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Pitlochry Festival Theatre 1 - 23 December 2017 Screenplay by Songs by Betty Comden Nacio Herb Brown and Adolph Green and Arthur Freed musicians Singin’ In Cast Dougie Flower Keyboard 1 The Rain Dora Bailey / Wardrobe Mistress Holly Rostron Andrew Mann Reed 2 Zelda Zanders Chloé Porter Eoin Tonner Trumpet Screenplay by Betty Comden Photographer / Flack / 1st Assistant Director Aaron Ashley Parker Gordon Murch Keyboard 2 and Adolph Green J. Cumberland Spendrill III / Flick / Policeman Louis Abbott Drums / Percussion Songs by 2nd Assistant Director / Villain George Bray Mario Caribe Bass Nacio Herb Brown Olga Mara / Stripper / Wardrobe Mistress Pete Murch Drums / Percussion and Arthur Freed Miss Dinsmore Kimberly Powell Philip Alexander Reed 1 Based on the classic Metro-Goldwyn-Mayer Mary Margaret / Hairdresser / Lady-in-Waiting Sarah Day film, by special arrangement with Warner Ronnie MacNiven Trombone Bros. Theatre Ventures, Inc. Sugar Daddy / Simpson’s Butler / 1st Stagehand Diction Teacher Robin Harvey Edwards Music Pubished by EMI, all rights administered by Sony/ATV Music Charlie Chaplin / Rod / Sid Phillips Tom Lloyd creative team Publishing LLC. R.F. Simpson David Delve (Original Movie Choreography by Gene Director John Durnin Roscoe Dexter Kelly and Stanley Donen) Carl Patrick Set & Costume Designer Adrian Rees Produced by agreement with Maurice Cosmo Brown George Rae Lighting Designer Matt Eagland Rosenfield, Lois F. Rosenfield and Cindy Lina Lamont Helen Mallon Pritzker, Inc. Musical Director Dougie Flower Don Lockwood Grant Neal Performed by arrangement with Music Choreographer Chris Stuart-Wilson Theatre International (Europe) Limited. 2nd Stagehand / Production Tenor Sound Engineer / Band Leader Jordan Harrington Sketch by Fight Director Raymond Short Adrian Rees Kathy Seldon Mari McGinlay Dialect Coach Lynn Bains Young Don and Cosmo Luka Barrie Film & Graphic Designer Trish O’Grady Danny Burns Songs Stage Manager Kate Schofield Acts Lewis Byiers Deputy Stage Manager (book) Marianne Forde ACT I The action takes place in Hollywood Nathan Hunter Fit As A Fiddle Make ‘Em Laugh Assistant Stage Manager Heather Saunderson between the autumn of 1927 and the Beautiful Girl Alasdair MacDonald You Stepped Out spring of 1928. Of A Dream You Are My Fit As A Fiddle ACT II Broadway Melody You Are My Rory Stanger All I Do Is Dream Lucky Star There will be one interval of 20 minutes (Reprise) Would You? Would You? Lucky Star Of You You Were Meant between Act 1 and Act 2. All other parts are played by members of the cast. Good Morning What’s Wrong (Reprise) Singin’ In The Rain You Stepped Out Of For Me Singin’ In The Rain With Me? (Reprise) A Dream (Reprise) 1 Moses Supposes “ The choreographic challenge of this iconic musical is to make it unique whilst honouring the magic of the original. Musicals of this era (and their audiences) celebrated dance in a “ One of the joys of Singin' different way from today. In The Rain has been Dance breaks were used purely to ‘show off’ the filming the sections for dancing, whereas now, Don and Lina's silent and they’re often used to then talking pictures. continue the narrative. And Normally, our work is so, in my approach, I aim to viewed from a distance, get the best of both worlds. but this time, we also had I don’t have all the moves to think in close up. We mapped out in advance but have suddenly found a instead I have a concept for whole new set of skills. We each number and work my hope you enjoy the films ideas in the rehearsal room ” of Monumental Pictures! to create the best fit. I’m a Adrian Rees fan of minimalist movement SET & COSTUME DESIGNER On the set of The Royal Rascal Sword fighting with Fight Director, Raymond Short - sometimes a wag of a finger can be as effective as a triple pirouette if done with the right musicality. Dancing is about style: technique is important but without style, technique is null and void.” Chris Stuart-Wilson 3 CHOREOGRAPHER director’s final Notes It’s the first morning of the first day of rehearsals. The who we are and the world in which we live are presented limited resources must seem baffling, even foolhardy. cast have just met each other for the first time (though consistently, to the highest possible standards, to audiences But that is, in one sense, what theatre must always be: an some are enjoying a happy reunion – British theatre, like of all ages and backgrounds from across Scotland, the UK attempt to achieve the impossible, to tell one more story Pitlochry, is a very small village) and now it’s time to begin. and overseas. The technological revolution in 1927 that even when the odds are so obviously against you. In his Musical Director Dougie Flower decides to begin by teaching made talking pictures possible - which is, of course, the wonderful screenplay for Shakespeare In Love – which is, in everyone that song – not that much teaching is required, of story of Singin’ In The Rain - allowed the cinema to eclipse many ways, to theatre what Singin’ In The Rain is to cinema course. In less than a minute, the rehearsal room is filled with theatre as the pre-eminent form of popular story-telling – Tom Stoppard captured this apparent conundrum to the sound of fifteen voices in unison singing: “Doo de doot throughout much of the 20th century. Despite that, and perfection. Philip Henslowe, the Elizabethan impresario, is in doo, doo de doo doo doot doo de doo de, doo de doot doo . .” the subsequent second broadcast revolution – the coming discussion with a potential backer, Hugh Fennyman: Give it a second: the tune will come to you . first of television and then the internet and digital platforms Henslowe: Mr. Fennyman, allow me to explain – theatre has managed to retain its special quality as a In that moment, I am transported back to being eight about the theatre business. The natural unique live event, a place where audiences, playwrights and or nine, sitting in front of my parents’ black-and-white condition is one of insurmountable performers share together in an experience – happy, sad, television (colour would not enter the house until 1973) and obstacles on the road to imminent challenging, inspiring, unsettling, funny - that simply cannot watching possibly the greatest film musical of all time. Even disaster. be replicated in any other medium. in monochrome, the impact of Brown and Freed’s sublime Fennyman: So what do we do? songs, Comden and Green’s affectionate, witty paean to Seeking to preserve and enhance that special quality Hollywood and Gene Kelly’s stunning choreography was has been at the heart of what I have tried to do here. Not Henslowe: Nothing. Strangely enough, it all turns overwhelming. Even if I was not consciously aware of it, I everything has worked as I intended; not every production out well. think that was the moment the die was cast: show business has reached the standard to which I aspired; and not every Fennyman: How? – of one kind or another – would be my career. show has been to the taste of all those who have seen it John Durnin and some of the cast in rehearsal for Singin’ In The Rain (but then, as the late, great Joan Knight, the doyenne of Henslowe: I don’t know. It’s a mystery. Given that transformative experience, it’s entirely fitting Scottish theatre, used to say: “If you liked everything that I that Singin’ In The Rain - the one hundredth show that I have Indeed it is - and may it long continue to be, here at the programmed, I wouldn’t be doing my job!”). Theatre-going is programmed at PFT - should be my last production here. Theatre in the Hills especially. always going to be subjective and creating theatre is always After almost fifteen years as Artistic Director, it’s time for To PFT’s unrivalled staff, to the many, many marvellous going to be a risk – there is never, ever, enough money and me to move on from the Theatre in the Hills and seek out actors, directors, designers, lighting designers, musical time, nor any guarantee as to the outcome - but I like to new challenges and opportunities, whatever and wherever directors, choreographers and others with whom I have think that since 2003, the successes have outnumbered they may be. It will be a huge wrench, bidding farewell to worked at the Theatre in the Hills, and to you, our devoted the failures. And the responses from you, the wonderfully this very special organisation and to the many talented, audiences, I must express my profound thanks one final supportive and encouraging audiences that have been so dedicated and incredibly supportive folk with whom I have time for the wonderful mystery of the last 15 years: just like loyal to PFT during my time here, have always kept us – well, worked here: over the years, they have become more like my first exposure toSingin’ In the Rain, it’s been a magical, me – on track. family than colleagues. On the last night of the run, even unforgettable experience. more tears than usual will be shed, I suspect – and I may well In bringing my time at PFT to a close with Singin’ In The Rain, John Durnin be the worst culprit! there is, then, a sense of coming full circle. To an uninformed ARTISTIC DIRECTOR observer, the idea of putting on such an immense, iconic Over those fifteen years, I have tried to ensure that PFT has show in such a short space of time with such (relatively) become a place where accessible, high quality stories about 5 Festive Party Nights The sound of Musicals Why not do something different next year By Mark Shenton and bring a group of friends or work colleagues Screen-to-stage musicals have, across the last two or features were another matter.

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