You're a Good Man Charlie Brown (1999 Revival) Spring 2014 Musical

A QUICK REVIEW 

YOU'RE A GOOD MAN, CHARLIE BROWN is the ideal first show for those who would like to do a musical. The cast is small and the routines are simple. There are many short scenes in this staging of a day in the life of Charlie Brown. Fun, laughter and sincerity build the mood. Musical numbers include My Blanket and Me, The Kite, The Baseball Game, Little Known Facts, Suppertime and Happiness. Join the Peanuts gang in this fast paced, lighthearted musical, guaranteed to please audiences of all ages!

PIANO ACCOMPANIMENT & VOCAL PARTS
FOR AUDITIONS ON YOUTUBE

Men's Accompaniment-- http://youtu.be/PIh0-cl5v5U 

Men's Vocal parts-- http://youtu.be/dmrp0y7eDN4

Women's Accompaniment-- http://youtu.be/sbKqn0QvXNU

Women's Vocal Parts-- http://youtu.be/RYlaVxMlZxM 

A BRIEF HISTORY

YOU'RE A GOOD MAN, CHARLIE BROWN opened on March 7, 1967 and played for 1,597 performances in New York at the theatre 80 St. Marks with Gary Burghoff in the title role. This version was revived briefly on Broadway in 1971 and played for 32 performances at the John Golden Theatre. A new revival version (YOU'RE A GOOD MAN, CHARLIE BROWN ([REVISED]) was presented on Broadway in 1999 and played for 149 performances at the Ambassador Theatre with award-winning performances by Roger Bart and Kristin Chenoweth as Snoopy and Sally.

CHARLIE BROWN COMMERCIAL
http://www.youtube.com/watch?v=g55qS02Q9TE

YOU’RE A GOOD MAN CHARLIE BROWN COMPLETE PLAYLIST

http://www.youtube.com/playlist?list=PLE054AA100D783D71

CHARLIE BROWN SONGS
http://tinyurl.com/ovef7rm

ANNOUNCEMENT

ATTENTION Drama, Music, Arts and Dance students.  That’s right—all of you performing arts students—it’s time for you to shine in a project for all of our visual and performing arts students and supporters.  The LC Department of Performing Arts has chosen this year’s musical—the 1999 Revised version of YOU’RE  GOOD MAN CHARLIE BROWN—will hold try-outs and auditions this week.  If you’re interested in acting or working behind the scenes, attend ONE of the general meetings where we’ll talk about our approach to the production, how auditions will work and more.  We would like most students interested in auditioning to attend tomorrow’s general meeting—Tuesday, February 18, 2014 from 3:00-4:00 in the Drama Room.  Mr. Johnson and Mrs. Langdon will be teaching some of the audition music in their classes this week and it will also be reviewed in the GENERAL MEETINGS.  We will be casting 14-20 students as the CHARLIE BROWN GANG and will need a full production team and directing team to create the world of PEANUTS...we will be creating a full living color version of the comic strip for the stage.  NO EXPERIENCE IS NEEDED TO AUDITION and YOU NEED NOT BE ENROLLED IN DRAMA OR CHOIR TO PARTICIPATE.  Want more information?  Ask an ITS member or check out their Facebook, Twitter or Instagram pages.  

SYNOPSIS

A program note says that the time of the action is "an average day in the life of Charlie Brown." It really is just that, a day made up of little moments picked from all the days of Charlie Brown, from Valentine's Day to the baseball season, from wild optimism to utter despair, all mixed in with the lives of his friends (both human and non-human) and strung together on the string of a single day, from bright uncertain morning to hopeful starlit evening.

It seems to start off all right. After some brief comments on the nature of his character by his friends, Charlie Brown is swept into their center by a rousing tribute of only slightly qualified praise, in the song You're a Good Man, Charlie Brown. He is then left to his own musings as he eats his lunch on the school playground, complicated unbearably by the distant presence of his true love, the "little redheaded girl," who is always just out of sight.

True love also seems to be the only unmanageable element in Lucy's solid life, which we discover as we watch her try to bulldoze her way through to her boyfriend's sensitive, six-year-old musician's heart, in Schroeder. The little scenes then begin to accumulate, and we learn that Lucy's little brother, Linus, is thoughtful about many things but fanatical when it comes to the matter of his blanket; that Patty is sweet and

utterly innocent; and that Charlie Brown's dog spends much if not most of his time thinking of being something else-a gorilla, a jungle cat, perhaps a handsome trophy or two-but that mostly his life is a pleasant one-Snoopy.

The events continue to trickle on. Linus enjoys a private time with his most favorite thing of all -My Blanket and Me, Lucy generously bothers to inform him of her ambition-of-the-moment, to become a queen with her won queendom, and then Charlie Brown lurches in for still another bout with his own friendly enemy -The Kite.

Valentine's Day comes and goes with our hero receiving not one single valentine, which brings him to seek the temporary relief of Lucy's five-cent psychiatry booth-The Doctor Is In.

We then watch as four of our friends go through their individual struggles with the homework assignment of writing a hundred word essay of "Peter Rabbit" in The Book Report.


Act Two roars in with Snoopy lost in another world atop his dog house. As a World War One flying ace he does not bring down the infamous Red Baron in today's battle but we know that someday, someday he will.


The day continues. We learn of the chaotic events of the Very Little League's Baseball Game as Charlie Brown writes the news to his pen pal. Lucy is moved to conduct a personal survey to find out just how crabby she really is, and all the group gathers for a misbegotten rehearsal of a song they are to sing in assembly.


It is suppertime, and Snoopy once more discovers what wild raptures just the mere presence of his full supper dish can send him into. And then it is evening. The gathered friends sing a little about their individual thoughts of happiness and then they go off, leaving Lucy to make a very un-Lucy-like gesture: she tells Charlie Brown what a good man he is.


None of the cast is actually six years old. And they don't really look like Charles Schulz' "Peanuts" cartoon characters. But this doesn't seem to make that much difference once we are into the play, because what they are saying to each other is with the openness of that early childhood time, and the obvious fact is that they are all really quite fond of each other. -Clark Gesner

Anniversary production of YOU CAN'T TAKE IT WITH YOU to Launch 2012-2013 Season

Plot Overview

At first the Sycamores seem mad, but it is not long before you realize that if they are mad, then the rest of the world is madder. In contrast to these delightful people are the unhappy Kirbys. Tony, the attractive young son of the Kirbys, falls in love with Alice Sycamore and brings his parents to dine at the Sycamore house on the wrong evening. The shock sustained by Mr. and Mrs. Kirby, who are invited to eat cheap food, shows Alice that marriage with Tony is out of the question. The Sycamores find it hard to understand Alice's view. Tony knows the Sycamores live the right way with love and care for each other, while his own family is the one that's crazy. In the end, Mr. Kirby is converted to the happy madness of the Sycamores after he happens in during a visit by the ex-Grand Duchess of Russia, Olga Katrina, who is currently earning her living as a waitress.




Act One

Scene One

The story takes place entirely in the large house of a slightly batty New York City family.  Various characters in the lives of the Vanderhof/Sycamore/Carmichael clan are introduced in the first act.

The patriarch of the family, Grandpa Vanderhof, is an eccentric old man who keeps snakes and has never paid his income tax. Penelope "Penny" Vanderhof Sycamore is his daughter (a writer of adventure- and sex-filled melodrama plays), who is married to Paul Sycamore, a tinkerer who manufactures fireworks in the basement with the help of his assistant Mr. De Pinna who used to be the family's iceman. One of Paul and Penny's two daughters is Essie Sycamore Carmichael, a childish candymaker who dreams of being a ballerina (but in reality is terrible at dancing). Essie is married to Ed Carmichael, a xylophone player who lives with them and helps distribute Essie's candies. Ed is an amateur printer who prints any phrase that sounds catchy. Paul and Penny's other daughter Alice Sycamore is quite obviously the only "normal" family member. She has an office job and is sometimes embarrassed by the eccentricities of her family, yet deep down, she still loves them. In addition, the Vanderhof/Sycamore/Carmichael clan employs a maid Rheba, who is dating Donald, who performs odd jobs for the Sycamores.
 

You Can't Take it With You Character Descriptions

Penelope Sycamore

Usually goes by Penny, Penelope is the mother of Essie and Alice, wife of Paul, and daughter of Martin. She writes plays and paints as hobbies because it makes her happy, but is terrible at both. Penny is a loving mother and wife who is constantly concerned with the welfare of her family. Her main goal is to make sure everyone is happy, particularly her daughter Alice. She is a main character.

Essie Carmichael

Wife of Ed, daughter of Penny and Paul Sycamore, Granddaughter of Martin, sister of Alice. She is childish. As a hobby she makes candy that Ed sells. Essie dreams of being a ballerina. She has spent 8 years studying with Boris Kolenkhov, but is a terrible dancer.

Rheba

The African American maid and cook to the Sycamore family. She is treated almost like a part of the family. She is dating Donald. In the words of Mrs. Sycamore, "The two of them are really cute together, something like Porgy and Bess."

For those who understand EXCELLENCE by Example

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LCHS Drama to Perform Murder Mystery THEN THERE WERE NONE

Justice Wargrave, Vera Claythorne, Philip Lombard, General Macarthur, Emily Brent, Anthony Marston, Doctor Armstrong and William Blore have been invited to a mansion on the fictional Soldier Island, which is based upon Burgh Island off the coast of Devon. Upon arriving, they are told their hosts, a Mr. and Mrs. U.N. Owen (Ulick Norman Owen and Una Nancy Owen ), are currently away, but the guests will be attended to by Thomas and Ethel Rogers. Each guest finds in his or her room an odd bit of bric-a-brac and a framed copy of the nursery rhyme "Ten Little Soldiers" hanging on the wall.

1940s Radio Hour

CAST LIST

Hunter Andrews,

Pops Bailey

Jake McCollum,

Stanley

TONY N' TINA'S WEDDING CAST & PRODUCTION TEAM PROUDLY ANNOUNCED

Congratulations to the nearly 80 students who attended general meetings for this year's fall production of TONY N' TINA'S WEDDING.  Thanks to everyone who auditioned or completed the application proccess.  We applaud your energy, creativity and sense of adventure.  We wish there were more roles to accommodate all of the talent.

EVERYONE IN THE PRODUCTION NEEDS TO ATTEND A SHORT MEETING MONDAY, SEPTEMBER 13, 2010 IN THE DRAMA ROOM.   ALL ACTORS WILL BE DISMISSED AT 3:30.   ALL DIRECTING & PRODUCTION TEAM MEMBERS WILL STAY UNTIL  6:00 PM ON MONDAY TO BEGIN PLANNING & WORK.  

Please bring a three-ring binder, a pencil and a notebook or loose-leaf paper with you to Tuesday's ALL CALL.  We would like you to get a three ring binder that has a insert on the front cover.  We do have a cover page for the scripts. There will be an ALL CALL (that means everyone) on Tuesday September 14, 2010 from  6:30-9:30 in the LCHS Drama Room.

Those who are also in Company, should be aware that Drama rehearsal comes first and both Mr. Johnson and Ms. Dunn know this. All those cast in acting roles should pick up a script after school on Monday and all actors are to read the ivory section prior to the beginning of Tuesday's ALL CALL.  It is especially important that you read your character sketch and familiarize yourself with the basic background of your character.

We're excited to get started and need you to be excited too.

Mr. McLaughlin
Mr. Heckman

Noah Anderson*
TONY NUNZIO, the groom.

Lauren Christensen*
TINA VITALE, the bride.

James Hodge*
FATHER MARK Priest, 30s-50’s, natural comedian, thinks he's hip and one of the gang.

Josh Whittmore
BARRY Best Man, 20s – 30s, everybody's pal, life of the party.

Katie Jacoby*
CONNIE maid of honor, 20s – 30s, sarcastic, jaded, party girl

Tayrn Reese*
LOLA
bridesmaid, 20s – 30s, studious, nerdy party girl that doesn’t quite fit.

Ryne Beckman
DOMINICusher, 20s – 30s, a body-builder, bull dog, dumb.

Sarah Gates*
DONNA
Bridesmaid, 20s-30’s, cute, aspiring American Idol winner, and a good singer.

Kurt Lee*
JOHNNYusher, 20, Tony's little brother. A cute flirt.

Ashley Minnick*
MARINA
bridesmaid, 20s – 30s, wants to be loved desperately, tag-along, and the gang's doormat.

Andrew Sachs
ALFREDO
usher, 20, sidekick to the group.

JJ  Love
GIOVANNI VITALE ring bearer.

Emily White
FIONA NUNZIO Tony’s little sister and an unwilling ring bearer.

Liz Knoble*
JOSEPHINA VITALE Tina’s mom, 50s, strong willed, controlling, and a martyr.  Proud grandmother to Giovanni.

Alex Tucker*
UNCLE LUIGI Tina's great uncle, late 70s, old world gentleman, speaks Italian

Kyle Greelis
MUNICH
Uncle Luigi’s bodyguard.

Blake DeForest*
JOEY
Tina's brother, 20s – 30s, gay, loves "show biz," super-flamboyant.

Hannah Jacoby*
SISTER ALBERT MARIA
Tina's cousin, nun, 20s – 30s, sings, family oddball.

Taylor Kuhn*
SISTER PERPETUA A Godly woman who is appalled by the wedding, the family in a Godly manner.

Alexis Jeffrey
CARMELLA VITALE
Josephine’s single, angry, micro-managing sister.

Trever Daniels*
TONY NUNZIO, SR.
Tony's dad, 50, owner of a chain of car-washes where cars are hand-washed by bikini-wearing workers, charismatic in a sleazy way, sees himself as a king.

Shayla Barber*
MADELINE MONROE Tony Sr.'s girlfriend, 20s – 30s, great body, hard living, lives on 0the kindness of strangers.

Ellen Overholtzer*
GRANDMA NUNZIO Tony's grandma, 70s, spry, a little crazy, matchmaker.

Seth Hicks
MICHAEL JUSTTina's ex-boyfriend, 20s – 30s and can't get over her.

Alex Smith*
MARIA ANTONUCCIphotographer, 40s – 50s, pushy, loud, eccentric.

Shawn Moore*
VINNIE BLACK Caterer, thinks he's a stand-up comedian.

Taylor Stuart*
LORETTA BLACK Vinnie's wife, 20s - 40s, Ex pageant girl, natural comedian, browbeaten.

Molly Lightfoot*/Heidi Mailahn*
NICKI & VICKI BLACK Caterer's daughters, 20’s, Totally opposites, Niki is the Goth type. Vikki is daddy’s little girl.  Mickey is a tomboy.

Lucas Johnson
MICKEY BLACK
Caterer’s son, 20’s, Geeky, nerdy type.

Becca McMillen*
AUNT ROSE  Tony's aunt; 40's, cosmopolitan, urbane, big-city girl.

Ashley Love*
|INGRID DEMARCO
Videographer, 20s-30’s, hired to videotape wedding, flamboyant,  and thinks she's making a major motion picture..

Blake DeForest*, Director/Trumpet/Guitar Megan Fender*, Trumpet Hannah Jacoby*, Bass Lucas Johnson, Drums Jeremy Robbins, Sax Ben Tweedt*, Keyboard
FUSION—the wedding band.

DIRECTING TEAM & PRODUCTION TEAM

Cami Courtney*
Jessica Willadsen*
STUDENT DIRECTORS

Andrew O’Reilly*
Becca Piercy*

STAGE MANAGER

Jorge Villalta
TECH DIRECTOR

Ricky O'Doniel*
Oliver Villalta
SOUND BOARD/TAPED SOUND/SPOTLIGHTS

Kayla O’Doniel
MAKEUP CHIEF

Taylor Kuhn*
PUBLICITY DIRECTOR

Kristina Vang
TECHNOLOGY DIRECTOR
BANQUET STAFF-- CHARACTER NAME TO BE DEVELOPED BY ACTOR

Amanda Schoening
HOUSE MANAGER/TICKET COORDINATOR/PUBLICITY ASSISTANT

Hunter Andrews
MASTER CARPENTER CHARACTER NAME TO BE DEVELOPED BY ACTOR

Whitney Clark* Taylor Kastrup* ASSISTANTS TO THE DIRECTORS/PRODUCTION SECRETARIES

Krystal Jones
Alexis Harris
Hannah Piercy
PROPS
Alaura Bingham*
MAKEUP CREW CHIEF/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Stacie Brandt
COSTUMES/MAKEUP/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Stephanie Brandt COSTUMES/MAKEUP/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Alyse Higgins*
COSTUME COORDINATOR/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Courtney Lorenzen
MAKEUP TEAM/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Maggie Miller BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR/CHARACTER NAME TBA

Samantha Wimmer
BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Tara VanRiper
SOUND CREW/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

TONY & TINA'S WEDDING--Audience Participation Play with a Meal & Wedding Reception--Returns to LC this Fall.

TONY & TINA'S WEDDING Audition Form

We are lucky to have been granted a license to perform TONY N' TINA'S WEDDING this fall.  The event begins with the side-splitting ceremony where anything can happen (and usually does!).  As a show that is improvisationally heavy, the audience really plays a role in the direction of each evening's four performances.  A favorite performed in 2001 at LC, this audience participation event is back by popular demand!

After the ceremony, it’s time for the most hilarious wedding reception you’ll ever attend! You’ll enjoy a full Italian meal, throw rice, raise a glass for a cider toast, eat the wedding cake and dance the night away at the party you and your friends will be laughing about for years to come. The show stars "Tina," the headstrong 20-something party girl bride with an attitude – and "Tony," the rowdy, handsome, yet charming groom-to-be. Other hilarious characters emerge from this quirky cast, which includes an entire wedding party of guests ranging from "Connie," the pregnant maid of honor, to "Father Mark," a priest who thinks he's hip. As the evening unfolds, the only guarantee is that there will be plenty of drama all around.

So, save a date for this production that's guaranteed to tickle your funny bone, fill your stomachs and get your feet moving in the dance.  The show plays Friday, October 29 and Saturday, Ocotber 30, Friday November 13 & Saturday November 14.

Auditions begin this week!  There will be a general/informational meeting on Thursday, September 2, 2010 at 3:00 PM in the LCHS Drama Room.  There will also be an informational meeting at 3:00 on Tuesday, September 7, 2010 at 3:00 PM in the LCHS Drama Room and a meeting on Wednesday, September 8, 2010 at 6:50 AM.  Students need to attend ONLY ONE informational meeting.  Auditions will be held after school September 7 & 8.

So, come join Tony & Tina and their family and friends, and see for yourself why theirs is still the most talked about wedding in town - rated the second longest running Off Broadway show in theater history, the #1 Dinner Show in the world, and the show the New York Times calls

"Audaciously imaginative!"

"One of the most successful and imaginative hits in Off-Broadway history." - Liz Smith, New York Daily News

This all-inclusive evening of entertainment will be something you and your friends will be talking about for many years to come. In this hilarious interactive comedy, the audience is part of the show.

FATHER MARK: Priest, 30s-50’s, natural comedian, thinks he's hip and one of the gang.

BARRY: Best Man, 20s – 30s, everybody's pal, life of the party.

CONNIE: maid of honor, 20s – 30s, sarcastic, jaded, party girl

DOMINIC: usher, 20s – 30s, a body-builder, bull dog, dumb.

DONNA: Bridesmaid, 20s-30’s, cute, aspiring American Idol winner, and a good singer.

JOHNNY: usher, 20, Tony's little brother. A cute flirt.

MARINA: bridesmaid, 20s – 30s, wants to be loved desperately, tag-along, and the gang's doormat.

JOSEPHINA VITALE: Tina’s mom, 50s, strong willed, controlling, and a martyr.

LUIGI: Tina's great uncle, late 70s, old world gentleman, speaks Italian

JOEY: Tina's brother, 20s – 30s, gay, loves "show biz," super-flamboyant.

SISTER ALBERT MARIA: Tina's cousin, nun, 20s – 30s, sings, family oddball.

TONY NUNZIO, SR.: Tony's dad, 50, owner of a chain of car-washes where cars are hand-washed by bikini-wearing workers, charismatic in a sleazy way, sees himself as a king.

MADELINE MONROE: Tony Sr.'s girlfriend, 20s – 30s, great body, hard living, lives on the kindness of strangers.

GRANDMA NUNZIO: Tony's grandma, 70s, spry, a little crazy, matchmaker.

MICHAEL JUST: Tina's ex-boyfriend, 20s – 30s, just got out of re-hab...

SAL ANTONUCCI: photographer, 40s – 50s, pushy, loud, eccentric.

LORETTA BLACK: Vinnie's wife, 20s - 40s, Ex pageant girl, natural comedian, browbeaten.

NIKI/VIKKI BLACK: Caterer's daughters, 20’s, Totally opposites, Niki is the Goth type. Vikki is daddy’s little girl.

MICKEY BLACK: Caterer’s son, 20’s, Geeky, nerdy type.

AUNT ROSE: Tony's aunt; 40's, cosmopolitan, urbane, big-city girl.

RICK DEMARCO: Videographer, 20s-30’s, hired to videotape wedding, flamboyant, flirt, Joey's boyfriend.

Audience Participation Script Finalists Announced

So, although there's an outside chance of producting TONY N' TINA'S WEDDING, it doesn't look good.  The good new is there are tons of improvisational, interactive shows handled through Samuel French.  We are busy researching the shows for quality.  I am calling a meeting of any ITS Members who are interested in helping us make a final selection.

The first two choices are probably the finalists.  We need all ITS Members to help us promote auditions, the show and to get the "best and the brightest" to be involved in the fall play.  Mr. Heckman and Mr. McLaughlin will meet this week and review the scripts to make a choice.  We are leaning towards AWESOME 80's PROM because it would sort of be a hybrid between a school dance and a play and could be great fun.  We also like HAPPY ANNIVERSARY, ANGEL! LOVE, GINO as it seems like TONY N' TINA at their five year anniversary.  Regardless of the choice, we really don't like directing the same show more than once.  We can use our experience with TONY N' TINA to make this a smooth process.  We're excited about the improv, the audience participation and the food!

·THE AWESOME 80s PROM By Ken Davenport and the Class of '89 Comedy, Audience Participation/Interactive. 11m, 8f Unit Set 80s. Prom is a brand new blast-from-the-past party in the style of Tony 'n Tina's Wedding and The Donkey Show set at Wanaget High's Senior Prom... in 1989! All your favorite characters from your favorite '80s movies are at THE PROM, from the Captain of the Football Team to the Asian Exchange Student, from the Geek to the hottie Head Cheerleader, and they're all competing for Prom King and Queen. And just like on "American Idol", the audience decides who wins! Come back in time and join the breakdance circle or just sit back and watch the '80s drama unfold.
WINNER! 2006 IMPROV THEATER AWARD - "BEST INTERACTIVE SHOW"


· HAPPY ANNIVERSARY, ANGEL! LOVE, GINO By Family Jewels Creations. Conceived and written by Jay D. Spencer, Stefanie R. Coletti and Cheryl D. Smith. 10m, 8f, optional extras. Gino Paolucci is throwing a big anniversary bash for his beautiful wife, Angel! You're invited to join in the celebration of their fifth wedding anniversary as they renew their vows at the zaniest party you'll ever be a part of! Watch the loving couple attempt to "re-tie their knot" and witness the crazy calamities and mishaps surrounding the celebration. Then sit down to a sizzling family feast, dance to a live DJ and interact with the Guests of Honor and their crazy but lovable relatives and delightful friends!

·FINNEGAN’S FAREWELL by Kevin Alexander. 8m, 6f plus dancers and musicians.
The audience has come to say goodbye to Patrick James Finnegan a mailman who won 2.5 million dollars playing the slots at Atlantic City and then promptly dropped dead.

·NOIR SUSPICIONS by David Landau. Music and Lyrics by Nikki Stern. 4m., 3f.
This hard-boiled comic mystery sequel to the ever-popular Murder at Café Noir ex-private dick Nick Archer is now the confused manager of Café Noir on the island of Mustique. A tribute to Casablanca with many references to the classic movie, Noir Suspicions is guaranteed to delight audiences whether of not they are familiar with Murder at Café Noir.

·LAFFERTY’S WAKE by Susan Turlish. 4m., 3f.  Our darlin' wild rover Charlie Lafferty is being waked in grand style in his home away from home, the local pub. The audience joins Charlie's widow, his sweet daughter and bumbling son in law, the parish priest and the savvy innkeeper as they celebrate the life and times of ramblin', gamblin' Lafferty.

· GRANDMA SYLVIA’S FUNERAL by Glenn Wein and Amy Lord Blumsack. 12 m., 10 f.
Audiences flock to join the bereaved at this Jewish funeral, where the mourners (i.e. the audience) are treated to fond remembrances, biographical anecdotes, shameless bickering and vaudeville like turns with the dearly departed's friends and family.

...to my 2010 former students...and will you succeed? 98 3/4 % guaranteed...KID YOU'LL MOVE MOUNTAINS.

As we look to the future, we can't help but look back.  This moment of reflection goes out to some folks that I will always hold dear.  Not becuse of the shows, not because of what they gave the programs, BUT BECAUSE they made our/my world a better place just one step at a time.

WE ARE SO EXCITED FOR YOU. Please remember that you come from "good people." We're rooting for you...and will always be you're fan club...

Bad News! Back to the Drawing Board.

BACK TO THE DRAWING BOARD

The play selection committee will work quickly to choose the fall 2010 LCHS play.  Unfortunately, I was contacted by a very nice man from Samuel French plays in New York and our "hopeful" selection for this fall's play is probably going to be unavailable to us as it is restricted for "amateur productions."

Samuel French and other companies have thousands of plays that are available.  We'll just need to put our minds togethet to find a great show for us.  Although there's an "outside chance" that we'll be granted a license, we probably better be proactive.  Sorry for announcing early.  McG

FAME CALENDAR March 30-April 15

Wednesday 3/31
3:00-6:00 Actors with Wragge in Vocal Music-- If we dismiss early, we need folks to help us.
3:00-6:00 DT/PT work at the auditorium.

Thursday 4/1
Mabel's Prayer 3:00-4:30 Choreography

Friday 4/2
8:00-Noon Act I Transitions
1200-300--Menards Run

Saturday 4/3
9:00-Noon--Shift One
11:30-2:30 --Shift Two
2:00-5:00--Shift Three

Monday 4/5
11:30-3:30 Act II Transitions Principals
2:00-3:30 ENTIRE ENSEMBLE
6:30 Presentation for the School Board, Butler/Zucca as Emcees; Jordan Morgan These are My Children; Korner/DeForest

Tuesday 4/6
6:30-9:30 All Call
6:30-7:30 Choreography for FAME finale
7:30-9:15 Tyrone's Rap & Dancing on the Sidewalks

Wednesday 4/7
3:00-6:00 ALL ACTORS with Wragge in auditorium.

Thursday 4/9
3:00-6:00 PRINCIPALS

Saturday 4/3
9:00-Noon--Shift One
11:30-2:30 --Shift Two
2:00-5:00--Shift Three

The entire production calendar was made available for all FAME Team members & parents on Monday 3/15/2010. It will be updated occassionally (for principal actors) and posted so that families can plan accordingly.

FAME THE MUSICAL--The Team

FAME
NOTE FROM THE DIRECTORS
Please read for valuable information.

APPLICATIONS FOR PRODUCTION TEAM & DIRECTING TEAM ARE STILL OPEN UNTIL THURSDAY 3/4/2010 AT NOON.
Thanks to each of the 97 students who completed the general meeting, audition and application process. We are very excited about the cast for this year's musical. Please understand that all casting is contingent upon eligibility. There are several students who need to improve their term II grades prior to being cast.
Schedule this Week
There will be no meeting on Tuesday, March 2. Consider supporting the Drama II students and their performance of GREATER TUNA. We will have our first "Production Day" meeting on Wednesday, March 3, 2010 at 3:00 in the Drama Room.

There will be a meeting of Principal Players (FAME Teachers & FAME Students) on Thursday, March 4, 2010. Members of the KIDS FROM FAME PA are welcome to but not required to attend this meeting as they may be needed to assist with the LC Clash of the Titans Show Choir Invitational.

Mr. McLaughlin will be meeting with a few select members of the Directing Team on Friday. These students will be contacted by Mr. McLaughlin. All FAME THE MUSICAL students should be preparing for finals or working on the Show Choir Invitational.

Thanks and congratulations to one and all. Please bring a pencil and a binder with you to all rehearsals. As always, thank you to all who auditioned. We look forward to celebrating all of the great talent at LC in this show.

Mr. McLaughlin
Mr. Johnson
Ms. Wragge

These students need to see

Mr. McLaughlin prior to further casting

Stephanie Brandt
DJ Doebelin
Melanie Ellis
Andi Kerkoff
Kelsey Kipe
Tyler Larsen
Sara Marshall
Kira McMullen
Natalie Olberding
Kelsey Pruett
Cody Rolfe
Ryan Simmons
Trevor Stephens
Kyle Wineland
AshleY Zerwas

THE FAME TEACHERS

CATIE GEIER
Miss Bell
dance teacher, arty.
Needs to act, dance and sing.
Vocal range C4 to E5 (alto).

JORDAN MORGAN*
Miss Sherman
English teacher, traditionalist
“These Are My Children”
Needs to act and sing. Vocal range F3 to F5 (alto).

TBA
Mr Myers
drama teacher, easy going.
Male Acting Callbacks Occur this Week.
Needs to act.

JAMES HODGE*
Mr Sheinkopf music teacher, distinguished.
Needs to act.

THE FAME STUDENTS

JENNA LADD*
Carmen Diaz insecure, talented.
“Bring on Tomorrow,” “In LA,” “Original FAME Theme”
Needs to act, sing and dance.
Vocal range Bb3 to G5 (soprano)

HANNAH JACOBY*
Grace Lamb comic.
Needs to act and play music.

SABRINA McKEEVER*
Iris Kelly well-to-do, classical dancer.
Classical ballet essential; pointe work.
Needs to act and dance.

KATIE JACOBY*
Mabel Washington
“Mabel’s Prayer”
comic, plump.
Needs to act and sing.
Vocal range D4 to G5, Bb5 preferred (soprano).

PAITYN KORNER
Serena Katz
Reserved, shy.
Needs to act and sing.
Vocal range Bb3 to Eb5 (alto).

RYAN PENNEY*
Goodman King
Jazz musician.
Needs to act and play music.

DANNY LICH*
Joe Vegas
High energy, charming.
Needs to act and sing.
Vocal range C3 to G4 (baritone or tenor).

BLAKE DEFOREST*
Nick Piazza
“I Wanna Make Magic”, “Let’s Play a Love Scene”
handsome, serious.
Needs to act and sing.
Vocal range D3 to G4, B4 preferred (tenor)

WILLIAM WELTER
Schlomo Metzenbaum
affable, sensitive.
Needs to act, sing and play violin & other instruments
Vocal range C3 to G4 (tenor).

MOLLY COX*
Doris Kravitz, Instrumental & Mallet Student
“Hot Lunch Jam” Director

TYLER BUTLER*
Tyrone Jackson
headstrong, a functional illiterate
“Tyrone’s Rap” “Dancing in the Streets”
Needs to act, sing and dance.
Vocal range E3 to G4 (baritone)

NOAH ANDERSON
Male Understudy All Male Student Roles

TYLER COTA*
Male Understudy All Male Teacher Roles

TAYLER STUART
Female Understudy All Teacher Roles

SARAH GATES*
Female Understudy All Female Student Roles

THE KIDS OF FAME PA FAME CHORUS & ARTISTS

Pray I Make PA Can’t Keep it Down—Guys I Still Believe in Me replaces Think of Meryl Streep Bring on Tomorrow Finale Fame Finale & More

Noah Anderson
Matt Beer
Alaura Bingham*

Crysta Brewer

Lauren Christensen

Camilla Cortney*

Tyler Cota*
Molly Cox*
Sarah Gates*
Mckenna Goodman
Kyle Greelis
Andrew Gulden*
Alyse Higgins
Lucas Johnson
Elizabeth Knoble*
Kurt Lee
Molly Lightfoot
Natalie Madsen
Kait Madsen*
Heidi Mailahn
Erick Martin
Madison Massey*
Nicole McGuire*
Shawn Moore*
Jamie Mundt*
Jessica Nightser*
Ellen OverholtzerTrenton Peterson

Lauren Petri*

Taryn Reese
Megan Reif*
Bailey Shaw
Dylan Smith
Alex Smith*
Taylor Stuart
Jeff Wallin*Bianca Zerwas

THE FAME DIRECTING & PRODUCTION TEAMS

Tom McLaughlin,
Director

Brian Johnson
Rachael Wragge
Vocal Directors

Andy Walters,
Conductor

Becca McMillen
Jessica Willadsen
Courtney Zucca
Student Directors

Shaylia Barber
Andrew O’Reilly
Stage Managers

Rachael Shrader
Jorge Villalta
Technical Directors

Whitney Clark
Taylor Kastrup
Brooke Elliff
Assistants to the Directors

Taylor Stuart
Kait Madsen
Andrew Gulden
Sabrina McKeever
Choreographers

Matt Beer
Tyler Cota
Sheila Doebelin
Madison Massey
Dance Captains

Becca Piercy
Costumes & Program Team

Jorge Villalta
Ricky O’Doniell
Sound Board Operators

Taylor Mehsling
Drama South Director & Props

Elizabeth Knoble
Courtney Annin
Makeup Coordinators

Zach Finley
David Mescher
Lighting Design & Light Board

Zach Finley
Alex Tucker
Spotlights

Camilla Cortney
Program Coordinator

Alaura Bingham
Taylor Kuhn
Madison Massey
Publicists

Megan Fender
Special Signs & Programs

Jennifer Leafty
Ashley Love,
Production Secretaries

Amanda Schoening
Emily Marshall
Cassidy Miller
House Managers & Lobby Display

Courtney Annin
Vivian Koehler
Michaela Sutherland
Jessica Powers
Makeup

Holly Leafty
Tyler Turner
Assistant Technical Directors Tools & Materials

FAME THE MUSICAL An Overview

Fame The Musical

Book by David De Silva and José Fernandez Music by Steve Margoshes Lyrics by Jacques Levy Conceived and Developed by David De Silva

Two Acts, Book Musical, Pop / Rock, Rated PG
International Hit Version

It is nothing short of a global phenomenon. First came the hit motion picture, then the long-running television series. Now the screen sensation of the 1980's is the stage sensation of the 1990's and beyond! And if the recent smash-hit West End production is any indication, "Fame-The Musical" is indeed "gonna live forever."

Set during the last years of New York City's celebrated High School for the Performing Arts on 46th Street (1980-1984), "Fame-The Musical" is bittersweet but ultimately inspiring story of a diverse group of students as they commit to four years of grueling artistic and academic work. With candor, humor and insight, the show explores the issues that confront many young people today: issues of prejudice, identity, self-worth, literacy, sexuality, substance abuse and perseverance.

FAME THE MUSICAL--Synopsis

SYNOPSIS OF FAME

ACT ONE

A group of vibrant, energetic young people, African-American, white, Hispanic, rich and poor alike, converge on 46th Street to audition for the chance to study at the famous New York High School of Performing Arts (P.A.). Praying they make P.A.," the students tear open a letter from the school, learn of their acceptance and begin a joyous dance of celebration.

On the first day of school, the freshman meet Miss Sherman, their English teacher, who warns them that it takes a lot more than dreams to succeed at "P.A." The students, with a mixture of excitement, trepidation and raw energy, acknowledge that what it really takes to succeed is ("HARD WORK").

Drama Class. Nick and Serena rehearse a scene and discuss their life experiences. Nick's goal in life is to move people emotionally ("I WANT TO MAKE MAGIC"). Mr. Myers, the drama teacher asks his students to recall how a physical sensation can trigger an emotional response. Joe, a funny, uninhibited young man, graphically recounts the very personal reactions that occur whenever he thinks of a certain beautiful girl in dance class ("CAN'T KEEP IT DOWN").

Dance Class. Tyrone, a sexy, streetwise African-American, is partnered with Iris, a very wealthy, classically-trained dancer. Iris obnoxiously derides Tyrone's lack of classical dance experience. Tyrone, enraged at her comments, begins a rap which expresses his anger ("TYRONE'S RAP"). Iris apologizes and, unexpectedly, kisses him passionately.

While Nick and Serena rehearse another scene, she tells him of her yearning to try something romantic and passionate. It becomes obvious Serena is in love with Nick. Nick, concerned only with acting, becomes upset and leaves. Heartbroken, Serena laments her unrequited love ("LET'S PLAY A LOVE SCENE").

At lunch, Carmen, a self-assured, cocky Latina spitfire, dreams of seeing her name in lights and people gasping as she walks down the street ("THERE SHE GOES/FAME"). The other students join in her fantasy and begin an exciting, electrifying dance.

The hallway. Miss Sherman expresses concern over Tyrone's care-free attitude towards education and threatens to keep him out of the Fall Festival if his grades don't improve. Miss Bell overhears this and argues that Tyrone's artistic talent is more important than his academic ability ("THE TEACHERS' ARGUMENT"). As Tyrone threatens to drop out of school, the other students try to focus on the reason why they are really there ("HARD WORK").

ACT TWO

After two arduous but rewarding years, the students now begin their junior year with the P.A. Fall Festival ("I WANT TO MAKE MAGIC").

Dance rehearsal. Mabel, a bit overweight for a dancer but full of spunk and wit, complains about the water her body is retaining. In a hilarious yet touching turn, she prays aloud for God's help in keeping her from becoming "the world's fattest dancer" ("MABEL'S PRAYER").

The scene shifts. Serena enters to see Carmen and Nick kissing. Heartbroken once again, Serena tearfully remembers one of the first lessons she learned at P.A. and tries to channel her emotions into her acting ("THINK OF MERYL STREEP").

"Carmen confronts Schlomo with her plan to leave school and go to Los Angeles. She has met a Hollywood agent named Elliot Greene, who is sending her a plane ticket. Schlomo begs her not to go. He has seen her get into Elliot's limousine outside of school before and accuses her of using cocaine with him. Schlomo tells Carmen he loves her, but when he realizes he is powerless to stop her, he turns his attention to his violin.

In Miss Sherman's English class, Tyrone is spotted reading a Superman comic book. Miss Sherman confronts him by forcing him to stand up in front of the class and read from the comic book. Embarrassed, he accuses her of trying to make him look stupid: "Wanna fail me again? Go ahead. I'll pass in summer school, bitch." Miss Sherman gives him a resounding slap in the face and walks off. Defensively, Tyrone says to his shocked classmates he doesn't need her help. " I'm choreographin' my own life." This leads to his fantasy dance number, "Dancin' on the Sidewalk." Confronting his pain and frustration, Tyrone goes to the blackboard, writes "I WILL READ," and runs off. Miss Sherman enters, sees what he has written, and is deeply touched. ("These Are My Children.")

A baroque trumpet-call sounds as the drama students rehearse Romeo and Juliet. Joe, insecure playing Romeo, has been ad-libbing. Serena pleads with him to be serious in the part. Nick offers to show him how to play Romeo and winds up kissing Serena in their first romantic moment. Tyrone asks Iris why she has been avoiding him all year. She says she doesn't want to be tied to a loser. He takes out a copy of Leaves of Grass and reads to her, showing her he has a whole new attitude about learning. They dance a pas de deux.

Mr. Sheinkopf, Mr. Myer and Miss Sherman confront Miss Bell about influencing a summer school teacher to pass Tyrone even though he never showed up. They insist he must repeat the year. But the Dance Theatre of Harlem is ready to take him, says Miss Bell. "Let them wait!" says Mr. Sheinkopf. Miss Bell, left alone with Miss Sherman, finally admits she may be losing her perspective and suggests she take a sabbatical.

Carmen is standing in front of the school looking physically wasted and disoriented. She spots Schlomo and after a warm embrace, she tells him the truth about her experiences in Hollywood ("In L.A."). Carmen promises him she is going to go for her equivalency diploma, but right now she needs money. He gives her a couple of dollars and sadly departs.

At the farewell party, everyone is dressed up and the celebration is loud and festive. Tyrone tells Miss Sherman he is going to repeat his senior year and give her another chance to whip him into shape. Joe announces not only is Lambchops finally wearing a dress, but he is going to be opening at a comedy club - and they'd all better be there. Serena is on her way to Brooklyn College and Nick is headed for Yale. They wonder about their future together ("Let's Play a Love Scene").

FAME THE MUSICAL Authors & Biographies

Biography of David De Silva

David De Silva (Concept and Development) is known as "Father Fame." He conceived, developed and produced the MGM motion picture Fame. The film received four Academy Award nominations. He was Consulting Producer on the television series which ran for six years on network television and in syndication, received numerous Emmy Awards, and has been seen in sixty-eight countries. Mr. De Silva believes that Fame will have its greatest success in the theatre. Its youth-oriented idealism and "live" performance energy will be an inspiration to young people everywhere.

Biography of José Fernandez

José Fernandez began his theatrical career as an actor. On Broadway, THE ME NOBODY KNOWS, for which he received The Variety Critic’s Poll Nomination for Best Actor, as well as HAIR, TRUCKLOAD and TWO GENTLEMEN of VERONA. José’s turns as a writer includes the Off-Broadway musical, EL BRAVO!, produced by Kenneth Waissman and has co-authored several comedies. In 1984, with David De Silva, he began the task of transforming FAME into a new and timeless musical. Born in Cuba and raised in New York City, he died at 46, but not before he saw FAME in Stockholm, in 1993. Performed in Swedish it was this hit production that launched the global FAME phenomenon. The theater filled with youngsters, many with their parents, Jose carefully observed the reactions, hushed gasps and teary eyes, thunderous applause and joyous laughter. He needed no further evidence; convinced of the impact the show would have on the world.

Biography of Steve Margoshes

Steve Margoshes in collaboration with David De Silva has composed orchestrated and recorded new symphonic works for symphony orchestra under the banner,”SYMPHONIC FAME” (a double CD) and ”SYMPHONIC FAME” for violin and orchestra. These recordings were made with the Budapest Symphony Orchestra with Laszlo Kovacs conducting and Barnabas Kelemen as virtuoso violinist. His newest recording is a CD, “Sawing to New Heights With Steve and Dale,” a new work for saw and piano with Dale Stuckenbruck on saw and Steve on piano.

As orchestrator, Steve's numerous credits include 6 Broadway shows: Elton John and Tim Rice's AIDA, The Who's TOMMY, BIG RIVER, (Tommy Tune's revival of) GREASE!, SMOKEY JOE'S CAFE (The songs of Leiber and Stoller), and Jim Steinman and Roman Polanski's upcoming DANCE OF THE VAMPIRES. Steve won Drama Desk awards for his orchestrations of BIG RIVER and TOMMY.

Biography of Jacques Levy

Jacques Levy has written lyrics with and for many well-known recording artists. He wrote Bob Dylan's album Desire with Dylan, and it became one of Dylan's biggest-selling albums ever, with the single Hurricane" released from it. Levy has written a half dozen albums with Roger McGuinn... for the Byrds, the Thunderbyrd Band, and McGuinn's solo works, including the hit single "Chestnut Mare." His lyrics have also been recorded by Carly Simon, Crystal Gayle, Joe Cocker and Jerry Lee Lewis. A member of the Dramatists Guild, Levy has written a considerable amount for the theatre, including five produced musicals, two of them, Oh, Calcutta! and The Golden Land, presented on the New York stage. Along the way, Levy's work has been honored with three Grammy nominations. He is currently head of the Theatre Program and Director of University Theatre at Colgate University. He lives in Hamilton, NY, with his wife and two children.

FAME THE MUSICAL Instrumentation

1 X KEYBOARD 2/CONDUCTOR ACT 1 1 X KEYBOARD 2/CONDUCTOR ACT 2 1 X PIANO CONDUCTOR'S SCORE ACT 1 1 X PIANO CONDUCTOR'S SCORE ACT 2

Orchestra Size

MEDIUM
ROCK COMBO

Instrumentation: Doublings:

DRUMS COWBELL, CROTALES, TIMBALES, TYMPANI

ELECTRIC BASS

GUITAR

KEYBOARD 2

PERCUSSION AGOGO BELL, BELL TREE, BELLS, BONGO, CABASA, CHIMES, CONGA, COWBELL, CROTALES, FINGER CYMBAL, FLEXITONE, MARK TREE, SCRAPER, SLAPSTICK, TAMBOURINE, TIMBALES, TRIANGLE, TYMPANI, VIBRAPHONE,
VIBRASLAP, WIND CHIMES, WOOD BLOCK

REED ALTO SAXOPHONE, CLARINET, FLUTE, SOPRANO SAX, TENOR SAXOPHONE

TROMBONE

TRUMPET

Casting FAME THE MUSICAL Character Breakdown

Casting FAME THE MUSICAL

Cast size: Large (over 20)
Cast Type: Ensemble Cast - Many featured roles, Ethnic Roles, Older Role(s), Showcases trained dancers, Teenage Roles

Dance requirement: Medium- Heavy
(Extensive Dance Sections/Solos)
Casting notes: Ethnic roles, ideally, the performers should be able to perform the specialty art of their assigned character, especially the instrumentalists.

Character Breakdown

Adult Cast

Miss Bell dance teacher, arty. Needs to act, dance and sing. Vocal range C4 to E5 (alto). Dance background desirable. Vocal Callbacks The Teacher’s Argument; Script – Pg 41-42 & 47-48.

Miss Sherman English teacher, traditionalist. Needs to act and sing. Vocal range F3 to F5 (alto). Vocal Callbacks These Are My Children; Script – Pg41-42 & 61-62.

Mr Myers drama teacher, easy going. Needs to act. General audition only. Script – Pg16-17.

Mr Sheinkopf music teacher, distinguished. Needs to act. Script – Pg24-25.

Students

Carmen Diaz insecure, talented. Needs to act, sing and dance. Vocal range Bb3 to G5 (soprano). Vocal Callbacks – In LA and Fame; Script – Pg29-30 & 51-52.

Grace Lamb comic. Needs to act and play music. Drums desirable. Script – Pg24-25.

Iris Kelly well-to-do, classical dancer. Needs to act and dance. Classical ballet essential; pointe work desirable. General and dance auditions. Script – Pg26-28.

Mabel Washington comic, plump, R&B. Needs to act and sing. Vocal range D4 to G5, Bb5 preferred (soprano). Vocal Callbacks – Mabel’s Prayer; Script – Pg29-30 & 56-57.

Serena Katz insecure, shy. Needs to act and sing. Vocal range Bb3 to Eb5 (alto). Vocal Callbacks-- Let’s Play a Love Scene; Script – Pg34-35 & 53 55.

Goodman King jazz musician. Needs to act and play music. Trumpet desirable. General audition only. Should prepare: Vocal – own choice of (contemporary pop) song; Script – Pg12.

Joe Vegas high energy, charming. Needs to act and sing. Vocal range C3 to G4 (baritone or tenor). Vocal Callbacks – Can’t Keep it Down; Script – Pg 13 & 66-67.

Nick Piazza handsome, serious. Needs to act and sing. Vocal range D3 to G4, B4 preferred (tenor). Vocal Callbacks – I Want to Make Magic; Script – Pg34-35 & 48 & 53-55.

Schlomo Metzenbaum affable, sensitive. Needs to act, sing and play music. Vocal range C3 to G4 (tenor). Violin and/or piano desirable. General audition only. Should prepare: Vocal – Bring on Tomorrow; Script – Pg37-38 & 51-52.

*Tyrone Jackson headstrong, a functional illiterate. Needs to act, sing and dance. Vocal range E3 to G4 (baritone). Rap dancing desirable. Vocal Callbacks– Dancing on the Sidewalk/ Tyrone’s Rap; Script – Pg26-28 & 61-62. or
*Jack Jakowski (alternate casting for Tyrone Jackson) headstrong, able, dancer - a functional illiterate. A Russian immigrant student from Brighton Beach in Brooklyn who wants to be John Travolta. Rap dancing desirable. Vocal Callbacks – Dancing on the Sidewalk/ Tyrone’s Rap; Script – Pg26-28 & 61-62.

Kids from FAME Chorus
15-30 Students at P.A., who have lines and sing, and who constantly interact and grow with the others. Need to act (some parts), sing and dance. All vocal ranges. General and dance auditions (see notes above). General vocal audition.

FAME THE MUSICAL--Interesting Additional Facts

FACTS ABOUT FAME

It all started with one man-- David De Silva, who, although he had no connection to New York's High School for Performing Arts, was endlessly fascinated by the institution, and the dedication and passion of the students there. De Silva, known as "Father Fame" conceived and developed the now classic 1980 film, as well as the television series, the reality show, and finally, the stage version of FAME: THE MUSICAL.

Although the show didn't arrive in New York until 2004, FAME-THE MUSICAL was first presented at the Coconut Grove Playhouse in Florida in 1988. Since then, it has become an international phenomenon, with productions in Spain, Australia, Japan, Poland, Hungary, Mexico and Korea, to name but a few. In London, the show has played six separate times since 1995, and has been running continuously at the Aldwych Theatre since 2002. The New York production played Off-Broadway at the Little Shubert Theater. It was directed by Drew Scott Harris and spawned a cast recording that was released in 2004.

A CurtainUp Review
Fame On 42nd Street
By Brad Bradley

Hallelujah! Three minutes into this effervescent high-energy show, I knew I was enjoying myself. After enduring horridly annoying retreads of rocking movie musicals lamely adapted for the stage (the likes of Footloose and Saturday Night Fever), I was prepared for the worst. But, wondrously, David De Silva, this project's longtime promoter and developer, along with a top-notch company, has brought it off. His Fame on 42nd Street is a terrific stage adaptation that matches the challenges of the live medium, presenting a gallery of interesting, convincing characters, singing and dancing in a manner that soars the spirit and soothes the soul as well.

While the opening song, "Pray I Make P.A" set in 1980 and sung by hopeful freshman students to New York's High School of Performing Arts in a series of isolated spotlights, does start with repetitive and monotonous utterances, this lackluster device in no way reflects the sparkling show to follow. Dynamite explodes by song's end, and never lets up until after the last note the post-bows finale a little more than two hours later.

Director Drew Scott Harris has assembled a wonderful cast, and works his ensemble hard; the actors' tasks include the moving of sets and props to maintain the show's brisk, even driving pace, and Swedish choreographer Lars Bethke keeps the company virtually airborne in exhilarating dances.

This remarkable cast of 22 (18 students and four teachers) is truly an ensemble, with even the chorus members having ample opportunity to shine. The entire cast is appealing, certainly including the two most troubled teens as beautifully played by Shakiem Evans and Nicole Leach, both key musical resources in this Fame. Evans, playing a dancer with great talent but impoverished in his discipline and even basic academic skills, not only presents an electric dance solo, but also has honed an arc of character development that moves many to tears. Other standouts include Cheryl Freeman as an English teacher who understands the scarring of the streets, Christopher J. Hanke as an acting student with unusual professional maturity masking his uncertain social development, Dennis Moench as a precocious violinist trying to escape his famous parent's shadow, Sara Schmidt as an uncertain but determined young actress, and Michael Kary, shining even in a peripheral role as a trumpet player.

The score (excepting only the unavoidable iconic title tune written for the 1980 film and central to the six-year-long television series) is new, and quite attractive. Composer Steve Margoshes and Lyricist Jacques Levy have fashioned a collection of songs that effectively service their story and characters, and comfortably fit both the period and contemporary ears, including even manageable doses of Spanish in deference to the multi-cultural nature of the population, both onstage and in New York City in general. Highlights include "I Want to Make Magic", an actor's vocal solo counter pointed by an upstage violin lesson, "Think of Meryl Streep", a gospel-style assertion by Q. Smith as a chubby street-wise girl who rechannels her dream from dancing to acting, 'These are My Children", Miss Sherman's riveting blues anthem, and "Let's Play a Love Scene", a touching unexpected connection that is emblematic of the genuine emotional and theatrical center of this lovable show.

Musical book writers rarely get the credit they deserve, only the blame when a show fails to work, and the late Jose Fernandez did a masterful job of balancing more than a dozen key characters into a fine stage tapestry. He unfortunately lived to see his work staged only in Stockholm in 1993, missing the extraordinary and deserved international success that a decade later finally has found its way to New York.

Although set in the intimate new Little Shubert, about half the size of the smaller Broadway musical venues, Fame has production values to burn, with a wonderful use of levels and textures in the mostly school building locations designed by Norbert U. Kolb. Paul Tazewell's sharp costumes and Ken Billington's powerhouse lighting add to the design pizzazz. Fame on 42nd Street knows its goals and achieves them. Its predictable line that "artists are special" gets full endorsement here. This sometimes crusty critic left the theater on a performance high.

“SEEING FAME WAS AN EXHILIRATING EXPERIENCE!”
UPI.


Perform is what the buoyant new musical, Fame, does dance number after exhilarating dance number, song after sweet song, never losing sight of its mission to entertain... a nice sensitivity to the condition of being young and hopeful and gifted... Exhilarating."
- The Philadelphia Inquirer


"Completely uplifting, something that speaks to the quiet idealism
in all of us."
-The Miami Herald

"Wild horses couldn't have dragged me away from Fame - The Musical."
-Mail on Sunday

"Engages passionately with the here and now."
- Evening Standard"

Fame -- The Musical' will live forever in high schools everywhere
By Denise Grollmus
Beacon Journal staff writer

Pirouetting through the hallways of a New York City performing arts high school in leg warmers and off-the-shoulder sweat shirts, the feisty Irene Cara emblazoned the taste for Fame into every little girl's hot-pink '80s heart.

But dancing on taxicabs and ``making it'' was not necessarily the message Fame's creator David DeSilva was trying to send.

``It's not that I'm pushing kids to be professional performers,'' DeSilva said. ``The theme of the show is not about making it, it's really about finding the arts and letting them make a difference in your life, whatever you do. Whatever you do in your life you're going to do better if you expose yourself to the arts.''

DeSilva, known to his fans as ``Father Fame,'' has made the story line of struggling performing arts school teens something of a cottage industry for himself, as the creator and executive producer of the 1980 Oscar-winning film, the long-running television program, and the reality show, all of which are called Fame.

Improving on the finer points of the film, DeSilva has finally taken the cult classic to the stage as Fame -- The Musical, coming Tuesday and Wednesday to Cleveland's Palace Theater.

``It's really gonna live forever as live theater,'' he said.

``I don't think the movie or the TV show really captured it the way the musical does. It's not the same as it is on the stage, where no two performances are the same and young people all over the world can do it,'' DeSilva said.

``The creative process just stops once the camera stops rolling. Here, the creative process is infinite.''

If you go to the show expecting to hear Hot Lunch or to witness a Cara-incarnate named ``Coco,'' you'll be much surprised because Fame -- The Musical is not a stage-mounting of the original film.

In fact, even the diverse group of characters within the musical have criticisms to air about the movie.

As the musical begins with the first day of freshman year, the homeroom teacher announces: ``If you've come here because you think you're gonna live forever or envision dancing on cars down 46th Street, you're humming the wrong tune.''

With a whole new arsenal of songs, thanks to lyricist Jacques Levy and composer Steve Margoshes, and characters courtesy of writer Jose Fernandez, Fame -- The Musical is being performed everywhere from off-Broadway to Norway and from professional theaters to high schools.

DeSilva said that the intention of creating the musical was to allow enough flexibility for every director and young actor to put his or her own stamp on the show's flavor.

But a few things do remain the same: The iconic theme song, Fame, is still present along with the 1980s leg warmers and the trials and tribulations of everyday teen life.

``I decided to keep the musical set in the '80s, because I wanted this to be the story about the last class to graduate from the old school building before it moves to a more modern building in Lincoln Center,'' DeSilva said.

``So I decided to make this the class of 1984, following them through all four years of school. That was a special thing to do theatrically, that this is the last class from the old school.''

DeSilva first created the story when he became fascinated by the idea of magnet schools, particularly New York City's LaGuardia High School of the Performing Arts.

``I believe these magnet schools are really the best thing in education. If your kid has a special talent, they can receive special attention for that and really make the most of it and not just in the performing arts, but computer science, or whatever it may be that someone excels at,'' he said.

Since the advent of the first Fame incarnation, magnet schools, and particularly performing arts schools -- dubbed ``Fame schools'' -- have skyrocketed in popularity.

``There is at least one performing arts school in every major city, and when we made this film, that just wasn't true. It's amazing how many performing arts schools are everywhere, now,'' DeSilva said.

(Akron's Miller South Visual and Performing Arts Middle School is not just an example of DeSilva's beloved magnet school structure, but they take it to a whole new level by introducing children in grades 4 through 8 to their talents at an even younger age and integrating the arts into every aspect of academics, said principal Margot Snider.)

For DeSilva, the most crucial aspect of the New York run of Fame -- The Musical is its adjoining apprentice program for high school juniors to get a taste of professional theater.

DeSilva also hopes to make the show an annual event at performing arts high schools around the nation. He is already in discussion with the LaGuardia High School of Performing Arts to kick off the program with a performance at the end of this year.

``I wouldn't have created any other show like this,'' DeSilva said.

``I feel that this is something I was destined to do. I channel the energy that is Fame.''