Riverton MDT Broadway Review 2016 (Friday)

A romance survives. I have so many stories. Stories of yeses, of loss, making messes, and more. Unsuccessful and fat people's lives. Stories of living. Stories of living. Stories of dying. And ways we can deal with our fears. Stories of horses, parents told of horses, and how rich or poor, it's a very small sphere where we all fear. But you gotta have art and music, you gotta have art and music. Art and music get along, you gotta have art and music. You gotta have heart and music. Heart and music make a song. If I only had the time, what I would write for your delight. Stories of illness, songs of improvement, everyone talks about about change. I have so many stories of stillness, of people not moving and throwing out books. When things turn out too strange, we rearrange. But you gotta have heart and music. You gotta have heart and music. Heart and music get along.

I have heart And music, heart and music, love our hearts.

And music, heart and music, make a song. Oh, you gotta have heart and joy and love and heart and joy and love and heart and joy and love and heart. Heart and music, heart and music, to the core of our hearts.

And hearts and music make songs.

You'll always get along with your heart, with your heart, with your heart. And music. Heart and music make.

Heart and music make.

Heart and music make. Make a song! Art and music make a song!

Art and music make a song! And has since been revived in the U.S. William Finn wrote the show in the sense of being an autobiography of his own struggles when fighting the illness of brain tumor. The musical is about songwriter Gordon Schwinn, who recently is facing a life-threatening brain disease, and his biggest fear is dying with beautiful songs still inside of his head. An iconic number in the show simply states, "You need art and music to survive." Hello and welcome to the 2016 MDT Musical Review.

We're so excited that you're here tonight. We've been working on these numbers since July and very excited to have an audience.

We are very grateful for our teacher, Mr. Clinneaton, and all the hard work and effort he puts into putting together these reviews for us.

We would also like to introduce our guest accompanist for this evening, Mr.

Kelly DeHaan.

Actor, musician, choir director, vocal coach, and instructor throughout the state of Utah. We appreciate his yearly contribution to the Riverton Drama Department. Please give him another round of applause. Now sit back, relax, and enjoy The Rhythm of Life.

9 to 5 is based off of the 1980 movie 9 to 5. Music and lyrics were written by Dolly Parton. The musical premiered in Los Angeles in September of 2008 and opened in Broadway in 2009. It received 15 Drama Desk Award nominations and 4 Tony Award nominations. The story involves 3 women, Judy, Violet, and Dora Lee, who share their frustrations about their publicity boss, Mr. Hart. They forge plans to seek revenge on him. Subsequently, their plans to dispose of their boss have some twists and turns. This results in a new plan to hold him hostage in his own home as they manage to make changes to their workplace and provide company procedures for a more woman-friendly environment.

Nothing left to do but try. But I just might make it work. I just might make it after all. Just might rise above the hurt. Though I suffered quite a fall, still I have to gather Hold on to it, lies of ice. Have to face the falling chips. I just might make it, I just might. You're the one that keeps me strong. For the shoulder I lean on, heart's far behind.

I think I've had enough.

You can cover you and cover me. None of all my dreams now. I don't think they're that good. And I am nobody's fool, not nobody's fool. I just try to fight what's wrong and just keep on I just might. I just might make it.

I just might. I just might make it.

1776 is a musical based on the events surrounding the signing of the Declaration of Independence. It premiered on Broadway in 1969 and ran for 1,270 performances. In 1997, the show was revived for another Broadway run. In Cool Cool Considerate Men, Dickinson, played by Blake Christensen, and his fellow conservatives are alone in singing of their desire to remain conservative and to keep their wealth.

<LYRICS>Oh, say, do you see what I see? Congress sitting in your sweet serenity. I could cheer, the reason's clear.</LYRICS> For the first time in a year, Adam isn't here. And look, the sun is in the sky, a breeze is blowing by, and there's not a single fly. Come sing Hosanna, Hosanna, Hosanna, Hosanna, and the cold Aren't you cool, cool conservative men? The likes of which may never be seen again. We have land, cash in hand, self-command, and future plans. Autumn arrives, society survives, beneath your advice, with well-endowed wives. Come sing Hosanna, Hosanna in a green and a madder. We are cool, with the cool, cool, considerate set. We'll dance together to the same minuet. To the right, ever to the right, never to the left. Forever to the right, may our creed be never to exceed, regulated speed, no matter what we need. Come sing Hosanna, Hosanna, in blazing honor of our Earth's people. To the right, ever to the right, never to the left, forever to the right. March, tightly march, everybody march, I have a dispatch. What we do, we do rationally. We never, ever go a-happening. Comes, not we. Why begin? Do we know that we can win? And if we cannot win, why bother to begin? We say this game's not of our choosing. Why should we risk losing? Be cool, cool men. Mr. Hanford. You're man of property? One of us? Why not join us in our minuet? Why do you insist on dancing with Mr. Adams? Good heavens, sir, you don't even like him! That is true, he annoys me quite a lot, but still I've got no choice, Mr. Adams needs a boss.

But why?

For fame? For glory? A place in history? Never, sir, history will brand him and his followers as traitors. Traders to what? The British Crown or the British Empire? To her.

Fortunately, there aren't enough men of property to dictate policy in America.

Perhaps not, but remember that most men with nothing would rather protect the possibility of becoming rich than face the reality of being poor. And that is why they will follow us. To the right, ever to the right, never to the left, forever to the right. A market that will hold tradition that is old. We love it to be bold. Sing Hosanna, Hosanna. It's sing and no sit back. We are cool. We're the cool, cool, considerate men. The likes of you'll never be seen again. We have land, cash in hand, self-command, future plans, and we'll hold to our goal. Tradition that is old, we love to be bold. We see this game's not of our choosing, why should we risk losing?

A Christmas Story, Doug Feith. Dear Anna Henson, James and the Giant Peach. The original songs have also been featured on NBC's Smash. Although the show has never had a Broadway run, the show has had hundreds of productions across the world. In 2007, Paskin-Paul won a $20,000 Jonathan Larson Award, becoming the youngest to have ever won the award, which was established by the state of Rent composer Jonathan Larson to encourage composers, lyricists, and book writers at the beginning of their careers. In the song Along the Way, Booker Johnson reflects his character's mistakes mistakes he has made in the past in preparation for his future.

Third grade in Miss Adams' class, an emotionally scarring time, I still try to I'll never forget. And it's not like I was a loser. It's not like I didn't pass. See, it has to do with what happened to our game, our class pet. We had a tradition on every Friday, one of us was picked to take him home. Exciting, right? Well, I finally asked Ms. Adams, could this be my day? I thought maybe if I'm verbal, I could go home with this gerbil tonight. My dad is allergic, my mom's boryphobic, it's a real thing. I knew exactly what the situation would require. My mom showed up for carpool, I stuffed Porky in my pocket, forgot about him till my nanny found him in the dryer. Whoops. I faked sick the whole next week, too afraid to tell all my friends that Porky Poor Kay was dead. Katie Thompson told me that killers burn in hell. Miss Adams took my hand and she said, oh, life goes on, things will be okay. And oh, poor Kay's gone Tomorrow is a brand new day. Everyone makes a couple mistakes somewhere along the way. In case you're wondering, this wasn't just a one-time occurrence. Here's a brief list of all the reasons I kinda suck. I wrecked my mother's car, I lost my cousin in a mall, and I killed a fish and a plant in the spring. Squirrel. Displaced my father's autograph, made me mad, I'll fall and broke my bike in two. A 9-year-old girl, but she's alright and I just keep telling myself, oh, life goes on and things will be okay. And though she broke her arm and all her teeth are gone, tomorrow is a brand new day. And everyone makes a couple mistakes somewhere along the way. Looking back, I can't pretend that I don't see the trend. I'm not 10 anymore. I'm aware. I can't take care of things. Well, oh, where would baby Meredith be? You see, poor me and that bike crash are just samples, small examples, mistakes I've made and stupid things I did. That's why I'm so afraid. Afraid to raise a kid. So why would you choose me to raise a kid? Oh, my God. If I try, things will feel okay. Oh, my God. If I start to weep tomorrow and he grows up Away. I made just one mistake. Somewhere along the way. The Lion King opened on Broadway in 1997.

In the song "He Raised Me," the cast follows the story of Simba, played by Mikey Rowe, after the death of his father and the king, Mufasa, played by Logan Smith.

Simba runs away and his evil uncle Scar, played by Dalton Adams, takes over as king. After meeting Simone, played by Maiya McWalker, and Pumbaa, played by Brandon Lipscomb, Soon he realizes that his father still lives in him. He then confronts Scar and takes back the pride. What happened here?

Well, let's see. On Central Square in the City of the Sun. And rose a palace. It was high and handsome, gleaming like the crown of a king. Where would that be? Where is that? In the tower. A warning bell would ring. What kind of warning? For a fire or river overflowing. Oh, Firenze, in a central Squares, the beginning of a kingdom, republic. Is there a king? Is there a queen? Is there princes, painters, noblemen of logic and art? He didn't say. Leonardo, Leonardo, Michelangelo, star. That's a completely naked statue. 'Twas a dawny day on earthy.

No heart.

The painting of the world we know. The world we know. On a central square, he made a statue of Saint Tori. Ignited then like a beacon coming out from the dark. You can hear me.

You can feel me.

You can walk with me. You can follow me. You can follow me.

Here on vacation.

From an H2O mate. From an H2O mate. In Ferentie. In Ferentie. In Ferentie. It's a wonderful world. It's larger than I dare conceive beyond.

Jekyll and Hyde opened on Broadway in 1997. Winner of several awards, including the Theatre World Award. In the song "Facade," the people of London, rich and poor, teach us that things aren't as they seem and everyone's both good and evil.

And the truth is that it's all a facade. There's a face that we hide till the nighttime appears. Some of us hiding inside, and all of our fears is our true self locked inside. Every day, people in their own sweet way, like some other coat of paint.

And we won't take it away. We'll take it and dance along until the day is gray.

Living on a master wave, acting up as all children while playing the stage. And there's one thing I know, and I know it for sure. This disease that we got has got nowhere to cure. And I'm certain life is terribly hard. Wave your lights up the sky.

Look from ground to high up, now you cannot tell. I'm looking at the circus, not its ordinary meaning. See that face now, I'm prepared to bet you what you see is not what you get. This man's a master of deceit. So what is this sinister secret? The lie he will tell you is true.

Instead of two shaggy beasts upon the streets, this isn't one man, but two.

Nearly everyone you see like him and currently with me pretends to be a pillar of society, a model of propriety, sobriety and piety, shudders at the thought of notoriety.

The ladies and gents here before you, which none of them ever admits, may have saved the books, but their sinners in trust gave a grin. There are preachers who kill, there are killers who preach, there are teachers who Lie.

There are liars who teach.

Take a quick tear, 'cause it's all a facade. If we're not one of the two, are we evil or good?

If you read books and fly by, we are classified.

Are we waiting to break through the facade?

One more dream, might as well see There is not as many as you, right down to their boot. Half mankind thinks the other half is blind, would be surprised to find they're both kabooms. At the end of the day, they don't mean what they say, they don't say what they mean, they don't ever complete And their answer is it's all a facade.

It's all a facade.

Man is double the two.

He is evil and good.

And he walks a fine line we'd all cross if we could.

It's unlike hair.

We can never discard it. So we stand in our guard. But under the sun, what's behind the facade?

Look behind the facade.

The Glorious Ones is a musical with lyrics by Lynn Ahrens and music by Stephen Flaherty. The Glorious Ones is set in 17th century Italy. The show premiered on April 27th, 2007. At the Pittsburgh Public Theater. It later opened on Off-Broadway at the Mitzi E. Newhouse Theatre on October 11, 2007. The show was nominated for Drama Desk Awards in Outstanding Musical, Music, Lyrics, Orchestration, and Choreography.

In Opposite You, Isabella and Francesco have finally been cast as romantic opposites in the play The Moonwalker. you and I. Isabella must be the king of Caesar as he holds a haunting little tune. Are the king of Caesar? She desires her. He inspires him. So she He steals the moon from on high. What a start! Simple romantic, and I was born for the part. Born to play opposite you.

You could teach me all you know. I would go where you would lead me. We were born to make it so. We were born to fly.

Fly, my beautiful, oh my darling, just to be with you forever.

Heart and soul and flesh and bone, yours until I die. In the music Faith of another age, I was born to hear you.

Born to stand beside you on a stage, ever to be near you.

Pale-faced silhouettes turning heroless on the painted sets of a sky. Kindred horses.

Making the world something new. Casting the simplest of hearts. Born to play on the scene. Feel all the sea.

Everyday Rapture is a loose autobiography of the author Sherri Renee Scott showing her journey from small-town Kansas to a life in show business. It ran off-Broadway in 2009, then opened on Broadway in 2010. This would be considered a jukebox musical, as the music was pulled from a wide variety of pop music. "Up the Ladder to the Roof," originally by the Supremes, is the final song of the show.

—sky and illuminate the night. All of life will shine on you. Better times, better times and brighter days. Don't be afraid to go up the ladder to the roof where we can see heaven much better. Go up the ladder to the roof where we can be closer to heaven. Sing with me, sing with me, and we shall let expression sing. If we only know singing, rearing memories of yesterday. It's time to go down, fade away. I know it's time to go up the ladder to the roof, where we can see heaven much better. Go up the ladder to the roof, Who we can be. Closer to the laugh, and I'll tell you the story of love. Promise and happiness in your face. We'll combine our thoughts, and together we will travel the world to the fountain of lovingness. I'll never, never, never, never, never, never, never, ever ask you to stand up. Love will grow, will grow stronger, stronger, stronger, stronger. Yeah! Go up the ladder to the roof where we can see and it's much better. Go up the ladder to the roof where we can be happy. Be happy. Go up the ladder to the roof where we can see and it's much better. Go up the ladder to the roof where we can be— where we can be— happy. I'll say it with you. Happy. Happy.

Go up the ladder to the roof The cheerleaders on the Toro Cheerleading Squad are in quite the jam when a former captain steals their routine and gives it to the Clovers. In this envious turn of events, the squad has to redeem themselves to beat them for the win. This song, Killer Instinct, is the point in the show when the audience realizes how Eva came to be captain.

Dear God up in heaven, a prayer for Campbell. Once she was my hero, now she's a disgrace. I'm here on top and she's less than zero, dragging me down to save face. She always worked hard, She's trusting and fair, and Lord, that's the crux of her problems right there. You need that killer instinct to give you the nerve to grab everything you want in life but may not deserve. Like if some girl's in your way, there's only one thing to do. You blackmail your mother who sits on the school board to get Shambles transferred and ripped from the life that she knew. And your dreams come true. Your dreams come true. And your dreams come true. Your dreams come true. And your dreams come true. Your dreams come true. And your dreams come true. Uh-oh, oh, it takes that killer instinct, that killer desire. Killer desire! Or do you kill the little ant, or do you set the ants on fire? And if there's two girls in Ireland, to lead the team before you. Then you hacked the school system and changed Skylar's grade from a D to an F, and then hired some sick guy to lick Skylar's toothbrush so she contracts mono. Now no one is left to be captain, so they turn to you. Dreams come true, they do. Yeah, do I sound awful? What have I become? Who's that girl in the mirror? I Who's she? Who's she? Some backstabbing whack job, I brought a screaming frog. Oh my, they just left me. What is wrong with you?

You're killing me!

You're killing me! That killer instinct since time first began, from living its pawn to Bristol Palin. You need a My killer plans me to reach the top if it's the last thing you do. I'm a girl to be, I'm your high school queen. Seniors kiss my ass and I toss it into the wall.

I've risen hell and I'm a felon in a 4-foot frame.

I just used my killer instinct and my dream came true. My killer hates me.

Lucky Stiff is a musical comedy that starts out with Harry, a shoe salesman, being told that his Uncle Tony has died.

Leaving Harry $6 million if he takes the embalmed body on an all-expense-paid trip to Monte Carlo. Harry reads very specific instructions about the trip, and if Harry fails to follow all its instructions, the money will go to his uncle Anthony's favorite charity, the Universal Dog Home of Brooklyn, run by a woman named Annabelle. Chaos ensues, and after everything finally settles down, Harry and Annabelle realize that they both got the follow-up Tony's instructions and consequently will not receive the $6 million. As they fight the feeling of falling in love, Olivia and Dalton present nice.

As long as it's goodbye, knowing this is it, I have a little something to admit.

It was nice fighting you, nice hating you, nice knowing I was aggravating you. Amazing but true, it was nice.

Impossible, unbearable, my moves were almost unrepairable. But now that through. It was nice, but now on I'll have no one to ruin my day. Of you, won't speak of you without you in my way. And no sleepless No heart attacks. No need to bring along your battle axe. No way I would do this twice. But once. Just once. It was nice. Bruce, the terrible lumberjack. My day. You want me alone without you in my way. So nice knowing you, nice meeting you, nice knowing there'll be I know repeating you, and if old life be paradise, so sane and calm and plain and much too nice.

The Bridges of Madison County opened on Broadway in 2014 and is currently on national tour, featuring soulful music by Tony Award-winning composer Jason Robert Brown. This production, based on a best-selling novel by Robert James Walker, tells the story of a housewife from Iowa named Francesca Johnson and her encounter with traveling photographer Robert Kincaid. Francesca is stuck in a loveless marriage with two kids, but when she helps Robert find a specific bridge he wishes to photograph, she begins to see the possibility of a new future. Torn between decision and desire, this chance encounter could be a second chance at so much more. In the song "It All Fades Away," "Robert," sung by Mr. Kelly Dahan, is singing about the extraordinary sights he's seen as a photographer and how they all fade away when he thinks of Francesca.

There was something in a desert. There was someplace wild and green and a child in a village I passed through. There are places that I've traveled and so many things I've seen, and it all fades away, but you— I was sliding down a mountain. I was burning in the sun. I was crying with amazement at the view. I was capturing a moment, but when all is said and done, How well it all fades away, but you. It all fades away, it all fades away, it all fades away, but you. I have sailed across the oceans, past the cities and the farms, on a never-ending quest for something new. And the only things that matter were these 4 days in your heart. 'Cause it all fades away, but you. It all fades away, it all fades away, it all fades away, but you. There is one thing that's eternal, that cannot be torn apart. There There is one thing that remains forever. Past the thinking, past the breathing, past the beating of my heart, in all things I'll wait for you. In all things I'll wait for you. It all fades away. It all fades away. It all fades away. It all fades away. It all fades away. But you, but you, you.

Wacky Turns, irony, and complex relationships involving a girl named Charity who likes to dance. In the number "The Rhythm of Life," choreographed by Hadson Welch, the story moves itself to a hippie church under the Manhattan Bridge where the hippie pastor of the church, played by Grayson Berry, sings with his hippie congregation about how he started his hippie church and how you need to feel the rhythm of life everywhere you go. Get ready to feel the rhythm in this multicolored number, starting from the tingles in your fingers down to the tingles in your feet.

Daddy started out in San Francisco tooting on his trumpet loud and mean. Suddenly a voice said, "Go forth, Daddy, spread the picture on a wider screen." The voice said, Daddy, there's a million pigeons waiting to get hooked on new religions. Hit the road, Daddy, leave your common-law wife. Spread the religion of the rhythm of life. And the rhythm of life is a powerful beat. Puts a tingle in your fingers and a tingle in your feet. Rhythm in the bedroom, rhythm in the street. Yes, the rhythm of life is a powerful beat. To feel the rhythm of life, To feel that powerful beat. To feel that tingle in your fingers. To feel that tingle in your feet. Rhythm of life. Rhythm of life. Feel the beat.

I'll tell you everything I know. Daddy spread the gospel.

He took his walking talkers to Rocky Ridge. Knew his way to Kansas.

Children in the puddles learned to catch and bridge. Daddy was a new sensation. That's Rob Bagley. Tell him I said hello.

Daddy was the new sensation, got himself a congregation, put a pot in operation. Down below, with the pot I pipe for blowing, while the musket's tail was blowing, all the cats went yo-yo going down below. 89 Disney Movie by the same name, Little Mermaid opened on Broadway in January of 2008 and ran through August of 2009, replacing Disney's Beauty and the Beast. It has 685 performances on Broadway and also introduces Sierra Rogers as the tidal Royal Burial. With some additions and changes from the classic Disney movie, the musical is set to add further depth and backstory prior Swim, swim, swim. Pick and cry. Pick and cry.

Pick and cry. Croc, croc, croc.

To feel the rhythm of life. To feel that powerful beat. To feel the tingle in your fingers. To feel that tingle in your feet.

The rhythm of life is a powerful beat with a tingle in your fingers, a tingle in your feet. Rhythm in the best rhythm in the street. It's the rhythm of life. It's a powerful beat to feel the rhythm of the heart. Feel the powerful beat.

Yeah, feel the tingle in your fingers. To feel that tingle in your feet.

Take your wings and fly to Daddy. Take your diving swim to Daddy.

Hit the floor 1999 Disney movie by the same name, The Little Mermaid opened on Broadway in January of 2008 and ran through August of 2009, replacing Disney's Beauty and the Beast. It has 685 performances on Broadway and also introduces Sierra Boggess as the title role of Ariel. With some additions and changes from the classic Disney movie, the musical is set to add further depth and backstory to the already lovable characters. In the song Once Upon a In One Step Closer, Ariel, played by Rob Bagley, has recently lost her voice and gained her legs. After arriving on the shore, Prince Eric, played by Brent Lipscomb, rescues her and brings her back to the castle for some dinner and rest. Due to her lack of ability to communicate verbally, Eric decides to teach her how to communicate through dance.

Choreographed by Bailey DeYoung, here is One Step Closer. Who needs words? Dancing beats small talk any day. The way you make a smile or laugh, it lets you say so many things. Dancing is a language that is felt instead of heard. So much a single gesture can be. Just let your emotions tell your body what to do. A step, every single step is one step closer to saying what you feel. Once the music hits you and your inhibitions fall away, and you find that you're expressing things your voice daredn't say, don't be afraid, let go. Soon as you surrender what's inside, our sweep won't move, as the boundaries between us disappear. And every little step, every single step, is one step closer to talking loudly. A dance is like a conversation. Except you never need to make a sound. And once you've begun, you'll speak as one, give and take, back and forth, round and round. The dance is like a conversation, except your lips don't ever need to part. And once you've begun, you'll speak as one, cheek to cheek, toe to toe, heart to heart. Dancing is a language that is felt instead of heard. It says much more than language ever could. And every single step, every little step, is one step closer. One step closer. One step closer to being understood.

Based on the 1992 film of the same name, Sister Act tells the story of aspiring disco diva Dolores Van Cartier. Sister Act opened in London in 2009 and then moved to Broadway in 2011, and then toured and went to several different countries all around the world. In this number, Dolores, played by Whitney Gilman, has made the transition from the disco life to the gospel choir life and prepares the nuns for their show by singing "Bless Our Show." We now present the women of MDT.

Bless our show, bless our music, bless the songs we're gonna sing, bless the stage that we'll stand on when we stand and do our thing. Bless each line, every number, all the steps that we rehearse. The worst and allow us somehow to be great at the worst. Bless each note and each lyric, help us try to stay on key. Bless the lights and the soundboard, bless our choreography from the top of the gallery till the final curtain call. Bless the day, bless our show, bless it all. Well, that's our prayer, everybody. Good night and God bless. No, no, no, no, no, no, no, wait, Airplanes, wait! There's still so much more to pray for! Oh, what did I leave out? I pressed the sound off, for goodness' sake! Bless our props, bless our costumes, bless our wigs, bless our wigs, make them shorter! Let us nail the funky bits! Let us all lie, make these bows out, let our cuties stay comfy! Let us rest when we're stressed, Bless some of our best giant spruce. Bless our riffs and the raven's flight. Our vocals truly rock. Let us tear up the sucker till they hear us down the block. Let us lay down the boogie till it's bouncing wall to wall. Bless our bikes. Bless our camps. Bless it all. Let our voices gleam and glisten with the strength to sing our best. And let all of those who listen feel they too are truly blessed.

I told you that was my fault. It's okay.

Bless our love and our friendship. May it somehow be enough. Most of all, keep us smiling while we're strutting our stuff. Let us live and love what we can. Let spirit be our hope. Bless the feet! Bless the face! Bless this person in the tree!

Bless the footlight! Bless the spotlight!

Let it light up everything! Bless our hearts! Bless our souls!

Bless our souls!

Bless our church!

Bless our sisters!

Bless our church!

A Little Night Music was first shown on Broadway in 1973 and has become especially well known for its music, written and composed by Stephen Sondheim. In the song The Woodland Wonderful, the successful lawyer Frederick Edgerman, played by Gavin Fergus, and military judge Carl Magnus Gottham, played by Bernie Lipscomb, discussed with each other the pain of having fallen for the same fickle woman, Desiree Arpelt, and how happy they would each be if she were anything less than amazing.

I should never have gone to the theater, then I'd never have gone to the country. If I'd never had gone to the country, Matters might have stayed as they were. Sir?

Sir?

If she'd only been faded. If she'd only been fat. If she'd only been jaded and bursting with chat. If she'd only been proud. Perfectly awful, it would have been wonderful. If, if, if she'd been all twittered or elusively cold, if she'd only been bitter or better looked passively old, if she'd been covered in glitter or even covered in mold, it would have been wonderful. But the woman was perfection to my deepest dismay. Well, not quite perfection, I'm sorry to say. If the woman were perfection, she would go away, and that would be wonderful, sir, sir. If she'd only been flustered or admitted If she'd only looked blustered or simpered or cursed. If she weren't so awfully perfect, it would have been wonderful. If, if, if she tried to be clever, if she started to bitch, if she cried over nothing a woman would do in a pinch, if I'd been certain she'd never again would have been trusted an inch, it would have been wonderful. But the woman was perfection, not an action denied. That kind of perfection I cannot abide. If the woman were perfection, she'd have simply lied. It would have been wonderful. If she'd only been vicious, or had acted abused, or a bit too delicious, or even a slightly confused. If she'd only been sulky, or bristly, or cocky, or bruised, it would have been wonderful. If, if, if she'd only been willful, if she only had read, or a little less skillful, insulting, insisting, in bed. If she had only been fearful, or married, or tearful, or dead, it would have been wonderful. But the woman was perfection, and prospects are grim. That love with perfection that nothing can dim. Yes, the woman was perfection, so I'm here with him. Sir, sir, it would have been wise Why stay?

Why stay? So steadfast and stolid and stoic and solid, for day after every day Why stay? Why stay? Why not simply give in and get on with living? 'Cause everyone knows you tried, somehow something died on the way.

So tell me why you stay?

Why stay? Why stay enduring and coping and hurting and hoping for day after every day? Why stay? Why stay? Why not simply end it? It's all gonna be tainted and most of the world would say It's better off that way, to be free. And maybe so was she.

A promise a boy says forever. A boy says whatever may come will come true. Who can know how, when all I know now to be true is this promise that I made to you. A question the boy wonders whether, the boy wonders whether, these two stay together. They pray that they stay, year after year, love will be right her way. That's the promise that I made that day. Here's what I say to the girl who was burning so brightly, like the light from Orion above. And still I will search for her nightly. If you see her, please send her my love. And the boy was a boy for all seasons, a boy is long lost to me now. So the man's forgotten his reasons, but the man still remembers his vow. A man says forever. A man says I'll never regret. Or like you, a promise that I made to stay and I stayed true. Knowing one day we'd remember that joy. You'd remember that girl. I'd remember that boy. To me too, the promise I made, I'd make it true. Brand new, the promise that I make to you.

Peter Benjamin, 19th, 1954. About the electrifying boy, his fairy companion Tinkerbell, and the darling children and their adventures in the mysterious Neverland. In the song "Vengeance," the notorious Captain Hook is describing the good that will come from killing his nemesis Peter Pan.

What do you say we hash this over with the crew? Summon the men! As you say, Captain. All hands on deck! Cookson, Starkey, Bill Jukes, Peg Leg Breven, Noodler, my old crew. Captain wishes to hash over something of great importance with us lads. Captain, hash on. Well, boys, Mr. Smee here thinks I should pack my bags, sail away, and leave my old friend Peter Pan. So I ask you, could I? Would I weigh anchor, hoist sail, and leave him all alone? Should I? You mean retire, sir? Retire? I could sail away to far Cathay and lead a life of ease. Turn my back on all I've known and learnt. But! The thought of Peter flying free would bring me to my knees. No matter where I roam, so what's the point? Don't I want to be a hero? Don't I want to be a dandy? Don't I want to get me vengeance? Clear Peter from my brain! Don't I want to be an idol? You might, I thought, children shrieking when they see me, attention from the ladies, all for causing Peter pain. Listen to your fearless leader, once I get to be a computer geek, life will go from sweet to sweeter, I say. It's the things you've always come for. Yes, it's the Diamonds. Ooh, $50,000. Ooh, anything your heart desires. Could I get a pink umbrella? Sure. Learn to play the piano? Why not? Little piece of gorgonzola? Anything my heart desires. Well, I'd like to buy a baby chick and then breed him Champagne. Watch it! I'd like to start a little pirate school for the kids. I'd like to clear my every thought of that Peter from my brain. More than his death, I want her dead. That's cruel. Gather round, old lads. Can you see it? Peter dead. Me, happy at last, my own pirate school. I'll teach the 3 E's: roguery, larceny, arsony. A hook for every boy and a boy on every hook. A hook for every boy and a boy on every hook. Boys. Death of Peter. I will go from street to street till I say, are you gonna get your fist? Yes! Are you gonna kick him in the head? Yes! He's walking on you. Oh yes! And I want to make it fly in your heart. Leave it to Rock Tears Leader to cover you in soap pizza. Treasure Street, but nothing sweeter than vengeance!

Nervous Breakdown opened on Broadway in 2010 and closed in 2011 after just 69 performances. It was nominated for 3 Tony Awards for Best Original Score and Best Featured Actress for Laura Diamante and Patti LuPone. In this song, Model Behavior, Candela, played by Olivia Caster, is frantically trying to get a hold of her friend Pepa and get released relationship advice about her boyfriend, Malick, but Peppa won't answer the phone.

Peppa, it's me, Consuela.

Call me when you hear this, okay? Okay. Peppa, it's me again. Why aren't you picking up the phone? It's like my brain is on a mess if I don't talk to you. I got the problem in the shower and I clearly got a meaning for the problem in the shower. He's looking more swarthy and he doesn't shave.

And he's been here in my apartment for about a week.

I meant to tell him happy Father's Day, and I know you think I'm overly romantic, but you wouldn't believe the connection he has. Like, immediately I was ready for him to meet my mom. Like, I can feel my heart exploding like some kind of bomb, which is ironic because actually I think he literally has some kind of— anyway, Grandpa, happy birthday, say hello to Grandma, and remember I bet he's come to the conclusion that I hope I am. He thinks I'm insane and he's got shoulder blades from Rob Bagley.

Listen, call me when you hear this. I'll be here for half an hour. Call me back.

Pippa, are you there? Are you there? Are you okay or not? There must be need to talk. My stomach aching like I swallowed something gone astray. I'm at the phone booth on the corner and I only gotta lean in 'cause I'm running out of change and I've been lending all my money to Marty. Who knows what man I'm not exactly on the end of the screen, but this one clearly is a mess, I think I'm gonna freak. I know you say I'm not no novice, but I'm lost. Remember that one time I thought my thigh was fire? She said nah, it was raisins. We started, started moving, and followed her and bit me on the tongue. So if you're gonna stand and judge it, that's how much you know. It's the first thing I didn't eat. Of course I never would have ate it, 'cause I never did like raisins, so why would there be a raisin on each one? So when the kid is coming back down, I say, "Look for more." I'll be in 7th heaven if they found me first something else and misspelled "overage." Oh, I have some more for you, ma'am. Okay, I'm trying you again, and after you, it's like my eyes are gonna pop if I don't get you soon. I'm at the studio, which sucks because I'm having trouble working because the only thing I think about is crazy things that you'll make me do. Who knows what then? I'm not exactly on a lucky streak. I know you say I'm just a drama queen, but actually I'm not And Dad had a lot. Of course I feel guilty, but what can I do? Anyway, I think my husband is in danger too. You won't believe what he's got hidden up over there working here. He's lost a lot of weight and he got that thing removed. He just—

paper, marbles, he's dead at home.

And now he's telling neighbors to leave, so I got to go. Some big deal act from pain, I don't know what's in store. He's not being holding with a man in that other door.

Since I've been mad this morning. Call me back! Peppa, it's 8.

I don't know why you're treating me like this. Peppa, it's almost 10 o'clock. You really are a terrible friend. Peppa is sorry but never wants to frighten Ben alone. It's like a frightened little kitten with hands. I'm on my freaking phone! He's coming. Pippa, it's midnight. Don't you scream. It's 3:00 AM. You have to call me.

I would never do this to you. What kind of a friend doesn't even have shoes that I like? Okay, I have to tell you something. Pepa, okay, now even though we seem to know me, listen, Pepa, I know you think I'm needy, but you gotta see, I'm feeling kind of lonely, I'm gonna cry for an hour.

Pepa, I'm so lonely, I need something to eat or shower. I don't know who I am, I don't know where I am.

Inspired by the 2004 film Finding Neverland, Finding Neverland the Musical made its world premiere in 2014 at the American Repertory Theatre in Cambridge, Massachusetts. Following completion of its Cambridge run, the production transferred to Broadway in March 2015. Finding Neverland follows the story of author J.M. Barrie and his relationship with the family of widow Sylvia Llewellyn Davies, who eventually became Barrie's inspiration to write right here at Fannin. Featuring a musical composition from Gary Barlow and Elliot Kennedy, the musical explores the power of imagination to open up new worlds and the pressures put on those worlds by the inevitability of growing up. In the number of plays, it shows the irony of growing up and forgetting the fun adults had when they were kids.

Can you remember back when you were young? When all the simple things you did were so much fun? You got lost somewhere along the way. You've forgotten how to play every single day. Am I right? Right! I remember back when I was just a boy. I got a gun and holster for a Christmas toy. Pretending to be a cowboy was the very best, 'cause I was always the fastest gun in all the West. I played, played, remember I did, 'twas yesterday. I was young and having fun, playing all my cares away.

Play, play, remember then you will see, the world is so mysterious and wild. But when you start to see the happy times, you are a child.

Mr. Cromwell, surely you must have a childhood memory. There's a memory that I could share of sliding down the banister of our old stairs. Only for a moment I was in mid-air, and for that moment I, I really thought that I could fly. The first thing my father told me of those fables, I wanted to be a knight of the King's Round Table. A saucepan in my hand, musician named Dallas. JJ refuses to let Susan love someone like Dallas, and Susan is nervous and afraid to tell JJ of their romance in the fear of being cut off and humiliated. In the song don't know where you'll be, bob Dallas, played by Grayson o', Barry, tries to convince Susan, played by Bailey Lawson, Let me be lost in my love Let me be found in her arms she was in Let me keep coming back to where I've just been. Don't know where you leave off and I begin.

When will you come to me Based off the 1957 film, The Sweet Smell of Success opened on Broadway in March of 2002 and ended its run in June of 2002 with 109 performances. J.J. Hunziker is a famous and powerful New York gossip columnist and takes a young press agent, Sidney Falcone, under his wing, only to use him to spy on his independent younger half-sister Susan. Susan has fallen in love with a young saxophone and jazz by a musician named Dallas. J.J. refuses to let Susan love someone like Dallas, and Susan is nervous and afraid to tell J.J. of their romance in the fear of being cut off and humiliated. In the song "Don't Know Where You Belong," Dallas, played by Grace Noverry, tries to convince Susan, played by Bailey Lawson, to run away from New York against her brother's wishes and come to Philadelphia to be together.

Let me be lost in my lover. Let me be found in her arms, chosen Let me keep coming back to where I've just been. Don't know where you leave off and I begin. When will you come to me? Come to me free of all ties to sin. Pull away from the past, let the future in. Don't know where you may walk and what I be. Give me time.

Time. Give me time and I can figure a way. You need to. I can pry into you. I need to fill you. I can't. But you can. Dallas, I gotta work out. When? Give me time. Time. Let me think. Think. Don't you know that the way that you want me, that's not what I want?

You make love love my senses. Make the heat in me rise to reason. Till I'm flying on the scent of your soft, clean skin. No more slamming those brakes, no more pulling back. Do whatever it takes, Susan. Don't know where you leave off and I begin.

Give me time and I promise I can figure a way. You're gone.

You need me to help, but you can't.

Just let me work out what I want to do. Give me time. I'll be yours. There's no way in this world I must have you. Oh, my Susan, I've got to have you.

Make the heat in me rise. Pull away from the past.

Let the future in. Sweep me up, lift me high, and don't let me drop.

Show my heart it can fly and don't ever stop.

No more slamming those brakes, no more holding back.

Do whatever it takes, I'm your suitor. From the moment I found you, I don't know why, I've been whirling around and around till I don't know where I leave off. And we came. There's change coming once and for all. You makes the front page, and man, you is major news. Tomorrow they'll see what we are, and sure as —We anchor this boat to the sea. This is the storm we needed to rise. We kept out of sight, but no more. In a few hours, by dawn, early light, we'll be ready to fight some war.

Discovery!

—talk about seizing the day. Running in ink or in blood, it's the same either way. They're gonna damn well see. Single man holds a stock in his neck, he don't care if we're dead or alive. 3 sack of pills are up to his head while he's begging for a branch to survive.

Joey pissed off, how does she?

We're gonna sing him to sleep. You got the thugs with the sticks and the slugs, yeah, but we got a promise to keep. Once and for all, the fates all find their benefit. Freedom! Freedom! Once and for all, people caring, no banners that go stale. Freedom! Finally, we've raised the stakes. This time, whatever it takes. This time, the union awaits. Once and for all!

Oh boy!

This is for kids shining shoes on the street with no shoes on their feet every day.

This is for guys sweating blood in the shops while their bosses and cops look away. I'm seeing kids standing tall, flaring their brands and proud.

Armies of guys who are sick of the life, getting ready to rise to the call. Was it for all the blood on the wall that they doubt us? They think they're running the town, but the town will shut down without us. 10,000 kids in the square, 10,000 chains in the square, 10,000 fists in the air, 10,000 fists, tell you it's not a play fair, once and for all. Once and for all. Once and for us and for all. Once and for us and for all. There's change coming once and for all. You're getting too awful. to meet, to behold, and all. A new world is dawning for you, and so we is too.

Till once and for all, you're gone.

One step for Rob, one step for Rob, one step for Rob.

Misfits everywhere. In the show, band students are suffering from dwindling funds and are close to extinction. When a troubled athlete is forced to join, tuba-playing band captain Elliot and his best friend Laura must find a way to unite the band and embrace their inner geek to save them. In the song "Lost in the Brass," Laura, played by Heather Winkler, confesses her love for Elliot and her deep desire to overcome her insecurities and finally be noticed.

The moment's gone and I'm too lame to speak. Another wasted opportunity. Always waiting for something to happen, but nothing's gonna happen, not for me. Buddy? I'm always buddy. I'm a girl, for your information. Forever in this situation, waiting and hoping he knows how I'm feeling. But every time I get in there, I fade away, I disappear. That's me, never getting heard. He just smiles and walks away like he never said a word. Oh, can anybody hear me. Mine's just blowing air while the whole world marches past. Still I blow and blow, though I know it gets me nowhere. I just get all lost in the brass. Flutes don't sparkle quite like batons. There's no visual attraction, no —reaction. Pretty music, that's all the pretty that I've got. I'm special in a quiet way, at least that's what my parents say. Whatever, they've got my whole life planned. It's safe in every way. No, they don't understand. Whoa, can anybody hear me? I just know, I know I can sparkle on the grass, but my melody We can never be completely. I just get lost, lost, lost in the grass. I get so lost, lost in the grass. Listen, I'm not background noise. Listen, I make music. See me, I'm not one of the boys. I shine. Side by side on my own. So I don't wear makeup, I don't stick my hair up with an awesometastic pink bonnet. No, I'll never be a majorette. I'm plain, I'm basic, and I sweat when I get nervous. I suck at popular People just don't notice me someday. High school's got to end, and I'll finally find a place where Miss Woodwind doesn't blanch. Whoa, their whole world feels so mean. If I could just get out and leave this all here in the past, they'll remember me thinking, gosh, how is she doing? She's gonna be long gone, long gone. Oh, I'll be so alive and got it all cut and down and clear. Break through the tube of life, soaring high above that clumsy big bottle. Every last thought, and suddenly you'll see there's so much more in me.

At last, my home is lost, lost in the grass, lost in Steven Spielberg film by the same name, the show The Color Purple was a huge hit on Broadway in 2005. The show is currently playing on Broadway. Broadway in a 2015 revival with Jennifer Hudson. In the song "The Color Purple," Celie, played by Bailey Lawson, rejoices at the reunion of her younger sister Nettie. She sings to God, thanking him for her sister's safe return, and though Celie is old, she believes this is the youngest she has ever felt. We now present Bailey Lawson and the entire MBT class.

With the color purple. Dear God, dear stars, dear trees, dear sky, Dear people, dear everything, dear God.

God is inside me and everyone is And was aware of real me. I came into this world with God. And when I finally looked inside, I found it. God is the flowers and everything else. That was or ever will be. When you feel the truth so real, when you love the way you feel, You found it here. Just as sure as moonlight blesses night, rising like the sun is the hope that sets us free. Your feet. Make my body share love like a grain of corn, like a honeybee, like a waterfall. All the part of me like the color purple. Where did we come from? Now my eyes are open. Look what God has done. It takes a great amount to make a mighty tree. Even the smallest voice can make a harmony. Like a drop of water feeds a river high, there are miracles for you and I. Where they cry around. Now my eyes are open to the Godhead's light.

I don't think us will hold that off.

I think this is the youngest us ever felt.