The critically-acclaimed sequel to the hit musical revue A...My Name Is Alice is similar in format. Written by a wide variety of writers, lyricists, and composers, this lively entertainment continues to explore contemporary women - this time in the 1990s. The music ranges from gospel to country western to rock to some glorious pop ballads.

The cult film classic has new life as a zany musical. The Blands want to open a restaurant, but they need cash. Suppose they lure weirdos to their apartment to kill and rob them?

The Sound of Music is firmly embedded in the DNA of a generation. But what was it like to be part of all this? For seven children and young adults, the summer of 1964 was a magical one, spent in Salzburg, Austria, filming. The Sound of Music Family Scrapbook tells their story - both during the filming and once the movie was released. It features hundreds of photographs and memorabilia they have cherished and preserved over the years, including letters home - even a ticket to the world premiere. If you ever dreamed of marching round the fountains singing 'Do Re Mi', or dressing in a playsuit made from curtains, you will love this enchanting story of how seven boys and girls became a family - and how they kept that closeness for over 50 years. This is a new, improved and updated edition which includes many new, previously unpublished photographs, beautiful full-sized glossy pages, updated information, personal tributes and so much more...

Judge Jackie Justice rules over her reality television courtroom with an iron fist, presiding over a three-ring circus of America's most chaotic civil cases. But, when a drop in ratings brings her face to face with the liability of her own love life, the judge must learn to navigate the ludicrous laws of love in this over-the-top courtroom comedy.

"An Englishman's way of speaking absolutely classifies him, The moment he talks he makes some other Englishman despise him." - Henry George Bernard Shaw famously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw's original ending, the show even dared to establish a cunningly romantic ending. Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show's principal artists to discover how their roles intersected with real life. Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with her 'chaste diva' image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical's sexual coding.

This girl-loves-ghoul rock and roll Off Broadway musical is set in the atomic 1950s at Enrico Fermi High, where the law is laid down by a zany, tyrannical principal. Pretty senior Toffee has fallen for the class bad boy. Family pressure forces her to end the romance, and he charges off on his motorcycle to the nuclear waste dump. He returns glowing and determined to reclaim Toffee's heart. He still wants to graduate, but most of all he wants to take Toffee to the prom. The principal orders him t

The beautifully produced Cats: definitive edition presents brand new arrangements of all the songs and musical interludes from the show Cats for piano and voice with guitar chords. This stunning new edition features silver foiling on the cover, a colour section with cast photos and an introduction by Andrew Lloyd Webber.

Cannibal! The Musical is the true story of the only person convicted of cannibalism in America - Alferd Packer. The sole survivor of an ill-fated trip to the Colorado Territory, he tells his side of the harrowing tale to news reporter Polly Pry as he awaits his execution. And his story goes like this: While searching for gold and love in the Colorado Territory, he and his companions lost their way and resorted to unthinkable horrors, including toe-tapping songs!

(Vocal Selections). Prepare for your closeup by practicing with this folio of 12 vocal selections from the Broadway musical. Includes: As If We Never Said Goodbye * Girl Meets Boy * The Greatest Star of All * The Perfect Year * Sunset Boulevard * This Time Next Year * With One Look * and more.

Although Noel Coward's work as playwright, songwriter and actor has long been celebrated, his contributions to the British musical have largely been forgotten. Selected Musical Plays by Noel Coward: A Critical Anthology rectifies this omission from the musical theatre landscape, demonstrating how Coward's adaptability, creativity, and myriad of styles is imitated in the incredible musicals he authored. From flop shows at Drury Lane with Mary Martin through to his Broadway hits with Elaine Stritch, this anthology chronicles the variety of styles written by Coward, from revue to musical comedy to operetta. The works in this volume provide a contemporary critical introduction that illustrates the breadth and depth of his work, and highlighting the diverse identities of the collaborators and performers with whom he worked. Though the style of these works varies, they are linked together by his creative thread, and his ability to craft barbed and witty observations of his social world. A timely portrait of Coward's oeuvre and its lasting influence on the wider world of the British musical, Selected Musical Plays by Noel Coward contains previously unpublished musical plays by a central figure in theatre history, collected together with critical apparatus for students, scholars, and fans.

In the 1950s, Meredith Willson's The Music Man became the third longest running musical after My Fair Lady and The Sound of Music: a considerable achievement in a decade that saw the premieres of other popular works by Rodgers and Hammerstein and Lerner and Loewe, not to mention Frank Loesser's Guys and Dolls and Bernstein and Sondheim's West Side Story. The Music Man remains a popular choice for productions and has been parodied or quoted on television shows ranging from Family Guy to Grace and Frankie. Though Willson is best remembered for The Music Man, there is a great deal more to his career as a composer and lyricist. In The Big Parade, author Dominic McHugh uses newly uncovered letters, manuscripts, and production files to reveal Willson's unusual combination of experiences in his pre-Broadway career that led him to compose The Music Man at the age of 55. McHugh also gives an in depth look at the reception of The Music Man and examines the strengths and weaknesses of Willson's other three musicals, with his sustained commitment to innovation and novelty. The Big Parade is packed with new revelations about the processes involved in writing these works, as well as the trials and tribulations of working in the commercial theatre.

Gestures of Music Theater: The Performativity of Song and Dance offers new cutting edge essays focusing on Song and Dance as performative gestures that not only entertain but also act on audiences and performers. The chapters range across musical theatre, opera, theatre and other artistic practices, from Glee to Gardzienice, Beckett to Disney, Broadway to Turner Prize winning sound installation. The chapters draw together these diverse examples of vocality and physicality by exploring their affect rather than through considering them as texts. This book considers performativity in relation to Dramaturgy, Transition, Identity, Context, Practice, Community and finally, Writing. The book reveals how the texture of music theatre, containing as it does the gestures of song and dance, is performative in dense, interwoven, dialogical and paradoxical ways, partly caused by the intertextual and interdisciplinary energies of its make-up, partly by its active dynamism in performance. The book's contributors derive methodologies from many disciplines, seeking in many ways to resist and explode discrete discipline-based enquiry. They share methodologies and performance repertoires with discipline-based scholarship from theatre studies, musicology and cultural studies, but there are many other approaches and case studies which we also embrace. Together, they view these as neighboring voices whose dialogue enriches the study of contemporary music theatre.

Paul Gemignani is one of the titans of the modern musical theater industry. Serving as musical director for more than forty Broadway productions since 1971, his collaborations with Stephen Sondheim, Andrew Lloyd Webber, John Kander, Fred Ebb, Hal Prince, Michael Bennett, and Alan Menken have led to countless accolades for his collaborators, but due to the near invisible position of the musical director in the Broadway industry, Gemignani's story is often overlooked. GEMIGNANI seeks to not only bring the reader into the orchestra pit to learn Gemignani's story, but also to educate the reader about the crucial role a music director plays in bringing some of the most iconic musicals in Broadway history to life. Born into a second-generation Italian American family during the aftershocks of the Great Depression, Gemignani worked his way up from playing percussion in USO bands to conducting before Leonard Bernstein, all before becoming a pivotal player in the team that brought some of the most successful musicals of the late twentieth century to the stage. Sweeney Todd, Evita, Merrily We Roll Along, Sunday in the Park with George, and Into the Woods would be quite different without his key contributions, and many of the sonic markers we now associate with the postmodern musical theater can be traced to Gemignani's careful curiosity to expand the bounds of what was possible.

Lovin' ain't easy in this one-honky-tonk town, so when the bartender and the bandleader fall for the same dance hall girl, you're in for an evening of showstoppers and toe-tappers, cat fights, and love quadrangles that'll keep any joint jumpin' till way past last call. And if you think you got the gumption, you're welcome to get up and dance along.

"Bingo" is a splashy, zippy, fun new musical comedy - great for theatres looking to produce a small musical with a big heart. "Bingo" is about a group of die-hard bingo players who stop at nothing to miss their weekly game. In between the number calling, strange rituals and fierce competitions, love blossoms and long lost friends reunite. These lovable characters spring to life with a smart, funny script and bouncy, hummable score. Audiences will be laughing in the aisles when they aren't playing games of bingo along with the cast
Best friends and Bingo pals Vern, Honey and Patsy brave a terrible storm in order to attend the yearly celebration of the birth of Bingo and tribute to its founder, Edwin S. Lowe. As the storm knocks out power at the Bingo Hall, Patsy and Honey remind each other of the ominous night fifteen years ago that began in the same way. In flashback, Honey tells us about the night Vern and her best friend, Bernice, had their falling out. Bernice's sweet, yet headstrong daughter, Alison, enters the Bingo hall in disguise - Bernice's health is failing, and Alison is determined, with the help of Bingo, to reunite her mother with her long-lost best friend.

(Vocal Collection). 39 songs, including: Camelot * September Song * The Impossible Dream * Ol' Man River * Some Enchanted Evening * and more.

Genre: Musical Characters: 7 males, 8 females, and chorus of 8 males and 5 females In the honky tonk world of marathon dancing in Atlantic City in 1933, a captivating assortment of depression era souls eager to dance their way into fame and prizes gather on the Steel Pier. The spectacle is presided over by an oily tongued emcee who is secretly married to Rita Racine, the champion dancer. Her usual partner doesn't show up, so she is paired with a handsome pilot on leave. As the hours of dancing whirl on, Rita becomes increasingly disillusioned with her sleazy, conniving husband and more and more infatuated with the handsome young aviator and a vision of life in a peaceful cottage. Songs by the creators of Chicago, Cabaret and other Broadway classics perfectly capture the rhythms of the 1930's dance era. "Beautiful songs skillfully interwoven with the plot."- New York Daily News "Spectacular."- New York Post "Steeped in wistfulness."- New York Times

From Adelaide in "Guys and Dolls" to Nina in "In the Heights" and Elphaba in "Wicked," female characters in Broadway musicals have belted and crooned their way into the American psyche. In this lively book, Stacy Wolf illuminates the women of American musical theatre - performers, creators, and characters -- from the start of the cold war to the present day, creating a new, feminist history of the genre. Moving from decade to decade, Wolf first highlights the assumptions that circulated about gender and sexuality at the time. She then looks at the leading musicals to stress the key aspects of the plays as they relate to women, and often finds overlooked moments of empowerment for female audience members. The musicals discussed here are among the most beloved in the canon--"West Side Story," "Cabaret," "A Chorus Line," "Phantom of the Opera," and many others--with special emphasis on the blockbuster "Wicked." Along the way, Wolf demonstrates how the musical since the mid-1940s has actually been dominated by women--women onstage, women in the wings, and women offstage as spectators and fans.

Music and Book by James Valcq, Lyrics and Book by Fred Alley Based on the film by Lee David Zlotoff Musical Drama Characters: 3 male, 4 female Unit Set A feisty parolee follows her dreams, based on a page from an old travel book, to a small town in Wisconsin and finds a place for herself working at Hannah's Spitfire Grill. It is for sale but there are no takers for the only eatery in the depressed town, so newcomer Percy suggests to Hannah that she raffle it off. Entry fees are one hundred dollars and the best essay on why you want the grill wins. Soon, mail is arriving by the wheelbarrow full and things are definitely cookin' at the Spitfire Grill. "A soul satisfying...work of theatrical resourcefulness. A compelling story that flows with grace and carries the rush of anticipation. The story moves, the characters have many dimensions and their transformations are plausible and moving. The musical is freeing. It is penetrated by honesty and it glows." -The New York Times "Soulful...The amiable country flavored tunes and lyrics are rendered with the kind of conviction and expertise that make them transcendent. What in normal times would be a joy is, in these troubled ones, sheer nourishment." -New York Magazine "Soaring melodies!...Well before the show reaches its conclusion, many...city slickers in the audience may be ready to enter Percy's raffle." -The Wall Street Journal "An abundance of warmth, spirit and goodwill!...Some of the most engaging and instantly infectious melodies I've heard in an original musical in some time." - USA Today

Characters: 13 male, 6 female. Various sets. Winner! 2010 New York Musical Theatre Festival Award for Excellence Winner! National Music Theatre Network Award! This charming rags to riches romp with a melodic score follows Ragged Dick, Horatio Alger's first best selling hero, from penniless bootblack to budding Wall Street entrepreneur. His adventures bring him face to face with scheming ex convicts, vicious comic villians, kind benefactors and a world of colorful street characters. Set in the New York Centennial summer of 1876, this full of hopes and dreams musical is perfect for the whole family. "A charming, feel-good musical. The work's tremendous heart and unabashed celebration of Alger's popular stories are in ample evidence in this appealing musical about the rise from rags to riches." - Meredith Lee, Theatermania "SHINE! is one of those wonderful musicals where an audience cares deeply for the hero. Richard Seff's book and Lee Goldsmith's lyrics perfectly capture the Horatio Alger spirit ...Composer Roger Anderson's ballads are strikingly beautiful. As for his up-tempo songs, to call each a toe-tapper would only be 10% accurate ..." - Peter Filichia, The Star-Ledger "Awfully close to the sort of musical that made the form nationally beloved in the Rodgers and Hammerstein era." - Marc Miller, Backstage "Highly tuneful...A friendly show of considerable good humor." - Playbill

A Victorian romp with music

Cleve Haubold, Music by James Alfred Hitt.

Characters: 6 male, 4 female

Interior Set

This Sherlock Holmes adventure in the style of Gilbert and Sullivan brings the great detective and Dr. Watson up against the evil wiles of that master of disguise, Sir Sullivan Sinister. The world of New Year's Eve, 1899, in London is a sparkling background against which Holmes wrestles with the puzzle of the Clockwork Prince, a brass key held for ransom, a stolen formula and a curiously missing cook who is nowhere and everywhere at once. Holmes makes the most of his gifts of deduction and disguise in a riotous race against the stroke of midnight with fatal results.

Youth Musical

Characters: 3 male, 6 female, 1 additional speaking part. Optional drummers, dancers, and chorus.

An amusing and heartwarming update of the children's classic tale. The original music, influenced by African and Caribbean rhythms, is designed to appeal to and be performed by young people. Children of all ethnic groups can identify with the heroine's courage and resilience on and appreciation for community support.