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MAKE MINE MANHATTAN Sketches and Lyrics by ARNOLD B. HORWITT Music by RICHARD LEWINE Directed by BEN WEST Final Draft Mar. 4, 2012 UnsungMusicalsCo. Inc. P.O. Box 722 New York, New York 10159 © Horwitt/Lewine www.unsungmusicals.org CHARACTERS Boy 1 (Nicolas Dromard) Boy 2 (Dennis O’Bannion) Boy 3 (Bret Shuford) Boy 4 (Greg Reuter) Girl 1 (Gabrielle Ruiz) Girl 2 (Nadine Isenegger) Girl 3 (Kristen J. Smith) Girl 4 (LaQuet Sharnell) SKETCHES AND MUSICAL NUMBERS “Anything Can Happen in New York” .................... B1 & Company “My Brudder and Me” ....................................... G1 & B2 Stage Door Fifi ............................... B1, B2, B4, G2 & G4 “Old Fashioned Girl” ........................................... B1 “Manhattan in the Spring” ............................. G2, G1 & G3 Hollywood Heads East .................. B2, B3, B4, G1, G2, G3 & G4 “Movie House in Manhattan” ..................................... G4 “I Don’t Know His Name” ................................... G3 & B3 “Talk to Me” .............................................. B4 & G4 “Anything Can Happen in New York” ..................... B1, G2 & G3 “Subway Song” .................................................. B3 “Gentleman Friend” ........................................ G3 & B3 “Saturday Night in Central Park” ................. G2, B2 & Company “Schrafft’s” ................................................... G4 “New York Gal” ................................................. G1 “I Gotta Have You” ........................................ B1 & G1 “I Fell in Love With You” ................................. B3 & G3 Any Resemblance... .................................... G1, B3 & B4 “Anything Can Happen in New York” ..................... G1, B3 & B4 “Please Take It Back” .......................................... G4 “Good Old Days” ....................................... B1, B2 & B3 “Glad to Be Back” ......................................... Company MAKE MINE MANHATTAN Final Draft 3/4/12 1 MAKE MINE MANHATTAN The authors’ original concept for “A Nice Place to Visit” (the original title of “Make Mine Manhattan”): “A pocket revue, designed for a cast of eight, a small stage with either two pianos and rhythm, or a small orchestra. The cast should be highly versatile – they sing, play in sketches, dance a few steps now and then and may act as one of the revolving narrators. The look of the show is stylish but unpretentious. No curtain is necessary and only occasional, but simple, furniture and props are needed. Most of the time these are pushed or brought on stage by the cast themselves. The scenes flow from one to the other almost as ‘dissolves’, and the whole atmosphere is light. The cast members enjoy what they’re doing and show it.” #1 OPENING Pianos The opening and “Anything Can Happen in New York” are performed by the company except Girl One and Girl Four. BOY FOUR Hey, [name]! Where ‘ya goin’? BOY ONE Movin’ to New York! BOY TWO New York? GIRL THREE You crazy?! BOY THREE Hold on to your wallet, [name]! GIRL TWO And your hat! BOY TWO And your coat! © Horwitt/Lewine UnsungMusicalsCo. Inc. MAKE MINE MANHATTAN Final Draft 3/4/12 2 BOY ONE Well, I’m going. Besides, it’s not so bad. GIRL TWO Listen to him, “not so bad”! BOY FOUR It’s a nice place to visit...but I wouldn’t want to live there! BOY ONE Well, here’s the thing: six million only slightly lunatic people do live here. And more of us keep arriving every day. By plane, by car, by boat...And we keep coming. You can’t stop us. Sure, it’s a nuthouse. And everybody knocks the place: they were insulted by a cab driver, or a waiter, they sat behind a pillar at the theatre for $25 a ticket. But it’s the big time, and there’s nowhere else like it. It’s got museums, the shops, big business, small business, galleries...the theatre! #2 ANYTHING CAN HAPPEN IN NEW YORK Boy One & Company BOY ONE (Cont’d) WHERE THE HUDSON RIVER MEETS THE SEA THERE’S A PECULIAR COMMUNITY ALL THE CITIZENS AGREE ANYTHING CAN HAPPEN IN NEW YORK THERE COULD BE A DAY WITHOUT A CRIME AND A CUP OF COFFEE COST A DIME SUBWAYS EVEN RUN ON TIME BOY ONE, GIRL TWO, BOY THREE & GIRL THREE ANYTHING CAN HAPPEN IN NEW YORK! BOY ONE T’WOULD CAUSE US NO DISMAY IF ONE FINE SUMMER DAY THE METS SHOULD REMEMBER HOW TO PLAY THE POPULACE KNOWS THAT ANYTHING GOES! WALTER WINCHELL COULD DESERT THE STORK LUCIUS BEEBE EAT WITHOUT A FORK YOU MIGHT MEET A NEW YORKER WHO WAS BORN IN NEW YORK BOY ONE & BOY TWO ANYTHING CAN HAPPEN IN NEW YORK! COMPANY (WITHOUT GIRL ONE AND FOUR) ANYTHING CAN HAPPEN IN NEW YORK! They dance. © Horwitt/Lewine UnsungMusicalsCo. Inc. MAKE MINE MANHATTAN Final Draft 3/4/12 3 COMPANY (Cont’d) THE BRONX COULD VANISH IN THE FOG SAINT PATRICK’S COULD BECOME A SYNAGOGUE JOGGERS COULD FORGET TO JOG ANYTHING CAN HAPPEN IN NEW YORK GOV’NER DEWEY COULD BECOME A RED WESTBROOK PEGLER GROW A SECOND HEAD BARB’RA HUTTON STAY WED ANYTHING CAN HAPPEN IN NEW YORK NO ONE WOULD THINK IT WEIRD IF BROOKLYN DISAPPEARED OR MISSES ASTOR GREW A BEARD WE’D TAKE IT IN STRIDE MUNICIPAL PRIDE! GRASS COULD GROW UPON DURANTE’S NOSE GROVER WHALEN MARRY BROADWAY ROSE BOY ONE OKLAHOMA MIGHT CLOSE! COMPANY ANYTHING CAN HAPPEN IN NEW YORK ANYTHING CAN HAPPEN IN NEW YORK Blackout. Girl One appears with stool and hat to collect change as she and her brother dance on the street. #3 MY BRUDDER AND ME Girl One & Boy Two GIRL ONE MY BRUDDER AND ME WE LIKE TO DANCE BUT WE NEVER GET TO GO TO THE STORK CLUB OR THE PLAZA CAUSE WE HAVEN’T GOT THE DOUGH IF WE EVER WENT TO THE WALDORF WE’D BE HAULED OFF BY THE COPS BUT WE FOUND A SPOT WHERE THE RHYTHM IS HOT AND THE MUSIC NEVER STOPS MY BRUDDER AND ME ARE EASY TO FIND ALONG BROADWAY THERE’S A CHROMIUM PLATED PHONOGRAPH STORE THAT’S WHERE WE STAY MY BRUDDER AND ME WE WAIT TILL WE HEAR THAT MUSIC PLAY THEN WE OPEN UP OUR PRIVATE SIDE WALK CABARET AND THERE ISN’T ANY COVER CHARGE JUST A SUBWAY FARE AND BACK NEAR THE CORNER IS A COFFEE SHOP © Horwitt/Lewine UnsungMusicalsCo. Inc. MAKE MINE MANHATTAN Final Draft 3/4/12 4 WHEN WE WANT TO HAVE A SNACK SLIP THE MUSTARD TO ME, JACK MY BRUDDER AND ME ARE HAVIN’ OURSELVES A JAMBOREE YOU CAN GO AND BREAK THE NEWS TO MOTHER THAT WE WON’T BE HOME TILL THREE MY EVER-LOVIN’ JITTERBUGGIN’ BRUDDER AND ME! She and Boy Two dance. YOU CAN GO AND BREAK THE NEWS TO MOTHER THAT WE WON’T BE HOME TILL THREE MY EVER-LOVIN’ JITTERBUGGIN’ BRUDDER AND ME! #3A PLAYOFF: MY BRUDDER AND ME Pianos Lights up on the doorman and a showgirl. Boy One appears opposite in a special. STAGE DOOR FIFI BOY ONE This pal of mine come into town on business a lot. Real sophisticated guy. He stays in one of those big downtown hotels. I told him I wanted to have a night on the town. Come to find out, he knows a lot of Broadway showgirls, so he went and arranged a blind date for me. How ‘bout that! A real Broadway showgirl! Fifi! That’s her name. Fifi! It was all set: I was supposed to pick her up at the Belasco stage door after her show. Lights to full on stage door scene. GIRL TWO See ‘ya later, Gus. Boy Two runs in with flowers. BOY TWO Hey, doll! GIRL TWO You’re late! She storms off. BOY TWO Baby, c’mon! GIRL TWO I told you about this! © Horwitt/Lewine UnsungMusicalsCo. Inc. MAKE MINE MANHATTAN Final Draft 3/4/12 5 Boy Two follows her offstage and hands flowers off to Boy One on the way. BOY TWO Good luck, pal! BOY ONE Hey, thanks! (He goes to doorman.) Excuse me, sir. I have a date with Fifi. Could I...? DOORMAN (BOY FOUR) Stay there, Buster. I’ll get ‘er. (As he exits.) Fifi! BOY ONE (To doorman.) Thank you! (Out.) Wow! A real life, head-to-toe, sweeter than spring, Broadway showgirl! And I’ve got the evening all planned: a quiet supper, maybe some champagne... FIFI (GIRL FOUR) Hi, buster. You Al’s friend? C’mon, you can jump on the back of my bike. We’re goin’ to a protest. BOY ONE Are you Fifi? FIFI What‘dja expect, Shirley Temple? C’mon, let’s go! BOY ONE Gee...thanks. I mean, no thanks. Protests really aren’t my thing. FIFI No sweat. She goes with flowers. BOY ONE Gee...(Music in.)...whatever happened to just....“girls”?! #4 OLD FASHIONED GIRL Boy One BOY ONE (Cont’d) CALL ME A DREAMER, A CHASER OF RAINBOWS A BUILDER OF CASTLES IN THE BLUE BUT I HAVE A VISION OF BEAUTY I TREASURE I’LL SHARE IT NOW WITH YOU I WANT A GIRL WHO’S AN OLD FASHIONED GIRL LIKE THE KIND THAT WENT OUT WITH PA A LOVINGLY DUTIFUL, STUNNINGLY BEAUTIFUL BUNDLE OF JE NE SAIS QUOI I’LL BUILD HER A NEST ON CENTRAL PARK WEST TO WHICH I ALONE HAVE THE KEY © Horwitt/Lewine UnsungMusicalsCo. Inc. MAKE MINE MANHATTAN Final Draft 3/4/12 6 IF SHE’LL BE THE TOY WHO’S A PERMANENT JOY TO AN OLD FASHIONED BOY LIKE ME WHEN EVE’NING SHADOWS LENGTHEN I’LL HURRY TO HER SIDE IMPATIENTLY SHE’S WAITED SHE CANNOT BE DENIED SHE’LL DRESS IN FLIMSY FINERY I’LL WEAR MY SULKA GOWN WE’LL HAVE A SNACK OF CAVIAR CHAMPAGNE TO WASH IT DOWN WE’LL WHISPER SWEET ENDEARMENTS WE’LL TURN THE LIGHTS DOWN LOW FOR SOON THE TIME APPROACHES TO WATCH THE LATE LATE SHOW I WANT A GIRL WHO’S AN OLD FASHIONED GIRL LIKE THE GIRLS I KNEW USED TO BE A LOVABLE MOUSE WHO’D ENJOY PLAYING HOUSE WHEN A FELLOW NEEDS COMPANY I’LL BUY HER A BLOCK OF OLD FASHIONED STOCK LIKE AMERICAN T.
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    Journal of Film Music 4.2 (2011) 171-175 ISSN (print) 1087-7142 doi:10.1558/jfm.v4i2.171 ISSN (online) 1758-860X REVIEWS Charlotte Greenspan. “Pick Yourself Up”: Dorothy Fields and the American Musical Oxford and New York: Oxford University Press, 2010. [xxii, 298 p. ISBN: 9780195111101. $27.95 (hardcover)] Broadway Legacies. Illustrations, appendices, index, and songs, shows, and films index. MELissA UrsuLA DAWN GOLdsmiTH Elms College, Chicopee, Massachusetts [email protected] orothy Fields (1905–74), whose work interested in the business), her initial work as a lyricist straddled stage and screen, had a for Mills Music as well as for Cotton Club revues (for D tremendously successful career as a lyricist example, Blackberries, which opened on September 29, and librettist. Fields grew up in a famous American 1929), and her lifelong concurrent work for Broadway theatre family: Her father was Lew Fields, a comedian, musicals and films. According to Greenspan, Fields actor, producer, and theater manager, and half of the was a lyricist for “more than four hundred songs, famous Weber and Fields duo of vaudeville. As the mostly distributed in nineteen Broadway shows and youngest member of her family, Dorothy spent most more than thirty films, as well as librettos for nine of her childhood years living with both her father’s musicals” (pp. 223-24). Close partnerships included, celebrity as a leading Broadway producer as well as among others, composers Jimmy McHugh, Jerome with his success in the business (p. xii). Greenspan Kern, Arthur Schwartz, Albert Hague, and Cy explains that, in the Fields house, “she grew up in an Coleman.
  • Danny Daniels: a Life of Dance and Choreography

    Danny Daniels: a Life of Dance and Choreography

    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2003 Danny Daniels: A life of dance and choreography Louis Eric Fossum Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Dance Commons Recommended Citation Fossum, Louis Eric, "Danny Daniels: A life of dance and choreography" (2003). Theses Digitization Project. 2357. https://scholarworks.lib.csusb.edu/etd-project/2357 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. DANNY DANIELS: A LIFE OF DANCE AND CHOREOGRAPHY A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies: Theatre 'Arts and Communication Studies by Louis Eric Fossum June 2003 DANNY DANIELS: A LIFE OF DANCE AND CHOREOGRAPHY A Thesis Presented to the Faculty of California State University, San Bernardino by Louis Eric Fossum June 2003 Approved by: Processor Kathryn Ervin, Advisor Department of Thea/fer Arts Department of Theater Arts Dr. Robin Larsen Department of Communications Studies ABSTRACT The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny' s dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.