16 Stories Synopsis Page


(alphabetical by composer name)

Songs for Women
Songs for Men
Songs for Women or Men

 

 

Songs for Women

 

Vigil

THE WRITER(S)

Joe Chindamo (Music)
Although routinely described as one of the best jazz pianists in the world, Joe Chindamo’s art has always transcended the idiom.

In 2016 Chindamo began a collaboration with librettist Steve Vizard. Together they created Vigil, a one woman show (starring Christie Whelan Browne) for the Adelaide Cabaret Festival and Fairfax Studio (Melbourne Arts Centre). Also in 2017, Joe arranged several songs for James Morrison for the latter’s recent collaboration with the BBC Symphony Orchestra (at Abbey Road), entitled The Great American Song Book. His symphonic arrangement of ‘Round Midnight’ was recently performed by Morrison and the BBC Symphony Orchestra at the BBC Proms at Albert Hall in London.

As pianist/composer, Chindamo’s iconoclastic work with violinist Zoe Black has been celebrated throughout the world, the duo having established itself as a formidable force in Australian Chamber Music. They have produced 4 Aria-nominated CDs and performed at Carnegie Hall in 2015. Chindamo’s most recent commission was a Drum Kit Concerto for the Melbourne Symphony Orchestra. The concerto was premiered at ‘The Last Night at the Proms’ concert in March 2018 at Hamer Hall, conducted by Sir Andrew Davis.

Steve Vizard (Book & Lyrics)
Award winning writer, performer, producer, broadcaster and lawyer, Steve Vizard has successfully worked across film, television, radio, theatre, music and multi media. His shows have received more than twenty Logies, a dozen AFI and Television Society Awards, four Writers Guild Awards and an International Emmy nomination. As a playwright, his most recent works for theatre includes The Last Man Standing for Melbourne Theatre Company; his Opera, Banquet of Secrets; and Vigil, with Joe Chindamo, which premiered at the 2017 Adelaide Cabaret festival and has been nominated for 5 Green Room Awards and a 2018 Writers Guild Award for Best New Musical.

 

SHOW SYNOPSIS

It is Christmas Eve. When shameless, aimless, beautiful, troubled, trouble-making, needy, hilariously vulnerable thirty-something prodigal daughter, Liz, unexpectedly bursts through the door of her mother’s nursing home room, after years of sybaritic, globe-trotting absence, all hell breaks loose. Liz is back, and this time she wants more than free pinot gris, a cheque, and to borrow her mother’s clothes – she wants answers. Trouble is, her aged Mother now lies in a bed, hooked to a drip, unconscious.

A peaceful night of carols is wickedly and poignantly hijacked by powerhouse Liz in a Christmas reunion of reminiscing, retribution, stealing, name calling, blame, and confession and ultimately reconciliation. And death, for on this Christmas Eve, Liz’s mother will die. Can Liz find the answers she needs, and say what she needs to say, before time runs out?

SONG
‘Pretty Little Thing’
Performed by: Liz

VOICE TYPE

VOICE RANGE (C3 = middle C)
Alto, F2-C4

STAGE ACTION
Liz has returned to visit her Mother on Christmas Eve in the nursing home. She is surprised to find her mother ill, frail and unconscious. For the first time in her life Liz realises that time is running out for her to say all the things she meant to say. Looking at a photo memory board by her Mum’s bed, made for her by her ‘responsible sister’, childhood memories flood back. For the first time Liz begins to see her relationship with her mother, not with regret, but with affection. Studying a photo of herself when she was a small girl, she recalls how she was always the family’s “Pretty Little Thing.”

SONG FUNCTION
The song begins as an affectionate remembrance that Liz was indeed loved. She was their “pretty little thing”. And that was a beautiful thing.  And then, at the very end, a realization that her beauty is all in the past; and that perhaps it was she alone, and not others (as she has preferred to imagine) responsible for her unfulfilled life. The song is not only of remembrance and then regret, but a turning point in how she will now approach her Mother…


Scotland, PA

based on the film by Billy Morrissette

THE WRITER(S)

Adam GwonAdam Gwon (Music & Lyrics)
Adam is an award-winning composer and lyricist. Off-Broadway: Ordinary Days(Roundabout Theatre Company), Old Jews Telling Jokes(Westside Theatre); Regional: String(Village Theatre), Cake Off (Signature Theatre, Helen Hayes Award nomination; Bucks County Playhouse), Cloudlands(South Coast Repertory), The Boy Detective Fails(Signature Theatre), Bernice Bobs Her Hair(Lyric Theatre of Oklahoma); West End: Ordinary Days(Trafalgar Studios). Albums include: Ordinary Days(Ghostlight Records), Audra McDonald’s Go Back Home(Nonesuch), The Essential Liz Callaway(Working Girl Records).

 

SHOW SYNOPSIS

Scotland, PA is a dark comic retelling of the Scottish play, set in a burger joint in rural Pennsylvania in the 1970s. Downtrodden burger stand employees Mac and Pat McBeth are being kept down by the man—namely, their cheapskate boss, Duncan, and his old-fashioned ideas. Tired of being treated like dirt, Mac and Pat spring into action, hoping to turn the restaurant—and their lives—around. When things unexpectedly take a turn for the deadly, the McBeths find their stars on the rise—just like three stoners in the woods had predicted. But when police detective Peg McDuff takes an interest in the duo, they must act fast to keep the truth (and the bodies) hidden before the fast food empire they’ve built comes crashing down on top of them.

SONG
‘Good Enough for Me’
Performed by: Pat

VOICE TYPE

VOICE RANGE (C3 = middle C)
Alto, F2-C4

STAGE ACTION
Pat, up late in the trailer she shares with Mac, waits for him to come home – they’d gotten into a fight over Mac’s apparent lack of ambition and Pat’s growing discontent with their inability to get ahead. Pat remembers the Mac she fell in love with in high school, and realizes that something in her has changed since those carefree days.

SONG FUNCTION
Pat recalls a time when she and Mac were carefree and content with what little they had. But now she realizes they deserve more than the meager circumstances life has given them.


Electric Dreams: The Musical

based on the 1984 film by Rusty Lemorande

THE WRITER(S)

Drew Lane (Music & Lyrics)
Drew is a prolific producer, arranger and award-winning composer from Australia. His musicals have been performed throughout Australia, and have had seasons in the UK and USA. Highlights include presenting his musical Marking Life to Stephen Schwartz as part of Australia’s Festival of Broadway in 2010, having the first professional performance of Final Words in New Mexico in 2015, and gaining an Australia Day Award for his youth musical Somewhere To Fight For in 2012.

 

 

SHOW SYNOPSIS
Electric Dreams: The Musical is based on the cult-classic 1984 film of the same name. It’s a quirky love story about a struggling architect named Miles who, with the encouragement of his best friend Frank, buys a computer to get himself organized. That same day, Madeline – a cellist for the San Francisco orchestra – moves in next door. An accident with the computer brings it to life and Edgar (Miles’ name for the computer) begins to both communicate with him and, falls in love with Madeline and her music. Into the mix comes Bill, the heartthrob of the orchestra, who is also vying for Madeline’s attention. One day, Madeline overhears Edgar playing music and thinks it’s Miles. Miles asks Edgar to create a love song for Madeline. But after the song is written, Miles claims it as his own, wherein Edgar decides to fight for Madeline’s affections.

SONG
‘You Were There’
Performed by: Madeline.

Voice Type

VOICE RANGE (C3 = Middle C)
Alton, A3-E4

STAGE ACTION
Madeline, a beautiful and talented cellist, has just moved into her apartment in San Francisco. She has spent the last few days meeting her new neighbor Miles (whom she finds a little odd) the other members of the San Francisco Orchestra; to which she has just been hired, being asked out by Bill (the suave and handsome 1st Violin player) and more. To find a little headspace, she plays her cello getting lost in the music and the memories of her past.

SONG FUCNTION
Madeline is reflecting on her difficult past and explains how her cello has always been there for her, no matter what has happened. It is her confidence and strength.


The Taxi Cabaret

THE WRITER(S)

Peter MillsPeter Mills (Book, Music & Lyrics)
Peter is a composer/lyricist. Shows include Illyria, The Flood and Golden Boy Of The Blue Ridge. Peter won the Kleban Prize, the Ebb Award, the Richard Rodgers New Horizons Award, the Cole Porter Award, a Jonathan Larson grant, and received two Drama Desk Award nominations for The Pursuit Of Persephone. He’s an ASCAP member and graduate of NYU’s Musical Theater Writing Program. Most recently, he wrote lyrics for THE HONEYMOONERS (Paper Mill Playhouse, October 2017).

 

 

SHOW SYNOPSIS
The Taxi Cabaret follows six people in their twenties during their first-year in New York City. Scott, an aspiring novelist, discovers that you do not have to suffer to write. Mark and Sara test their relationship when they move in together. Zach lives an E-Z Pass lifestyle, staying safely in the closet, while the eternally unlucky but relentlessly optimistic Karen falls for him, only to have her heart broken. C.C. is an actress/temp who longs for something in her life that will last more than sixteen-bars.

SONG
‘Sixteen Bars’
Performed by: C.C. an aspiring musical theater performer (and ‘Temp’ job worker)

VOICE TYPE

VOICE RANGE (C3 = middle C)
A2 to F4 (primarily a belt song, to D4; one head voice passage to F4)

STAGE ACTION
C.C. is at a musical theater audition for which singers are only permitted to perform sixteen bars of their chosen audition song. C.C. would like them to make an exception for her — given how quickly the bars of her song go by…and given how frustrated she has become with the life of a struggling young actress.

SONG FUNCTION
C.C. begins to have doubts about her chosen career path. (She eventually abandons her life of temp jobs and 16-bar cuts in favor of a career in real estate — “It’s just so real… so permanent.”)


Einstein

THE WRITER(S)

JESS NEWMANJess Newman (Book, Music & Lyrics)
Jess is a New York-based, Australian award-winning composer, lyricist and performer. He was a winner of the 2017 New York City Center Encores songwriting competition for which he performed an original song for Stephen Sondheim. His musical EINSTEIN had its premiere in Melbourne, Australia in 2016 and was selected by The Age newspaper as one of the highlights of the year in theatre. He has also written music/lyrics for the song-cycle ALL THE TIME and the short-animated musical OUT OF THE WOODS, which premiered at Australian Centre for the Moving Image (ACMI). He is currently completing a Masters of Musical Theatre Writing at Tisch, NYU.

 

SHOW SYNOPSIS
The compelling, true, story of Albert Einstein – the most famous physicist of all time as seen through the eyes of his partner and first-wife, Mileva Maric. The show tracks Einstein and Mileva as young, budding physicists through Einstein’s earth shattering discoveries and his ascent to international fame. What did it take to change the world? What sacrifices had to be made? Who and what had to be left behind? The show allows audiences to peer inside the mind of one of the greatest geniuses of all time and experience the miraculous story behind his life.

SONG
‘It Starts Again’
Performed by: Mileva

VOICE TYPE

VOICE RANGE (C3 = middle c)
Alto, G#2 – E4

STAGE ACTION
Mileva rides a train back home to Zurich after meeting Elsa in Berlin to return Einstein’s compass. She peers out the window considering her fate. In her minds eye we can see Einstein in tableaux as the press in Berlin photographs him.

SONG FUNCTION
At this point in the show Einstein has left Mileva to move to Berlin and pursue general relativity and a relationship with Elsa. Mileva is left with abandoned promises of working together with Einstein and becoming a great physicist. In spite of all this, Mileva still struggles to let Einstein go and the pain of losing him.


Days Like Today

THE WRITER(S)

Alan Schmuckler (Music & Lyrics)
Alan Schmuckler is a musical theater artist whose work includes writing, performing and music directing. In addition to work for the live stage, Alan has also created work for television, podcasts and digital formats. His work has been performed across the US and internationally. Winner, 2018 Kleban Prize in Musical Theater; 2017 Webby Award; 2017 Sarah Lawrence International Audio Fiction Award. His work is published by R&H. Proud graduate of Northwestern University, he lives in New York.

SHOW SYNOPSIS
Lovely, hopeful Tessa has vowed that she is through with love—despite the best efforts and conflicting advice of her unconventional parents (and their respective lovers). With soaring melodies and lyrics that are by turns witty, wry and heartbreakingly poignant, Days Like Today explores relationships in the modern world where love often seems impossible and the first step to finding happiness might be getting out of your own way.

SONG
‘Tuscany’ – solo version of trio in the show (Tessa, Maria and Frank – daughter and her parents)

STAGE ACTION
After a year of heartbreak and conflict with her parents, it’s finally summer again and Tessa and her parents sit by the ocean and try, once more, to connect.

VOICE TYPE

VOICE RANGE (C3 = middle C)
Alto, F2 to Db4

SONG FUNCTION
To bring the singer and her parents closer together.


Yo, Vikings!

THE WRITER(S)

Sam WillmottSam Willmott (Music)
Sam’s projects include the bhangra dance musical Bhangin’ It (with Rehana Lew Mirza, Mike Lew and Rujuta Vaidya); Yo, Vikings! (with Marcus Stevens); the mini-musical Scarlet Takes a Tumble; additional lyrics for the stage adaptation of Jule Styne and Bob Merrill’s Mister Magoo’s Christmas Carol; and Standardized Testing – The Musical!!!!. Recipient of the Kleban Prize, Fred Ebb Award, Jonathan Larson Grant, and ASCAP Foundation Harold Adamson and Cole Porter Awards.

 

Marcus StevensMarcus Stevens (Book & Lyrics)
Marcus is a member of the BMI Workshop, ASCAP and the Dramatists Guild. His musicals include Mythic (2017 NAMT Festival; composer, Oran Eldor); Red (Richard Rodgers Award, Music: Brian Lowdermilk); and Yo, Vikings! (Published by Samuel French, Inc.; Music: Sam Willmott). He also contributed material to Dragons Love Tacos and Other Stories for Theaterworks USA. Marcus is also an actor who was seen Off-Broadway in two editions of Forbidden Broadway.

 

 

SHOW SYNOPSIS
Emma Katz is Swarthmore, PA’s most imaginative 10-year-old, but her constant forays into fantasy, intense bouts of dress-up and determination to have a real adventure put her at odds with her family and schoolmates. When her teacher assigns her Erik ‘the Red’ for her World Discovery Day report, Emma begins to channel her own inner Viking and shenanigans ensue. Ultimately, Emma’s mom teaches her that a “real adventure” comes by marrying one’s imagination with the world around them. Newfound knowledge in hand, Emma is finally able to rally her community together and change Swarthmore for the better.

SONG
‘Real Adventure’
Performed by: Mom

VOICE TYPE

VOICE RANGE
Alto, A2 – D4

STAGE ACTION
Mom finds Emma sitting on a curb outside of the Swarthmore library, Emma’s favorite place. Emma has just learned that the library is closing due to lack of funding, and feels responsible. Had she been more aware, not caught up in her imagination, maybe she could have done something. She says: “I thought, if I could find something to be, I would have a real adventure…” and her Mom responds in song.

SONG FUNCTION
To help Emma infuse her imagination, passion and creativity into real-world problems and challenges.

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Songs for Men

 

 

Start Again

THE WRITER(S)

Nikko Benson (Music & Lyrics)
Nikko is an NYC-based writer and performer, a recipient of a 2016 Jonathan Larson grant, and an O’Neill Music Theater Conference Finalist. Projects include Nikola Tesla Drops The Beat (w/ Benjamin Halstead, Adirondack Theater Festival); Start Again (Musical Theater Factory); and In Pursuit of Magic (Kennedy Center Millenium Stage). He has received development residencies with Village Theater Festival, Pace New Musicals, the Johnny Mercer Songwriters Project, Catwalk, and Goodspeed Writers Colony.

 

 

SHOW SYNOPSIS:
Start Again is an ensemble piece about grieving the end of a meaningful relationship. Structured around the five stages of grief – Denial, Bargaining, Anger, Depression, Acceptance – the piece follows the ensemble as they spiral through these emotional states, exploring the different forms they might take. Over time, this structure unravels acknowledging that the real experience of grief is individual and, ultimately, impossible to prepare for or protect ourselves from. Some may go through all five stages and find themselves right back at the beginning – the only thing we have control over is our willingness to “start again”.

The ensemble is fluid, with performers stepping in and out of unnamed roles, as individuals or couples. Throughout the piece, the full ensemble participates in sound, movement, or simply presence – even when we feel most alone, we are united in a deeply universal experience.

Song:
‘Long Way Home’
Performed by: Unnamed Character

Voice Type:

VOCAL RANGE: (C3 = middle C)
Tenor, F2 – Bb3 (mostly Ab3)

Stage Action:
‘Long Way Home’ is about the acceptance stage of grief. Acceptance is not an end, but a beginning. It is an acknowledgement of a difficult truth: that moving on is work. It is something you must do, a future you must be willing to move toward as you actively release the past. Reaching ‘acceptance’ does not mean that loss is no longer mourned – it simply means accepting the loss as it is, that it will be painful, and that the pain can be bared. Acceptance is the willingness to believe that loss is not the end of you, but a part of you.

Song Function:
The singer, metaphorically lost at sea, finally starts to pick up the pieces of their life and begin the long journey home. As the wind fills their sails, they experience genuine hope for the first time in a long time.


The Astonishing Times of Timothy Cratchit

THE WRITER(S)

Andre CatriniAndre Catrini (Music & Lyrics)
Andre is a composer/lyricist based out of New York City. He is a proud ASCAP member and the recipient of the 2014 ASCAP Foundation Cole Porter Award, given “in recognition for his outstanding talent as a musical theatre composer and lyricist”. Stage works include The Astonishing Times of Timothy Cratchit, A Game Called Life (Book by Laura Zlatos) and The Wolf (Book by Joe Calarco).

 

 

SHOW SYNOPSIS
Following Charles Dickens’ timeless A Christmas Carol, The Astonishing Times of Timothy Cratchit chronicles the adventures of Timothy Cratchit as he charts his journey from boy to man. After living with his adopted Uncle Scrooge for eight years, Timothy, who has always felt limited by his handicap, sets off in search of a world of his own. Along the way, he encounters a fierce housekeeper, Lucy – whom he quickly develops an interest in – as well as the great clown Grimaldi and a slew of colorful, zany characters. Throughout his adventures, Timothy is faced with many of life’s obstacles, but works hard to surmount them all with a smile and an infectiously optimistic outlook. Timothy knows, despite the odds, that he will find what he is after and, when he does, it will certainly be astonishing.

SONG
‘My World’
Performed by: Timothy Cratchit

STAGE ACTION
After searching for a place in the world to claim as his own, Timothy steps in at the last minute to perform with Grimaldi in his much-anticipated comeback performance at Covent Garden, where Timothy shines brilliantly. Following the performance, Timothy is celebrated by his cast mates, peers and Lucy – the woman with whom he is madly in love. Finally, Grimaldi enters to let Timothy know how proud he is, and that they plan to tour Britain and the other continents in the year to come. In his grand fashion – plus a little bit of magic – Grimaldi says, “Cratchit – welcome to your world!” and vanishes. Timothy is left alone onstage while the reality of it all washes over him.

VOICE TYPE

VOICE RANGE (Middle C3 = middle C)
Tenor, D2-G3

SONG FUNCTION
This is the Finale of the show at which point Timothy realizes that, after all of his searching, he has finally found a place to belong. He first sings with wonder and then, ultimately, pure and uninhibited joy as he embraces the next chapter of his life.


Where Were We?

THE WRITER(S)

Oliver Houser (Music & Lyrics)
Oliver is a NY-based actor and musical theatre writer. His work has been performed at The Other Palace Theatre, The Kennedy Center, The New York Musical Festival, the New York Fringe Festival and The SoHo Playhouse. He has developed work at Goodspeed Musicals, the ASCAP and BMI Musical Theatre Workshops and the Ucross Foundation. Oliver is a 2017 Dramatists Guild Fellow and winner of the ASCAP Foundation Sammy Cahn Award for songwriting.

 

 

SHOW SYNOPSIS
Where Were We? tells the story of the enduring romance between Robin and Avery as it unfolds over the span of thirty-five years.

SONG
‘I Didn’t Know’
Performed by: Robin

VOICE TYPE

VOICE RANGE (Middle C3 = middle C)
Tenor, B1 (mostly C2) – E3

STAGE ACTION
Robin and Avery haven’t seen each other in five years since Robin’s leaving the relationship to travel the world. When Robin runs into Avery in the park and learns Avery was recently engaged to someone else, Robin sings “I Didn’t Know” in response.

SONG FUNCTION
Robin realizes he is still in love with Avery and how much he regrets letting her go.


The Enlightenment of Percival Von Schmootz

THE WRITER(S)

Michael Kooman (Music)

Christopher Dimond (Book & Lyrics)

Kooman and Dimond received the Fred Ebb Award, a Jonathan Larson Grant, and are the first recipients of the Mary Rodgers/Lorenz Hart Award and the Samuel French Next Step Award. Their most recent musical, Romantics Anonymous, debuted to rave reviews at Shakespeare’s Globe in 2017 . They also serve as songwriters for Vampirina an animated Disney TV series, which has reached over 49 million viewers in 115 countries. Other projects include The Noteworthy Life Of Howard Barnes (Village Theater), Orphie & The Book Of Heroes (The Kennedy Center), The Enlightenment Of Percival Von Schmootz (commissioned by the Canadian Music Theatre Project), Judge Jackie Justice (Pittsburgh CLO), Dani Girl (licensed by Samuel French), Golden Gate (Williamstown Theatre Festival), and Junior Claus (licensed by Dramatic Publishing).

 

SHOW SYNOPSIS
Fed up with a world filled with plagues, pestilence, and poor personal hygiene, a ridiculously optimistic young man sets out on a quest to end the Dark Ages. As he attempts to bring the light of hope to the world, Percival von Schmootz meets with hilariously disastrous results at every turn. It is only when things look the blackest that Percival is able to discover what true enlightenment means. A cross between Monty Python and Candide, this outrageous satirical comedy examines the ways we search for hope in our impossibly dark circumstances.

SONG
‘The Spark’
Performed by: Percival

STAGE ACTION
After literally everyone else in his entire hometown dies of the Bubonic Plague, Percival promises his dying (and somewhat delusional) mother that he will personally bring an end to the Dark Ages. In ‘The Spark’, he vows to bring light to the world, mourning the loss of his mother and setting out on the quest that will carry him through the remainder of the show.

VOICE TYPE:

VOCAL RANGE: (Middle C3 = middle C)
Tenor, E2 – Ab3

SONG FUNCTION
‘The Spark’ functions as Percival’s “I Want” song in the musical. It is the song that sets him out on his quest to bring light to the world and put an end to the Dark Ages. It demonstrates his unrelenting optimism despite the absurdly horrific circumstances in which he finds himself.


The Stranger from Seville

THE WRITER(S)

Victor Kazan 16 SongsVictor Kazan (Book & Lyrics)
Victor has worked in the entertainment industry for fifty years. Born in London, he carved a distinguished reputation as a writer and director in British theatre and television before taking up residence in Australia in the early 1980s. Since then, his major work has been in film and musical theatre. Among his Australian screenplays is the popular, feel-good movie ‘Dalkeith’.

 

Kevin Purcell 16 SongsKevin Purcell (Music)
Kevin is a multi-award winning international Opera and orchestra conductor, musical director for theatre and songwriter/arranger. He is the Principal Conductor of Australia’s national symphony: the Australian Discovery Orchestra (ADO). Most recently, Kevin was the initial Musical Director for the first UK/Eire national tour of WICKED. He has worked extensively over the years for the Really Useful Group and Cameron Mackintosh as musical director in London’s West End and South East Asia, most notably with the original London production of CATS.  His 2018 international CD (dda 25165) release on the Divine Art label of the orchestral music of Grammy Award and seven-time Emmy nominated composer, Nan Schwartz, was unanimously critically reviewed for its lucid performances.

 

SHOW SYNOPSIS
Set in the Yucatán, on the eve of the Mexican revolution, The Stranger from Seville tells the story of a pair of star-crossed lovers – Diego Clemente (a young artist recently arrived from Seville) and Sofia (daughter of Roberto and Gabriela Duarte) – whose fate is sealed by Diego’s ill-considered quest to set free a collection of exotic, wild birds kept in an aviary belonging to the rich plantation owner, Don Victor Blanco Torres.

From the young couple’s very first encounter their budding romance is thwarted at every turn by the self-serving actions of those around them: Roberto, helplessly in debt to Don Victor; Gabriela, desperate for her daughter to marry a young gentleman of wealth; Carlos, Don Victor’s son, who is greatly enamored of Sofia; Edward Nelson, Diego’s kindly yet powerless employer; and the Slave Workers on Don Victor’s plantation who, unable to endure any more suffering, will rise up in rebellion.

SONG
‘El Amor’
Performed by: Very Useful (Nelson’s aptly-named servant)

VOICE TYPE

VOICE RANGE (C3 = middle C)
Baritone, Bb1 to F3

STAGE ACTION
Sitting on the veranda of Nelson’s house on the outskirts of town, Diego and Very Useful reflect on Diego’s failed mission of the previous evening to free the birds in Don Victor’s aviary; the mission merely resulted in his relationship with Sofia being seriously compromised. Diego fears all is lost. But Very Useful has great wisdom and a profound understanding of life, and softly sings of the power of love.

SONG FUNCTION
To encourage Diego to devise a decisive course of action concerning Sofia, putting his trust in love.


The Rivals

Adapted from Richard Brinsley Sheridan’s The Rivals (1775)

THE WRITER(S)

Stephen WeinerStephen Weiner (Music)
Stephen won two Richard Rodgers Awards from the American Academy of Arts and Letters, a Jonathan Larson Grant, Global Search for New Musicals Award and the ASCAP Richard Rodgers New Horizons Award for Musical Theatre. Latest works include The Rivals and The Honeymooners. He has written numerous musicals Off-Broadway, regionally and overseas. Steve is a graduate of the renowned BMI Musical Theatre Workshop and proud member of The Dramatists Guild and ASCAP.

 

Peter KelloggPeter Kellogg (Book & Lyrics)
Peter has two Tony nominations for book & lyrics to a musical of Anna Karenina (composer Dan Levine). Anna Karenina has had 3 tours in Japan. With David Friedman: Chasing Nicolette, based on Aucassin and Nicolette produced at Westport Playhouse, the Prince and Village Theatre; Stunt Girl, about Nellie Bly, New York City’s first female reporter; and Desperate Measures, a western, loosely based on Measure for Measure.

 

 

SHOW SYNOPSIS
Lydia Languish wants to elope with the penniless Ensign Beverly, a step that will cause her to lose her fortune. Unbeknownst to her, Ensign Beverly is really Captain Jack Absolute, the son and heir to Sir Anthony Absolute. Meanwhile, Lydia’s guardian aunt, Mrs. Malaprop, wants her to accept the suit of the awkward Squire Acres. Mrs. Malaprop is herself in love with Sir Lucius McTrigger, who thinks the letters Mrs. Malaprop is sending, under an assumed name, are actually from Lydia. Matters take a curious turn when Sir Anthony proposes his own son as another suitor (which, if you’re counting, makes four rivals for the hand of the same woman).

Based on the play by Sheridan, the show is a comedy, but it’s also about looking for love at any age. As Mrs. Malaprop would say, “It’s a musical to delight the heart and tackle the funny bone.”

SONG
‘When I Slay My Rival’
Performed by: Squire Acres

VOICE TYPE

VOICE RANGE (C3 = middle C)
Lyric Baritone (belt to D3 with G3 high note)

STAGE ACTION
Squire Acres, one of the Rivals for the hand of Lydia. He has just sent a letter challenging Ensign Beverly to a duel, unaware that he is really his friend, Jack Absolute. In this song, he imagines what will happen when he wins.

SONG FUNCTION
[To be provided]

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Songs for Women or Men

 

Connected

THE WRITER(S)

Craig ChristieCraig Christie (Book, Music & Lyrics)
Craig has worked for twenty-eight years as the principal of No Mates Productions, creating original musicals in educational, community and commercial settings. His annual Children’s Book tours have been seen by over 2.5 million school children internationally. Craig’s commercial stage musical theatre works include Crusade and Eurobeat, which won Best Musical at the Edinburgh Fringe and enjoyed an acclaimed London, West End season.

 

 

SHOW SYNOPSIS
Connected is a confronting pop/rock fable about four teenagers caught in a situation they can’t control, as the consequences of how their online lives impact upon the real world.

Emma arrives at a new school and runs the gauntlet of finding out how friendships are made and the game of cliques is played. Dylan’s social awkwardness means that he’s spending more time than ever on his computer, locked away in his bedroom. When Emma finds herself the object of some unwanted attention, events soon take a sinister turn.

Connected explores the dangers that lurk in the interface between real-life and the online world. It’s an engaging production with a universal theme, a fast paced narrative and an up-to-the-minute pop/rock soundtrack.

SONG TITLE
‘Somebody Else’
Performed by: Dylan (a socially awkward teenager)

VOICE TYPE

STAGE ACTION
Dylan is alone in his bedroom feeing hurt and alone after believing that his new friend Emma has turned on him with no explanation. As usual, he finds solace by creating an online persona for himself, Harry, who is everything he aspires to be – confident, popular, attractive. ‘Harry’ is having a conversation with an online ‘friend’ when he is interrupted by his mother calling him. Dylan reflects upon his situation.

SONG FUNCTION
Somebody Else is a cry from the heart from someone who finds he real world altogether too difficult. It explains how someone may find an alternative life created online to be a better option.


Marryin’ Marian

THE WRITER(S)

Joel EvansJoel Evans (Music)
Joel is a San Francisco Composer/Producer whose credits include more than 90 movies and 400 television episodes, including Wedding Crashers, Friends, Life in Pieces, Glenn Close’s The Wife, and the 2014 Daytime Emmy Award-winning special Young & Restless Tribute to Jeanne Cooper featuring Joel’s “That’s When I’ll Stop Loving You” as its main theme. Ciroq Vodka TV and radio ads highlight his Big Band number, “Fly Away.” Grammy-winning vocalist Carmen Bradford sings his “No Easy Way To Say Goodbye” on tour with the Count Basie Orchestra. Joel’s songs have been recorded by diverse artists including Dave Samuels, Shaun Murphy, Roberta Donnay, and the former Monkees’ Peter Tork.

 

Adryan RussAdryan Russ (Lyrics)
Adryan is a composer/lyricist for theater, film, television and recordings. Her off-Broadway musical Inside Out, co-written with Doug Haverty, has played across the U.S. and Europe. Her songs are featured on the CD Everyone Has A Story: The Songs of Adryan Russ, in John Patrick Shanley’s film Doubt co-written with Joel Evans, on television broadcasts, and recorded by Broadway, off-Broadway and popular song performers such as Susan Egan, David Burnham, Ann Crumb, Jan Maxwell, Cass Morgan, Harriet D. Foy, Sue Raney and Stacy Sullivan. She has received ASCAP Awards for Popular Music, is a member of The Dramatists Guild, and serves on the Board of the Society of Composers & Lyricists.

 

Keith HuffKeith Huff (Book)
As a playwright, notable theater productions include A Steady Rain featuring Daniel Craig and Hugh Jackman (Broadway), The Detective’s Wife (Writer’s Theater), Big Lake Big City (Looking glass Theater), Pursued By Happiness (Steppenwolf Theater), The Bird and Mr. Banks (Road Theater), and Six Corners (American Blues Theater). In TV, Keith has written for Mad Men, House of Cards, American Crime, Full Circle, and Helix. Upcoming projects include developing a series based on The Gangs of New York with Martin Scorcese/Miramax.

 

 

SHOW SYNOPSIS
It’s May 8, 1944, and Marian Spratt, a singer for an up-and-coming three-girl trio (The Swing Sisters) is in love with two men, Lionel and Lloyd, who are tap-dancing, night-club-performing brothers. Both brothers are in love with her and want to marry her. She can’t make up her mind about whom she wants to marry. As a result, Marian’s procrastination drives her four best friends in the world crazy – threatening to pull The Swing Sisters and the Fritz Brothers apart. Everything comes to a head the night the Swing Sisters and Fritz Brothers perform one last time at a USO event, before Lionel, who has enlisted in the service, is shipped overseas. Lloyd announces that he, too, has enlisted. The next day, Marian, after having made a midnight date with each to bid them farewell, mysteriously disappears.

SONG
‘Out On A Limb’
Performed by: Lloyd

VOICE TYPE:

STAGE ACTION
A train is about to depart with many soldiers onboard, heading off to war.
One of the soldiers sings this song hoping for an answer from the person he loves before heading off to the battlefield.

SONG FUNCTION
To persuade the person he loves to finally say “yes” to his marriage proposal.


The Trouble With Words

THE WRITER(S)

Greg NaboursGreg Nabours (Music & Lyrics)
Gregory is a songwriter/musical director living in Los Angeles. His award-winning song cycle The Trouble With Words debuted in 2011. In 2013, Gregory was selected to join the Johnny Mercer Songwriter’s Project, and in 2015 an evening of his work was performed at the Kennedy Center in Washington, D.C. His new musical Marilyn! (The Official Marilyn Monroe Musical) is now playing an open-ended run at Paris Casino in Las Vegas.

 

 

SHOW SYNOPSIS
The Trouble With Words is a song-cycle musical. Akin to a sketch show, a song cycle is a collection of smaller stories told in tandem to explore a theme. After growing up in an era of song cycles that were entertaining to watch but thematically weak, I took it upon myself to create a piece that really lived up to the promises of the genre. Trouble explores communication in an increasingly distanced society. The music in the show runs the full length of the gamut: Contemporary musical theatre, radio-friendly pop, big band swing, heavy rock, a cello-lead tango, A capella choral, and more. Topic matter varies just as dramatically, ranging from a humorous argument over a haircut to examining the concept of honor in a time of war. The show is about the language we use to shape the world, and how it often shapes us in return.

SONG
Listen
Performed by: ‘nameless character’

VOICE TYPE

VOICE RANGE (Composer’s note)
This is a pop song. For men, it’s going to be a smooth baritone with plenty of room above the melody for improvisation. For women, the verse will land in a comfortable alto/mezzo, with the chorus and build reaching up to an F. Strong mix will work, but a colorful indie pop sound will work as well. Please feel encouraged to make the song your own… everyone who sings this tune does so, and always with my blessing.

STAGE ACTION
After an 8-minute opening number that feels something like a marathon, the cast clears and a single actor is left with guitar in hand. They start the song alone and end the song alone. They sing directly to the audience, very much like a street performer.

SONG FUNCTION
The piece is a radio-friendly earworm that lies in stark contrast to the rather complex opener. It is a palette cleanser and presents the theme of the evening in as simple and direct way as I could imagine – a catchy pop song that anyone could imagine singing alone in their car.

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