Diva Concert
Donmar Warhouse Theatre London 19th - 24th August 2002
A man in a woman's world interview with Jasper Rees
Link to Pictures taken at Donmar stage door after Concert.
Philip Quast Live at the Donmar cd ordering details plus review, information & pictures from insert
Philip Quast follows in the footsteps of Michael Ball and Clive Rowe, proving that the term 'Diva' is not restricted to the female gender. Last seen at the Donmar in his Olivier award-winning performance in Sam Mendes' The Fix, Philip Quast has most recently stunned audiences and critics in the RNT's production of South Pacific, for which he won his third Olivier award for Best Actor in a Musical. Quast has played some of music theatre's landmark leading roles: Javert in Les Misérables, George in Sondheim's Sunday in the Park with George, and Archibald Craven in The Secret Garden.
In this specially created performance for the Donmar's stage, Philip will be singing material that lays bare aspects of a man's mind, heart and emotions - the secrets not usually explored in songs written for men. With new, unheard and unrecorded music and lyrics written especially for him by some of the best songwriters - as well as some more familiar standards
Accompanied by a six-piece band led by the American Tony award-winning composer and lyricist Jason Robert Brown (Parade, Songs For a New World, The Last Five Years), Philip's show will be directed by Matthew Ryan with David White as Musical Supervisor. The evening will be an exploration of great musical theatre songs and contemporary pop, which will highlight new aspects of Philip's vocal style and personality; from Cole Porter through to Bruce Springsteen, as well as specially composed material from Stephen (Godspell) Schwartz, and The Witches of Eastwick's John Dempsey and Dana Rowe.
Creative Team Credits:
- Matthew Ryan (Director),
- David White (Musical Supervisor),
- Jason Robert Brown (Musical Director/Orchestrations).
- Musicians are Jason Robert Brown (Piano), Mitch Dalton (Guitars), Jaz Lochrie (Fretless Bass), Christopher Fish ('Cello), Justin Woodward (Drums/Percussion), Mark Glentworth (Percussion)
Phil would like to pay Special Thanks to Flick Armitage, Maurice Cambridge,
Phil Craig, Louise Hunt, Nigel Lilley, Stephen Metcalfe, Colin Rae, Allen
Watkins and Carol.
Song List
Act I
- “Life on Earth” — Craig Carnelia/ ”Four Faded Walls” — John Dempsey & Dana Rowe*
- “Flight” — Craig Carnelia
- “Honky Cat” — Elton John & Bernie Taupin
- “Face of a Stranger” written for Philip by Stephen Schwartz*
- “Lazy Afternoon” — John La Touche & Jerome Moross’
- “I’m On Fire” — Bruce Springsteen / “Every Breath You Take” - Sting
- “And They’re Off “— William Finn
- “King of the World” — Jason Robert Brown
- “Some Enchanted Evening! /Hello Young Lovers” — Rodgers & Hammerstein
- “Color and Light “— Stephen Sondheim
- “Finishing The Hat” — Stephen Sondheim
- “Lost In the Stars” — Kurt WeiI & Maxwell Anderson
Act II
- “Another Saturday Night” — Sam Cooke
- “My Father’s Hands”. — Frank Wildhorn & Jack Murphy*
- “What You’d Call A Dream” — Craig Carnelia
- “King’s New Clothes” — Frank Loesser
- “Letting You Go” — Jason Robert Brown*
- “Tonight’s Menu” — William D. Brohn & John Banas*
- “Happy Anniversary” — Charles Aznavour (additional lyrics. Herbert Kretzmer)
- “He Fades Away” — Alastair Hewlett!
- “The River” — Bruce Springsteen
- “New Words” — Maury Yeston
- “Life On Earth” — Craig Carnelia
- “I Was Here” — Lynn Ahrens & Stephen Flaherty*
*=New Song
A man in a woman's world
Daily Telegraph 12th August 2002
Philip Quast talks to Jasper Rees about his rare new honour: he's a Diva at the Donmar
For the first of them, he gave what is widely seen as the definitive Javert in Les Misérables. He also won for The Fix, a daring musical about the moral cesspit of American politics; he must have doubly impressed the judges, because the show is the one flop on Sam Mendes's CV.
But there is another gong available to stars of musical theatre: an invitation from Mendes to sing in the Divas at the Donmar season, now in its sixth year. This year the season offers week-long bursts of Janie Dee, Ruby Turner and US stage and television star Kristin Chenoweth. Quast is only the third male singer to answer the summons, after Clive Rowe and Michael Ball.
"I don't think cabaret is the preserve of men," he says at the end of a day-long rehearsal. "Women tend to have a mandate on it because they speak from a position of authority about things, which men can't generally. They have children, they get raped, they get bashed up by drunken husbands. Piaf or Garland came from a position of real living."
The worst thing that seems to have happened to Quast is that, at least in his perception, he doesn't get taken as seriously as he might. "I may have won three Oliviers for best actor in a musical and yet I don't feel I'm being credited for being a good actor. I'm being credited for singing well.
"Roger Allam, who is one of my best buddies, wins an Olivier award for best actor in Privates on Parade and sang more than I did in South Pacific, while I acted more than him. But somehow I don't feel that my award is as legitimate as his."
It's hardly a story of heartache to parley up into a cabaret act, but it's still worth asking why Quast, a big man with a luxuriant mane, buckets for hands and eyes like Russell Crowe's, can sit at a cafe in Covent Garden in very brief shorts with a microphone clipped to his shirt without exciting a single look of recognition.
It was not ever thus. There was a time, after he appeared in the 10th anniversary concert of Les Mis, when "lunatics who made my life hell came out of the woodwork. They flew from America, they got up on stage and asked for my autograph, followed me home. I was the reincarnation of someone's dead husband."
Quast's anonymity perhaps arises from the fact that, apart from Les Mis 12 years ago, he has not been in a long-running hit (he was also the lead in the RSC's quaintly dark The Secret Garden). He reasons that The Fix flopped because "We were about to have a change of government, no one wanted to be cynical about politics, but six months later Bill Clinton was . . . " and here he says something unprintable about cigars.
And yes, it may also be that acting in musicals is regarded as a second-class activity in this country rather than, in his estimation, the modern equivalent of playing Shakespeare. "It's no accident that Trevor Nunn is the greatest musical director in the world and he ran the RSC for 18 years. When Trevor directs, you don't sing for weeks.
You speak the lyrics for weeks in the same way you speak Shakespeare. I got very angry with a critic who said that anyone who directs musicals ends up bringing musical sensibilities to the classics. I thought, what a load of crap. The night I got the Olivier for South Pacific, it suddenly hit me that musicals are the hardest thing to do."
Quast, 45, is better known as a straight actor in his native Australia, where he occasionally returns to work in theatre, film and even sitcom. For 17 years, between jobs, he presented the Australian version of Play School. He thinks it improved him as an actor "because if you're not honest the kids don't like you. It's probably the best thing I've ever done in my life."
He reasons that playing French plantation owner Emile De Becque in South Pacific was simple because he grew up on a turkey farm 300 miles outside Sydney which his father and brother still run. He is conceivably the only West End star to have wrung a turkey's neck as an eight-year-old.
"I had to do a man's job
at a very young age. The hard thing was the sort of people that work in those
places. Suddenly they'd pour blood down your boot or they'd drop you in the
blood barrel head first. It was a pretty strange life. I miss it
terribly."
One learns with a certain trepidation the play list at the Donmar. Among show tunes by Sondheim, Weill and Rodgers and Hammerstein, plus songs written for him by Stephen (Godspell) Schwartz and John Dempsey and Dana P Rowe (who wrote The Fix and The Witches of Eastwick), he will be essaying The River and I'm On Fire by Bruce Springsteen, and the Police's Every Breath You Take.
"I'm not doing them like them. What's the point? That's the danger. I'm going to sound like an opera singer trying to sing rock and roll. I don't want to sound like José Carreras doing South Pacific."
Philip Quast Diva Extraordinaire.
- Donmar Warehouse Diva Concert London 20th August, 2002
- Review by Angela Pollard
Oh my what an awesome concert! Quite frankly, he surpassed even my expectations. Every nuance and aspect of this concert was polished and refined to an amazing and remarkable degree. His band was wonderful Philip himself was just incredible, and his voice....I don't even think I can write anything to do his voice justice it just fills you up completely.
He gave a lengthy and full force performance with remarkable stamina and energy. He gave us all the variety we could have asked from moving to light and comical numbers. Philip said he would be singing material that lays bare aspects of a man's mind, heart and emotions and he did from the potent 'Face of a Stranger' to 'I Was Here' written by Lynn Ahrens and Stephen Flaherty.
Philip looked so totally in control, relaxed and at ease, genuinely warm and wonderful. He puts so much raw emotion and honesty into each song it puts any other performers' show to shame, believe me. His facial mannerisms proves he is also the one the best actors of our time.
His comedic timing and banter was marvellous his performance of 'The Emperor's New Clothes' was hilarious. He delighted the audience in an evening none of us will soon (or ever) forget.
This performance puts him on par with some of the great Diva performers such as Bette Midler, for there have been many great female performers over the years, but only once in a lifetime does a genuine male talent come along. I think this concert performance will possible further the respect for him and his gift.
Like many others I can't wait until the release of the cd of this superb
performance, which the Donmar have confirmed will be produced.
Unexpected but Rewarding, Divas at the Donmar –
Philip Quast
Review by Lisa Martland, The Stage 29 August 2002
So far this year's line-up for the Divas at the Donmar season has hardly been predictable – and Philip Quast's intense and compelling cabaret is no exception.
Though Quast began performing in his native Australia, his success in this country is outstanding. Indeed, a recent Olivier Award – Best Actor in a Musical – for his performance in the National's South Pacific made him the first artist to receive three such honours in that category.
But fans of the Rodgers and Hammerstein classic and other well-known shows in which Quast has starred may be surprised by his choice of material. True, there is an exquisite moment when the performer recalls the South Pacific song that his father sung to his mother but elsewhere a great deal of the programme is unfamiliar.
However, with Tony Award-winning composer and lyricist Jason Robert Brown by his side as musical director, pianist and arranger, Quast demonstrates his skills as both an actor and singer by choosing several 'story' songs written by the likes of Robert Brown himself, Craig Carnelia, William Finn, Frank Wildhorn, Maury Yeston and even Sting and Bruce Springsteen. And there are a number of gems, including Charles Aznavour's Happy Anniversary (additional lyrics by Herbert Kretzmer).
But Quast really comes into his own when reflecting on his family, roots and career. Memories of appearing in Sondheim's Sunday in the Park With George, which coincided with his first child being born, are funny and touching.
Maybe not quite the accessible fare one might expect but Quast decides to embrace the freedom cabaret offers and, boosted by an excellent five-piece band, the musical experience is extremely rewarding as a result.
Divas' does it up right at Donmar
Cabaret season gains attention by Matt Wolf, Variety, 1st September 2002
LONDON -- Here's one of the more pleasurable games of compare-and-contrast offered by the London stage this summer. Which musical moment from the fifth "Divas at the Donmar" series was the most memorable?
Perhaps it was season opener Janie Dee singing the Alan Ayckbourn composition "Copytype" -- a comic hymn to the confusions caused at the keyboard.
Or maybe Ruby Turner, the Jamaica-born, Birmingham-based rhythm-&-blues artist whose scorching "I Would Rather Go Blind" left both the performer and her public in tears.
Or Philip Quast, the self-described Australian "farm boy," turning his memories of opening night at the National Theater in "Sunday in the Park With George" into a solo tour de force.
Or even Kristin Chenoweth, a London unknown who brought cheers with a wonderful new song, "Taylor," about a Starbucks employee whose more than generous service leads to "extra foam" -- and "caffeinated" love.
That these various showstoppers could follow swiftly on each other's heels honors an event, programmed by Donmar general manager Nick Frankfort under the advisory eye of a.d. Sam Mendes, that has become an increasingly crucial part of the annual cabaret calendar on either side of the Atlantic.
American agents and managers are putting clients forward more and more. Scarcely had the applause subsided from Chenoweth's Aug. 27 opening before her New York rep was talking up other clients Alice Ripley (a good idea) and Linda Eder (a bad one) as Donmar prospects. It helps that past Donmar "divas" live on via CDs and/or videos from the engagement -- Betty Buckley and Clive Rowe, among them.
A CD of Quast's stand, this year's lone sellout, is due Sept. 23, produced by Martin McCallum, chairman of the Donmar board. At the end of October, a handful of Donmar "divas" will appear in the Welsh capital of Cardiff during that city's Intl. Festival of Musical Theater.
"Divas at the Donmar" began in 1998, largely at the behest of Mark Shenton, a local theater journalist and Cambridge semi-contemporary of Mendes (Shenton is a few years older). As Shenton recalls, "All I wanted to do in life was bring Liz and Ann Hampton Callaway to London." That he did, followed by Barbara Cook, who had previously played the Donmar during the pre-Mendes era in 1987, and London's own Imelda Staunton.
The next year, with Frankfort at the helm, saw Patti LuPone's "Matters of the Heart" followed by Audra McDonald -- then pretty much new to London -- and local jazz favorite Sam Brown. This is the first season to host four performers. Explains Frankfort: "Four allows for a much more diverse spirit."
What's fascinating has been to see some "divas" deliver what it is that they do, while others have used this address as a chance for a cultural makeover. Michael Ball, last year's leading box office draw, jettisoned his usual large-auditorium crowd-pleasers in favor of a more restless and searching repertory: For every Ball stalwart put off by the change in direction, a new fan, presumably, was found.
This year, it was Quast, who, with director Matthew Ryan and an esteemed visiting musical director in Tony winner Jason Robert Brown, devised easily the season's riskiest and most rewarding show.
That's in no way to discredit two-time Olivier Award winner Dee, who makes up in a tremendously winning immediacy what she may lack in vocal chops. Her evening got off to a rough start with an all but inaudible cover of the Barry Manilow song "Dancin' Fool," but by the second act the audience was feasting on every nuanced inflection of comic set-piece "Checkout Lil." Dee played to 82% in an £80,000 ($122,500) season budgeted to break even at 75% capacity.
Turner turned a theater soon to host Chekhov and Shakespeare into a veritable joint, with the audience on its feet jiving at what the singer drolly called "my little gospel vibe." (Talk about understatement!)
On her first-ever trip to the UK (the English, she announced admiringly, if rather unfortunately, are very "culture-ized"), Chenoweth played the Oklahoma babe abroad, her amazing ability to swing between scat and coloratura silencing those skeptics who may have been feeling a case of the cutes.
But little can compare with the utterly unaffected bravura of Quast, singing largely about fathers in the first act and sons (of whom he has three) in the second while never once forcing the theme. And letting rip as he recalled the demands of his star turn in Sondheim's "Sunday," Seurat's Pointillist genius paling in immediate comparison to the dots of a difficult score, the performer encapsulated an entire artistic journey in the neatest of rhymes: "Color and light/I got through opening night."
Thanks to Moira for providing us with this article.
Stage star throws himself into a new role
Patrick O'Connor reviews Philip Quast at the Donmar Warehouse, Telegraph 20th August 2002
The vaudevillian adage,
"Don't just do something - stand there", clearly hasn't filtered
through to Philip Quast. He bounds on to the stage, in this, his first foray
into cabaret, and during the course of the evening takes his shoes off, jumps
in the air, sits on a chair then stands on it and later lifts it and whirls it
above his head. He puts on an apron for one sad little song, Tonight's Menu,
about a father cooking dinner for his son's latest conquest, lights a candle
and opens a bottle of wine. The only surprise is that in The King is in the
All-together from Hans Christian Andersen he doesn't take off his clothes.
This recital, part of the Divas at the Donmar series, isn't one of those in which an artist takes you on a trawl through their greatest hits. Quast has looked beyond his own past repertory, and includes old songs by Weill, Rodgers and Schwarz, as well as new ones, some of them composed by his pianist and musical director, the lithe and brilliant Jason Robert Brown. The band are an energetic six-piece combo, and, although the amplification is on the strong side for such a tiny theatre, Brown keeps them all in check.
Quast's voice is smooth and clear, in both the baritone and tenor registers. Although he made a considerable success in the basso role of Emile in the National Theatre's South Pacific last year, the natural anchor of his voice is a good bit higher.
Lost in the Stars, Hello, Young Lovers, Some Enchanted Evening, I'm on Fire, Lazy Afternoon - songs famous and obscure make for a musically satisfying evening. When he reminisces about his boyhood out on the farm in Australia, it's touching, but it might be advisable to swap some of the family-album stuff for straightforward facts about the sequence of show tunes.
The highlight of the evening is his evocation of the first night of the London staging of Sondheim's Sunday in the Park With George. He drags the score from its binding and gets entangled in the pages as he sings about the impossibility of memorising "all those little dots".....
Impressive though his singing voice is, Quast is first and foremost an actor - how many other cabaret performers include Macbeth, The White Devil and Coriolanus in their CVs?
Philip Quast Is Latest Donmar Diva at London Theatre
21-AUG-2002
Philip Quast, the sole male in the quartet of singers who make up this year's Divas at the Donmar series, opened Aug. 20.
His program was a very Sondheimish one of modern songs that tell stories and involve an enormous amount of technical skill, acting ability, energy and commitment, but are fairly short on tunes.
For those more into melodies, he threw in "Some Enchanted Evening" from South Pacific (for which he won an Olivier award earlier this year) in an arrangement that paired it with "Hello, Young Lovers" from The King and I.
In the second half he treated the audience to the children's song about the Emperor's New Clothes — "The King Is in the Altogether!" — which, judging by the smiles on the face of the audience, brought back happy memories of a less sophisticated musical stage in people's lives.
Interestingly, Quast's press night seemed better attended than either of his two predecessors, Janie Dee and Ruby Turner. Whether this was a reflection of Quast's personal popularity or a sign of the cumulative effect of a very well-reviewed and enjoyable season of Divas is unclear, but this third hit in a row suggests that cabaret is a popular art form.
Whether it can pull in enough people to make it an all-year attraction in a central London venue is another matter, of course. The Green Room at the Cafe Royal had many top-liners in its occasional series of cabarets, but it has not continued as a permanent venue, which leaves Pizza on the Park and, from time to time, Jermyn Street Theatre, as the only well-known venues in central London.
The success of the Divas season at the Donmar may be partly because it is such a short one (four weeks) and in a relatively small (some 250-seat) theatre with a very high (thanks to artistic director Sam Mendes) profile.
The prestige of appearing at and publicity surrounding the Divas at the Donmar means that stars of Quast's caliber are happy to book themselves in for a week in August. Whether they would commit to a stint at a less well-known venue where they are part of a year-round selection of artists rather than one of a few, spotlit, stars in a high-profile summer season is another matter.
Meanwhile, however, we have the Divas to enjoy. Philip Quast is at the Donmar until Aug. 24.
By Paul Webb Theatrenow
Rosie's synopsis and thoughts on Philip Quast at the
Donmar
19th - 24th August 2002
Act One
The stage had no elaborate scenery and props, just the musical instruments of the band, and a simple plain wooden chair. The members of the band came onstage, bowed, and took their places. As they played the soft introductory bars to 'Life on Earth', Philip's voice could be heard offstage singing 'Come in, come in do you hear me?'… His voice increased in volume and he finally walked onstage from behind the wire screen at the back of the stage. He wore his customary black suit and white shirt, and used a headset microphone rather than a hand-held mike. His hair was shorter than in the Daily Telegraph photograph, so he had obviously had his hair trimmed for the show. As the temperatures in London were extremely hot for his entire 'Diva' week, and the Donmar's air conditioning was out of order on certain nights, I think Philip was probably grateful for his shorter hairstyle! He almost leaped to centre stage, raising his arms in acknowledgement of the applause that greeted his arrival. His mood changed as he moved into 'Four Faded Walls' - gazing around at the imaginary room and the toys and familiar objects there. He patted his tummy as he explained he was now too fat to fit beneath the bed he once hid under. The tempo picked up as he described his new life in the city, and Philip moved animatedly across the stage as he sang of the lights and bustle of his new life, before turning around, arms outstretched at the 'Four Faded Walls' that had nurtured his early years and dreams. He raised his arm during the soaring last note in much the same way as Javert does at the conclusion of 'Stars'.
After the applause had died away, he moved to centre of stage, his mood that of quiet wonder as he turned his face upward to sing 'Flight'. Putting his heart and soul into this difficult and challenging song, he swayed to the melody, his arms outstretched as if he were indeed 'in flight'. A moment or two of spellbound hush fell upon the audience before prolonged applause.
Philip spoke briefly about his experiences while playing Grahame Chandler in 'The Fix'. He demonstrated how he had to walk with his right foot bent over and the aid of crutches, exit the stage on one side, then run around backstage for his next entrance, and try not to look 'puffed out' as he strolled nonchalantly on! He then spoke about his childhood in Australia, and of the sheepdog he once owned and trained himself. After giving a vocal demonstration (with much Australian slang) of how he set his sheepdog to work, the piano introduction to Elton John's 'Honky Cat' began. Philip used the chair to full advantage during this song, at various times whirling it around and up onto his shoulder to represent a knapsack, using it as a pretend shovel, and sitting on it backwards to drum his hands on the back. During the musical break halfway through the song, he sat on the chair, madly dancing his feet and clapping his hands.
As the introduction for 'Face of a Stranger' started, he pensively carried the chair to the right front corner of the stage, his hand thoughtfully stroking the back, his face serious. He sang the first verses of this introspective song leaning upon the back of the chair, only moving away restlessly at 'I would be off on my own…'. He wandered back to the chair during the last verse, seeming to come out a reverie for the question 'darling, have you seen the children?'
As the band slipped into 'Lazy Afternoon' Philip stretched onto the floor, leaning on one elbow, his back against the legs of the chair. A red-golden light shimmered onstage as he relaxed into the song. At the gentle final invitation 'come spend this lazy afternoon with me?' the band picked up the tempo, and an expression of concentration and watching intent filled Philip's face, as he sat forward, drawing his knees closer to his body. He sang the first lines of 'I'm on Fire' with a look of sheer desire on his face, sensuously rubbing his right hand up and down his thigh. He slowly stood up for the third verse, striding across the stage, his hands crossing his body to caress himself before his fingers entwined his curls as he spoke of the 'freight train' running through his head. As the band picked up the beat even more, he moved purposefully to the centre of the stage to sing 'Every Breath You Take' with increasing menace in each line. By the end of the song his facial expression was far grimmer than any he had achieved as Javert, and the intensity he brought to the final 'I'll be watching you!' was memorable! From our centre stalls seats Linda and I felt decidedly shaken!
Philip went into story-telling mode with the next song, 'And They're Off', describing a day's outing to the races and the consequences for the family concerned. Philip pointed out the ponies, his eyes following their progress around the auditorium, slowly turning around with his arms outstretched each time the refrain 'the band starts to play as the horses go round' reoccurred. When describing the fight between the parents, Philip jumped to the safety of the chair with an 'Ooh!' as he pointed at the scuffling adults on the floor. During the chorus about his father's departure, he stripped off his jacket and rolled up his sleeves. In the final chorus, he mimicked the stance of a jockey, reins held before him in his left hand, bum in the air, his poor abused jacket taking the place of a whip, flailing from his right hands - you could hear the buttons hitting the floor!
Next came the difficult 'King of the World'. As the band played the introduction you could watch Philip getting into character as the imprisoned statesman - he walked to the rough brick wall at the back of the stage, feeling it with his hands before balling his fists against it. As the song began he turned back, pacing a tiny area of the stage that represented his cell. For the final verse he sat down in the chair almost as if bound there. When the prisoner was finally broken and said 'at least, I used to be' he bowed his head in defeat.
After some words of thanks to Jason Robert Brown (who wrote 'King of the World'), he told us more about his childhood, and how he used to listen to cast albums of Rodgers and Hammerstein shows. He loved the cover of the 'Carousel' album so much that he took it to bed with him and used to look at Shirley Jones with a torch - 'the first woman I took to bed!' (As a matter of interest, after the final performance on Saturday, someone GAVE Philip a copy of the Carousel album in a carrier bag, complete with a torch….). His father was delighted to hear that Philip had been cast as Emile de Becque ('Oh, Philly, Philly, Philly…') as he would have the opportunity to sing the song with which his father had courted his mother. Quietly sitting centre stage, a wistful Philip sang 'Some Enchanted Evening', moving smoothly into 'Hello Young Lovers' from 'The King and I', before returning to the lovely final notes of 'Some Enchanted Evening'.
Philip now introduced us to 'Color and Light' from 'Sunday in the Park with George', but he had cleverly adapted the words to fit his own circumstances at the time. In addition to the pressures of learning a highly complex score and new vocal techniques, he had to cope with impending fatherhood. The problems of both situations are reflected in the clever lyrics, and Philip gave us the full range of his acting skills - unrolling an immense fan-folded score in which he became entangled until he resembled an Egyptian mummy until tearing himself free - singing with a pencil gripped between his teeth to improve his articulation - his horror at hearing that Sondheim is in the building (he hates me'), then opening night followed swiftly by the mad dash to the hospital, and the arrival of his firstborn ('he's blue…. and they're blue…. and it's warm inside his eyes…').
At this point Philip is kneeling at centre front stage, cradling the imaginary baby in his arms. Slowly, he lowers his arms to his sides and rises to his feet to sing 'Finishing the Hat' perfectly.
The lights dimmed briefly during the applause to rise again on Philip standing centre stage to sing 'Lost in the Stars' which he did quietly and simply. During the last line he quickly walked off stage to end the first act without waiting for the generous and heartfelt applause that followed him
Act Two
After the interval, the drummer and bass guitarist were the first to return to the stage. The drummer began beating out a simple rhythm on the tom toms. The bass player added a bass line as the lead guitarist came on stage to join in with a gentle Caribbean riff. Finally the percussionist took his place and added the maracas to the mix. Jason Robert Brown sat at the piano, and began to sing the chorus to 'Another Saturday Night'. Philip appeared behind the wire screen, peering through at the musicians. He carried a striped apron, which he placed carefully on the floor, before removing his black jacket and hanging it on a hook. He joined in the last lines of the chorus, and took up the verse of 'Another Saturday Night' as he walked to the chair, set at the front of the stage. He introduced the band, standing up again for the last chorus, and even jumping in the air at the end of the song!
During the applause, he moved the chair next to the grand piano, so that he could sit on the back of the chair with his feet on the seat, and his back resting against the piano. He movingly described his relationship with his father, and sang 'My Father's Hands'. He stretched out his own, huge hands and studied them almost wonderingly as he sang. As the piano played the soft introduction to 'What You'd Call a Dream' he stepped from the chair, walking to front centre stage, his head tipped back, his eyes closed during the first verse. At 'and the ball flies' he indicated the path of it's flight, shielding his eyes with the other hand. During the verse beginning 'and the sun shines like diamonds' the spotlights took on a golden hue, and Philip threw his eyes wide, lifting his face to the light. When he sang the quieter repeat of the first verse, he allowed his arms to slowly return to his sides, but kept his face turned to the light.
The King's New Clothes was magnificent - Philip at his 'Playschool' best, utilising the whole of the stage and the chair (his only prop) to bring the story to life! To see such a large man mincing across the stage in the role of the Queen was a delight to behold. He leapfrogged the chair at one point, almost landing in the laps of the occupants of the front row! He acted out each element of Saturday's Parade - artillery, infantry, cavalry and finally the king himself, standing on the chair defiantly until his exposure is revealed - a cue for Philip to hastily clap his hands over his embarrassment!
Philip moved the chair to the left front corner of the stage to sing the beautiful 'Letting You Go', a world of regret and sorrow in his voice and on his face. At the end of the song he bowed his head into his hands, seemingly a man in the absolute depths of loneliness and despair. While the audience sat in a stunned silence, Philip halted our applause by leaping from the chair, seemingly in a panic, to being the next song, 'Tonight's Menu'. Hurriedly he put on the striped apron, producing a wineglass and cloth from the voluminous pocket at the front. Buffing the glass he crossed to a small table beside the piano, where a single place setting had been laid. After lighting a candle, he expertly opened a bottle of wine with a 'butler's friend' style opener (a rather expensive bottle of Rioja - evidently Philip has good taste). After pouring a large glass, he downed it quickly, to indicate the nervous state of the father in the song.
During the introduction to 'Happy Anniversary' Philip moved to the back of the stage, where he removed the apron, ran his fingers through his hair to tidy it, and put on his jacket. He leaned in a negligent pose against the screen, hands in pockets, to sing the first verse, then crossed to the table to pour out another glass of Rioja. He opened a cigarette case, extracted a cigarette and lit it with a match - all while still singing! At the first chorus of 'happy anniversary!' he fretfully pulled off the tight shoes and threw them across the stage. He beautifully mimed trying to pull up the stuck zipper, seated on the edge of the chair, his knees parted as if the wearer of the dress stood with her back to him. He used both hands to tug at the zipper tag, his cigarette dangling from the corner of his mouth as he sang. He strolled back to the piano for the sweetly sentimental last verse, refilling his wineglass, toasting the audience left, centre and right as he sang 'happy anniversary' for the last three times. As the last notes died away, he crossed to the piano, to extinguish the candle, and plunge the stage into darkness.
He again sat on the back of the chair with his feet on the seat (he was still shoeless) to sing 'He Fades Away', the first verse a cappella - proving what an excellent voice Philip would have for unaccompanied folk song. The arrangement was very similar to that used by the British folk singer June Tabor in her recording of this haunting song, but at a slightly faster pace.
Philip moved straight into the more upbeat 'The River', leaving his chair to reclaim his shoes, which he put on again during the first verse. He strode across the stage, his jacket flung over his shoulder as he acted out the song to the full.
He then sat down again to speak about his children, but moved to centre stage to kneel on one knee, almost as if a small child stood beside him. Philip pointed out the moon and stars during 'New Words.' As the melody swelled as he sang 'as they blink all around us' he rose to his feet, gazing lovingly down at the invisible child for the touching last verse. The audience began to applaud at the end of the song, but Philip stopped us with an upraised hand as he moved straight into 'Life on Earth'. His joy and pleasure at the song were evident, his voice growing in strength and volume, as he animatedly pointed out all the wonders of nature he was describing, allowing his voice to soar as he threw his arms wide at the climax of the song.
Tumultuous applause for the end of the performance and Philip bowed happily, smiling his appreciation and calling for applause for his musicians before leaving the stage briefly to reappear for the single encore - 'I Was Here'. The words obviously have a special and deep meaning for Philip, and his voice soared beautifully at the end. At the conclusion, the entire audience rose to their feet, giving Philip a truly deserved standing ovation.
After the show, Philip was kind enough to spare time for the many fans who were waiting for autographs and the chance to take photos. Despite the tiredness in his eyes, he was patient, gracious and gentle to everyone, putting the most nervous fan at their ease, and making especially sure that everyone who so desired had been given an opportunity to speak with him before he departed homeward with his family.
Tina's thoughts on Philip Quast at the Donmar Warehouse
19th - 24th August 2002
I was thrilled by this Concert - as ever astonished at this Man's abilities. Philip's presence was really impressive in the confines of the small space of the Donmar and his voice soared, both beautiful and effortless. The band was moved form one moment from being all funky and quirky to otherwise atmospheric and melodious, without ever cluttering the lyrics.
I liked the variety of music and was especially blown away by the second song , called 'Flight'. I loved it's rhythms and the torrent of words. It was like a journey from frustration to free spirit, and I can hardly wait for the CD, as for me this track is going to be a 'balm when your all pent up' sort of song - and during it was one of the times when Philip threw his head back and let rip into one of those amazing crescendoes!! I found myself holding my breath!
I loved the comic one man show with 'The Kings New Clothes' and the clever quip on the 'Sunday in the Park' theme with Philip trying to juggle his imminent fatherhood with rehearsals for the Opening Night of the Show, amidst Sondheim's own lyrics! A melting moment came there on the birth of a son, with 'but it's soft inside his eyes.......' and 'I could look at him foreverrrrrrrrrr '.
So many merorable highlights! 'Face of a Stranger' was stirring and so peculiar to Philip with a wonderful undercurrant rhythm running through it. He smouldered all to briefly steady on there girls to Springsteen's 'I'm on Fire', which all to soon turned to terrible menace in the 'Police 'song 'EBYT'. Philip seemed to be having an absolute ball with the 'King of The World' which has a really rousing chorus - well done, Jason Robert Brown ! Midst all, were loving family references - tributes to Dad - lovely views of fatherhood etc.......... 'What You'd Call a Dream ' was beautiful, haunting ...... 'Letting You Go', heartwrenching and can anymore be said about 'One Enchanted Evening' - sung more intimately than ever before! 'Happy Anniversary' turned from funny with a sting to touching affection. 'New Words' is so sweet and Philip's expression at 'We call it love, my son ...... so hard to say - it get's harder ...' was just gorgeous and 'The River ' just flowed!
I could carry on with this forever! The final 'I Was Here' was powerful, stirring, emotive and such a brilliant way to go out. Thankyou so very much Philip! (The only track I did'nt really like was 'Lazy Afternoon' - but that's just my failing!)
CD available of Philip's Performance.
I am happy to report that the Donmar have confirm they will be released an audi recording of Philip's Diva Concert. It will be available from September 23rd. To reserve your copy of this unique event, please send a cheque for 15.99 UKP (includes P&P) made out to 'Philip Quast Live at the Donmar' and send it to: Donmar Warehouse Theatre, 41 Earlham Street, London WC2H 9LX2".
You can also order online or by phone from the Dresscircle
Review of UK CD RELEASE – PHILIP QUAST LIVE AT THE DONMAR (Available at Dress Circle, Leicester Square)
TALKINBROADWAY December 2002/ January 2003, Tim Connor, London
One of the finest leading men in musical theatre today proves his brilliance on his stunning solo album, capturing his recent sell-out cabaret at the Donmar Warehouse. What makes the album outstanding is Quast’s decision to tackle new material -much of which was written specifically for him- which is penned by some of the best writers around. There are so many highlights on the album, but Stephen Schwartz’s Face of a Stranger and Craig Carnelia’s Life On Earth are two of my personal favourites. Quast ends the disc with an exceptional Ahrens and Flaherty number, entitled I was Here. A song all about why “we yearn to leave something that lasts”, it is given a stirring rendition by Quast, who is in wonderful voice throughout. This wins my prize for solo album of 2002 – be sure to add it to your collection.
Details of what's on 'Philip Quast Live at The Donmar'.
The following information and picture were taken from insert. Photographs by Philip Flower & Martin McCallum
The journey that has led to the creation of this album started almost exactly three years ago when Philip told me that he wanted to record an album of entirely new and original songs. So I spoke to my great friend Freddie Gershon and two weeks later we were on a plane to New York. The idea was for Philip to persuade some of the best-known names in musical theatre to write songs especially for him, in order to make what would be his first solo album. Following that trip he also spoke with writers in the UK and Australia……and he was off.
Following this time I had been trying to think of an opportunity for Philip to perform this material live and not simply record it. I thought that the then recently created seasons of Divas at the Donmar would therefore be a perfect platform, but Philip was busy with other work. Then the 2002 Divas season came round for programming and I asked Philip if he could commit. He did and in doing so he really focussed attention on the need to create a show that weaved together musical reflections of himself that audiences would not have been aware of before.
Having the gift of so much wonderful new material, it rapidly became clear that if Philip was to perform existing work, as well as embrace the new material created for him, we would have more songs than we could use. So the next step was to select the right creative team. Our choice of Matt and David, as Director and Musical Supervisor, gave us two brilliant collaborators and devisors. That then left the roles of Orchestrator and Musical Director. While listening to many songs, Philip became particularly excited by the work of Jason Robert Brown, the acclaimed young American composer, and subsequently during one of their banters by email, Jason casually dropped in that he might have a few weeks free if we were really stuck for an MD. Everyone laughed, he couldn’t be serious, and anyway, though a fun idea, not something to seriously consider given the scale of our show and the fact that Jason lives in New York! However I was intrigued for a number of reasons. We really needed a musician who could not only be Philip’s musical alter ego, but also orchestrate with great style and be a ‘Paderewski’ at the piano. A quick call to Freddie assured me that he was indeed all of these, and so it was clear that Jason was the final and essential ingredient we were missing.
The result of the Team’s time and talent is here for you to judge and I hope that, like me, you find Philip to be an extraordinary performer with a musical and emotional range unequalled in today’s musical theatre. My only sadness is that we haven’t been able to include all the work from many of those great writers and composers. However the good news is that it gives us reason to do another one!
Martin McCallum
August 2002
Track List
* Are new songs
- LIFE ON EARTH/FOUR FADED WALLS
- FACE OF A STRANGER *
- LAZY AFTERNOON
- I’M ON FIRE/EVERY BREATH YOU TAKE
- AND THEY’RE OFF
- SOME ENCHANTED EVENING/HELLO YOUNG LOVERS
- COLOR AND LIGHT
- FINISHING THE HAT
- LOST IN THE STARS
- MY FATHER’S HANDS *
- WHAT YOU’D CALL A DREAM
- THE KING’S NEW CLOTHES
- LETTING YOU GO
- HAPPY ANNIVERSARY
- HE FADES AWAY/THE RIVER
- NEW WORDS
- LIFE ON EARTH
- I WAS HERE
Song Lyrics
ACT I
“Life on Earth”/”Four Faded Walls” — Craig Carnelia /John Dempsey & Dana Rowe*
- Come in, come in, do you read me, come in, can you hear me
- Come in, come in, do you read me, can you hear me
- Come in, come in, do you read me, can you hear me
- Come in, come in, come in. I'm going home
- I 'm going home
- To that poor little town
- In which I spent so many years and in that poor little town runs a sad little street
- And on that sad little street sits a dull yellow house
- And in that dull yellow house, I swear it's yellow can you believe it
- In that dull yellow house there's a room.
- I know that room. I know this room.
- In that corner, in that chair
- Use to sit a yellow bear with button eyes, his name was Will.
- And I recall from long ago how my soldiers row by row
- Would all stand guard upon that sill
- And over there of course the bed I used to hide beneath
- Although now I've grown too fat to fit.
- Don't ask me how I know; I just do.
- God, the fantasies and glories I imagined way back then
- When now I have to fight to even think one moment through
- But standing here it all comes back the wonders that I knew
- Inside these four faded walls I was the hero
- Inside these four faded walls I played the prince
- The toys paraded very grand and how they'd bow at my command
- Inside these four faded walls I smiled
- As I've rarely smiled since.
- And now I live in the city, sweet Jesus what a city
- You should see it! Come out and visit some time
- The lights are blinding and the rush is well worth getting
- Jesus Christ I'm sweating just thinking of the place
- It's quite a place you know!
- And I work day and night to keep up with the pace
- The crowds move too fast but I stay in the race
- Help
- My stomach bleeds red 'til I'm blue in the face
- And good God what a life I'm living
- Good God what a life I'm living
- When I used to have so little
- Stranded in the middle of these four faded walls
- Inside these four faded walls
- Inside these four faded walls I've had adventures
- Inside these four faded walls the future gleamed
- Upon this floor, upon this site, I lived in never ending light.
- Inside these four faded walls the world was bright
- There was no night or so it seemed.
- Inside these four faded wallsI dreamed
“Flight” — Craig Carnelia
- Let me run through a field in the night
- Let me lift from the ground 'till my soul is in flight
- Let me sway like the shade of a tree
- Let me swirl like a cloud in a storm on the sea
- Wish me on my way Through the dawning day, I
- Want to flow, want to rise, want to spill
- Want to grow, want to grow
- on the side of a hill.
- I don't care if the train runs late
- If the checks don't clear
- If the house blows down
- I'll be off where the weeds run wild
- Where the seeds fall far from this earth-bound town
- And I'll start to soar
- Watch me rain 'till I pour
- I'll catch a ship that'll sail me astray
- Get caught in the wind,
- I'll just have to obey
- 'Till I'm flying away
- Let me leave behind
- All the clouds in mind,
- I Want to weep without wondering why
- Finding myself with a purse full of sky
- I'll just roll
- Let me lose all control,
- I Want to float like a wish in a well
- Free as the sun,
- As the sea in a shell
- I don't know
- But maybe I'm just a fool
- I should keep to the ground,
- I should stay where I'm at
- Maybe everyone has hunger like this and the hunger will pass
- But I can't think like that
- All I know is somewhere through a clearing
- There's a flickering of sunlight on a river long and wide
- And I have such a river inside.
- Let me run through a field in the night
- Let me lift from the ground 'till my soul is in flight
- Let me sway like the shade of a tree
- Let me swirl like a cloud in a storm on the sea
- Wish me on my way
- Through the dawning day, I
- Want to flow, want to rise, want to spill
- Want to grow on the side of a hill
- Want to shift like a wave on the wind
- Want to drift from the path I've been travelling on
- Before I am gone.
“Honky Cat” — Elton John & Bernie Taupin
- When I look back boy I must have been green
- Bopping in the country, fishing in a stream
- Looking for an answer trying to find a sign
- Until I saw your city lights honey I was blind
- They said get back honky cat
- Better get back to the woods
- Well I quit those days and my redneck ways
- And oh the change is gonna do me good
- You better get back honky cat
- Living in the city ain't where it's at
- It's like trying to find gold in a silver mine
- It's like trying to drink whisky from a bottle of wine
- Well I read some books and I read some magazines
- About those high class ladies down in New Orleans
- And all the folks back home well, said I was a fool
- They said oh, believe in the Lord is the golden rule
- They said stay at home boy, you gotta tend the farm
- Living in the city boy, is going to break your heart
- But how can you stay, when your heart says no
- How can you stop when your feet say go
“Face of a Stranger” — Stephen Schwartz*
- I sailed away from an island
- To an island across the earth
- And I worked at adopting their style and their customs
- For all I was worth.
- And I rose to my present position
- And I gained some celebrity
- Now I bask in their praise and conditional love
- But who do they see?
- The face of stranger
- Who can't even say who he is anymore
- The face of a stranger
- A mask made for covering passions and pain
- But lately I'm wondering what did I gain
- When I see in my mirror the face of a stranger.
- "Come home and visit your dad, boy"
- Calls my mum from across the sea
- "He's not young anymore and he's sad, boy
- Though he won't admit it to me".
- So I fly myself back to their island
- To the wheat and the tractor wheels
- And I show them my sonny-boy smile and I know
- They can tell it conceals
- The face of a stranger
- No longer at home in that house on hill
- The face of a stranger
- The boy that they raised there is gone without trace
- And even the family he's built in their place
- Regard him with love, but they're loving the face
- Of a stranger.
- I would be off on my own
- Exploring the earth's empty ends
- Then why am I lonely
- Surrounded by family and friends?
- They tell you "No man is an island"
- But to me that's not how it seems
- I think every man is an island
- Of secrets and longings and dreams
- An invisible ocean surrounds us
- Those who love us reach just the shoals
- Is it any surprise it astounds us
- How well we keep playing our roles
- With the face of a stranger
- Who peers in bright windows from out in the dark
- The face of a stranger
- And even the woman I most truly love
- She tells me I wear an emotional love
- And I laugh it off with the smiling face of
- A stranger…
- "Darling, have you seen the children?"
- "Yes, they're out playing Pirates-at-Sea"
- "Ah, well, let me just pay this last bill, then
- And we can sit down and have tea…"
“Lazy Afternoon” — John La Touche & Jerome Moross’
- It's a lazy afternoon
- And the beetle bugs are zooming
- And the tulip trees are blooming
- And there's not another human in view,
- But us two
- It's a lazy afternoon
- And the farmer leaves his reaping
- And the meadow cows are sleeping
- And the speckled trouts stop leaping up stream
- As we dream
- A far pink cloud hangs over the hill
- Unfolding like a rose
- If you hold my hand and sit real still,
- You can hear the grass as it grows
- It's a hazy afternoon
- And I know a place that's quiet, except for daisies running riot
- And there's no one passing by it to see
- Come spend this lazy afternoon with me
“I’m On Fire” — Bruce Springsteen
- Hey little girl is your daddy home
- Did he go away and leave you all alone
- I got a bad desire
- I'm on fire
- Tell me now baby is he good to you
- Can he do the things that I do
- I can take you higher
- I'm on fire
- Sometimes it's like someone took a knife baby
- edgy and dull and cut a six-inch valley
- through the middle of my skull
- At night I wake up with the sheets soaking wet
- and a freight train running through the middle of my head
- Only you can cool my desire
- I'm on fire
“Every Breath You Take” - Sting
- Every breath you take
- Every move you make
- Every bond you break
- Every step you take
- I'll be watching you
- Every single day
- Every word you say
- Every game you play
- Every night you say
- I'll be watching you
- O can't you see
- You belong to me
- How my poor heart aches
- With every step you take
- Every move you make
- Every vow you break
- Every smile you fake E
- very claim you stake
- I'll be watching you
- Since you've gone I been lost without a trace
- I dream at night I can only see your face
- I look around but it's you I can't replace
- I feel so cold and I long for your embrace
- I keep crying baby, baby, please
- O can't you see
- You belong to me
- How my poor heart aches
- With every breath you take
- Every move you make
- Every vow you break
- Every smile you fake
- Every claim you stake
- Every move you make
- Every step you take
- I'll be watching you
“And They’re Off “— William Finn
- Ponies in the sun
- The race is soon beginning
- My father bet the family fortune on a sleek brown horse
- My father had a hunch, we gave up lunch so Daddy could make a wager
- Ma would scoff, she would scoff, hear her scoff
- And they’re off, they're off
- And they move in a herd like a four letter word and they’re off
- Tickets float to the ground and the band starts to play as the horses go round
- And they’re off
- Mummy sat and cried, but Dad was unaffected
- He said have you ever had a better two minutes in the last three years
- We said but Dad, the dumb horse lost
- He said sometimes joy has a terrible cost, I know that
- Ma would scoff, she would scoff, hear her scoff
- And they’re off, yeah they’re off
- Mummy’s biting his neck as they roll on the deck and they’re off
- There is blood on the ground
- And the band starts to play as the horses go round
- And they’re off
- Isn’t life funny? People lose money and have fun
- Betting of course is hell on the horses
- And the families where the betting is done
- It’s a joke to believe someone won
- All they did was fight, plus they discussed the weather
- My father bet the family fortune ‘til it disappeared
- They also laughed a lot
- That was the thing I often forgot to tell you
- But it’s true, yes it’s true. It is true
- And he’s off, Daddy’s off
- We get letters from him where he tries to explain why he’s off
- What was lost was not found
- And the band starts to play as the horses go round
- And they’re off, and they off, yeah they’re off
- And they move in a herd like a four letter word and they’re off..
- There is blood on the ground and the band starts to play as the horses go round
- And round, and around and around and around and around.
- And they’re off
“King of the World” — Jason Robert Brown
- Once upon a time I had tides to control
- I had moons to spin
- And stars to ignite
- And they threw flowers at my feet
- When I walked through the town
- Once upon a time I had lives to protect
- I had rules to change
- And wrongs to set right
- And there were people at my side
- And there were rivers I could guide
- I wanted nothing in return
- Let me out of here
- Give me back all my dreams
- Let me out of here
- Let please see the sun
- Let me out of here
- At least tell me what I did wrong
- I'm king of the world
- Chief of the sea
- High in the wind
- At least I used to be
- And I'm king of the world
- Please set me free
- Let me remind them of my promise
- Live my given destiny
- Once upon a time I had fate in my hands
- And the confidence of a million regimes
- And they said, "Brother you're in charge
- We'll follow anything you say"
- Once upon a time Father said to me,
- "Child you are everything
- That you see in your dreams"
- And I thought, Jesus, that's the key
- There are no walls surrounding me
- There are no prisons in this life
- Let me out of here
- Give me back to the wind
- Let me out of here
- Let me please see my son
- Let me out of here
- Don't you understand who I am?
- I'm king of the world
- Chief of the sea
- High in the wind
- At least I try to be
- And I'm king of the world
- Please set me free
- I had the power and the promise
- Give me back my family
- Why are we punished for wanting to explore?
- Why am I sitting in this cell?
- I was not challenging the system
- I was working for the people
- I just wanted to be better
- Why are we punished for wanting to survive?
- Why am I locked behind these bars?
- Tell the children I'll return to them
- Tell them . . . Someone,
- Let them know I will be free
- I will not be defeated
- I will stand like a mountain
- And the road will stretch before me
- And they'll know it's time to follow
- And we'll lift our eyes
- And raise our heads
- And face the sun
- And tell the future
- I'm king of the world
- Land of the free
- High in the sky
- The best that I can be
- And I'm king of the world
- Watch and you'll see
- Nothing can stop me from tomorrow,
- Keep me from my destiny
- I'm king of the world
- I'm king of the world
- I'm . . . I'm . . .
- At least I used to be
“Some Enchanted Evening!” — Rodgers & Hammerstein
- Some enchanted evening
- You may see a stranger,
- You may see a stranger
- Across a crowded room,
- And somehow you know
- You know even then
- That somewhere you'll see her
- Again and again
“Some Enchanted Evening!” — Rodgers & Hammerstein
- Some enchanted evening
- You may see a stranger,
- You may see a stranger
- Across a crowded room,
- And somehow you know
- You know even then
- That somewhere you'll see her
- Again and again
- Some enchanted evening
- Someone may be laughing
- You may hear her laughing
- Across a crowded room,
- And night after night
- As strange as it seems,
- The sound of her laughter
- Will sing in your dreams.
- Who can explain it
- Who can tell you why,
- Fools give you reasons,
- Wise men never try.
- Some enchanted evening
- When you find your true love,
- When you feel her call you
- Across a crowded room,
- Then fly to her side
- And make her your own,
- Or all through your life
- You may dream all alone.
- Once you have found her
- Never let her go.
- Once you have found her
- Never let her go.
“Hello Young Lovers” — Rodgers & Hammerstein
- I know how it feels to have wings on your heels,
- And to fly down a street in a trance...
- You fly down a street on a chance that you'll meet,
- And you meet not really by chance
- Hello, young lovers, whoever you are,
- I hope your troubles are few
- All my good wishes go with you tonight,
- I've been in love like you...
- Be brave, young lovers, and follow your star;
- Be brave and faithful and true...
- Cling very close to each other tonight
- I've been in love like you.
- I know how it feels to have wings on your heels,
- And to fly down a street in a trance...
- You fly down a street on a chance that you'll meet,
- And you meet not really by chance.
- Don't cry, young lovers, whatever you do,
- Don't cry because I'm alone
- All of my memories are happy tonight,
- I've had a love of my own...
- I've had a love of my own like yours,
- I've had a love of my own---
- I know how it feels to have wings on your heels,
- And to fly down a street in a trance...
- You fly down a street on a chance that you'll meet,
- And you meet not really by chance.
- Don't cry, young lovers, whatever you do,
- Don't cry because I'm alone
- All of my memories are happy tonight,
- I've had a love of my own...
- I've had a love of my own like yours,
- I've had a love of my own---
“Color and Light “— Stephen Sondheim
- White. A blank page or canvas
- The challenge to bring order to the whole
- Through design, composition, balance, light and harmony
"Sunday in the Park with George by James Lapine and Stephen Sondheim And I got to play George, George Seurat, but I knew nothing about painting. So Carol, my wife, and I went off to Paris, to the Musee D'Orsay to find his paintings. We turned up at this amazing building and we went in and - look, if you come from where I come from you would never expect to see these things in a whole lifetime and there they were; things you had only ever seen in books. There were Cezannes and waterlilies (that Monet fellow!) and Degas and Toulouse Lautrecs and Van Goghs. And then there was this one painting."
- Seurat!
- Look, it's made of a sort of dots
- Thousands, millions of dots
- And then I got the score
- Talk about dots, Oh, so much to learn
- And I have to learn to paint, paint sticks, paint dogs
- Sorry, darling? A baby?!!
- When? How long? But I've gotta paint hats!
- More red
- Me, a father
- And a little more red
- And I have to improve my articulation
- Blue blue blue blue
- Blue blue blue blue
- Even, even,
- Good
- And I have to rehearse my intonation
- Bumbum bum bumbumbum
- Bumbum bum Bumbum
- And then I have to learn to count the beats
- (Two three four)
- More red
- What?
- (One two three four)
- More blue
- Two three four five - shit
- (...seven eight)
- More beer (two three four five six seven eight)
- I don't care what we call it, I've gotta learn this song!
- More light
- And right down in my guts, looming ever closer
- Color and light
- was opening night
- There's only color and light
- Stephen Sondheim's what?
- Yellow and white
- In the building
- Just blue and yellow and white
- What if your baby comes on opening night?
- Look at the air, miss, see what I mean
- Hello, Stephen. How are you?
- No, look over there, miss, that's done with green
- He hates me, he hates me
- Conjoined with orange
- I never gonna learn this not in a million years
- Shit shit shit shit shit shit shit shit
- Oh bloody hell
- Just take a look at it, will you
- Red red red red
- Red red orange,
- red red orange
- Orange pick up blue
- Pick up red
- Pick up orange
- From the blue-green blue-green
- Blue-green circle
- On the violet diagonal
- Di-ag-ag-ag-o-nal-nal
- Yellow comma yellow comma
- Numnum num numnumnum
- Numnum num
- Blue blue blue blue
- Blue still sitting
- Red that perfume
- Blue all night
- Blue-green the window shut
- Dut Dut Dut
- Dot Dot sitting
- Dot Dot waiting
- Dot Dot getting fat fat fat
- More yellow
- Dot Dot waiting to go
- Out out out
- No no no George
- Finish the hat finish the hat
- Have to finish the hat first
- Hat hat hat hat
- Hot hot hot it's hot in here
- Sunday!
- Color and light
- I got till opening night
- There's only color and light
- But where is the baby?
- Purple and white
- The fucking baby
- And red and purple and white
- Carol is the size of a truck
- Look at this glade, girls
- Call the cab!
- Your cool blue spot
- She's on the floor of the cab
- No, stay in the shade, girls
- Oh God, it's getting hot
- It's getting,
- Wah!
- He's blue, he's blue!
- And they're blue
- And it's warm inside his eyes
- And it's soft inside his eyes
- And you drown inside his eyes
- I could look at him forever
“Finishing The Hat” — Stephen Sondheim
- Yes, she looks for me, good.
- Let her look for me
- To tell me why she left me,
- As I always knew she would.
- I had thought she understood,
- They have never understood,
- And no reason why they should,
- But, if anybody could...
- Finishing the hat.
- How you have to finish the hat.
- How you watch the rest of the world
- From a window
- While you finish the hat.
- Mapping out a sky
- What you feel like planning a sky.
- What you feel when voices that come
- Through the window
- Go
- Until they distance and die,
- Until there's nothing but sky.
- And how you're always turning back
- Too late from the grass or the stick
- Or the dog or the light.
- How the kind of woman who's willing to wait's
- Not the kind that you want to find waiting
- To return you to the night,
- Dizzy from the height.
- Coming from the hat.
- Studying the hat.
- Entering the world of the hat.
- Reaching through the world of the hat like a window
- Back to this one from that.
- Studying a face.
- Stepping back to look at a face,
- leaves a little space in the way like a window.
- But to see--
- It's the only way to see.
- And when the lover that you wanted goes
- You can say to yourself,
- "Well, I give what I give."
- But the lover who won't wait for you knows
- That however you live, there's a part of you
- Always standing by, mapping out a sky.
- Finishing the hat.
- Starting on a hat.
- Finishing the hat. Look,
- I made a hat
- Where there never was a hat
“Lost In the Stars” — Kurt WeiI & Maxwell Anderson
- Before Lord God made the sea and the land,
- He held all the stars in the palm of his hand.
- And they ran through his fingers like grains of sand,
- And one little star fell alone.
- Then the Lord God hunted through the wide night air
- For the little dark star on the wind down there.
- And he stated and promised he'd take special care
- So it wouldn't get lost again.
- Now a man don't mind if the stars grow dim
- And the clouds blow over and darken him,
- So long as the Lord God's watching over them,
- Keeping track of how it all goes on.
- But I've been walking all the night and the day,
- Till my eyes get weary and my head turns gray.
- And sometimes it seems maybe God's gone away,
- And we're lost out here in the stars.
- Little stars, big stars, blowing through the night,
- And we're lost out here in the stars.
- Little stars, big stars, blowing through the night,
- And we're lost out here in the stars.
ACT II
“Another Saturday Night” — Sam Cooke
- Another Saturday night and I ain't got nobody
- I got some money 'cause I just got paid
- Now how I wish I had someone to talk to
- I am in an awful way
- Check this...
- I got in town a month ago
- I've seen a lot of girls since then
- If can meet I can get them
- But as yet I haven't met them
- That's why I am in the shape I'm in
- Here...it's
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had someone to talk to
- I am in an awful way
- Now...
- Another fellow told me
- He had a sister who looked just fine
- Instead of being my deliverance
- She had a strange resemblance
- To a cat named Frankenstein
- Hear...
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had some chick to talk to
- I am in an awful way
- Yeah ...
- It is another week-end and I ain't got nobody
- Man, if I was back home I'd be swinging ....
- Two chicks on my arms.... Oh yeah...
- Listen to me hein...
- It's hard for a fellow when he doesn't know his way around
- If I don't find a honey to help me spend this money
- I'm gonna have to blow this town
- Here...it's
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had some chick to talk to
- I am in an awful way
- Everybody sing it...
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had someone to talk to
- I am in an awful way
“My Father’s Hands”. — Frank Wildhorn*
When I was a kid I actually saw more of my Dad than most kids see in a lifetime. He taught me things, lots of things; how to weld; how to put threads on pipes; how to plough; how to use a saw
- In the middle of my lifetime I began to lose my way
- Between this, that and the other of a crowded resume
- Then I stumbled on a memory out upon the shifting sands
- For one simple honest moment I could see my father’s hands
- They were strong, they were rough
- They would lift me high so I could count the stars
- When the world was not enough
- They would reach for each day
- And the feel of home was just a touch away
- In my father’s hands
- How could he have seemed so foolish back when I thought I was wise
- Guess you come to see things different looking through your father’s eyes
- Now that I’ve become a father I begin to understand
- All the lessons that are waiting right there in our fathers hands
- They were strong, they were rough
- They would lift me high so I could count the stars
- When the world was not enough
- They would reach for each day
- And the feel of home was just a touch away
- In my father’s hands
- Weathered lines, storied scars
- Tell who he was and who you are
“What You’d Call A Dream” — Craig Carnelia
- There are two men out, and its in the ninth, and the score is four to three
- There's a man at first, and a man at bat, and the man at bat is me
- And I'm sorta scared, and I'm sorta proud, and I'm stronger than I seem
- And I take a swing, and my dad is there, and its what you'd call a dream
- For the ball flies in the sun, and it sails off as I run
- The crowd is roaring, cheering as I go, so are all the guys on the team
- And I run for home, and we win the game, and its what you'd call a dream
- And the sun shines like diamonds
- The summer sun shines like diamonds
- The summer sun, high in a baseball sky, shines like diamonds
- And the sun shines like diamonds
- There are two men out, and its in the ninth, and the score is four to three
- There's a man at first, and a man at bat, and the man at bat is me
- And I'm sorta scared, and I'm sorta proud, and I'm stronger than I seem
- And I take a swing, and my dad is there, and its what you'd call a dream
“King’s New Clothes” — Frank Loesser
Once upon a time there was a king who was absolutely insane about new clothes One day, two swindlers came to the king to sell him what they said was a magic suit of clothes Well, the truth of the matter is, there were no clothes there at all. But these two men were very smart, and they held up their hands like this And they said: "Your Majesty, this is a magic suit of clothes Naturally, because you are very wise and very intelligent, you can see what a beautiful raiment it is But to a fool it is absolutely invisible"
"I see", said the king, and naturally, since he didn't want to appear a fool, he said
- Isn't it grand, isn't it fine, look at the cut, the style, the line!
- The suit of clothes is altogether, but altogether it's altogether
- The most remarkable suit of clothes that I have ever seen
- These eyes of mine at once determined the sleeves are velvet, the cape is ermine
- The hose are blue and the doublet is a lovely shade of green (lovely shade of green)
- Somebody send for the Queen
Well, they quickly sent for the Queen and the Queen was quickly told how only wise people could see the magic suit Naturally, the Queen not wanting to appear a fool, said,
- "Well, isn't it oh, isn't it rich, look at the charm of every stitch
- The suit of clothes is altogether, but altogether it's altogether
- The most remarkable suit of clothes that I have ever seen
- These eyes of mine at once determined the sleeves are velvet, the cape is ermine
- The hose are blue and the doublet is a lovely shade of green (lovely shade of green)
- Summon the court to convene
Well, the court convened, and you never in your life saw as many people as there were in that court All the ambassadors were there, the dukes, the earls, the counts, it was black with people And since none of them wanted to appear a fool, they all said
- "Isn't it ohhh, isn't it ahhh, isn't it absolutely wheee!
- The suit of clothes is altogether, but altogether it's altogether
- The most remarkable suit of clothes a tailor ever made
- Now quickly, put it altogether
- With gloves of leather and hat and feather
- It's altogether the thing to wear in Saturday's parade (Saturday's parade)
- Leading the royal brigade
Well, Saturday came and by then everyone had been told about the magic suit and what they were supposed to see. Sothe streets were lined with thousands, and thousands, and thousands of people and they all watched as the artillery came by, as the infantry marched by, as the cavalry galloped by and finally - the king! And since nobody wanted to appear a fool everyone began cheering like mad, boys.
Except one little boy, You see, he hadn't been told about the magic suit and he didn't know what he was supposed to see So when the King came by the little boy looked and, horrified, said
- L-l-l-l-l-l-l-look at the King, look at the King, look at the King, the King, the King!
- The King is in the altogether, but altogether the altogether
- He's altogether as naked as the day that he was born
- The King is in the altogether, but all together the all together
- It's all together the very least the King has ever worn
- All the courts positioned to call an intermission
- His majesty is wide open to ridicule and scorn
- The King is in the altogether, but altogether the altogether
- He's altogether as naked as the day that he was born
- And it's altogether too chilly a morn
“Letting You Go” — Jason Robert Brown*
- Sweeping up plaster
- Mopping the floor
- Washing the windows
- Cleaning the closets
- Closing the door, filling the cracks out in the hall
- Scraping the paint off of the wall
- Changing the lock, turning the key
- Letting you go away from me
- Knowing it's better here in my head
- Doing the laundry
- Washing the dishes, making the bed
- Nothing to fight; nothing to choose
- Maybe it's good learning to lose
- Maybe I'll shine finally free
- Letting you go away from me
- If I was smart; if I was strong
- If I could just say I was wrong
- Say it was me, say I could move
- Make you believe these things improve
- Would I forget all of the cracks
- Deep in the ground under our tracks
- And if I go then would you see
- Or would you go away, would you go away
- Facing the facts
- Watching the clock
- Maybe you'll change just down the block
- And if you did where would I be
- Letting you go away from me
“Tonight’s Menu” — William D. Brohn & John Banas*
“Happy Anniversary” — Charles Aznavour (additional lyrics. Herbert Kretzmer)
- I've been ready for hours and I'm wearing my best
- Ordered champagne and flowers and you're not even dressed
- Tonight's a special night to remember with pride
- These twenty happy years since you became my bride
- It is all too absurd; you're so cross and abrupt
- But I don't say a word or you're bound to erupt
- Your peculiar moods I've experienced before
- So I'll pour another drink and quietly pace the floor
- It's a quarter to eight as we fretfully wait
- For your little black dress; that was promised by six
- Is it just rotten luck when we're doing the town
- That the fates should conspire to let us mortals down
- I have seats for a show and it's opening night
- My shoes do not fit me and my suit is too tight
- And you sit there and curse, an occasional curse
- And I've got a headache that's quickly getting worse
- Happy anniversary, Happy anniversary
- They deliver your frock but you're still in distress
- It was past nine o clock when I helped you to dress
- I tried to do you up but it wasn't my day
- For then to fill my cup your zipper stuck half way
- I got all in a sweat, over anxious and vexed
- Will I ever forget the thing that happened next
- Your dress came apart with one terrible tear
- Your disappointed cries were more than I could bear
- At eleven at last, when we got into town
- We arrived at the show but the curtain was down
- I suggested a bite, no, no you wanted to walk
- You had no appetite and no desire to talk
- So we strolled for an hour and the evening was sweet
- And I bought you a flower from a man in the street
- And we kissed on the sidewalk without reason or rhyme
- And we knew that our love is stronger than time
- Happy anniversary, happy anniversary, happy anniversary
“He Fades Away” — Alastair Hewlett!
- There's a man in my bed, I used to love him
- His kisses used to take my breath away
- There's a man in my bed, hardly know him
- I wipe his face and hold his hand and watch him
- As he slowly fades away
- And he fades away
- Not like leaves that fall in Autumn
- Turning gold against the grey
- He fades away
- Like the bloodstains on the pillowcase that I wash every day
- He fades away
- He's not the only one who made the trip so many years ago
- To work the Wittenoom mine
- So many young men old before their time and dying slow
- They fade away
- Wheezing bags of bones with lungs half clogged and filled with clay
- They fade away
- There's a man in my bed, they never told him
- The cost of bringing home his weekly pay
- And when the courts decide how much they owe him
- How will he spend his money as he lies in bed
- And coughs his life away?
- And he fades away
- Not like leaves that fall in Autumn
- Turning gold against the grey
- He fades away
- Like the bloodstains on the pillowcase that I wash every day
- He fades away
“The River” — Bruce Springsteen
- I come from down in the valley
- where mister when you're young
- They bring you up to do like your daddy done
- Me and Mary we met in high school
- when she was just seventeen
- We'd ride out of that valley down to where the fields were green
- We'd go down to the river
- And into the river we'd dive
- Oh down to the river we'd ride
- Then I got Mary pregnant
- and man that was all she wrote
- And for my nineteenth birthday I got a union card and a wedding coat
- We went down to the courthouse and the judge put it all to rest
- No wedding day smiles no walk down the aisle
- No flowers no wedding dress
- That night we went down to the river
- And into the river we'd dive
- Oh down to the river we did ride
- I got a job working construction for the Johnstown Company
- But lately there ain't been much work on account of the economy
- Now all them things that seemed so important
- Well mister they vanished right into the air
- Now I just act like I don't remember
- Mary acts like she don't care
- But I remember us riding in my brother's car
- Her body tan and wet down at the reservoir
- At night on them banks I'd lie awake
- And pull her close just to feel each breath she'd take
- Now those memories come back to haunt me
- they haunt me like a curse
- Is a dream a lie if it don't come true
- Or is it something worse
- that sends me down to the river
- though I know the river is dry
- That sends me down to the river tonight
- Down to the river my baby and I
- Oh down to the river we ride
“New Words” — Maury Yeston
- Look up there,
- High above us,
- In a sky of blackest silk.
- See how round,
- Like a cookie,
- See how white - as white as milk.
- Call it the moon, my son,
- Say "moon".
- Sounds like your spoon, my son,
- Can you say it?
- New word today…
- Say "moon".
- Near the moon,
- Brightly turning,
- See the shining sparks of light.
- Each one new,
- Each one burning,
- Through the darkness of the night.
- We call them stars, my son,
- Say "stars".
- That one is Mars, my son,
- Can you say it?
- New word today,
- Say "stars"…
- As they blink all around us,
- Playing starry-eyed games.
- Who would think it astounds us,
- Simply naming their names
- Turn your eyes,
- From the skies now,
- Turn around and look at me.
- There's a light,
- In my eyes now,
- And a word for what you see.
- We call it love, my son,
- Say "love".
- So hard to say, my son,
- It gets harder…
- New words today,
- We'll learn to say,
- Learn "moon"
- Learn "stars"
- Learn "love".
“Life On Earth” — Craig Carnelia
- Come in, come in do you read me
- Come in can you hear me
- Come in, come in do you read me
- There is life on Earth.
- We've found life on earth
- There are trees, tall green trees
- And the good warm light of a sun.
- There is life on earth.
- We've found life on earth
- They have birds, flying birds
- And we think we saw something run
- Earth is beautiful, so beautiful
- Everywhere you look you see a miracle, a miracle
- Give the word to everyone back home
- Life on Earth
- Life on Earth
- Tell them flowers bloom, somewhere out in space
- Tell them fruit grows ripe, in this far off place
- And you hear things call and see things chase
- And the tall grass stirs and the rivers race
- And I swear, I would swear that a fish just jumped
- There goes another one, another one, another one
- There is life on Earth
- There is life on Earth
- There is life on Earth,
- There is life
“I Was Here” — Lynn Ahrens & Stephen Flaherty*
- I've gone without bread. I've slept in the mud
- I've given my best while they've screamed for my blood
- I've begged and I've bullied for any small chance to perform
- At nights I've awakened, my guts in a knot
- Remembering how much I gave up and for what
- Some paints and some costumes, a pitiful tent in a storm
- A handful of coins, a trunk always packed
- No family, no home, just this madness to act
- Still I have a theory about this disease we contract
- That most men are equally crazy as actors in fact
- Why does a boy carve his name on a tree
- Or the firstborn inherit the throne
- What is a sculptor aspiring to be
- When he spends half his life carving stone
- Kings build their tombs for the ages
- Poets and fools fill up their pages
- What are we hoping for, what do we fear
- I say we yearn to leave something that lasts
- To be known for what little we've done
- Men tell their children the tales of their pasts
- And each man gives his name to his son
- Something in song or in story
- Something in blood, something of glory
- Something that won't fade away in a year
- Well, I will not flicker and die like an ember
- Too many men flicker and die
- I will leave something behind to remember
- Somehow I must, don't ask me why
- I have no wealth, at least none I can claim
- And no patience for carving in stone
- All that I have are my skill and my name
- And this chance to make both of them known
- This is my key to the portal
- How I can leave something immortal
- Something that time cannot make disappear
- Something to say I was here
“Some Enchanted Evening!” — Rodgers & Hammerstein
- Some enchanted evening
- You may see a stranger,
- You may see a stranger
- Across a crowded room,
- And somehow you know
- You know even then
- That somewhere you'll see her
- Again and again
- Some enchanted evening
- Someone may be laughing
- You may hear her laughing
- Across a crowded room,
- And night after night
- As strange as it seems,
- The sound of her laughter
- Will sing in your dreams.
- Who can explain it
- Who can tell you why,
- Fools give you reasons,
- Wise men never try.
- Some enchanted evening
- When you find your true love,
- When you feel her call you
- Across a crowded room,
- Then fly to her side
- And make her your own,
- Or all through your life
- You may dream all alone.
- Once you have found her
- Never let her go.
- Once you have found her
- Never let her go.
“Hello Young Lovers” — Rodgers & Hammerstein
- I know how it feels to have wings on your heels,
- And to fly down a street in a trance...
- You fly down a street on a chance that you'll meet,
- And you meet not really by chance
- Hello, young lovers, whoever you are,
- I hope your troubles are few
- All my good wishes go with you tonight,
- I've been in love like you...
- Be brave, young lovers, and follow your star;
- Be brave and faithful and true...
- Cling very close to each other tonight
- I've been in love like you.
- I know how it feels to have wings on your heels,
- And to fly down a street in a trance...
- You fly down a street on a chance that you'll meet,
- And you meet not really by chance.
- Don't cry, young lovers, whatever you do,
- Don't cry because I'm alone
- All of my memories are happy tonight,
- I've had a love of my own...
- I've had a love of my own like yours,
- I've had a love of my own---
- I know how it feels to have wings on your heels,
- And to fly down a street in a trance...
- You fly down a street on a chance that you'll meet,
- And you meet not really by chance.
- Don't cry, young lovers, whatever you do,
- Don't cry because I'm alone
- All of my memories are happy tonight,
- I've had a love of my own...
- I've had a love of my own like yours,
- I've had a love of my own---
“Color and Light “— Stephen Sondheim
- White. A blank page or canvas
- The challenge to bring order to the whole
- Through design, composition, balance, light and harmony
"Sunday in the Park with George by James Lapine and Stephen Sondheim And I got to play George, George Seurat, but I knew nothing about painting. So Carol, my wife, and I went off to Paris, to the Musee D'Orsay to find his paintings. We turned up at this amazing building and we went in and - look, if you come from where I come from you would never expect to see these things in a whole lifetime and there they were; things you had only ever seen in books. There were Cezannes and waterlilies (that Monet fellow!) and Degas and Toulouse Lautrecs and Van Goghs. And then there was this one painting."
- Seurat!
- Look, it's made of a sort of dots
- Thousands, millions of dots
- And then I got the score
- Talk about dots, Oh, so much to learn
- And I have to learn to paint, paint sticks, paint dogs
- Sorry, darling? A baby?!!
- When? How long? But I've gotta paint hats!
- More red
- Me, a father
- And a little more red
- And I have to improve my articulation
- Blue blue blue blue
- Blue blue blue blue
- Even, even,
- Good
- And I have to rehearse my intonation
- Bumbum bum bumbumbum
- Bumbum bum Bumbum
- And then I have to learn to count the beats
- (Two three four)
- More red
- What?
- (One two three four)
- More blue
- Two three four five - shit
- (...seven eight)
- More beer (two three four five six seven eight)
- I don't care what we call it, I've gotta learn this song!
- More light
- And right down in my guts, looming ever closer
- Color and light
- was opening night
- There's only color and light
- Stephen Sondheim's what?
- Yellow and white
- In the building
- Just blue and yellow and white
- What if your baby comes on opening night?
- Look at the air, miss, see what I mean
- Hello, Stephen. How are you?
- No, look over there, miss, that's done with green
- He hates me, he hates me
- Conjoined with orange
- I never gonna learn this not in a million years
- Shit shit shit shit shit shit shit shit
- Oh bloody hell
- Just take a look at it, will you
- Red red red red
- Red red orange,
- red red orange
- Orange pick up blue
- Pick up red
- Pick up orange
- From the blue-green blue-green
- Blue-green circle
- On the violet diagonal
- Di-ag-ag-ag-o-nal-nal
- Yellow comma yellow comma
- Numnum num numnumnum
- Numnum num
- Blue blue blue blue
- Blue still sitting
- Red that perfume
- Blue all night
- Blue-green the window shut
- Dut Dut Dut
- Dot Dot sitting
- Dot Dot waiting
- Dot Dot getting fat fat fat
- More yellow
- Dot Dot waiting to go
- Out out out
- No no no George
- Finish the hat finish the hat
- Have to finish the hat first
- Hat hat hat hat
- Hot hot hot it's hot in here
- Sunday!
- Color and light
- I got till opening night
- There's only color and light
- But where is the baby?
- Purple and white
- The fucking baby
- And red and purple and white
- Carol is the size of a truck
- Look at this glade, girls
- Call the cab!
- Your cool blue spot
- She's on the floor of the cab
- No, stay in the shade, girls
- Oh God, it's getting hot
- It's getting,
- Wah!
- He's blue, he's blue!
- And they're blue
- And it's warm inside his eyes
- And it's soft inside his eyes
- And you drown inside his eyes
- I could look at him forever
“Finishing The Hat” — Stephen Sondheim
- Yes, she looks for me, good.
- Let her look for me
- To tell me why she left me,
- As I always knew she would.
- I had thought she understood,
- They have never understood,
- And no reason why they should,
- But, if anybody could...
- Finishing the hat.
- How you have to finish the hat.
- How you watch the rest of the world
- From a window
- While you finish the hat.
- Mapping out a sky
- What you feel like planning a sky.
- What you feel when voices that come
- Through the window
- Go
- Until they distance and die,
- Until there's nothing but sky.
- And how you're always turning back
- Too late from the grass or the stick
- Or the dog or the light.
- How the kind of woman who's willing to wait's
- Not the kind that you want to find waiting
- To return you to the night,
- Dizzy from the height.
- Coming from the hat.
- Studying the hat.
- Entering the world of the hat.
- Reaching through the world of the hat like a window
- Back to this one from that.
- Studying a face.
- Stepping back to look at a face,
- leaves a little space in the way like a window.
- But to see--
- It's the only way to see.
- And when the lover that you wanted goes
- You can say to yourself,
- "Well, I give what I give."
- But the lover who won't wait for you knows
- That however you live, there's a part of you
- Always standing by, mapping out a sky.
- Finishing the hat.
- Starting on a hat.
- Finishing the hat. Look,
- I made a hat
- Where there never was a hat
“Lost In the Stars” — Kurt WeiI & Maxwell Anderson
- Before Lord God made the sea and the land,
- He held all the stars in the palm of his hand.
- And they ran through his fingers like grains of sand,
- And one little star fell alone.
- Then the Lord God hunted through the wide night air
- For the little dark star on the wind down there.
- And he stated and promised he'd take special care
- So it wouldn't get lost again.
- Now a man don't mind if the stars grow dim
- And the clouds blow over and darken him,
- So long as the Lord God's watching over them,
- Keeping track of how it all goes on.
- But I've been walking all the night and the day,
- Till my eyes get weary and my head turns gray.
- And sometimes it seems maybe God's gone away,
- And we're lost out here in the stars.
- Little stars, big stars, blowing through the night,
- And we're lost out here in the stars.
- Little stars, big stars, blowing through the night,
- And we're lost out here in the stars.
ACT II
“Another Saturday Night” — Sam Cooke
- Another Saturday night and I ain't got nobody
- I got some money 'cause I just got paid
- Now how I wish I had someone to talk to
- I am in an awful way
- Check this...
- I got in town a month ago
- I've seen a lot of girls since then
- If can meet I can get them
- But as yet I haven't met them
- That's why I am in the shape I'm in
- Here...it's
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had someone to talk to
- I am in an awful way
- Now...
- Another fellow told me
- He had a sister who looked just fine
- Instead of being my deliverance
- She had a strange resemblance
- To a cat named Frankenstein
- Hear...
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had some chick to talk to
- I am in an awful way
- Yeah ...
- It is another week-end and I ain't got nobody
- Man, if I was back home I'd be swinging ....
- Two chicks on my arms.... Oh yeah...
- Listen to me hein...
- It's hard for a fellow when he doesn't know his way around
- If I don't find a honey to help me spend this money
- I'm gonna have to blow this town
- Here...it's
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had some chick to talk to
- I am in an awful way
- Everybody sing it...
- Another Saturday night and I ain't got nobody
- I've got some money 'cause I just got paid
- Now how I wish I had someone to talk to
- I am in an awful way
“My Father’s Hands”. — Frank Wildhorn*
When I was a kid I actually saw more of my Dad than most kids see in a lifetime. He taught me things, lots of things; how to weld; how to put threads on pipes; how to plough; how to use a saw
- In the middle of my lifetime I began to lose my way
- Between this, that and the other of a crowded resume
- Then I stumbled on a memory out upon the shifting sands
- For one simple honest moment I could see my father’s hands
- They were strong, they were rough
- They would lift me high so I could count the stars
- When the world was not enough
- They would reach for each day
- And the feel of home was just a touch away
- In my father’s hands
- How could he have seemed so foolish back when I thought I was wise
- Guess you come to see things different looking through your father’s eyes
- Now that I’ve become a father I begin to understand
- All the lessons that are waiting right there in our fathers hands
- They were strong, they were rough
- They would lift me high so I could count the stars
- When the world was not enough
- They would reach for each day
- And the feel of home was just a touch away
- In my father’s hands
- Weathered lines, storied scars
- Tell who he was and who you are
“What You’d Call A Dream” — Craig Carnelia
- There are two men out, and its in the ninth, and the score is four to three
- There's a man at first, and a man at bat, and the man at bat is me
- And I'm sorta scared, and I'm sorta proud, and I'm stronger than I seem
- And I take a swing, and my dad is there, and its what you'd call a dream
- For the ball flies in the sun, and it sails off as I run
- The crowd is roaring, cheering as I go, so are all the guys on the team
- And I run for home, and we win the game, and its what you'd call a dream
- And the sun shines like diamonds
- The summer sun shines like diamonds
- The summer sun, high in a baseball sky, shines like diamonds
- And the sun shines like diamonds
- There are two men out, and its in the ninth, and the score is four to three
- There's a man at first, and a man at bat, and the man at bat is me
- And I'm sorta scared, and I'm sorta proud, and I'm stronger than I seem
- And I take a swing, and my dad is there, and its what you'd call a dream
“King’s New Clothes” — Frank Loesser
Once upon a time there was a king who was absolutely insane about new clothes One day, two swindlers came to the king to sell him what they said was a magic suit of clothes Well, the truth of the matter is, there were no clothes there at all. But these two men were very smart, and they held up their hands like this And they said: "Your Majesty, this is a magic suit of clothes Naturally, because you are very wise and very intelligent, you can see what a beautiful raiment it is But to a fool it is absolutely invisible"
"I see", said the king, and naturally, since he didn't want to appear a fool, he said
- Isn't it grand, isn't it fine, look at the cut, the style, the line!
- The suit of clothes is altogether, but altogether it's altogether
- The most remarkable suit of clothes that I have ever seen
- These eyes of mine at once determined the sleeves are velvet, the cape is ermine
- The hose are blue and the doublet is a lovely shade of green (lovely shade of green)
- Somebody send for the Queen
Well, they quickly sent for the Queen and the Queen was quickly told how only wise people could see the magic suit Naturally, the Queen not wanting to appear a fool, said,
- "Well, isn't it oh, isn't it rich, look at the charm of every stitch
- The suit of clothes is altogether, but altogether it's altogether
- The most remarkable suit of clothes that I have ever seen
- These eyes of mine at once determined the sleeves are velvet, the cape is ermine
- The hose are blue and the doublet is a lovely shade of green (lovely shade of green)
- Summon the court to convene
Well, the court convened, and you never in your life saw as many people as there were in that court All the ambassadors were there, the dukes, the earls, the counts, it was black with people And since none of them wanted to appear a fool, they all said
- "Isn't it ohhh, isn't it ahhh, isn't it absolutely wheee!
- The suit of clothes is altogether, but altogether it's altogether
- The most remarkable suit of clothes a tailor ever made
- Now quickly, put it altogether
- With gloves of leather and hat and feather
- It's altogether the thing to wear in Saturday's parade (Saturday's parade)
- Leading the royal brigade
Well, Saturday came and by then everyone had been told about the magic suit and what they were supposed to see. Sothe streets were lined with thousands, and thousands, and thousands of people and they all watched as the artillery came by, as the infantry marched by, as the cavalry galloped by and finally - the king! And since nobody wanted to appear a fool everyone began cheering like mad, boys.
Except one little boy, You see, he hadn't been told about the magic suit and he didn't know what he was supposed to see So when the King came by the little boy looked and, horrified, said
- L-l-l-l-l-l-l-look at the King, look at the King, look at the King, the King, the King!
- The King is in the altogether, but altogether the altogether
- He's altogether as naked as the day that he was born
- The King is in the altogether, but all together the all together
- It's all together the very least the King has ever worn
- All the courts positioned to call an intermission
- His majesty is wide open to ridicule and scorn
- The King is in the altogether, but altogether the altogether
- He's altogether as naked as the day that he was born
- And it's altogether too chilly a morn
“Letting You Go” — Jason Robert Brown*
- Sweeping up plaster
- Mopping the floor
- Washing the windows
- Cleaning the closets
- Closing the door, filling the cracks out in the hall
- Scraping the paint off of the wall
- Changing the lock, turning the key
- Letting you go away from me
- Knowing it's better here in my head
- Doing the laundry
- Washing the dishes, making the bed
- Nothing to fight; nothing to choose
- Maybe it's good learning to lose
- Maybe I'll shine finally free
- Letting you go away from me
- If I was smart; if I was strong
- If I could just say I was wrong
- Say it was me, say I could move
- Make you believe these things improve
- Would I forget all of the cracks
- Deep in the ground under our tracks
- And if I go then would you see
- Or would you go away, would you go away
- Facing the facts
- Watching the clock
- Maybe you'll change just down the block
- And if you did where would I be
- Letting you go away from me
“Tonight’s Menu” — William D. Brohn & John Banas*
“Happy Anniversary” — Charles Aznavour (additional lyrics. Herbert Kretzmer)
- I've been ready for hours and I'm wearing my best
- Ordered champagne and flowers and you're not even dressed
- Tonight's a special night to remember with pride
- These twenty happy years since you became my bride
- It is all too absurd; you're so cross and abrupt
- But I don't say a word or you're bound to erupt
- Your peculiar moods I've experienced before
- So I'll pour another drink and quietly pace the floor
- It's a quarter to eight as we fretfully wait
- For your little black dress; that was promised by six
- Is it just rotten luck when we're doing the town
- That the fates should conspire to let us mortals down
- I have seats for a show and it's opening night
- My shoes do not fit me and my suit is too tight
- And you sit there and curse, an occasional curse
- And I've got a headache that's quickly getting worse
- Happy anniversary, Happy anniversary
- They deliver your frock but you're still in distress
- It was past nine o clock when I helped you to dress
- I tried to do you up but it wasn't my day
- For then to fill my cup your zipper stuck half way
- I got all in a sweat, over anxious and vexed
- Will I ever forget the thing that happened next
- Your dress came apart with one terrible tear
- Your disappointed cries were more than I could bear
- At eleven at last, when we got into town
- We arrived at the show but the curtain was down
- I suggested a bite, no, no you wanted to walk
- You had no appetite and no desire to talk
- So we strolled for an hour and the evening was sweet
- And I bought you a flower from a man in the street
- And we kissed on the sidewalk without reason or rhyme
- And we knew that our love is stronger than time
- Happy anniversary, happy anniversary, happy anniversary
“He Fades Away” — Alastair Hewlett!
- There's a man in my bed, I used to love him
- His kisses used to take my breath away
- There's a man in my bed, hardly know him
- I wipe his face and hold his hand and watch him
- As he slowly fades away
- And he fades away
- Not like leaves that fall in Autumn
- Turning gold against the grey
- He fades away
- Like the bloodstains on the pillowcase that I wash every day
- He fades away
- He's not the only one who made the trip so many years ago
- To work the Wittenoom mine
- So many young men old before their time and dying slow
- They fade away
- Wheezing bags of bones with lungs half clogged and filled with clay
- They fade away
- There's a man in my bed, they never told him
- The cost of bringing home his weekly pay
- And when the courts decide how much they owe him
- How will he spend his money as he lies in bed
- And coughs his life away?
- And he fades away
- Not like leaves that fall in Autumn
- Turning gold against the grey
- He fades away
- Like the bloodstains on the pillowcase that I wash every day
- He fades away
“The River” — Bruce Springsteen
- I come from down in the valley
- where mister when you're young
- They bring you up to do like your daddy done
- Me and Mary we met in high school
- when she was just seventeen
- We'd ride out of that valley down to where the fields were green
- We'd go down to the river
- And into the river we'd dive
- Oh down to the river we'd ride
- Then I got Mary pregnant
- and man that was all she wrote
- And for my nineteenth birthday I got a union card and a wedding coat
- We went down to the courthouse and the judge put it all to rest
- No wedding day smiles no walk down the aisle
- No flowers no wedding dress
- That night we went down to the river
- And into the river we'd dive
- Oh down to the river we did ride
- I got a job working construction for the Johnstown Company
- But lately there ain't been much work on account of the economy
- Now all them things that seemed so important
- Well mister they vanished right into the air
- Now I just act like I don't remember
- Mary acts like she don't care
- But I remember us riding in my brother's car
- Her body tan and wet down at the reservoir
- At night on them banks I'd lie awake
- And pull her close just to feel each breath she'd take
- Now those memories come back to haunt me
- they haunt me like a curse
- Is a dream a lie if it don't come true
- Or is it something worse
- that sends me down to the river
- though I know the river is dry
- That sends me down to the river tonight
- Down to the river my baby and I
- Oh down to the river we ride
“New Words” — Maury Yeston
- Look up there,
- High above us,
- In a sky of blackest silk.
- See how round,
- Like a cookie,
- See how white - as white as milk.
- Call it the moon, my son,
- Say "moon".
- Sounds like your spoon, my son,
- Can you say it?
- New word today…
- Say "moon".
- Near the moon,
- Brightly turning,
- See the shining sparks of light.
- Each one new,
- Each one burning,
- Through the darkness of the night.
- We call them stars, my son,
- Say "stars".
- That one is Mars, my son,
- Can you say it?
- New word today,
- Say "stars"…
- As they blink all around us,
- Playing starry-eyed games.
- Who would think it astounds us,
- Simply naming their names
- Turn your eyes,
- From the skies now,
- Turn around and look at me.
- There's a light,
- In my eyes now,
- And a word for what you see.
- We call it love, my son,
- Say "love".
- So hard to say, my son,
- It gets harder…
- New words today,
- We'll learn to say,
- Learn "moon"
- Learn "stars"
- Learn "love".
“Life On Earth” — Craig Carnelia
- Come in, come in do you read me
- Come in can you hear me
- Come in, come in do you read me
- There is life on Earth.
- We've found life on earth
- There are trees, tall green trees
- And the good warm light of a sun.
- There is life on earth.
- We've found life on earth
- They have birds, flying birds
- And we think we saw something run
- Earth is beautiful, so beautiful
- Everywhere you look you see a miracle, a miracle
- Give the word to everyone back home
- Life on Earth
- Life on Earth
- Tell them flowers bloom, somewhere out in space
- Tell them fruit grows ripe, in this far off place
- And you hear things call and see things chase
- And the tall grass stirs and the rivers race
- And I swear, I would swear that a fish just jumped
- There goes another one, another one, another one
- There is life on Earth
- There is life on Earth
- There is life on Earth,
- There is life
“I Was Here” — Lynn Ahrens & Stephen Flaherty*
- I've gone without bread. I've slept in the mud
- I've given my best while they've screamed for my blood
- I've begged and I've bullied for any small chance to perform
- At nights I've awakened, my guts in a knot
- Remembering how much I gave up and for what
- Some paints and some costumes, a pitiful tent in a storm
- A handful of coins, a trunk always packed
- No family, no home, just this madness to act
- Still I have a theory about this disease we contract
- That most men are equally crazy as actors in fact
- Why