- PERUSAL PACK - Book, Music and Lyrics by JANET YATES VOGT & MARK FRIEDMAN 1/10/18 TENDERLY Copyright © 2017 by JANET YATES VOGT & MARK FRIEDMAN. Music and lyrics by various artists. All rights reserved. CHARACTERS ROSEMARY CLOONEY - Singer, Film Actress, Wife, Mother, age 40 THE DOCTOR (Doctor Victor Monke) - Psychiatrist, Rosemary’s Therapist The DOCTOR also portrays the following characters: FATHER O’REILLY – Rosemary’s Parish Priest in Maysville ROSEMARY’S MOTHER SOUND TECHNICIAN AT THE WLW RADIO STATION BETTY CLOONEY - Rosemary’s sister UNCLE GEORGE - Rosemary’s Uncle JOSE FERRER - Rosemary’s Husband & Actor VICE PRESIDENT/PARAMOUNT PICTURES DANTE DIPAOLO - Rosemary’s Dance Coach and Future Husband FRANK SINATRA BING CROSBY NEWSMAN MUSICIANS Jazz Trio Piano, Bass, Drums/Percussion SCENES A night club in Reno, Nevada Mental Ward at Cedar-Sinai Hospital in Beverly Hills, CA TRWFlashbacks to otherPerusal places in Rosemary’s Life The Hollywood Bowl SETTING Performance area with a 1950’s period microphone Doctor’sNot office – forwhich can Productionsimply be 2 chairs, desk, and/or other simple furniture TIME 1968 – with flashbacks to other times and situations in Rosie’s life – and one flash forward. 1 AUTHORS’ NOTES As longtime fans of Rosemary Clooney, we always knew we wanted to craft a show about her remarkable life and career. Her engaging personality filled the screen in all of her movies, her television shows and appearances, and on her many recordings. Rosemary had an undeniable and beautiful voice which captured a heartfelt genuineness. Her ability to sing and sell a lyric was her hallmark both in her early days and later as she became a jazz artist. We were intrigued by her childhood ties to Kentucky and Cincinnati and how her journey eventually brought her to Hollywood and concert stages across the United States and abroad. In our research into Rosemary’s life, we visited Maysville and Augusta, Kentucky on several occasions – visiting her childhood home, eating lunch at her favorite restaurants, touring the Russell Theatre, located on Third Street in Maysville, which was the site of the world premiere of Rosemary Clooney’s first film, The Stars Are Singing in 1953, and where she sang as a young child. We walked through the Maysville Opera House, had a slice of Transparent Pie, visiting the church where she and Dante married and where Rosie’s funeral took place. We went the house Dante and Rosie shared together which is now the Rosemary Clooney Museum, and visited her gravesite. We talked with her friends, family members, attorney, and business associatesPerusal and heard from them wonderful first-hand stories about Rosemary. We read,Production re-read, and outlined both of her autobiographies, watched all of her films, and poured over the many interviews and performances which exist online and – of course – listened to her many, many recordings. We were moved by the challenges and struggles she faced throughout her life,for and the inspiring way Rosemary rose above them all to enjoy a long and fruitful career, surrounded by the love of family, friends, and the countless Rosemary TRWClooney fans around the world. Her enduring body of work is the way she still touches the hearts and lives of those she worked with, her audiences, and even the most casual acquaintance. Rosemary’sNot courage, strength and sense of humor in the face of many challenges is an inspiring lesson for all of us. Her ability to re-invent her career and move forward with her life is a wonderful example for people today. 2 We hope that Tenderly is a pleasant reunion for many of Rosemary’s lifelong fans and we hope it will serve as an introduction for a whole new audience to be inspired by her legacy, as well. All Our Best, Mark Friedman & Janet Yates Vogt PerusalProduction for TRW Not 3 PRODUCTION NOTES ROSEMARY’S THERAPY SESSIONS It is our hope that Tenderly portrays a gradual progression from nervousness and defensiveness in her early sessions, to a gradual confidence and trust in the Doctor as the musical moves forward. THE ROLE OF THE DOCTOR Throughout the play, the Doctor will assume the roles of many of the major figures in Rosemary’s life. This must be done in a way that allows the audience to feel that Rosemary is seeing and conversing with these people – all within the context of her therapy sessions. Elaborate costumes are not needed. You may choose to simply have him remove his jacket for use as a cape or cloak for his role of the Mother, and pick-up Rosemary’s purse as a prop. Hats, pipes, cigarettes, costume accessories, and other hand-held props may aid in making the Doctor’s many characters recognizable and believable. To maintain the sophistication of the work and the correct dramatic focus of the scenes, do not have the Doctor use any female clothes items – i.e. a women’s coat or hat, etc – to portray the female characters. He should assume the female roles simply by his attitude and body language with perhaps simple re-purposingPerusal of his own wardrobe or use of a single prop. Production PLEASE NOTE: To maintain and build the connection and the closeness of the relationship between Rosemary and the Doctor, we strongly suggest that the Doctor NOT take notes (in a stereotypical Doctor/Patient way), but rather listen intently to Rosemary and be fully engaged in each conversation and session.for TRWPRE-RECORDED SOUND BITES We have indicated the use of pre-recorded sound bites – fragments of Bobby Kennedy’s campaign speech prior to his assassination, an ambulance siren, the sound of gun shots, and hecklers in the audience at her performance at Harold’s Club Notin Reno on the night she broke down on stage. THE DRESSING TABLE AND MIRROR The dressing room table and mirror are an important “marker” for Rosemary in the musical. It represents both her angst and her re-birth. It could have a real mirror so 4 that she sits with her back to the audience or just a frame which would allow her to sit facing the audience. Her facial expressions and mannerisms at the mirror are important as they reflect her mental state. THE MUSICAL’S BOOKENDED SONGS The musical begins with HEY THERE – a huge number one hit single for Rosemary in 1953. The show ends with THIS OLE HOUSE - the “flip side” of HEY THERE and even bigger number one hit single in 1953. Rosemary references her life as having a “flip side” in the final scene. A NOTE ABOUT THE BOWS AND MUSICAL CONCLUSION OF THE PIECE You will note that we have given you two options to conclude Tenderly. The first option, BOWS OPTION 1, is to follow Rosemary’s final song, THIS OLD HOUSE, with a vocal reprise of THIS OLD HOUSE which functions as both the Bows and the opportunity for the two actors to sing together again. The second option, BOWS OPTION 2, is to follow Rosemary’s final song, THIS OLE HOUSE, with a short instrumental version of the piece to serve as brief bows, with the Doctor then exiting and Rosemary remaining to sing an ENCORE MEDLEY of three of her biggest hits. She is ultimately joined by the Doctor again at the very end of the medley for a final bow and duet. We encourage you to choose the best option for your production and your audiences. Perusal A NOTE ABOUT ACCENTS Production Please note that none of the Clooneys (Rosie’s mother, her Uncle George, Betty, etc) spoke with any kind of southern drawl or accent. They all spoke with a normal Midwestern American accent as you will note when researching clips of Rosemary, her brother Nick, as well as her nephew, George, who grew up in nearbyfor Augusta, Kentucky. Maysville, Kentucky is on the northern tip of the state and its TRWresidents do not have any kind of Deep South way of speaking. To maintain the authenticity of the portrayal of these people, actors should use a simple Midwest manner of speaking. Not 5 MUSIC ACKNOWLEDGMENTS HEY THERE (from The Pajama Game) by Richard Adler and Jerry Ross / published by J&J Ross Company, LLC and Lakshmi Puja Music / All Rights Reserved. SISTERS by Irving Berlin / used by permission of Rodgers & Hammerstein: an Imagem Company. On behalf of the estate of Irving Berlin, www.irvingberlin.com. / All Rights Reserved. COUNT YOUR BLESSINGS INSTEAD OF SHEEP by Irving Berlin / used by permission of Rodgers & Hammerstein: an Imagem Company. On behalf of the estate of Irving Berlin, www.irvingberlin.com. / All Rights Reserved. HAWAIIAN WAR CHANT (Ta-Hu-Wa-Hu-Wai) by Johnny Noble, Ralph Freed, and Leleiohaku / Copyright ©1936 / Renewed ©1957 EMI Miller Catalog, Inc. / Used with Permission of Sony ATV / All Rights Reserved. IT’S ONLY A PAPER MOON by Harold Arlen and lyrics by Yip Harburg and Billy Rose. Copyright ©1936 / All Rights Reserved. HOW ABOUT YOU by Burton Lane, with lyrics by Ralph Freed. Copyright © 1941 All Rights Reserved. Perusal TENDERLY by Jack Lawrence and Walter Gross / Used by Permission of Range Road Music,Production Inc. / Courtesy of EDWIN H. MORRIS & COMPANY, A DIVISION OF MPL MUSIC PUBLISHING, INC. (ASCAP) / All Rights Reserved. STRAIGHTEN UP AND FLY RIGHT by Nat King Cole and Irving Mills / Copyright ©1944 American Academy of Music Inc, USA / Warner Chappell forMusic Ltd, London / Used with Permission of Sony ATV / All Rights Reserved. TRW BOTCH-A-ME (Ba-Ba-Baciami Piccina) English lyric and music adapted by Eddie Y. Stanley / Italian Words and Music by R. Morbelli and L. Astore / Copyright ©1952 (Renewed) Edizioni Fono Enic., Milan, Italy / TRO-Hollis Music, Inc., New York,Not controls all publication rights for the USA and Canada / International Copyright secured / Used by Permission / All Rights Reserved.