By Rob Urbinati

by Rob Urbinati

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PRODUCTION HISTORY The World Premiere production of The Queen Bees opened at Queens Theatre on May 8, 2015. Queens Theatre Executive Director, Taryn Sacramone.

Written by Rob Urbinati Directed by José Zayas Choreography: Avital Asuleen Musical Direction, Vocal Arrangements, Orchestrations and Programming: Julianne B. Merrill

Cast: Brenda ...... Nicole Colón Diane ...... Baily Frankenberg Connie ...... Mary Beth Donahoe

Set Design: Michael P. Kramer Costume Design: Sharon Sobel Lighting Design: Steve Wolf Sound Design: David Margolin Lawson Voiceovers: James Rogers Props Design: Jessica Jalal Production Stage Manager: Deidre Works

A Showcase production of an earlier version of The Queen Bees opened at Queens Theatre on November 30, 2006, produced by Craig Bowley; Queens Theatre Executive Director, Jeffrey Rosenstock.

Written by Rob Urbinati Directed by Michael Goldfried Choreography: Gabrielle Lanser Musical Director: Brandon Lowry

Cast: Brenda ...... Heather Lind Diane ...... Jennifer Weingarten Connie ...... Jessica Scholl

Set Design: Patrick K. Tennant Lighting Design: Jeff Fightmaster Costume Design: Jacob Climer Music Consultant: Mike Murray Associate Director: Molly Kramer Stage Manager: Andrea Buekema

CAST OF CHARACTERS Cast Total: 3F DIANE: 16-19 A simple girl who expresses the full range of teenage joy and anguish. Her values are rooted in the 1950s. Less confident and more conservative than her younger sister. BRENDA: 15-18. Diane’s sister. Exploring her sexuality. She takes risks, and there’s both danger and vulnerability in her swagger. She anticipates the social revolutions of the later 1960s. CONNIE: 16-19. Their friend. A bundle of energy and determination. Better off financially than Diane and Brenda, she’s had some musical training. She’s serious and savvy about getting ahead in the music business.

NOTE: The girls speak with thick Queens accents.

NOTES ON THE PLAY The Queen Bees is a work of fiction that borrows from the lives of various groups and performers in the “Girl Group Era.” It features songs from the 50s and 60s, and reflects the social history of the United States in this period (1958-1966).

NOTES ON THE MUSICAL NUMBERS While the musical numbers in The Queen Bees are pop songs, and all are presented in “performance,” and not “book musical” style, they fulfill various dramatic functions: • They reveal the growth of the girls’ musical skills as they gain experience • They convey the evolution of the group’s recording and performance styles • They correspond to the character who is singing, dramatically and emotionally, at that specific moment in her life and career. • They communicate the joy and potency of pop music. Each song responds to the above-mentioned points differently. For more information on the function of each song in The Queen Bees, see Appendix A. —R.U.

AUTHOR’S NOTES Many musicals about the 1960s are light, fluffy, and nostalgic. I enjoy them immensely. But when I set out to write The Queen Bees, I wanted to create something that dug a little deeper. Although I was very young in the years when the show takes place, my two sisters were older than me, and I saw the world through their eyes. They were both drum majorettes, but they were very different people. My oldest sister was straight-laced, and her values were rooted in the 1950s. She followed the rules. My other sister was rebellious and anticipated the social revolutions of the later 1960s. She broke every rule. At least, that's how I saw them. Although they may remember things differently, I remember them arguing about everything: jobs, money, how they treated my mother, but mostly boys and matters of sexual promiscuity. Years later, when I began to write The Queen Bees, I thought that basing two of the characters on my sisters had dramatic possibilities, what with their drastically opposed views. By the time I began to write, I was able to look back on the 60s with some perspective. I saw that in some ways, my sisters represented two of the limited options available to women in this period. They could be homemakers like their mothers and settle down with a family, or they could lead independent lives, challenging conventions. By this point, I had become a fan of 60s music, especially so-called “girl-groups.” In my research, I learned that many of these groups had extremely short “shelf-lives,” and that they were taken advantage of by the men who ran the music business. They were short-shifted financially, and had little artistic control over their careers. Some women in this era bucked the trend— Carole King, Ellie Greenwich, and Cynthia Weill wrote countless hit songs and found ways to maneuver successfully in this male-dominated industry. I decided I would base the third character in the fictional girl-group the Queen Bees on one of these women, who represented a third choice for women in the 60s— pursuing a career. It was only later, after I was almost through with the first draft, I realized that, as the most ambitious of my parents’ three children, I had based this third character on myself! Despite the social politics and darker edges that underlie The Queen Bees, it was important for me— essential, in fact, that the show exude the unbridled joy of pop music that I experienced then, and still experience to this day.

Rob Urbinati

SCENE AND SONG BREAKDOWN

ACT I Scene 1: Jonathan’s Bar Mitzvah #1. This Could Be The Start of Something Big ...... The Queen Bees Scene 2: Brenda and Diane’s apartment, Flushing, NY Scene 3: Two weeks later; Girls Room, Flushing High Scene 4: Immediately following; Gymnasium, Flushing High #2. My Boyfriend’s Back ...... Connie & the Girls #3. Maybe ...... Diane & the Girls #4. Twist and Shout ...... Brenda & the Girls Scene 5: One week later; A Recording Studio, Manhattan #5. Remember (Walking In the Sand) ...... Connie & the Girls #6. Give Him A Great Big Kiss ...... Brenda & the Girls #7. Leader of the Pack ...... Diane & the Girls Scene 6: One month later; “Shingdig!” Television Studio #7. Leader of the Pack (Cont’d) ...... Diane & the Girls

ACT II Scene 1: A Recording Studio, Manhattan #8. Revlon’s Natural Wonder ...... The Queen Bees Scene 2: “Shindig!” Dressing Room Scene 3: The Brooklyn Fox #9. California Dreamin’ ...... Brenda & the Girls #10. Dedicated To The One I Love ...... Diane & the Girls #11. The Boy From New York City ...... Connie & the Girls #12. I Can Never Go Home Anymore ...... Brenda & the Girls #13. Sophisticated Boom Boom ...... Connie & the Girls #14. Shout! ...... Diane & the Girls

THE QUEEN BEES – PRODUCTION SCRIPT 1

ACT I

SCENE 1 SPRING, 1963 In the blackout, we hear a Voice Over: SFX: APPLAUSE JONATHAN’S UNCLE (V.O.) Okay, folks— right now we got a real treat for you. Jonathan wanted the girls makin’ a name for themselves over at Flushing High to sing at his Bar Mitzvah. Such a crush he's got on the three of 'em— even the shiksas! Here they are, boychik— just for you— the Bon Bons with their rendition of Steve and Eydie’s big hit. Take it away, girls! SFX: APPLAUSE AND CHEERS Lights up on CONNIE, BRENDA and DIANE. They wear skirts and blouses, and sing a “nightclub” arrangement with simple, “McGuire Sisters” moves.

SONG #1: THIS COULD BE THE START OF SOMETHING BIG

CONNIE YOU'RE WALKIN' ALONG THE STREET, OR YOU'RE AT A PARTY BRENDA OR ELSE YOU'RE ALONE AND THEN YOU SUDDENLY DIG DIANE YOU'RE LOOKIN' IN SOMEONE'S EYES, YOU SUDDENLY REALIZE DIANE, CONNIE & BRENDA THAT THIS COULD BE THE START OF SOMETHING BIG. BRENDA YOU'RE UP IN AN BRENDA & DIANE AEROPLANE OR DINING AT SARDI'S CONNIE BRENDA OR LYING AT MALIBU MALIBU ALONE ON THE SAND SAND, SAND, SAND DIANE, CONNIE & BRENDA YOU SUDDENLY HEAR A BELL AND RIGHT AWAY YOU CAN TELL THAT THIS COULD BE THE START OF SOMETHING GRAND.

2 THE QUEEN BEES – PRODUCTION SCRIPT

DIANE THERE'S NO CONTROLLING THE UNROLLING OF YOUR FATE, MY FRIEND WHO KNOWS WHAT'S WRITTEN IN THE MAGIC BOOK? BUT WHEN A LOVER YOU DISCOVER AT THE GATE MY FRIEND BRENDA DIANE INVITE HIM IN WITHOUT A SECOND LOOK! YOU’RE WATCHIN' THE SUN COME UP SUN COME UP CONNIE AND COUNTING YOUR MONEY. AND COUNTING YOUR MONEY YOU’RE POURING A GLASS OF WINE, GLASS OF WINE ENJOYING A SWIG BRENDA & DIANE SWIG, SWIG, SWIG DIANE, CONNIE & BRENDA THEN SUDDENLY THERE HE IS, YOU WANNA BE WHERE HE IS AND THIS COULD BE THE START OF SOMETHING THIS COULD BE THE START OF SOMETHING THIS COULD BE THE HEART OF SOMETHING THIS COULD BE THE START OF SOMETHING BIG! Instrumental “dance break.” CONNIE Hi, Johnny! Thanks so much for inviting the Bon Bons to your big Bar Mitzvah bash! DIANE We hope you get everything you want outta life— BRENDA (with sexual innuendo) —now that you’re a man! CONNIE Brenda, a Bar Mitzvah just means a boy knows the difference between right and wrong— unlike someone I know. DIANE THERE'S NO CONTROLLING THE UNROLLING OF YOUR FATE, MY FRIEND, WHO KNOWS WHAT'S WRITTEN IN THE MAGIC BOOK? BRENDA BUT WHEN A LOVER YOU DISCOVER AT THE GATE MY FRIEND, INVITE HIM IN WITHOUT A SECOND LOOK. CONNIE DIANE YOU'RE LUNCHING AT “21” AND WATCHIN' YOUR DIET, “21” AND WATCHIN’ YOUR DIET DECLINING A CHARLOTTE RUSSE, ACCEPTING A FIG,

THE QUEEN BEES – PRODUCTION SCRIPT 3

BRENDA & DIANE FIG, FIG, FIG DIANE, CONNIE & BRENDA WHEN OUT OF A CLEAR BLUE SKY, IT'S SUDDENLY GAL AND GUY, AND THIS COULD BE THE START OF SOMETHING AND THIS COULD BE THE START OF SOMETHING THIS COULD BE THE START OF SOMETHING THIS COULD BE THE HEART OF SOMETHING THIS COULD BE THE START OF SOMETHING BIG! COUSIN BRUCIE SINGERS (V.O.) SEVENTY-SEVEN, WABC. (echo) BRUCIE BRUCIE BRUCIE. COUSIN BRUCIE (V.O.) Alright everybody, this is your Cousin Brucie here in New York City and we got the music for ya. But first— cousins, an important part of buying what you want is having the cash on hand. Don’t have the cash? The answer is a shopper’s loan from Household Finance. At Household Finance, my groovy cousins can borrow up to 800 dollars and start buying all the things they dig. And now cousins, get ready for the sound of solid gold. Here come the Angels with “My Boyfriend’s Back.” Watch out—! These gals are tearin’ their way up the charts. (echo) They're wild wild wild!

4 THE QUEEN BEES – PRODUCTION SCRIPT

SCENE 2 FALL, 1963; FLUSHING, QUEENS, NEW YORK CITY; KISSENA BOULEVARD A living room or bedroom in a tenement building in a working- class neighborhood. Some furniture. A small record player is on the floor and 45s are strewn about. BRENDA looks out a window onto a hot, noisy street. A radio is playing the Angels’ “My Boyfriend’s Back.” BRENDA I really dig this song. CONNIE Me too! I love the Angels. BRENDA They don’t sound like angels. CONNIE Whad’ya expect— they’re from Jersey. Let’s do it at the Rock ‘n Hop! I’ll come up with some moves for it. BRENDA We could do this and “Shout.” Or “Twist and Shout.” Or “Shout” and “Twist and Shout.” CONNIE That’s too much shouting. Maybe we should do “Maybe.” BRENDA The chick in that song makes me sick with all her cryin’ and beggin’. CONNIE (turns off the radio) Okay, but we gotta decide. It’s gonna take a lot of practice. BRENDA I hate practicing. Got any mascara that doesn’t clump? CONNIE dumps out the contents of her purse. All kinds of teenage junk. She finds the mascara and hands it to BRENDA. CONNIE Here’s some Revlon. It’s medicated. BRENDA looks in a vanity mirror or compact, and applies makeup. Notices CONNIE’s face. BRENDA What are those little polka-dots on your face? CONNIE I fell asleep on my transistor radio. BRENDA So what if this hot-shot producer doesn’t show? We do all the work for nothing?

THE QUEEN BEES – PRODUCTION SCRIPT 5

CONNIE Larry played our Imperial demo for Cousin Brucie— they’re friends— and Brucie really liked it so he asked this Flash guy to come to the Hop and check us out. He’ll be there, Brenda. All the way from Manhattan! Larry wouldn’t lie. BRENDA Larry’s a hustler. He’s just hustlin’ us. CONNIE He’s our manager. BRENDA When he’s out on parole. CONNIE We need someone out there hustlin’ for us. If Flash likes what he hears, he’ll record a few songs with us. BRENDA Be nice to finally make some real dough. CONNIE We’re doin’ alright. I already lined up two more bar mitzvahs. BRENDA I got better things to do on Saturday nights. And when I even look those boys, their mothers go ape-shit. CONNIE It’s the way you look at ‘em, Brenda— like you’re gonna bite ‘em. BRENDA If we make real money I can buy us some hip things to wear. CONNIE It’s what I’m sayin’— this could be our big chance. So let’s pick the songs already. C’mon, Brenda— do “Boyfriend.” It’s just right for you— real cocky-like. BRENDA I love when she talks: (tough) “He went away and you hung around and you bothered me every night...” CONNIE I love (singing) “If I were you I’d take permanent vacation!” CONNIE pulls a few new 45s out of her purse. BRENDA returns to the window, looking out. BRENDA You got the 45 already? CONNIE Korvettes. Day it came out.

6 THE QUEEN BEES – PRODUCTION SCRIPT

BRENDA (lightly) Spoiled brat. CONNIE Gotta buy 45s right away if you want the picture sleeve. (showing Brenda the picture sleeve to the Angels’ “My Boyfriend’s Back”) Those are called “balloon dresses.” BRENDA Their wigs look like space helmets. And those heels are really— She notices someone outside the window. There’s Chico! CONNIE Where? BRENDA On the corner near the knife-sharpening truck. See? CONNIE He doesn’t live near here. He come lookin’ for you? BRENDA waves. BRENDA Chico! Up here! (to Connie) His sideburns are comin’ in good. CONNIE Who’s he with? BRENDA His gang. CONNIE I heard he stabbed a kid on Northern Boulevard. BRENDA So? CONNIE So he’s gettin’ his knife sharpened. BRENDA He’s badass. Hey Chico! Up here, man! CONNIE He’s leavin’, Brenda. BRENDA (stung) All I can say is he better get his skinny behind to the Rock ‘n Hop.

THE QUEEN BEES – PRODUCTION SCRIPT 7

BRENDA, turns away and returns to her makeup. DIANE enters, dejected. CONNIE Diane, what’s the matter? BRENDA C’mon, spit it out. What’s the tragedy of the week? DIANE (to Brenda) Sure, like you really care. CONNIE Tell me, Diane. DIANE Ma said I gotta break up with Jimmy. CONNIE Oh my God! D’you tell ‘im? DIANE (nods “yes”) I felt so bad. CONNIE Where is he? DIANE Went to Wetson’s for fries. He’s gonna drive by later and wave. BRENDA (unfazed) I’m famished. I could go for a Big W. DIANE (to Connie) See? She could care less. CONNIE Why you goin’ out with a biker, Diane? You know your mother. DIANE Jimmy needs me! He’s had it tough his whole life. You should see where he lives. CONNIE Are there rats? Don’t even tell me if there’s rats. BRENDA Find a guy that’s got a job— CONNIE —‘stead of a hood. BRENDA Make Ma happy.

8 THE QUEEN BEES – PRODUCTION SCRIPT

DIANE Not every guy that rides a motorcycle is a hood! (to Brenda) Why don’t you get a job? BRENDA I got better things to do. DIANE Ma works hard and you spend all her money buyin’ clothes for yourself. BRENDA I don’t buy ‘em— I swipe ‘em. DIANE Least I work for a living. BRENDA Then get some new threads. You been wearin’ the same crap since eighth grade. DIANE With what? I gotta give Ma half of every penny I make. BRENDA I wouldn’t. DIANE I’m tellin’ her you clip money out of her pocketbook. BRENDA (simply, with an implied threat) Try it. DIANE I’m gonna. BRENDA Connie doesn’t work either. DIANE (to Connie) You help your father at his store sometimes, right Connie? BRENDA She don’t work there. She just likes hangin’ out in the Garment District. CONNIE You two are like cats and dogs. Let’s get movin’. DIANE Ma hated Jimmy the second she laid eyes on him. BRENDA And she only saw him from the window. CONNIE She saw the motorcycle— that was enough.

THE QUEEN BEES – PRODUCTION SCRIPT 9

DIANE What about Chico? He’s a Puerto Rican! BRENDA Ma lets me go out with whoever I want. She knows I can take care of myself. DIANE I can take care of myself— and I’m older. CONNIE Joey’s still got a crush on you. Even after everything that happened. BRENDA Don’t marry him, Diane. Your kids’ll all be retarded. [or “…all be candyass”] DIANE That’s mean. I really hate you. CONNIE (changing the subject) Here, honey— want some gum? CONNIE rifles through her pile of stuff. BRENDA goes to the window and (optional) lights a cigarette. I got Dentyne and Bazooka Joe and Chiclets and— DIANE Chiclets. CONNIE shakes out of few Chiclets for DIANE and herself. After a few moments: Hey, that should be our name. CONNIE What? DIANE The Chiclets! CONNIE Too cutsie. How ‘bout just the Chicks? BRENDA Or the Titties. DIANE Get real. Maybe the M&Ms? Or the Cookies? CONNIE (singing) “Chains. My baby’s got me locked up in chains…” That’s the Cookies. BRENDA I know— the Orlons! Or the Rayons maybe?

10 THE QUEEN BEES – PRODUCTION SCRIPT

CONNIE You mean, like— synthetic fabrics? DIANE I still think the M&Ms is cute. BRENDA You got candy on the brain ‘cause you got the hots for the kid that works with you at the candy store. DIANE Richie? Yeah, right. He’s colored! BRENDA So? CONNIE (eagerly) Diane, you like that kid? BRENDA You should bring him home. CONNIE Your mom would shit a brick. BRENDA Least he’s got a job. DIANE But he’s from Africa. CONNIE He’s from Corona, Diane. They bus ‘em in. BRENDA I wish they’d bus in more of ‘em! DIANE Ma makes me break up with every guy I go out with. Or my own sister steals him from me. BRENDA I don’t steal ‘em. Ask Joey. They come runnin’ to me ‘cause you won’t put out. DIANE Quit it. That’s gross. CONNIE It’s the only way to say it, Diane— a girl puts out or she don’t. DIANE At Saint Mary’s they said it was a sin to even— BRENDA That was elementary school. You’re a senior in high school now. Get with it. DIANE If it wasn’t for the Bible, I’d fool around too. I mean it. But I don’t want to go to hell.

THE QUEEN BEES – PRODUCTION SCRIPT 11

DIANE (CONT’D) (a beat, then) And I don’t want to get mono. CONNIE S’that why you always wear the— whatddyacallit? DIANE Crucifix. CONNIE I’m sorry, Diane, but that thing gives me the creeps. I mean— there’s nails. DIANE Connie! CONNIE And he’s in his underwears. DIANE Look, there’s some things you just have to take for granite [sic], like there’s a God, and saving yourself till you get married is right (looking at Brenda) and goin’ all the way with your sister’s boyfriend on the cement floor of the stock room at Connie’s father’s store is wrong. CONNIE (news to her) What? DIANE She did it and it’s wrong. BRENDA How do you know it’s wrong? DIANE I just know. Everyone knows. CONNIE (to Brenda) Why didn’t you tell me? You’re lucky my father didn’t catch you. BRENDA We locked the door. Then we took a bolt of muslin and laid it down so my rear end wouldn’t get cold. DIANE It’s disgusting. CONNIE She’s right, Brenda. I mean, right on the cement floor, with my father selling notions out front? DIANE She’s a tramp.

12 THE QUEEN BEES – PRODUCTION SCRIPT

BRENDA You’re just jealous ‘cause I’m better looking than you. DIANE Shut up. BRENDA And I got bigger boobs. Besides, I don’t believe in God. DIANE is shocked. DIANE (a beat, then) Daddy would kill you if he heard how you talk. BRENDA Yeah, well he’s gone, so— It’s quiet for a few moments. CONNIE throws the junk back in her purse, BRENDA puts on lipstick as DIANE watches. DIANE What would Daddy do if he knew what happened to his baby girl? BRENDA Why should guys have all the fun? DIANE Read the Bible, Brenda. BRENDA Listen to the songs, Diane. It’s like the Jelly Beans say, “I wanna love him soo bad…” DIANE That means fall in love, right Connie? CONNIE Leave me out of this. BRENDA Look, the chick can’t come right out and say she wants to get it on, so she says (singing) “I wanna love him soo bad.” But everybody knows what she means. DIANE (a beat, then) Okay, maybe in that song. But they don’t mean sex in every song where they say “love.” BRENDA Most of ‘em. DIANE Well, then they should spell it different— like L.U.V. or somethin’. CONNIE Try “I Love How You Love Me.”

THE QUEEN BEES – PRODUCTION SCRIPT 13

DIANE That’s a very pretty song. (singing, hymn-like) “I love how your eyes close whenever you kiss me, and when you’re away from me, I love how you miss me.” BRENDA Sounds like the Saint Mary’s choir. (singing, with sexual emphasis) “I love how you squeeze me tease me please me...” See? DIANE (confused) Connie, is this true? CONNIE Maybe. DIANE (crestfallen) Boy oh boy. BRENDA And when they sing about dancin’, it means sex too. (singing and chugging to Little Eva’s “Locomotion”) “A chugga chugga motion like a railroad train…” DIANE Drop dead. CONNIE Listen, girls, I want a gold record by the time I’m seventeen so let’s get movin’. DIANE I wanna do “Maybe.” That’s my all-time favorite song. BRENDA Every song you like has a broad crawling around on her knees beggin’ some guy to come back. It’s pathetic. CONNIE It’s a classic. All the girl groups sing it. BRENDA Don’t call us a girl group, dig? What does it mean, anyway— that we don’t have peckers? CONNIE We gotta sing something with a beat so Flash’ll see we can get the kids up on their feet. DIANE I don’t like to sing anything with a beat. CONNIE It’ll put you in a good mood, Diane.

14 THE QUEEN BEES – PRODUCTION SCRIPT

DIANE I sing better when I’m in a bad mood. BRENDA (to Connie, re: Diane) And I gotta live in the same room with this one. CONNIE We have to do at least one fun song. BRENDA News flash— I’m doin’ “Twist and Shout.” CONNIE I thought you were gonna do “Boyfriend”? BRENDA Then I have to learn it. CONNIE Okay, I’ll do “Boyfriend” and Diane’ll sing somethin’ sad. DIANE I’m singing “Maybe.” Period. BRENDA I’m takin’ a pee break during your song. CONNIE (looking at her watch) Oh my God, “Ed Sullivan” starts in five minutes. (quickly, to Diane and Brenda) Okay, “Twist and Shout.” I got some new moves. Here goes— watch my hips. (she demonstrates) Do this, kinda like you’re twisting, but more dancey. And then we’re gonna wave our arms like— She demonstrates. BRENDA I wanna do my own moves. She takes out a brush and fixes her hair, combing one side in front of her eye as CONNIE and DIANE rehearse. CONNIE Okay, Brenda’ll do her own moves on that. CONNIE takes a Kleenex. Diane, gimme your gum. CONNIE and DIANE put their gum in the Kleenex. (to Diane) Now we sing backup like we did before, but when we say, “twist and shout,” I’ll go up at the end and sing this note

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