Greatest Hits - Volume I

Transcription

- PERUSAL PACK -
GREATEST HITS – VOLUME I
Created and Written by
GERARD ALESSANDRINI
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CAST OF CHARACTERS*
FEMALE 1
FEMALE 2
MALE 1
MALE 2
*Cast is expandable depending on your resources
MUSICAL NUMBERS
ACT I
1. FORBIDDEN BROADWAY
2. CHICAGO
Both Reached For The Gun
Glossy Fosse ("Razzle Dazzle")
3. ANNIE
Tomorrow
4. SONDHEIM: INTO THE WOODS
Into The Words ("Into The Woods" & "A Weekend In The Country")
5. CAROL CHANNING IN HELLO, DOLLY!
Call On Carol ("Call On Dolly")
Dolly Is A Girl's Best Friend ("Diamonds Are A Girl's Best Friend")
Oh No, Carol ("Hello Dolly")
6. CHITA/RITA
America
7. MANDY PANTINKIN
Somewhat Overindulgent ("Over The Rainbow")
8. WICKED
Defying Subtlety ("Defying Gravity")
9. MORE MISERABLES
Les Miserables ("C'est Magnifique")
End Of The Play ("End Of The Day")
I Dreamed A Show ("I Dreamed A Dream")
It's Too High ("Bring Him Home")
Recitative
Did You Hear The People Sing?
Finale
ACT II
10. THE PHANTOM AND ETHEL
Mucous Of The Night ("You're Just In Love")
11. MAMMA MIA
Mamma, Mia
Dancing Queen
12. RANT
Rant ("Rent")
Seasons Of Hype ("Seasons Of Love")
13. LIZA
Liza One Note ("Johnny One Note")
14. SPAMALOT
Spamalot ("Camelot")
The Song They Stole From Us ("The Song That Goes Like This")
15. CATS
Old Cats
I Enjoy Being A Cat ("I Enjoy Being A Girl")
16. ANOTHER WORD FROM LES MIZ
On My Phone ("On My Own")
17. FIDDLER — AMBITION
Ambition ("Tradition")
18. CAMERON MACINTOSH
Cameron MacIntosh
19. BACK TO BARBRA
Back To Broadway ("On A Clear Day")
20. HAIRSPRAY
You Can't Stop The Camp ("You Can't Stop The Beat")
21. A CHORUS LINE
What I Did For Laughs ("What I Did For Love")
22. BOWS
23. TATA
ACT ONE
Forbidden Broadway
(PIANIST ENTERS in the dark.
After one intro vamp the STAGE MANAGER'S VOICEOVER:)
sa
l
VOICE
Ladies and Gentlemen, in order to take you to Forbidden Broadway, we remind you that the taking of
photographs, and use of recording devices is strictly…..fine with us!
(A second intro vamp)
(Lights up to reveal MALE 2 walking to Stage Left mic. He reaches it
and sings:)
Pe
VOICE (CONT'D)
ct
Forbidden Broadway!
MALE 2
du
W
THERE'S A GREAT WHITE WAY
WHERE THE WHITE IS GRAY
AND THE GREAT IS ONLY OK
ro
TR
(FEMALE 2 ENTERS and joins MALE 2 at stage left mic)
MALE 2 (CONT'D)
fo
rp
AND THE STARS WE TOAST
GIVE THEMSELVES A ROAST
MALE 2 AND FEMALE 2
FORBIDDEN BROADWAY
FEMALE 2
WHERE A PRETTY SONG
DOESN'T QUITE BELONG
THAT'S UNLESS THE LYRIC'S RISQUÉ
(MALE 1 ENTERS and crosses to stage right mic)
N
ot
io
ru
And now…
n
VOICE (CON'TD)
FEMALE 2 (CONT'D)
AND AN ARTY DANCE
DOESN'T STAND A CHANCE
ALL THREE
FORBIDDEN BROADWAY
-1-
MALE 1
AND IF YOU PAY CLOSE ATTENTION
TO THE NAUGHTY LYRICS WE SPEW
YOU'LL FIND THE SUBJECTS WE MENTION
JUST MIGHT HAVE INCLUDED THE SUBJECT OF YOU!
(FEMALE 1 ENTERS and joins MALE 1 at stage right mic)
n
ru
sa
l
FEMALE 1
SO COME WITH US
ON AN OMNIBUS
TO A THEATRE-GOERS' SOIRÉE
TO THAT NEVER LAND
WHERE THE HITS GET PANNED
FORBIDDEN BROADWAY
io
FEMALE 2
SEE LIZA'S EGO DEFLATED
ct
Pe
FEMALE 1
HEAR A RODGERS STANDARD REVAMPED
ro
TR
W
ALL
ANNIE BERATED, UPDATED AND CAMPED
SO IF YOU DARE
CROSS YOUR HEART AND SWEAR
THAT YOU WON'T REPEAT WHAT WE SAY
du
MALE 2
WATCH THE LION KING ABDICATED
MALE 1
fo
rp
JUST A TRIFLE RUDE
AND WE MIGHT GET SUED
FEMALE 1
THIS AIN'T ST. VINCENT MILLAY
FEMALE 2
IT'S JUST BUBBLE GUM
MALE 2
N
ot
ALL DIRECTLY FROM...
ALL
FORBIDDEN BROADWAY!!!
-2-
CHICAGO
VOICEOVER
And now, "Chicago"!
(Lights up on "Billy Flynn" in a tuxedo with a "dummy" girl on his knee.
The man sings both parts, except the line, "Are you kiddin'?"
sa
l
The “Billy Flynn” character looks straight ahead and sings the “MAN”
lines in his own voice.)
Pe
DUMMY (LIP SYNCING)
ct
TO CHICAGO!
W
DUMMY (LIP SYNCING)
IT'S A NEW SHOW!
ro
BILLY FLYNN
IS IT BRAND NEW?
TR
du
BILLY FLYNN
WHAT'S CHICAGO?
fo
rp
DUMMY (LIP SYNCING)
WELL, NOT REALLY
IT'S THE CHEESY CONCERT VERSION
OF GWEN VERDON'S LAST EXCURSION.
BILLY FLYNN
WHAT'S THE SET LIKE?
DUMMY (LIP SYNCING)
N
ot
LIKE A BARE STAGE
BILLY FLYNN
ARE THERE COSTUMES?
DUMMY (OWN VOICE)
(Drops character and sarcastically speaks as herself)
ARE YOU KIDDIN'?
(MAN nudges WOMAN, and she goes back to being a dummy)
-3-
io
ru
(He then looks at the 'dummy' girl on the 'WOMAN' lines and sings in a
girl-dummy voice. DUMMY GIRL opens and shuts her mouth like a
ventriloquist doll.)
n
BILLY FLYNN
WHERE YA GOIN'?
BILLY FLYNN
WHO'S THE BIG STAR?
sa
l
DUMMY (LIP SYNCING)
BEBE NEUWIRTH
BUT WHAT MAKES HER SO ENGAGING
IS BOB FOSSE'S SEXY STAGING.
OH YES, OH YES, OH YES, SHE IS
OH YES, SHE IS
BEBE IS A BIG GUN!
Pe
(BEBE appears stage right in a circle of light. THE MAN and
"DUMMY" EXIT)
ct
n
io
ru
BILLY FLYNN
AND HERE AND HERE AND HERE SHE IS
AND HERE SHE IS TO SHOW YOU HOW IT IS DONE!
(Speaks:)
And now, the original star of "Chicago", Miss…Beebeeeee Neuwirth!
du
ro
W
BEBE
Hello, Suckers! You know, everyone associated with "Chicago" won Tony Awards. And you can too. All
you have to do is a little grave robbing!
(She moves to center with slinky Bob Fosse arms and legs; sings)
GIVE 'EM THE OLD SAUCY FOSSE
SAUCY FOSSE 'EM
BEBE (CONT'D)
fo
rp
TR
(TWO FOSSE-TYPE MALE DANCERS in gloves, bowler hats, vests, and
no shirts ENTER behind her)
TWIST AND CONTORT
AND THROW SOME TRASH IN IT
AND THE REVIEWS WILL ALL BE PASSIONATE
(The BOYS step forward.)
BOYS
N
ot
GIVE 'EM THE OLD
SPREAD THE FINGERS
BEBE
WEAR A BOWLER HAT
WIGGLE YOUR PANTS
LIKE ANTS ARE IN YOUR THIGHS
THOUGH THE PRODUCTION MAY LOOK SHODDY
EVERYONE LIKES
-4-
BEBE (CONT’D)
A NAKED BODY
SAUCY FOSSE 'EM
AND THEY'LL NEVER CATCH WISE
(She calls out the dance moves.)
Left foot blue!
(They each do a 'Fosse' move.)
BEBE (CONT'D)
sa
l
Right hand red!
n
(Now they angle themselves in odd Fosse positions over and under each
other, in a sort of crazy "Twister" game.)
Now Dance!
io
ru
BEBE (CONT'D)
ct
Pe
(The dancers begin to undulate, until they can no longer hold their poses,
and all collapse in a heap. They argue as they get into their next
impossible Fosse position, but recover their composure just in time for
the next line.)
W
BEBE
fo
rp
SHOW 'EM THE LIMBER
BURLESQUE QUEEN YOU ARE
ro
TR
(We hear a 'crack' sound, as they all lean back.)
du
ALL
GIVE 'EM THE OLD SAUCY FOSSE
DIP AND UNDULATE
BOYS
(Spoken à la BEBE'S husband AMOS, miming rotating her breasts)
I love ya, honey, I love ya!
ALL
RUN THROUGH YOUR DANCE
LIKE GREASED MACHIN'RY
THEY'LL NEVER SPOT
BEBE
N
ot
WE GOT NO SCEN'RY
(They do identical 'Fosse' poses on each of the next three lines.)
BEBE (CONT'D)
SAUCY FOSSE 'EM
-5-
ALL
GLOSSY FOSSE 'EM
SAUCY FOSSE 'EM
BEBE
AND THEY'LL MAKE YOU A STAR!
ALL
Pose!
sa
l
(They end in a sharp Fosse-esque pose on the musical button.
BLACKOUT)
ro
fo
rp
TR
BUT MAYBE THERE'S HOPE TOMORROW
MAYBE SOMEDAY SOMEONE MIGHT
BRING "ANNIE" BACK AGAIN!
REVIVE ME! REVIVE ME!
PLEASE SOMEONE REVIVE ME
BEFORE MY RED HAIR TURNS GRAY
LAST TIME I WAS ROTTEN
NOW "ANNIE'S" FORGOTTEN
TOMORROW IS YESTERDAY!
N
ot
(She raises her right arm slowly in perfect "Annie" form, but eyes her
cigarette – she can't resist taking a quick drag in the middle of her final
note, then finishing the note until she finally gives up and walks off in
disgust. It's not easy being Annie.)
SONDHEIM: INTO THE WORDS
Into The Woods ("Into The Woods" and "A Weekend In The
Country")
STEPHEN
Once upon a time!
-6-
n
du
W
ANNIE
I'M THIRTY YEARS OLD TOMORROW
AND I HAVE'NT WORKED SINCE I PLAYED "ANNIE"
WHEN I WAS TEN
ct
Pe
(Lights up on ANNIE, her arms raised in triumph. But she can only hold
this pose for so long – she drops her arm, pulls on her skirts, and takes a
drag from her cigarette, held in her right hand, then looks at her
audience. She knows what they're thinking!)
io
Tomorrow
ru
ANNIE SEQUENCE
(Lights up on a bearded man at the side of the stage. He is Stephen
Sondheim. The MUSIC begins.)
STEPHEN
There was a great songwriter called Stephen Sondheim. He had many, many hit shows, among which
were Sunday In The Park With George...
(A "Dot" character enters, holding an umbrella.)
sa
l
DOT
I WISH...
(Turns right in profile and freezes)
ct
SWEENEY
I WISH…
STEPHEN
du
W
And the fairy tale musical Into The Woods.
io
ru
Pe
(SWEENEY ENTERS scaring DOT by raising his bloody razor so that
she counters to the right of him.)
n
STEPHEN
Sweeney Todd!
(A LITTLE RED RIDING HOOD ENTERS, carrying a basket.)
ro
TR
RIDING HOOD
I WISH...
(She is left of DOT and smiles at audience, then freezes.)
fo
rp
STEPHEN
All the characters in all the shows were very happy to be in a prestigious Sondheim musical, except for a
few things…
RIDING HOOD
I WISH.
I WISH THIS SHOW WAS MORE MELODIC!
I WISH.
(Sticks her tongue out at SONDHEIM, and freezes again.)
N
ot
SWEENEY
I WISH.
I WISH THIS SHOW WAS LESS PRETENTIOUS.
I WISH.
(SWEENEY raises his razor high, and freezes.)
DOT
(Faces forward)
I WISH.
-7-
DOT (CONT’D)
I WISH THE LYRICS WEREN'T SO WORDY.
I WISH.
STEPHEN
(As he crosses to center in front of his characters:)
You see, with Sondheim shows people sometimes miss the point. They're supposed to listen and go...Into
the words.
sa
l
(Each character joins SONDHEIM on his or her line.)
RIDING HOOD
INTO THE WORDS
Pe
ALL
INTO THE WORDS
ALL
ro
INTO THE WORDS
du
W
STEPHEN
THE METAPHORS, THE SYNONYMS, THE PERFECT SCAN
STEPHEN
THE DETAIL AND THE TRICKY LITTLE PHRASES
ALL
fo
rp
TR
ct
DOT
INTO THE WORDS
INTO THE WORDS
SWEENEY
THE WHAT, THE WHERE, THE WHEN, THE WHY
THE PLOT BEGAN
ALL
INTO THE WORDS
DOT
N
ot
THE WORK, THE CRAFT
RIDING HOOD
THAT GARNERS ALL THE PRAISES
(They skip in a counter-clockwise circle.)
-8-
n
io
ru
SWEENEY
INTO THE WORDS
ALL
INTO THE WORDS!
INTO THE WORDS!
DOT
THE MUSIC WAITS
sa
l
ALL
INTO THE WORDS!
INTO THE WORDS!
n
STEPHEN
THE LYRIC STATES THAT
ALL
INTO THE WORDS
ALL
ro
TR
INTO THE WORDS
A QUICK EXCHANGE
SO VERY STRANGE, YOU'LL CRY AND SMILE
du
W
STEPHEN
INTERNAL RHYMES THAT EVEN BAFFLED MERMAN
fo
rp
STEPHEN
AND NEVER REPEAT A VERSE OR BRIDGE
THIS ISN'T JERRY HERMAN
(They link arms and skip upstage, then downstage.)
ALL
INTO THE WORDS
INTO THE WORDS
N
ot
ct
Pe
STEPHEN
YOUR CONTENT ALWAYS COMES BEFORE YOUR FORM AND STYLE
STEPHEN
THEY ALWAYS TEACH
ALL
INTO THE WORDS
INTO THE WORDS
-9-
io
INTO THE WORDS
ru
ALL
STEPHEN
TO HEAR ME PREACH
THE THOUGHTS ARE CLEAR
IF UNDERSTOOD
I HAVE NO PEER
'CAUSE I'M SO GOOD
ct
du
W
INTO THE WORDS
THAT FLY AND TRY TO MAKE YOU
CHOKE THE JOKE YOU'VE SUNG
INTO THE WORDS
MORE LETTERS THAN
THEY SELL ON WHEEL OF FORTUNE
io
Pe
ru
ALL
INTO THE WORDS
THAT TRIP YOUR LIP, AND FRY YOUR BRAIN
AND SPRAIN YOUR TONGUE
INTO THE WORDS
A CAVE SO DARK
YOU'D BETTER BRING A TORCH IN
n
sa
l
THE SCORE IS THE STAR
THE STARS ARE JUST WOOD
I SORT OF HATE TO ASK IT
BUT WHAT'S A RHYME FOR BASKET?
ro
TR
(RIDING HOOD goes offstage right and brings on a large board with
the words to the song on it; she hands it to SONDHEIM.)
fo
rp
STEPHEN
(Spoken)
Now, some people say that my songs aren't catchy. But that's not true. And to prove it, I'll conduct a
Sondheim singalong. Now everybody sing and just follow the bouncing razor.
(SWEENEY suddenly raises his peculiar teaching instrument.)
STEPHEN (CONT'D)
Ready? 1-2-12-8.
N
ot
ALL
(With the audience, they repeat the two verses, slowly and surely,
SWEENEY'S razor bouncing along the top of the board.)
INTO THE WORDS
INTO THE WORDS
A CAVE SO DARK
-10-
ALL (CONT’D)
INTO THE WORDS
INTO THE WORDS
MORE LETTERS THAN
STEPHEN
io
du
ro
TR
W
INTO THE WORDS
INTO THE WORDS
MORE LETTERS THAN
ct
Pe
ru
ALL
(They sing double time, while the audience tries to keep up, repeating the
two verses.)
INTO THE WORDS
INTO THE WORDS
A CAVE SO DARK
n
sa
l
(Speaks:)
Very good. You all graduate! So now let's do it up to tempo.
(And then, done very quickly)
1-2-12-8!
fo
rp
ALL (WITHOUT AUDIENCE)
WE'RE…
(They all take a deep breath)
INTO THE SYLLABLES
INTO THE ANTONYMS
INTO THE METAPHORS
INTO THE SYNONYMS
N
ot
DOT AND RIDING HOOD
INTO THE SYLLABLES
INTO THE ANTONYMS
INTO THE METAPHORS
INTO THE SYNONYMS
INTO THE SYLLABLES
INTO THE ANTONYMS
INTO THE METAPHORS
AND
STEPHEN
CAREFUL!
YOUR DICTION
CAREFUL!
YOUR DICTION
CAREFUL!
YOUR DICTION
CAREFUL
OF
ALL
THE WORDS!
-11-
SWEENEY
ARE YOU SURE
YOU UNDERSTAND?
ARE YOU THAT
YOU VERSTEH?
ARE YOU SURE
THAT YOU CAPEESH?
AWAY WE GO
INTO
CAROL CHANNING SEQUENCE
Call On Carol (“Call On Dolly”)
(BOYS ENTER in basic tuxes, jackets, and wearing with straw hats
["boaters”], dancing center, then singing:)
BOYS
ct
Pe
BOYS (CONT'D)
CALL ON CAROL
SHE'LL DO HELLO, DOLLY! ANYTIME
io
ru
(FEMALE 2 ENTERS, stepping in time toward the young men, with a
newspaper in front of her face. The paper reads clearly, "CHANNING
TOURS AGAIN.")
n
sa
l
CALL ON CAROL
SHE'S THE ONE PRODUCERS RECOMMEND
WHEN THEY'RE PRODUCING DOLLY!
EITHER BROADWAY OR SUMMER STOCK
SHE'LL PLAY DOLLY LEVI FROM SEVEN TIL TWELVE O'CLOCK
CAROL
fo
rp
TR
du
BOY #1
(Closest to CAROL)
Tell us, Ms. Channing, what's in all this for you?
ro
W
(FEMALE 1 suddenly lowers the newspaper, and we see it is wide-eyed,
wide-mouthed CAROL CHANNING. She wears gobs of lipstick, a blonde
wig with red feathers and a pair of long white gloves. She grins and bats
her long eyelashes for the audience as she steps toward center stage. The
men counter and stand to her left..)
(In that one-of-a-kind voice)
Wellllllllllll…… it's a living Mr. ________, and Mr. ________.
(She hands the paper to BOY #1)
CAROL (CONT’D)
Some people sing, some people dance, some people act. I do… Hello, Dolly!
Diamonds Are A Girl's Best Friend ("Dolly Is A Girl's Best Friend")
N
ot
(The BOYS EXIT)
CAROL (CONT'D)
(Sings:)
I'VE PLAYED LORELEI
AND I'VE SOLD KITTY LITTER
BUT DOLLY IS A GIRL'S BEST FRIEND
I'VE DONE SEVERAL FLOPS
BUT YOU CAN'T CALL ME BITTER
-12-
CAROL (CONT’D)
THOUGH MY WHOLE CAREER
IS MESSY AS MY LIPSTICK SMEAR
sa
l
ROLES ARE FEW
AND FAR BETWEEN
AND TALK SHOWS I DON'T RECOMMEND
BUT WHY SHOULD I GRIEVE, I
CAN PLAY DOLLY LEVI
DOLLY IS A GIRL'S BEST FRIEND
SO WHO NEEDS SONDHEIM?
DOLLY IS A GIRL'S BEST FRIEND
Oh No, Carol (“Hello, Dolly”)
W
ct
du
Pe
BOYS
OH NO, CAROL
NO, NO, NO, CAROL
DON'T YOU DARE DO HELLO, DOLLY! ONCE
(They jump into the air)
AGAIN
ro
TR
(CAROL steps forward to talk to her audience as the BOYS continue
singing.)
BOYS
fo
rp
FOR AS YOU KNOW, CAROL
THIS WHOLE SHOW, CAROL
(CAROL returns to center.)
BOYS (CONT'D)
HAS BEEN DRUMMED INTO OUR BRAINS
SINCE WE WERE
(The BOYS jump again, much to CAROL'S delight.)
BOYS (CONT'D)
N
ot
ONLY TEN
YES, ONCE WAS
(The BOYS do the Hello, Dolly! waiters' 'seesaw' move with their arms,
as CAROL prepares to greet her audience.)
-13-
n
io
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(BOYS RE-ENTER, now dressed as waiters, with long white aprons and
black vests. They do a cakewalk in a circle around her, finally ending up
on either side of their leading lady.)
BOYS (CONT'D)
SWELL, CAROL
(As CAROL places her arms forward, the upward momentum of the
BOYS' seesaw motion throws her backwards and on to the floor.)
BOYS (CONT'D)
TWICE IS HELL, CAROL
YOU'VE BEEN
sa
l
(CAROL has returned, desperately trying to get a word in.)
W
CAROL
ct
ro
TR
EITHER IT'S THIS OR LORELEI
du
Pe
CAROL
(Patting their heads gently)
DON'T BE ANNOYED FELLAS
I'M KEEPING YOU
(She suddenly clutches their hair tightly!)
EMPLOYED FELLAS
BOYS
PROMISE YOU'LL NEVER DO THIS SHOW
n
io
ru
BOYS (CONT'D)
DOING THIS SAME ROLE SINCE GOD KNOWS WHEN
(The BOYS kneel at either side, arms spread wide)
SO...
AGAIN!
fo
rp
BOYS
(The MALES stand on either side of CAROL.)
PROMISE YOU'LL NEVER DO THIS SHOW
ALL
(The BOYS have had enough. They lift their star in the air, as CAROL
stands — or sits —triumphantly, till they suddenly let her fall backwards,
her legs spread wide in an embarrassing finish! She gives a yelp as the
lights…
N
ot
BLACKOUT)
-14-
CHITA AND RITA
America
(In the dark, we hear a maniacal laugh… It could only be CHITA
RIVERA. FEMALE 2 is dressed as ANITA in West Side Story in purple
fringed layered dress and huge earrings. She appears stage right in a
circle of light.)
ro
TR
du
W
(CHITA does a quick spin and picks up her skirt, moving it from side to
side with a fiery Spanish flair.)
CHITA (CONT’D)
CHITA RIVERA IS NOT RITA
RITA MORENO IS NOT CHITA
CHITA IS CHITA AND NOT RITA
I WOULD PREFER YOU FORGOT RITA!
fo
rp
THIS LITTLE DITTY REMINDS YOU
WHO IS THE WHAT AND THE WHO'S WHO
SHE GETS THE MOVIES AND BRAVOS
I GET THE NIGHT CLUBS AND BOMB SHOWS!
MY NAME IS CHITA AND NOT RITA
RITA IS RITA AND NOT CHITA
LIZA LIKES CHITA BUT NOT RITA
I WOULDN'T MIND IF THEY SHOT RITA!
N
ot
I'M THE ONE WHO STARRED ON BROADWAY
FROM THE 50'S AND THE 60'S TO THE CURRENT DAY, PEOPLE
AND I INVENTED THE
(She raises her arms and flicks her hands twice.)
"AYE, AYE"
WHILE RITA WAS LISPING IN KING AND I!
-15-
n
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ct
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sa
l
CHITA
MISS MORENO
HER RUDE GYRATIONS
ARE ALL LOUSY IMITATIONS
(She travels to center stage)
THOUGH WE BOTH DID WEST SIDE STORY
HERS WAS LIKE CHICKEN CACCIATORE
SHE GOT ALL THE GLORY
BUT DON'T LET THAT CAT IN
I'M THE FIERY LATIN
I WAS THE WORLD'S FIRST ANITA
DON'T MIX US UP
I AM CHITA!
sa
l
CHITA (CONT’D)
I HAVE DONE BYE BYE BIRDIE, CHICAGO, BAJOUR
AND I NEVER MISS A MATINEE, PEOPLE
AND WHEN CHORUS BOYS SCREAM AND YELL,
(She does the hand flicks again.)
"AYE, AYE, AYE"
HOW I LOVE ALL OF THE GAY PEOPLE!
(Again flashing her skirt from side to side)
MY NAME IS CHITA AND NOT RITA
RITA IS RITA AND NOT CHITA
LIZA HATES RITA, BUT NOT CHITA
WHY WON'T THE UNION BOYCOTT RITA?
RITA
Pe
Hello, Chita.
n
io
ru
(FEMALE 1 as RITA MORENO ENTERS stage right dressed exactly the
same as CHITA. She even strikes the same pose CHITA had at the top of
the number!)
ct
CHITA
Rita! …What are you doing here?
du
CHITA
fo
rp
I'd sooner die.
You probably will.
ro
TR
W
RITA
(She travels to CHITA'S right side, very sly and catty. NB: Some of
RITA'S "v"s come out like "b"s)
I'll be doing the movie bersion of your one woman show "Chita Rivera: A Dancer's Life"!... I'll probably
win another Oscar.
(She appears suddenly on CHITA'S left side)
You can present it.
RITA
(Like lightning, they raise their hands at each other with 'cat claws',
make a 'hissing' noise, then just as quickly return to their original
stances.)
RITA (CONT'D)
N
ot
I just came by to clarify one t'ing.
(RITA bounces CHITA away from the center microphone and takes over,
while CHITA stands by frustrated.)
RITA (CONT'D)
(Sings:)
MY NAME IS RITA AND NOT CHITA
THOUGH I LOOK LIKE YOU A LOT, CHITA
-16-
RITA (CONT’D)
WHEN PEOPLE SMOKE TOO MUCH POT, CHITA
THEY THINK YOU'RE ME AND I'M NOT RITA
(CHITA and RITA do an identical mirror image dance move.)
RITA (CONT'D)
I AM A BERSATILE ACTRESS
sa
l
CHITA
LONG AS YOU STAY ON THE MATTRESS
I CAN PLAY ANY ROLE I CHOOSE
n
du
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Pe
RITA (CONT'D)
(With CHITA'S aforementioned "ayes”)
WHEN I GO OUT ON A DATE, CHITA
PEOPLE SAY, “THERE GOES THE GREAT RITA!”
BUT WHEN THEY SEE YOU THEY STATE, CHITA
“LOOKS LIKE YOU PUT ON SOME WEIGHT, CHITA”
ct
(CHITA tries to be a part of this number that RITA has suddenly taken
over, and sings "AYE" at the beginning of each of the next lines.)
io
ru
RITA
GYPSIES, ITALIANS AND BLACK JEWS
ro
fo
rp
TR
(They dance furiously, CHITA showing her rival how a certain twirl in
West Side Story was done. RITA shoots back with her version of the
twirl. The two audibly argue and come at each other, in an all-out cat
fight! But, being professionals, they still stop in time to the music to both
flick their hands in the air and shout "AYE, AYE, AYE!"…RITA swings at
CHITA, 'punching' her, so that they both twirl 'round and end up back to
back, clapping their hands to the rhythm of the song.)
BOTH
SO IF YOU WANT TO KEEP WHO'S WHO STRAIGHT
HERE'S HOW TO SETTLE THE GREAT DEBATE
I AM THE ONE YOU SHOULD EMULATE
SHE IS THE ONE WHO SHOULD MIGRATE!
(The two stars flash their skirts from side to side.)
N
ot
BOTH (CONT'D)
THERE'S RITA AND CHITA AND LIZA
AND LISA AND LIZA AND CHITA
AND PIA ZADORA AND LISA
AND MIA AND LIZA AND CHITA
BOTH (CONT’D)
MIA, LIZA, RITA, CHITA
RIO RITA, LIZA, PIA, PITA
BEBE NEUWIRTH...
-17-
(They gasp, realizing they may be replaced.)
BOTH (CONT'D)
AND ME!
(CHITA and RITA fling their arms into the air, in identical poses
BLACKOUT)
sa
l
MANDY PATINKIN
TR
(MANDY tries desperately to convey the deep, deep meaning of this
song.)
fo
rp
SOMEWHAT OVERINDULGENT
LIKE I'M HIGH
I INTERPRET A LYRIC
LIKE I'M ABOUT TO DIE
I SING BLUE
AND YOU WON'T RECOGNIZE THE TUNE
AFTER I GET THROUGH
N
ot
SOMEDAY I'LL DO A ONE MAN SHOW
SING JOLSON SONGS LIKE "OLD BLACK JOE"
AND "MAMMY"
(He is beginning to work himself up into a frenzy.)
I'LL EMPHASIZE MOST EVERY WORD
-18-
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MANDY
MY NAME IS MANDY, MANDY "CHE" PATINKIN
AND I'VE BEEN THINKIN' I MIGHT
BE KNOWN MORE AS A MALE CHANTEUSE
SO IF YOU LIKE MY TWENTY SONGS ON CD
YOU SHOULD COME AND SEE ME
EV'RY NIGHT
DRESSING CASUAL AND LOOSE
AND TURNING ON THE JUICE
WHILE EMOTING LIKE A GOOSE
ct
ru
(MALE 1 is at the mic, his arms spread high in a triumphant pose. It is
the great MANDY PATINKIN, and boy, is he intense! He begins to sing
with much anguish and condescension.)
n
Somewhat Overindulgent ("Somewhere Over The Rainbow")
MANDY (CONT’D)
AND TWITTER LIKE A LITTLE BIRD
TO PROVE I'M HAMMY
(Now he's going at it full force!)
WATCH ME CRY
BARBRA DID IT IN YENTL
WHY, THEN, OH, WHY CAN'T I?
sa
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(He suddenly catches himself, and pulls back his wild energy.)
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MANDY (CONT’D)
IF BARBRA STREISAND GETS TO BE
BEYOND INDULGENT
WHY, OH, WHY NOT ME?
io
WICKED
OFFSTAGE VOICES
NO AWARDS FOR WICKED
ct
Pe
Defying Subtlety (“Defying Gravity”)
ro
fo
rp
TR
IDINA
I AM THE STAR OF "WICKED"
AND MY REPLACEMENTS KNOW
I AM THE GREAT IDINA
AND I'LL FOREVER OWN THIS SHOW
du
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(Lights come up on IDINA MENZEL dressed as ELPHABA. Her back is
to the audience, but with a sudden swirl of her cape, she reveals herself
to all.)
I MADE MY MARK
DEFYING SUBTLETY
OUT OF THE PARK
DEFYING SUBTLETY
AND YOU CAN'T BRING ME DOWN
N
ot
(A FLYING MONKEY appears and jumps around maniacally; it's as if
all her loud scream/singing has driven him mad.)
IDINA (CONT'D)
SO STRAP ME IN A HARNESS
HOIST ME UP TO THE SKY
IN ALL THE BIG SHOWS LATELY
ALL THE LEADING LADIES HAVE TO FLY
HANGING FROM THE RAFTERS
I'LL DANGLE LIKE A BLIMP
-19-
IDINA (CONT’D)
PUMP UP MY VOLUME
AS I KILL MY FLYING CHIMP
(The MONKEY fears for his life, and 'flies' away.)
sa
l
IDINA (CONT'D)
AND SUDDENLY I
AM DEFYING SUBTLETY
WITH DEATH DEFYING LACK
OF SUBTLETY
I'LL TEAR THIS THEATRE DOWN
Pe
du
W
IDINA (CONT'D)
AND NO ONE'S GONNA TURN MY VOLUME DOWN
ct
(The MONKEY drops the box center and lets out a loud monkey call; he
then EXITS.)
n
IDINA (CONT'D)
I'LL BLOW THE GERSHWIN UP BECAUSE
I AM THE LOUDEST WITCH IN OZ
io
ru
(The MONKEY returns with a black crate, and waits till his mistress
gives him the signal to slam it on the ground.)
ro
IDINA (CONT'D)
fo
rp
TR
(Two MONKEYS return, one holding a broomstick, the other holding a
fan; the fan is placed in front of the witch, as if to create the moving air
that causes her cape to billow. IDINA climbs on the box, and slowly
rises, as if becoming a giant – it is obvious to the audience that this
production of WICKED is on the cheap side.)
AAHHHHHHHHHHHH!
(The other MONKEY places the broom in her hand, and both MONKEYS
run behind IDINA, making her cape blow wildly in the wind!)
MONKEYS
N
ot
WICKED!
WICKED!
WICKED!!
(IDINA thrusts her broomstick above her head as the lights…
BLACKOUT)
-20-
MORE MISERABLES
More Miserable ("Cest Magnifique")
(A sultry woman is discovered atop the piano. She is wearing a boa, a
beret, and smoking a cigarette through a long holder. She sings:)
sa
l
CHANTEUSE (FEMALE 1)
WHAT SHOW TAKES YOU UP IN ZE AIR
WHEN YOU COME TO CALL?
EET’S BROADWAY'S BEEG LOVE AFFAIR
BUT NOT REALLY BROADWAY'S AT ALL
Pe
(She reaches for a poster that is atop the piano, and shows it to the
audience.)
TR
n
ct
fo
rp
VALJEAN GETS CAUGHT
AND EVERYONE GETS SHOT
OOH! LA-LA-LA
EET’S NOT HEDDA GABLER
du
JAVERT GETS SUNK
AND EPONINE GOES PUNK
OO-LA-LA-LA
LES MISERABLES
ro
W
CHANTEUSE (CONT’D)
EET’S LESS MISERABLE ZAN OZER SHOWS
(Non-plussed, she flings the poster over her shoulder and offstage.)
GO TRY GET IN TO WATCH ZE PEOPLE SPIN
OO-LA-LA-LA
LES MISERABLES
io
ru
BUT I SAW EET AND I DEEDN’T MIND
COMPARE EET TO OZER SHOWS AND YOU'LL FIND
JUST LIKE ZEE POSTER SAYS, GOD KNOWS
EET’S HOT, EET’S CHIC
(She travels center.)
C'EST TRES, TRES MAGNIFIQUE
LES MISERABLES
N
ot
(She EXITS as THREE RAGGED ACTORS ENTER as if on a miniturntable. Very intense. Very miserable. The atmosphere is suddenly
quite murky and dark. They sing:)
-21-
At the End of the Play (“At the End of the Day”)
ct
ro
fo
rp
TR
W
VALJEAN
(Sung as a prayer to the Lord above)
GOD, IT'S HIGH
THIS SONG'S TOO HIGH
PITY ME
CHANGE THE KEY
BRING IT DOWN
BRING IT DOWN
IT'S TOO HIGH
MUCH TOO HIGH
MUCH TOO...
du
Pe
(He takes a deep breath, then opens his mouth so that a VERY high note
comes out…dubbed by FEMALE 1 offstage!)
VALJEAN (FEMALE 1)
HIGH!
N
ot
(MALE 2 spins off, while FEMALE 2 appears on the turntable, arriving
center to emotionally prepare herself as she becomes FANTINE. She
sings very dramatically:)
FANTINE (FEMALE 2)
THERE WAS A TIME WHEN SHOWS WERE FUN
AND THEY USED BRIGHT LIGHTING
AND THE SHOWS WEREN'T SO LONG
-22-
io
ru
(The 'turntable' — now treated like one large turntable — starts up
again, and spins two of them right off the stage; JEAN VALJEAN
remains, to sing his famous solo.)
n
sa
l
MALES 1 & 2, FEMALE 2 (ENSEMBLE)
(The 'turntable' has them going 'round in circles.)
AT THE END OF THE PLAY
WE'RE ANOTHER YEAR OLDER
AND WE'RE OFTEN EXHAUSTED FROM PLAYING THE POOR
ENJOLRAS FELL IN THE BAND
AND THE TURNTABLE'S MAKING US DIZZY
TREVOR NUNN YELLS A COMMAND
AND HE'S THROWING US ALL IN A TIZZY
AND THERE'S GONNA BE HELL TO PAY
(The 'turntable' suddenly stops.)
AT THE END OF THE PLAY
FANTINE (CONT’D)
AND THE SONGS WEREN'T SO BITING
THERE WAS A TIME
THEN IT ALL WENT WRONG
I DREAMED A SHOW IN DAYS GONE BY
WHEN PATHOS WASN'T OVERSTATED
I DIDN'T SING ONE SONG, THEN DIE
I DIDN'T ACT SO CONSTIPATED
io
ct
du
Pe
CLAY AIKEN DIDN'T SING MY HIT SONG
A PRETTY GIRL THEY'D GLORIFY
AND ACT ONE WASN'T SO DAMN LONG
COME WATCH US GROVEL IN THE DIRT
THEN BUY A SOUVENIR AND DON IT
RICH FOLKS PAY FIFTY BUCKS A SHIRT
THAT HAS A STARVING PAUPER ON IT
n
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sa
l
FANTINE
BUT NOW THAT MISERY'S IN STYLE
IT'S ARTISTIC IF YOU SUFFER
SO THEY TORE MY DRESS APART
AND THE CHORUS GIRLS WALK LAME, LAME.
ro
TR
W
WHERE ALL THE SETS WEREN'T PILES OF RUBBLE
I DIDN'T HAVE TO BELT HIGH 'E'….
AND BE AS MISERABLE… AS ME.
(FANTINE spins off, as COSETTE rotates on, holding a small broom)
fo
rp
“Castle On A Cloud”
COSETTE (FEMALE 1)
I'M AN OBNOXIOUS SINGING WAIF
MY CLOYING STRAIGHT TONES GRATE AND CHAFE
LOST IN THE LABYRINTH OF THIS PLOT
YOU'LL BE RELIEVED WHEN I GET SHOT
N
ot
(COSETTE spins 'round on the turntable, as MALE 2 jumps on and joins
her for the Recitative. He is the brave and handsome ENJALROS.)
Recitative
ENJOLRAS (MALE 2)
(Recitative: very fast)
OH, NO COSETTE, YOU'RE SIMPLY A CONFUSED AND WORRIED CHILD. LET ME
EXPLAIN THE PLOT OF THE SHOW TO YOU SO YOU CAN UNDERSTAND THE WAY
IT'S STYLED. JEAN VALJEAN IS A CONVICT WHO'S BEING CHASED BY THE
POLICEMAN, JAVERT, WHO DOESN'T KNOW THAT HE IS NOW A MAYOR AND HAS
-23-
ENJOLRAS (CONT’D)
ADOPTED COSETTE, THE LITTLE WAIF DAUGHTER OF FANTINE WHO DIES IN ACT
1. AND THAT'S WHY JEAN VALJEAN MUST RUN.
COSETTE
Ahh, yes!
(She turns to the audience as if to say, "What the…??")
ENJOLRAS
n
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sa
l
(Fast)
THEN HE BECOMES INVOLVED IN THE FRENCH REVOLUTION. BUT NOT THE BIG
FAMOUS ONE, THE LITTLE LATER ONE YOU THOUGHT YOU DIDN'T KNOW
ANYTHING ABOUT WHERE JEAN VALJEAN WATCHES EVERYONE GET CAUGHT,
EXCEPT FOR...
(He points to his student – does she know the answer?)
io
COSETTE
(Taking a good guess)
Pe
Marius!
ct
COSETTE
Pregnant?
ENJOLRAS
ro
TR
SHOT.
du
W
ENJOLRAS
Yes, Marius!
WHO LOVES COSETTE INSTEAD OF EPONINE... WHO JOINS THE
REVOLUTIONARIES, RUNS OVER THE BARRICADE, WHERE SHE GETS...
fo
rp
(He shoots COSETTE a dirty look, then continues at the same quick
speed.)
ENJOLRAS (CONT’D)
AFTER SHE SINGS A LONG BALLAD VERY MUCH LIKE JEAN VALJEAN, WHO DIES
PEACEFULLY KNOWING HE'S DRIVEN JAVERT TO JUMP OFF A BRIDGE AND HAS
SIGNIFICANTLY CHANGED FRANCE BY BEING AN ALL-AROUND NICE GUY… AND
C'EST FINIS OUR STORY'S DONE!
(Spoken:)
How did you like that?
(COSETTE falls to the floor, asleep.)
N
ot
Did You Hear The People Sing? (“Do You Hear The People Sing”)
ENJOLRAS
DID YOU HEAR THE PEOPLE SING?
SINGING THE HIT SONGS FROM LES MIS
IT IS THE BEST SHOW OF A CLASSIC
SINCE THEY MODERNIZED THE WIZ
-24-
ENJOLRAS (CONT’D)
BETTER LEARN THE SONGS BY HEART
AND IF YOU DON'T THEY'LL CALL YOU DUMB
THEY'LL BE ATOP THE RECORD CHART
WHEN THE BRITISH COME!
(COSETTE, who has slowly awakened from her bored stupor, realizes
they are going to war, and joins her fellow man for combat.)
sa
l
NO MORE GERSHWIN, NO MORE KERN
WE DON'T NEED OLD SHOWS ANYMORE
ro
fo
rp
TR
W
ALL
DID YOU HEAR THE PEOPLE SING
ALL OF THE HIT SONGS FROM LES MIS
EVEN THE GREAT ANDREW LLOYD WEBBER
WISHED THE SONGS WERE REALLY HIS
YOU'LL BE TICKETED AND PINCHED
IF A LA CAGE SONG YOU SHOULD HUM
POOR JERRY HERMAN WILL BE LYNCHED
du
(Everyone greets each other and readies themselves for war.)
ct
Pe
ENJOLRAS AND COSETTE
COME JOIN WITH THE FEW
WHO HAVE STARTED A MUSICAL WAR!
io
WE'LL SET ABLAZE AND BURN
MOST EV'RY STEPHEN SONDHEIM SCORE
n
ru
(We see MADAME THENARDIER joining the fight, coming from under
the piano and on to the stage; also, Jean Val Jean has returned to go to
battle.)
(The men retrieve French flags as the women grab a rifle and a doll that
looks suspiciously like COSETTE. They are ready, and march toward the
audience, militantly singing:)
N
ot
ALL (CONT’D)
DID YOU HEAR THE PEOPLE SING
ALL OF THE HIT SONGS FROM LES MIS
NOW WITH OUR NEW FRENCH REVOLUTION
WE'LL DECAPITATE THE BIZ
NOW LES MIS IS HERE TO STAY
AND MISS SAIGON WILL LEAVE YOU DUMB
PHANTOM WILL HAUNT THE GREAT WHITE WAY
AH! AH! AH!
THE BRITISH COME!
-25-
ALL (CONT’D)
FOR BRITAIN BROADWAY!
(They strike a dramatic tableau; women fall to one knee, as the men turn
their flags revealing colors of the British flag – or they reveal the words
'INTER' and 'MISSION', if appropriate. All look out toward the audience
at the last second, as the lights…
io
ct
du
ro
fo
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N
ot
TR
W
Pe
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END ACT I
n
sa
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BLACKOUT)
-26-
ACT II
THE PHANTOM AND ETHEL
Mucous Of The Night
PHANTOM
fo
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I’M THE PHANTOM
THEATRE'S GREAT SENSATION!
Sing out, Louise!
(Pause)
ro
TR
What?!
W
VOICE (ETHEL)
(From the back of the house)
VOICE (ETHEL)
PHANTOM
WHY WE’RE STILL HERE
THERE’S NO EXPLANATION.
VOICE (ETHEL)
Sing out! Sing out!
N
ot
io
du
ct
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ru
PHANTOM
I'M THE PHANTOM
BROADWAY'S SMOOTHEST CROONER
HEAR ME GURGLE
IN THIS HORROR TUNER
WHEN THE SONG'S A BITCH
AND I'M SLIGHTLY UNDER PITCH *
*(Do not flat this note)
THEY JUST FLICK THE REVERB SWITCH
(His voice is suddenly amplified, but he continues to sing in his eerie
quiet style.)
FROM LEFT TO RIGHT
AND COVER-UP
MY MUCOUS OF THE NIGHT
n
sa
l
(We hear music from "Phantom of the Opera", as a chandelier lowers
out of the ceiling. The light from the glow reveals a silhouette of a
"Phantom". He sings in a breathy and pretentious manner.)
PHANTOM
I’M THE PHANTOM…
VOICE (ETHEL)
What kind of a voice is that?
-27-
PHANTOM
I’M THE PHANTOM!
(The PHANTOM stops. The voice belongs to ETHEL MERMAN! She
barrels right up the stairs and on to the stage.)
ETHEL
And what's that stupid mask on your face? You look like Lon Cheney. How can you sing with that thing
over your mouth? Take it off!
sa
l
(She rips his mask off, and they both scream in horror. She looks at him
curiously.)
n
io
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PHANTOM
(Humiliated)
How dare you un-mask me?? Who do you think you are?
ct
fo
rp
TR
(Very snottily)
NO. This is my DX 445 Mega Voice Thickener…
(His voice is suddenly amplified)
with sound propellant!
du
PHANTOM
ro
W
Pe
ETHEL
Ethel Merman, that's who!
(She acknowledges applause from the audience, whether there is or not.)
Swell!
(She turns back to the PHANTOM.)
God, your face is uglier than I thought it would be.
(She notices a big black object just under his hairline.)
And what's that growth on your forehead? Oh, I know what that is, that's that strange Andrew Lloyd
Webber disease I heard about!
ETHEL
Sounds more like sound RE- pellent to me!
PHANTOM
Times have changed, Ms. Merman. THIS is how we sing nowadays.
(He takes in a huge audible breath, then sings ever-so-quietly.)
You're Just in Love
N
ot
PHANTOM (CONT'D)
(Sings:)
I KEEP SINGING THOUGH MY VOICE IS AIR
I KEEP GOING WHEN THERE'S NOTHING THERE
THERE'S A BIG BLACK LUMP INSIDE MY HAIR
YOU WONDER WHY?
-28-
PHANTOM (CONT’D)
I'LL TELL YOU WHY
I KEEP WALKING THROUGH THE SHOW EACH NIGHT
BUT IN SPITE OF THAT YOU'LL HEAR ALRIGHT
STARS LIKE ME SEEM EVER TIRELESS
THANKS TO MY WIRELESS
HEAD MICROPHONE!
du
IF TODAY I GOT HIRED
I WOULD SWEAT, WHEN I'M WIRED
CAUSING SOME
ELECTRONIC ZING
COME ON KID, AND GET SOME CLASS
W
io
ct
Pe
ru
ETHEL
Kid, in my day we didn't need microphones. We had VOICES then!
(She sings; no, she BELTS! MERMAN'S style is big and brassy, quite
different from the PHANTOM'S mysterious and slow movements.)
YOU DON'T NEED AMPLIFYIN'
YOU'LL BE LOUD AS A LION
BE LIKE ME, USE YOUR DIAPHRAGM
TAKE THAT THING OFF YOUR FOREHEAD
IT LOOKS LIKE A NUKE WARHEAD
AND YOU SOUND SHEEPISH AS A LAMB
n
sa
l
(ETHEL's had enough, pushes him out of the way, and takes center
stage.)
ro
TR
(She hits him on the back, causing him to bend forward..)
fo
rp
ETHEL (CONT'D)
TAKE THAT MIC OUT OF YOUR ASS
(She lifts a mic-pack out of his back pocket, then throws it offstage.)
ETHEL (CONT'D)
AND ADMIT YOU JUST CAN'T SING
(Speaks:)
Stick with me, kid, I'll have you singin' like Jolson in no time!
N
ot
(The PHANTOM can't decide whether to run offstage and find his
precious mic-pack, or come in on time for his song cue; he decides to
join her at the last second; they sing in counterpoint:)
ETHEL
YOU DON'T NEED AMPLIFYIN'
YOU'LL BE LOUD AS A LION
BE LIKE ME,
USE YOUR DIAPHRAGM
(ETHEL hits him on the diaphragm)
PHANTOM
I KEEP SINGING
THOUGH MY VOICE IS AIR
I KEEP GOING
WHEN THERE'S NOTHING THERE
THERE'S A BIG BLACK LUMP
-29-
PHANTOM (CONT’D)
I KEEP WALKING THROUGH THE SHOW EACH NIGHT
BUT IN SPITE OF THAT
YOU'LL HEAR ALRIGHT
(He's in full MERMAN mode now!)
STARS LIKE ME SEEM EVER TIRELESS
(He claps and sings:)
THANKS TO MY WIRELESS
HEAD MICROPHONE!
Pe
(The PHANTOM steps back and practices his diaphragmatic breathing.)
du
ro
TR
W
PHANTOM
(He is ready now to show off his new big Broadway sound, more
Merman than Herman.)
THE PHANTOM OF THE OPERA IS ME!
ETHEL
(Spoken)
fo
rp
Yeah!
BOTH
THAT'S THE MERMAN WAY TO SING!
(Spoken)
Swell!
n
ct
ETHEL
COME ON, KID, SING LOUD AND CLEAR
WARBLE DOWN THAT CHANDELIER
io
ru
IT LOOKS LIKE A NUKE WARHEAD
AND YOU SOUND SHEEPISH AS A LAMB
(Spoken, she shows him how to properly dance)
This way, kid!
(Sings:)
IF TODAY I GOT HIRED
I WOULD SWEAT, WHEN I'M WIRED
CAUSING SOME ELECTRONIC ZING
(Spoken)
Now clap!
(She claps and sing)
COME ON KID, AND GET SOME CLASS
TAKE THAT MIC OUT OF YOUR ASS
SUCK IT IN AND TRY TO SING
PHANTOM (CONT’D)
INSIDE MY HAIR
(Merman-esque belting)
YOU WONDER WHY?
I'LL TELL YOU WHY
sa
l
ETHEL (CONT’D)
TAKE THAT THING OFF YOUR FOREHEAD
N
ot
(BLACKOUT)
-30-
MAMMA MIA
Mamma Mia
(A woman is dressed in bright neon MAMMA MIA disco garb center
stage. She sings, in her best pop voice.)
ct
fo
rp
Dancing Queen
ro
TR
W
MAMMA MIA
NEXT TO CURRENT TRASH
SEEMS AS GREAT AS KISS ME, KATE NOW
MAMMA MIA
IT'S AN ARTY SMASH
COMPARED TO THE SECOND RATE NOW
du
Pe
IT'S A SMASH
AND FULL OF VIGOR AND VERVE
EUROTRASH
BUT IF YOU GRADE ON A CURVE
WHOOOOOA!
(She strikes a “Saturday Night Fever” pose.)
(Song changes to "Dancing Queen" as MAMMA MIA LADY 2 ENTERS
and joins in singing.)
MAMMA MIA LADY 2
"DANCING QUEEN", "VOULEZ-VOUS"
SEEM LIKE PUCCINI TODAY
N
ot
MAMMA MIA LADY 1
WICKED IS TURNING GREEN
'CAUSE WE'RE KEEN
BOTH
TO EV'RY THEATRE QUEEN!
(LADY 1 does a disco move as LADY 2 sings:)
-31-
n
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sa
l
MAMMA MIA LADY 1
THERE'S A SHOW IN NEW YORK
WITH A LITERATE BOOK
COMPLEX MUSICAL SCORE
AND A CLASSICAL LOOK
ON THE WEST END IT LOOKED RIDICULOUS
BUT IN NEW YORK IT'S METICULOUS
DEEP AND SMART
AND EQUIVILENT TO HIGH ART
MAMMA MIA LADY 2
SHOWS WITH ROCK AND RAP DON'T RUN LONG
EV'RYONE LOVES AN ABBA SONG
(LADY 2 does the 'hustle' as LADY 1 sings:)
MAMMA MIA LADY 2 (CONT'D)
ONE'S AS GOOD AS THE OTHER ANYONE WILL DO
sa
l
BOTH
(They both strike a 'Saturday Night Fever' pose.)
GET IN YOUR BEE-GEE STANCE
SQUEEZE IN YOUR SPANDEX PANTS
io
ct
Pe
COME BE A THEATER QUEEN
WE’RE HIGH ART, IF YOU’RE SEVENTEEN
ONLY SHOW IN NEW YORK THAT IS SQEAKY CLEAN
OH, YEAH!
n
ru
(They reach back and pull on their uncomfortably tight spandex.
For a moment, the ladies recreate an ABBA video, one facing forward,
the other facing her partner, then switching on each solo line.)
du
MAMMA MIA LADY 1
W
NOTHING TRITE
MAMMA MIA LADY 2
ro
TR
NOTHING CHEAP
fo
rp
MAMMA MIA LADY 1
A BLOCKBUSTER FOR MERYL STREEP
WE'RE LIKE A CHEKHOV SCENE
BOTH
WELL AT LEAST
TO A RETARDED QUEEN!
(The pianist begins to play a tambourine.)
BOTH (CONT'D)
N
ot
NUMB YOUR BRAIN
KILL YOUR DRIVE
(They stop moving, with deadpan expressions.)
BOTH (CONT'D
LITERACY WON'T SURVIVE
(Then the ladies break back into the disco fluff!)
-32-
BOTH (CONT'D)
OHHHHHH,
SHAKESPEARE'S DEAD
BROADWAY'S LEAN
(Both do the 'Saturday Night Fever' stance)
NOW IT'S A DISCO QUEEN!
BOTH (CONT’D)
OH, YEAAAH!
sa
l
(BLACKOUT)
du
W
ANTHONY RAPP (MARK)
HOW DO YOU KEEP UP WITH THE FADS
WHEN ALL THE FADS ARE MULTIPLYING BY THREE
BIG ADS
SMALL ADS BLOW MY MIND
AND NOW E-GADS
RENT IS HISTORY!
ct
Pe
ru
(ANTHONY RAPP [MARK] is seen upstage center, in an awkward pose,
his fingers spread wide near his head, with a grimace on his face. He
steps forward and sings to the song "Rent.")
ro
BOTH
fo
rp
TR
(Now ADAM PASCAL [ROGER] walks on stage with loads of attitude.
They almost shout at each other.)
RENT!
io
Rant ("Rent")
n
RENT SEQUENCE
(ANTHONY starts waving his hands over his head as if he is in Mamma
Mia.)
N
ot
ADAM PASCAL (ROGER)
ONCE WE WERE COOL AND NEW
NOW THAT VOULEZ-VOUS
FROM MAMMA MIA IS HOT
(He motions for ANTHONY to stop the un-cool Mamma Mia move.)
AND OUR MOVIE VERSION
WAS A PERVISION
OF WHAT WAS ONCE
APPLAUDED A LOT
ANTHONY RAPP (MARK)
ONCE OVER RATED
-33-
ADAM PASCAL (ROGER)
NOW WE ARE DATED
BOTH
ONCE WE WERE ADMIRED
WE WERE WILD AND WIRED
NOW WE’RE OLD AND TIRED
RENT IS SPENT
sa
l
(They take their microphones in hand and approach the audience.)
n
io
ru
BOTH (CONT'D)
DON'T SEE RENT
WHERE WE VENT
AND RANT! RANT! RANT! RANT! RANT!
RANT! RANT! RANT! RANT! RANT! RANT! RANT! RANT! RANT!
'CAUSE GOOD OL' RENT IS…. SPENT!
Pe
(They jump into the air and bring the number to a smashing 'rock' close.)
ct
Seasons of Hype ("Seasons Of Love")
du
ro
TR
W
(Lights crossfade as we hear the first strains of the song "Seasons Of
Love". ANTHONY straightens up and slowly walks across the stage,
eyeing the audience. He is full of pain and angst. Do they understand his
deep anguish and inability to pay his rent? He stands stage left and looks
toward the entrance as DAPHNE ENTERS, striking a pose. They pass
each other, giving an understanding nod. ADAM walks past them: his fist
in the air. They all come forward to the edge of the stage and share their
message:)
ALL (EXCEPT LIZA)
fo
rp
FIVE-HUNDREDTWENTY-FIVE-THOUSANDSIX-HUNDRED WRITE UPS
FIVE-HUNDREDTWENTY-FIVE-THOUSAND
MAGAZINE SPREADS
N
ot
FIVE-HUNDREDTWENTY-FIVE-THOUSANDSIX-HUNDRED PHOTOS
HOW DO YOU MEASURE
OUR SWELLING HEADS?
ADD RECORDS
AND T.V.
AND MIDNIGHT
-34-
ALL (EXCEPT LIZA) (CONT’D)
ON DAVID LETTERMAN
AND DOZENS
OF GROUPIES
(Bending forward and staring at the audience members in front of them)
IN THE FIRST ROW
DAPHNE
n
du
fo
rp
FIVE-HUNDREDTWENTY-FIVE-THOUSANDSIX-HUNDRED HOUSE SEATS
ro
TR
W
FIVE-HUNDREDTWENTY-FIVE-THOUSANDSIX-HUNDRED TONYS
ADD ON A HIGHLY IMPRESSIVE
PULITZER PRIZE
ORDER UP
io
ct
Pe
ru
sa
l
IN FIVE-HUNDREDTWENTY-FIVE-THOUSANDSIX-HUNDRED FEATURES
HOW DO YOU MEASURE
THE WORTH OF A SHOW
HOW ABOUT
(They push the sound of the 'P' in the word 'HYPE' the first time.)
HYPE! HYPE!
LAYERS OF HYPE! HYPE!
FORGET ABOUT LOVE!
IT'S THE SEASON OF HYPE!
SEASONS OF HYPE!
SEASONS OF HYPE!
(All turn toward DAPHNE as she wails.)
THERE'D BE A RIOT
IF THE PUBLIC GOT WISE
(All look at ADAM for his solo.)
ADAM
N
ot
FOR A HOUSE ORDER SEAT
IS ESPECIALLY SAVED
FOR THE SHOW BIZ ELITE
NOT THE VILLAGE DEPRAVED
ALL (EXCEPT LIZA)
(They clap, encouraging the audience to join them.)
HOW SADLY
IRONIC
THAT A STORY ABOUT FRIENDS
IS NEVER TO BE SEEN
-35-
ALL (EXCEPT LIZA) (CONT’D)
BY THEIR LIKE
JUST THE RICH WHO LIKE TRENDS
EVERYTHING'S HYPE!
THINK OF THE HYPE!
WHERE IS THE LOVE?
IN THE DECADE OF HYPE!
DAPHNE
sa
l
(Riffing:)
HYPE, HYPE, HYPE, THAT'S ALL I HEAR, TOO MUCH HYPE… OY! WHAT HYPE!
du
W
(In the dark, we hear an offstage voice announce:)
VOICEOVER
Ladies and gentlemen, Miss…. Liiiiza Minnelli!
ct
Pe
LIZA MINELLI SEQUENCE
(Lights up on FEMALE 2 [LIZA], dressed in a red sequined jumpsuit.)
YES!
LIZA
ro
TR
(Spoken:)
fo
rp
(She breathes hard, showing us she's really giving it her all.)
MAMA TAUGHT ME TO SING ONE NOTE
AND THE NOTE I SING IS THIS
(She laughs)
AAAAAAAAAAAAAAAAAAAAAAAAAH!!!!!!!
(Grabs the microphone and moves all about the stage.)
N
ot
I'M LIZA ONE NOTE
GOT NO VIBRATO
AND CAN'T SING LEGATO AT ALL...
I'M LIZA ONE-NOTE
SQUEEZING MY HIGH NOTES
AND SNEAKING RIGHT BY NOTES TAKES GALL
(She jumps up and down.)
TO BOUNCE ROUND THE STAGE LIKE A BALL
I'M A LITTLE BRASS
-36-
n
io
FADEOUT)
ru
ALL (EXCEPT LIZA)
SEASONS OF HYPE!
SEASONS OF HYPE!
(They push out that final 'P' in hype one more time.
LIZA (CONT’D)
AND A LOT OF DRUMS
MAY BE KIND OF CRASS
STILL THE PUBLIC COMES
Pe
ct
(Colored lights flash wildly as LIZA hits her fabulous one note.)
n
I DRESS IN RED SEQUINS,
BLUE SEQUINS, GOLD SEQUINS CLEAR SEQUINS
AND SOMETIMES HALSTON CHIFFON
io
ru
NOW I HAVE HER VOICE
AS YOU WOULD SUPPOSE
BUT IF I'D THE CHOICE
I'D HAVE FIXED MY NOSE
sa
l
I'M LIZA ONE-NOTE
DADDY MINNELLI AND UNCLE GENE KELLY SAID, "KID,
SQUEEZE OUT YOUR ONE NOTE.
YOU'LL BE A STAR AND THEY'LL KNOW YOU AS FAR AS MADRID."
AND MAMMA MADE SURE THAT THEY DID
du
ro
fo
rp
N
ot
TR
W
AAAAAAAAAAAAAHHHHHHH!!!!!!!!
I'M LIZA ONE NOTE, WHEN I START SINGING
YOUR EARS WILL BE RINGING IN PAIN
THAT'S WHY ALL MY FANS SNORT COCAINE
(Spoken very quickly, while fidgeting all around the stage)
Oh, God! I love show biz! The lights! The audience! The curtain! Ah! Ha! Ahh! Ahh! Ahh! I feel terrific!
(Asking an audience member)
How do you feel?
(She offers her mic for a response, but quickly pulls it back.)
Good. Hello. I love you! I love you all! Thank you so much for coming. Touch me. Would you like to?
(She offers her hand.)
Go ahead...it's all right. Go on.
(She then pulls away sharply.)
That's enough.
(She laughs wildly.)
Can I be serious for a minute? Just… just for a minute…
(She stops, looks up dramatically in a frozen pose for 5 seconds, then is
suddenly animated again.)
OK That's enough!
(She laughs!
She then runs up to the piano and climbs on for the big finish; sings:)
AAAAAAAAAAAAAHHHHHHH!!!!!!!!
MY SINGING WILL GIVE YOU A PAIN
I'M LIZA ONE NOTE,
MY ONE NOTE WILL DRIVE YOU IN-SAAAAAAAAAANE!!!!
YES!
(BLACKOUT)
-37-
SPAMALOT
Spamalot (“Camelot”)
(Lights up, and TIM CURRY as KING ARTHUR is standing triumphantly
stage center. Many cans of SPAM adorn his regal wear.)
TIM CURRY
W
io
ro
fo
rp
TR
TIM CURRY
SO WE TRASH CAMELOT
AND MUG AND HAM A LOT
AND MONTY PYTHON FANS GET HOT
WHEN THEY SEE SPAMALOT
ct
OFF-STAGE VOICE
(Shouted)
Wait…That's not the plot!!
du
Pe
ru
A LAW WAS MADE BY
FANS OF ERIC IDLE
THEY LAUGH BEFORE THE JOKES RIGHT ON THE DOT
AND NOW THE CAST IS GETTING SUICIDAL
AT SPAMALOT
(Spoken:)
It's so annoying!
(Sings:)
OUR AUDIENCE KNOWS EVERY JOKE THAT'S COMING
AND PEOPLE SCREAM OUT
n
sa
l
IT'S TRUE, IT'S TRUE
MIKE NICHOLS HAD A PLAN
TO SATISFY EACH MONTY PYTHON FAN
(The king trots off on an invisible horse, as we hear the clippity-clop of Galahad's invisible horse, ridden
by SIR CHRISTOPHER SIEBER. He arrives center stage, pushes back his long, glorious locks of hair,
and sings He is gorgeous.)
The Song They Stole From Us (“The Song That Goes Like This”)
N
ot
SIR CHRISTOPHER SIEBER
ONCE IN EVERY SHOW
THERE COMES A SONG LIKE THIS
IT STARTS OUT SOFT AND SLOW AND ENDS UP WITH A KISS
OH WHERE IS THE SONG THAT GOES LIKE THIS?
WHERE IS IT? WHERE IS IT? WHERE? WHERE? WHERE?
(Unknown to GALAHAD, his lady love has entered upstage and crosses
to him. She is the most beautiful creature in the land.)
-38-
SARA RAMIREZ OF THE LAKE
A SENTIMENTAL SONG
THAT CASTS A MAGIC SPELL
THEY ALL WILL HUM ALONG
WE'LL OVERACT LIKE HELL
OH, THIS IS THE SONG THAT GOES LIKE THIS
(They hold each other closely.)
sa
l
YES, IT IS!
n
YES!
Pe
NOW WE CAN GO STRAIGHT INTO THE MIDDLE EIGHT
A BRIDGE THAT IS TOO FAR FOR ME
BOTH
ro
TR
AND THEN WE CHANGE THE KEY
du
W
I'LL SING IT IN YOUR FACE
WHILE WE BOTH EMBRACE
ct
YES!
io
ru
BOTH
fo
rp
(They are both taken out of the scene a bit, as they begin to realize
something very odd.)
BUT WAIT THERE'S SOMETHING STRANGE
THE LYRICS DIDN'T CHANGE
WE'RE FORBIDDEN BROADWAY HERE
N
ot
THE WORDS ARE REAL AND CLEAR
(With great glee, they realize just how FORBIDDEN BROADWAY can
get back at SPAMALOT.)
BOTH
WE STOLE "THE SONG THAT GOES LIKE THIS"
-39-
NOW ERIC IDLE'S PISSED
BUT ONE SONG WON'T BE MISSED
WHY SHOULD HE MAKE A FUSS?
sa
l
HE STOLE THIS JOKE FROM US
n
BOTH
SO WE'LL STEAL IT BACK FROM THAT WUSS
io
ru
(Another key change; it's a bit too much for SIEBER.)
Pe
Jesus Christ!
A JOKE ON CHANGING KEYS
du
W
WE ALWAYS DO THAT, PLEEEASE!
ct
(Spoken)
ro
TR
…LIKE RHYMING "DAMN REFRAIN"
BOTH
fo
rp
WITH "WE SHALL GO INSANE"
(CHRISTOPHER SIEBER drops to one knee, holding her hand.)
BOTH (CONT’D)
SO WE'LL SING THEIR SONG AND MAKE THEM CUSS!
(He now stands by his lady, to finish this song that ends on an incredibly
high note.)
N
ot
BOTH (CONT’D)
FOR THIS IS THE SONG THEY STOLE FROM US!
-40-
CATS
Old Cats/I Enjoy Being A Cat ("I Enjoy Being A Girl")
io
ru
MALE 2
REMEMBER WHEN ACTORS PLAYED HUMANS
NOW TO BRING HOME A PAYCHECK
I DRESS UP IN FUR
SO I GLUE ON MY WHISKERS, TAIL AND ANIMAL HAIR
(He jumps — safely! — to the ground)
AND I GRIN IT AND I BEAR IT
WITH A PURR
W
ct
ro
fo
rp
TR
I'D RATHER DO SERIOUS DRAMAS
BUT AS LONG AS MY PAYCHECK'S FAT
THIS SHOW IS THE CAT'S PAJAMAS
I ENJOY BEING A CAT!
du
Pe
(He prances around the audience, joyfully.)
MALE 2 (CONT’D)
WHEN I WEAR MY BRAND NEW COLLAR
AND MY FUR IS ALL SMOOTH AND PAT
I LOVE TO HEAR THE PUBLIC HOLLER
I ENJOY BEING A CAT!
(He hops onto the stage.)
n
sa
l
(As the first notes are played, we hear a "Meow" from the audience.
Then, another "Meow!", and lights reveal MALE 2 in the audience, his
back against a wall on a high ledge while dressed in a tuxedo. His hands,
chest and head are rather furry. He has cat whiskers and a tail. He
purrs.)
(He leaps up on the piano.)
THOUGH FOLKS SAY THE SHOW IS LONG AND BORING
AND WE DANCE LIKE NEUROTIC CHIMPANZEES
AS LONG AS THE CRITICS ARE ADORING
I'M WILLING TO WEAR A COSTUME FULL OF FLEAS
N
ot
I'M STRICTLY A METHOD MORRIS
AND A PUSS-N-BOOTS ACROBAT
(He jumps back onto the stage, then to center.)
AND I LOVE PURRING IN THE CHORUS
BEING CUTE, CUDDLY AND COY
'CAUSE I ENJOY BEING A CAT
(Arms wide, he holds this note right into the next word without a breath –
impressive!)
-41-
MALE 2 (CONT’D)
REMEMBER
WHEN NO ONE WOULD CAST ME
NOW I'VE GOT ME A CO-OP
AND I'M RAKING IT IN
(He reaches out toward the light, à la Grizzabella.)
sa
l
NEXT SEASON I'M STARRING IN LLOYD WEBBER'S NEW SHOW
(Triumphantly, as if his next role is Hamlet)
I'LL BE PLAYING
(Then, defeated)
RIN-TIN-TIN
ANOTHER WORD FROM LES MIZ*
ct
Pe
On My Phone (“On My Own”)
fo
rp
ro
ROTATING UPSTAGE
WHERE IT'S DARK
THERE ISN'T ANYONE TO TALK TO
I SAY MY LINES
I HIT MY MARK
BUT I KEEP LOOKING AT THE CLOCK, TOO
du
W
EPONINE
(EPONINE enters on the revolving turntable, and quickly grabs the
center microphone, ending up with her back to the audience upstage
center. She turns around, cold and frightened)
TR
n
io
ru
(He wanders off, trying out his new 'dog bark' sounds, till finally giving
up and doing what he does best – leaping offstage with a final MEOW!)
(She comes to center and replaces the mic in its stand.)
UNTIL I ENTER NEXT
THERE'S LOTS OF TIME TO SEND A TEXT…
(She holds up a cell phone from her pocket, just before singing the next
line.)
N
ot
ON MY PHONE
I CHECK UP ON MY VOICE MAIL
ON MY PHONE
BEHIND THE "LES MIZ" RUBBLE
WITHOUT LIGHTS
THE MURKY SHADOWS HIDE ME
IN CASE I'M FEELING BORED
I KEEP MY IPHONE CLOSE BESIDE ME
-42-
EPONINE (CONT’D)
ON MY PHONE
WHILE JEAN VAL JEAN IS WEEPING
I CAN CALL
THE JERK WITH WHOM I'M SLEEPING
IN THE DARKNESS I STILL CAN TEXT A MESSAGE
AND GOSSIP WITH MY GIRL FRIEND
WHILE I'M SINGING "ON MY OWN"
sa
l
(Phone rings; she answers it; spoken:)
ct
Pe
(We hear a loud gunshot; she has been hit.)
EPONINE (CONT’D)
I'M DYING
TO CALL YOU…ON MY PHONE!
n
io
ru
EPONINE (CONT'D)
Hello…Oh hi! Where are you guys? Oh you're in act II…we're still in act I. I'll call you back after I die.
(Sings:)
ROTATE ME
THEN SHOOT ME
TR
du
ro
W
*THIS SONG MAY BE INSERTED ANYWHERE IN THE SHOW, INCLUDING THE LES
MIZ SEQUENCE
FIDDLER ON THE ROOF
fo
rp
(We hear the first famous notes from Fiddler On The Roof in the dark, as
lights come up revealing TEVYE walking toward the microphone.)
TEVYE (MALE 1)
An actor in New York... Sounds crazy, no? But in our little village… of Manhattan... there are over fifty
thousand actors... all trying their best, not to end up ....in Baltimore. It isn't easy! You may ask, "Why do
we stay here if it is so competitive?" We stay...because everyone else is here. And what keeps us from
ending up in Baltimore? That, I can tell you, in ONE WORD: AMBITION!!!
(He raises his arms and sings)
AMBITION, AMBITION!
N
ot
ALL
(VILLAGERS ENTER, arms raised; they move behind him in a line)
AMBITION! AMBITION, AMBITION! AMBITION!
(MEN do faux Bottle Dance and ultimately crash into each other;
TEVYE sends the male villager back into the line behind him.)
-43-
sa
l
TEVYE
(Embarrassed, indicating MALE 2)
Goyim. You may ask, "How did these ambitions get started?" I'll tell you: I don't know. But this much I
do remember:
(Sings:)
WHEN I WAS TEN I SAW A SHOW ON TV
SAW A SHOW ON TV, STARRING GARRY MOORE.
I WROTE AND I ASKED TO PUT ME ON THE SHOW,
BUT HE SAID,"GO ASK DINAH SHORE"
(He beats his chest in woe)
REJECTION! REJECTION!
ALL
TR
AMBITION
n
ct
du
ALL
ro
W
Pe
(TEVYE, arms raised, steps back into the line, as they all revolve in a
circle, clockwise. FEMALE 2 steps up to the mic.)
FEMALE 2
WHEN I WAS AN INGENUE AD NAUSEUM
MY VOICE WAS LIKE A LITTLE LAMB
NOBODY WOULD HIRE ME OR GIVE A DAMN
UNTIL I LEARNED TO USE MY DIAPHRAGM
(She spreads her arms wide.)
PROJECTION! PROJECTION!
io
ru
AMBITION!
(They imitate his chest pounding.)
REJECTION! REJECTION!
AMBITION!
fo
rp
(The others imitate her, spreading their arms.)
ALL (CONT'D)
PROJECTION! PROJECTION!
AMBITION!
(They revolve again in a clockwise circle, and MALE 2 steps forward.)
MALE 2
N
ot
AT TEN I WAS A PRETTY BOY
AT SEVENTEEN, A DREAM
I NEVER HAD A PIMPLE, SO I DO COMMERCIALS.
(He pats the smooth skin on his face.)
COMPLEXION! COMPLEXION!
ALL
AMBITION!
(They copy his movements, patting the skin on their faces.)
COMPLEXION! COMPLEXION!
AMBITION!
-44-
(Everyone revolves, and FEMALE 1 is now at the microphone.)
FEMALE 1
(Shyly)
AND WHEN I WAS A CHILD
NOBODY LOOKED MY WAY
UNTIL I GOT THE LEAD IN MY HIGH SCHOOL SENIOR PLAY!
(She suddenly makes a wild movement to be sure all eyes are on her.)
ATTENTION! ATTENTION!
sa
l
ALL
AMBITION!
n
(The others begin jumping, waving, anything to get attention!)
ATTENTION! ATTENTION!
AMBITION!
REJECTION!
ATTENTION!
MALE 2 (CONT’D)
PROJECTION!
ro
FEMALE 2 (CONT’D)
AMBITION!
FEMALE 1
AND WHEN I WAS A
CHILD
NOBODY LOOKED MY
WAY
UNTIL I GOT THE
LEAD IN MY HIGH
SCHOOL SENIOR
PLAY!
du
MALE 2
AT TEN I WAS A
PRETTY BOY
AT SEVENTEEN, A
DREAM
I NEVER HAD A
PIMPLE, SO I DO
COMMERCIALS.
N
ot
TEVYE (CONT’D)
AMBITION!
FEMALE 2
WHEN I WAS AN
INGENUE AD
NAUSEUM
MY VOICE WAS
LIKE A LITTLE
LAMB
NOBODY WOULD
HIRE ME OR GIVE A
DAMN
UNTIL I LEARNED
TO USE MY
DIAPHRAGM
fo
rp
TR
W
TEVYE
WHEN I WAS TEN I
SAW A SHOW ON TV
SAW A SHOW ON TV,
STARRING GARRY
MOORE.
I WROTE AND I ASKED
TO PUT ME ON THE
SHOW,
BUT HE SAID,"GO ASK
DINAH SHORE"
ct
Pe
(Everyone steps forward, arms raised, ending in a line in front of the
microphone. They each perform their verse exactly as they just did, only
this time each character singing his or her verse in counterpoint to the
others:)
io
ru
ALL (CONT'D)
AMBITION!
FEMALE 1 (CONT’D)
COMPLEXION!
AMBITION!
COMPLEXION!
PROJECTION!
ATTENTION!
REJECTION!
AMBITION!
AMBITION!
AMBITION!
-45-
AMBITION!
(As TEVYE slowly makes his way back to the microphone, the others take
three steps back in time to the music, with their arms raised, finally
lowering their arms and appearing once again in a straight line behind
MALE 1.)
TEVYE (MALE 1)
Ambition! Ambition!! Without our ambitions, our lives would be as crazy as...as....as an actor in New
York!
sa
l
(BLACKOUT)
Cameron MacIntosh
ro
W
THOUGH I CAME, I SAW,
I CONQUERED WITH MY SHOW BUS’NESS FINESSE,
AND MY CONTROVERSIAL CASTING
PUT THE UNION IN DISTRESS
IT’S MY MARKETING OF SOUVENIERS
THAT’S MORE OF A SUCCESS.
TR
io
du
I’M CAM’RON MACINTOSH
THE EMPEROR OF BROADWAY…
BUT THERE’S SOMETHING YOU OUGHT TO KNOW.
ct
Pe
ru
CAMERON
I’M CAMRON MACINTOSH
NAPOLEON OF BROADWAY
I’VE PRODUCED EV’RY NEW HIT SHOW.
n
CAMERON MACINTOSH
fo
rp
SWEATSHIRTS AND T-SHIRTS
AND BLANKETS AND MITTENS,
WHISKERS AND CAT EARS
AND LITTLE STUFFED KITTENS,
OLD LES MIS BODICES
HELD UP BY STRINGS…
THESE ARE A FEW OF MY SOUVENIR THINGS.
N
ot
RECORDS AND CDS
AND VOCAL SELECTIONS,
CAT GLOVES AND CAT TAILS
FROM CAT VIVISECTIONS,
LLOYD WEBBER DOLLS
AND COLM WILKINSON RINGS…
WHEN A SHOW FLOPS,
WHEN THE GROSS DROPS,
WHEN A WEEK IS SLOW,
-46-
CAMERON (CONT’D)
I MARKET AND MERCHANDISE SOUVENIER THINGS,
AND GROSSES DON’T SEEM SO LOW.
io
ru
LES MIZ CHOC’LATES
SHAPED LIKE ORPHANS,
PATCHES FOR YOUR SLEEVE…
IT COSTS ONE HUNDRED DOLLARS
TO COME SEE THE SHOW
AND ONE HUNDRED MORE TO LEAVE!
ct
Pe
BACK TO BARBRA
TR
du
BARBRA
ro
W
(We see a figure stepping forward into a beam of light. It is BARBRA
STREISAND, in concert.)
MEMORIES...
PEOPLE...
BARBRA...
STREISAND...
fo
rp
BACK TO BROADWAY
TO RECORD SOME SLOW
(She holds this note a very long time.)
TUNES
THEY'RE MY DULLEST SO FAR
N
ot
(She starts belting in the middle of "Broad.")
BACK TO BROADWAY
TO DESTROY MORE SHOW TUNES
AND I CAN, 'CAUSE I KNOW I OUTSHINE EVERY STAR
TELL DICK RODGERS
"SOME ENCHANTED EVENING'S" FIXED
I IMPROVED HIS SAPPY TUNES
AND HAD HIS ORCHE-ORCHESTRATIONS NIXED
'CAUSE I GET MY WAY
-47-
n
sa
l
KEY CHAINS AND WALLETS
AND CHANDELIER CRYSTALS,
COFFEE CUPS, PLAYING CARDS,
JEAN VALJEAN PISTOLS,
TOY HELICOPTERS
AND TURNTABLE SPRINGS…
BARBRA (CONT’D)
BACK ON BROADWAY
EVERY SONG'S REWRITTEN, REMASTERED, AND OVERMIXED
I'LL GO TOURING
AND BE BIGGER THAN BEFORE
AND BE FORCED TO GET DIVORCED
BECAUSE JAMES BROLIN IS A BORE
ru
(FADEOUT)
n
sa
l
AND IF I REALLY
WENT BACK TO BROADWAY
I WOULD RUN FOREVER, AND EVER, AND EVER, AND EVER MORE!
Pe
YOU CAN'T STOP THE CAMP
ro
TR
W
MARISSA
YOU CAN'T STOP THE TRENDY TRENDS
POP CULTURE BRINGS TODAY
AND IN HAIRSPRAY NO ONE HERE PRETENDS
WE HAVE SOMETHING DEEP TO SAY
SO DON'T TRY TO STOP OUR DANCIN' FEET
AND OUR RACIAL EXPOSÉ
du
ct
(MARISSA JARET WINOKUR dances on in a huge fat suit with big hair
and loads of energy!)
fo
rp
‘CAUSE THE SETS SPIN ROUND AND ROUND
AND THE VOLUME IS PUMPED TO A BLARING SOUND
BUT "HAIRSPRAY" WILL ASTOUND
AS THE GOOD TIME CHAMP
AND YOU CAN'T STOP THE CAMP
NO, YOU CAN'T STOP THE CAMP!
(Spoken:)
And to prove my point let me introduce the greatest Diva of the new century!
(HARVEY FIERSTEIN appears in an identical fat suit, divine in drag,
while 'daughter' MARISSA grooves to the beat nearby)
N
ot
io
HAIRSPRAY
HARVEY
I AM HARVEY FIERSTEIN
AND I LIKE THE WAY I AM
WHEN I DID "TORCH SONG TRILOGY"
I DIDN'T GIVE A DAMN
AND SO THEY’VE TAKEN BACK MY PULITZER
-48-
HARVEY (CONT’D)
BECAUSE NOW I AM A HAM
I DID SERIOUS DRAMA IN MY DAY
AND IT WASN'T MUCH FUN
AND IT DIDN'T PAY
SO I DESCENDED TO DRAG
AND NOW I PLAY A VAMP
io
du
W
BUT BIG FLASHY SETS SLIDE IN AND OUT
AND I PRANCE IN THE PINK AND I POSE AND POUT
AND MY VOLUME IS SO PUMPED UP
I BLOW OUT AN AMP
ct
Pe
ru
LAURA BELL BUNDY
I AM LAURA BUNDY
AND OF BROADNESS I AM FOND
AND ON ANY NIGHT BUT MONDAY NIGHT
I'M ILLEGALLY BLEACH BLONDE
CUZ' I'M A WANNA BE REESE WITHERSPOON
SO YOU MIGHT FEEL JUST A LITTLE CONNED
ro
fo
rp
TR
(As LAURA waves good-bye and EXITS, HARVEY does a 'shimmy' move
behind MARISSA, and the two separate to reveal… JOHN TRAVOLTA
from the movie of HAIRSPRAY. He seems very comfortable in his getup.)
Eeew! Who are you?
n
sa
l
(LAURA BUNDY from LEGALLY BLONDE ENTERS from upstage, and
wears a perfect pink suit along with her perfect pink bag that holds her
perfect little dog. HARVEY watches in jealous wonder.)
HARVEY AND MARISSA
N
ot
JOHN TRAVOLTA
DON'T YOU RECOGNIZE ME
FROM "PULP FICTION" AND FROM "GREASE"
CAN'T YOU SEE I'M JOHN TRAVOLTA
AND I ALWAYS PACK A PIECE
BUT IN THIS BRAND NEW FILM OF "HAIRSPRAY"
I AM PACKED TO BE OBESE
SO NOW I AM GETTING CAMPY TOO
MAYBE NEXT I'LL APPEAR IN "XANADU"
EVERY MUSICAL CARRIES A "CUTE AND CUDDLY" STAMP
(All three now join in for the big dance finale.)
-49-
Pe
HARVEY, MARISSA, AND JOHN (CONT'D)
du
W
(Spoken:)
MAMMA MIA*
(Spoken:)
fo
rp
ro
TR
(Sung:)
UP AND COMING CAMP
SISTER ACT
(Sung:)
(Spoken:)
9 TO 5
ct
(The three revolve in a circle, each of them calling out the name of a
totally “camp” musical.)
n
ru
WE'RE SICK OF VAPID MUSICALS
BUT KITSCHY CLICHÉ
IS CHAMP
io
AND YOU CAN'T STOP
THE MIGHTY META-MUSICAL
FROM HITTING THE SCREEN
AND EVEN JOHN TRAVOLTA
IS A BIG OL' QUEEN
sa
l
HARVEY, MARISSA, AND JOHN
AND YOU CAN'T STOP THE
TACKY, SILLY, WACKY SHOWS
FROM PLAYIN' BROADWAY
AND IT'S TRAUMA DOIN' DRAMA
OR A SERIOUS PLAY
AND BURSTING INTO SONG IS
UNACCEPTABLE AND SO GAY
(Sung:)
N
ot
(Spoken:)
KEVIN SPACEY
(Sung:)
-50-
ENCORE
HARVEY, MARISSA, AND JOHN
YOU CAN'T STOP THE CAMP!
HARVEY
GREASE!
(HARVEY dances off)
sa
l
JOHN AND MARISSA
ru
io
MARISSA
ct
Pe
(Speaks:)
The new revival of A CHORUS LINE!
(MARISSA EXITS)
du
(As MARISSA exits, DONNA MCKECHNIE from A CHORUS LINE
ENTERS to sing "What I Did for Laughs")
W
* (Words in parentheses are spoken and should be divided up as solos)
ro
A CHORUS LINE
WHAT WE DID FOR LAUGHS (“What I Did For Love”)
TR
n
JOHN
YOUNG FRANKENSTEIN!
(JOHN EXITS)
fo
rp
(DONNA MCKECHNIE does a few moves in her red leotard from her
famous "Music And The Mirror" number, as she arrives center to sing)
DONNA MCKECHNIE
KISS CLICHÉS GOODBYE
WE'RE HOPING THAT TOMORROW
BROADWAY GIVES US SOMETHING NEW
BUT WE WON'T FORGET
WHAT WE DID FOR LAUGHS
N
ot
SOMEONE HAD TO TRY
TO PARODY OR BORROW
MUSICALS THAT DON'T RING TRUE
SO WE DON'T REGRET
-51-
(Three other members of the cast of A CHORUS LINE slowly enter.
Each has a dance bag over their shoulders, with the FORBIDDEN
BROADWAY logo on it. They pose in various spots on the stage.)
ALL
GONE
ETHEL MERMAN'S GONE
BUT WE'LL BUILD UPON
CLASSICS WE REMEMBER
sa
l
(The dancers now form the famous CHORUS LINE.)
KISS TODAY GOODBYE
W
ct
du
Pe
ALL (BUT DONNA MCKECHNIE)
(HOPEFUL THAT TOMORROW)
ALL
THERE'LL BE BETTER SHOWS TO DO
WHAT WE DID
IN FORBIDDEN
WE DID FOR LOVE
LAUGHS AND LOT'S OF LOVE
HOPING YOU WILL
ro
TR
(The cast turns three quarter left, heads out to the audience and address
them directly. On the word "dream", all raise their left arms slowly, and
thumb their noses facing stage left on the button of the song.)
fo
rp
ALL (CONT'D)
FOLLOW EV'RY RAINBOW TILL YOU FIND YOUR DREAM!
CURTAIN CALL
BOWS
N
ot
STAGE MANAGER:
Ladies and Gentlemen, at the piano: ______________!
(name of Actor who plays MALE 1)!
(name of Actress who plays FEMALE 1)!
(name of Actor who plays MALE 2)!
(name of Actress who plays FEMALE 2)!
(Each take a solo bow, then join hands for a company bow, while the
pianist plays the curtain call music. As they come up from the company
bow, there is a…
BLACKOUT)
-52-
n
io
ru
DONNA MCKECHNIE
WE'RE HOPEFUL THAT TOMORROW
ENCORE (TA-TA)
(Lights up on company caught in pairs, 'making out' near the piano –
they are startled, compose themselves, and sing:)
n
ct
du
ro
fo
rp
N
ot
TR
W
Pe
(PIANIST joins them for one more bow, and all cross the stage in a half
circle from right to left, acknowledging their audience as they go)
io
ru
sa
l
ALL
WELL, TA-TA FOLKS
GLAD YOU GOT THE JOKES
AND BELOW THE BELT REPARTEE
HOPE YOU ALL HAD FUN
BUT WE'VE GOT TO RUN
OR SHOULD WE SAY RUN AWAY?
(They move across the stage for the big finish)
BUT WE'RE SURE TO MEET
ON THAT ZANY STREET
FORBIDDEN BROADWAY!
-53-
N
ot
n
io
ct
sa
l
ru
Pe
du
ro
fo
rp
W
TR
n
du
ro
New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
fo
rp
TR
W
GERARD ALESSANDRINI
ct
Pe
io
ru
sa
l
- VOCAL BOOK -
Follow us!
@theatricalright
N
ot
Like us!
11/7/12
TABLE OF CONTENTS
n
io
ct
du
ro
fo
rp
N
ot
TR
W
Pe
ru
sa
l
1. FORBIDDEN BROADWAY.................................................................................................................1
2. CHICAGO..............................................................................................................................................4
3. ANNIE ...................................................................................................................................................7
Tomorrow
4. SONDHEIM: INTO THE WORDS .......................................................................................................8
Into The Words ("Into The Woods" & "A Weekend In The Country")
5. CAROL CHANNING IN HELLO, DOLLY!..........................................................................................13
Call On Carol ("Call On Dolly")
Dolly Is A Girl's Best Friend ("Diamonds Are A Girl's Best Friend")
Hello, Dolly ("Oh No, Carol)
6. CHITA/RITA .........................................................................................................................................16
America
7. MANDY PANTINKIN ..........................................................................................................................21
Somewhat Overindulgent ("Over The Rainbow")
8. WICKED ................................................................................................................................................23
Defying Subtlety ("Defying Gravity")
9. MORE MISERABLES...........................................................................................................................25
Les Miserables ("C'est Magnifique")
End Of The Play ("End Of The Day")
Empty Songs, Empty Lyrics ("Empty Chairs At Empty Tables")
Recitative
Did You Hear The People Sing?
Finale
10. THE PHANTOM AND ETHEL ..........................................................................................................33
Mucous Of The Night
"You're Just In Love"
11. MAMMA MIA.....................................................................................................................................37
Mamma, Mia
Dancing Queen
12. RANT ...................................................................................................................................................40
Rant ("Rent")
Seasons Of Hype ("Seasons Of Love")
13. LIZA.....................................................................................................................................................45
14. SPAMALOT ........................................................................................................................................48
Spamalot ("Camelot")
The Song They Stole From Us ("The Song That Goes Like This")
15. CATS....................................................................................................................................................51
Old Cats
I Enjoy Being A Cat ("I Enjoy Being A Girl")
16. ANOTHER WORD FROM LES MIZ .................................................................................................53
On My Phone ("On My Own")
17. FIDDLER ON THE ROOF ..................................................................................................................54
18. CAMERON MACINTOSH .................................................................................................................59
Cameron MacIntosh
19. BACK TO BARBRA ...........................................................................................................................62
20. HAIRSPRAY .......................................................................................................................................64
You Can't Stop The Camp ("You Can't Stop The Beat")
21. A CHORUS LINE................................................................................................................................69
What I Did For Laughs ("What I Did For Love")
22. BOWS ..................................................................................................................................................71
23. TATA ...................................................................................................................................................72
Vocal Book
Forbidden Broadway
No. 1 — 1 —
1
FORBIDDEN BROADWAY
Bright 2
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1-2
Way
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Vocal Book
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Vocal Book
Forbidden Broadway
No. 2 — 1 —
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CHICAGO
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Vocal Book
Forbidden Broadway
No. 3 — 1 —
3
ANNIE
“Tomorrow”
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some - one
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back
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fo
rp
vive me!
14
œ
j
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&
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5
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Ó
Vocal Book
Forbidden Broadway
No. 4 — 1 —
4
SONDHEIM: INTO THE WORDS
“Into the Words” and “A Weekend in the Country”
b
& b 44
..
∑
"...IN THE PARK
WITH GEORGE..."
‰ œj œ
.. Œ
∑
I
Œ
œ
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∑
Œ
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wish...
I
‰ œj œ
I
wish...
I
I
wish...
VAMP
& b 12
8 ¿ ¿ ¿
STEPHEN:
20
the words...
ALL:
œ œ œ
In - to
&b œ
24
¿
I
I
∑
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RIDING HOOD:
In - to
j
œ œ
¿
ALL:
œ
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œ
j
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the words...
œ
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the words...
the
me
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ta - phors,
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de
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I
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-8-
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8
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syn
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the words...
STEPHEN:
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listen and go..."
Œ
ct
‰ œj 45 œ œ œ œ
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ot
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&b
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fo
rp
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DOT:
TR
15
22
wish this show was more me - lod - ic.
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SWEENEY:
12
18
I
..
Œ
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RIDING HOOD:
b
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ru
b
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SWEENEY:
I
RIDING HOOD:
Pe
9
‰ œj
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wish...
ro
&
bb
Ó
"SWEENEY TODD..."
sa
l
5
Œ
DOT:
n
1
VAMP
io
Brightly
STEPHEN "Once upon a time..."
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the words...
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verse
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thoughts
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j
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ALL:
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46
œ.
the words!
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j
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TR
38
con
STEPHEN:
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your
W
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the words...
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j
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plot
ALL:
œœ œ
fo
rp
&b
36
j
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the
the prais - es...
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Pe
in - to
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œ œ œ
DOT:
STEPHEN:
the why
ru
&b œ œ œ
ALL:
when,
RIDING HOOD:
In - to the words! The mu - sic waits.
34
the
j
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j
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j
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31
j
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n
the words...
&b œ œ œ
28
j
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io
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du
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j
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SWEENEY:
ro
ALL:
sa
l
&b œ œ œ
26
Sondheim: Into The Words
No. 4 — 2 —
ct
Vocal Book
œ
J
The
œ
J
œ.
œ.
œ.
œ.
I
have
no
peer,
'cause
hate
to
œ
In - to
&b
the words
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& b ..
that
the words...
62-63
In - to
œ
In - to
the words
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the words...
Forbidden Broadway
dark,
stars
are just
wood.
let
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ters
œ
J
you'd
your
brain
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bet
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make
œ
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than
you
that
trip
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a
your
œ
cave
"Ready?"
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lip
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and
dark,
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∑
you'd
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sprain
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the
¿.
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your
brain
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joke
OF
FOR
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and
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two,
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you've sung...
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STEPHEN:
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on WHEEL
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to
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rhyme
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j
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a
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try
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and
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ALL:
fly
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lip
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what's
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rp
the words
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68
œ
a
TR
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&b
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66
it,
trip
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the words...
œ œ œ œ
58
ask
that
j
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nœ
Pe
&b œ
56
star.
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J
œ œ œ œ
In - to
is the
j
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ALL:
54
score
œ
io
of
The
œ
J
Œ
ct
sort
&b
good.
j
#œ œ
&b œ
52
œ.
du
so
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J
ro
I'm
œ
sa
l
œ.
œ
J
Œ
œ.
ru
& b œ.
49
No. 4 — 3 —
n
Vocal Book
œ.
TUNE...
¿.
twelve - eight.
œ
sprain
j
œ œ.
a
torch
j
œ
œ.
your tongue...
œ.
in.
the words
that
&b œ œ œ œ
In - to
œ
J
the words...
82
the words
&b œ œ œ
œ
so
œ œ
J
œ œ
J
fly
j
œ œ
and
j
œ œ
& b 68 œ œ œ œ œ œ
in - to the syl - la - bles,
Forbidden Broadway
you've sung...
j
œ œ.
OF
FOR
∑
and
fry
œ
J
dark,
¿.
One,
your
œ
try
to
make
œ
J
œ œj œ
sell
œ
J
brain
and
j
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bet
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ter bring
j
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you
choke
j
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œ
J
the
œ.
on WHEEL OF FOR - TUNE...
the an - to - nyms,
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¿.
¿.
two,
j
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you'd
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TUNE...
Presto
STEPHEN:
œ
œ œ œ œ œ
œ
in - to
joke
on WHEEL
U
œ
J
lip
In - to the words... more let - ters than they
87
sell
ru
cave
the
j
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they
j
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a
that
your
N
ot
84
j
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trip
choke
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n
..
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J œ
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TR
In - to
than
you
j
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twelve - eight.
io
œ œ œ œ
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ters
2
74-75
œ
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œ
J
"So now let's do it up to tempo."
W
&b
let
make
j
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more
VAMP
In - to
80
the words...
to
fo
rp
&b
78
œ
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try
Pe
& b ..
and
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ro
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fly
j
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j
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sprain
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your tongue...
du
&b œ œ œ
that
œ
J
sa
l
the words
72
j
œ œ
œ œ
J
&b œ œ œ œ
70
In - to
No. 4 — 4 —
ct
Vocal Book
j
œ œ.
a
torch
in.
j
œ
œ
joke
œ.
œ.
you've sung...
U
w.
68
# ww ..
nw .
We're....
œ œ œ œ œ
œ
œ œ œ œ œ œ
in - to
in - to
the met - a - phors,
the syn - o - nyms,
STEPHEN:
Care
in - to the
an - to - nyms,
in - to the met - a - phors,
œ
œ.
œ.
œ.
tion!
Care
ful!
-
j
œ œ
Vb œ
œ
J
Your
dic
j
œ
œ
SWEENEY:
Are
dic
j
œ
œ
Are
you sure
that
syl - la - bles,
in - to
an - to - nyms,
in - to
œ
œ.
œ.
œ.
-
ful!
TR
j
œ œ
you sure
˙.
˙.
˙.
˙.
words!
˙.
j
œ
that
dic
œ
you
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tion!
Care
j
œ œ ‰ œ
ca - peesh?
A
the met - a - phors
words!
Forbidden Broadway
˙.
ver - steh?
œœ ..
œœ
and
œ.
œ.
-
ful
of
œ
j
œ œ.
œ.
-
way
we
in
go
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J
the
œ
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J
the
œ
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to
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J
the
˙.
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˙.
˙.
˙.
˙.
˙.
œ
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J
˙.
˙.
˙.
˙.
˙.
œ ‰‰Œ ‰
J
˙.
˙.
˙.
˙.
˙.
j
œ ‰‰Œ ‰
words!
˙.
j
œ œ.
˙.
˙.
N
ot
˙.
Your
tion!
-
du
œ
J
the
ro
the
œ.
ct
in - to
Are
Vb
you
œ œ œ œ œ œ
Vb œ
Vb
der - stand?
j
œ œ
Your
œ œ œ œ œ œ
Care
&b
-
œ
ful!
-
syn - o - nyms,
œ.
œ
J
œ œ œ œ œ œ
V b œ.
99
un
j
œ œ.
Pe
&b
you
W
95
you sure
-
œ
in - to the
sa
l
V b œ.
syl - la - bles,
ru
in - to the
œ œ œ œ œ
œ
œ œ œ œ œ œ
œ œ œ œ œ
œ
n
&b œ œ œ œ œ œ
DOT & RIDING HOOD
fo
rp
91
No. 4 — 5 —
io
Vocal Book
-12-
Vocal Book
Forbidden Broadway
No. 5 — 1 —
5
CAROL CHANNING IN "HELLO DOLLY"
“Call on Carol”, “Dolly Is a Girl’s Best Friend”and “Oh No, Carol”
2-9
# œ
the
one
œ
pro
#### ˙
& #
TR
18
ei
&
26
&
re - com
####
####
#
-
œ
œ
She'll
play
# œ
˙
####
#
œ
Œ
mend
œ
œ
Le - vi
œ
œ
from
sev
œ
Œ
œ
n
nœ #œ nœ #œ
pro
-
duc - ing
œ
sum
-
‹œ
œ
- en
till
œ
œ
œ
twelve
Œ
œ
mer
DOL - LY,
j
œ
‰
stock.
œ nœ
œ
J
‰
o' - clock.
∑
Car - ol!
œ œ œ
œ
DOL - LY
#œ
they're
or
œ œ ‰ œ
J
∑
ol!
when
#œ
on
HEL - LO
-
œ
Broad - way
Dol - ly
œ œ œ œ
She'll do
œ
-
œ
ther
Call
30
duc - ers
N
ot
&
22
-
œ œ œ œ
W
She's
œ
œ
Car
ro
####
on
Œ
œ
fo
rp
&
14
œ
Pe
Call
Œ
io
œ
du
Œ
# œ
BOYS:
sa
l
####
8
ru
&
10
∑
ct
#### 2
& #4
Briskly
1
j ‰ Œ
œ
till she's
dead.
-13-
U
CAROL: "I do HELLO, DOLLY!"
∑
∑
bb
∑
‰ œj
Œ
œ
played
I've
litter,
but
b
&b œ
done
sev - 'ral
œ
J
œ
whole
-
Roles
œ
œ
shows
I
TR
talk
b
&b œ
œ
61
why
should
b œ
b
&
œ
girl's
b
& b 44
best
w
Maestoso
72
you
‰
œ
I
and
I've
sold
œ
˙
best
friend.
call
me
bit
œ
œ
œ
mess - y
as
œ
œ
and
œ
far
re -
œ #œ
meno mosso
friend... so
com
œ
who needs
can
-
be
-
play
Dol - ly
Le - vi!
Sond - heim?!
2
73-74
though
U
œ
œ
lip - stick
smear.
œ
J
‰
tween,
and
Œ
j
œ
‰
œ œ œ
œ
a tempo
Dol - ly
is
a
Ó
œ œ
œ œ
Dol - ly
is
˙
˙
girl's
best
Œ
BOYS:
#œ
Oh
-14-
my
but
œ œ.
J
œ.
œ
mend...
œ œ
œ
J
œ
ter...
œ
œ
œ œ
I
-
˙
œ
œ
don't
my
ty
‰ œj
œ
œ
œ
-
I've
can't
rall.
kit
Œ
œ
friend!
Forbidden Broadway
lei
#œ
œ
J
few
grieve?
œ
re -
œ.
œ
J
‰
œ
œ
œ
œ
is
N
ot
66
but
œ
are
57
œ
reer
nœ
a tempo
b œ
b
&
œ
J
girl's
œ
fo
rp
œ
bb
ca
a
œ
flops,
W
&
53
œ
is
œ
Pe
&
bb
Dol - ly
œ
œ
45
49
œ œ œ
œ
‰ n Jœ
-
œ.
ro
œ
Lo
œ
ru
œ
b
&b
40
œ.
œ . nœ
œ
n
Briskly
io
U
CAROL (sung 8vb):
ct
U
sa
l
b
&b
35
Carol Channing in “Hello Dolly”
No. 5 — 2 —
du
Vocal Book
a
44
####
#
œ
no,
œ
dare
&
####
#
œ
œ
do
HEL - LO
œ
œ
#
œ
œ
drummed in - to
Poco meno mosso
w
œ
our
role
& œ
102
I'm
œ
since
œ
œ œ œ
œ
keep - ing you
em
œ œ œ
œ
œ
Ei - ther it's
this
or
www
&
110
whole
show,
we
w
is
hell,
w
w
God knows
CAROL:
nw
when,
œ
were
œ
Œ
ployed,
œ œ
J
œ
Don't
be
LO - RE - LEI.
Prom - ise you'll
œ œ œ
BOYS:
Prom - ise you'll
www
www
-15-
œ
been
U U U
œ
œ
œ
ten.
nnnn
œ
n
Yes, once was
œ
˙
an
-
œ
œ
nev - er
œ
do - ing
nev - er
œ
you
œ
has
œ nœ
œ
œ
CAROL:
BOYS:
fel - las.
œ ˙
J
ly
œ
œ
œ œ œ
j
œ œ.
œ
Car - ol,
Car - ol! You've been
gain!
Forbidden Broadway
-
as
œ
"
œ
on
œ
you
œ ‹œ
For
˙
so...
˙
-
Œ
Don't
#œ
gain!
œ
œ
œ
N
ot
&
106
œ
Car - ol. Twice
œ
œ
brains since
œ
TR
& œ
-
fo
rp
swell,
97
œ
œ
W
&
92
this
a
Œ
w
œ
œ
œ
Car - ol!
ru
Car - ol,
‰ œ
J
once
œ
œ
no,
œ
Pe
&
####
œ
DOL - LY!
w
know,
88
œ
no,
œ
du
##
& # ## œ
80
84
No,
Car - ol!
w
œ
œ
œ
n
# w
io
Easy 4 (swing-time)
ro
####
sa
l
&
76
Carol Channing in “Hello Dolly”
No. 5 — 3 —
ct
Vocal Book
˙˙˙ ..
.
œ
fel - las.
œ œ
J
œ
J
do this
show.
do this
this same
œ
noyed,
œ œ
J
œ
˙
œ œ
J
œ
CAROL
+ BOYS:
show
a
Œ
-
Vocal Book
Forbidden Broadway
No. 6 — 1 —
6
CHITA/RITA
“America”
..
∑
..
2
2-3
CHITA:
˙
˙
b
& b bb ˙
rude
3
b
& b bb ˙
im
-
i
œ
œ ˙
j
nœ œ .
world's
b
& b 68 œJ
‰
œ œ ˙
3
got all
j œ
n
œ
œ
I'm
first
A
Tempo di Huapango (fast)
29
j
œ œ
œ
œ
was
œ.
-
glo - ry...
j
nœ œ .
œ
j
œ œ.
ni - ta.
Lat - in.
rall.
˙
˙
Don't
43 ˙ .
3
-16-
˙
mix
us
-
3
nœ œ ˙
we
œ
œ
both
œ
chick - en
but
b˙
˙
œ
cac - cia -
j
œ nœ œ
‰
˙
bœ œ ˙
n˙
lous
Though
like
3
68 ˙ .
Chi - ta!
3
all
˙
3
j
nœ œ .
the
œ
3
œ œ ˙
3
hers
the fier - y
N
ot
b
& b bb b ˙
3
˙
STOR - Y,
She
˙
cat in.
25
œ ˙
˙
fo
rp
to - re.
b
& b bb
3
‰ œ
˙
Œ
re - no:
œ
3
are
˙.
˙
ta - tions.
SIDE
TR
b
& b b b n œj
œ.
17
21
-
3
WEST
˙
ra - tions
nœ n˙
W
did
-
˙
˙
3
œ œ ˙
3
13
gy
3
y
œ
-
˙
ct
9
n˙
ru
her
œ
3
ro
˙
3
œ ˙
du
œ
3
Pe
&
bbbb
3
Mo
sa
l
Miss
6
œ
3
n
b
& b b b 44
io
1
Moderato, tempo di "Seis"
don't let
3
œ œ ˙
was
3
bœ œ ˙
43 ˙
the
b b 68
3
I
that
3
I
up.
œ
am
Œ
68
not
b
& b 68 b œ œ œ b œ œ œ
43 œ
37
is
b
& b 43 œ
Chi - ta
and
nœ
40
got
Ri
-
ta!
b
& b 68 œ œ œ œ œ œ
&b
b
œ
œ
get
the
is
68 œ
Li - za
night - clubs
and
43 œ
Chi - ta
and
œ bœ
œ
b
& b 43 œ
shot
Forbidden Broadway
likes
Chi - ta
nœ
Ri
-
43
œ
who
œ
œ
gets
the
not
œ
œ
œ
ta!
68
œ
you
for
not
Ri - ta
bœ
Ri
-
œ
ta.
is
œ
œ
is
the
-17-
œ
I
œ
œ
what
and
the
j
œ œ.
68
43
68
∑
43 œ
œ
not
œ
68
Chi - ta.
œ bœ
would - n't
˙
-
bra - vos;
Ri - ta and
43
˙.
œ
43 œ
and
68
bœ
43
68
œ.
shows!
Ri - ta.
but
œ
˙.
œ
mov - ies
68
œ
Chi - ta.
pre - fer
68
œ œ œ œ œ œ
œ
43 œ
œ
œ
j
œ
bomb
œ
N
ot
œ
œ
68
œ
you
She
œ
œ œ œ œ œ œ
b
& b 68 b œ
60
minds
∑
would
œ bœ
43
œ œ œ
who.
My name
57
-
not
œ
I
fo
rp
œ
I
53
re
œ œ œ
TR
50
ta.
is
˙.
43 œ
W
who's
b
& b 68
dit - ty
68
bœ
œ
-
Pe
lit - tle
b
& b 43 œ
Ri
68
43
46
bœ
not
œ
Ri - ta Mo - re - no
ru
Chi - ta
Ri - ta.
œ
n
is
œ
43 œ
du
Ri - ve - ra
68
œ œ œ œ œ œ
ro
Chi - ta
œ
io
43 œ
sa
l
b
& b 68 œ œ œ œ œ œ
33
This
Chita/Rita
No. 6 — 2 —
ct
Vocal Book
mind
œ
I'm
œ
œ
if
they
œ
the
43
68
b
& b 43 b œ œ œ
66
on
Broad - way
b
& b 68 b œ b œ œ œ œ œ
œ
œ
in
œ
KING
œ
done BYE BYE BIRD - IE,
b
& b 43 œj ‰ œ
œ
œ
W
78
nee,
peo - ple...
CHI
68
œ
"Aye! Aye! Aye!"
cott
Forbidden Broadway
œ
œ
CA - GO,
43 Œ
œ œ
BA - JOUR, and
Œ
I
œ bœ
and when
Chi - ta
not
hates
Ri - ta
bœ
Ri
-
but
œ
ta?
œ
Ri - ta.
43 # œ
not
68
nœ
Chi - ta.
˙.
-18-
œ
œ
68
"Aye, aye!" while
43 Œ
Œ
œ œ
68
I have
43
68
œ œ bœ
œ
mat - i -
œ œ
43
chor - us boys scream and yell
68 œj ‰ ‰ Œ
‰ bbbbbb
peo - ple!
Ri - ta
nœ
43
cur - rent
nev - er miss a
68
œ œ œ œ œ œ
and
the
68
œ œ œ œ œ œ
43 œ
N
ot
b
& b b b b b 43 b œ
93
43 œ œ
gay
b
& b b b b b 68 n œ œ œ n œ œ œ
Li - za
AND I!
œ
to
in - vent - ed the
I love all of the
b
& b bbbb œ œ œ œ œ œ
90
six - ties
68
˙.
œ œ œ
˙.
how
86
My name is
-
I
fo
rp
œ
œ
the
j‰
68 b œ b œ
3
œ
b
œ
œ bœ œ
œ œ 4
œ
TR
b
& b 43 b œ
82
and
œ
68
bœ œ bœ bœ œ œ
68
3 bœ
4
œ œ bœ œ œ œ
∑
ru
was lisp - ing
fif - ties and
Pe
b
& b 68 œ
75
from the
43
43
71
Ri - ta
43 b œ œ b œ b œ œ œ
68
˙.
œ
day, peo - ple...
œ
n
who starred
œ
io
œ
du
œ
ro
one
œ
sa
l
b
& b 68 b œ
63
Chita/Rita
No. 6 — 3 —
ct
Vocal Book
is
68
43 œ
Ri - ta and
nœ
œ
Why won't
43
˙.
not
œ nœ
the
œ
œ
68
œ
43
Chi - ta.
œ
un - ion
boy -
#6
8
43
43 œ
œ
When
Ri
am a ber - sa - tile
TR
-
œ
œ
can
play
œ
œ
tal - ians
a
when
œ
weight,
nœ
œ
Chi - ta!"
Forbidden Broadway
see
68
3
4
-
œ
œ
you,
they
œ
œ
y
role
68
˙.
the
43 œ
I
j
œ œ.
43
68
œ
Chi - ta,
Œ
˙
-19-
43
I'm
œ œ œ
mat - tress.
j
œ
choose...
68
œ.
68
∑
Jews.
nœ
state,
and
43 œ
œ
œ œ
43 œ
peo - ple say, "There goes the
43 œ
œ
Chi - ta.
œ
me
œ
68
6
8
˙.
you stay on
68
œ œ œ
Chi - ta,
œ bœ
œ œ œ
œ œ œ
œ
œ
œ
lot,
think you're
CHITA:
black
œ
a
œ
they
...long as
an
and
date,
œ bœ
they
œ
43
N
ot
œ
But
#
& 43
I
go out on
#
& 68 n œ
125
I
œ
bœ
˙.
act - ress...
3
œ
œ
œ
4
œ
œ œ œ
When I
122
œ
œ
fo
rp
œ
œ
68
Chi - ta,
œ œ œ
68
œ
RITA:
Gyp - sies,
#
pot,
6
8
ta.
∑
#
& 68
&
much
look like you
ro
#
115
118
too
W
&
œ
3
4
œ
œ
œ œ œ œ
œ
I
112
though I
43 œ n œ
œ
œ
-
Chi - ta,
Pe
not
#
& 68
smoke
nœ
105
108
œ bœ
peo - ple
#3
& 4 œ
not
.. 68
ct
#
& 68 n œ
102
Ri - ta and
œ
43 œ
œ œ œ œ œ œ
du
My name is
œ
68
sa
l
# 6 RITA:
& 8 œ œ œ œ œ œ
98
∑
"...to clarify one t'ing."
n
∑
VAMP
96
ru
#6 .
& 8 .
Chita/Rita
No. 6 — 4 —
io
Vocal Book
bœ
œ
"Looks like
68
∑
great
œ bœ
you
43
put
œ
œ
68
œ
43
Ri - ta!"
œ
on
∑
some
b b 68
∑
68
So
if
you
b
& b b b 43 œ
œ
143
great
bœ
-
œ
œ
œ
want
to
keep
œ
she
œ
is
the
TR
#### 6
& #8 œ œ œ œ œ œ
and Chi - ta
Pi - a
Chi
-
I
am
the
bœ
œ
œ
one
who
should
43 œ
and
Za - do - ra
œ
Li - za
Pi - a
Forbidden Broadway
Pi - ta,
œ
straight,
œ
one
you
should
43 œ
mi
Li
Mi - a,
Be - be
œ
sa
and
Ri - ta,
œ
Neu - wirth...
-20-
‰
Œ
68
u
-
late;
#### 6
#8
There's
œ
Mi - a
43 œ
œ
Chi - ta
œ nœ
and
œ
Li - za
68
œ
and
43
œ
and
43 œ œ n œ œ œ œ
Chi - ta,
U
the
œ
œ
grate!
68
nœ
68
œ œ œ œ œ œ
œ
-
Li - sa and Li - za and
-
set - tle
bœ
em
68
œ œ œ œ œ œ
nœ
Li - za,
to
nœ
-
43
œ œ œ œ
œ
43 œ
œ
b b b b 68
∑
here's how
bœ
and
43 œ
and
œ
J ‰ œ œ
ta!
œ
who
œ
#### 6
& # 8 œ œ nœ œ œ œ
158
who's
N
ot
#### 3
& #4 œ
155
œ
œ
#### 6
nœ œ œ
& # 8 nœ œ œ
152
68
œ
43
∑
43
∑
fo
rp
148
Ri - ta
43 œ
68 b œ
bate:
W
b
& b b b 68
146
de
œ
68
∑
sa
l
œ
ru
œ
BOTH:
68
∑
Pe
b
& b b b 68 œ
43
∑
43
∑
n
b
& b 43
135
68
∑
ct
43
du
∑
ro
b
& b 68
130
140
Chita/Rita
No. 6 — 5 —
io
Vocal Book
Ri - o
j
œ
and
Ri - ta,
œ ‰ ‰ Œ
J
me!
68
Li - za,
‰
Vocal Book
Forbidden Broadway
No. 7 — 1 —
7
MANDY PATINKIN
“Somewhat Overindulgent”
œ
j
œ
I've been think - in'
˙
˙
might
be
known
&b ‰ œ œ œ œ œ œ œ
a tempo
so,
if
you like my twen - ty
&b w
˙
w
&b
dress
-
ing
TR
rall.
˙
Some
˙
-
Some
a tempo
&b ˙
33
while
œ
o
œ
in
˙
and
C.
-
-
D.,
œ .
J œ
-
œ
J
su - al
e - mot - ing
like
œ
œ œ œ
-
˙
œ
what
o
a
lyr
a
˙
œ
you
won't
-
œ œ œ
re - cog - nize
come
and
-21-
I'm
rall.
tune
euse...
œ œ œ œ
see me ev - 'ry
(accel.)
œ
œ
œ œ œ
turn - ing on the
U̇
.
Œ
˙
˙.
Œ
I'm
high...
œ
œ œ œ
a - bout
I
the
w
-
and
˙
œ
rall.
goose.
like
œ
and
accel.
œ
Œ
like
ver - in - dul - gent,
tin - kin...
œ
U
˙
œ
œ œ œ
-
œ
œ
w
œ
ic
œ œ ‰ œ
a male chant
loose
rall.
œ
-
œ œ
J
w
and
ver - in - dul - gent,
œ œ œ
ter - pret
Pa
you should
œ œ
œ
œ
œ œ
N
ot
I
&b
what
˙
&b ˙
25
29
on
œ œ ‰ œ
meno mosso
Œ
"Che"
more as
fo
rp
&b
songs
ca
U
juice...
21
œ
œ.
˙
W
night
17
œ
rall. poco a poco
12
œ
j
œ œ
w
Pe
9
I
Man - dy... Man - dy
ru
&b œ
j
œ œ
is
œ
œ
œ
œ
sa
l
My name
4
œ
œ
n
œ
œ
MANDY PATINKIN:
io
.. ‰
∑
ct
& b 44 ..
ro
1
du
Molto rubato, appassionato
œ œ œ
af - ter
I
to
Œ
accel. e cresc.
˙.
die.
˙
˙.
sing
blue,
œ
accel.
get
through.
˙.
rall.
Œ
‰ œ
J
rall.
Some -
œ œ œ œ œ
Jol - son songs like "Old Black Joe" and
em - pha - size most ev - 'ry word and
o
˙
˙
-
bra
did
&b œ
œ
TR
œ
Bar - bra
&b
55
it
w
Strei - sand
gets
to
œ
be
w
œ
be
-
Forbidden Broadway
Watch
œ
Why
I'm
-22-
˙
˙.
me
cry!
œ
then, oh why
œ
yond
in
œ
-
#˙
ham - my.
˙
œ œ œ
œ
w
N
ot
me?
œ
in YEN - TL.
œ
œ
˙
fo
rp
œ
meno mosso
53
œ
ver - in - dul - gent...
œ œ œ
W
Bar
œ
-
prove
I'll
Œ
U
‰ œJ
˙.
can't
I?
du
what
œ œ œ
Pe
&b
49
-
œ
˙
œ
ro
Some
˙
Ó Œ ‰ œJ
accel. e cresc.
lit - tle bird to
ru
˙
twit - ter like a
˙
"Mam - my."
˙
nœ œ œ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ
a tempo
41
&b
˙
œ œ
ct
day I'll do a one - man show, sing
œ
n
œ
œ
accel.
sa
l
&b œ œ œ œ œ œ
a tempo
37
45
Mandy Patinkin
No. 7 — 2 —
io
Vocal Book
dul - gent,
U
If
œ
œ
U
œ
why,
oh
why
U
∑
U
œ
not
Vocal Book
Forbidden Broadway
No. 8 — 1 —
8
WICKED
“Defying Subtlety”
j
œ
No
for
Œ
œ
b
& b bbb œ
my re - place
œ
Allegro
12
œ
œ
for - ev - er
TR
œ œ
bb
&b b b ˙
-
˙
ing
b
& b bbb Œ
26
˙
j
œ œ
j
œ ˙
-
œ
œ.
ing
j
œ
œ œ œ.
And
in
a harn
N
ot
b
& b bbb Œ
œ
In
b
& b bbb œ
rall.
33
-
œ
j
œ œ
all
the
œ œ
dies have
∑
j
œ
œ
big
œ
to
œ
j
œ ˙
œ
fly
-
you can't
I - di - na
œ œ
bring
- ess
made
Out of the
park
ly
‰ œj œj œ
And hang - ing
-23-
down
œ
All
from
De - fy -
∑
the
sky
œ œ œj œ
the lead
j
œ
œ œ
j
œ œ œ ˙
J
me up to
œ
J
mark
w
œ œ œ œ
hoist
-
j
œ
œ
J
my
˙.
me
œ
j
œ œ œ
And
j
œ œ
j
‰ œj œ œ .
j j
œ œ œ
Œ
ED
œ œ j
œ œ œj
great
Œ
Œ
j
œ œ
shows late
a tempo
WICK
I
œ œ œ œJ œ .
œ œ œ œ œ
J
J
me
am the
sub - tle - ty
sub - tle - ty
So strap
I
show
œ
of
j
œ œ.
œ
j
j
œ
œ œ œ
Œ
ments know
own this
œ
star
Œ
œ œ
˙.
De - fy
21
the
œ
fo
rp
b
.
& b bbb ˙
16
30
-
W
I'll
am
ru
œ œj œ œj
And
j
œ
j
œ œ
IDINA:
Pe
b
& b bbb Œ
3-4
WICK - ED!
I
8
bbbbb
2
n
U
∑
b
& b bbb
˙.
io
a - wards
œ
du
5
œ œ œ.
ct
Œ
OFFSTAGE VOICES:
ro
&c Œ Ó
sa
l
Andante maestoso
j
œ œ
the
-
ing
j j
œ œ œ.
raft
-
ers
œ
J
la -
ume
b
& b bbb ˙
œ
like
j
œ œ
œ œ
As
I kill
-
TR
down
&
55
bbbb
b œ
am
œ
the
œ
˙
Of
˙.
b
& b bbb w
œ
œ
witch
b
& b bbb w
œœœ
OFFSTAGE VOICES:
Wick - ed!
Forbidden Broadway
blow
U
œ œ.
j
œ
in
Oz
And
œ
the
rall.
œ
œ
Œ
no
one's
˙.
j
œœœ œœœ ..
.
Wick - ed!
rall.
j
œ
I'll
œ
œ
Ger - shwin
œ
œ
gon - na
And sud - den - ly
I
Œ
j
œœœ œœœ ..
.
Wick - ed!
-24-
œ
J
With
death
de - fy -
j
œ œ
j j
œ œ œ.
tear this
thea
-
œ
œ
up
œ
turn
tre
j
œ
œ.
be - cause
œ
œ
my
I
Uœ "
J ‰
vol - ume
Ah...
w
œœœ
j j œ
œ œ
œ œ œ œ ˙.
‰ Jœ
Deliberately
w
(IDINA)
j
b
& b b b b œœœ œœœ ...
tle - ty
œ œ œ.
œ
I'll
N
ot
down
-
vol -
œ
J
‰ œ
sub - tle - ty
œ
w
a tempo
œ
(As Monkey
slams crate down)
loud - est
59
63
sub
j
œ ˙
ru
˙
j
œ ˙
b œ.
œ.
ing
ing lack
Deliberately
chimp
my
j
œ œ œ œ
Œ
w
fo
rp
bbbb
Pump up
ing
œ
-
W
&
51
-
Pe
œ œ
b
.
& b bbb ˙
47
fly
˙.
Am de - fy
blimp
j j
œ œ œ.
my
‰ œ œ œ
43
a
j
œ
io
b
& b b b b œj œ .
39
dan - gle
ro
I'll
j
œ œ œ œ
Œ
ct
œ
j
œ ˙
j œ
œ
j
œ
du
j
œ œ
sa
l
b
& b bbb Œ
36
-
Wicked
No. 8 — 2 —
n
Vocal Book
˙˙˙
œ
Œ
Ó
œœœ
Œ
Ó
Vocal Book
Forbidden Broadway
No. 9 — 1 —
9
MORE MISERABLES
““C’est Magnifique”, “Les Miserables”, “At The End Of The Play”,
“God, It’s High”,“Castles On A Cloud”, “I Dreamed A Show”,
“Recitative”,“Do You Hear The People Sing” and “Finale”
œ
œ
œ
3
œ
œ
I
œ
œ
shows,
and
you'll
œ
TR
œ
eet,
œœ
œ
and
b
&b b œ Œ Œ œ
LES
b
& b b ˙.
32
sunk
œ
find:
˙.
o
and
-
bbb C
œ
˙
-
œ
E
RA
-
Broad - way's at
œ
œ
œ
-
er
zer
œ
Ó
Ooh
Œ
œ
po - nine goes
Ja
j
œ
punk!
-25-
‰
œ
œ
œ
Ooh
to
o - zer
j
œ ˙
says,
God knows,
Ó
Œ
j
œ œ
la
la
œ
Go
œ œ œj œ œj
BLES!
j
œ œ
œ œ œ œ œ
shows.
watch ze peo - ple spin!
Œ
all.
5
œ Œ Ó
j
j
œ œ œ œ œ
to
œ œ ˙
Moderato
œ
-
3
Com - pare eet
just like zee post
in
MI - SE
œ
mind.
call?
œ
not real - ly
Œ
˙
to
œ œ œ
‰ œ œ œ œ
N
ot
get
œ
œ
deed - n't
œ Œ Œ œ
23
b
&b b Œ
œ
Œ
˙.
3
but
œ
˙
eet's less mis - 'ra - ble zan
28
Œ
3
I
œ
œ nœ nœ œ œ
try…
when you come
fo
rp
œ
b
& b bbbb Œ
air
beeg love af - fair…
3
saw
3
19
ze
œ œ œ ˙
W
b
& b bbbb
16
But
in
3
Eet's Broad - way's
b
& b bbbb Œ
up
œ
n
show takes you
bœ
13
œ œ œ ˙
ct
œ
3
ro
b
& b bbbb Œ
œ
Œ œ œ œ
ru
What
œ
3
du
œ
3
4
Pe
9
b
& b bbbb Œ
CHANTEUSE:
bbbbbb
∑
sa
l
1-3
Rubato
5
U
3
io
b
& b b 44 Œ
Maestoso
la
-
j
œ
la!
la
la!
Ó
˙
˙.
œ
vert
gets
˙
Ó
Œ
œ
Œ
œ
caught
b
&b b Œ
-
and
Eet's not
j
œ œ
˙
GAB
-
tres tres
œ
shot!
ma - gni
œ
œ
At
the
end
of
the
œ
œ
œ
œ
œ
TR
b
& b bb ‰
61
and we're
b
& b bb n œ
63
bb
&b b
65
in
œ
Nunn
the band,
œ œ œ bœ œ .
J
yells
a
play, we're
œ
œ
gon -na be hell to
Forbidden Broadway
Œ
j ‰
œ
œ
œ œ
-
fique!
œ
œ
œ
an - oth - er
œ
œ
œ
pay
from play - ing
year
old
œ
˙.
throw - ing
us
-
-
j
œ Œ.
in
Œ.
‰ œ œ
En - jol -
us
diz
a
j
œ ‰ bœ bœ
-
zy.
-26-
play!
Trev - or
j
œ ‰ œ
tiz - zy…
68 ‰ œ œ œ œ œ 12
8 œj ‰ ‰ Œ . Ó .
at the end of the
Ó.
er,
poor.
all
12
8
w
œ œ œ œ œ bœ œ
and he's
Eet's
57-58
turn - ta - ble's mak - ing
‰ œ œ
˙˙ ..
˙.
the
œ
2
œ
œ
Œ
hot!
nœ œ œ œ œ œ œ
and the
Ó
Œ
œ
RA
bbbb
3
gets
la la!
œ
-
œ
˙
w
LES MI - SE
Œ
jean
Eet's
‰ œ œ
com - mand,
b b b 6 œ œ œ œ œj 12 ˙ .
b
&
8
8 ˙˙ ..
67
œ
ex - haust - ed
j
œ œ œ œ œ.
fell
œ
N
ot
ras
of - ten
la
ro
œ
œ
Ooh
fo
rp
œ
ENSEMBLE:
-
œ œ œ œ
LER.
54-56
W
b
& b bb ‰
œ
Œ
œ
œ
Ó
˙
BLES!
59
Œ
Val
j
œ
Ó.
Œ.
œ.
œ
Pe
b
& b b 12
8
BLES!
œ œ œ œ
C'est
Con fuoco
œ
HED - DA
b
&b b œ Œ Œ œ
53
-
j
œ
48
chic!
RA
œ
ev - 'ry - one gets
j
œ œ œ œ
44
˙
Œ
n
b
&b b
40
MI - SE
˙
io
LES
œ
du
œ
sa
l
œ
ru
b
&b b Œ
36
More Miserables
No. 9 — 2 —
ct
Vocal Book
œ
6
8
and there's
∑
44
œ.
œ
J
œ.
˙
me.
w
œ.
˙
accel.
rit.
down.
bbbb
Bring
w
accel.
high…
œ.
˙
rit.
much
√
bb b b w
&
key.
œ
J
w
it
down.
too
FANTINE:
œ
There
œ.
œ
light - ing,
b
& b b œj œ .
106
time
œ
when
N
ot
b
& b b œj
104
a
bit - ing.
Forbidden Broadway
œ œ
˙
œ œ œ
œ
œ
shows
œ œ
There was
a time;
rall.
œ
U
œ
much
too
˙
-27-
œ
long,
then it
all
too
# 12
8
2
œ
fun,
œ œ œ
œ
J
100-101
˙
were
and the shows weren't so
œ œ œ
U
œ
∑
Andante
œ œ œ
œ.
rit.
rit.
b b b 44
4
was
accel.
fo
rp
b
&b b Œ
˙
it
It's
high…
96-99
102
Bring
ro
Con fuoco
œ
N.B.: "ON MY PHONE" may be inserted
between bars 95 and 96, or used as a solo elsewhere
high!
#
& 12
8
œ
rit.
˙
accel.
w
w
W
TR
93
Pit - y
w
œ
J
œ œ.
J
rit.
high!
the
Pe
&
89
œ
J
it's
˙
accel.
ru
&
Change
too
God,
J
œ.
ct
b
& b bb w
accel.
w
œ
J
This song's
81
bbbb
œ.
rit.
U
œ
du
bbbb w
accel.
high!
85
Ó
72-75
U
VALJEAN:
sa
l
&
U
4
n
b
& b b b 44
Molto rubato e espressivo
77
More Miserables
No. 9 — 3 —
io
Vocal Book
œ
went
œ œ œ
and they used
œ œ œ
œ
bright
œ œ
and the songs weren't so
Poco meno mosso
w
wrong.
˙
Ó
Vocal Book
by,
œ
b
& b b ‰ . n œr œ .
œ œ.
œ œ.
but, now
b
&b b
that mis
œ
in
Œ
the chor - us girls
œ
b
& b b ‰ . œr œ .
b
& b b j œ.
œ
hit song.
b
&b b ‰
in days
œ
œ
œ
and
Act
One
œ
was - n't
œ. œ œ. œ œ. œ
Come, watch us grov - el in
r
& b ‰. œ œ. œ œ œ œ œ
˙
141
Rich folks pay fif - ty bucks a
Forbidden Broadway
damn
œ œ
-
ty girl
˙
œ
œ
they'd
˙
œ
glo - ri
-
that has a starv - ing paup - er
-28-
sing
my
Ó
∑
b
long.
‰ œ œ œ œ œ œ œ
shirt,
you
fy,
Ó
then buy a sou - ve - nir and
Ó
œ
if
w
Clay Ai - ken did - n't
‰ . œr œ . œ œ œ œ œ
œ Œ Ó
dirt,
part,
ic
‰ . œr œ . œ œ œ œ œ
by.
œ
so
the
b˙
-
cresc. & accel.
œ
N
ot
& b ‰ . œr
lame!
r
œ œ.
œ
-
œ œ.
Ó
˙
˙
˙
A pret
Poco piu mosso
137
gone
‰.
Œ
œ
131
134
a show
a
ro
dreamed
my dress
fo
rp
TR
I
œ
art - ist
rall.
œ Œ Ó
œ
œ œ. œ œ.
œ œ.
they tore
lame…
a tempo
128
it's
bœ œ .
˙
walk
œ œ.
nœ .
style,
œ.
W
and
Œ
Ó
˙
so
œ. œ œ. œ œ.
124
œ Œ
j
œ œ.
I did - n't act so con - sti - pat - ed…
Pe
suf - fer…
die.
er - y's
Ó
j œ.
nœ
b
&b b Œ
-
du
Poco piu mosso
Ó
sa
l
did - n't sing one song, then
118
121
˙
ru
I
when pa - thos was- n't o - ver - stat - ed.
n
b
r
& b b ‰. œ œ. œ œ œ œ
Œ
j
œ œ. œ
io
dreamed a show in days gone
114
‰. r .
œ œ œ œ œ œœ
œ Œ Ó
ct
b
& b b ‰ . œr œ . œ œ . œ œ . œ
110
I
More Miserables
No. 9 — 4 —
j
œ œ.
don it.
j
œ œ.
on it.
œ Œ
œ
Œ
œ œ
rub
-
ble.
dreamed a show in days gone
œ œ œ œ œ.
I
Andante
&b ˙
did - n't have
œ
w
to belt
high
E…
155-157
158
œ
Lost
in the lab - 'rinth
# # # 12
&
8
Con fuoco
œ œ
of
My
Œ
œ
this
plot,
œ
you'll
œ.
ENJOLRAS:
U
U
b b 12
8
∑
3
159-161
œ
œ
cloy - ing straight
nœ
tones
grate
œ
and
œ
œ
be re-lieved when
œ œ
I
get
˙
U
œ
œ
plain the plot of the show to you so you can understand the
Forbidden Broadway
-29-
-
chafe.
# # # 12
8
˙
shot.
b b b b 44
œ
˙.
ried
child.
œ
œ
way
it's
45
Œ
rit.
œ œ œ
œ
œ
Oh no, Cosette, you're simply a confused and wor
&
mis - 'ra - ble… as
4
N
ot
b
& b b b 44 ‰
bbbb
œ œ
as
166-169
Freely
172
n n 44
Slow
fo
rp
& œ œ œ œ œ
164
be
ro
an ob-nox - ious sing - ing waif.
TR
I'm
170
Œ
W
WAIF:
and
∑
Pe
3
& 45 œ œ œ œ œ œ # œ œ
162
ru
b
& b 12
8
rit.
œ œ
œ
where all the sets weren't piles of
∑
me.
Con fuoco
by,
œ œ.
Ó
152
‰ œ œ œ œ
Ó
˙
io
&b œ œ œ
149
œ
ct
I
œ œ œ œ
du
Œ
3
sa
l
∑
&b
145
More Miserables
No. 9 — 5 —
n
Vocal Book
˙
styled:
œ œ œ
3
Let me
U
Œ
ex -
œ œ
Jean Val -
More Miserables
No. 9 — 6 —
U
b
& b bb w
‰ j 43
œ
œ
˙.
174
jean is a convict who's being chased by the policeman, Javert,
who doesn't know that he is now a mayor and has adopted Cosette,
the little waif daughter of Fantine who dies in Act One…
U
b
& b b b 44 œJ œ .
œ ‰ Œ
J
177
bbb U
b
w
&
‰
Then he becomes involved in the French Revolution,
but not the big famous one, the little later one you
thought you didn't know anything about, where Jean
Valjean watches every…
œ.
˙
˙
U
Preg - nant!
…shot.
œ
our
stor
œ
TR
œ
c'est
fi
b
& b b b .. Ó .
-
nis,
ENJOLRAS:
(Last time)
Af - ter
œ
W
b
& b b b 43 œ
Did you
b
& b bb
189
œ
show
of
b
& b bb œ
a
clas
œ œ.
J
œ œ
J
poco a poco accel.
191
learn
the songs
b
& b bb œ
193
top
Forbidden Broadway
j
œ œ
the
rec
done.
-
œ
J
ord
j
œ
sic since
and
if
bœ
they
mod
œ
-
j
œ œ
j
œ œ.
œ
ern - ized
THE WIZ.
Bet
j
œ œ
they'll call
j
œ
œ.
œ
chart when
the
Brit
-30-
-
ish
…and
hit songs from LES MIZ…
don't,
œ
j
œ
j
œ œj œ œ œ . œ œ œ
you
œ nœ
gets…
(spoken) How did you like that?
(COSETTE falls to the floor, asleep)
œ. œ œ
œ
œ œ œ
by heart…
-
y's
j
nœ œ
N
ot
best
-
she
œ
Ó.
Œ.
‰
hear the peo - ple sing?… sing - ing the
œ œ
J
j
œ œ
12
8 œ
œ
where
sings a long ballad very much like Jean Valjean,
who dies peacefully knowing he's driven Javert
to jump off a bridge and has significantly changed
France by being an all-around nice guy…
Slow march
œ œ œ Jœ
J
Œ . œ œ ..
J
VAMP
186
she
œ
‰
˙.
fo
rp
184
œ œ œ
gets
io
œ
one
ct
Œ
3
ro
¿
ENJOLRAS:
œ
du
U
U
COSETTE:
Pe
b
& b bb ¿
182
ru
caught… except for…
…who loves Cosette instead of Eponine…
who joins the revolutionaries, runs over the barricade,
COSETTE (spoken): Marius!
ENJOLRAS (spoken): Yes, Marius!
must
œ
œ
œ
44
œ
Val - jean
œ
ENJOLRAS:
Cosette (spoken):
"Ahh, yes!"
(Take to audience)
Jean
œ
U
œ.
‰
179
that's why
sa
l
run.
and
œ
œ
œ
n
Vocal Book
come!
j
œ œ.
you dumb.
Œ.
Œ.
œ
It is the
-
œ
J
ter
œ œ
They'll be
œ
No
a -
j
œ
more
43
bb
&b b œ
the
few
œ œ
J
201
hear
the
peo
j
œ œ
œ
great
-
Her
et - ed
man
will
b
& b bb
œ
a
war!
œ
œ
all
hit
-
of
the
j
œ
ber wished
œ.
the
œ œ œ
if
œ
a
LA
œ
nœ
be
lynched when
songs from
the
j
œ œ
songs
were real
j
œ œ
CAGE
song
j
œ
Brit
-
you
ish
b
& b bb œ
hear
hear
the peo -
œ œ
J
the peo -
Forbidden Broadway
œ œ.
J
ple sing
ple sing
œ
ALL:
you
œ œ
œ
all
œ œ œ
hit
all
hit
of
of
the
œ
the
-31-
œ
J
œ
E - ven
the
œ
œ
J
-
ly
his.
You'll
j
œ œ.
should hum.
œ
be
œ œ
Poor
Jer - ry
j
œ ‰ ‰ Œ
‰
Ó.
Œ.
Ó.
œ
j
œ œ
songs from
songs from
j
œ
SOPRANO AND TENOR:
Œ.
œ
Did
you
œ
œ
J
ALTO AND BASS:
Did
œ œ œ
œ
J
come!
3
œ
j
œ
Come
j
œ œ.
˙.
209-211
œ œ.
J
Œ
ENJOLRAS
& COSETTE:
Did
LES MIZ?
bœ
œ
œ
We'll
Œ.
j
œ œ.
j
œ œ
3
j
œ œ
y - more.
phen Sond - heim score.
mu - sic - al
j
nœ œ
Lloyd Web
œ
J
-
œ
œ
œ
-
j
œ œ.
˙.
œ œ œ
N
ot
bb
&b b
213
œ
J
and pinched
j
œ œ
-
œ
Ste
'ry
an
j
œ œ
œ
fo
rp
b
& b bb œ
&
ple sing
œ
J
œ œ
J
207
bbbb
œ œ.
J
W
-
-
ev
who have start - ed
An - drew
TR
tick
œ
œ
œ
J
shows
n
with
œ
most
old
j
œ
Œ
io
join
j
œ œ
and burn
œ
œ
need
j
œ œ.
du
œ
don't
œ
ro
b
& b bb œ
199
b
& b bb œ
j
œ œ
a - blaze
set
We
j
œ bœ
sa
l
b
& b bb œ
205
more Kern!
j
œ œ
197
b
& b bb
No
j
œ
j
œ œ
ru
œ
Gersh - win!
203
j
œ œ
j
nœ œ
Pe
b
& b bb
Moderate march
195
More Miserables
No. 9 — 7 —
ct
Vocal Book
œ
J
œ.
j
œ œ.
LES MIZ?
LES MIZ?
œ
œ
œ
œ
Now, with
Now, with
you
œ
our
œ
our
b
& b bb œ
MIZ
is
bb
&b b œ
here
b
& b bb œ
to
here
to
stay,
j
nœ œ
j
œ
tion, we'll
œ
stay,
œ œ.
J
j
œ œ
219
the
œ
J
Great
œ
de
œ
j
œ œ
TR
œ
haunt
the
œ
J
Great
bb b b S &w A:.
&
221
œ
-
œ
and MISS SAI
Ah!
Ah!
b b b b ww ..
b
V
ww ..
T & B:
Ah!
œ
-
b
& b bb Ó
Broad
U̇
˙
bb
Vbb Ó
Broad
Forbidden Broadway
-
œ
œ
the
Brit
44 b ˙˙
cap
-
bœ
-
cap
-
œ
J
i - tate
the
j
œ œ
j
œ œ.
i - tate
the
œ
œ
J
œ
j
œ œ
j
œ œ.
œ
J
ish
will leave
you dumb.
-
Now
LES
œ
œ
J
Now
œ.
you dumb.
GON
-
biz.
will leave
ish
‰ œ œ œ
…the Brit - ish
‰ œ œ œ
…the Brit - ish
œ
œ
PHAN - TOM will
œ
œ
œ
PHAN - TOM will
˙.
œ
J ‰ ‰ Œ
‰
come!
˙.
j
œ ‰ ‰ Œ
‰
come!
w
Œ
come
œœ
for
n ww
Œ
come
œœ œœ
Brit - ain
œ œ œœ œœ
for
Brit - ain
w
w
w
w
œ
œ Œ Ó
ww
ww
ww
œœ Œ Ó
way!
-32-
LES
œ
w
w
way!
j
œ
œ
biz.
GON
j
œ
Ah!
ww
-
Brit
Ah!
Vivace
˙
the
44 ˙
w
w
U
˙
œ
œ nœ
N
ot
Ah!
œ
œ
White Way when
w.
-
œ
œ
and MISS SAI
White Way when
W
haunt
226
-
de
Pe
is
o - lu
œ œ.
J
œ œ
J
MIZ
bb
&b b
-
j
œ œ
217
œ
J œ
tion, we'll
œ œ.
J
n
French rev
-
œ œ
J
ct
j
œ œ
o - lu
œ
œ
J
du
new
-
œ
ro
b
& b bb œ
French rev
œ
J
sa
l
new
œ nœ
J
ru
œ
j
œ œ
fo
rp
b
& b bb
215
More Miserables
No. 9 — 8 —
io
Vocal Book
V
Vocal Book
Forbidden Broadway
No. 10 — 1 —
10
THE PHANTOM AND ETHEL
"Mucous Of The Night" and "You're Just In Love"
#### 4
& #4
3
1-3
the Phan - tom,
œ
œ œ
When the song's a bitch,
and I'm
U
#
œ
œ œ œ œ œ
TR
#
"
œ
I'm
&bC
œ
the
U
œ
œ
œ
Phantom:
˙
I
&b ˙
&b w
38
œ
˙
œ
keep
go
&b œ
˙
˙
œ
You
œ
œ
won - der
-
a
"
w
œ
œ
I'm
U
my
œ
œ
voice
is
air.
œ
nœ
˙
ing
when
there's
no
œ
œ
big
black
lump
œ
œ
-33-
I'll
-
#œ
in
œ
tell
-
œ
œ
œ
bC
w
bœ
œ
thing
there.
˙
œ
œ
side
my
hair.
œ
w
you
why:
"
the Phan - tom...
∑
˙
œ
œ
œ
Phan - tom,
U
∑
A
œ nœ
œ
the
"
œ
there's no ex - plan - a - tion.
œ
œ œ œ
œ
I'm
night!
œ œ œ œ œ
w
why?
œ
flick the re - verb switch from left to
a tempo
the
sing - ing, though
There's
42
œ
5
N
ot
I
œ
of
Why we're still here
keep
˙
35
œ
Moderato
∑
30
up my mu - cus
in this hor - ror tun - er.
œ œ œ œ
slight - ly un - der pitch, they just
23-27
Phan - tom!
gur - gle
œ œ
fo
rp
&
œ œ œ œ œ
cov - er
thea - ter's great sen - sa - tion.
22
Hear me
œ œ
œ œ œ œ œ œ
and
œ œ œ œ œ œ
œ œ œ
molto rit.
œ ‰ ‰ œ
˙
œ
Broad - way's smooth - est croon - er.
œ œ œ œ œ
#
œ
œ œ œ
n
œ
io
I'm
œ œ œ
du
œ
W
&
#
Œ
ct
Phantom:
right
18
U
Œ
ro
&
14
#
Œ
Andante, molto rubato
sa
l
&
11
Œ
ru
&
#
U
2
4-5
Pe
7
(As Phantom
steps to mic)
(As Phantom
gestures at
chandelier)
but
&b w
54
Stars
thanks
to
&b
˙
my
wi
W
j œ.
œ
œ
œ
TR
as
a
li
-
‰ œj œ
&b w
73
Take that
j œ.
œ
œ
œ
&b œ
77
a
nuke war
-
&b w
head...
‰
81
&b w
-
j
œ œ
wi
-
red,
‰ œ œ
J
Come on,
Forbidden Broadway
œ
#œ
˙
œ
œ
hear
all
right.
nœ
˙
œ
œ
er
ti
that,
œ
œ
seem
ev
œ
Be like
œ
you'll
˙
œ
me.
thing
‰ œj œ
˙
‰ j
œ œ
caus - ing
œ
œ
kid,
and
œ
off
-
-
your di
your fore
-
œ
sound
I
hi
-
red,
j
œ œ
˙
some
get some
-34-
j
œ ˙
class.
-
a
as
˙
phragm.
‰ œj œ
-
ic
˙
it looks
like
w
a
j j
œ œ œ.
loud
w
-
‰
e - lec - tron
œ œ
J
Ó
You'll be
j œ.
œ
œ
œ
sheep - ish
got
less,
phone!
in'.
head...
j
œ œ œ œ.
œ
-
‰ j
œ œ
j œ.
œ
œ
œ
j œ.
œ
œ
œ
˙
re
˙
j œ.
œ
œ
œ
Use
œ
-
Solid, swingy
mi - cro
am - pli - fy
œ
˙
-
œ
head
˙
to - day
j
œ œ œ œ.
I'm
night,
re - less
N
ot
when
89
œ
and you
j
œ œ
If
&b œ
each
of
You don't need
on.
show
œ
me
‰ j
œ œ
‰
the
fo
rp
&b œ
69
85
like
œ
through
bœ
œ
Merman:
4
62-65
spite
œ
ro
œ
in
Pe
œ
œ
˙
˙
&b œ
˙
œ
n
˙
50
walk - ing
˙
ct
&b w
keep
nœ
sa
l
I
œ
du
˙
œ
œ
˙
ru
&b w
46
58
The Phantom and Ethel
No. 10 — 2 —
io
Vocal Book
lamb.
j
œ œ
I
would
˙
sweat
w
zing.
j
‰ œ œ
Take that
œ
mike
œ
out
ass...
&b
and ad - mit
‰ j
œ œ
4
97-100
Merman:
you
˙
You don't need
4
Phantom:
˙
I
a
li
-
on.
&b w
keep
‰ j
œ œ
˙
Be like
me.
˙
W
Take that
TR
&b w
off
˙
œ
a
big
˙
a
&b œ
&b w
nuke war
-
œ
œ
You
won
ETHEL: This way, kid!
head...
-
and you
œ
Forbidden Broadway
˙
-
œ
go - ing
œ
˙
˙
œ
I
a
nœ
when
there's
j œ.
œ
œ
œ
your fore
œ
-
black
lump
-35-
bœ
-
in
I'll
œ
˙
-
œ
œ
side
my
hair.
w
a
œ
tell
‰
œ
red,
like
˙
j
œ œ œ œ.
œ
air.
thing there.
it looks
j œ.
œ
œ
œ
walk - ing
phragm.
‰ œj œ
sheep - ish as
-
is
w
no
#œ
œ
got hi
œ œ
˙
head...
œ
loud
voice
-
œ
œ
˙
keep
You'll be
though my
your di
why?
to - day
in'.
j
œ œ œ œ.
sound
‰ j
œ œ
I
˙
w
der
If
&b w
‰ œj œ
N
ot
116
j
œ œ œ œ.
œ nœ
fo
rp
&b œ
œ œ
œ
œ
thing
There's
112
-
Use
keep
‰ œj œ
&b w
am - pli - fy
‰ j
œ œ ˙
œ
Pe
I
sing.
j
œ œ œ œ œ.
sing - ing,
˙
˙
108
can't
w
ro
as
j
œ œ œ œ.
just
ru
&b œ
104
˙
˙
sa
l
&b
˙
io
your
œ
œ
n
‰ œj œ
j
œ ˙
du
j
&b œ œ
93
of
No. 10 — 3 —
ct
Vocal Book
lamb.
œ
w
you
why:
j
œ œ
I
would
˙
sweat
œ
nœ
˙
œ
œ
through
the
show
each
night,
red,
caus - ing
&b w
˙
but
&b w
124
‰ œ œ
J
ETHEL: Now clap!
Come on,
&b w
of
your
ass...
œ
&b w
to
my
Come on,
chan - de - lier!
way
&b ˙
way
Forbidden Broadway
˙
to
˙
to
of
zing.
œ #œ
˙
that,
me
œ
in,
œ
seem
‰ œj œ
ev - er
ti
and
try
to
œ
œ
-
re - less
œ
œ
kid,
sing
œ œ
J
loud and
Take that
˙
˙
wi
œ
-
head
∑
œ
œ
mi - cro
j
œ ˙
-
‰ œj œ
clear!
∑
C w
Phan
-
w
œ bœ bœ œ
œ bœ œ œ "
tom of the O - pe-ra is...
w
War - ble
œ
all
right.
œ
œ
mike
out
œ
œ
re - less,
w
w
phone.
32
œ
œ
down
that
3
2
∑
‰ œ œj œ œ
∑
Moderato
That's the Mer-man
w
here!
j
‰ œ œ œ œ
˙
sing!
w
œ
sing!
∑
C
w
hear
œ nœ
˙
œ
Maestoso
The
you'll
class.
œ
œ
N
ot
&b ˙
141
get some
∑
U
Ó Œ œ
& b 32 Ó
bœ
ic
fo
rp
U
j
3
b
& 2 œ œ œj ˙ Ó
136
and
˙
œ
TR
&b w
kid,
-
w
j
œ ˙
œ œ
J
‰ œj œ
‰ œ œ
J
132
œ
Suck it
œ
thanks
œ
like
W
&b œ
spite
Pe
j
œ ˙
in
e - lec - tron
ru
Stars
j
&b œ œ
œ
˙
˙
128
˙
some
j j
œ œ œ.
n
-
j
œ œ
du
I'm wi
˙
ro
when
‰ j
œ œ
io
j
œ œ œ œ.
sa
l
&b œ
120
No. 10 — 4 —
ct
Vocal Book
That's the Mer-man
¿
Œ
Swell!
w
w
sing!
˙
¿
Swell!
-36-
Œ
Vocal Book
Forbidden Broadway
No. 11 — 1 —
11
MAMMA MIA
“Mamma Mia” and “Dancing Queen”
#### 4 .
&
4 .
Bright
œ œ œ œ
&
####
#### j
&
œ œ
&
j
œ œ
œ
me - tic - u - lous, deep
Ó
Œ
j
œ œ
œ
high
art.
Œ
œ
œ
Eu - ro
œ
-
Œ
œ
trash... but
but
Ó
smart,
œ
œ
It's
a
you
-37-
œ
∑
grade
œ œ
on
a
œ
œ
œ
curve...
œ
full
˙
New York,
œ œ œ œ œ œ
and
smash, and
œ
in
Œ
œ œ ˙
and
œ œ
if
∑
œ œ œ
it looked ri - dic - u - lous;
N
ot
17
clas - sic - al look.
‰ œ œ œ œ œ
œ
œ œ œ œ œ
it's
a
œ
fo
rp
#### Œ
&
####
and
the West End,
14
lit - er - ate book,
œ œ œ œ œ œ
œ ˙
œ œ œ
On
20
œ
mu - sic - al score
TR
11
with a
W
com - plex
œ
Ó
n
show in New York
Œ
io
&
####
œ œ œ œ œ œ
ro
7
a
œ
ct
œ
œ
There's
œ
œ œ œ
du
œ
œ
sa
l
FEMALE 1:
ru
&
####
1-2
Pe
3
..
2
œ
of
œ
e - qui - va - lent
œ
œ
Œ
œ œ œ œ
vig - or
whoa!
œ
to
œ
and verve.
Vocal Book
Mamma Mia
No. 11 — 2 —
#### Œ
&
œ œ œ œ Œ
j
Œ œ
Œ
‰
œ
œ œ
œ œ œ œ œ
œ œ œ œ œ
##
& ## Œ œ œ œ œ Œ
Œ œ œœ œ
œ
œ
j
Œ œ
‰
œ
œ
œœ œ œ œ œ
MAM - MA MI - A,
next to cur - rent trash,
27
œ
like
we're
&
###
œ
with
œ
to
œ
rap
and
rock
-
y
### Ó
&
one
will do.
œ.
œ œ œ
Squeeze
Forbidden Broadway
ev - 'ry
thea
-
œ
Œ
in
your
run
j
œ
long.
Œ
song.
BOTH:
œ œ
Get
in
œ. œ œ œ
span - dex
turn - ing
˙
pants.
-38-
˙
green,
∑
ter queen!
œ
œ. œ ˙
‰
io
is
œ
œ
don't
loves an AB - BA
œ œ œ œ œ
œ
œ
j
œ
œ
WICK - ED
œ
œ
J
œ. œ œ œ
FEMALE 1:
day!
œ œ
œ
Œ
œ
œ
œ
œ
œ
œ
œ
œ
an
46
œ
-
N
ot
&
###
lez - Vous"
œ. œ œ œ
œ œ œ.
BOTH:
keen
œ
Ev - 'ry - one
44
-
fo
rp
FEMALE 2:
Shows
41
to
œ
TR
&
œ
œ
"Vou
Puc - ci - ni
œ œ
œ.
'cause
39
œ
ct
###
###
Queen,"
W
&
ing
Œ
œ. œ œ œ œ. œ œ œ
seem
36
-
œ
###
the sec-ond -rate now!
du
&
###
œ
to
ru
"Danc
33
œ
FEMALE 2:
com - pared
as KISS ME, KATE now.
ro
###
Pe
&
31
it's an art - y smash,
great
sa
l
MAM - MA MI - A...
seems as
œ
n
23
œ
your
˙œ .
œ.
Bee
Œ
œ
Ó
œ œ œ œœ œ œ œ Œ
FEMALE 1:
One's as good
-
œ œ
œ œ
Gee
œœ
as the oth - er;
œ
stance.
Œ
˙
œ. œ œ œ
œ. œ œ œ
Come
be
a
show
in New
1:
# # # FEMALE
œ
œ œ
&
œ
57
œ
Œ
FEMALE 2:
œ. œ œ œ
W
tard - ed
&
67
###
###
a - cy
a
Che - khov
œ. œ œ œ
Ó
œœ ..
œœ
œ œ
won't
Broad - way's
Forbidden Broadway
œœ œœ
lean!
a
sur -
œœ
œ œ œ.
vive!
Now it's
a
block - bust
well,
œœ
œœ
œœ Œ
œ. œ œ œ
œœ ..
œœ .. œœ œœ œœ
-39-
-
er
for
Mer
queen!
-
yl
œ œ œ
œ. œ œ œ œ
Oh!
dis - co
yeah!)
BOTH:
Numb your brain!
œœ œœ œœ
(Oh,
œ. œ œ œ œ. œ œ œ
˙
scene...
œ
œ
Oh!
œ. œ œ œ œ. œ
-
j
œ
FEMALE 1:
œ. œ œ œ
N
ot
&
70
˙
queen!
Lit - er
œ œ
J
clean.
fo
rp
œ. œ œ œ
TR
&
###
We're like
∑
œ œ œ. ˙
˙œ œ
du
œ œ œ.
Streep...
63
œ
squeak - y
Pe
&
œ
sev - en - teen.
œœ . œœ œœ œœ
.
that is
no - thing cheap...
No - thing trite...
###
York
you're
ro
On - ly
if
œ .. œœ œœ œœ œœ œœ œœ
œ
J J
˙˙
53
art,
n
### œ . œ œ œ
œ. œ œ œ
&
We're high
∑
ct
queen.
œœ .. œœ œœ œœ ˙˙
ru
thea - ter
œ .. œœ œœ œœ œœ œœ œœ
œ
J
J
˙˙
sa
l
### œ . œ œ œ
œ. œ œ œ
&
49
60
Mamma Mia
No. 11 — 3 —
io
Vocal Book
œœ
at
least
œ
# œ œœ
Oh
œœ
Kill your drive!
œœ
œœ œœ
Shake - speare's
œœ
to a
œœ œœ œœ .
.
yeah!
re -
j
œœ œ ‰
.
˙˙
dead!
œœ ‰ Œ
J
Vocal Book
No. 12 — 1 —
Forbidden Broadway
RANT
12
“Rant” and “Seasons of Hype”
Œ
6
1-6
MARK:
œ
bœ
How
∑
œ
Big
&
16
bb
j
œ œ
œ.
-
to
œ
b
&b Œ
ads, small
-
TR
b
bœ
&b Œ
23
we
œ
b œ œ
J
was
bb œ
MARK:
Once
b
&b œ
œ
35
bœ œ œ
cool
œ
we
wild
and
and
œ œ œ
J
and new.
œ
MI - A
is
hot...
œ
œ
œ
œ
what
was
once
ap
ROGER:
œ
œ
-
ti
j
œ
-
now...
œ
œ
ply - ing
j
œ œ
œ
by three?
j j
œ œ œ
e - gads!...
MARK AND ROGER:
¿
œ
J
Now
j
œ
RENT
Œ
is
Ó
œ
-
3
now we
b˙
n˙
are
bœ œ œ
that
j
œ
b˙ œ .
a
Once
now
-40-
plaud - ed
œ
œœ
wired;
œ
mo
œ
were
old
-
Œ
Vous"
vie
œ
œ
ver - sion
˙
Ó
n˙
b˙
lot!
ad
œœ b œ œœ œœ œœ
we're
lez
œ
œ bœ
we
-
œ
bœ œ œ
...and our
œ
BOTH:
dat - ed.
"Vou
œ œ
Œ
˙
¿ ¿ ¿ ¿ ¿ Œ
o - ver - rat - ed,
œœ
mul
∑
œ
œ œ
œ œ œ œ Œ
were
mind...
œ
per - ver - sion of
œœ b œœ
fads are
j j
œ œ œ
blow my
N
ot
&
31
j
œ œ
you
RENT!
were
œ
œ œ
J
a
the
w
œ
from MAM - MA
&b
all
ry!
bœ œ œ
Once
j
œ œ
œ
j
œ œ
ads
œ
ROGER:
20
27
œ
when
W
his
œ
fads,
œ
do
ct
b
the
œ
œ
du
&b
12
up with
Œ
ro
keep
j
œ
sa
l
j
œ œ œ œ
œ
ru
b
fo
rp
&b
Pe
8
œ
n
b
& b 44
io
Vigorously
and
-
mired;
b ˙˙
tired.
j
œœ œœ ..
Vocal Book
˙˙
˙˙ ..
is
spent!
˙˙
˙˙ ..
œ
b œœ
œœ
œœ
œœ
˙˙ ..
we
vent
and
rant
rant
rant
rant
rant!
b b ˙˙
where
b
œ œ œ œ
& b b œœ œœ œœ œœ œ œ œ œ
Rant rant rant rant rant rant rant rant
see
RENT,
œœ œœ
rit.
...'cause
good old RENT is
hun - dred
œ
twen - ty - five
&b ‰ œ œ œ œ œ œ œ œ
TR
58
five hun - dred twen - ty - five thou -sand
œ
œ
thou - sand
six
œ
œ œ œ œ
œ
œ
hun - dred
mag - a - zine
spreads...
œ œ œ œ œ œ œ œ œ
tos...
64
& b bœ
67
in
and T. V,,
How do you mea - sure
and
œ œ œ
the first
œ
row
œ
&b œ œ œ œ œ œ ‰ œ
69
mid - night on
N
ot
rec - ords,
fo
rp
&b œ œ ‰ œ œ œ ‰ œ
-
six hun - dred fea
Forbidden Broadway
-
tures...
How
‰
j
œ
œ
œ
write
-
ups...
Da
-
‰
in
do you mea - sure
-41-
œ. œ œ œ
our
œ
œ
the
œ
‰ œj
And
‰ œ œ œ ‰ œ œ œ
and doz - ens
œ
hun - dred
‰ œj
œ
swell - ing heads?
vid Let - ter - man,
five
‰ œ œ œ œ
Œ
five hun -dred twen - ty - five thou - sand
‰ œ œ œ œ œ Œ
six hun - dred pho
œ
‰ œ œ œ œ œ œ œ œ
˙
&b œ œ œ œ œ œ Œ
61
ct
œ œ œ
W
Five
œ
b
spent!
4
œ
ALL:
∑
du
œ
&b ‰
Œ
w
52-55
56
Œ
U
w
œœ œœ
ru
rant!
Pe
&b
Don't
œœ œœ Œ œ
47
Slow and steady
˙˙ ..
ro
&b
43
˙˙
n
RENT
b ˙˙
Œ
io
b b ˙˙
sa
l
&b
39
Rant
No. 12 — 2 —
œ œ œ
œ
twen - ty - five
œ. œ œ œ œ
worth of
of group - ies
a show?
œ
thou - sand
œ
œ œ œ
How a - bout
hype?
Hype!
Lay -ers of
bœ
.
V b Œ œ œœ œœJ ‰ ≈ œœ œœ œœ œœ . œœ œœ œœ œœ œ œ œ
˙œ . œ œ
&b Œ
Lay -ers of
ru
Pe
‰
˙
‰
hype!
˙
Vb
Œ œ
hype!
˙
‰ œ œ œ
-
it - zer prize.
&b œ œ œ
89
œ
six hun - dred house
Forbidden Broadway
˙
Œ
hype!
hype!
œ.
œ œ ‰ Jœ
seats.
There'd
hype!
Or
-
der
up
‰
a ri - ot
-42-
of
&
of
œ
five
if the
j
œ ˙
˙
œ. œ œ œ ˙
œœœœœœœ
œ. œ œ œ ˙
‰ œ œ œ œ œ œ œ œ
nys...
œ. œ œ œ œ œ ‰
œ œ
be
œ œ
œ.
œ Œ
œ œ œ œ œ
œ œ œ œ
œ
Sea - sons
˙
Œ œ
six hun - dred To -
œ œ
œœœœœœœ œ œ œ œ ˙
.
hype!
Sea - sons of
N
ot
&b œ œ œ œ œ œ œ
Pul
Ó
œ œ œ
Sea - sons of
Five hun - dred twen - ty - five thou - sand
87
Sea - sons of
œ. œ œ œ œ œ œ œ
œœœœœœœ ˙
DAPHNE RUBIN-VEGA:
Œ œ
œ œ œ
Sea - sons of
&b ‰ œ œ œ œ œ œ œ œ
84
ww
œ
Sea - sons
hype!
fo
rp
˙
hype!
Œ
ro
W
œœœœœœœ ˙
TR
Vb
hype!
ww
hype!
It's the sea - son of
Œ œ
Ó
For-get a -bout
œ œ œ œ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ œ
œ
love!
&b
hype!
It's the sea - son of
bœ
V b Œ ˙. œ œ
&b
Œ b œ˙ . œ œ œ œ œ œ œœ .. œœ œœ œœ œœ ≈ œ œ œ œ
œ œ œ œ œœ .. œœ œœ œœ œœ œ œ œ œ œ
love!
80
For-get a -bout
ct
76
Hype!
hype!
sa
l
hype?
Œ œœ œœ ˙œ œ œ œ œ œœ .. œ œœ œ œ ≈ œ œ œ œ
nœ œ œ
n
j
Œ
œ
œ
œ
b
œ œ œ ‰ ≈ œœ œœ œœ œœ .. œœ œœ œœ œœ œ œ œ
&
du
72
Rant
No. 12 — 3 —
io
Vocal Book
Add on a high - ly im - press - ive
œ
œ
hun - dred
œ œ œ
twen - ty - five
œ œ œ œ œ
pub - lic got
wise...
œ
œ
thou - sand
œœ‰ œ œ
ADAM:
...for a
&b Ó
praved!
...that a
Œ ‰ œj
OTHER 3:
How
&b ≈ œ œ œ œ œ œ œ
ALL:
nev - er
to
˙.
&b Œ
be seen
hype!
A:
&b Œ
œ œ œ
W
hype!
œœœœ
TR
hype!
˙.
Vb Œ
B:
hype!
œ œœœ œ œ
Œ
b
&
103
œ.
V b œ.
œœœœ
œ. œ œ œ œ
œ. œ œ œ œ
rich
a
œ œ œ
who
œ
Hype!
œ œ œ
j
œ œ
nœ œ œ œ ‰ œ
Where is the
œ œ œ œ ‰ œ œ œ
J
Where is the
j
œ
œ œ œ œ ‰ œ œ
Where is the
Œ
œ œ œ
Œ
a - bout friends
œ
œ
œ
a - bout friends
like
trends.
Œ
œ œ œ
not the
œœœ ‰ œ
J
is
œ œ ‰ œj
œ œ œ
is
Ev - 'ry - thing's
œ œœœ
œ œ œ
hype!
Think of the
œœ
bœ œ œ
œœœœ
œœœœ
hype!
Œ
˙.
hype!
˙.
œ. œ œ œ œ œ œ œ œ œ
love
in the dec - ade of
œ œ œ
Œ bœ œ œ
Œ
˙
Think of the
(Soprano may
continue riffing.)
Œ
stor - y
œ œ œ
Think of the
Where is the
Forbidden Broadway
just the
œ. œ œ œ œ
N
ot
& b œ.
their like,
œ
œ œ bœ œ œ
fo
rp
bœ œ œ
Vb Œ
T:
œ.
that
œ œ
œ. œ œ œ œ
S:
100
Vb
by
œ œ
i - ron - ic
Pe
98
œ œ œ œ œ
stor - y
œ œ ‰ œj œ œ ‰ œ œ
sad - ly
e - lite,
n
-
œ œ œ œ. œ œ œ
show - biz
du
vil - lage de
œ.
˙
for the
ro
œ œ œ Nœ
b
&
saved
sa
l
95
is es - pe - cial - ly
bœ œ œ œ œ œ œ
œ‰ œ œ
œœ‰œ œ
ru
house or - der seat
œ œ œ œ œ
io
œ œ œ œ œœ ‰ œ
œ
&b
92
Rant
No. 12 — 4 —
ct
Vocal Book
œ œ œ œ œ. œ œ œ œ œ œ œ œ œ
love
œ œ œ œ œ. œ œ œ œ œ œ œ œ œ
love
in the dec - ade of
in the dec - ade of
˙.
œ. œ œ œ œ œ œ œ œ œ
love
in the dec - ade of
-43-
hype?
w
Œ
œ
œ
Ó
hype!
˙
w
hype?
&b
Œ
œ
Sea - sons
of
˙
N
ot
˙
œ.
œ œ œ œ œ œ
œ œ œ œ œ œ œ
˙
Ó
œ
Œ
˙
œ
hype!
Forbidden Broadway
œ œ
U
œ.
œ.
j
œ ˙
œ.
U
U̇
œ œ œ
hype!
Vb
˙
œ.
U
œ œ œ ˙
œ
œ
‰
œ œ œ
of
œ œ œ
œ
œ
œ
œ
œ
œ
Sea - sons
Sea - sons
œ
of
œ
of
œ
Sea - sons
of
Sea - sons
of
œ
j
¿ ‰ Œ
œ
Ó
(p!)
j
¿ ‰ Œ
Ó
(p!)
¿ ‰ Œ
J
Ó
(p!)
j
¿ ‰ Œ
(p!)
-44-
‰
‰
œ œ œ ˙
hype!
Vb
Œ
of
Pe
œ
hype!
&b
w
Sea - sons
˙
hype!
111
Œ
˙
of
œ œ œ
du
Œ
w
Sea - sons
hype!
TR
Vb
Œ
ro
hype!
hype! Oy! Such hype!
œ œ œ
Sea - sons
œ œ œ œ œ œ
W
˙
Œ
¿
ct
&b
Vb
¿
w
Vb
&b
Too much
w
hype?
109
I see!
¿
n
hype, hype! That's all
œ œ
sa
l
Vb
hype,
œ. œ
œ œ œœ œ
ru
&b
‰ œJ ≈ œj. œ
fo
rp
&b
106
Rant
No. 12 — 5 —
io
Vocal Book
Ó
œ
Vocal Book
Forbidden Broadway
No. 13 — 1 —
13
LIZA
“Liza One-Note”
Maestoso
Moderato
b
& b b b b b 44
1-7
¿
¿
¿
¿ ¿
¿
¿
¿
¿
¿
to
sing
one
note,
and the
note
I
sing
is
this:
w
j
œ œ
I'm
Li
b
& b b œ.
j
œ œ
can't
j
œ œ
le
b
&b b
34
œ.
sneak
œ.
bounce
b
& b b bw
38
Li
-
-
ga
œ
œ.
right
by
j
œ œ
œ
b
& b b bw
crass...
at
j
œ œ
the
Œ
Squeez - ing
notes
stage
j
œ œ
bœ œ nœ
and
Œ
a
still
the
pub
takes
gall
-
bra
œ
lic
-45-
-
to
˙
œ
and
Ó
j
œ œ
œ.
œ
my
high
notes
˙
Œ
œ œ œ
œ œ œ
˙
œ
lit - tle
œ
May be kind
comes.
and
˙
I'm a
Œ
w
œ
to
ball.
drums.
-
vi
w
w
of
bœ œ nœ
w
a
œ
lot
œ
œ
like
j
œ œ
all.
œ.
j
œ œ
œ.
brass
42
Œ
no
œ.
œ
w
œ
One - Note.
j
œ œ
'round
to
j
œ œ
bœ .
za
ing
-
N
ot
b
&b b
30
I'm
œ
-
j
œ œ
got
j
œ œ
fo
rp
26
œ.
œ
sing
œ.
One - Note...
TR
b
& b b œ.
za
Œ
j
œ œ
bœ .
W
22
-
œ
ct
b
& b b œ.
w
du
Aaaahhhh!
18
w
ru
w
Ó
io
Vivace (swing-time)
U
Œ
n
¿
Pe
&
bbb
me
8-9
ro
Ma - ma taught
2
sa
l
MINELLI:
bb b LIZA
¿ ¿ ¿ ¿
&
10
14
bbb C
7
of
Ó
cle
Gene
Kel
j
œ œ
œ
œ.
squeeze
out
b
& b b œ.
j
œ œ
58
know
b
& b b œ.
you
Ma
-
œ
ma
made
Œ
b
& b b bw
sure
and
some
Forbidden Broadway
You'll
-
Ma
blue
a
œ
times
-
nœ .
Hal
-
-
drid..."
j
œ œ
ston
-46-
Ó
œ.
j
œ œ
Œ
and
œ
chif
-
w
fon.
œ
quins,
œ
œ œ œ
œ
Œ
Œ
j
œ œ
-
they'll
her
nose.
se
œ
Now I have
but
w
gold
and
˙
œ œ œ
pose...
œ.
œ
and
w
my
quins,
li
˙
star
did.
œ
œ
-
˙
w
œ
sup
have fixed
se
nel
w
-
they
œ
you would
j
œ œ
-
œ
be
œ
that
bœ œ nœ
œ.
œ
quins,
j
œ œ
j
œ œ
œ.
j
œ œ
N
ot
b
& b b œ.
78
-
"Kid,
as
œ.
I'd
se
said,
Œ
bœ œ nœ
Œ
choice,
red
w
j
œ œ
far
as
70
j
œ œ
œ
Mi
fo
rp
voice
b
& b b œ.
note.
as
66
74
ly
œ.
œ
TR
b
& b b bw
j
œ œ
one
W
62
-
j
œ œ
bœ .
your
j
œ œ
dy
j
œ œ
œ.
n
œ.
-
œ
io
œ
Dad
ru
b
&b b
54
One - Note.
j
œ œ
50
-
za
j
œ œ
du
b
& b b œ.
-
œ.
ro
Li
Œ
j
œ œ
bœ .
Pe
I'm
œ
sa
l
j
œ œ
b
& b b œ.
46
Un
Liza
No. 13 — 2 —
ct
Vocal Book
if
I'd
the
œ
œ
I
dress
œ
œ.
j
œ œ
clear
se
w
-
in
œ
quins...
Vocal Book
b
&b b Ó
˙
82
Liza
No. 13 — 3 —
w
w
w
w
w
w
w
œ.
j
œ œ
Aaaahhhh!
j
œ œ
œ.
why
b
&b b
ring
-
j
œ œ
ing
j
œ œ
œ.
my
W
w
œ
w
in
pain.
œ
fans
snort
w
co
w
w
sing
-
b
& b b œ.
114
I'm
one
b
&b b w
121
ing
j
œ œ
Li
-
œ
J
will
give
you
œ
œ.
œ
J
za
œ
j
œ œ
œ.
One
-
note
w
œ.
will
drive
w
˙
-
caine.
w
œ
a
That's
˙.
w
w
w
œ
you
w
Ó
˙
Œ
œ
My
œ
∑
-
w
¿ Œ Ó
Yes!
-47-
œ
My
˙
in
w
..
∑
"Okay, that's enough."
pain.
œ
J
your
˙
Note!
sane!
Forbidden Broadway
..
w
˙
œ
N
ot
b
& b b œ.
118
œ
sing - ing,
VAMP
(first time only)
fo
rp
j
œ œ
TR
b
& b b œ.
start
ro
Aaaahhhh!
110
I
n
be
œ
all
w
102
œ.
Pe
&
will
œ
When
œ
io
ears
bbb
One - Note.
j
œ œ
94
98
za
œ
ct
b
& b b œ.
-
j
œ œ
œ.
du
Li
Œ
j
œ œ
bœ .
ru
I'm
œ
sa
l
j
œ œ
b
& b b œ.
90
Vocal Book
Forbidden Broadway
No. 14 — 1 —
14
SPAMALOT
“Spamalot” and “The Song They Stole From Us”
&bC
Ó
2
1-2
U
Œ
¿
J
‰
TIM CURRY:
It's
sat
-
&b œ
12
is - fy
each
œ
œ
was
made
&b œ
20
now
ic
I
Er
œ
œ
œ
œ
œ
œ
the
jokes,
right
on
the
dot...
œ
au
&b
32
œ
œ
œ
-
œ
peo - ple
œ #œ
get - ting
su
-
i
LOT.
knows
ev
scream
out
¿
-
cid
œ
œ
œ
˙
'ry
joke
that's
com
¿
¿
¿
¿
not
the
plot!"
OFFSTAGE VOICE:
"Wait! That's
-48-
plan
Ó
Œ
to
nœ
A
Œ
˙
-
dle:
Œ
˙
Œ
Ó
Œ
˙
-
al
œ
They
Ó
Œ
œ
and
Œ
˙
œ
at
Ó
25-26
œ
œ
Ó
2
œ
œ
#œ
-
Œ
œ
di - ence
-
a
œ ‰
J ¿
fan:
of
is
œ
Œ
fans
cast
œ
THON
by
N
ot
&b
28
-
œ
the
-
PY
œ
œ
SPAM - A
TY
ols had
¿
œ
œ
œ
-
˙
œ
J
Tempo giusto
œ
œ
œ
j
¿
-
œ
œ
be - fore
Nich
œ
TR
laugh
&b
MON
Mike
œ œ.
J
fo
rp
œ
&b œ
16
24
¿.
W
law
¿
J
j
¿ ¿.
œ.
n
¿ .
J ¿
true.
‰ œj
io
& b ¿.
Œ
Pe
8
It's
Œ
du
true.
¿
ct
‰ J¿
Œ
ro
Œ
sa
l
&b ¿
ru
Moderato
4
Œ
œ
Our
˙
-
Œ
˙
ing,
Œ
œ
and
Ó
Ó
Œ
œ
TIM CURRY:
So
CAM - E
œ
œ
PY - THON
Œ
&b œ
46
LOT,
œ
rit.
MON - TY
-
U
œ
œ
fans
get
Ó
Œ
œ
&b œ œ œ œ œ
œ
˙
like
this?
&b œ œ œ œ œ
TR
Œ
all will hum a - long;
‰ œj
‰ œj
that goes
like
GALAHAD:
œ
bridge
Forbidden Broadway
is
¿
a
œ.
Œ
‰
œ
œ œ œ.
too
far for me.
Œ
¿ ¿ ¿
is
-
Œ
to
the
I'll
-49-
Œ
the
‰ j
œ
LADY:
A
j
œ
‰
Œ
œ
this
œ
is
œ
the
¿ ‰ ‰ ¿ Ó
LADY:
BOTH:
Yes!
Yes!
œ
Œ
‰
mid - dle eight...
LADY:
‰ œj
œ
they
j
œ
œ œ œ œ
in
¿
Œ
Oh,
Yes it is!
œ
J
j
œ
œ
where
¿
‰
Œ
GALAHAD:
this.
‰
ma - gic spell...
Œ
..
∑
œ
œ
œ œ œ œ
casts
-
SAFETY
Where? Where? Where?
o - ver - act like hell.
go straight
‰ Jœ œ
that
œ
‰ j
œ
¿ ¿ ¿
œ œ œ œ œ
N
ot
&b
70
j
œ
Œ
..
A
It
Oh,
Where is it? Where is it?
we'll
j œ
œ
&b œ œ œ œ
Œ
w
-
song like this.
fo
rp
&b œ œ œ œ œ
can
SPAM
œ œ œ œ œ
œ
and
w
see
comes a
Œ
lot...
∑
that
62
Now we
a
ends up with a kiss.
‰
Œ
œ
Moderate pop ballad
¿ ¿ ¿
Œ
sen - ti - men - tal song
68
œ
w
they
Pe
that goes
song
w
a tempo
œ œ œ œ œ
and
60
œ
ham
j
œ
‰ œj
Œ
W
‰ œj œ
‰
and
3
‰
starts off soft and slow,
&b
mug
there
&b œ œ œ œ œ
65
and
ru
Œ
ev - 'ry show,
54
song
œ
47-49
GALAHAD:
&b œ
œ
hot when
rit. e dim.
52
57
œ
œ
LOT!
Once in
œ
n
œ
Œ
œ
ct
&b
40
trash
œ
du
we
œ
ro
œ
sa
l
&b œ
36
Spamalot
No. 14 — 2 —
io
Vocal Book
œ œ œ œ œ
sing it
in your face
j
œ
a
Ó
we change
œ
œ
œ
Œ
#
œ œ
œ
œ
œ
the
‰ œj
Œ
LADY:
song
that
### œ œ œ œ
&
goes
&
###
Pe
œ œ œ œ œ
&
94
&
96
####
####
####
should he make a fuss?
œœ
Œ
back
&
####
œœ
ww
from
that
wuss!
joke
Œ
‰
œ
J
# œ œ
œ
Œ
rhym - ing "Damn re - frain"
œœ
œœ
œœ ..
œ.
sing
their
song
˙
# ˙
˙
# ˙
this
Forbidden Broadway
We
œœ
œœ
œœrit...
œ.
is
the
song
œœ œ
œ
œ
J
with
and make
œœ œ
œ
œ
J
they stole
œ "
œ
Œ
‰ œj
BOTH:
so
from
-50-
do
œœ
ww
them
cuss,
a tempo rit.
us!
###
‰
œ
J
LADY:
˙
we'll
Œ
œ
œ
steal
it
####
LADY:
œ
A
œ
Œ
‰
œ
J
LADY:
that! Please!
"we shall go
w
LADY:
Why
œ œ œ œœ œœ
œ œ œ
œœ
J
‰
the
j
œ
‰
be missed.
al - ways
BOTH:
œ
stole
Œ
Œ
œ œ œ œ
We
œ
˙
Ó
on chang - ing keys?!
œ œ
œ
œ œ
one song won't
GALAHAD:
œ
Now
stole the joke from us...
He
œ
Ó
œ œ œ œ œ
œœ
# œ œ œ œ
we'll
100
j
‰ œ
Œ
GALAHAD:
œ
œ
but
N
ot
&
92
‰
Id - le's pissed...
TR
89
###
œ
J
GALAHAD:
œ
BOTH:
this!
Œ
W
&
86
Er - ic
like
œ
84
w
‰
GALAHAD:
We're FOR -
Ó
œ œ œ œ œ
ru
œ.
nnœ .
œ
Œ
words are real and clear.
The
j
œ œ
But
did - n't change.
fo
rp
&
#
ly - rics
GALAHAD:
key!
œ
œ œ œ œ
LADY:
wait. There's some - thing strange:
BID - DEN BROAD - WAY here.
81
œ
J
‰
the
ro
&
78
œ
œ
then
sa
l
&
#
and
em - brace...
œ
J
‰ j #
œ
œ
˙
du
while we both
œ.
j
œ nœ .
n
Œ
‰ œj
ct
& b œ œ œ nœ #œ
73
76
Spamalot
No. 14 — 3 —
io
Vocal Book
...like
Œ
in - sane..."
œ
œ
...so
# ˙˙ ..
w
œ
œ
for
∑
#
Vocal Book
No. 15 — 1 —
Forbidden Broadway
CATS
15
“Old Cats” and "I Enjoy Being a Cat"
glue
on
#### # C œ œ Œ
& #
19
œ
Œ
wear my
brand
˙
Œ ˙
Ó
Ó
˙
and
-
Œ
ler.
˙
œ
I'd
## #
& # ## ˙
rath
as
cat's
˙
-
my
en
er
#### # ˙
& #
˙
#### #
& # œ
49
cat.
pa
Œ
-
Ó
˙
ja
Ó
-
œ œ
˙
lar,
and
love
œ
joy
be
˙
ser
-
-
˙
mas.
Œ
my
to hear
œ
ing
Œ ˙
Ó
Ó
Though
-51-
œ
œ
I
en
folks
˙
œ œ
fur
is
dra
-
œ.
œ
say
lic
Ó
œ œ
but
˙
-
œ
show
as
#œ œ
show
be
the
˙
-
˙
mas,
œ
j
œ
all
cat.
˙
joy
˙
pub
a
˙.
-
œ
œ Œ
this
n˙
Œ
the
œ œ ˙
˙
ious
#### # C
#
I
œ
œ
J #œ
fat,
œ
and
I
When
œ.
˙
pay - check's
Œ
-
do
N
ot
long
-
˙.
‹œ œ
˙
œ œ
39
col
œ
˙
œ œ
I
œ. œ.
j
œ
So
Ó
purr.
I
˙
Œ.
œ
fur.
w
with a
pat,
œ
hol
new
in
Bright 2
fo
rp
˙
34
44
‰ œJ œ
˙
TR
#### # Ó
& #
œ œ Œ
˙
˙.
an - i - mal hair,
‹œ œ
smooth
#### # Œ
& #
and
bear it
˙
29
tail
dress up
œ.
hu - mans?
Œ.
œ œ œ œ.
and
W
#### #
& #
24
I
whisk - ers,
when act - ors played
I
Pe
## #
& # ## ˙
grin it
pay - check,
j
œ œ œ œ
ber
Œ
œ. œ. œ. œ.
my
15
œ.
mem -
œ.
n
œ
j
œ
-
Re
œ
œ œ œ
J
Œ
ro
b
& b œ.
11
œ.
a
œ.
io
œ œ
Now, to bring home
œ.
œ .
J .
ct
b
&b ‰ œ œ œ
Œ
du
Œ.
∑
Male 2: (last time)
sa
l
6
b
& b 68 ..
ru
1
is
the
œ œ ˙
ing
œ
is
œ
long
a
œ
and
## #
& # # # # œJ œ
will - ing
strict
# ˙
ac
&
ro
bat,
œ
chor
#
-
˙
œ
-
Œ
us,
œ
˙
I
en
# Œ.
&
Re
œ.
&
99
œ
-
&
Œ
˙
˙
-
œ
œ
ing
cute,
w
œ.
Forbidden Broadway
ris
œ
œ
˙
and
I
love
Œ
Œ
œ
œ Uœ Uœ Uœ
J
Œ
mem - ber
-
when no - one would
Œ.
Œ.
œ.
Œ.
in.
œ
rit.
I'll
-
œ.
Next
œ
J
be
œ.
play
œ.
-
ing
˙
œ
œ
and
a
Ó
Œ
-
-52-
#
nœ
I'm
œ
œ
Puss
˙
'n
Boots
˙
œ
purr - ing
œ
˙
I'm
˙
in
the
˙
˙.
œ
dly
and
coy...
'cause
˙
w
68 ˙ .
ing
a
cat!
Tempo 1o
œ.
œ.
‰ œ œ œ œ œ
cast
me?
Now I've got me
œ.
j
œ œ
sea - son,
Œ.
I'm
œ. œ.
Rin - tin
a
œ. œ. œ. œ.
star - ring in Lloyd
-
œ.
tin.
U
∑
2
zees,
ing,
#œ
œ
cud
be
œ.
dor
˙
˙
joy
and I'm rak - ing it
œ
-
-
˙
Ó
œ
Mor
Ó
Web - ber's new show.
104-105
fleas.
œ œ œ œ œ œ
op
œ
of
N
ot
& œ.
93
-
-
full
w
n œ.
a
cos - tume
od
be
-
œ
J
Œ
88
co
-
Ó
˙
TR
82
Meth
˙
-
# Œ
a
are
˙
œ
˙
W
&
77
ly
crit - ics
fo
rp
&
72
-
˙
the
tard - ed chimp - an
˙
œ
a
œ
re -
œ
#œ
#œ
like
œ œ œ nœ
Pe
˙
as
œ
to wear
dance
j
œ
œ.
long
œ œ
J
we
n
as
63
#
n˙
˙
58
&
and
nw
œ œ œ œ
io
## #
& # ## Ó
ing,
j
œ
œ.
du
-
n˙
œ œ
ro
bor
˙
sa
l
˙
ru
#### #
& # n˙
53
67
Cats
No. 15 — 2 —
ct
Vocal Book
Œ.
Vocal Book
Forbidden Broadway
No. 16 — 1 —
16
ANOTHER WORD FROM LES MIZ
“On My Phone”
[MAY BE INSERTED BETWEEN BARS
95 and 96 of LES MIZ SEQUENCE]
#### 4
& #4
Slowly, freely
is - n't
an - y - one
#### ≈
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
##
& # # 44
≈
œ
next,
∑
œ
Ó
of
j
œ œ œ œ. œ
œ.
be - hind the LES
TR
phone,
time
œ œ
MIZ
&b
œ.
phone,
In
while Jean Val - jean
& b nœ œ œ .
Œ
œ.
In
3
&b4 œ œ œ œ œ œ
& b œ œ. œ
shoot me.
voice
œ
the
I
can
j
œ œ
j
œ œ
œ
I
still
4
œ œ œ œ œ œ 4
Œ
U
‰ ≈ œr
I'm
œ œ.
dy - ing...
can
U̇
rall.
œ œ œ
to
-53-
call
text
U
Œ
call
j
œ nœ
the
a
Œ
jerk
On
œ œ
my
˙
me,
U
˙
phone!
my
œ.
œ
œ
with whom
a tempo
42
b
nœ nœ
I'm
j
œ
mes - sage
Ro - tate
on
my
shad - ows
42 œj œ
œ œ œ
you
on
side me.
œ
œ
Own!"
rall.
a tempo
-
œ. œ
mail...
the murk - y
œ.
weep - ing,
dark - ness,
Œ
j
œ œ œ œ œ
j
œ œ
œ œ
gos - sip with my girl - friend while I'm sing - ing "On My
30
my
4
œ œ 4 œj œ
.
œ œ œ œ œ œ
N
ot
sleep - ing.
27
r
œ
rall.
Œ
#### 4
4
œ œ œ.
With - out lights,
œ œ œ.
is
˙
text.
case I'm feel - ing bored, I keep my i - Phone close be
j
œ œ œ œ. œ
24
‰.
fo
rp
hide me.
a
check up on
Œ
Un - til I en - ter
42
j
œ
œ œ œ œ.
I
‰ . œr œ
œ œ œ
clock, too.
œ
œ
send
phone,
rub - ble.
#### 2 j
&
4 œ œ œj 43 œ œ œ œ
œ
to
œ.
j
œ œ.
18
21
I keep look - ing at the
œ
œ
Œ
W
&
œ
On my
####
j
œ œ.
rall.
there's lots
11
15
I hit my mark, but
talk to.
du
&
####
I say my lines,
to
n
dark, there
Ó
io
up - stage where it's
j
œ œ.
ct
Ro - tat - ing
œ œ
œ
sa
l
# ≈ œ œ œ œ œ
ro
9
EPONINE:
ru
7
&
####
1-3
Pe
5
∑
rall.
3
43
and
Œ ‰ œj
then
Ó
Vocal Book
Forbidden Broadway
No. 17 — 1 —
17
FIDDLER ON THE ROOF
“Ambition”
Delicately (in 2)
&C Œ
10
1-10
word:
∑
bi - tion!
œ ˙.
& œ œ ˙.
œœ ˙˙˙ ...
& œ
œ.
∑
32 Ó
n
‰ œj
Œ
Am -
‰ œj
‰ œ œ œ Œ
SOPRANO:
ALTO:
œ œœœ œœœ ...
J J
32 Ó
œœ
3
25-27
‰ œj
‰ œ œ œ Œ
Ó
Am - bi - tion!
Am -
‰ œœ œœ œœ
C
Am - bi - tion!
Ó
œ œ œ
‰ œœ œœ œœ
Am - bi - tion!
Meno mosso (pesante)
Am -
TENOR:
BASS:
Am - bi - tion!
N
ot
œ.
œœ œœ œœ ..
J J
..
io
Ó
bi - tion!
∑
Am - bi - tion!
bi - tion!
&C
sa
l
œ œ œ.
J J
œœ ..
*œ
-
·.
∑
Am - bi - tion!
œœ ..
bi - tion!
Am
¿
fo
rp
TR
& œ œ ˙.
22
‰ J¿
Œ
∑
W
&
Ó
Pe
...one
18
Œ
.. ..
"That I can
tell you in..."
VAMP
du
¿
Œ
∑
"...everyone
else is here."
ro
& ¿
TEVYE (MALE 1):
14
.. ..
∑
11
VAMP
ru
& ..
Moderato (in 2)
rall. poco a poco
ct
"...end up in Baltimore."
VAMP
C
Am - bi - tion!
"...I do remember."
##
2
28-29
* The tenor (or the pianist) may sing the optional notes.
-54-
..
30
VAMP
∑
..
Vocal Book
œ œ œ œ œ
I
saw
œ œ œ œ œ
wrote and I asked to
œ # œ œ b œ œ . œj
put
me on
˙.
œ.
Am - bi - tion!
‰ œ œ œ Œ ‰ œj
###
˙˙ ..
W
I was an in - ge - nue ad
œ œ œ
œ
œ
œ
œ
œ
No- bod - y would hi - re me or
œ
jec - tion!
˙.
nau - se - am,
œ
give
##
& # ‰ œ œ œ Œ ‰ œj
Am - bi - tion!
a
Forbidden Broadway
œœ ˙˙ ..
œ œ ˙.
Pro - jec - tion!
∑
2
my
damn
un
-
til
œ œ
‰ œœ œ œ Ó
###
Am - bi - tion!
###
œœ œœ œœ
‰ œ œ œ Ó
Am - bi - tion!
nœ bœ
œ
voice was
like
‰ n œJ
j
bœ œ œ œ nœ
œ œ ‰ œ nœ
œ ˙.
œ œ ˙.
Pro - jec - tion!
∑
Re - jec - tion!
a
bœ œ ˙
lit - tle
lamb.
bœ œ œ
I learned to use my
di - a - phragm.
j j
œ œ œ.
œ.
### ‰
œ œ œ Œ ‰ œj
&
Am - bi - tion!
.
œ . œœœ œœœ œœœ ..
J J
œ œ œ ‰ œj
œ œ
œ
œ
œ
œ
œ œ
œ
∑
Re - jec - tion!
47-48
FEMALE 2:
When
œœ ..
˙.
Re - jec - tion!
ALL:
60
œ œ
œœ .. œœ œœ œœ ..
J J
fo
rp
&
57
œœ
N
ot
##
& #
53
˙˙ ..
Re - jec - tion!
TR
&
###
œ
œ œ
‰ œ œ œ Œ ‰ œj
Am - bi - tion!
49
Re -
Re - jec - tion!
ALL:
##
& #
Shore!"
œ.
œ
J
ru
&
##
œ
J
Œ Œ ‰ œj
œ
he said, "Go ask Di - nah
Pe
&
##
star - ring Gar - ry Moore. I
œ œ œ œ œ bœ
the show, but
jec - tion!
42
saw a show on T. - V.,
n
œ
on T. V....
io
#
& # œ
39
a show
œ #œ œ œ œ œ
ct
#
& #
I was ten,
œ œ œ œ œ bœ
du
When
35
œ #œ œ bœ œ œ
TEVYE (MALE 1):
ro
##
sa
l
&
31
Fiddler on the Roof
No. 17 — 2 —
‰ œj
Pro -
∑
Pro - jec - tion!
J J
œœ ..
Pro - jec - tion!
œ œ œ
œ . œœ œœ œœ ...
J J
Pro - jec - tion!
-55-
∑
‰ œœ œœ œœ Ó
Am - bi - tion!
∑
‰ œœœ œœœ œœœ Ó
Am - bi - tion!
bbbbb
bbbbb
Vocal Book
∑
Ó
œ œ œ œ
Œ œ
ten
At
b
& b bbb A œ Œ Œ œ
œ œ œ œ
70
dream.
I
nev - er
œ.
had
a
pim - ple,
&
####
# œ Œ Œ œ
# œ
un
œ
œ.
####
Ó
˙˙ ..
˙.
Œ œ
FEMALE 1:
And
-
œœ ..
mer - cials.
Com -
I
was
˙
til
I
got the
œ.
a
lead
in
my
n
œ œ œ
At - ten - tion!
-56-
-
se - nior
œ œ œ
#
####
#
∑
Œ Œ ‰ œj
œ
play.
At -
Ó
Am - bi - tion!
∑
œ
bod - y looked my
œ ‰ Œ
J
At - ten - tion!
.
J J
no
œ nœ nœ
At - ten - tion!
œœ ..
At - ten - tion!
œ
œ œ œ
J J
˙˙ ..
œ
˙.
œ
####
Am - bi - tion!
high school
#### ‰ œ œ œ Œ ‰ j
& #
œ
Am - bi - tion!
∑
child,
J J
œœ
Am - bi - tion!
œ Œ Œ œ
œ œ
œ œ.
J
At - ten - tion!
Com - ple - xion!
œ ˙.
œ œ ˙.
Am - bi - tion!
∑
.
J J
œ œ œ œ
when
œ œ œ œ
ALL:
Forbidden Broadway
-
j
j
œ œ. œ ‰ œ
∑
Com - ple - xion!
# ‰ œ œ œ Œ ‰ œj
&
com
a
io
œ œ
N
ot
ten - tion!
96
œœ
W
∑
way
93
sev - en - teen,
œ.
œ
J
fo
rp
####
do
J J
Com - ple - xion!
TR
&
88
˙˙ ..
Pe
Com - ple - xion!
Am - bi - tion!
#
I
œ
J
at
nœ Œ Œ bœ
ru
œ
œ œ
j
bb
&b b b ‰ œ œ œ Œ‰ œ
&
so
boy;
Com - ple - xion!
Am - bi - tion!
####
pret - ty
œ.
˙
ALL:
bb b b ‰ œ œ œ Œ ‰ j
œ
& b
83
a
œ bœ œ œ
ple - xion!
78
was
nœ #œ œ nœ
ct
j
b
& b bbb œ
75
I
œ bœ œ œ
du
b
MALE 2:
ro
bbbb
sa
l
&
65
Fiddler on the Roof
No. 17 — 3 —
‰ œœœ œœœ œœœ Ó
Am - bi - tion!
nnnn
n
nnnn
n
And
&
∑
Œ
∑
When I
œ
MALE 2:
œ
ten
∑
bod
-
& bœ
y
bœ
looked
was
like
œ.
œ
TR
-
en
-
teen,
& nœ œ œ œ œ
saw
a show on
& ˙
108
lead
œ
give
& œ
pim
T.
way
bœ
J
bœ
a
lit
bœ
œ
a
dream.
V.,
œ
in
my
œ
œ.
a
damn
bœ
-
ple,
me
on
Forbidden Broadway
I
was
-
I
was ten,
I
Œ
œ
˙
tle
lamb.
Œ
œ
œ
un
j
œ
bœ
un
-
til
œ
bœ
so
I
do
j
œ
but
-
til
bœ
school
se
bœ
nev
œ
œ
I
-
learned to
Œ
Œ
wrote
bœ
ask
-57-
Di
ty
a show
I
am,
my
œ
œ
boy,
at
on T.
use
-
nah
V....
œ
got
the
-
er
had
a
œ œ œ.
and
I
bœ
my
di
-
me
asked
Ó
bœ
œ
j
œ œ.
mer - cials.
œ
Shore!"
a - phragm.
œ
Œ
j
œ
to
Œ
-
or
œ
play.
œ
bœ
œ
œ
œ
œ
œ
nior
com
said, "Go
bœ
œ
œ
œ œ bœ œ
I
-
œ œ œ
œ
œ
œ
œ
œ
œ
Nœ œ œ œ œ
he
-
se
No - bod - y would hi - re
Œ
œ
high
pret
saw
I
œ
œ
-
-
j
œ
œ #œ œ bœ œ
œ
œ œ œ
star - ring Gar - ry Moore.
œ
the show,
a
œ
œ.
œ
nau
œ
œ #œ œ œ œ
bœ
œ
& œ #œ œ bœ œ .
put
my
œ
Œ
no
œ
in - ge - nue ad
œ
Œ
œ
N
ot
& œ
was an
fo
rp
œ
& bœ
sev
œ
child,
ru
œ
a
TEVYE (MALE 1):
W
voice
œ
was
Pe
& œ
I
œ œ œ
œ
œ
œ
œ
œ
When
105
œ
FEMALE 2:
At
&
œ
when
∑
Ó
œ
ro
&
∑
Œ
œ
n
œ
œ
io
Œ
du
Ó
FEMALE 1:
sa
l
∑
&
101
Fiddler on the Roof
No. 17 — 4 —
ct
Vocal Book
Œ
Œ
Œ
‰ œj
Re -
Vocal Book
‰ œj œj œ .
‰ œ œ œ Ó
w
w
At - ten - tion!
‰ œj
Œ
Pro -
‰ œ œ œ Ó
jec - tion!
∑
&
w
œ œ ˙.
Am - bi - tion!
‰ œj œj œ .
Œ
w
sa
l
& Ó
Am - bi - tion!
Com - ple - xion!
W
‰ œj
At
‰ œj œj œ .
TR
& Œ
œ
-
ten - tion!
w
Pro - jec - tion!
˙.
ple - xion!
∑
&
w
Œ
io
w
‰ œj œj œ .
w
N
ot
&
Forbidden Broadway
"Ambition... ambition... Without our ambitions, our
lives would be as crazy as... as... as an actor in New…
molto rall.
4
119-122
-58-
U
‰ œ œ œ Ó
Am - bi - tion!
U
‰ œ œ œ Ó
Am - bi - tion!
w
Re - jec - tion!
Slowly,
delicately
U
‰ œ œ œ Ó
Am - bi - tion!
fo
rp
& œ
œ
w
œ ˙.
‰ œ œ œ Ó
du
Œ
Com -
Am - bi - tion!
ro
& Ó
115
Pe
jec - tion!
w
Am - bi - tion!
ct
w
ru
& œ œ ˙.
‰ œj
‰ œ œ œ Œ
n
& Œ
111
Fiddler on the Roof
No. 17 — 5 —
U
‰ œ œ œ Ó
Am - bi - tion!
…York!"
∑
U
∑
Vocal Book
Forbidden Broadway
No. 18 — 1 —
18
CAMERON MACINTOSH
& b 42
6
1-6
œ
show.
œ
&b
but
there's
some
TR
came, I
saw,
I
&b œ œ œ œ
29
cast - ing
put
the
nœ
œ
-
œ
thing you
my
œ œ œ œ
u - nion in
ought
show
bus - 'ness
nœ ‰ œ œ
J
di
-
stress,
it's
Con moto
&b œ œ œ œ
&b
39
b
a
suc
&b
cess.
Œ
œ #œ
œ
œ
b œ
œ
œ
œ nœ
œ
LES
MIZ
bod - ic
- es
old
œ
Sweat - shirts
œ
mit - tens,
44
-
my
(3 times--vocal last time)
N
ot
more of
b b 43 .. œ # œ
˙
34
in
-
whisk - ers
and
tosh,
the
fi
-
and
œ
œ
œ
cat
ears
and
œ #œ
held
up
-59-
n
Œ
know:
#œ ‰
J
œ œ
nesse,
and my
œ œ œ nœ
mar - ket - ing
œ
ev - 'ry
em - per - or
˙
to
œ #œ œ œ
œ
con - quered with
-
œ. œ œ œ
n œ ‰ œj ‰
J
œ ‰ œ œ
J
œ
œ œ œ œ
24
Mac
j
j
œ ‰ œ ‰
Broad - way. I've pro - duced
j
j
œ ‰ œ ‰
j
œ œ œ
I'm Cam - 'ron
W
Broad - way...
po - le - on of
ro
& b nœ
19
-
io
hit
Na
Pe
new
‰
˙
13
tosh,
œ ‰ œ œ
J
of
ct
j
& b œ ‰ œj ‰
-
œ œ œ
œ
du
Mac - in
œ. œ œ œ
ru
I'm Cam - 'ron
j
j
œ ‰ œ ‰
sa
l
j j
œ ‰ œ ‰
&b ‰ j
œ œ œ
Cameron Macintosh:
fo
rp
7
œ
t - shirts
œ #œ
lit - tle
œ
b˙
by
strings...
con - tro - ver - sial
œ #œ
blank - ets
œ
stuffed
Œ
œ œ œ œ
sou - ve - nirs that's
..
and
Though I
œ œ œ œ
of
œ
œ œ
œ
œ
œ
and
Œ
kit - tens,
œ nœ
these
are
œ
a
Vocal Book
b
& b œ #œ
œ
b
vi - vi
˙
Œ
rings...
sec - tions,
nœ
these
are
a
few
of
my
show
flops,
Œ
˙.
œ
b
& b ˙.
so
Forbidden Broadway
-
œ
when
the
œ
nir
˙.
#œ
Œ
things,
and
cat
œ
nœ
and
Colm
gross
œ
œ
2
low.
nœ
mar - ket
gross - es
88-89
œ
nœ
tails
œ #œ
œ
˙
œ
Œ
and
˙.
nœ #œ
from
œ
˙.
things.
Œ
œ
drops,
œ
œ
and
œ
˙.
don't
seem
nœ
œ
when
a
œ
œ
mer - chand - ise
˙.
####
# œ ‹œ
Key chains
-60-
œ
Wil - kin - son
sou - ve - nir
I
N
ot
sou - ve
œ
slow,
#œ
gloves
dolls
œ
a
œ
Web - ber
fo
rp
b
&b œ
œ
œ nœ
œ
When
is
œ
œ
bœ
œ
œ
cat
œ
˙
week
85
œ
œ
b ˙
80
bœ
œ
TR
&b
75
lec - tions,
Lloyd
W
b
&b Œ
70
-
Œ
œ
œ
-
se
Pe
&b
65
vo - cal
œ #œ
Œ
œ
œ
and
n
and
œ
Rec - ords
io
Ds
things.
œ #œ
œ
ct
œ
60
cat
sou - ve - nir
ro
b
& b nœ #œ
55
˙.
œ #œ
2
52-53
du
my
œ nœ
sa
l
of
C -
bœ
œ
ru
b
& b œ #œ
49
few
Cameron MacIntosh
No. 18 — 2 —
œ
and
œ
œ
n˙
Œ
œ #œ
˙
œ
œ
LES
MIZ
# ˙
are
a
choc
-
TR
# ##
& # # œ
116
come
#### ˙ .
& # ˙.
œ
see
‹œ
the
Œ
sleeve...
œ
to
# # # # ˙˙ ..
& #
Forbidden Broadway
-
nœ
œ
œ
few
of
my
'lates
Œ
show
˙˙ ..
N
ot
121
your
œ
cof - fee
cups,
play - ing
cards,
œ #œ
œ
œ ‹œ
œ
cop - ters
and
œ
hel - i
#œ
‹œ #œ
œ
˙
shaped
like
or
œ
œ
It
costs
œ
and
one
œ
œ
-
œ
˙.
œ
things.
Œ #œ
phans,
œ #œ
one
œ
œ
œ
dol - lars
˙.
more
˙˙ ..
˙˙ ..
leave!
˙ ..
˙
œ
œ
-61-
Œ
Œ
œ
patch - es
˙.
hun - dred
˙˙ ..
œ
hun - dred
œ
œ
turn - ta - ble
sou - ve - nir
œ
Œ
œ
˙.
œ
for
126
œ
W
&
toy
Pe
#### Œ
& #
œ
cry - stals,
pis - tols,
these
œ
œ ‹œ
Œ
du
#
Val - jean
œ
œ
n
# œ ‹œ
œ
io
chan - de - lier
106
####
Œ
and
springs...
111
œ
ro
&
####
œ ‹œ
wal - lets
Jean
101
œ
œ
sa
l
####
# œ
ru
&
96
####
fo
rp
&
91
Cameron MacIntosh
No. 18 — 3 —
ct
Vocal Book
∑
œ
to
Vocal Book
Forbidden Broadway
No. 19 — 1 —
19
BACK TO BARBRA
“Back to Broadway”
Molto rubato
& b 44
Broad
&b ˙
-
˙
way
12
˙
œ
W
bœ
dull
TR
They're my
&b
17
˙
˙
Broad
-
&b ˙
bœ
21
can,
Rod
&b
29
'cause
œ
I
˙
˙
est
˙
to
œ
œ.
proved
-
know
˙
gers
j
œ œ œ
his sap - py
slow
œ
I
out
œ
œ
"Some
En
œ.
tunes
j
œ œ œ
and had
his
-
n
˙
tunes.
œ bœ œ bœ
Ó
w
cresc. & accel.
far.
˙
œ
de - stroy more
n˙
...back to
˙
so - o - o - o
œ œ œ
N
ot
&b ˙
25
way
-
w
œ
re - cord some
˙
˙
show
˙
œ
shine
ev -
œ
˙
œ
chant - ed
rit.
˙
tunes,
-
Nœ Nœ
Back
to
nœ
and
œ
I
œ
˙
œ
œ
'ry
star.
Tell
Dick
œ
œ
œ
Eve - ning's"
œ #œ Œ
œ œ œ œ
or - che...
or - che - stra - tions
-62-
œ œ
Strei - sand...
œ œ œ
to
Ó
io
˙
U
˙
du
& b N˙
Bar - bra
Pe
8
peo - ple...
j
œ œ.
˙
ru
Mem - 'ries...
j
œ œ.
˙
ct
j
œ œ.
˙
ro
j
& b œ œ.
BARBRA:
sa
l
1-2
fo
rp
3
2
˙
fixed.
I
im
U U U U
j ‰
œ
nixed...
#œ œ
'cause
I
œ
get
-
re
&b ˙
-
ing
di
-
vorced,
real
&b œ
57
-
˙
ly
˙
œ
&b Ó
œ
and
be
œ
œ
went back
œ
and
Œ
œ
to
˙
œ
ev - er
more!
Forbidden Broadway
œ
-
ver
-
and
˙.
w
'ry
œ Œ œ œ
w
mixed.
I'll
j
œ
œ.
-
˙
œ
be
rit.
œ #œ œ œ
Bro - lin
is
-
œ
go
big - ger than
œ
N
ot
ev - er
62
œ
o
œ œ œ
œ
œ
Ev
˙
˙
and
way.
w
Broad
-
˙
œ
ev - er
w
-63-
fore,
and
Œ
bore...
˙
œ
and
w
I
œ
#œ œ
and
œ
˙.
would
run
#œ
way,
be
U U U U
w
a
fo
rp
& b N˙
mas - tered
be - cause James
a tempo
52
-
œ. j œ
œ
W
to get
TR
forced
˙
j
œ œ œ
œ.
re
œ
Pe
tour
&b
writ - ten,
˙
43
47
-
œ ˙
œ
-
ct
song's
œ ˙
Broad
œ
#œ
du
œ
on
˙
ro
˙.
back
˙
n
way
˙
œ
œ
ru
my
&b
Ó
˙
sa
l
& b N˙
rit.
33
37
Back To Barbra
No. 19 — 2 —
io
Vocal Book
if
I
œ
for -
w
w
ev
-
w
er...
˙
Ó
Vocal Book
Forbidden Broadway
No. 20 — 1 —
20
HAIRSPRAY
“You Can’t Stop the Camp”
Brightly
b
& b b b 44
Ó
5
1-5
Œ
j
bœ
‰
MARISSA:
Œ
10
and
œ
œ
thing
b j
& b bb œ œ
in HAIR
deep
keep
spin
-
ning
ing
œ ‰ œ
J
sound...
b
& b bb œ œ œ ˙
but
‰ œj
and
cul
œ œ
J
our
rac
-
j
œ œ
j
œ
round
œ
J
and
œ œ
HAIR
œ
-
œ
here
you can't stop
-
ture
œ
œ œ œ
J J
ial
ex
-
po
-
try
j
œ ‰ œ œ bœ
we have some -
to
stop
round,
j
œ
œ
œ
œ
œ œ
the camp!
-64-
j
œ
a - stound
Ó
Œ
our
danc -
'cause the
œ œ
œ
and the vol
j
œ
‰ œ œ œ
˙
se
œ ‰ œ œ œ
J
to - day...
j
œ œ œ œ
œ
œ
J
œ œ
brings
pre - tends
‰ œ œ œ
SPRAY will still
œ
œ
j
œ œ
j
œ
one
œ
n
pop
so don't you
N
ot
b j
& b bb œ œ
25
and
j j
œ œ œ
b
& b b b œJ œ
-
Œ
œ
to say...
feet
19
22
SPRAY, no
œ œ
TR
in'
trends
j
œ œ œ
œ
œ œ œ œ œ
J
16
-
y
œ
W
13
-
‰ œ œ bœ
-
œ bœ
œ
fo
rp
b
& b bb œ
the trend
œ
io
b
& b bb œ
stop
œ
œ
du
can't
œ œ
ct
œ
ro
œ
ru
b
& b bb œ
Pe
7
sa
l
You
-
ume
œ
œ œ œ œ
is pumped
to
‰ œ œ œ œ œ
J
as the good
‰ œj
No,
œ
sets
œ
-
time
œ
you can't stop
a
blar -
œ
J
champ...
œ œ
the camp!
Vocal Book
MARISSA: And to prove my point let me
introduce the greatest Diva of the new century!
b
& b bb
#### #
#
2
29-30
## #
& # ##
3
œ
the
way
I
LO - GY,
#### #
& # œ
TR
tak - en back
## #
& # ## ˙
I
did
#### #
& # œ œ œ
Pul
did
-
œ œ
I
Forbidden Broadway
play
-
give
œ
I
j
œ œ
se
and
j
œ œ
a
it
-
-
rious
it
did
œ
j
œ
vamp...
Œ
œ
j
œ
n't
ma
pay...
œ œœ˙
-65-
so
I
‰
j
œ
and
-
j
œ
SONG
and
so they've
j
œ
a
ham.
j
œ ‰ œ œ œ
day,
and
it
j
œ œ
œ
œ
œ
œ
scend - ed
TRI -
œ œ œ
am
j
œ œ
my
de
like
j j
œ œ œ
I
in
j
œ ‰ œ œ œ
I
j
œ œ
‰
j
œ œ
be - cause now
-
j
œ œ
-
œ
damn...
j j
œ œ œ
dra
and
did TORCH
j
œ
a
zer
œ œ œ nœ
œ
er - stein,
œ
j
œ œ œ œ
j
œ œ
N
ot
#### # Œ
& #
When
n't
j
œ œ
œ œ œ œ œ
n't much fun,
Fi
œ nœ
œ
-
j
œ
my
I
-
Œ
œ
‰ œ œ œ
46
52
œ œ
j
œ œ œ œ
43
œ
am.
j Œ
œ
j
œ œ
Œ
œ
œ
fo
rp
-
œ œ
W
#### #
& #
40
œ
Har - vey
Pe
#### #
& # œ
37
am
œ œ
ru
I
œ
n
œ
io
œ
ct
j
nœ
‰
HARVEY:
du
Œ
ro
#### # Ó
& #
sa
l
31-33
34
49
Hairspray
No. 20 — 2 —
to drag,
œ
œ
œ
you
can't
stop
and
was -
j
œ
now
œ œ
the camp!
#### #
& #
œ
#
œ
j ‰
œ
œ œ œ
night,
il - le
j
œ œ œ œ
j
œ
#
Reese
˙
but
&
73
#
‰ œ œ
I
&
big flash
#
œ
and
er - spoon,
-
blow
Forbidden Broadway
out
an
-
so
I
j
œ œ
an
sets
j
œ œ
pose
and
j
œ
amp...
y
j
œ
bleach
j j
œ œ œ
y
N
ot
&
the pink
on
j
œ œ œ œ
œ œ
J
# œ
in
76
-
and
œ
blonde...
œ œœ
˙
j
œ
feel
j
œ œ
in
and
79-80
-66-
but
Mon -
‰ œ œ œ
and my vol
‰
j
œ
and
-
just
a
lit - tle
conned...
j
œ ‰ œ œ
out,
and
ume
is
so
I
œ
prance
pumped
œ
œ
œ
you
can't
stop
a
j
œ
œ œ œ œ œj œ
bbbb
2
Œ
j
œ
œ œ œ œ œj œ
œ
j
œ ‰ œ œ œ
pout,
night
broad -
'cause I'm
you might
slide
of
j
œ œ œ œ
œ
œ
gal - ly
j
œ œ
With
dy,
œ œ nœ
œ b œ œJ
-
‰ œ œ œ
TR
&
70
‰
and
œ
I'm
wan - na - be
-
œ nœ
œ
du
&
67
day
Bun
ro
-
j
œ œ
am fond...
ra
fo
rp
#
I
Œ
œ
W
&
64
ness
œ
œ
-
sa
l
-
œ
Lau
œ
œ
œ
ru
œ
am
œ œ
Pe
œ
œ
io
œ
ct
‰ n œj
Œ
LAURA:
I
#
∑
55-56
#
& Ó
&
#
2
58
61
Hairspray
No. 20 — 3 —
n
Vocal Book
j
œ
up
œ œ
∑
the camp!
JOHN:
and
b
& b b b œj œ .
ta,
b
& b bb
brand - new film
b
& b bb ˙
I
W
TR
j
bbb œ
b
œ
œ
œ
&
œ
œ
b j
& b bb œ œ
and
œ
J
cud
in
œ œ
J
-
j
œ
dly"
-
piece...
N
ot
j
œœ
œ
œœœ ‰ œœœ
se - ri - ous play...
and
burst
I
get
-
ting
in
œ œ
J J œ
to
j
œ œ
-
the
œ
J
be
o - bese...
œ ‰ œ œ œ
J
y,
too.
May - be
next
œ œ
œ œ œ œ œ œ
Ev - 'ry mu
-
‰ œj
-67-
song is
and it's trau
un - ac
œ
œ
you
and
œœ œ œ
œ œœ œœ œœœ œœœ œœ œœœ œœ
in - to
sic - al
LAURA:
HARVEY:
JOHN:
œœ œœ œœ œœœ œœœ œ œœœ œœœ
œ
œ œ œ
ing
Tra - vol -
but
œ œ
J
am packed
j
œ
j
œ
‰ œ œ œ
Œ
œ
camp
PULP FIC -
I'm John
œ ‰ œ œ œ
J
play - in' Broad - way
-
from
œ œ œj œ
œ
œ
‰ œ œ
œ œœ˙
stamp...
y, sil - ly, wack - y shows from
Forbidden Broadway
a
NA - DU.
œ
J
b
& b b b œœœ œœœ œœœ
106
pack
j j
œ œ œ
j
œ œ
XA
œœ
-
œ
SPRAY,
am
b
& b b b œœœ œœœ œœœ œœœ œœœ œœ œœœ
103
œ
fo
rp
ap - pear
-
œ œ
J
I
me
see
œ
j
œ œ.
HAIR
97
100
ways
j
œ
of
so now
I'll
‰ œ œ bœ
œ
-
‰ œ œ œ
94
Œ
Can't you
œ
al
j
œ œ œ œ
œ
91
and
re - cog - nize
Pe
-
from GREASE?
‰ œ œ œ
88
œ
you
œ bœ
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ct
TION
œ
œ
œ œ
œ
du
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ro
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85
Don't
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ru
b
& b bb œ
you?!
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sa
l
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LAURA:
bb b b HARVEY,
¿ ¿
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&
J
J
82
-
Hairspray
No. 20 — 4 —
io
Vocal Book
-
-
car
œ
œ
can't
-
ries
a
"cute
œ œœœ
œ
œ
œ
stop
the tack -
œœ œ œ
œ œœ œœ œœœ œœœ œœ œœœ œœ
ma do - in' dra - ma or
œœ œœ œœ œœœ ‰ œœœ
œ œ œ
cept - a - ble and
so
a
j
œœœ
gay...
œœœ
112
hit - tin'
the screen...
you
j
œœ
œ
and
e
can't
-
b
& b b b œœœ œœœ œœœ œœœ œœœ œœ œœœ œœ
ven John Tra - vol - ta
can't
stop
b
& b b b œœ
œ
œ
œ
œ
stop
œ
œ
œ
œ
∑
the camp!
126
You
can't
stop
the camp!
œ
œ
b
& b bb
###
œ
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ALL:
∑
You
&
139
###
œ
œ
can't
j
œœ
œ
œ
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We're
sick
‰ œj
J
and
∑
ALL: SISTER ACT!
œ
œ
com - ing camp!
œ
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∑
ALL: KEVIN SPACEY!
œ œ
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stop
the camp!
ww
w
ww
w
ww
w
4
œ
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N
ot
&
135
ww
w
the camp!
131-134
œ
œ
œ
œ
You
œœ
œ
œ
œ
and
∑
œ œ
œ œ
j
œœœ
champ...
Up
ALL: 9 T0 5!
a
ro
TR
b
& b b b œœ
can't
œ
œ
from
‰ œœ œ œœ ‰ œœ
œ
œ œœ œ
is
fo
rp
You
j
œœ œœ
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cli - che
ALL: MAMMA MIA!
is
met - a - mu - sic - al
œœ œ œ
˙.
˙
kitsch - y
W
122
œ œ
œ œ
y
ol' queen.
Pe
You
œ
œ
-
big
œœ œœ œœ œœœ
œ œ œ
mu - sic - als, but
œ
œ
118
the might
ru
vap - id
stop
œœ œ œ œ œœ œ œœ œ
œ œœ œœ œœ œ œ œ œ
œœ œ œ œ œ œ œ œ
œ œœ œœ œœ œœ œ œœ œ
115
of
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œ
œ
n
‰ œœ
œ
and
œ
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ct
b
& b b b œœœ œœœ œœœ
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du
‰ œj
J
sa
l
b
& b b b œœ˙ . œ œ ˙
109
b
& b b b œœ
Hairspray
No. 20 — 5 —
io
Vocal Book
can't
œ
œ
JOHN: YOUNG FRANKENSTEIN!
∑
You
Forbidden Broadway
stop
œ
œ
can't
SEGUE at the peak
of applause
œ
œ
∑
HARVEY: GREASE!
œ œ
œ œ
the camp!
You
œ
œ
can't
œ
œ
stop
###
œ œ
œ œ
the camp!
MARISSA: THE NEW REVIVAL OF A CHORUS LINE!
œ
œ
stop
œ
œ
œ
œ
the camp!
-68-
∑
A VOICE: "You CAN stop..."
U
∑
Segue
Vocal Book
Forbidden Broadway
No. 21 — 1 —
21
A CHORUS LINE
“What We Did For Laughs”
par - o - dy
don't
œ
gret
26
bb b b ALL:
ww
&
ring
j bœ
œ
œ
œ
what we
for
œœ
b
V b b b ww
Gone
true.
j
œ
œ
laughs,
Œ
Œ
b
& b b b n ww
pon.
b
V b b b n ˙w
pon.
˙
j œ.
œ
œ
œ
what we did for
n œœ œœ œœ œœ
E - thel Mer - man's
n ˙˙
œœ Œ
œ œ bœ œ
˙˙
n ˙˙
we re - mem - ber.
we re - mem - ber.
-69-
So
try
that
œ
we don't
w
re
-
˙.
Œ
n œœ œœ
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laughs.
Œ
b ˙˙
laughs,
œ œ œ
œ
œœ
b œœ Œ œ œ b œ œ
Class - ics
Œ
ww
gone.
for
Mus - i - cals
Œ
E - thel Mer - man's
j
œ
bœ œ œ œ œ
œœ
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us
w
to
ww
gone.
Class - ics
what we did
Œ
œ
œ
N
ot
œœ
Gone
30
did
˙
bor - row.
w
˙
j bœ
œ
œ œ
Some - one had
j
œ œ.
or
œ
Broad - way gives
œ œ œ œ
œ
good -
Œ bœ œ œ œ
œ
for - get
Œ
œ
laughs.
j
œ œ œ œ œ
to
œ œ
ro
‰
TR
b
& b bb
22
œ œ œ
w
what we did for
˙
Œ
But we won't
W
b
& b bb
new.
j œ.
œ
œ
œ
œ
b
& b bb œ
œ
œ
cli - che's
io
some - thing
16
19
w
mor - row.
Pe
b
& b bb
12
We're hop - ing that to -
˙
˙
ru
b
& b bb ˙
j
œ œ.
œ
du
bye.
8
‰ j œ œ
œ œ
œ
œ
œ.
œ
Kiss
sa
l
b
& b bb w
œ
n
1-2
DONNA MCKECHNIE:
fo
rp
4
Ó
2
ct
b
& b b b 44
But we'll build
u -
But we'll build
u -
n œœ œœ
œœ œœ
œœ Œ # œ œ # œ œ œ
Kiss to - day
good -
œœ Œ
#œ œ #œ œ œ
Kiss to - day
good -
####
#
####
#
Vocal Book
œœ ‰ œj œ œ œ œ
œœ Œ
V
####
#
#
˙
ww
shows
to
do.
˙
˙
did
for
# ˙˙
did
ww
for
love.
#### C œ
& #
Maestoso
47
œ
Fol - low
##
V # ## C œ
œ
##
& # ##
V
####
œ
w
w
Œ
j
œœ ‰
œ
j œ.
œ
œ
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J
œ
j
œ œ œ.
œ
˙.
˙.
œœ
œ
ev' - ry
rain - bow
till
˙˙ ..
œ
œ
œ
rain - bow
till
œœ œœ
-
œœ œœ œœ œœ
œœ
in FOR - BID
DEN We
œœ œœ
-
DEN We
ww
j rit.
j œ.
œœ ‰
œ
œ œ
C
ww
œœ ‰
j
J œ œ œ œ.
C
love.
Laughs and lots of
œ
in FOR - BID
œœ œœ œœ
Laughs and lots of
ev' - ry
œ
nœ œ œ œ
œœ œœ œ œ
œ œ
œœ
What we did,
N
ot
Fol - low
51
˙˙
love.
˙˙
œœ œœ œ
œ
What we did,
ww
TR
V
####
˙˙
# ˙˙
Œ
Pe
&
####
do.
˙˙
W
42
ww
to
Ó
There'll be bet - ter
˙
shows
∑
io
&
####
Ó
ALL:
ct
˙
Hop - ing you will
ro
# ˙w
bye.
38
There'll be bet - ter
We're hope - ful that to - mor - row
du
bye.
ALL:
n
# ww
j ‰
œœ . œ n œ œ œ œ
sa
l
V
####
Ó
œ œ ˙ œ. œ œ œ
DONNA MCKECHNIE:
ru
&
####
ALL (but not CASSIE):
Hope - ful that to - mor-row.
love.
Œ
fo
rp
34
A Chorus Line
No. 21 — 2 —
œœ
Œ
you
Œ ‹ œœ
you
Hop - ing you will
œœ
#Uœœ
Œ
find
Œ
œ
œ
your
U
œ
Œ
œ
find
your
w
w
w
w
w
w
œ
œ
Œ
Ó
ww
ww
ww
œœ
Œ
Ó
dream.
#
ww
dream.
Forbidden Broadway
-70-
Œ
Œ
Vocal Book
Forbidden Broadway
No. 22 — 1 —
22
Bows
n
io
ct
du
ro
fo
rp
N
ot
TR
W
Pe
ru
sa
l
TACET
-71-
Vocal Book
Forbidden Broadway
No. 23 — 1 —
23
TA-TA
Moderato (not too fast)
&C Ó
Ó
7
1-7
˙
& ˙
œ
13
low
-
& ˙
the
-
#œ
belt
œ
bœ
had
fun.
œ
W
17
œ
TR
&
21
œ
˙
should
we
& ˙
25
sure
#œ
you
got
#œ
bœ
to
meet
re
œ
-
& www
w
way!
ww
ww
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the
Now
we've
got
#œ
"Run
œ
œ
œ
˙
to
on
that
za
-
˙
bid
ww
ww
ww
ww
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œ
ny
Œ
œ
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or
˙
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we're
Œ
Œ
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Ó
street...
˙
w
den
Broad
ww
ww
you
run...
way"?
˙
œ
Hope
-
œ
be
˙
Œ
a
b˙
œ
and
w
-
˙
jokes
˙
˙
ww
ww
œ
tee.
˙
For
33
par
œ
N
ot
Ó
œ
w
˙
b˙
œ
say
œ
∑
&
29
Glad
Œ
fo
rp
all
œ
n
folks!
œ
ww
ww
-
io
ta,
b˙
ct
-
œ
du
ta
bœ
ro
Œ
œ
ru
& œ
Pe
9
sa
l
Well,
-
œœ Œ Ó
œœ
n
du
ro
New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
fo
rp
TR
W
GERARD ALESSANDRINI
ct
Pe
io
ru
sa
l
- SCORE SAMPLER -
Follow us!
@theatricalright
N
ot
Like us!
11/7/12
N
ot
n
io
ct
sa
l
ru
Pe
du
ro
fo
rp
W
TR
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Piano/Vocal
(Play mm. 1-6 only if there is an understudy announcement.)
U
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j
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19
& œ
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p
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Œ
great
?
Œ
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is
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#œ
on
b˙
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where
œœ
Œ
b ˙˙˙
b
bw ˙
Œ
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the
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ly
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b # ˙˙˙
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w
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N
ot
&
Ó
w
w
œ
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white
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is
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w
fo
rp
Great
Œ
& œ
œ
bœ
W
& œ
15
œ
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˘œ
œœ
œ
& # œœ
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>
fl
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fl
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f
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œ
˘œ
n
# n œœœ
K...
nnbb C
U
MALE 2:
∑
˙
"And now...
FORBIDDEN There's
BROADWAY!"
^
^
U
Œ
Œ
œ
#
œ
œœœœ # # n # œœœœ
n ww
>
U
^
^
Œ
Œ
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w
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ro
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b
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fl
>
>
w
1
2 ˙
˙
U
www
U
nn
˙
n
(Understudy [or camera/cell
phone] announcement)
∑
w
U
˙
n ˙˙˙
>
a
U
˙˙
˙˙
>
nn
U
~
∑
Pe
˘œ
>
>
bb C n œœœ Œ œœœ bn œœœ œœœ bn ˙˙˙
&
∑
∑
œ
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nnbb C
UUUU
~~~~~~~~
∑
U U
j
œ. œ œ
œ. œ œ œ œ
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21 n # ˙˙
n
˙ n
˙ >
ct
w
www
w
io
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fl
>
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U
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œ A œ . œ œ œœ
J
w
du
b
&b C
w
b >˙˙
n˙
(Camera/cell phone
announcement)
sa
l
8
˘œ
>
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œ nœ œ
œ
˙ & n ˙˙˙
?
Music and lyric by Gerard Alessandrini
ru
? b b b C w>
b
f
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b
w
>
1
FORBIDDEN BROADWAY
Bright 2
œ
œœœ
Œ
Œ
œ
˘
b œœœ
‰ œ
J
j
‰ b œœ
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fl
œ
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gray
œ
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œ
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and
the
˙˙˙
œœœ
bœ
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Œ
bw
?
bœ
˙
œ
and
the
Œ n b ˙˙˙
˙˙
>p
n b >˙˙
n œœœ
n œœ
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˘œ
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œ
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fl
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>
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>
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Œ
~~~~
˙˙˙
˙
-̇
p
~~~
Œ
-
Œ
& w
? œ
œ
35
& œ
W
-
œœ
œ
Œ
Œ
less
œ
?
Œ
œœ
Œ
œ
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#œ
ly
w
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œ
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˙.
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n œœœœ
>
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>
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b˙
does
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Œ b˙
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b w b ˙˙
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n't
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ric's
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ris
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.
b œœ
b œœ
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>
f
j
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quite
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be
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fl
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fl
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n
# n œœœ
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>
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FEMALE 2:
œ
b œœœ
Œ
bw
bw
Œ
œœ
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b œœœœ
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Ó
Broad - way!
˙
# ˙˙˙-˙
œ
song
Œ
the
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bœ
ty
œ
˙
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ot
&
bid
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˙
-̇
TR
pret
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˙
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n œœœ
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n
For
nœ
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Œ
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roast:
...where
a
Œ
Œ
#œ
>
ct
œ
˙
ß
œœ
? n œœ
& ˙
Œ
MALE 2, FEMALE 2:
œœ
& n œœœ
31
Œ
b ˙˙
b w b ˙˙
œœ
œ
a
>œ
œ
>œ
œ
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>
du
Œ
them - selves
∑
œ
œ
ro
& Ó
27
Œ
give
toast
˙
fo
rp
? œ
œ
œœ
œ
œ
Pe
Œ
& w
we
b˙
sa
l
stars
Œ
bœ
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ru
& ˙
23
1. Forbidden Broadway
io
Piano/Vocal
-
œ
˘
b œœœ
‰ Jœ
j
‰ b œœ
œ
fl
œ
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œ
œœœ
Œ ˙
b ˙˙
b w ˙˙
long...
Œ
œœ
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fl
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un -
œœœ
œ
œ
Œ
˙
œ
and
an
Œ n b ˙˙˙
˙˙
>
n b >˙˙
˙
œ
>
n œœœ
n œœ.
Œ
?
˙
that's
bœ
˘œ
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œ
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>
œ
>œ
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œ.
-3- of -8-
œœ
œ
Œ
œ
& Ó
43
-
Œ b˙
˙
b w b ˙˙
œ
-
For
œœœ
n
& œœ
Œ
~~~
Œ
bid
˙˙
# ˙˙-˙
˙˙˙
˙
-̇
~~
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? œ
˙
n ˙-
nœ
b˙
œ
˙
-
b œœœ
œ
Œ
?
œ
Œ
œ
51
&
˙
naught
?
y
œ
˘
n œœœ
œ
Forbidden Broadway œ
Broad - way!
œ
n œœœœ
>
close
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bœ
Œ
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#œ
at
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ly
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ten
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b >œœ
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rics
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pay
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chance:
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b œœ
b œœ
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bw
bw
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j
‰ #œ
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b œœ
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w
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8. Wicked
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8. Wicked
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Deliberately
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Piano/Vocal
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9
MORE MISERABLES
"C'est Magnifique", "Les Miserables", "At The End Of The Play", "God, It's High",
"Castles On A Cloud", "I Dreamed A Show", "Recitative",
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Maestoso
Original music and lyric for opening section, bars 5-53, by Cole Porter
from the musical Can-Can
Original music for all other material by Claude-Michel Schönberg
Original lyrics for all other material by Alain Boublil and Herbert Kretzmer
from the musical Les Misérables
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9. More Miserables
Moderato
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9. More Miserables
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Piano/Vocal
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9. More Miserables
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Forbidden Broadway
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j
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j
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FANTINE:
N
ot
100
Con fuoco
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w
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Pe
&
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N.B.: "ON MY PHONE" may be inserted
between bars 95 and 96, or used as a solo elsewhere
ru
w
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ct
√
93
bbb w
b
&
FEMALE 1 (OFFSTAGE):
sa
l
? bb b
b
w
j
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n
œœ œ œ œ œ œ œœ .. œœ œ œ œœœœ .... b b b c
œœ œœ œœ œœ œœ .. œ
rit.
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There was a time when shows were
j
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j
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fun,
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nbb c
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and they used bright
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j
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-1- of -11-
20
HAIRSPRAY
"You Can't Stop The Camp"
Original music by Marc Shaiman
Original lyric by Scott Wittman and Marrc Shaiman
from the musical Hairspray
> .
bb b c œœ b œ ‰ >œ ‰ œ ‰ b œ
bœ
& b
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œ
bœ
>
>
f
? b b c œ bœ ‰ œ ‰ œ ‰ bœ
bb
œ bœ
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bœ
> .
>
>
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Brightly
∑
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stop
the trend
-
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and in
œ
HAIR
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b b œ ‰ ‰ œ ‰ bœ nœ
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trends
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ct
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‰
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ot
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y
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b œœœ
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b b œ ‰ ‰ œ ‰ œ bœ nœ
10
-
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fo
rp
TR
bb
b œœ
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bœ
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>
n œ œ.
>
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MARISSA:
Ó
Œ
‰ b œj
nœ œ
n œ œ.
sa
l
4
‰ œ ‰ bœ ‰
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œ
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>
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bœ
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b
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œ bœ nœ
one
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œœœ
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j
œ
here
œ ‰ œ bœ nœ
-
œ
ture
œ
brings
œ œ
to - day...
œœœ œœœ
b œœœ
j
œ œ
j ‰
œ
œ œ bœ
pre - tends
we have some -
œœœ œœœ
b œœœ
-2- of -11-
thing
œ œ
deep
to
œ
say...
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b œœ
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? bb ˙
bb
œ
œ
bb j
&bb œ œ
œœ ..
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and the vol
bb
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23
-
SPRAY will
œ
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bb œ
Forbidden Broadway
œ
still
œœ
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j
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ume is pumped
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a - stound
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ot
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rp
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b œ
-
j
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TR
bb j
b
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round,
j
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'cause the sets
˙
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w
œ œ
œ ‰ œ œ œ
J
and
j
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cial ex - po - se
W
20
j
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-
ro
j
b j
& b b b œœœ b œœœ œœœ
œ œ œ
and our ra
w
œ
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˙
ru
in' feet
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J J J J
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j j
j
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keep spin - ning round
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ing
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sound...
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time
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j
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as the good
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to
b œœœ ...
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Pe
-
try
sa
l
b j
& b b b œ œ Jœ
j
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b œ ‰ ‰ œ ‰ œ bœ nœ
16
‰ œ œ œ
n
-
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ct
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bb
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13
20. Hairspray
io
œ
J
j
œœ
œ
HAIR -
œ œ nœ œ
œ œ nœ œ
‰ j
œ
œ œ
œ
œ
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and
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b
& b bb œ
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b
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35
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.
the camp!
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nœ
HARVEY:
I
‰ ‰ œ ‰ nœ #œ œ ‰ ‰ œ ‰ nœ #œ œ ‰ ‰ œ ‰ nœ #œ
œ
n
œ
#
œ
œ
œ
œ
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œ
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N
ot
^ am Har
# # # n œœ
& # # # œœ ‰ ‰ œ ‰
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n œœœ
œ
-
œ œ
- vey Fi
-
jŒ
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œ
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n œœœ
? #### #
# œ ‰ ‰ œ ‰ nœ #œ
œ
Forbidden Broadway
œ
œ
j
œœ ‰ ‰
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j
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œ œ
No,
MARISSA: And to prove my point let me introduce the greatest Diva of the new century!
∑
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rp
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31
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28
œœ
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io
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camp!
the
Œ
ct
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ro
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b œ
you
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you
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n
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l
bb œ
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26
20. Hairspray
er - stein,
œ ‰ ‰ œ
-20-
œ œ œ nœ
and
>œ .
‰ ‹ # œœœ ...
‰
I
like
œ nœ #œ
œ
œ
œ
œ œ
^ the way I
n œœœ ‰ ‰
œ
œœ ‰ œj Œ
n œœœ œœœ
am.
‰
œ ‰ ‰ œ
œ nœ #œ
-4- of -11-
œ
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n œœœ ‰ ‰
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When I
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œ nœ #œ
j
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œ
^ - n't give
# # # # # n œœœ
& # œ ‰ ‰ œœ ‰
n œœœ
a
damn...
Œ
œ
it - zer
TR
#### # j
j
& # œœ n œœ œœ
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#
œ
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& # # # œj œ
œ
48
œœ ..
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j
œœ
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I
œœ
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œ œ #œ œ
œ œ #œ œ
j
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day,
? #### #
#
œ
œ
Forbidden Broadway
am
œœ
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w
œ œ
and it was
j
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fl
>
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ot
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my
be-cause now
a
j
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œœ œœœ œœœ œœœ ‰
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n't much fun,
j
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44
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41
j
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œ nœ
ct
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du
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sa
l
#### #
& #
38
20. Hairspray
io
did se
œœ
œœ
œœ ‹ ‹ œœ
œœ ‹ œœ
-
œœ
œœ
˙
œ œ œ œ ‹œ œ œ
œ œ ‹œ œ œ
and
it
did
-
j
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n't
‰ œœ ‰ œœ
œœ
œœ
>
œœ
œœ
œ œ œ œ
œ œ œ œ
œ
œ
rious dra - ma
in
j
œœ
œœ œœ
>
fl
j‰
œ œ œœœ
œ œ œœœ
j
œ ‰ œ œ œ
pay...
so
I
de -
j
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œœ
œœ
fl
>
j ‰
œ
œ œ ‹œ œ
œ
œ œ ‹œ œ
-5- of -11-
j
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fl
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œ
j ‰
œ
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## #
& # ## œ
œ
54
# # # # # œœœ
& # œ
œœ
œœ
œ œ œ œ
œ œ œ œ
œ
œ
œ
stop
the camp!
œœ
œœ
œœ
œœ
#
&
#
œ
#
?#
-
-
j
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fl
j ‰
œ
œ
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dy,
and
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vamp...
‰ œœ ‰ œœœ
œ
œœ
>
œ œ œ œ
œ œ œ œ
∑
‰ n œj
LAURA:
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œ
œ
œœ
œ œ œ
œ
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œ ‰ ‰ œ ‰ œ nœ #œ
j
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œ œ œ
œ œ œ
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n
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ct
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œ
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œ nœ œ
œ nœ ‰ œ ‰ œ ‰ nœ ‰ œ ‰ nœ ‰ nœ nœ
> . > >œ n >œ
œ
nœ
f
> n >œ n œ
œ nœ ‰ œ ‰ ‰
‰
‰
œ ‰ nœ nœ nœ
œ n œ œ œœ n œ
> . > > nœ
œ
nœ
>
> n >œ n œ
œœœ
œœœ
n œœœ
of broad
œœœ
œœœ
n œœœ
Forbidden Broadway
a
fo
rp
&
play
I
N
ot
60
Ó
∑
œœœ œœœ
n œœœ
F
?#
œ ‰ ‰ œ ‰ œ nœ #œ
&
œ
œ
TR
&
#
œœ
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W
57
‰ œœ ‰ œœ
œœ
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>
I
j
œ
ro
? #### #
#
can't
now
Pe
you
and
j
œ œ
io
# ## #
& # # œœœ
œ
drag,
œ œ
du
to
j
œ Œ
ru
scend - ed
j
œ œ
sa
l
#### #
& # œ œ œ œ
51
20. Hairspray
n
fond...
Œ
‰
œ œ nœ
œœ # œj n œœ n œœ
œ
œ # œj œ œ Œ
and on
an -
‰ ‰ œ ‰
œ nœ #œ
N
ot
n
io
ct
sa
l
ru
Pe
du
ro
fo
rp
W
TR

Greatest Hits - Volume I

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