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"Lady, Be Good!"

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FONDAZIONE TEATRO LA FENICE DI VENEZIA LADY, BE GOOD! George Gershwin. 2 FONDAZIONE TEATRO LA FENICE DI VENEZIA GEORGE e IRA GERSHWIN LADY, BE GOOD! musica di GEORGE GERSHWIN lyrics di IRA GERSHWIN libretto di GUY BOLTON e FRED THOMPSON editore TAMS-WITMARK MUSIC LIBRARY, Inc., 560 Lexington Avenue, New York, New York 10022 i diritti musicali di George e Ira Gershwin sono concessi dalla famiglia Gershwin PALAFENICE AL TRONCHETTO Venerdì 25 febbraio 2000, ore 20.00, turno A Sabato 26 febbraio 2000, ore 15.30, turno C Domenica 27 febbraio 2000, ore 15.30, turno B Martedì 29 febbraio 2000, ore 20.00, turno D Mercoledì 1 marzo 2000, ore 20.00, turno E 3 —————— Edizioni dell’Ufficio Stampa del TEATRO LA FENICE Responsabile Cristiano Chiarot Coordinamento musicologico e redazionale Carlida Steffan ha collaborato Pierangelo Conte Ricerca iconografica Maria Teresa Muraro Copertina Tapiro Pubblicità AP srl Torino 4 SOMMARIO 7 LA LOCANDINA 11 IL LIBRETTO 80 LADY, BE GOOD! IN BREVE 82 ARGOMENTO - ARGUMENT - SYNOPSIS - HANDLUNG 91 GIANFRANCO VINAY ISTRUZIONI PER L’USO 101 CLAUDIO DONÀ GERSHWIN E LA FORTUNA DEL MUSICAL 110 INTERVISTA A KEVIN FARRELL E KEN CAZAN a cura di PIERANGELO CONTE 115 GEORGE GERSHWIN a cura di MIRKO SCHIPILLITI 127 BIBLIOGRAFIA ESSENZIALE a cura di GILDO SALERNO 131 WWW.LADY, BE GOOD! 133 BIOGRAFIE 5 Lauro Crisman, bozzetto per siparietto di Lady, Be Good!. Venezia, PalaFenice, febbraio 2000. 6 LA LOCANDINA GEORGE e IRA GERSHWIN LADY, BE GOOD! musica di GEORGE GERSHWIN lyrics di IRA GERSHWIN libretto di GUY BOLTON e FRED THOMPSON rivisto da KEN CAZAN revisone musicale di KEVIN FARRELL nuova orchestrazione di DON STURROCK collaborazione all’orchestrazione STEFANO BELLON e RICCARDO SCIVALES editore TAMS-WITMARK MUSIC LIBRARY, Inc., 560 Lexington Avenue, New York, New York 10022 i diritti musicali di George e Ira Gershwin sono concessi dalla famiglia Gershwin prima rappresentazione in Italia in lingua originale con sopratitoli in italiano personaggi ed interpreti Susie Trevor KIM CRISWELL Dick Trevor GEORGE DVORSKY Josephine Vanderwater ANN ADLEM Watty Watkins BARRY BUSSE Bertie Bassett JASON GARDINER Daisy Parke CARLA HUHTANEN Jeff White TOM KENASTON Jack Robinson JEFF MCCARTHY Shirley Vernon TAMI TAPPAN Manuel Estrada STEFANO PAGIN Rufus Parke VIRGILIO QUAGLIATO Flunkey, poliziotto, maggiordomo CESARE BARONI Cameriere, lacché ALBERTO FASOLI maestro concertatore e direttore KEVIN FARRELL regia KEN CAZAN coreografo scene e costumi JASON GARDINER LAURO CRISMAN assistente coreografo assistente regista ZOE HARDMAN PEGGY RILEY ORCHESTRA E CORO DEL TEATRO LA FENICE direttore del Coro GIOVANNI ANDREOLI maestro del Coro ALBERTO MALAZZI nuovo allestimento 7 direttore musicale di palcoscenico GIUSEPPE MAROTTA direttore dell’organizzazione scenica e tecnica BEPI MORASSI direttore di palcoscenico PAOLO CUCCHI responsabile allestimenti scenici MASSIMO CHECCHETTO maestri di sala STEFANO GIBELLATO, ROBERTA FERRARI maestri di palcoscenico ILARIA MACCACARO, SILVANO ZABEO, MARIA CRISTINA VAVOLO, LORENZO ZANONI maestro suggeritore PIERPAOLO GASTALDELLO maestro alle luci GABRIELLA ZEN capo macchinista VALTER MARCANZIN capo elettricista VILMO FURIAN capo attrezzista ROBERTO FIORI capo sarta MARIA TRAMAROLLO responsabile della falegnameria ADAMO PADOVAN capogruppo figuranti CLAUDIO COLOMBINI realizzazione scene DECOR PAN (Treviso) - LABORATORIO TEATRO LA FENICE attrezzeria DECOR PAN (Treviso) - LABORATORIO TEATRO LA FENICE costumi NICOLAO ATELIER (Venezia) calzature C.T.C. PEDRAZZOLI (Milano) parrucche B.S. STUDIO (Trieste) 8 Lauro Crisman, bozzetto per Lady, Be Good!. Venezia, PalaFenice, febbraio 2000. 9 Frontespizio dello spartito di Hang On to Me, tratto da Lady, Be Good!. 10 IL LIBRETTO GEORGE e IRA GERSHWIN LADY, BE GOOD! musica di GEORGE GERSHWIN lyrics di IRA GERSHWIN libretto di GUY BOLTON eFRED THOMPSON rivisto da KEN CAZAN traduzione di CARLA FERRARO 11 ACT I ATTO P R I MO SCENE 1 SCENA 1 Sidewalk in front of the old Trevor homestead, Marciapiede di fronte alla casa dei Trevor, a Beacon Hill, Rhode Island. It is about 8:00 a.m. Beacon Hill, Rhode Island. Sono circa le 8 di mattina. DICK DICK What do you mean by turning us out like this? Ma le sembra giusto sbatterci fuori così? Mia My sister is sick in bed. sorella è a letto malata. MAN MAN Your sister always gets sick when anyone Sua sorella si ammala sempre, quando arriva comes to collect the rent. qualcuno a riscuotere l’affitto. SUSIE SUSIE All right, but if you bring me out here and I die D’accordo, portatemi pure fuori, ma se poi from exposure and de-hydration, don’t hold me muoio per assideramento e disidratazione non responsible. dite che è colpa mia. MAN MAN Sorry, Miss Trevor, landlord’s orders. Mi spiace, Signorina Trevor, ordini del padrone. SUSIE SUSIE Well, this is a fine mess. Questo sì che è un bel pasticcio. DICK DICK Think of that old shark having us thrown out Pensa a quel vecchio squalo che ci fa sbattere because the rent is a mere eighteen months fuori solo perché non paghiamo l’affitto da overdue. It’s outrageous! diciotto mesi. È vergognoso! SUSIE SUSIE It’s preposterous! Say, Dickie, I wish you’d try È ridicolo! Sai, Dickie, secondo me dovresti to get a job. trovarti un lavoro. DICK DICK Don’t you think I haven’t tried? (Susie starts to Credi che non ci abbia provato? (Susie scoppia cry) a piangere) Aw…cheer up, Sis. It’s no use crying over spilt Dai, smettila, sorellina. Non serve piangere sul milk. latte versato. SUSIE SUSIE I am not crying! Heck, it’ll be fun, living on a Non sto piangendo! Che diamine, ce la sidewalk. This can be my room here and we’ll spasseremo a vivere sul marciapiede. Questa make that the library over there. Where the potrebbe essere la mia camera e la sala di nice reading lamp is. lettura potremmo farla lì, sotto quel bel lampione. 12 DICK DICK Sure!! It’s going to be all right, Sis! There’s one Certo! Sarà perfetto, sorellina! Una cosa non ci thing we know we’re not going to be short of. mancherà mai di certo. SUSIE SUSIE What? Che cosa? DICK DICK Ventilation. L’aria. HANG ON TO ME APPOGGIATI A ME DICK DICK Trouble may hound us, I guai ci perseguitano, Shadow surround us, le ombre ci circondano, Never mind my dear. non preoccuparti, mia cara. Don’t get downhearted; Non abbatterti; When we get started, Quando li affronteremo They will disappear. Spariranno. Listen to brother: Ascolta tuo fratello: While we’ve each other, Finché saremo insieme There’s no need to fear, Non ci sarà niente da temere, For like Hansel and Gretel, Come Hansel e Gretel We will prove our mettle. Mostreremo il nostro coraggio. If you hang on to me Se ti appoggi a me While I hang on to you, e io mi appoggio a te, We’ll dance into the sunshine out of the dopo la pioggia balleremo nel sole. rain. Se ti appoggi a me (Forever and a day) (Per sempre e ancor di più) SUSIE SUSIE Don’t sigh, we’ll get along; Non sospirare, ce la faremo; Just try humming a song, Prova solo ad accennare una canzone, And my! Soon we will hear the bluebirds e così, presto sentiremo di nuovo gli [again. [usignoli. DICK DICK That’s right! Hold tight! Andrà tutto bene! Tieni duro! We’re on our way! Siamo sulla buona strada! SUSIE SUSIE Uphill, until In salita, fino a che BOTH ENTRAMBI We lose the shadows. non si dissolvono le ombre. If you hang on to me, Se ti appoggi a me, While I hang on to you, e io mi appoggio a te, We’ll dance into the sunshine out of the rain. dopo la pioggia balleremo nel sole. 13 POLICEMAN POLIZIOTTO Hey, what’s the idea of all this? Ehi, che sta succedendo qui? SUSIE SUSIE You’re just the man I want to see. Would you È arrivato a proposito. Le dispiacerebbe svitare mind taking out that lamppost bulb and la lampadina dal lampione e infilarci questo screwing in this little whosis? aggeggio? POLICEMAN POLIZIOTTO Why, you know I can’t do anything like that, Perché me lo chiede, Signorina Trevor? Lo sa Miss Trevor. che non posso. SUSIE SUSIE Very well, then, I can! Now, we’ll have current Va bene, allora, ci penserò io! Così avremo la and no “current” expense. corrente senza nessuna spesa “corrente”. DICK DICK Hooray! Hurrà! That’s right! Hold tight! Andrà tutto bene! Tieni duro! We’re on our way! Siamo sulla buona strada! SUSIE SUSIE Uphill, until In salita, fino a che BOTH SUSIE e DICK We lose the shadows. non si dissolvono le ombre. If you hang on to me, Se ti appoggi a me, While I hang on to you, e io mi appoggio a te, We’ll dance into the sunshine… dopo la pioggia balleremo nel sole… (Explosion) (Esplosione) POLICEMAN POLIZIOTTO Well, I guess the best thing for me to do is go Bene, credo che la cosa migliore da fare sia along my beat. continuare la ronda. SUSIE SUSIE That’s what I say. Beat it. Sono assolutamente d’accordo. Levi le tende. SUSIE SUSIE Dickie, I’ve an idea! Why not call Watty Dickie, ho un’idea! Perché non telefonare a Watkins? They say he’s the smartest lawyer in Watty Watkins? Dicono che sia il migliore town. avvocato di tutta la città. DICK DICK Or the crookedest! O il più disonesto! SUSIE SUSIE Dickie, I swear… Dickie, giuro che … DICK DICK Ok! Ok! I’ll try anything once! Ok, Ok! A questo punto, non lascerò nulla di intentato. 14 SUSIE SUSIE Excuse me, this seat is taken. Mi scusi, questo posto è occupato. JACK JACK Oh, sorry! Hello, little girl.
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  • Theater Playbills and Programs Collection, 1875-1972

    Theater Playbills and Programs Collection, 1875-1972

    Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
  • London Musicals 1920-1924.Pub

    London Musicals 1920-1924.Pub

    1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original.