Thoroughly Modern Millie

r Vocal Selections PIANO VOCAL GUITAR THOROUGHLY MODERN MILLIE

I1MUSIC COMPAl ' Vocal Selections THOROUGHLY MODERN MILLIE

5 Introduction

89 1 Turned: the Corw

104 iimml hme

Michael Leavitt Fox Theatricals Hal Luftig Stewart F. Lane James L. Nederlander Independent Presenters Network 1. MagesIM. Glick BerinsteinlManocherianlDramatic Forces John York Noble and Whoopi Goldberg present aYIY

TUE N€W 44OffDWffV mUrl

ar by Richard Morris Dick Scanlan by leanine- Tesori I~Wlyrics h Dick ScanIan Original Story and Screenplay by Richard Morris for the Universal Pictures Film Starring SHERYL LEE RALPH HARRIET HARRIS MARC KUDISCH GAVlN CREEL ANGELA CHRISTIAN KEN LEUNG FRANCIS JUE ANNE L. NATHAN With Kate Baldwin Roxane Barlow Melissa Bell Chait Catherine Brunell Joyce Chittick J.P. Christensen Julie Connors David Eggers Aldrin Gonzalez Greg Goodbrod Jessica Grove Susan Haefner Amy Heggins JoAnn M. Hunter Alisa Klein Matt Lashey Darren Lee Dan LoBuono Casey Nicholaw Noah Racey Aaron Ramey T. Oliver Reid Megan Sikora Brandon Wardell and introducing SUTTON FOSTER as Millie Scenic Design Costume Design Lighting Design Sound Design DAVID GALL0 MARTIN PAKLEDINAZ DONALD HOLDER JON WESTON Orchestrations Dance Music Arranger Vocal Music Arranger Music Coordinator DOUG BESTERMAN and RALPH BURNS DAVID CHASE JEANINE TESORI JOHN MILLER Hair Designer Press Representative Marketing Casting PAUL HUNTLEY BARLOW HARTMAN TMG-THE MARKETING GROUP JIM CARNAHAN, C.S.A. Production Manager General Management Production Stage Manager Associate Producers THEATERSMITH, INC. NINA LANNAN ASSOCIATES BONNIE L BECKER MIKE ISAACSON KRISTIN CASKEY CLEAR CHANNEL ENTERTAINMENT Music Director MICHAEL RAFTER Choreographed by ROB ASHFORD Directed bv MICHAEL ~IAYER O%inindty Produ

Manhattan. 1922. Millie Dillmount steps off the train from Salina, Kansas. She's read books and studied photos in preparation for her new life. The first step? A new look: bobbed hair and a short skirt turn Millie into a modern.

Her delight is short-lived when her purse is stolen. Millie calls out for help, but the hustling, bustling New Yorkers pay no attention, so she trips one of them. He's plenty mad at Millie, taking just enough pity on her to give her the address of a residence for young ladies. He also gives her advice: go back to Kansas, because she's clearly not Manhattan material. Determined to prove him wrong, she storms off to find the Hotel Priscilla.

A week later, she hasn't found a job. The girls at the Priscilla are worried because young girls are disappearing all over town. Mrs. Meers, the manager of the hotel, sets their minds at ease: unlike the Priscilla girls, the kidnapping victims are orphans. Relieved, the girls head out on auditions. Only Ethel Peas remains, clutching a telegram informing her of the death of her only remaining relative, leaving Ethel an orphan. Bad news for Ethel, but good news for Mrs. Meers, whose real name is Daisy Crumpler. The Priscilla is a front for her real occupation: kidnapping orphan girls and shipping them into slavery. Two young Chinese immigrants, Ching Ho and Bun Foo, reluctantly act as her henchmen because of her promise to bring their mother to America.

While Mrs. Meers is in her office doping Ethel Peas, Millie returns to the Priscilla, still unemployed. Miss Dorothy Brown, a wealthy orphan, checks in. She and Millie strike up an immediate friendship. Dorothy reveals her dream to be an actress, and Millie reveals her dream to parlay her typing skills into a job for an eligible bachelor, and then marry him.

Later that day, Millie finds her dream boss, a successful bachelor named Trevor Graydon Ill. Despite Millie's attempts to flirt with him, Trevor is interested only in her secretarial skills, which land Millie the job.

Back at the Priscilla, Mrs. Meers lays a trap for Dorothy. She sends a drugged apple to Dorothy's room, with Ching Ho playing waiter. The moment he lays eyes on Dorothy, Ching Ho can't go through with it. He's immediately smitten, so Mrs. Meers takes over. However, her attempts to convince Dorothy to eat the apple are interrupted by girls coming and going.

Millie takes Dorothy and the girls out that night to celebrate her new job. This is the height of Prohibition, when selling alcohol was illegal, and the girls don't know how to find a speakeasy. Help comes from an unlikely source: the man who Millie tripped after she was mugged. His name is Jimmy Smith, and though he and Millie are cool to each other, he's impressed by her new confidence. He sneaks them into a nearby speakeasy, where they have their first taste of booze and dance the nigtit away. As the evening progresses, so do Jimmy's feelings for Millicr, and the two of them are finding it difficult to resist their -. - growing attraction. I ne tun comes to a halt when police raid the joint, landing Jimmy and Millie in prison overnight. While everyone sleeps in their celIs, JimmY realizes that he is falling in love with Millie. The next morning, Jimmy asks Millie out. When she tells him about Trevor, Jimmy is crestfallen. To save face, he insists that his interest in Millie is platonic, and he proves his point by asking her to bring Dorothy along.

For the next few weeks, Millie, Dorothy and Jimmy are inseparable. Jimmy is their guide to New York nightlife, but the topper comes when he wrangles an invitation to a party at the penthouse of a world-famous singer named Muzzy Van Hossmere. The cream of New York society is there, but Jimmy only has eyes for Millie. Alone on Muzzy's terrace, they argue about her plan to marry her boss, and in the midst of their angry words, they kiss. And what a kiss, enough to make Millie realize that she's falling in love with him, too. She returns to the Priscilla on a cloud of love, but she's brought back to earth when, to her astonishment, she sees Jimmy sneaking out of Dorothy's bedroom.

The next day, at work, Millie slams the phone down whenever Jimmy calls her. She is further aggravated by Dorothy, who drops by after a bad auditiony~illie's day goes from bad to worse when Trevor is immediately captivated by Dorothy's beauty. Trevor asks Dorothy to dinner, and she accepts; in a few short minutes, Millie has lost her bosslfiance and her best friend.

Jimmy then appears at the window. Lovestruck, he has climbed up 20 stories to the ledge outside Millie's window, and refuses to leave until she speaks to him. Millie confronts him about his visit to Dorothy's room, and Jimmy explains that he went there for some advice regarding his love for Millie. Millie can't help but give in to her feelings: they agree to meet that night for dinner at Cafe Society, where Muzzy will be singing.

That night, Millie and Jimmy come up short for Cafe Society's pricey bill. They're banished to the kitchen, washing dishes to pay for their dinner. Millie is elbow deep in soapsuds when she realizes that life with Jimmy will mean a life she'd hoped to escape by leaving Kansas. She may love him, but to Millie, modern marriage means money. She bolts from the kitchen and into Muzzy's dressing room. Muzzy convinces Millie that, when it comes to marriage, love is all that matters.

Millie is determined to find Jimmy and make up with him, but she is stopped by a drunken Trevor. Millie is stunned to learn that when Trevor went to the Hotel Priscilla to pick Dorothy up for their date, Mrs. Meers told him that Dorothy had checked out. Jimmy enters, and his joy at finding Millie is overshadowed by his concern for the disappeared Dorothy. It doesn't take them long to figure out that Mrs. Meers has kidnapped Dorothy and plans to sell her into slavery. Millie devises a plan to save the day.

Muzzy checks into the Priscilla disguised as a new orphan in town. Mrs. Meers sees through Muzzy's act, so Muzzy goads Mrs. Meers into bragging about her criminal endeavors. Millie, Trevor, and Jimmy emerge from their hiding places, where Millie has taken down every word of Mrs. Meers' confession in shorthand. Who ends up with whom? A series of surprise revelations guarantees a thoroughly happy ending for all!

Not for the Life of Me

Lyrics by Dick Scanlan Music by Jeanine Tesori

Freely G

I I stud - ied all the pic - tures in

mag - a - zines and books. I mem - o - rized the sub - way map, too. It's

I one block north to Ma - cy's and two to Broth - ers Brooks. Man - hat - tan, I pre - pared for

Copyright O 2001 That's Music To My Ears Ltd. and Thoroughly Modern Music Publishing Co. International Copyright Secured All Rights Resewed I, I Y I I I h I I I I I I I L I LII I LII I I I L I \I I I I I I I \I I I I \ cr u rn #&' --- #&' 3 - #dl you. You cer - tain - ly are dif - frent from what they have back home, where

I noth - ing's o - ver three sto - ries high, and no one's in a hur - ry or

wants to roam, but I do, though they won - der why.

said I would soon be good and lone - ly. They said I would sing the home - sick I I ILi I I I 11-1 I L I I I I - - mr r r r r or r. - I I _I blues. So I a1 - ways have this tick - et in my pock - et, a tick - et

Slower Tacet

I home in my pock - et to do with as 1 choose.

r3i Hot ~ixieland(n = J h ) Tacet ~b6 Tacet

I Bum the bridge. - Bet the store. - Ba - by's com - in' home -

I - no more. - Not for the life of me. ~m7b~/~b ~b+ ~b ~b6 Tacet ~b7#5

I Break the lock. - Post my bail.

I = L'! I I

. . Done my time, I'm out - ta all. - Not for the

life of me. A life that's

got - ta be more than a one - light town where the light is a1 - ways red. - got - ta be more than a coun - try wife mak - in' ba - bies till I croak. - Got - ta be more- than an old ghost town where the Got - ta be more- than the lead - ing role in a

ghost ain't e - ven dead. mer's daugh - ter joke.

Clap - a - your hands - just - a - be - cause don't you know that where I am ain't Days of yore, - kind and gen - tle, ask me if I'm

where I was. - Not for the life of sen - ti - men - tal. I I Boh doh dee oh.

life of - me. You see, I life of, -

I not for the life of, _ not for the life

I of me! Thoroughly Modern Millie

Words by Sammy Cahn Music by James Van Heusen I-31 Hot Dixieland ( n = J 1) A6 A07 A6

I There are those, - there are those, -

sup - pose,- I sup - pose,- think we're mad,

Copyright O 1967; Renewed 1995 Cahn Music Company (ASCAP) and Universal - Northern Music Company, Inc. (ASCAP) All Rights for Cahn Music Company Administered by Cherry Lane Music Publishing Company, Inc. and Dreamworks Songs 14 International Copyright Secured All Rights Reserved heav - en knows, - the world has gone to rack and to

1 ruin.

I What we

think is chic, u - nique, and quite a - dor - a - ble, - I they think is odd - and Sod - om and - Go -

I mor - rah - ble!

A7 Tacet D

E9 El3 Tacet A7 A7/B

(Check your per - son - a1 - i - ty.) Ev - 'ry - thing to - A~/c# D7 D9 Tacet

I day makes yes - ter - day slow. (Bet - ter face re - a1 - i - ty.)

U w I" Fair. In fact, it's sty1 - ish to

N.C. A7 A07 A7 A07

raise your skirts and bob your hair, Raise your skirts and bob your hair, - Raise your skirts and I YI Have you seen the way they kiss- in the bob your hair! - bob your hair! -

E9 El3 N.C. A7

mov - ies? - (Is - n't it de - lect - a - ble?) Paint - ing lips and I

N.C. ~$13 Tacet

- I" pen - cil - lin - ing your brow now is quite re - spect - a - ble.

Good - bye, good good - y girl, I'm chang - ing, and Mod - em

4- u ' 1" Mil - lie now!

What we think is chic, - u nique, and quite a -

I dor - a - ble, - they think is odd- and Sod - om and - Go - mor - rah - ble! - But the fact is,

F Tacet

I I ev - 'ry - thing to ' - day is thor - ough - ly mod em.

Tacet C7

(Bands are get - tin' jazz - i - er.) Ev - 'ry - thing to - day is start - ing to

Tacet F13 Tacet B6

(Cars are get - tin' snaz - zi - er.) Men say it's crim - i - nal what wom - en - '11 do.

G9 N.C.

What they're for - get - ting is this is nine - teen

I twen - ty - two! - Good good good -

I I'm chang - ing, and how !

Tacet

I I'm chang - ing, and how ! So N.C.

I beat the drums 'cause here comes thor - ough - ly Hot off the press! One step

grad. cresc. I

Tacet

1" Mod Mil lie

IA Y, Y- I I c 3 - - - I I I II

now! A How the Other Half Lives

Lyrics by Dick Scanlan Music by Jeanine Tesori

Moderately, in 2; dramatically E/B B+/A

/ Dorothy: This is liv - ing! This is what I call

year af - ter year with a se - cret yen! All of my prayers,

Copyright Q 2001 That's Music To My Ears Ltd. and Thoroughly Modem Music Publishing Co. International Copyright Secured All Rights Rewwed Freely F+/B h

I all my de - sire, ev - 'ry wak - ing mo - ment with my heart a - fire!

- - j. 8 U 1-37 Moderate Soft-shoe ( n = J 1) D ~#7b5 D6

I Give me the meat with - out the gra - vy.

I I'll take the oys - ter sans the pearl. Pinch - ing pen - nies,

I clip - ping cou - pons, see a brand - new world un - furl! - Let me brown bag all my lunch - es, try my hand- at canned-

- cui - sine.- A Ber - litz class- I long to pass. -

- w I How the 0th - er half, how the 0th - er half lives! No four - teen car - at

I cro - nies, pho - nies, fair weath - er friends. I want- an "on the Pour me the milk but hold the hon - ey. Bring on those fun - ny

I mon - ey woes.- Pay - ing Paul by rob - bing Pe - ter.

Lay a - way - to buy - my clothes. - Sum - mer on the isle of Con - ey. Win - ter in - Hell's kitch - en - ette. - I'll

I turn my dial - to rank and file. - How the 0th - er half, Millie: how the

0th - er half lives! Poor? Not me, hon - ey. I don't want those

I I" mon - ey woes. 1'11 mar - ry Paul or Dave or Rob or Pe - ter SO I can buy - my clothes- at Saks Fifth Av - e - nue,-

I Berg - dorf Good - man, too! - The priv - 'leged few - plus

r I I" you - know - who! - How the 0th - er half, Both: how the 0th - er half lives! Dorothy: Pour me the milk but hold the hon - ey. Bring on those fun - ny

Millie: Poor? NO^ me, hon-ey. I don't want those 1 A r3-

rnon - ey woes. 1'11 mar - ry Paul or Dave or Rob or Pe - ter

Lay a - way- to buy - my clothes. - Sum - mer on

L I \ I I I , I It I a I I. I .I UI VI.- .I -u -I I rl 1 I -

SO I can buy - my clothes - at Saks Fifth the isle of Co - ney. Win - ter in - Hell's kitch - en - ette. - A

I Av - e - nue,- Berg - dorf Good - man, too! -

I wild so - journ. Liv - in'

I So I can learn. - Liv - in'

like the 0th - er half! The Speed Test

Lyrics by Dick Scanlan Music by Arthur Sullivan

Moderately slow D/F# C#O/E D A/C# Bm

I Trevor: Dear Mis - ter Hud - son. Co - lon. MY

I eyes are ful - ly o- pen to my aw - ful sit - u - a - tion, so I'm

- I sim.

I writ - ing you a let - ter to de - mand an ex - pla - na - tion. When the

Lyrics Copyright O 2001 Thoroughly Modern Music Publishing Co. This Arrangement Copyright O 2001 That's Music To My Ears Ltd. International Copyright Secured All Rights Reserved floor wax that we bought from you ar - rived here Mon - day mor - ning, we dis -

I cov - ered up - on us - age that the fume should have a warn - ing. Since the

on - ly pos - si - bil - i - ty is that your wax is ran - cid, I re -

I quest a full re - fund of all the mon - ey we ad - van - ced. And un - I less you can con - vince me you've im - proved the floor wax bat - ter, we will

I I I I 1. I

sim.

I take our bus' - ness else - where, so I hope you solve this mat - ter.

A little faster

- ---

(Spoken:) How's my speed, Miss Dillmount? Millie: A little slow, perhaps. Trevor: En -

I closed you'll find a small con - tain - er of the stuff I talk a - bout. Just care - ful - ly re - move the lid and take a whiff if you've a doubt. I'm

sure you would - n't want me to a - lert the dai - ly pa - pers with the

I news of how our of - fice was af - fect - ed by your va - pors, which is

why I choose to write to you a con - fi - den - tial let - ter full of strong rec - om - men - da - tion that you make your floor wax bet - ter. I just

I hope it won't re - qui - re US to have our floor re - laid, and if it

I does you may ex - pect a bill. Sin - cere - ly, Trev - or Gray - don.

A little faster

(Spoken:) Read that back to me, please. Millie: Certainly. Dear Mis - ter Hud - son. Co - lon. (Sung:) My eyes are ful - ly o - pen to my aw - ful sit - u - a - tion, so I'm

writ - ing you a let - ter to de - mand an ex - plan - a - tion. When the

I floor wax that we bought from you ar - rived here Mon - day mom - ing, we dis -

cov - ered up - on us - age that the fume should have a warn - ing. Since the on - ly pos - si - bil - i - ty is that your wax is ran - cid, I re -

quest a full re - fund of all the mon - ey we ad - van - ced. And un - A

I less you can con - vince me you've im - proved the floor wax bat - ter, we will

I take our bus' - ness else - where, so I hope you solve this mat - ter. A little faster D

I" *Trevor: Not half bad. Continue, please. **Millie: En - closed you'll find a small con - tain - er

*Omit on D.S. **On D.S., Trevor continues, singing as fast as humanly possible.

I of the stuff I talk a - bout. Just care - ful - ly re - move the lid and

1 take a whiff if you've a doubt. I'm sure you would - n't want me to a -

lert the dai - ly pa - pers with the news of how our of - fice was af - fect - ed by your va - pors, which is why I choose to write to you a

con - fi - den - tial let - ter full of strong rec - om - men - da - tion that YOU

I make your floor wax bet - ter. 1 just hope it won't re - qui - re US to

To Coda

have our floor re - laid, and if it does you may ex - pect a bill. Sin - E7 A Tacet ,, A A A 1 I/ \ I I' I L I

cere - ly, Trev - or Gray - don. Trevor: Miss Dillmount, may I speak frankly? Millie: Yes? Trevor: If

Moderately slow, freely D

I could be so luck - y as to have a good sten - og - raph - er to

I keep this place as up to date as her short skirt and bobbed coif - fure, I

I would - n't have to wor - ry 'bout our sour - ed of - fice plank - ing and could con - cen - trate on gen - er - at - ing prof - its ripe for bank - ing. That is

why I'm test - ing you with this out - ra - geous cor - res - pon - dence, which I

don't in - tend to ac - tu - a1 - ly mail to the re - spon - dents. So if A

F#~/A# Bm E~/G# A ~maj7/~# G#O c#7 Tacet

I you can make sense of my un - in - tel - li - gi - ble pat - ter, then the Briskly D6

I job is yours and Hud - son's floor wax real - ly does - n't mat - ter. Hud - son's

I floor wax does - n't mat - ter? Hud - son's floor wax does - n't mat - ter. Hud - son's

1 floor wax does - n't mat - ter? Hud - son's floor wax does - n't mat - ter. D.S. vast tempo) a1 Coda A7 D I *From this point, recorded a half step higher than written. Coda Moderately slow $ I27 D/A

I made the team, Miss Dill - mount! Tell me where my desk is, when we eat lunch,

I" how much 1'11 be paid, and nice to meet you, I know we'll be friends, just Moderately fast D07/A

call me Mil - lie Gray - don. Mil - lie Gray - don? (I mean Dill - mount.) Mil - lie

Iu - Millie: Chorus: - Dill - mount? (Some - day Gray - don.) Gray - don? Dill - mount? Dill - mount? Gray - don? Gray - don?

D07/A Tacet D A D A D A D A

I YI Dill - mount? Millie: Gray - don! All: Aaahhh! They Don't Know

Lyrics by Dick Scanlan Music by Jeanine Tesori

r3i Moderate Swing (n= J ,h )

They don't know- my flair for - the dra - mat - ic. Not a clue- the

I tal - ent I pos - sess. Pret - ty girls, - but not much in the at - tic.

3 *Recorded a half step lower. Copyright Q 2001 That's Music To My Ears Ltd. and Thoroughly Modern Music Publishing Co. International Copyright Secured All Rights Resewed id d I Face to face with gen - ius, and they nev - er

They don't know- they're star - ing at an ar - tist,

-2-

high - ly trained- to take on an - y role. I Skill - ful mime and bril - liant laun - dry cart - ist,

F7 E7#5 Tacet Am ~bm Am

seek - ing ret - ri - bu - tion I

I I #& a1 - most act - ed Che - khov. (Spoken:) Ib- sen, Shaw, Mo - lie're. I

I a1 - most starred as Pe - ter Pan; i - mag - ine moi mid - air! I - I a1 - most tack - led Shake - speare, a blush - ing Ju - li - et. And

swing (n= j3$)

I if the house were big e - nough, I still could play her yet!

They don't know - hot - ter news- than Du - se,

I He1 - en Hayes,- and Bern - hardt all in one.- I They're on top - and I look like a 10s - uh.

G7 Tacet

I Wait and see who's stand - ing when my play is

I tr- 'l-

I done. So we1 - come, all ye bright young la - dies,

you're check - ing in to Ho - tel Ha - des. I won't stand by while ~bm/~bb D~IA~ ~b7 Tacet

crit - ics praise ya. You're get - ting shipped south - east A - sia!

I srm.

But they don't know,- they don't know.- >

srm.

~b7 ~b7 Tacet

I Sad to be all a - lone in the world, - but they

~b13b9 Tacet Dbm6 Gbm6 Dbm6

don't know! What Do I Need with Love

Lyrics by Dick Scanlan Music by Jeanine Tesori

Moderately, freely ~71~b

I Oh, the plac - es I would like to show you, a1 - though I

I hard - ly know you. I've a fun - ny feel - ing we make a per - fect pair. Fa - mous

sights I want to see YOU see - ing, then nights of

Copyright O 2001 That's Music To My Ears Ltd. and 'Thoroughly Modern Music Publishing Co. International Copyright Secured All Rights Reserved r3i Medium Swing (n= J 1) B~/F ~7b9 ~m7b5 BT ~m7b5 ~7b9/~# t? I A A A I I ISB a I I I= I= 0 I I 0 - I Ilr I I I d I I

I "you and me" - ing. Me. You. We. (Spoken:) Wait a minute!

I Just a minute! No! No! No! No!

I'm a Joe with just one rum: - ev - 'ry night to date a A1 - ways prac - tice what I preach: - keep temp - ta - tion out of

dif - f rent dame. - Call each one of 'em the same pet name: - "Hey, reach. - Stick to dolls who wash their hair in bleach.- I'm by." In a row I have my ducks. - PY. Come and go the way I choose. -

I Loads of gals to give me loads of yuks. - I Nev - er gon - na sing the tied - down blues. -

I Leave the COO ing to the 0th - er clucks. - I I 0th - er guys - would kill to fill my shoes. - No

don't mean Got it good. - wing clipped 1 What do I need with love?

12. N.C.

I love? That was a near miss.

1 Talk a - bout a close shave. - Flirt - ed with dis - as - ter.

Tacet MID D7

There must be some - one up there watch - in' o - ver me! Talk a - bout a

mp sub. I I Pe - ter Rab - bit's miss - ing foot - sie

I means I roll with - out a toot - sie. Got it good. -

What do I need with I

Double time feel (no swing) ~b

I got it good.- What do I need- with love? Skip the vows and all that rot. - I -

Tell the min - is - ter that "I do"- not.

Bright and breez - y is the, birds and bees - Y is the,

free and eas - y is the life I got with - out Slowly, freely F/E~

Medium Swing ( n = J j; ) ~7#5 G7 C9 F13 ana. 737 1 I I I. r , a I I I IR I I I I I I I I IUI I I I I I I I

hard - ly know you ... What do I need with I I

I r I love? I got it good. -

Got it good. - But now I i

I bad! Only in New York

Lyrics by Dick Scanlan Music by Jeanine Tesori

Moderately slow Freely E/B E/B

I I1 I I I I 1111 idid* - - I The won - ders of the world are

I said to stop at sev - en, but truth to tell,- my fig - ures don't a -

gree. I num - ber them at eight, with one so close to heav - en, the

take a look and

r31 Moderately (I? = J 1)

A D b B~P

I Step right up - to Treas - ure Isle, - ev - 'ry inch of it a

sky - high mile. Fair - y - tale land. - On - ly in New York. In, -?- -

A7 Tacet Db6 B~P Ebm7 A O/E

I Hey, cas - tle build - er,- want the moon and noth - in' less? - Work for years then o - ver - night - suc - cess! I know first hand.-

I On - ly in New York. Each day it's free ad - mis - sion to

I those who dream.- You set your sights- all the way up - stream.

To Coda

I Off you go,- for you know that cream will rise. Make that wish - and seek that tfill. -

Come and get it, 'cause you a1 - ways will. Strike up the band! -

I D.S.a1 Coda ~bpb Gbm6/Db Db/cb ~m7b5 Db7 ~m7b5~b/~b

I On - ly in New York. Each day it's

Coda

I rise. Rise! New! Im - proved! And re - ar - ranged.-

1 Ev - er chang - ing, yet it's nev - er changed. -

I Life on com - mand! - Hear what I'm say - ing!

I Oh, but it's grand! - That's why I'm stay - ing u- - right here, as planned.- On - ly in New York.

I On - ly in New York. On Jimmy

Additional Lyrics by Dick Scanlan Original Music and Lyrics by Jay Thompson Additional Music by Jeanine Tesori Moderately, in 2

A D8

I Am I drunk? Or may - be I'm

I dream - ing. I ought - ta be scream - ing! He sud - den - ly ...

FsuQ D8

I Ev - 'ry - thing to - day is thor - ough - ly ... Just like that,

I with- out - an - y warn - ing, at two- in the mom - ing,

Original Music and Lyrics Copyright Q 1967 Universal-Northern Music Co., Inc. Additional Music and Lyrics Copyright 0 2001 That's Music To My Ears Ltd. and Thoroughly Modern Music Publishing Co. 66 International Copyright Secured All Rights Reserved - I he sud - den- ly ... Ev - 'ry - thing to - day is thor - ough - ly ...

Were there signs and I - did - n't see them? A ran - dom re -

mark, oc - ca - sion - a1 sigh, that day - in the park, the gleam- in his

Gb Tacet

I eye! Ev - 'ry - thing to - day is thor - ough - ly ... Slowly and freely, in 2 Tacet Tacet

Ev - 'ry - thing to - day is thor - ough-ly... Jim - my, oh,

I molt0 rit. II I

Jim - my, sil - boy. Gee, what a

real swell Jim - my,

Jim - oh, what JOY. He makes mY trou - bles His glance had

I fire - works in it. We kissed

I I I I I my heart did a whiz - bang flip - flop, heav - en for a min - ute.

Jim - my, oh, Jim - my, don't you know what I can't quite con - fess? So

coax me, im - plore me, I prom - ise you won't bore me.

~#rn7b~/G~$13 Tacet B A7

I I I I I" Jim - my, I might say yes.

Moderately, in 2 Ab I He makes my trou - bles

His glance had fire - works in it.

Freely C G/B

I We kissed, my heart did a whiz - bang flip - flop,

Moderately, in 2 Ab

I heav - en for a min - ute. So Jim - my, oh, Jim don't you know what I can't quite con -

Freely ~bmaj7

fess? So coax me, im - plore me, I

rit. I I

prom-ise you won't bore me. Oh, Jim - my, I might say

I yes. Forget About the Boy

Lyrics by Dick Scanlan Music by Jeanine Tesori rlri Moderately, in 2 (fl=J J) Dm6 Tacet A7 Bm7b~ A7 A9

I No ca - nar - y in a cage- for me.

Dm6 Tacet ~b7 ~m7b5 C7

This ca - nar -

I Cut the cord. Is that - a man I once a - dored?

I He's noth - ing but an a1 - ba - tross, no great loss, dou - ble -

cross For - get a - bout the boy. Pull the plug. I ha1 - le - luh!

Ain't he - the one who pulled the rug? He's low - er than an Now me - and Mis - ter Wrong are through. I'll find - my - self an -

a1 - ley cat, dirt - y rat, and I flat 0th - er beau who I know is no rov

For - get a - bout - the boy. ler.er. I I For - get a - bout- the boy. For - get a - bout-

C7 F F Tacet

I - the boy. And in the moon -

I light, don't you think a - bout- him.

I Sis ter, you're much bet - ter off - with - out - him. You can blow the blues a kiss good - bye,- I -

and put the sun back in the sky,- for when I -

To Coda D6 F07 ~#7 A7 C9#5

he comes crawl - in', I'm not fall - in'. Shout hoo - ray and I I'll find - my - self an - 0th - er beau who I know is no

For - get a - bout- the boy.

I For - get a - bout- the boy. For - get a - bout ...

Tacet F7

Jim - my, Jim - my, Hor - ace, Dan - ny, I * to Car - bo

I Per - cy, Ed - gar, Tim - o - thy, A1 - fred, Per - cy,

Jim - my, Hor ace

I Ben - ja - rnin Pratt the

an, Ted - dy Mor - gan,

I ne, Bar - ney Schrei - ber, C. P.

Tim - o - thy, A1 - fred. I A

Dan - ny, Mil - ton. I A

Third. I A

I Ted - dy Mor- gan, Ted - dy Mor- gan. I Cut the cord. Is that the man I

I sil 1~ boy. Gee, what a

a - dored? He's noth - ing but an a1 - ba - tross, no great - I Once

~745 G6 ~7#5 Tacet 3

For - get a - bout the boy.

I - loss, dou - ble - cross er. For - get a - bout the boy. I Jim-my, oh, Jim oh, what

He makes

He's low - er than an a1 - ley cat, dirt - y rat, and I

I trou - bles fly. For - get a - bout- the boy.

I flat ter. I For - get a - bout- the boy. For - get a - bout- the

I boy!

D.S.a1 Coda A7 c7#5

I Shout hoo ray and I Hal - le - lu - jah!

I For - get a - bout- the boy. For - get a - bout- the boy.

~b9Tacet ~b ~b/~b

I I I" For - get a - bout the boy!

~bpb cb N.C. Ah! Sweet Mystery of Life1 I'm Falling in Love with Someone Lyrics by Rida Johnson Young Music by Victor Herbert

Grandly, romantically ~$13

Trevor: Ah! Sweet mys - ter - y of life, at last I've

found thee. Ah! I know at last the se - cret of it

all. Dorothy: All the long - ing, seek - ing, striv - ing, wait - ing,

Ah! Sweet Mystery of Life I'm Falling in Love with Someone This Arrangement Copyright 0 2003 Cherry Lane Music Company This Arrangement Copyright 0 2001 That's Music To My Ears Ltd. International Copyright Secured All Rights Reserved International Copyright Secured All Rights Reserved 83 yearn - ing, the burn - ing hopes, the joy and i - dle tears that

Slowly, in 1 F

Trevor: I've a ver - y strange

I feel - ing I ne'er felt be - fore, 'tis a kind of a

I grind of de - pres - sion. Dorothy: My heart's act - ing strange - ly; it feels rath - er sore. At least it gives

A A

I I A 0. L\. \ IT). I I I I # I -.I A p I w-

Faster A7

I me that im - pm - sion. Trevor: My puls - es leap mad - ly with -

Slower F6

an - y- cause. Be - lieve me, I'm tell - ing YOU I Out

tru - ly. Dorothy: I'm gay with - out pause, then sad with - out cause. Trevor My spir - its are tru - ly un -

Waltz tempo C7 Tacet G7

I ru - ly. For I'm fall - ing in love with

- V 8' I " some one, some one

I'm fall - ing in love with some one, I - a - whirl. Both: Yes, I'm fall - ing in I head

with some one, plain to I love

Trevor: I'm sure I could love some - one mad - I see.

A7 D9 G7 C7 Tacet B C ~b ~b

n - ly love me. C/ Dorothy: 1 Trevor: 1 yes> fall - ing in love with some one,

Slowly Gm C7 D7

to see. I'm

Gm7 B bm Tacet

I sure I could love some - one mad if

A7 D9 G7 C7 N.C. F6 .- .-

I some - one would on - ly love me. I Turned the Corner

Lyrics by Dick Scanlan Music by Jeanine Tesori ----

Moderately, in 2 E/B G+/A E/B C7/G E/B G+/A

I II h - - 1 I I I L I I I Y I I Thou - sands of peo - ple,

way down be - low, wan - der - ing to and fro.

I I sempre staccato m r, - 1-1 I II I I I I I

G+/A G+/A N.C.

Ti - re - less peo - ple, no time to lose, crowd - ing the av- e-

Copyright 82001 That's Music To My Ears Ltd. and Thoroughly Modern Music Publishing Co. International Copyright Secured All Rights Reserved nues and parks. On their marks, rac - ing fast; quite a cast.

G+/A G+/A c#m N.C.

I Mil - lions of peo - ple, pick an - y two: they could be just like

N.C.

A I

suan - gers, then i

Slowly and freely (in 2) ~b/~b ~bm/cb

I I turned the cor - ner and there you stood, your smile like home to me, your heart fa mil - iar.

turned the cor - ner when I met you.

Moderately slow (in 2) Gb6 ~b9

I turned the cor - ner, stopped on a dime, like I re - mem - bered some - one long got - ten. i

No mere flir - ta - tion, no mark - ing time.

I I I - I turned the cor - ner when I met You, when

I I met you. Was our en - coun - ter planned, des - ti - ny's guid - ing hand? For - tune or fate, it's

grand the Way YOU make me

~b6/~b ~bm7/~b ~b6/~b ~bm7/~b nIl -*We I - I I I I cr I I feel! I Millie: All of the past e - rased.

Jimmy: All of the past e - rased. Glo - ri - ous fu - ture

I 010 - ri - ous fu - ture faced. Now my life will

faced. Now that my life you've graced,

I nev - er be the same! I turned the cor - ner,

I nev - er be the same! I turned the I feet on the ground. My spir it

I COT ner, feet on the ground. My spir it

I as YOU ap - peared be fore me.

as YOU ap - peared be fore me.

I did - n't ... Look what I found. I -

I I was - n't look - ing; look what I found. Freely, slowly

I I turned the cor - ner when I met you.

Moderately slow (in 2) FlC ~+pb FlC c+pb FlC ~b7 A A I I I I I - I - I I cr I

Freely, slowly N.C. Gm7 C9 F6

I turned the cor - ner when I met you.

I I turned the cor - ner when I met you. Long As I'm Here with You

Lyrics by Dick Scanlan Music by Jeanine Tesori

Freely Expressively, freely B07 D7 G

I Men: We've been sad and lone - some

I here at Ca - fe So - ci - e - ty, but to - night the world is

right. A dream come true: Miss "You - know - who" is back where she be -

Copyright @ 2001 That's Music To My Ears Ltd. and Thoroughly Modem Music Publishing Co. International Copyright Secured All Rights Resewed Bright 2 t n = 2'3 I N.C.

I longs. Ba da da da da ba da da da da da ba

Tacet E6 GO7

da. Mum: Life is a hol - i - day.- I'm talk - ing su - gar bowl.- It's sev - ens

June through May. A night - ly sell 1, out show, - ev 'ry roll. Sneak peek at par - 'p - dise. - and ba - by, I'm front row. Bye - bye to The view is might Y nice. I got no

lone - ly nights- on - ly nights when the two of UScan COO. - blues to sing, - choose to sing a me1 - o - dy - for two. -

Skies are sun - ny and clear, long as I'm here - Hap - PY end - ing isnear, long as I'm here -

N.C. E6 G07 F#m7/B B7 Tacet II E6

I The world's a - with you. Men: Life is a

I hol - i - day.- I'm talk - ing June through May. A night - ly

Eb6 ~b7 Tacet

I sell - out show, - and ba - by, I'm front row. Mum: I got no blues to sing, - choose to sing a me1 - o - dy - for two. -

Hap - PY end - ing isnear, long as I'm here with you. I -

I Who cares if there's no - booze or that the Yan - kees- lose?

Can't pay my in - come- tax, but in spite of the facts, Tacet E6 GO7 B7

I no one could ask for more. - Kid in a can - dy store.-

I The jack - pot has been hit. - I'm liv - ing proof of - it.

And as for all that - passed, call that - past.

I I found a heart that's true. What a red let - ter year long as I'm here- I with you, and you, and you and you and

I you and you and, yeah, you too. So hap - py, dear, -

Tacet ~9#5 B9 E6 ~#7

long as I'm here with,

I long as I'm here with you. Gimme Gimme

Lyrics by Dick Scanlan Music by Jeanine Tesori

Slowly and freely, in 2

I A sim - ple choice, noth - ing more.

Faster A bm7 ~b13 nbslcb ~b DO/F ~bm

bus1- ness - man, clev - er girl, or pin my fu - ture on the boy I love. What

\I rail. I a tempo I

kind of life am I dream - ing of? I say:

r3i Moderately slow (n= J 1) (not a wide swing) %iB B+add2

I Gim - me gim - me... Gim - me gim - me...

I Gim - me gim - me that thing called

I love. I want it. Gim - me gim - me I that thing called love. I need it. Highs and lows,

I tears and laugh - ter. Gim - me hap - PY ev - er af - ter.

Gim - me gim - me that thing called love.

Moderately, with more confidence E6 B+add2

I Gim - me gim - me that thing called love. I crave it. Gim - me gim - me that thing called

love. I'll brave- it. Thick 'n' thin,

I rich or poor time. Gim - me years and I'll want more- time.

Gim - me gim - me that thing called- love. I A,. Y n I Spirited, in 2 G6

I - Gim - me gim - me that thing - called

I love. I'm free now. Gim - me gim - me

that thing called love. I see now. Fly, dove!

I Sing, spar - row! Gim - me Cu - pid's fa - mous ar - row. Gim - me gim - me that thing called love.

Faster ~#7

I don't care if he's a

heart he'll be a some bod - y,

I bod - y to love me. I I need it.

Freely D7#5 Tacet

Gim - me that thing called love. I wan - nit! I A

Moderately and broadly, in 4 (Bring it home!) ~7 Db7

I Here I am, Saint Val - en - tine! - My bags are packed; I'm first in line.

Faster ~b6

I Aph - ro - di - te, don't for - get me. Ro - me - o and Ju - li - et me! ~b6 ~bm6 F/C Tacet D7

dove! Sing, spar - row! Gim - me fat boy's fa - mous ar- row!

Gim - me gim - me that I1 thing called

I love!

U.S. $1 7.95 ISBN 1-575bO-bLL

I-n JO~E;IC ~n~d