Nine

Backing Track A Call from the Vatican. By Total Sound from the Musical
"NINE"

Carla Guido...
I was lazing around my bedroom
When an idea occurred to me
I thought you might be wondering about,
Guido...

(NOTE. In the Broadway production, this was a subtly sugges
tive, highly acrobatic number. Without leaving the vicinity
of her box, Carla gracefully twisted herself into a variety
of positions, and at one point even sang while upside down.)

Who’s not wearing any clothes? I’m not!
My darling,
Who’s afraid to kiss your toes? I’m not!
Your mama dear is blowing into your ear,
So you’ll get it loud and clear,
I need you to squeeze me here ...
And here ...
And here ...

Guido seems in pain.

Luisa Is something wrong?
Guido What? Oh, I’m not sure. It’s about my film.
It’s from the Vatican. Go ahead, Monsignor.
Carla Cootchie, cootchie, cootchie coo.
I’ve got a plan for what I’m gonna do to you,
So hot you’re gonna steam, and scream,
And vibrate like a string I’m plucking –
Kiss your fevered little brow,
Pinch your cheeks till you say “Ow,”
And i can hardly wait to show you how, Guido
Who won’t care if you come to me tired and overworked?
I won’t! Bambino,
Who knows a therapy to beat what you can get from me?
I don’t!
But this will have to be enough for now, Guido, Ciao.
(speaking) I love you, Guido.
Luisa (noticing that Guido seems stunned) Guido...
You’ve handled the Vatican before.
Guido The Vatican? ... Oh yes, the Vatican! But before,
the Vatican didn’t attack until I’d finished a film!
What is it about me that the Church doesn’t like? What, what?
Luisa Guido, calm down. When are you supposed to start shooting?
Guido What’s today?
Luisa Monday.
Guido Friday. No, I mean really, this is no joke.
The crew arrives tomorrow.
We’re supposed to start building the sets, the props- what sets, what props?
You know something?
If I don’t come up with a very good idea very quick, my career is finished, done for, kaput!
(An idea strikes.) A Western!
(Guido, joined by Little Guido, tries out a Western motif with his “orchestra”)
Luisa Well, you’re in a lot of trouble!
Guido That’s not what I needed you to say!
Luisa What would you like me to say?
Guido Say, “Guido,, you’ve been in situations just as tough as this before!”
Luisa Guido, you’ve been in situations just as tough as this before!.
Guido Really! And how did I get out of them?
Luisa What’s my next line?
Guido I don’t know.
Luisa I don’t either.
Guido Oh my God! (Another idea strikes.) A Bible epic!
(He and Little Guido try out a Bible motif with the “or chestra”)
“Go forth unto that mountain, and there you will find an Academy Award!”
Luisa What’d you say that made her/him offer you this contract?
Guido I can’t remember. A documentary? (He decides to give that a try.) A documentary!
Guido’s Orchestra Kumbasa,,.0 Guido, Kulanumbaye!
Luisa (She, of course, does not see the orchestra.) You know what I think?
Guido (coming out of it) What?
Luisa I think you should take the day off.
Guido Luisa, I can’t! At this rate, in four days they’ll shoot me!
Luisa Guido, no one’s going to shoot you. What you need is to relax.
I know how you work.
The ideas have to come of their own accord.
Guido What if they don’t?
Luisa Improvise.
Guido Oh yes. Here’s one.
How about a film dealing with the last days of a director’s once: glorious career?
It takes place in a spa. At the end he shoots himself.
Luisa There you are! Flow simple.
Guido Oh my God!
Luisa Guido, we came here to relax. Trust nee. (softer, seductive tone)
I’ve ordered a picnic lunch.
Guido You’ve what?
Luisa Olives. Prosciutto. Some cool white wine.
Guido (touched) Luisa!
Luisa And I’ve rented a gondola for the day.
It’s enclosed in the’ middle; With drapes on the windows.
thought we’d just kind of... drift around... see what comes up.
Guido (clearly turned on by her) Oh, Luisa!
What would I do without you?

The Tap Dance Kid

Backing Track Class Act by Total Sound
From the Musical "The Tap Dance Kid"

nervous,nervous, every night
do I know my routine?
will I ever get it right?
scared to death, deep breath,
nervous,nervous, every night

Then Jenny makes her entrance
with a flare she, counts the house
to see who's there
Then comes Dipsy but have no fear
'Cause that'll be daddy bringing up the rear

Moving to the music. nice and slow
sorta, easy come kinda easy go
with a one, two, three for the show
we got a nack for holding back
because we know

We got a Class Act
It's a well known fact
you can tell by the swells
try and sell me a track
Dipsy and me, and Daddy makes three
We've got a top notch high tone
first class act

INST

We got a Class Act
It's a well known fact
We've got a top notch top floor
top of the bill
Ain't nothing low down low class
run of the mill
We got a top notch high tone
We got a Class Act

Act

Act

first class act

(transcribed from Original recording)

Fosse

Life is Just a Bowl of Cherries
Backing Track by Total Sound
From the Musical "Fosse" also featured in "Pennies from Heaven"

Fosse is a journey in song and dance through the extraordinary career of showman Bob Fosse


People are queer, they're always crowing, scrambling and rushing about;
Why don't they stop someday, address themselves this way?
Why are we here? Where are we going? It's time that we found out.
We're not here to stay; we're on a short holiday.

Life is just a bowl of cherries.
Don't take it serious; life's so mysterious.
You work, you save, you worry so,
But you can't take your dough when you go, go, go.
So keep repeating it's the berries,
The strongest oak must fall,
The sweet things in life, to you were just loaned
So how can you lose what you've never owned?
Life is just a bowl of cherries,
So live and laugh at it all.

Life is just a bowl of cherries.
Don't take it serious; it's too mysterious.
At eight each morning I have got a date,
To take my plunge 'round the Empire State.
You'll admit it's not the berries,
In a building that's so tall;
There's a guy in the show, the girls love to kiss;
Get thousands a week just for crooning like this:
Life is just a bowl of . . . aw, nuts!
So live and laugh at it all!

(lyrics are to the best of my knowledge.)

Ice Castles

Backing Track Lyrics
Looking through the Eyes of Love
in the style of Melissa Manchester

Ice Castles is a 1978 American romantic drama, starring Lynn-Holly Johnson and Robby Benson.

It is the story of Alexis, a young figure skater, and her rise and fall from super stardom. Tragedy strikes when, following a freak accident, Lexie loses her sight, leaving her to hide away in the privacy of her own despair. She eventually perseveres and begins competing in figure skating again.

The work was filmed on location in Colorado and Minnesota. It made famous Melissa Manchester's hit song, "Through the Eyes of Love."

To Sir With Love

Backing Track To Sir With Love in the style of Lulu

The film is in a now-established genre in which an idealistic teacher is confronted with a class of cynical teenagers, disengaged from conventional schooling. The film sets Poitier, a black teacher, in a predominantly white London school. The film touches on racial issues but concentrates on the usual tropes of teenage angst and inspirational leadership. The film portrays a sanitised and fictional Swinging London. Issues of sexual infatuation between a pupil and teacher were rather less sensitive in the 1960s than they were to become in the 21st century, as evidenced by the rather provocative strapline A story as fresh as the girls in their minis.

Cabaret

Backing Track: Money, Money
Music John Kander
Lyrics Fred Ebb
Book Joe Masteroff
Based upon John Van Druten's play
I Am a Camera
Productions 1966 Broadway

The 1966 Broadway production became a hit and spawned an acclaimed 1972 film as well as numerous subsequent productions.

Originally entitled Welcome to Berlin, it is based on John Van Druten's play I Am a Camera, which in turn was adapted from the novel Mr. Norris Changes Trains and a collection of short stories, Goodbye to Berlin, by Christopher Isherwood. Set in 1929-1930 Berlin on the eve of the Nazis' rise to power, it focuses on nightlife at the seedy Kit Kat Klub and mostly revolves around the English 19-year-old cabaret performer Sally Bowles and her relationship with young American writer, Cliff Bradshaw. A sub-plot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Emcee, who presides as master of ceremonies at the Kit Kat Klub and serves as a constant metaphor for the current state of society in Weimar Germany throughout the show.

Robin Hood

Backing Track "Walkin in the Sunshine"
Producer Wolfgang Reitherman (A Disney Classic)

The Robin Hood legend has long been popular with movie makers, inspiring the silent version starring Douglas Fairbanks, the Errol Flynn classic of 1938, Sean Connery and Audrey Hepburn's "Robin and Marian" in 1976, Disney's own live-action version "The Story of Robin Hood and His Merrie Men" in 1952, and Kevin Costner's latest version in 1991. Some 350,000 drawings were made for the production, with over 100,000 painted cels and 800 painted backgrounds. The film was rereleased in theaters in 1982. Released on video in 1984 and 1991. Disney

Swashbuckling adventure and unforgettable characters make the story of ROBIN HOOD an all-time favorite! The animal kingdom serves up a feast of bowmanship, swordplay, and daring deeds in Disney's classic version of this timeless medieval tale. England is at war and ruled by a phony king! Greedy Prince John and his slithering sidekick, Sir Hiss, are taxing Nottingham's residents to the limit. But roguish Robin Hood, along with his trusted companion Little John and his devoted band of merry men, hatch one exciting adventure after another to outfox the prince. Robin won't rest until he wins the hand of fair Maid Marian and King Richard is restored to the throne! Superb storytelling, wonderful animation, and sensational songs make ROBIN HOOD a magical movie for kids of all ages!

Chitty Chitty Bang Bang

Backing Track "Doll on a Music Box & Truly Scrumptious"
Made into Musical 1968


Chitty Chitty Bang Bang: The Magical Car is a children's novel written by Ian Fleming for his son Caspar, with illustrations by John Burningham. It was first published in 1964 by Jonathan Cape in London and Random House in New York, and later made into a successful film.

Writer Ian Fleming took his inspiration for the car from a series of aero-engined racing cars built by Count Louis Zborowski in the early 1920s, christened "Chitty Bang Bang".

Plot:

The story was made into a musical film Chitty Chitty Bang Bang in 1968.

The film is completely different from the book. During the opening credits, we see highlights from the illustrious racing career of a car which won just about every race it took part in, until one day, it crashed. The car is now in an old junkyard, and Caractacus Potts' (Dick Van ####) two young children, Jeremy (Adrian Hall), and Jemima (Heather Ripley), like to pretend it is a racing car. But it looks as if those happy days are soon to come to an end, because a thoroughly unpleasant man has offered to buy the car, and the junkyard owner, Coggins (Desmond Llewelyn), cannot refuse his offer. The children say that they will ask their father to buy the car. On the way home they meet the beautiful Truly Scrumptious (Sally Ann Howes), who insists on giving them a lift. We discover that the Potts live in an old windmill, where Truly Scrumptious meets the children's eccentric Grandpa Potts (Lionel Jeffries), and their father, Caractacus. She argues with Caractacus about how the children should be in school, and that he should not be allowing them to run wild in the streets. He becomes furious with her for interfering, and telling him how to raise his children, and sends her away with a fly in her ear. After Truly has gone, the family have dinner, reflecting on their happy family life, ("You Two").

Just a short overview.

Guys and Dolls

Musical Produced 1950 directed by George Kaufman
Movie Version 1955
Word and Music written by Frank Loesser

Backing track "A Bushell and a Peck" in the style of Irving Actman (Like original)

Lyrics

I love you, a bushel and a peck!
A bushel and a peck, and a hug around the neck!
A hug around the neck, and a barrel and a heap
A barrel and a heap, and I'm talkin' in my sleep.
About you.
About you!
About you!
My heart is leapin'!
I'm having trouble sleepin'!
'Cause I love you, a bushel and a peck
You bet your pretty neck I do!
Doodle, oodle, oodle.
Doodle, oodle, oodle.
Doodle oodle oodle oo.
I love you, a bushel and a peck
A bushel and a peck, go and beats me all to heck!
Beats me all to heck how I'll ever tend the farm
Ever tend the farm when I want to keep my
Arms - about you -
About you!
About you!
The cows and chickens
are goin' to the dickens!
'Cause I love you a bushel and a peck
You bet your pretty neck I do -

Doodle oodle oodle
Doodle oodle oodle
Doodle oodle oodle, oo!

Good-bye now!
(they repeat the "doodles" as they exit)



Backing Track "Take Back Your Mink"

Lyrics

He bought me the fur mink five winters ago
And the gown the following fall
Then the necklace, the bag, the gloves, and the hat,
That was late '48 I recall
Then last night in his apartment
He tried to remove them all
And I said as I ran down the hall.

Take back your mink
Take back your pearls
What made you think
That I was one of those girls?
Take back the gown
The gloves and the hat
I may be down
But I'm not flat as all that.

I thought that each expensive gift you'd arranged
Was a token of your esteem
But when I think of what you want in exchange
It all seems a horrible dream
Eek.

So take back your mink.
To from whence it came
And tell them to alter and rise it
For some other dame

Take back your mink
Take back your pearls
What made you think
That I was one of those girls?
I'm screaming:
Take back the gown
The gloves and the hat
I may be down
But I'm not flat as all that.

I thought that each expensive gift you'd arranged
Was a token of your esteem
But when I think of what you want in exchange
It all seems a horrible dream
Eek!

Take back your mink
Those old worn out pelts
And go shorten the sleaves
For somebody else.

(interlude)

Well, wouldn't you?


Act I
The show opens with three gamblers talking about which horse will win a race the following day. (Fugue for Tinhorns), they are met by the band of the Save-a-Soul Mission who encourages them to stop the evils of gambling. (Follow the Fold) The rest of the story revolves around the activities of New York petty criminals and professional gamblers. Nathan Detroit runs an (illegal) "floating crap game", despite constant encouragement to "go straight" by Miss Adelaide, a nightclub singer to whom he has been engaged for fourteen years but will not marry. When a surge of "high-rollers" comes to town, Nathan is pressured to find a place to hold his floating crap game. Due to strong police activity, namely Lieutenant Brannigan, he can only find one spot, the Biltmore Hotel garage. The owner's requirement, however, is a $1,000 deposit for security, which Nathan does not have. (The Oldest Established)

Trying to obtain the money, Nathan comes across Sky Masterson, a high-rolling gambler willing to bet on virtually anything. Nathan proposes a bet which seems impossible to lose: Sky must take a doll of Nathan's choice to dinner... in Havana, Cuba, or pay up. Nathan chooses Miss Sarah Brown, a straight-walking sergeant at the Save-a-Soul Mission, a local Salvation Army-like organization. Sarah resists Sky (I'll Know), but her Mission is in trouble, and when he promises to fill her prayer meeting with a dozen sinners, Sky manages to get Sarah to agree to the date, putting Nathan in an even worse position. Over the course of their date (If I Were a Bell), Sky manages to break down Sarah's social inhibitions, and they begin to fall in love with one another. Unfortunately, their romance is shattered once they get back to America (My Time of Day/I've Never Been in Love Before), as Nathan is caught running his crap game- in the mission.

Act II
Nathan is also struggling with his relationship with his fiancée of fourteen years, Adelaide (Take Back Your Mink), who has come down with a psychosomatic cold due to lack of a wedding ring. (Adelaides Second Lament) Tired of his habitual lying, she walks out on him (Sue Me). Meanwhile, Sky is having problems of his own with Sarah as their lifestyles clash. Convinced that his love for Sarah is true, Sky makes good on a bet he made with Sarah to fill her failing mission with a dozen sinners. Also, he lies about succeeding on his original bet with Nathan and pays him the $1,000. At the same time, Sky wins a bet with the guys at Nathan's crap game that results in them having to appear at Sarah's mission (Sit Down, You're Rocking the Boat). Nathan also attends, but doing so nearly ruins his relationship with Adelaide.

Sarah fatefully runs into Adelaide, where the two realize that they cannot fight love any longer (Marry the Man Today). Adelaide is relieved when Sarah mentions that Nathan had attended a service earlier in the night, which Adelaide thought he had been lying about.

The show ends happily with Nathan and Adelaide's long-awaited wedding (Finale), Nathan having gone (almost) straight. They are joined by Sarah and Sky, who has joined the mission and married Sarah.

Other Songs Include Runyonland, A Bushel and A Peck, Adelaide's Lament Guys and Dolls, The More I Cannot Wish You,

HAIR

Debut 1967
Lyrics by James Rado and Gerome Ragni
Music by Galt MacDermot.

Age of Aquarius
Backing Track

The musical follows "The Tribe", a group of politically active friends, long-haired "Hippies of the Age of Aquarius" fighting against conscription to the Vietnam War and living a bohemian life together in an apartment in New York City. Among them are Claude, the nominal group leader; Berger, an irreverent free spirit; Sheila, a New York University (NYU) film student who is in love with both of them, and who is the most focused political activist of the group; Woof a bisexual gentle soul; Jeanie, who is in love with Claude but pregnant by another man; Hud, a Black Panther; Crissy; and Dionne, among others, who are struggling to balance their young lives, loves and the sexual revolution with their pacifist rebellion against the war and the conservative impulses of their parents and society.
When the men of The Tribe receive a draft notice, they conduct a burning ceremony at a Be-In and destroy their draft cards, except for Claude. Ultimately, he goes to fight in Vietnam, as each member of The Tribe reluctantly releases him. Sheila's "good-bye" to Claude includes the gift of sex. Symbolically, the sub-plot of Claude's repeated failure to burn his draft card can be interpreted as a hippie take on Hamlet, whose inability to take decisive action causes his demise. The symbolism is carried into the last scene, where Claude appears as a ghostly spirit among his friends wearing an army uniform[citation needed] in an ironic echo of an earlier scene, where he says, "If I was invisible, I could do anything!"