey makes a short speech. Then Willie plays a piano number, followed by Sam playing the harp. Polly dashes in and proclaims that she has new evidence, showing the map that Harvey drew for her alongside the one he drew for Penelope. Hennessey sees for himself that the handwriting is identical. Bob enters and says that a millionaire from Miami wants to buy Cocoanut Manor, which will enable him to realize his architectural dreams. Polly shows the maps to her mother, who announces a "slight change" – that Polly will be engaged to Bob Adams. Everyone rejoices ("A Little Bungalow" reprise). Note: In the original script, Schlemmer, Willie, and Sam are identified as Julius, Chico and Harpo.

The Color Purple

Musical · 2004

On a Sunday morning in 1909, fourteen-year-old Celie – who has had one child by her father Alphonso and is now pregnant with her second – plays a clapping game with her younger sister Nettie ("Huckleberry Pie"). While attending services with the other members of their rural Georgia community, Celie goes into labor and is dragged out of the church as the congregation quietly looks on ("Mysterious Ways"). After Celie gives birth to a son, her father takes the child away and bluntly tells her he is going to get rid of it like the last one. Celie quietly says goodbye to her newborn and asks God for a sign ("Somebody Gonna Love You"). Four years later, local farmer and widower Albert "Mister" Johnson approaches Alphonso and asks permission to marry one of his daughters. Alphonso agrees, offering him Celie, instead of Nettie, and throwing a cow into the bargain. Although the girls promise never to be separated, Celie goes with Mister to save Nettie's dreams of becoming a teacher ("Our Prayer"). The local Church Ladies cluck their approval ("That Fine Mister") while Mister's field hands introduce Celie to a life of hard work ("Big Dog"). One day, Nettie arrives, explaining that she is tired of Alphonso's lecherous attentions and asking if she can stay. Mister agrees, but later attacks Nettie while she is walking to school. She fights back, prompting Mister to kick her out ("Mister / Nettie"). Celie protests, but Mister swears they will never see each other again. As she leaves Mister's property, Nettie promises to write to Celie. But when she goes to the mailbox the next day, Mister slams the mailbox shut, threatening to kill her if he ever sees her touch it ("Lily of the Field"). In 1920, Mister's son Harpo brings home Sofia, a strong-willed woman whom he later marries ("Dear God - Sofia"). When he complains that he is tired of Sofia bossing him around, Mister and Celie tell him the only way to get her to listen is to beat her. Harpo attempts to do so but ends up being beaten by Sofia ("A Tree Named Sofia"). After confronting Celie, Sofia learns the extent of Mister's cruelty and tells Celie to stand up for herself before leaving home to spend time with her sisters ("Hell No!"). Harpo decides to turn his house into a juke joint and engages in an affair with a waitress named Squeak, who moves in with him ("Brown Betty"). Sometime later, the community prepares for the arrival of jazz singer Shug Avery, who is revealed to be Mister's longtime lover ("Shug Avery Comin' to Town"). But when Shug arrives with her band, she is in such bad shape that Celie nurses her back to health despite local disapproval ("All We've Got to Say"). While tailoring a dress for Shug's debut, Celie experiences feelings of warmth and tenderness for the first time ("Dear God - Shug"). Shug, meanwhile, learns more about Celie's relationship with Mister and encourages her to find her inner strength ("Too Beautiful for Words"'). That night, at Harpo's Juke Joint, Shug brings down the house with a raucous blues number ("Push Da Button"). Sofia arrives with her new boyfriend Buster and dances with Harpo, prompting Squeak to pick a fight with her ("Uh-Oh!"). The fight eventually escalates into a bar brawl, prompting Shug and Celie to escape. After returning to Mister's house, Shug and Celie explore their newfound relationship ("What About Love?"). Shug uncovers several letters for Celie that have come from Africa. Celie recognizes Nettie's handwriting and realizes her sister is alive ("Act I Finale"). While reading the letters that Mister has hidden from her, Celie learns Nettie is in Africa and is living with the missionary family that adopted her children ("African Homeland"). In Georgia, Sofia is arrested for assaulting the mayor after refusing to work for his wife. When Celie goes to visit her, she learns Sofia will serve out her sentence in the Mayor's custody. In 1932, Shug brings her lover Grady over for Easter. After learning the extent of Celie's anger towards God, Shug invites her to come back to Memphis with her so they can enjoy the simple joys of life ("The Color Purple"). After sitting down to dinner ("Church Ladies' Easter"), Celie tells Mister that she is leaving and Squeak announces she is leaving as well. When Mister refuses and tries to beat her, Celie stands firm and curses him ("I Curse You, Mister"). Harpo then invites Sofia to come back and live at the Juke Joint, reconciling with her in the process. Eventually, Mister begins to feel the effect of Celie's curse. Harpo challenges his father to make things right after a bunch of terrible things happen to Mister, which force Mister to try to understand the meaning of Celie's curse and the meaning of life other than his tough childhood ("Mister's Song/Celie's Curse"). At Shug's Memphis home, Celie starts writing back to Nettie and discovers that she has a natural gift for making pants. After inheriting her childhood home, Celie starts a business and begins selling her designs ("Miss Celie's Pants"). Meanwhile, Harpo and Sofia hit it off and learn Mister is having difficulty getting Nettie and the children to come to the United States. The three resolve to make a plan. ("Any Little Thing") Shug tells Celie she has fallen in love with a 19-year-old musician in her band and asks her permission to have one last fling with him. Meanwhile, Mister has reconciled his life ("What About Love? [Reprise]"). While walking home, Celie realizes she is not destroyed by this and, for the first time, feels a deep love for herself ("I'm Here"). Several years later, while hosting a Fourth of July picnic for the community, Celie hears a car horn and a familiar voice from her childhood. It is Nettie singing the clapping song they sang years ago. They both run to each other and hug with Celie's children right behind them all grown up. After learning that Mister and Shug have made the reunion possible, Celie thanks them and God for reuniting her with her sister ("The Color Purple [Reprise]").

The Comedy of Errors

Musical · 1976

The Comedy of Errors is a musical with a book and lyrics by Trevor Nunn and music by Guy Woolfenden. It is based on the William Shakespeare play, The Comedy of Errors, which had previously been adapted for the musical stage as The Boys from Syracuse by Richard Rodgers, Lorenz Hart and George Abbott in 1938. The London production won the Olivier Award for Best New Musical in 1977.

The Commitments

Musical · 2013

The Commitments, also called The Commitments: The Saviours of Soul, is a jukebox musical written by Roddy Doyle, based on the 1987 novel of the same name, also written by Doyle. Like the novel (and its 1991 film adaptation), the musical is about a group of unemployed Irish youths who start a soul music band. It premiered in 2013 at the Palace Theatre in London's West End. The music within the musical consists of soul and rock & roll classics from the 1950s and 60s, including "Think", "(I Can't Get No) Satisfaction", "Papa Was a Rollin' Stone" and "Night Train". The music is entirely diegetic, meaning that all the songs are performed by the band rather than being sung by characters to express an emotion. For that reason, Doyle has insisted that The Commitments is not a jukebox musical.

The Connector

Musical · 2024

Robin Martinez appears on stage and tells the audience that the story they're about to hear first appeared in 1997 in the final issue of the acclaimed magazine, The Connector. In 1995, at the office of The Connector, The aging editor-in-chief, Conrad O'Brien, toasts the assembled writers and editors, the new corporate owners (a German media corporation), and the past, present, and future of the magazine ("The Whole World Changed"). Later, Ethan Dobson, a talented and ambitious young writer, arrives at the office for a meeting, where he meets Robin, a 30-year-old copy editor. Robin has tried and failed to get Conrad interested in her writing, so she's fascinated by Ethan's boldness and casual manner, and the two of them begin to form a friendship. Conrad, too, is charmed and impressed by Ethan and gives him a job ("See Yourself"). As Ethan makes his way through the offices, connecting with every staff member, Robin observes him with jealousy and bemusement ("I'm Watching You"). Ethan's first article, a story about his encounter with the Scrabble Prodigy, Waldo Pine, gains popularity ("Success"). Robin and Ethan celebrate in a nearby bar and voice their displeasure with where they came from ("So I Came To New York"). Conrad encourages Ethan to push harder on the next story and refrain from writing in his comfort zone. Several months go by, with Ethan delivering story after story with great acclaim. When Conrad is interviewed on Booknotes with Brian Lamb, Ethan imagines himself on TV ("Voice Of My Generation"). Among Ethan's new fans is Mona Bland, a devoted reader and nitpicker known for writing fact-checking letters that come to Muriel, the senior fact-checker and longest-serving staff member, committed to upholding the magazine's integrity. Robin shares with Ethan her growing frustration that Conrad disregards her writing. Ethan tries to defend Conrad, but Robin knows the only voices that will be heard in writing belong to people who look and sound like Conrad and Ethan ("Cassandra"). Ethan's newest story is a political exposé about Willis Taylor, a man who has a copy of a videotape of the Mayor of Jersey City smoking crack with a teenager ("Wind In My Sails"). It's legally risky for the magazine to publish, especially since Ethan's sources are seemingly impossible to confirm. Muriel advises against publishing, but Conrad overrules her. The article sends out shock waves, and the Mayor resigns. Conrad, his faith in Ethan rewarded, confides to Zachary, the magazine's attorney, that he sees retirement soon, knowing someone soon will replace him ("Now What"). Mona finds many inconsistencies in Ethan's story and writes her monthly letter to Muriel. Robin leaves The Connector to join the far less prestigious New York Press staff. Ethan is taken aback by her decision to trade The Connector for a free publication. Offended by his reaction, Robin cuts ties with Ethan. Ethan then begins piecing together his next story ("Help Me Forget Everything"). At Mona's urging, Muriel uncovers evidence suggesting that Ethan may have entirely fabricated his story of the Jersey City Mayor. After explaining her passion for fact-checking, Muriel collects her findings and shares them with Robin ("Proof"). Ethan spots Robin and the editor of The New York Press entering a meeting with Conrad, sending him into a panic. He narrates his final, unpublished article for The Connector ("The Western Wall"). Conrad, Zachary and Robin interrogate Ethan to find verifiable information in his stories. Ethan, his panic growing more and more, begins to unravel until it becomes clear the entirety of his work is a lie. At the discovery of Ethan's falseness, Conrad begins drafting his resignation, hoping, in vain, that the magazine can be saved. Ethan, disgraced and alone, tries to defend himself. He tears up his notebooks and papers in frustration. Robin holds up a copy of The Connector's final issue and glances back at him. As he sweeps the shredded paper off his desk, the scene transforms into a whirlwind of loose magazine pages falling to the floor ("There Never Was").

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