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Written & Created by James A. Rocco & Albert Evans with Heidi Karol Johnson

Orchestrations by Patti Wyss & Ed Cionek Original Musical Direction & Dance Arrangements by Jason DeBord

PRODUCTION SCRIPT

www.stagerights.com STREAKIN’ THRU THE 70S! Copyright © 2001, 2018 by James A. Rocco & Albert Evans All Rights Reserved

All performances and public readings of STREAKIN’ THRU THE 70S! are subject to royalties. It is fully protected under the copyright laws of the United States of America, of all countries covered by the International Copyright Union, of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. All rights are strictly reserved.

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For all stage performance inquiries, please contact:

Steele Spring Stage Rights 3845 Cazador Street Los Angeles, CA 90065 (323) 739-0413 www.stagerights.com

PRODUCTION HISTORY Streakin’ Thru the 70s! was originally developed at Cabaret Oldtown, Wichita, KS (Christine Tasheff, Producer), and Off-Broadway at Club Babalu (Steven Yuhasz, Producer). The 2018 production was developed by Thirty Saints Productions (James A. Rocco and Jeffrey P. Scott, Producers). Original NY Cast Gloria ...... Patty Reader & Christi Moore Tyrone ...... Everett Bradley & Darryl Jovan Chrissie ...... Tari Kelly Tripp ...... Danny Vaccaro Donny ...... Monte Wheeler Angela ...... Simone DePalo & LaVonda Elam Understudies ...... Sandra Bargman, Trevor Richardson & Catherine Carpenter

Original Wichita Cast Gloria ...... Patty Reader Tyrone ...... Corey Smith Chrissie ...... Jenna Tyrell & Cary Hesse Tripp ...... Kyle Vespestadt Donny ...... Brent Moon Angela ...... Ronda Kingwood & Linda Austin

Streakin’! began as a workshop by creators/writers James A. Rocco and Albert Evans, who were responsible for the Off-Broadway hits Pageant and Nite Club Confidential. A six-week try-out at a small theatre in Wichita turned into a five-month run. Reaction to “How would you like a nice Hawaiian Punch?”, “Dy-no-mite!”, “It’s not nice to fool Mother Nature,” pet rocks, tube tops, hot pants, white polyester pantsuits and the Village Person, plus the popularity of the international sensation Mamma Mia, emphasized the universal appeal of both mocking and simultaneously embracing the “what-were-we-thinking?” culture of the 70s. A six-week try-out at cabaret Old Town in Wichita, Kansas led to a five-month run and two return engagement at that theatre. The show played for a limited Off-Broadway run in 2002 and again in 2003, gathering an enthusiastic cult audience and it has since been produced twice at The Orlando Fringe Festival, as well as other regional theatres. Streakin’! has been a hit with audiences wherever it has played. It has been retooled for licensing by Steele Springs Stage Rights for 2018.

CAST OF CHARACTERS Cast Total: 6 – 3F, 3M All must be triple threats with a solid comic sensibility— great pop singers who can handle musical styles ranging from to LaBelle to The Village People. TRIPP: (Man 1) A dazed and confused adult. High rock tenor. • Plays: TIM, the “pop star” son in 27 Bubblegum Lane (a 70s sitcom); a draft dodger; JO JO, the “winner of last week’s hustle contest”; a trucker; a backwoods Deliverance type. *Tripp is also the “Streaker.” TYRONE: (Man 2) A Lou Rawls-type who came to “party.” Must sing R&B as well as pop. • Plays: POPS, a stagehand in Scream That Theme; DR. GRADY, the father in 27 Bubblegum Lane, (a 70s sitcom); a student revolutionary; the VILLAGE PERSON. DONNY: (Man 3) An “Up With People”-type (Donny Osmond) with a toothy smile. Great pop singer and great comedian. • Plays: TAP KNEEJERK, a game show host in Scream That Theme; CARVER, the myopic and brainy son in 27 Bubblegum Lane (a 70s sitcom); a student revolutionary; TONY MARINO, a Saturday Night King; a John Denver-type. CHRISSIE: (Woman 1) A blonde (Suzanne Somers), 70s -type. Must be an excellent singer and dancer. • Plays: A Karen Carpenter-type; MELANIE COLLINS, the sex-crazed girl next door in 27 Bubblegum Lane (a 70s sitcom); a HIPPIE CHICK modern dancer; LEESHA, “last week’s winner of the hustle contest”; a Toni Tenille-type. GLORIA: (Woman 2) A tough women’s (Gloria Steinem) libber. Must be an excellent comedian and singer. • Plays: ZANNA O’MANNA, a whacked-out, Vanna White-type in Scream That Theme; PEGGY, the housekeeper in 27 Bubblegum Lane (a 70s sitcom); a student revolutionary; SCARIE WHITE (Carrie’s cousin); a female trucker; a backwoods Deliverance-type. ANGELA: (Woman 3) A former disco diva and Turner-type. Great dancer and a fierce R&B singer. • Plays: a Patti LaBelle-type; POOKIE, the youngest pigtailed daughter in 27 Bubblegum Lane (a 70s sitcom); a student revolutionary (an Angela Davis-type); SONNA, a Donna Summers-type and a trucker. A note about the “Streaker”: The show was written for the “TRIPP” character to play the “Streaker.” In the Off-Broadway production, the “Streaker” was the male understudy. This is entirely up to you and your casting. In some productions, the “Streaker” has appeared in a G- string with a large smiley face button covering the entire pouch.

SETTING NOTES Unit set with “70s pop art” background and “pop out” pieces that become podiums, chairs, a living room, and a disco. Lots of color. In the original production, the band was onstage, and the set was multi-leveled and modular so it could morph into various locations: the set for the television game show Scream That Theme into a sitcom living room and later into a spectacular disco.

RUN TIME 95 minutes Act I runs 50 minutes Act II runs 45 minutes

DIRECTOR’S NOTE Streakin’! is a kaleidoscopic musical flashback to the 1970s. Each scene introduces a cultural happening from the decade. Within each scene are memories related to those phenomena that tumble into each other and morph, ultimately creating a pop collage of the entire decade. It is a comedy based in the joy of remembering a tumultuous and fast-paced time. Simultaneously (for the people who may not have these memories) there is the music. Each song authentically conjures up the original hit. Although the performers are not impersonating the original artists, they pay homage to the original hits by incorporating quirks and phrasing from those recordings and morphing them into refreshed and alive performances. Technically all departments are asked to be familiar with the basis of the show’s references and then take them to the max. When designing, keep in mind that Streakin’ Thru the 70s! takes place right now as a collage of oversized memories from the period. The reality is heightened and idealized. It must always be goosey and fun and never be condescending to the times. The music is authentic and the visuals must be too.

MUSICAL NUMBERS

ACT I 1. Play That Funky Music White Boy ...... Band & Cast 2. You Sexy Thing ...... Tyrone 3. Have You Never Been Mellow ...... Chrissie & Backup 4. Smokin’ in the Boys Room ...... Tripp with Tyrone & Donny 5. I Am Woman ...... Gloria & Women 6. Everything is Beautiful ...... Donny with Tyrone & Trip 7. Lady Marmalade ...... Angela with Chrissie & Gloria 8. Scream That Theme ...... Band 9. Scream Bossa ...... Band 10. Love is All Around ...... Band & Zanna (Gloria) 11. Movin’ On Up ...... Band & Zanna (Gloria) 12. Streakin’ Music ...... Band 12A. Streakin’ Music Reprise ...... Band 13. ...... Band 14. Those Were the Days ...... Pops Washington (Tyrone) & Contestant 15. Scream That Theme 2 ...... Band 16. Rainy Days and Mondays ...... Chrissie & Backups 17. Theme From 27 Bubblegum Lane ...... (Pre-Record) 18. Brand New Key ...... Melanie Collins (Chrissie) 19. Joy to the World ...... Pookie (Angela) & All (Except Dr. Grady) 20. You Light Up My Life ...... Peggy (Gloria) 21. Bubblegum Incidental ...... (Pre-Record) 22. Love Will Keep Us Together ...... Company 23. War Cries ...... Tripp & Company 24. Who’ll Stop the Rain ...... Angela & Tyrone 25. Peace Train ...... Company 26. I Love the Nightlife ...... Sonna

MUSICAL NUMBERS

ACT II 27. Treat Her Like a Lady Underscore ...... Band 27A. Treat Her Like a Lady ...... Tony (Donny) & Company) 28. In the Village ...... The Village Person (Tyrone) 29. Disco Inferno ...... Scarie (Gloria) & Company 30. The Morning After ...... LeeSha (Chrissie) & Company 31. Take Me Home Country Roads ...... Donny with Gloria 32. ...... Donny, Angela & Tripp 33. Convoy ...... Trucker (Gloria) with Angela & Tripp 34. Muskrat Love Part 1 ...... Toni (Chrissie) 34A. Troglodyte (The Bertha Butt Boogie) ...... Sugar (Tyrone) 34B. Muskrat Love Part 2 ...... Toni (Chrissie) 34C. Mountain Cousins ...... Inbred Cousins (Gloria & Tripp) 34D. Muskrat Love 3 ...... Toni (Chrissie) 35. News Montage ...... Company 36. MacArthur Park ...... Company 37. I Will Survive ...... Angela & Company 38. Bows ...... Band

PLEASE INCLUDE THE FOLLOWING CREDITS IN ALL PROGRAMS:

The Bertha Butt Boogie, Written by Jimmy Castor; J. Pruitt This selection is used by special arrangement with BMG Platinum Songs (BMI). Brand New Key, Written by Melanie Safka This selection is used by special arrangement with EMI Entertainment World on behalf of EMI April Music, Inc. (ASCAP), All Rights Reserved. Bubblegum Incidental, Written by Albert Evans This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. Convoy, Written by William Fries This selection is used by special arrangement American Gramophone Partnership, All Rights Reserved. Disco Inferno, Written by Leroy Green and Tyrone G. Kersey This selection is used by special arrangement with Mersey Kersey Music, LLC. and Reservoir Media Management, Inc. (ASCAP), All Rights Reserved. Dueling Banjos, Written by Jim Brickman, Arthur Smith, Eric Weissberg This selection is used by special arrangement with EMI Entertainment World on behalf of Combine Music Corp. (BMI), All Rights Reserved. Everything Is Beautiful, Written by Ray Stevens This selection is used by special arrangement with Clearbox Rights, LLC on behalf of Ahab Music Company, Inc. All Rights Reserved. Have You Never Been Mellow, Written by John Clifford Farrar This selection is used by special arrangement with John Farrar Music (BMI) All Rights Administered by Warner-Tamberlane Publishing Corp. All Rights Reserved. I Am Woman, Written by Ray Burton, Helen Reddy This selection is used by special arrangement with Universal Music Corp., on behalf of Irving Music, Inc. on behalf of itself, and Buggerlugs Music Co. I Love The Nightlife, Written by Alicia D. Bridges and Susan Hutcheson This selection is used by special arrangement with Concord Music group on behalf of Bike Music (BMI), http://www.concord.com. All Rights Reserved. I Will Survive, Written by Frederick J. Perren, Dino Fekaris This selection is used by special arrangement with UNIVERSAL POLYGRAM INT. PUBLISHING, INC. on behalf of itself, and PERREN-VIBES MUSIC, INC. (ASCAP). In The Village, Written by Albert Evans This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. Joy To The World, Written by Hoyt Wayne Axton This selection is used by special arrangement with Universal Music Group on behalf of itself and IRVING MUSIC, INC. - (BMI). Lady Marmalade, Written by Bob Crewe and Kenny Nolan This selection is used by special arrangement with EMI Entertainment World on behalf of Jobete Music Co Inc., Kenny Nolan Publishing, Stone Diamond Music Corp., Tannyboy Music Company (BMI, ASCAP). Love Is All Around, Written by Sonny Curtis This selection is used by special arrangement with EMI Entertainment World on behalf of EMI Blackwood Music Inc. Love Will Keep Us Together, Written by Neil Sedaka and Howard Greenfield This selection is used by special arrangement with BMG Rights Management Canada Bobo BMG Platinum Songs (BMI) obo R2M Music (BMI) and Songs Of Lastrada (BMI) and Lastrada Entertainment Company, Neil Sedaka Music (BMI) administered by Round Hill Works, EMI Entertainment World on behalf of EMI Sosaha Music, Inc (BMI), and with UNIVERSAL MUSIC - CAREERS (BMI). MacArthur Park, Written by Jimmy L. Webb This selection is used by special arrangement with UNIVERSAL POLYGRAM INT. PUBLISHING, INC. (ASCAP). Movin' On Up, Written by Jeff Barry, Janet DuBois This selection is used by special arrangement with EMI Entertainment World on behalf of EMI Belfast Music Inc. (BMI), All Rights Reserved. Musical Chairs, Written by Albert Evans This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. MUSIC CREDITS (CONT’D)

Muskrat Love, Written by Willis Alan Ramsey This selection is used by special arrangement with Wishbone Music, Don Williams Music Group, INC., All Rights Reserved. News Montage, Written by Albert Evans This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. Peace Train, Written by Yusuf Islam This selection is used by special arrangement with BMG Gold Songs (ASCAP) on behalf of BMG Rights Management (UK) Ltd. on behalf of Cat Music Limited. Play That Funky Music White Boy, Written by Robert W Parissi This selection is used by special arrangement with Sweet City records, Inc. on behalf of itself and as administrator of RWP Music (ASCAP). Rainy Days and Mondays, Written by Roger S Nichols, Paul H. Williams. This selection is used by special arrangement with Universal Music group on behalf of Almo Music Corporation(c) ALMO MUSIC CORP. (ASCAP). Scream Bosa, Written by Albert Evans This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. Scream That Theme, Written by Albert Evans This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. Smokin In The Boy's Room, Written by Michael Koda: Michael George Lutz This selection is used by special arrangement with BMG Firefly (ASCAP) on behalf of Lady J Music (ASCAP) and Tooney Loons Publishing (ASCAP) and with WCM Publisher on behalf of Big Tree Enterprises, LTD. Streakin' Music, Written by Albert Evans This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. Take Me Home Country Roads, Written by Taffy Danoff; William T Danoff; John Denver This selection is used by special arrangement with BMG Ruby Songs (ASCAP), Frank Kruyer, JD Legacy Publishing, Kobalt Music Publishing America, Inc., and Reservoir Media Management, Inc. (ASCAP). The Air That I Breathe, Written by Albert Hammond, Michael Hazlewood This selection is used by special arrangement with EMI Entertainment World on behalf of EMI April Music Inc. (ASCAP). The Morning After, Written by Joel Hirschhorn and Al Kasha This selection is used by special arrangement with WB Music Corp (ASCAP) and Warner-Tamberlane Publishing Corp. (BMI), All Rights Reserved. Those Were The Days (Theme from All In The Family), Written by Lee Adams and Charles Strouse This selection is used by special arrangement with EMI Entertainment World on behalf of EMI Worldtrax Music Inc. Treat Her Like A Lady, Written by Eddie Lee Cornelius Jr. This selection is used by special arrangement with EMI Entertainment World on behalf EMI Unart Catalog, Inc., Stage Door Music Publishing Inc. (BMI). Twenty Seven Bubble Gum Lane, Written by Albert Evans and James A Rocco This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. War Cries, Written by Albert Evans and James A Rocco This selection is used by special arrangement with The Rocco Man Music (ASCAP), THIRTY SAINTS PRODUCTIONS (ASCAP), All Rights Reserved. Who'll Stop The Rain, Written by John Cameron Foggerty This selection is used by special arrangement with Concord Music Group on behalf of Jondora Music (BMI), http://www.cooncord.com. All Rights Reserved. You Light Up My Life, Written by Joseph Brooks This selection is used by special arrangement with UNIVERSAL POLYGRAM INT. PUBLISHING, INC. (ASCAP) and Curb Songs (ASCAP). You Sexy Thing, Written by Errol Brown This selection is used by special arrangement with Kobalt Music Publishing America, Inc.

STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT 1

PRE-SHOW ANNOUNCEMENT The following announcement should be played in the lobby and inside the theatre, numerous times prior to the start of show. Note: Act I Scene 3 “Scream That Theme” is an audience participation segment. Have your props designer create entry forms that include the show logo and any information you’d like to gather. (In the original production, we asked for names and email addresses.) PRE-RECORDED ANNOUNCER Attention, all audience members!

As you anticipate the start of our show, be sure to fill out an entry form for your chance to participate in our exciting television trivia contest… SCREAM THAT THEME!

It’s your chance to win glamorous and exciting prizes! But you’ve got to be in it to win it. So, fill out your entry form and hand it to your usher, for your chance to SCREAM THAT THEME!

2 STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT

OVERTURE

SONG #1: PLAY THAT FUNKY MUSIC WHITE BOY

During the Overture, the CAST enters, bopping to the music. They sing/chant with the music, “Play That Funky Music White Boy,” encouraging the audience to join the party. TYRONE dances full out. ALL THEY SHOUTED PLAY THAT FUNKY MUSIC WHITE BOY PLAY THAT FUNKY MUSIC, RIGHT THEY SHOUTED PLAY THAT FUNKY MUSIC WHITE BOY LAY DOWN THE BOOGIE AND PLAY THAT FUNKY MUSIC TILL YOU DIE

STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT 3

ACT I

SCENE 1 ROUND ROBIN GLORIA Welcome 70s survivors!

I'm Gloria Stern, and you made a giant step forward when you walked through those doors and chose to join the millions of people who embrace recovery by admitting that they are addicted to the 1970s.

This program is open to everyone, even men!

We at Streakin’! are a group of modern professionals who prefer CB radios to cellphones.

Streakers believe denim is a perfectly acceptable fabric when choosing business or formal attire.

Let's start by taking a little test…

When I say, "Get down, boogie oogie oogie." Do you feel an anticipatory sensation of good times and happy days in your “special place”? Do you long to boogie till you just can't boogie no more? If so, then I’m OK and you’re OK.

Tonight, we’ll do a little role-playing and re-examine some of the incredible music of a much- maligned decade. The ENTIRE CAST applauds.

Thank you. That’s from my new book, “Your Mind is Your Walkman.”

So it’s time to stand up and face the music by repeating this mantra… The ENTIRE CAST shouts.

…the medium is the message and the message is in the sound bites of the 1970s. Note: These numbers are all-out performances— think 70s rock concert or Midnight Special. It’s a musical Round Robin.

SONG #2: YOU SEXY THING

TYRONE It’s party time! Tyrone’s the name, baby, and freaky love is my game. (singing) I BELIEVE IN MIRACLES. WHERE’RE YOU FROM? YOU SEXY THING. SEXY THING YOU. I BELIEVE IN MIRACLES

4 STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT

TYRONE (CONT’D) SINCE YOU CAME ALONG YOU SEXY THING

WHERE DID YOU COME FROM BABY? HOW DID YOU KNOW I NEEDED YOU? HOW DID YOU KNOW I NEEDED YOU SO BADLY? HOW DID YOU KNOW I’D GIVE MY HEART GLADLY? YESTERDAY, I WAS ONE OF THE LONELY PEOPLE. NOW YOU’RE LYING CLOSE TO ME MAKING LOVE TO ME. I BELIEVE IN MIRACLES. SINCE YOU CAME ALONG. YOU SEXY THING.

AAHH… TOUCH ME. KISS ME DARLIN’. AHHHA… IT’S ECSTASY AHHH… IT’S SEXTASY (speaking) Baby, If I could rearrange the alphabet I would put you and I together. (singing) DYN-O-MITE! ! (speaking) So now you know why I’m here today. I got the moves, I got the grooves, I got the flared slacks and a lava lamp erupting in my Love Shack. What’s your name, baby? He starts to move in on ANGELA. ANGELA is a former disco diva, a -type, who is now a business woman. She approaches this with a warning finger and in a completely intense business manner. ANGELA My name is Angela and I am currently the CEO of my own cosmetic firm. So although I may be a foxy lady, don’t you be trying it with me, Buster. GLORIA Right on, Angela! CHRISSIE giggles. CHRISSIE Wow! My name’s Chrissie, and these… She takes the scrunchies out of her hair and gives them to the CAST. …these are the sequined scrunchies I wore to my prom. I want you all to have one and to think of them as friendship bracelets. So let’s all commit to that and take a deep breath.

STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT 5

SONG #3: HAVE YOU NEVER BEEN MELLOW

CHRISSIE & BACK-UP HAVE YOU NEVER BEEN MELLOW? HAVE YOU NEVER TRIED TO FIND A COMFORT FROM INSIDE YOU? HAVE YOU NEVER BEEN HAPPY JUST TO HEAR YOUR SONG? HAVE YOU NEVER LET SOMEONE ELSE BE STRONG? (modulation) HAVE YOU NEVER BEEN MELLOW? HAVE YOU NEVER TRIED TO FIND A COMFORT FROM INSIDE YOU? HAVE YOU NEVER BEEN HAPPY JUST TO HEAR YOUR SONG? HAVE YOU NEVER LET SOMEONE ELSE BE STRONG? CHRISSIE BA BA DA BA BA DA BAND chings, finger cymbals, Chrissie clicks fingers, hears the ching— and is surprised that her fingers made the sound happen. TRIPP speaks over his musical intro. TRIPP Listen, if you really wanna mellow out I’m growing some righteous Maui-Wowee in my parents’ basement.

SONG # 4: SMOKIN’ IN THE BOYS’ ROOM

(singing) SITTIN’ IN THE CLASSROOM, THINKIN’ IT’S A DRAG. LIST’NIN’ TO THE TEACHER RAP JUST AIN’T MY BAG. THE NOON BELLS RING, YOU KNOW IT’S MY CUE. I’M GONNA MEET THE BOYS ON FLOOR NUMBER TWO. TRIPP & BACK-UP SMOKIN’ IN THE BOYS’ ROOM. SMOKIN’ IN THE BOYS’ ROOM. NOW, TEACHER, DON’T YOU FILL ME UP WITH YOUR RULES, ’CAUSE EV’RYBODY KNOWS THAT TRIPP & BACK-UP SMOKIN’ AIN’T ALLOWED IN SCHOOL. TRIPP CHECKIN’ OUT THE HALLS, MAKIN’ SURE THE COAST IS CLEAR. LOOKIN’ IN THE STALLS, NAH, THERE AIN’T NOBODY HERE. MY BUDDY FANG AND ME AND PAUL, TO GET CAUGHT WOULD SURELY BE THE DEATH OF US ALL.

6 STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT

TRIPP & BACK-UP SMOKIN’ IN THE BOYS’ ROOM. TRIPP YEA-AH! TRIPP & BACK-UP SMOKIN’ IN THE BOYS’ ROOM. TRIPP NOW, TEACHER, DON’T YOU FILL ME UP WITH YOUR RULES, (UH) EV’RYBODY KNOWS THAT TRIPP & BACK-UP SMOKIN’ AIN’T ALLOWED IN SCHOOL. 8 bar instrumental. TRIPP One more! (singing) WELL TRIPP & BACK-UP SMOKIN’ IN THE BOYS’ ROOM. SMOKIN’ IN THE BOYS’ ROOM. TRIPP NOW, TEACHER, DON’T YOU FILL ME UP WITH YOUR RULES, (UH) EV’RYBODY KNOWS THAT TRIPP & BACK-UP SMOKIN’ AIN’T ALLOWED IN SCHOOL. TRIPP NOW, TEACHER, I AM FULLY AWARE OF THE RULES, (UH) EV’RYBODY KNOWS THAT TRIPP & BACK-UP SMOKIN’ AIN’T ALLOWED IN SCHOOL! After TRIPP completes his song, there is a moment of awkward silence. The CAST looks at each other and then to GLORIA, who finally speaks. GLORIA Thank you… uh…? She looks at him as if to say, “I don’t know who you are.” TRIPP Uh? ...Oh! Tripp, I’m Tripp. GLORIA Well… uh… Tripp, I don’t mean to…

STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT 7

GLORIA (CONT’D) (making air quotes) …“harsh your mellow” but before we continue this party, we must put an end to rampant oppressive patriarchal male chauvinism right now. Am I right, sisters? CHRISSIE, ANGELA, and DONNY respond, often the audience responds too. I mean, if they can put a man on the moon, why can’t they put them all there?

SONG # 5: I AM WOMAN

(singing) I AM WOMAN, HEAR ME ROAR IN NUMBERS TOO BIG TO IGNORE, AND I KNOW TOO MUCH TO GO BACK AND PRETEND. ’CAUSE I’VE HEARD IT ALL BEFORE AND I’VE BEEN DOWN THERE ON THE FLOOR, NO ONE’S EVER GONNA KEEP ME DOWN AGAIN. OH, As she sings, GLORIA reaches inside her button-down shirt and works hard to unhook and remove her bra through one of her shirt sleeves. She proudly swings the bra over her head and tosses it at the band. GLORIA & BACK-UP SINGERS YES, I AM WISE, GLORIA BUT IT’S WISDOM BORN OF PAIN, BACK-UP SINGERS OH! GLORIA & BACK-UP SINGERS YES, I PAID THE PRICE GLORIA BUT LOOK HOW MUCH I GAINED. GLORIA & BACK-UP SINGERS IF I HAVE TO I CAN DO ANYTHING. GLORIA I AM STRONG, BACK-UP SINGERS STRONG! GLORIA I AM INVINCIBLE, BACK-UP SINGERS INVINCIBLE!

8 STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT

GLORIA I AM STRONG, BACK-UP SINGERS STRONG! GLORIA I AM INVINCIBLE, BACK-UP SINGERS INVINCIBLE! GLORIA I AM WOMAN! (shouted) I AM STRONG. I AM INVINCIBLE! GLORIA & BACK-UP SINGERS I AM WOMAN! GLORIA Come with me, women. We got work to do. The WOMEN exit. TRIPP Wow! That was heavy. TYRONE Right on! There’s a bit of silence. DONNY decides he can brighten the mood. DONNY Well…my name is Donny. TRIPP & TYRON (muttering) Hello, Donny. DONNY And I see nothing wrong with a little seventies optimism, it always puts a little smiley face on my day. This is my motto.

SONG # 6: EVERYTHING IS BEAUTIFUL

DONNY EV’RYTHING IS BEAUTIFUL IN ITS OWN WAY, LIKE A STARRY SUMMER NIGHT OR A SNOW-COVERED WINTER’S DAY.

EV’RYBODY’S BEAUTIFUL IN THEIR OWN WAY; UNDER GOD’S HEAVEN, THE WORLD’S GONNA FIND A WAY.

STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT 9

DONNY begins a clap-along with the audience. TRIPP and TYRONE realize, if you can’t beat ’em… join ’em. DONNY & BACK-UP SINGERS JESUS LOVES THE LITTLE CHILDREN, ALL THE LITTLE CHILDREN OF THE WORLD. RED AND YELLOW, BLACK AND WHITE, THEY ARE PRECIOUS IN HIS SIGHT. JESUS LOVES THE LITTLE CHILDREN OF THE WORLD. DONNY WE SHOULDN’T CARE ’BOUT THE LENGTH OF HIS HAIR OR THE COLOR OF HIS SKIN. DON’T WORRY ABOUT WHAT SHOWS FROM WITHOUT, BUT THE LOVE THAT LIVES WITHIN. WE GONNA GET IT ALL TOGETHER NOW EVERYTHING GONNA WORK OUT FINE JUST TAKE A LITTLE TIME TO LOOK ON THE GOOD SIDE, MY FRIEND AND STRAIGHTEN IT OUT IN YOUR MIND. (speaking) Sing it, children! Modulation. DONNY & BACK-UP SINGERS EV’RYTHING IS BEAUTIFUL IN ITS OWN WAY, LIKE A STARRY SUMMER NIGHT OR A SNOW-COVERED WINTER’S DAY.

EV’RYBODY’S BEAUTIFUL IN THEIR OWN WAY; UNDER GOD’S HEAVEN, THE WORLD’S GONNA FIND A WAY. (Gospel ending) DONNY BACK-UP SINGERS UNDER GOD’S HEAVEN, THE WORLD’S GONNA FIND WORLD’S GONNA FIND A WAY A WAY FIND A HEY! WAY!

10 STREAKIN’ THRU THE 70S! – PRODUCTION SCRIPT

SCENE 2 THE MIDNIGHT SPECIAL: SPACE ROCK ANGELA, CHRISSIE, and GLORIA have added costume pieces that suggest a glam space-rock group— LaBelle, from early 70s.

SONG # 7: LADY MARMALADE

ALL HEY SISTER, GO SISTER, SOUL SISTER, GO SISTER HEY SISTER, GO SISTER, SOUL SISTER, GO SISTER ANGELA HE MET MARMALADE DOWN IN OLD NEW ORLEANS STRUTTIN' HER STUFF ON THE STREET SHE SAID “HELLO, HEY JOE, YOU WANNA GIVE IT A GO?” ALL MMM HMMM GITCHI GITCHI YA YA DA DA GITCHI GITCHI YA YA MOCHA CHOCOLATA YA YA CREOLE LADY MARMALADE

VOULEZ-VOUS COUCHER AVEC MOI CE SOIR? VOULEZ-VOUS COUCHER AVEC MOI? ANGELA SAT IN HER BOUDOIR WHILE SHE FRESHENED UP THE BOY DRANK ALL HER MAGNOLIA WINE ON THE BLACK SATIN SHEETS OH I SWEAR HE STARTED TO FREAK ALL GITCHI GITCHI YA YA DA DA GITCHI GITCHI YA YA HERE MOCHA-CHOCA-LATA YA YA CREOLE LADY MARMALADE

VOULEZ-VOUS COUCHER AVEC MOI CE SOIR? VOULEZ-VOUS COUCHER AVEC MOI? (instrumental bridge) HEY, HEY, HEY TOUCHING HER SKIN FEELIN' SILKY SMOOTH ANGELA NOW HE'S BACK HOME DOING 9 TO 5 LOST HIS GREY FLANNEL LIFE, BUT WHEN HE TURNS OFF TO SLEEP OLD MEMORIES CREEP,

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