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PIANO CONDUCTOR’S SCORE ACT 1 KISS ME, KATE [revised] Music and Lyrics by COLE PORTER Book by SAM and BELLA SPEWACK Directed by MICHAEL BLAKEMORE Choreographed by KATHLEEN MARSHALL > Piano Reduction by Dale. Kugel Book—Copyright © 1948 by Bella Spewack. Book Revisions —Copyright © 1953 by Samuel and Bella Spewack, Book Revisions Copyright © 2000 by Arthur Elias and Lois Elias. ‘Music and Lyrics— “Why Can't You Behave?,” “Wunderbar,” “So In Love,” “I Hate Men,’ “Were Thine That Special Face," “Always True To You In My Fashion,” “Bianca” and “I Am Ashamed That Women Are So Simple,” Copyright © Cole Porter 1948; “Another Op'nin’, Another Show,” "We Open In Venice,” “Tom, Dick Or Harry,” “I've Come To Wive It Wealthily In Padua,” “ISing Of Love,” Finale ("Kiss Me, Kate"), “Too Darn Hot,” “Where Is The Life That Late I Led?” and “Brush Up Your Shakespeare,” Copyright © Cole Porter 1949; "From This Moment On” Copyright © Cole Porter 1950. Piano-Conductor’s Score—Copyright © 2002 Peter L Felcher, Trustee (of Musical and Literary Property ‘Trusts u/d/t by Cole Porter dated July 6, 1961, as amended). All rights reserved. COrchestrations and atrangements—Copyright © 1999 Peter L. Feleher, Trustee (of Musical and Literary Property Trusts u/d/t by Cole Porter dated July 6, 1961, as amended). ‘Tams-Witmark Music Library, Inc. 1560 Lexington Avenue, New York, New York 10022 (212) 688-2525 Cast of Characters BALTIMORE PLAYERS: ‘SHREW PLAYERS: Padua Priest ‘antiamo D’ Amore” Pops (Stage Doorman) Ensembl, part of male quartet fo Opening Act One & "Bea." ¢ Hattie Lili Viness’s dresser faba re ts deers eer foo "eo Da Ralph (Stage Manager) .. ensemble singer * Lois Lane ... Bianca Minola "Ang club singer in * Bill Calhoun ..... z A Broaoay hoje, Lois partner and a chronic gambler. * Lilli Vanessi_ . Asi stage rene ome red Gram al Soo for role on the stage Le sess Tuncention .. Katharine Minola Dance Captain . Gregory seroant to Petruchio, ensemble dancer & Padua recorder player. + Fred Graham . Petruchio Whiter, producer, director, actor and superman. Harry Trevor .. Baptista Minola ‘Avveteran character actor Stagehand #1 (electrician) & Cab Driver .. Nathaniel serount to Petruchio, art of male quartet for Opening Act One & “Bianca,” Padua mandolin player & 2nd Mae Sola for “Cantiamo D’Annore.” * First Man [’Aide” to Katharine] ‘Gunma enforcer & * Second Man ["Aide" to Katharine] Gunman & hd jor Fe a, Flynt—Aide to General Howell... + Gremio (ist suitor), Ensemble dancer & motorcyclist Riley—Aide to General Howell ..cncccsnnennnn * Hortensio (second suitor) Ensemble dancer & motorcyclist. 1st Male Solo for "Catia D'Amore.” Philip sermant to Petruchio half the donkey for "We Open in Venice.” Stagehand #2 (assistant electrician) .. Part of male quartet for Opening Aet One, “Bianca” & ‘Stage Musictn— part of voc trio— for “Too Darn Hot.” Stagehand #3 (carpenter) & Driver for General Howell... Haberdasher Part of male quartet for Opening Act One, “Half the doy for “We Open in Venice.” “Bianca” & Stage Musician— part of veal trio—for "Too Darn Hot.” * General Harrison Howell Career military ofcer, politician and Lili’ "new" man. Wardrobe Lady ensemble singer Par of fern guar for “Bianca.” ensemble sing Padua Inn Waitress Part of fonale quae for “Bic” two women—ensemble singers Part of male quartet for “Bianca.” four womer—ensemble dancers two women—ensemble singers four women—ensemble dancers * eleven principal singing roles Ensemble: Company SATB singers and dancers/citizens of Padua IR Pano Condor Vocal Ranges LILLL VANESSE Lois LANE KATHARINE ANCA uarnie ba = # = $ g = FREDGRAIAM ——_BILLCALOUN PETRUCHIO. TUGENTIO ‘THEFIRSTMAN ‘THE SECOND MAN HORTENSIO orEMI0 PAUL GENERAL HOWELL Instrumentation Orchestration by Don Sebesky. Reed I~ Picolo, Flute I, Clarinet, Soprano and Alto Saxophone. ‘Rood I Flute 2, Clarince 1 and Alto Saxophone Reed I —Flute 3 (or Oboe), Oboe, English Hor, Clarinet 2, Soprano Saxophone (or Clarinet) and Tenor Saxophone, ‘Reed IV ~ Clarinet, Bass Clarinet, Bassoon and Baritone Saxophone. Horn ‘Trumpet 1 ~ (doubles Flugethorn and Piccolo Trumpet) ‘Trumpet 2~ (doubles Flugethorn and Piccolo Trumpet) SS ‘Trombone (Tenor] = (doubles Bass Trombone for No.4 “Wunderbar” and No. 22 "Pavane.” nd optional Tuba No. 4"Wonderbar”) Percussion 1 2 ("indicates shared instruments) ‘T= (cap drums) Bass Drum, Share Drum (brushes, sticks & mallets), Tom Toms, Conga (for stage cue) Suspended ‘Cymbals (a least 4, crash, splash, sizzle & Chinese), Finger Cyinbals, Hi-Hat Cymbals, Mark Tree, Bell Tree, ‘Teangle, Gong, Tambourine Pandeio (Poruguese tambourine), Duribek (“medieval clay goblet drum), ‘Temple Blocks (4 pitches), Wood Blocks (2 pitches), Cow Bell, *Croale, Duck Call, *Cabasa, Whip, *Sand- paper Blocks, Guiro (optional) and Sleigh Bells, 2. (Gale instruments) Timpani (2 pedal drums), Glockenspel (Bells), Vibraphone, Xylophone, Marimba (optional), "Crotale, Suspended Cymbals crash, splash, sizzle & "Chinese, Finger Cymbals, Mark Tre, Bel Tee, ‘Triangle, Wood Blocks (horse hooves), * Tempe Blocks, *Sandpaper Blocks, Bass Drum (Gran Casa) wattached Cymbal, Rainstick, Rate, Ratchet, Sten, Mouth Site, Shaker, "Cabasa, Bulb Horn, Fight Bell, Ship's Bell Brass Bell (or"G” Chime) and Steel Pat. i {Gaar (doubing Mandolin apd Late or Nyon Git Keyboan! Synteszer(rincpally orchestra harmonic rhythm piano) with registrations for: Piano, Tak Pano (Monky Tonk Piano), Celeste, Harpichrd, Accordion (Feach Musete), Stings, Von Sound, Acouste/Eecte Pano combination, FefCiatinet combination, Clock Flute combination and Bass Dram (Gran Casa). Violin | ~ (doubling Mandolin) Violin 2 (doubling Mandolin) Viola ~ (doubling Violin) Cello Bas IA Suring Substitute Keyboard Synthesizer part—cover Viola and Cello musie—is available wi the Violin 1&2, the rental ofthe orchestration | Note: Measure numbers may not be consecutive due to changes made during the tryout period. Musical Numbers ‘Opening Act One ~ part one ~Anotber Opin’ Ante Show” Sage Doorman, ‘Thre Sagehond, Hote and he Wardrobe La) ws Opening Act One ~part two "Azther Op'na’. Another Show” Hate, Pa & SATB Ensemie Opening Act One ~ part three “Ante O' “Arather Shaw” Orchestre Opening Act One ~ part four Overue:“Why Can't You Bebive”, "Always Te To You ie My Fashion “Wonderbarand "Se ls Lave” Orchestra ‘Opening Act One ~ part five “Anaher Onn, Anaier Show” Hore & SATB Ensemble Incidental: Miss Vanessi's Bow “Lite Mer” Oreste om dental; Thitd Call *'ve Come To Wie lt Wealthy in Padua” Orcherr Scene Change: Break a Leg “Another Opi’ Another Show” and"Wondebar” Ores “Why Can't You Behave?” Lois and Bl : Scene Change: Behave “Why Cart You Behe?” Orchestra "So In Love" ut. funderbae" Fred ad Ul nso Incidental: After Wunderbar "Wondertar” Orchsra ‘Underscore: Shrew Overture “ve Cone To Wive l Weslthly a Pus at Hate Men" Orchestra Padua Street Scene “We Open is Vice” Katharine, Peach, Buna nd Laceno “Tom, Dick or Harty” Bianca, Gremio, Hore and acento Playoff: Tom, Dick or Harry Bianca, GreniaHorteni and Laceio “T've Come To Wive It Wealthy in Padua” Perehi and Meno “I Hate Men” Katharine “Were Thine That Special Face” Pernchia Scene Change: After Spanking “We Open in Vex Orchesoa Scene Change: Venice Chaser We Opanin Veni” Orchestra : “Cantiamo D’ Amore” “Sig of Love” Taree Male Soler [Horns Nahai! & Padua Pre] & Ensenbe Scene Change: Cantiamo Playoff "Canto D'Amore” Orchestra Finale Act One “Kiss Me, Kat" Puchi, Katharine and Ensemble Eni acte “Kiss Me, Kat Petruchio, Katharine and Exsonble “Too Darn Hot “Too Darn Hot" =| = part one, vocal Paul Two Mascon [2nd & 3rd Sagehand and Ensemble art two, dance Orca ith semble inert n ‘Shrew Entr'acte “ve Come To Wive le Weskhly in Ps” and "We Open in Venice” Orchenina Scene Change: Petruchio's House “Ive Came To Wiel Wealthy n Put” Orchesra “Where 5 The Life That Late I Led? Pechio — "Always True to You in My Fashion” Lois Encore: Always True to You in My Fashion Lai ‘Scene Change: Fashion Tag. nays Tue © You ie My Fashion” Ovens “From This Moment On” Genera Howe and Lil. “Bianca” Bil & Ememble: Four Men & Four Women {Stage Doorman, Tree Siagchands, Wardrobe Lady & Thre Women Earenble Singers] Incidental: General's Entrance Drum Caence Reprise: So In Love Fred Scene Change: Venice Chaser "We Openin Venice” Orchestra “Brush Up Your Shakespeare” The Two Men Fitst Encore: Shakespeare ~Brnsh Up Your Shakeyete” The Two Men Second Encore: Shakespeare “Brash Up Your Shkespese” The Two Men Pavane Music mae tased on mavesfom: "Tom, Dik Hay,” "We Opens Ven” and"'ve Come Ta Wive W Wealthy a Pudi" Orchets ‘Am Ashamed That Women Are So Simple” Katherine. . Finale Act Two Repese: Kiss Me, Kats Katharine Perachio and Compo ‘Bows "We Open in Vesice,"*Always Te to Youin My Paco,” “Wunder” and “Ante O Exit Music “Tee Dam Hot” Ancter Show™ Orch. put vo, dance Orchestra : IR Pina Condor 2 6 18 2 3s a 2 50 a 9 *B 93 02 0 ne 19 120 nm 1 we Ms 2 a8 No. 1 Opening Act One — part one “Another Op’nin’, Another Show” (Hattie, Wardrobe Lady, Stage Doorman and 3 Stagehands) cae (The house ight dim BI eh ntl (STAGE DOORMAN enters.) Freely (Jaca 72) (> _ STAGE DOORMAN ren up Pino lO “samme seis gees ej tetey ——_weStxGEtAND orm « vu (Ist STAGEHAND turns off the ghost Tight and iris i stageright) Phil - ly, Bos ~ EM.CL maern Sot 2 Opning At One pane ‘2nd & 3rd STAGEHANDS [Carpenter & Assist Electrician) a (xeon tem) (40ym. 00) oe arm Stated An - oth - er we oe Pro. Sr so 1,808 229] Bouney two (detse) (STAGEHANDS welcome HATTIE buck other heae, WARDROBE LADY ewers} [tn v. vont ft r r ee nail tt Pano Cane 137] . aie oth = er op’ - nin’, an - oth - er show. EP. par su mp" ¥ eco af 46,4, Ton, Ve, ——=—— ub 06.850. trip a rt WARDROBE LADY fw Pe tore } ‘A chance for stage folks. to A poe : " 5 fet Oae pat one narmte [53] o— (esgiase ‘Sat Will make your fu a5, te? 2 F ss re ? PUTTER Tray SS SSS SS = An-oth = er pain. where the ul = cers grow — An- 4 nwyse ioe eget SSS etnies ae ™p ALA ae 5 Opening At Opa oe [69] — re ~ hearse and re - hearse, =~ rey erese,/F “tpt re 7 F and it could- n't. be worse, —_—_—_————— tii 3 po Pe ie n|[¢¢-—= gaa be right? Hate its that big first night! — out 0” the hat, wat Se am) ab ro th ab ig 7 BaC1, Pro, 88, Oe IR Fao Conse = or a 7 a Oren isk too, You DOORMAN’ s 3 STRGHAANDS = ver - ture. owe 2 subsp _cresc. poco a poco fin your heart, Satay === your fin heart, Ws cur-tain time Decena Steals Ws cur-tain big sound r [ Jos u -OpnmeAOne-mtine _g* (The other members ofthe COMPANY, <]. eicept the PRINCIPALS, enter rom upstage) Ye. *. Pe ral ao (ox) V * (tsemble: SATB Chor) . ‘ALL i — iw i Fe Fe) ep — Ll ere et ee te sap. | ; a gee dpi y dtd pati ee ae itt Tap be me foo \ \t/_ | N87 t\ ef a =——_ SEE z E oe = . 2 No. la Opening Act One — part two “Another Op’nin’, Another Show” (ati, Paul & Ensemble: SATB Chorus) (Cue: (Antacea from No. 1 Opening Act One —part one) [109] Liistesso tempo (132) eterna ALL unison MEN SS SS ao oe Saat mat FEF == — rist rie Fy: Pro. 8, Oe WOMEN Bal = ti- mot, A Chance for stage folks to say hel - lo, ri a 4 ra SSS - oth = er op’ = nin’, of | an-oth - er show. = An ~ 13 [125] 2 Opening At One =a cons you hope, your past, aac. ve oo ie 3 LZ t (chose Cy 4 [141] 3 Opening Aet One pat 40, HATTIE rf 7 — i SSS SSS pt 5 re = Four weeks__you re - hearse and re ~ hearse, — (va tv ust ‘Thre weeks, and it could-n’t_ be worse, —~ [SS = = cat F ; aa nt | Sa ae (@.0, ve eet Be ie le {Ensembe: SATB Chores] ALL bight Tided_ ie crese. poco a J) To) eer +o pe coon = SS “SO ver te Soot 7 =e ae : —— = = ——— meas SS SS oat op ate => emt ft poco poe (rh oe (zs = = = anew eee oe Gros . your heart, #06. Tp Greve t X ur = tain time and ae eee ee S| et (Roll Cal) oth * pel NY 6 No. 1b Opening Act One — part three “Another Op’nin’, Another Show” (Orchestra) ‘Cue: (Aacea from No. 1a Opening Act One ~ part two) Liistesso tempo (J=182) TS, 8a, Ton (RALPH, the Stage Manager, supervises the loading in ofthe properties for the new show. STAGEHANDS arrange Scenery, lighting fixtures, costumes, et. in ther proper storage sequence. The arriving COMPANY greet each other and prepare for the rehearsal o follow) 8 Ke, $6 SK -—————__ rl “rc. 81 tn say) Sl ee, Ho at pF? (Some ofthe GIRLS use an area upstage of large flat from the loading in as an improvised temporary dressing room) 2- Ope As On—pu e "7 RALPH: (admonishing STAGEHANDS iwho have stoped work 1 peek atthe girls changing into their rehearsal clothes) BY! bes Brat [25] Hn, Soe O oava B (ose a suet) By 8s. on. Solo S So Deets Bs, Pro. (26. Bat gat) Fava ve se. Steere ee 18 No. Ie Opening Act One - part four Overture Cue Ataecafrom No 10 Operng Ae Onova es) (Ones lin four} 09, 8, su, Cy. aS tm, A rf. os. z re 42 A= = 4 t ee 7 = bg 4 FE Det — SS pe [ (ym) = r ae v - . a = wae i | 2 ‘(The pit orchestra rehearses the “Overture” for the new show and ~ a = familiar musicians inthe pit and listen tothe orchestration) rit os S- —3— eae mel = a [17] WOISTANE ets wad onto he STAGEHANDS) ns ‘oot IR Pano Condor oy 2 Opesing At One pu o 19 (9018.1) === (BILL CALHOUN enters and sransacts some clandestine beting [33] __ 9% with one othe STAGEHANDS before greeting Los Lane) ors aS r Ce IRs Contr (om ava 2 2 Opesig At Ona om steaightelghths ge. 2 ap = aor swecPro - aoe 2 7 pas ; = si = = a i ‘oo PP eer eZ or Delete ‘swing eighths a ‘ez Se. Ab, Ked, (We,86, 7H) aff cresc|(wbar 63 a (oo. Sry Lf oe Ss Ba, Ve, 8, no, Sa cb. Listesso tempo —— or 4 Opening Act One = pst four a f (oa ) Waltz (4-72) (ULI VAN star, enters to great attention) ' einen borat eo 5e.sr, Ary: Pro, 86, Or “inno Wate ety. 2 Opening At On pat rall, [92] Romantic (J=72) a {intwo} .¢,. —= Bitte ZH a 6a, Ve — a Hn Va Fry: Pro, 82. Dee wruthas eft alone for a moment, LULL observes the scene ‘around her reflecting on happier days tn this hear.) R.cl my == ee ig ip : ss ee eee — accel. Attacca HR Paso Cantor 2 No. 1d Opening Act One - part five “Another Op’nin’, Another Show” (Hattie & Ensemble: SATB Chorus) (Cue: (Atacea from No, le Opening Act One~ pat fo) DANCE CAPTAIN: Okay, ladies. Let's review the second act, Brightly 0184) 5 scssorine combination, Here we go, ve six, seven ight. Kick-onowo, “ii? fom.” ve te LPF, esr sign Tae = Smt (Phe COMPANY dances) [5] aE er Be 3 u Gee eee oe a : di © geHat Ran! t wer, strip tempo (J=96) (21) Aiud bent Blt Tors dance) fiwat__wa dot doo wa id r be be Ce "BREEN : PaNECAmR at erate Pavan ~ me SP straight eighths A Rao Conductor ast Re Com Opening At On = pve 2s [31] (COMPANY dance rehearsal continues) [A $B Bai, PV un. “ong” Sot : a as = ia = eo o ) re pti OE Galt FP (0%. a0) =" SS aa ire yy sub. mp ~ mo crese. [63] asemble: SATB Chorus) Soma omens a ‘ALL (except HATTIE) unison Four weeks, re - hearse and re = hearse. ‘Three. weeks, couldn't be I ———— hm = will it ev - er be right? (Chaos reigns, the exasperated COMPANY abruptly stops) chor night! A SP Wworystrong} aR Pa Canc 8 6 Opeing Act One—paine (HATTIE moves among the dispirited COMPANY trying to On Cue e< 96) = P pro. = (Pre: st gs, matty rat) Lin one} ad—y ral. ‘reassure them that the rehearsal will work out their problems ) WS Pro. Sob [87] Im tempo, slowly [in two} ‘accel. poco a poco {thr bar 109} Ap ware An + oth =e op’ P Were “SS Hans An = oh - ‘SOME WOMEN An = oh - aoa) aE my arco. sist) EP rege, poco a poco. s = o cS o Se taut 05 IR Pao Conc pias 7 -opaag At One ave 2» er show, — An - oth = ef op - ALL WOMEN nin’, an -| oth An J oth = er op’ | - ‘SOME MEN ALL MEN oth = er opt = oth = er op’ fin’, an - oth oth = er op’ oth = er op’ = nin’, an - oth = er show— eV a (ip. sea ad oes tba 108) 30 Open At One —putine SSeS Se on Ws an | oth - er op? nin’ of an oh ss er Ke SS [Pama a: i= [110] A-Tempo, bright show two (dot96) : : : : an PDE eo ae = The O- ver - te is a- bout to start, 1 ope At Oe pa ve 3 > You cross your fin-gers and hold your heart, coon It's cur-tain time and a= way We. rR aa Canter Hp. Deca. 2 10 Opening A epee PISS td woe ” a SERS Tan a = — - ~ er she et 1a Das See iad | Oa pe 1 Opting At One—pa ve 3 Fin aie hare ee Tan Ra ae Seg R a aL Pro. 4 No. 2 Incidental: Miss Vanessi’s Bow (Orchestra) (Cue: FRED: Everybody, back to oblivion, (LILL pauses, then rises and takes her bow as the lights change.) Maestotoso, big sound Se Bsc Th, ve, Be pe Soon (e2 Sigen) No. 2a Incidental: Third Call (Orchestra) (Cue: FRED: Now watch it, Ralph—all it R ie cll Se (PRED and LILLI practice the bow, then FRED stops the music and action) legretto giocoso (J~ Allegretto giocoso (J=112) — ee A th ‘ps1, 015: Tomb. Cente eve du) PRED: (spoken in caesura) No, I hinkit would took beter if we bring in the show curtain and then walk down together and bow tocach other. Ralph? (Music and lights resume.) 2a Tin Ca 35 (PRED and LILLI move downstage asthe Show Curtain comes in behind them) A 5 foo No. 2b Scene Change: Break a Leg (Orchestra) Cue: FRED: You ate ugh. Hove each and every ne of you. Break alee Brightly (184) (PRED, then ENSEMBLE, exit.) Snr. WV, THA. it HF fe sein clgs as - = CF soem ae > rial ritard Scene Change = ae ly od ble. | ep Maa rid (The Show Curtain rises and reveals the Backstage Corridor. LOIS crosses tothe payphone and makes a call. Music judes out for dialogue.) TH] wae.tptcerse. — imp decrese. al fine 36 No. 3 “Why Can’t You Behave?” (Lois and Bil!) (Cue: LOIS: He suid didn’t need diamonds. littered natural (Music in.) LOIS: cominues) Peer forgive you astro Brosday— Slowly (=80) . ‘BILL: Gee, honey tm sory.” LOIS: ony you meat! Gineght cao fae ral = = 5 = = [ote chase ts change see : 3 Aa oe He ie OE ene 7 [4] Rubato, move (d=c, 120) Pe oa a . 7 a BE Oym. ep broadly 2 Ca You Bee” 3 poco rubato, freely (12) things you prom-is - es that you be a : =Rsgcopn woman 1 ___——~" BILL: They switched the dice on me, baby! === 2eecce ‘empo (d=120) oem = =e = = good? 2: F- 900 ‘almost — Fg ehh femal aR Cont 38 8 Why Ca Yu Bee Lo L Satan wea oa ewway (281, Tender, poco rubato Won't you tum that new leaf Vs. cutee SS on So your ba-by can be your —_ slave? ae Seo —<— IR Pe Contr F — 2» ‘There's a farm 1 know ‘per St, WB. a, — . : CF mccecmm pa, #E tres foo (ne = Goiui fas VRE Neg ai ree Be, 0 “hoe svg bas r set - thin’ down, ‘There I'll Wk mee spn — rotnignte eopre 1 [44], Rubato ITH Sao. I = aS care for you for - ev - er, Well, at least “til you dig my a1. smo ves WO Pe 4 _——_—, ‘cobs, sulaso atempo 5--Wy Ca You Beane vss ais bs ‘grave. S i Fes a z spt ome on ES nen i = = — se Poccmé tr hy Bao Di, SSS SSE _knew you did, But why mp A ~ = Be. (409m. Applause ~ segue yal a\ No. 3a Scene Change: Behave Fert ”.\ (Orchestra) Cue: (Applause ~ segue from No.3 “Why Can't You Betave?") Allegro in four, litle faster than before} Tete Sr Som (en reo) i ; oN +O ho % cul ails) elie al Liel aL val Lig <4 | el 4 | q | a No.4 “Wunderbar” Lilli and Fred) Cue: LILLI: No, dear, we were bot in the chorus, (Music in) LILLE: (continuing) There was @ waltz in it Remember? Something about a bat. [5] ‘Tempo di Valse, not too fast (4-52) heateigng eee a Dum = de - dum— 1.00. Pro, Vn nos Sa «| 7K feet De P P88 PaO FRED: iverruping) "I! Maa, you look visa tng. You hve made me the happiest of men" litle broader ee ee A..em_ |, ‘gentiy 2 wnt a LILLE *YourHighness” ROTH: (cuddly remember and: ithe casi, pe) Wundzatl_y, FIRED Bsa. Pe oe ae _ie i Bee - oe un Pus FRED Like our love, its wun - der ~ bat! Boars. Fre “4 B7] joer =" Gaz = ing down on the _Jung-fraw Jn the moon-light be - nig, joy om ‘mp gently sw lon [55] a tempo Wendt” a 45 bar, + der - per - fect (9 9.90.00, (Wut Se Yo Ypns. amy f—T rs E nf t © _ - 2 lees Bact He ve. Pega Pr oo ILL night for love. weve ce eT gato 2 Seen F080 erg] —, som 221) 74) en: Fe der - bar, wun - der ~ bar! = Vre.tn. —aw oy ‘ SF eclva. 4, Saye C0 0 wrhmcsnmen “ reife te — _ : ee eS = os. 2 a + acon a dd. a ns ee, Sr - aoe Ltd — mop Log | pp avwen,si. 2 vin fe TEA ed o —= . SS F ona 187] ¥ =e Say you care, 2 : mad = iy 3 4 to8t,Fre.on PP FRED For your kiss, Say you long, [98] mp ome a7 ” un Dar - ling, glad oo aor) 7 7 HEE} [103] a tempo con FRED rubato un And you're mine, dear!___,,, Wunder - bar, wan - der - Mt Ties on fa seta or mre tay “| eLLte TLL a = rall. (FRED, a bright, (G01 use wy 317) IR Pla Canscar pA ae, gente os molto crese, 01 Ve eS = [119] a tempo er Ce seyg: Dance goo oe EEE r ° asa ee And you're — mine, [135] Tempo - slower than before (d.=48) esci.es Ivomantl, in three, FRED un ‘There's our fav’ Roe hy: ro, iz. Be. Ore. ‘po mst bar 142) BOTH rit, rel = a - bove. What aright, ade La Like our love, —— Td 2 wise 50 a No. 4a Incidental: After Wunderbar) iG a ) (Orchestra) (Cue: RALPH: (intruding as FRED and LILL1 kiss) Five minutes, you two, (RALPH exit:) LILLE: Whose fault was it? FRED: It could have been your temper, (dialogue continues) stesso tempo (3.»cs. 48) we . (FRED ond LILLI seperate: LILL exis FRED croses hs {10} a desing table and sts facing downstage: Ms ack tote door) (As the TWO MEN enter Fred’ dressing room-music out) st No. 5 “So In Love” ill Cue; HATTIE: Here's some Nowers, Mis Lil They must be from Mir. ied (Mien LILLL enters.) Rubato ~ flowing (dca 108) LILLI: Snowdrops and pansies and rosemary. (dialogue continues) ose dd yg F = =o mp —— — ve Ho. (20pm, sane ge eng HATTIE: 1 geta vase, (HATTIE exits) tre Fee [9] A. Tempo ~ misterioso (J=194) oe Siang ee but true, dear, Ca, prom Pr. esn.y P SP ene eat) clva Be Bee - = . 1,8, a eS [25] atempo %,S22e0 v0, cou (om ay ut] ua WA Sve owt ‘ull by Ute (0, Br St st) If r (109.0) un —3 | mrmemn dm dd PF anveat — Pipreanae f : poco pit mosso 1d ne ep 2 ai ie SS = a = oo ta aw ain, 208s love with the night ‘ns, Va tom (CH, Tan Pre. st) ua fee 7 = — : a. . ——SS—— = night when you first were there, — = In (EF dPeit | ml ee ——— == F women Bree son acy wa Lg —- Tr | rene poo om | i "maar Lexpansively] al) yours ‘al 1 sun Phi: 8s.Pro ot. e 1771 moves sepasonato 1 Sas Sn Su — o asin Fe Bp nbc ean) — Ss os] Ss cn . = Eee ula big sound 3, poco a poco dimin. one, ritenuto [89] Rubato [stowiy) oo YO oe OG PP tines _|_= mp cet (FRED has entered-he and LILLI hesitate on opposite sides ofthe door benscen their dressing rooms. There isamoment's reflective thinking, then she continues singing’) all. LILLE [97] a tempo [tempo primo} mp (Feacr.vevel va.ton| sei tr Terk rier ? r un sen] Poco a poco cresc. Taam? | FT = tonmensl_, SAE 2 a = i = SS . yours ‘til I es 2 Vevsust TF rall. > san = = SS ra! sana ——F a or cL emaeoeo bd 7) — 2 a 4 8 oe Be. = a =6F = : = rap = a 08s sa = 2 (Oym. font scrape) = IR Cntr u 39 : Shrew Overture (Orchestra) NOTE: itis imperative tha the music for this number sound as though itwas coming from the pit orchestra for Toe Tarsing ofthe Shrew in Ford's Theatre, Baltimore, not the pt orchestra immediacly present in fron of the audience. ‘The sound willbe dynamically constricted and somewhat muffled; underscoring the dialogue onstage as though from a distance. | (Cue: FRED: You're not going to whoops? oe No. 5a Underscor subzmp” crese. poco a poco TS = NHS wpumvee SF eee BAC, Pro, Ve, (680.100) 2 - Unde Sn Ove 61 [28] Faster ack pe, 8. r f F veay Ss ‘more legato wan, a ae LILLE. never cll you a bastard agin, Fred dear Never. (LILI exis) SPS ‘RED in qr resignation) You will my swt, ou Will (PRED ext, Blackout music immediately segues) we eee tmp a needed = a Ot Ft fatten) z mp SS mcise | Sepue a No. 6 Padua Street Scene “We Open in Venice” (Katharine, Bianca, Petruchio & Lucentio) (Cue: (Segue from No, 5a Undersoore: Shrew Overture) Vivo (=138) ove muy, 4 (lay twice] FRSA) vn co Manon Gl an eras seine [5] [Lights Up] (We are in front of the “Travel Drop” depicting a forest and mountain scene near Padua) St —— —— (74, Mana. Sa L ot Pea. Xo, al Po —— Fel os e ml tr a Lapa = ‘Bai, Tam, Pra, Vn2, Va, Ve Bent bere zr} ms [13] o*, 20 sor ene aR Conder - 2 pabaie 6 eq 3 ero er wed , _ e z ic (and. 10¥n) i432 3 neste (he FOUR PRINCIPALS arrive onthe crt. Business incudes ERS —~, (Donkey Cart enters] play of the sealing mapo th players our fre he vocal) el say ae —~ 4 a (aPEEAa we. 089 z - 7 at iy fia + 3 rete, o wr. | | ——— ‘reat Yase(or et ram), Ta. sust ru bara 5 ee ty) Alt fo troup of strolling play - ers (aro vni) 0,886, Pro. es Ten, Va Ve Fy: Cl B51, Pro} Be, Oe, (eBat Tre, Tab) Kath stars like L. B. May-er's just a sim=ple band ee : Who an 4 oN: 6, (37) (The FOUR PRINCIPALS link her arms together and sin’) KATHARINE - BIANCA PETRUCHIO - LUCENTIO. (ov. suet) wr Paani 6 ou pens-ing fol-de - rol fri-vol-i - vy. Cle, Bt A A a A = 3% = Ful te ut folk who give dis - trac-tion are we, db, Va. (te. tra 2) Oo on,c6c ; vmvnmve SE Fry: Be. Dee Po. (RH. Pro! ack wht) ALLFOUR ‘The-a-tre Guild at = trac tion a [65] r 7 just a crazy grou ‘That nev _- er ceas - es to : epee wes : os . coon use. ca a it, Re ait round the map of — it~ tle It al WN Pr, st. Taare ‘Sim 2 Ot ag0 Oy Ei i, 8, Tn, Leal) Bre. epi (73) a wi mass = iy: 8s. Pro, Oe KATHARINE vo, TALLFOUR aout E o Cre - mo- na, A Lots-a laughs in Cre = mo - na, coma (T f fo next jump is Par-ma, ‘That dope - y, mope-y men- ace, —_Then << Aldea F tt, 26m F a oo o oof [89] © = pen, Man -tw = a, then Pa - du - a, Then we o- pen a-gain, 0b, Ba, Tp. f, Ven - ice, We next play Ve o next jump LUCENTIO| Lotsa quail in Par-ma, That heartless, tart - less, a Ch.B8c, Ta, . rs Fe ALL FOUR 8 7 Petar Man-tu - a, then Pa - du - a, Then we o-pen a-gain, g, where? aryl We ws. Ff [105] Stower U=t28) a (Slower tempo nda the fatigue of the players from he tur) i——_———* a for * We next play fate ee if BEE, r (Mend. to vt) ‘next jump Paden i p Alou Man-t a, then Pa- du - a, Then we o- pen a- gain, We Bain ‘eck Got 124) 20. 7 7 ie won t coin 3 Slower, pesante (J=116) nou next play Ve - nett Pee eee ee SS == 5 == rc on to Cre = mo- ma, Lots-a bars in Cre = mo - na, Our vere tee OE — a e ey Care es =e st ou next jump is. Par- ma ‘That beer - less, cheer-less - men-ace, Then ie sr. ie Se "sot ators alss.| DO ? 7 st a re solCh, tn, To = sim : » 9 Poet oe Man-tu~ a, then Pa-du- a, Then we o-pen a- gain, | Where?\ In oc ote Sy Scene Change & Dance [141] Im four (4-132) [143] Tempo 1° (3-138) &E : : (intwol : p 2 ¢ S450; ¢ (PRINCIPALS exit upsage.) wn Sf mf seit Re (ym. ro) . cr 7 = x t tT rt ES save herve ry lg ono ahaa Pa PVR ae {As the Donkey Cart crosses, the POPULOUS of Padua are present and at the height of Market Day activities; general dance develops) (ots ates) (LH Prod [179] Robin Hood a “Fea alow) Franch wages EA Pro. Dre: Tab, Dumbok IR Piano Conductor (rom lento alld doi ea E == ate = (As the DANCERS exit the scene, LUCENTIO, GREMIO & HORTENSIO. ‘are discovered in postions about the Market Square watching the front door of Baptsta's house.) oe — > | amin. poco a poco I .— JJ vt Re 1g: aoe a. (BIANCA enters ith her father, BAPTISTA music fades out for dilogue.) vamp ~ fade ee oak “Tom, Dick or Harry” (Bianca, Gremio, Hortensio and Lucentio) Cue: BAPTISTA... id my house ofher. (BAPTISTA exits) BIANCA: (sighing) Ab, me! yBiancs cits ot Show two (=182) Loumtenn y? tettnaCl, ante, Pro. 2nd time: made a 2 secure MP renin which rip - roar-in’ hhap-pen to Goa 2 Fr F ore . voice last time GREMIO “eh mak OF 2-"Tom Dek ertany ae , old onenio BP —— = o if thou wouldst at - tain the up - per parse has yet know a silver finving : sai = vo 14 i eo = $j Sore te ee ee Ply © ae ect, ve a = __”, “fT i # a an a ki ae ? =e eer 2 Aieting r CS = ele 3 "Tom, Dick or Hany” ae oe “ + ending thou at pin = ing, “Mie + = Mar = ry a Sh oun af iT z td a ed a oS . dS er == a Pe ¥ Deer Wonen. = SS = eo : . come to thee a thor-ough-bred pa - tri- cian sil Br.cock 4 IN. +o 2 Fp oer 8S spraying my 9, ee ~ * eae give a so- cial goose to thy po - si- —— Mar - ry st 7 7a ? poco rall. ¥ ae Gremio 5" Dakota n atempo BIANCA Hones. oeent RM Pro Ore, St (ere fntstsy P Cres [63] Medieval feel ¥ maid who would omar - ry And will take = with no qualm) An - y ene. Va, Ve gus Gana, no Bianca Blanes mar- ry And will take aS ‘xsi Ben, Ves (F.Oym) lance Har - ry o a Dick. Tm the Bianca S273 "Sere, crus 0" Lucentio en = SS = ——= bd man thou shouldst mar - ry, How - dy, Pop! How -dy, Mom! T'm the oe rete = "eet EP RP tt pep bwvacve| | 4d a i : [7 pad Ly | ~ PS ripe # Hawds ow Bs qed ee, ' HORTENSIO = == SS tran thou should marry. An thou Hare Dick oe , ee re “RR a Fy $ cae) a = ahd) een Es : =a of tp tt eg ae eck 7 2 od (s7], Baka noRTENSiO BIANCA =: —— SSS 5 2 ce ee How-dy, pal! How - dy, chick! 4 ‘Art thou Br. St. sust ae = ‘ “S ro pe a os ——— |" = Ho pas Td, Se rtp ie ee 1a. Deke 7” eG oF a bee Se Blanes . dick, A dick - a dic A. dick dick! rm a A dick- a — dick, A. dick dick! I— A ge. Te ae {121} Four-beat swing 200) von. 2 in ewe) And would —no._—_—dong And would — no_—_long. ‘A eo 10. "Tam Decker iy Bian Hones, See A. Hones $ remo heen, hopes. afe> Se, H. 8 7 ots => See sis. ot Ss (one Ege oon at, son ept cea) : mp = = =e =: = ps = = = SS F = _ Fh p t A t+ A [164] [Dance: Gremio’s variation) es yd fe [ed ° “rat ir TF Sta | ES SSE oe SSS SSS (or cmt : ? onan © [182] Lany four 120) (Dance Hortenso' variation) | ‘Veh pn lay cue foo dame are eset | ras A ai by Sa oa ie a 1 aR Pian Conte £ w 88 [199] Faster G-#88) ipance: Lucent's variation} 4 = = ‘Se sem ate te a Nou TF eo Tots. Hn qu Cir Fy 88, Pro. Craw tne ‘Bar. Sob ob (Or) erese. poco @ poco "Tom Dick ery" [219] Bright swing ( (Dance: The Three Suitors| 90 16 --Tom Bit tay oe (avr, se) we hy: Pro. Oi (80.ran) (Ge Som Hortensio. = Mar-ry ig rm, (cee = 7 : 19 "Tan Dik ary 1 F tai] Stine 89) (Dance: Bianca's tur) Iasi YO 20- Tom Dik Ly erese. a ase en oo Applause - segue 93 ; Playoff: Tom, Dick or Harry Bianca, Gremio, Hortensio and Lucentio) Adick-a dick, HORTENSIO, GREMIO & LUCENTIO Dick, dick, dick, dick, Tot inetuarts: sap fogeson becker era Te_——_—~, = r (9cabese) Gat wssn) Bins A dick-a dick dick, dick, Dick, dick, ==. decrese. (INNEEPER & MEN enter an ser the scene forthe dialogue to follow.) ee mp en. Hn. Thn, Str, Ry: Bs, Pro Drs Tam. + Dumbo "IR Pn Condosor 94, 2 tg Tam Dk ay a Ss , cn Oa (15) Z 2 8 ny (ea) A Tempo (d=188) [Rose toss] (BIANCA selects single rose fom a bus bythe from door Se ee" Bie cares rs arb Goran of Baptists house. BIANCA foxses the rose t)—and thereby selects Lucentio as her suitor then she exits nto the house. ca: opm — a r r Rejected, GREMIO and HORTENSIO cross away othe door of the In, near their “friends, 10 get sympathy for their position (22) mp ——_dimin. LUCENTIO crosses away from them, to downstage onposite, smelling the rave 7 vamp ~ fade Masic fades out under dialogue) ‘GGL atte ao) 7. NF t Pe ve 95 No. 8 “P’ve Come To Wive It Wealthily in Padua” (Petruchio and Men: male chorus including Gremio, Hortensio, Innkeeper and other men of Padua except Lucentio) (Cue: PETRUCHIO: (to Lucentio) No profit grows where/ls no pleasure taken. music in) Inbriet, sir~study— (PETRUCHIO gives the rose back to LUCENTIO) As for me: Alllegretto giocoso (J=116) “GMP voice last ime PETRUCHIO gg 722? 3 om? Ba: Bane RF F [[S = — a a ar a 2. Come Te Wie Went Pas” * (101 wife has a bag of gold, Do I care if the bag tanto sob ot eee ee t come 10 wive it heard you mut - ter: “Zounds, a loath-some lad you are.” wa ecu To Wie Wet Pa” 7 [26] Tot be disturbed one bit If she be but a quar-ter - wit, macs |]. meer 1 20 moce_——————_ mp on. Pr. (Ve oat) : : on ly can talk of clo'es 4, While she powders her god - damned nose,, 5 I've —— er Solos Taso apt == govebia, al MEN come to wive it wealth - i-ly in Pa 5 Wil Be, Hn Ein Hn Se come to wive it aR Pao Condacor _ heard you say, “Gad - zooks, com-plete - ly mad you are!” give me the slightest shock If her knees now and then should knock, | IF her ertetevey —=_——_—._ *=. Ben, Bs. Pho, (Ve lag) ee = = SS - — cyts were a wee bit crossed, Were sho woar-ing the hair she'd lost, Suit the | SS —— a fad 1 wee) Tone 7 wy a ok dam - sel T'll make my dame, In the dark they are all the same, Tve sper ‘en ea, ee = ate m om el 5. Come Te Wie Wea Pade 99 come to wive Ein tn sme [62] with passion PETRUCHIO come to wive it wealth - i-ly in Pa Fin p = you say, "Good gad, but what a mind if she fret_and Be, Su (Oo. wt ne) 100 (Pe Coe To Wie Wena Pa nd accel. poco.a poco (wobar8s} 2 Pein 2 Onthe rough A-dri-a = tie seas, ae sri hwo like a winter breeze seream ikea teeth - ing brat, aeimy fad Jy. If she scratch like a ti - ger cat, If she As oT. dy Tad J Seem B (oer fight Tike a rag - ing boar, Thave oft stuck a pig be - Sp Wa.Teor A # oym.r08) [86] a tempo, strident Ive come towive it’ wealth - i-ly in Pomc) | 1 Came Te Wiel Woy aaa 101 [90] With a hun-ny, mun-ny, nun-ny, And a Not to men-tion mon-ey, mon-ey to wive it wealth to wive th -Pano Condor 102 No.9 “I Hate Men” (Katharine) (Cue: KATHARINE: (snarling at Lucentio ashe exits) Lucentio, thou meancock wretch. (KATHARINE sits ar the table Solemnly Alone, surly and unhappy, she sings:) [3] Moderato (J=108) KATHARINE vw, Fes east tong dP 5 seaman ones : Cam el KO men, T_can't abide em ev-en now and then. A WW Hn, Ho, Str so cin Inpato i, Poe. Va pe ee ev - er mar-ry one of them, I'd rest’ a vir- gin rath -er, For spc en ep © nerunr atiansest 1 103 Tot and on - ly _give you both - er. 7 7 course, I'm awf”- lly glad that Moth- er had to mar-ty Father, wa, Sr poe Kath Katha = the types I've ev - er met with - in our de - mo-cra- cy, At ben, paz Ve. Be hoa 3 Me sat, i ——— = 5 3 ———— hate the most the ath - lete with his man-ner bold and brass - y He ¢——— - sccm ee == = a Ar Se div) = == = ae we = aS tay have hair up - on his chest but, sis ter, 30. has Lassie. Oh, weer . ° _ | 2S SS a z AL bathe = ae sn fon hoe = - = ] a ’ a re ae > = J a 4 poe oe id = fe if : a "an on tech - = =——_ - Sj ° # 1 hate a i Their as AE 2 : a = ’ _ = — — = ove 1) : = 7 A = _| nit Kat worth up - on this earth 1 Wt, Hn, Hp, sot 28], Keo¥ ata void the trav’ -ling sales~man though a tempt-ing Tom he may be, ore a Kaa So 2 he will bring you jade’ and perfume from A - ra - by, Kat chen on oP ae thou shouldst wed a bus’ - ness - man, be ore yi (Ga. teat near) bus’ - ness nec + es - sar - y, st, bus’ - ness whieh he = = == 7 —_ = 4 Tun f hike —— eee 2 = + $: a (a_i Fe 5 4 ie : = 3 Poem wake ale P————F im 49) granary mrt ity = =— SS — et : Ls SS I hate then — A ‘Though Ft = os 0 me g e ft roost - ers they, rH, Hos, Se soe ay Sed you es ~pouse an old - er man through girl-ish op - ti- mi-sm, He'll eavww fr 6 6 al- ways stay at home at night and + sm, Though oe + e you may call it Tove the doc - tors = L hate men.— From_all_T've read, alone in bed, from uv et eae ‘gt ee EP eerS 2 J), ro ¥ 4 thar 109 to Zed, a-bout ‘em. Since love is blind, then from the mind, all nt Kata Wom an kind should rout ‘em, But, la dies, you must an - swer too, what Kata do with = out ‘em? i Wank fv G : KATHARINE bangs onthe al ein ries ‘a tempo. (crosses to center and bows. Music out) Katha, om 10 No. 10 “Were Thine That Special Face” Pexruchio) Cue: KATHARINE: Why, sit! Tis fae like any oer. (Muse) (PETRUCHIO: Aje—ther's the rb. (KATHARINE tse from [2] Andantino (3-88) $eMtcony window above) > _ PETRUCHIO fy pt. 88, Pra, Drow mo oo Sree? PF [Lot re [es f r ye bas asst) on fF 2 er Tie Tn Special ce m the thy ~ thm'd “mp poco erese. Fy (Ban basse sust) aero. = (or tcer pM Teo mo bap worst pho om) 96) <3. Wm Ti Ta Spi Face the love _for fy. P(t eat) r which fills 34) [ ns eat ce rit, colla voce all these charms you'll * be ww, — gseou —erese, oa See fg SOMO) peso ot wt mine, —___*" _ en, 8 a Om) omy) ee 3 [42] aster sight rubato, quasi estate] 7 mre) y wrote 8 po em In classic style. a as ee ed 4 7! ia z F wrote it with my tongue in my cheek ‘And my lips in a smile a : oem oe (WW. Hp) iE Faster But of late my po - em Has a mean - ing so new, 19h nam (hn. 860) —— ee (ata) : = sur ~ prise Tt sud-den = ly ap- plies. To my dart - ing to a &. 14 157 oe 5. Wee Tie Tt pc Fa" 57] oye Om) (KATHARINE exits, closing her window shutters on the song.) oo Fe = — —— vee “med 0 + oe o oS Fas (751 Were thine that__spe_-_cial Pos. Ob. C. 7 av, df Wer Te Ta Sp Fee us [83] Ho. scabs ast solo = Pa ° thine the thy -_thm’d “grace, e000. |-— = FiyBs.Pro,0r, SS i [87] (xr nonton ast gene) thine wee GS = ant (0 dm) _ (81. ron tem. trvbar 8) slen - der, thine the —~ [2 &R 1 2 ee Thine ht Spc ae di - vine, Se wwe = bi en. ~ erese. 199] ey, Pa which fills these charms pe “open HA erese. ‘molto rall. ‘a tempo [beguine,in four) 47 a = BY Then you'll be aust ig scone Pee. aba 14) HS: est (LDS) (se. unt, svat 49%) be : topage ‘me oat tf ) Se 4 s 2 = BE =z mearmton eta ema coun ovr brine 18 No. 10a Scene Change: After Spanking (Orchestra) (Cue: KATHARINEILILLE (as Peruchio begins paddling her) Fred! No, no! Oh, oh! Ralph! Ralph! (KATHARINE sereans. PETRUCHIO paddles harder. Screams from the CROWD. The “Shrew” curtain draps hastily on the scene. ‘Music in. The curtain has isolated four DANCERS downstade infront ft. The) realize ther award situation and improvise, dancing frenetically othe “Scene Change” music. The production Is naw out of sync and ther isn’t enough music t cover the tne necessary 10 prepare backstage forthe next scene. Just asthe music Is about finish, RALPH leans in at stageright and signals the ‘orchestra conductor to keep playing. The orchestra stops then starts the number over again ard the “caught” DANCERS continue ‘heir improvisation. There ts sll not enough music and RALPH leans in again, asthe muse fnishes second tine, signaling the conductor for mare. The orchestra repeats forthe third and last~tine, The DANCERS —out of breath and ideas ~ run offstage. Ready now, the curtain rises for the next scene, Music out) Vivo (=138) maewmnnmenmte Eat PYF aR -Fiano Condor (Simo stip) mA ek —J] 4 19 No. 10b Scene Change: Venice Chaser (Orchestra) ue: FRED: Ob, that’s all Tneed, A bind slag manager, Vivo (=198) emu sy Timon nti oy wry. RP na oo ase fi pa Ay Ps ay. Cond time ont) ‘Sar, sera? Gta, Tom, EP BiacBicee ttn, aN Hoop SES LIF aS WW, 80. (Ace. sus) , a) _ we 5 (tame age Coe aloe 1133) ye A wie fa 143 Minne eg b a Fro oi) aaa Fe et -} fF} = = = sara Gon afb & L100) 1-5 te ifthe women out of the bee {except woinen dancers] ALL aot. : ee ‘Gee seals ewit) aidad inte -T)7) ST wd wn 2 ta_la_la 4] ; 3 Re —— = — gees 7 By =a hb hk he hy fa ta fa In La la la i ~E; iz a 2 : oF senege, 12-"Canine Davo’ . bh (@s01.tn, Ten, Yeu Pro. ans) (G04 at Tn, ae, Ye rem, tn ro) hues - a Scene Change: Cantiamo Playoff (Orchestra) (ote ‘Sm Applause — segue segue from No. 11 “Cantismo DY Amore") Liistesso tempo Sol, mute Tots "pez 86. Pra, memes Tt SER (Padua MEN srike the wine vat upstage during applause) rit. ——~) amp = dim, poco a poco | rts—~—~—~— cr < 2 Ts ee No. 12 Finale Act One “Kiss Me, Kate” (Petruchio, Katharine, Ensemble: SATB Chorus, all singing Principals except Hattie, Paul & General Howell) (Cue: PETRUCHIO: ... touch her whoever dare! (KATHARINE attempts torn “anuay upstage, PETRUCHIO catches her with his whip. Musici) te ee nd AS lerato pe 1 a eS : kor, Me meas, Tha * ee 7 Pre: Sm) IR Pian Condor [10] A tempo (=108) KATHARINE FIL nev-er be thine Ty, No! Got Pa mine, So, kiss mie, Kate, Thou love-ly loon, ENSEMBLE & SINGING PRINCIPALS (sipanohbd*4 Lo. soorde So, Miss him, Kate, [10] A tempo (4=108) 1,0, Vo cola 0 (ers ‘Thou love-ly loon, - ata, o Switch o E’er we start _ On_ our hon -ey-moon— Oh, iss me, Kate Par-ting Lowell part pag aI J: ca] sy coors “a i E’er you start On-your hon - ey-moon.—— Oh, kiss him, Kate, Daring =| feet sheds = EIT) Attegro (4-125) Seats Kind -ly drop dead! Ds on ares = SS & devil di-vine, hove =! thou shall ev - er be sy cron € dev-il_di-vine, shade aaa [17] Attegeo (3-126) a Now 1 shall never be eon = = —— - ic se cee I Now thou shall ev - er be How ds OF ey, Le wows 2 ee ——— Se chon Hand Soe Now thou shall never be ' [wo : co SS = = Now thou shallev- er be iA = A _ 7 SS z SS = 4 a = A A A _—————— ————— s+ = - Tae - a ve Kata Not thine You swine You meee Lye | Conple Goce afer sara] 2 cons] + = = e PIL crack your pate. TIL knock you out. ata kiss me, Kate Oh, please don’t pout TH black your eyes rump I'll kick. price - less. prize! Oh, kiss me quick! 33] Bound-er! On, er | ee [Mek cine He's not her dish he's not her dish! Oh, Wa Hn Sr su — wv. v Pao Cane 6 Ac One 17 kat Op, kiss Foe Toes sara} Gens A. ype of fish she vould not wish! Ob, iss him! (41) AA atempo Kath Bas - tard! Pe A Kat tas Bc C on ~ eee | Cor ~Aset. kiss him! [49] rit, naughty word. Oh, —kiss-me. Kiss him, Kiss him. Kiss ues (Unobserved, GREMIO enters with a songhird Kiss him Kiss him. Kiss him. Kiss him, land ets t dows on the rim ofthe wine vat) 1) Ame KATHARINE ~ angrily pO = Sue Kiss him, Interraping the vocal cadenza 8 ‘SaoPec,(engie) ‘nlsetecs yen KR Puso induc =~ Be hve 139 (KATHARINE crosses ta the songbird.) fre 3 Kat Nev =~ (ishing her coloratura, KATHARINE launches the bird into fee light. The bird quickly disappears out of sight above the stage. Simultaneously the SECOND MAN draws his gun “and Shoots a the bird. The dead bird drops othe stage andthe music segues). a Nev-cr, nev-er, mev-er, nev-er, Nev-er, nev-er, nev-er, nev-er, Nev - er! é = : £ : ony OP SP PETRUCHIO Kiss mp, Kae fhovemect’ kiss me, kiss me, Kale, kiss me, Movement 2 com Kiss him, Kate] kiss him, kiss him, Kate,) kiss him, | Kiss him, Kate, kiss him, kiss him, Kate, kiss him, tdede Lively | (trove. (tose) ~ ON [e213—~ = i se ied ‘Tempo (144) Ho. scat ats. sR Pano Canfas a 9-Fine Ase [70] finone) Kiss me, Kate, kiss me, kiss me Kate, kiss, me. Kiss me, Kate,— a Kiss him,Kate] kiss him,|kiss him,Kate) kiss him, Kiss him,Kate.— [Kiss him, Kate. Kiss him,Kate, kiss him, kiss him,Kate, kiss him. Kiss him,Kate.— Kiss him, Kate. — ‘fe [none] z 3170) 4. yim A ww, 26 Hoo inp tp. cal aa, Sis bei bar) pots, KATHARINE ~ Poe o Kisshim Kate. | Kis == coo ssshim Re aie Kiss him,Kate.__Kisshim,Kate.__Kiss. = bim— Ban ieee FIRST & SECOND MAN: (spoken) “a 5 ni ‘Aw—Kiss hi [78] Presto (152) (PETRUCHIO pics up KATHARINE and trons her over his shoulder. carries [78] Presto (J=152) ‘heron, kick and pummeling i in wld weless protest asthe cara falls) AA aA A a» S J Boy A a v V we crese. al fine ime = = > = = Ta vee at Dictated ra got a End of Act One IR Peo Canaor PIANO CONDUCTOR’S SCORE ACT2 KISS ME, KATE [revised] Music and Lyrics by COLE PORTER Book by SAM and BELLA SPEWACK Directed by MICHAEL BLAKEMORE Choreographed by KATHLEEN MARSHALL > Piano Reduetion by Dale. Kugel Book—Copyright © 1948 by Bella Spewack. Book Revisions—Copyright © 1953 by Samuel and Bella Spewack, Book Revisions—Copyright © 2000 by Arthur Elias and Lois Elias. Musicand Lyrics “Why Can't You Behave2,” “Wunderbar,” “So In Love,” “I Hate Men,” *Were Thine That Special Face,” “Always True To You In My Fashion,” “Bianca” and "I Am Ashamed That Women Are So Simple,” Copyright © Cole Porter 1948; “ Another Op’nin’, Another Show,” “We Open In Venice,” “Tom, Dick Or Harry,’ *I've Come To Wive It Wealthily In Padua,” “Sing Of Love,” Finale ("Kiss Me, Kate”), “Too Darn Hot,” “Where Is The Life That Late I Led?” and “Brush Up Your Shakespeare,” Copyright © Cole Porter 1949; “From This Moment On” Copyright © Cole Porter 1950. Piano-Conductor’s Score—Copyright © 2002 Peter L Felcher, Trustee (of Musical and Literary Property ‘Trusts u/d/tby Cole Porter dated July 6, 1961, as amended). All rights reserved. Orchestrations and arrangements—Copyright © 1999 Peter [. Felcher, Trustee (of Musical and Literary Property Trusts u/d/tby Cole Porter dated July 6, 1961, as amended), ‘Tams-Witmark Music Library, Ine. ‘560 Lexington Avenue, New York, New York 10022 (212) 688-2525 Cast of Characters BALTIMORE PLAYERS: ‘SHREW PLAYERS: Padua Priest Pops (Stage Doorman) .. ‘Cantiamo Aro’ ‘Ensembl, part of male quart! for Opening det One & “Bianea.” # Holtie Lit Vanss's dresser + Paul Fret Gan'srase, pity deka of eto wi fr "ToD Ralph (Stage Manager) ensemble singer * Lois Lane .. Bianca Minola ‘A night cl singor i her first fentured role onthe stage. * Bill Calhoun .... ‘a Broaay ofr, ais’ parner anda chronic gambler + Lilli Vanessi Asstar stage and secon actress, the some ‘eile of Fred Grahare Dance Captain Lucentio Katharine Minola Gregory seroant to Fetruchi, ‘embl dancer & Pada reorder player * Fred Graham . Petruchio Wire, produce, director, actor and superman Harty Trevor... «Baptista Minola ‘A veteran character actor. Stagehand #1 (electrician) & Cab Driver Nathaniel serount to Petruchio, Part of male quartet for Opening Act One & “Bianca Padua mandolin player & 2nd Male Solo for “Cantiamo DY Amore? ww. (“Aide to Katharine] + First Man Gunman-enforcer & half the donkey for Finale Act Te * Second Man... Gunntan-enforcer & haf the donkey for Finale Act Two. Flynt—Aide to General Howell Ensemble dancer & motorcyclist Riley—Aide to General Howell + Hortensio (second suitor) Ensemble dancer & motorcyclist 1st Male Solo for “Cantino D'Amore.” Stagehand #2 (assistant electrician) Philip. seront to Petruchio Part of male quartet for Opening Act One, & half the donkey for “We Open ix Vee. “Bien” & Stage Musician — part of coca trio for "Too Darn Hot.” Stagehand #3 (carpenter) & Driver for General Howell ..... Haberdasher art of male quartet for Opening Act One, Half the donkey for “We Open in Venice.” *Bianea” & Stage Musician— part of vocal trio—for "Too Darn Hot.” ‘+ General Harrison Howell Carer military officer, politician and Lill’s “nto” man, Wardrobe Lady. . art of feral quartet for "Bianca. ensemble singer “ Part of female quartet for "Bianca two women—ensemble singers Part of female quartet for "Bianca." four women—ensemble dancers ["Aide” to Katharine] * Gremio (first suitor) .. ensemble singer .. Padua Inn Waitress . two women—ensemble singers four women—ensemble dancers * eleven principal singing roles Ensemble: Company SATB singers and dancers/citizens of Padua Vocal Ranges LILLLYANESST LOIS LANE KATHARINE BIANCA Ze FRED GRAHAM BILL CALHOUN PETRUCHIO LUCENTIO ‘THE FIRST MAN ‘THE SECOND MAN HORTENSIO GREMIO PAUL GENERAL HOWELL Instrumentation Orchestration by Don Sebesky. : : Reed I Piccolo, Flute 1, Clarinet, Soprano and Alto Saxophone Reed Il Flute 2, Clarinct Land Alto Saxo Reed II Flute 3 (or Oboe), Oboe, English Hor, Clarinet 2, Soprano Saxophone (or Clarinet) and Tenor Saxophone. Reed IY ~ Clarinet, Bass Clarinet, Bassoon and Baritone Saxophone. Hom ‘ete duties Fue and ico Tange Tampa 3 Gees esr nt pes ute ‘amine aks lemon PNY wtb an No.2 Pavan 5 eee eRe Wc Percussion L& 2 indicates shared instruments) 1 rap drums) Bass Drum, Share Drum (ses, ticks & mallets), Tom Toms, Conga (or tage cue) Suspended (Cormbals (a est 4 crash splash, size & Chinese), Fngce Cymbals, Hi Hat Cymbals, Mark Tee, Bel Tee, “Tangle, Gong, Tambourine, Pandeio (Portuese tambourine), Dumibek (medieval clay goblet drum), “Temple Block (4 pitches), Wood Blocks 2 pitches, Cow Bel, “Crole, Duck Cal, sCabasa, Whip, Sand paper Blocks, Guia (optional) and Sleigh Delis 2 (halt instament) Timpani 2 pedal drums), Glockenspie Bel), Vibraphone, Xylophone, Marimba (optional, “Crotale, Suspended Cymbals (rash splash sizie& Chinese), Finger Cymbal, Mark Tyee Bell Tice) ‘Triangle; Wood Blocks (horse hooves), Temple Blocks, Sandpaper ioc, Bass Drum (Gran Casa) wiatached ‘Cymbal, Rainstick, Rate, Ratchet, Sten, Mouth Siten, Shaker, *Cabasy, Bib Horn, Fight Bell, Ship's Bell [Bras Bell (or “G' Chie) and Ste! Pat i Guitar (doubling Mandolin and Lut or Nylon Gitar) Keyan! Syatesizer (ginal ects harone hth plo) with regan Pano, Tak Pana ky “Tonk Piano), Celeste, Harpsichord, Accordion (French Mets), Stangs, Violin Sound, Acousti/Elesee Pano combination, FlatetClarinet combination, Glock Flue combination and Bass Dram (Gran Casa). « Mandolin) Violin 2 (doubling Mandolin) Viola ~ (doubling Vioin) Cello Bass [A Swing Substitute Keybourd Synthesizer part—covering the Violin 1 & 2, ‘Viola and Cello music—is available withthe rental of the orchestration.) Note: Measure numbers may not be consecutive due to changes made during the tryout period. 142 act two No. 13 Entr’acte (Petruchio, Katharine & Ensemble: SATB Chorus) INOTE: Ace Two, Scene One takes place in theTheatre Alley immediately behind the stage house. The music we hear isthe ‘oda ofthe No. 12 Finale Act One as it finishes. Its again important the the music sound as though it was coming from inside Ford's Theatre, Balimore, and not he pit and stage present to our audience. As the No. 13 Ents'acte finishes POPS enters {from the stage door. It's intermission at Tae Taming ofthe Shrew and STAGEHANDS, PAUL, HATTIE, MUSICIANS and ‘members of the ENSEMBLE casually come out int the alley to cool of. | [62] ‘Tempo (J-144) Lively PETRUCHIO PS > 9 Kiss me, Kaie, kiss me, kiss me, Kate, kiss. me, SA yy = + == = ee ‘CHORUS Kiss. him, Katel kiss him, ' cmt || : ; or Pe [62] Tempo (J=144) Lively (tree (tre) nase ye ee Sues 6 ¢ it 3 6 ¢ a ~———— fF Np. Drecalegtsa REP. Dr ata [70] 13 dope linen Pe Kiss me, Kate, kiss me, kiss me Kate, kiss, me, Kiss me, Kate, Kiss him, Kate] kiss him, kiss him, Kate, kiss him|] Kiss him, Kate.— Kiss him, Kate, kiss him, kiss him,Kate, kiss him. _ Kiss him, Kate.__ Kiss him, Kate. tra favs) tide ’ (tem) te none) p— ST. 0 _. 4 ST (i, Be scale a ib, (alsetober ay W.W.8, 8. Hn foo “ing me, Kate, Kiss him, Kate. | Kiss him, Kate.— Kiss him, Kate Kiss him, Kate. Kiss___ him FIRST & SECOND MAN: (pen) 2. a a ‘ave shin A — a 4 [78] Presto (1-152) Pein Kate! [78] Presto J=152) (58, Ve tt Ooi. uty Dictated cron} Mas 14 “Too Darn Hot” — part one, vocal (Paul, Two Musicians [2nd & 3rd Stagehands) and Ensemble: SATB Chorus) Cue: (Several cast members, relaxing on their intermission, play a lazy game of catch 'ATRIO: PAUL [with snare drum sticks] and TWO MUSICIANS [2rd man carrying a clarinet star the number “improvising” a rhythmic pattern gradually the ENSEMBLE joins in the number enteriining themselves.) Allegro (J=144) ‘two times P Sa MUSICIN ange Cong run” thowooa pacgerae esther) (ciadinptecresra percussion) 00.0057 SE mao ; ; fH} th feat a ‘Slap ingos on Baca! fis Car 40) 1] aie ons sep (whistle. a (whistle). 146 2+ "Too Dare Hor” — past one, woes! ™ tegen AU les ai, , . whistle) ati SSS longer drop Td like to sup— my ba-by to-night, 1m F F E vv r fingorenape ‘tes (tr bao) IR Pano Concer <3 Dae — pt oe ur And play the pup— my ba-by to-night {natage mtn sons. ‘Srosatap cors) [43] I ain't up— to my too dam hot, => A bigger A. wt E cee at rr = ye TF 8 tho Dan Hat" — put on ea ‘TRIO [PAUL & TWO MUSICIANS} (whistle) Fe, mute Toe, bas rasa , te = —— eS Se like to stop for my ba-by to-night Sob ta Sx eg a Aingorona my ba-by to-night {61} __ - ——} _ —— == = die ee fngrenaps baby to-night And blow my top— with my ba- by to-night — But I'd 150 (6: Te Da Ho prone es ae Long fll A be a flop— with my ba-by to-night, —__ "Cause it’s too dam Pa [70] Bright two (J=108) (74) hot, It's too, too, too darn hot. ‘TWO MUSICIANS Too dam hot, 50801 As, Te, Pro. 1 -Toe Dam Ho — parton, oa a ot with my ba-by to-night, ev’ - ry ule with my ba-by to-night like to fool. with my © ba-by to-night Break ev -ry rule with my swing a little ri oeaeslaeaat m ST basby to-night | But, —_pil- low, you'll be my ba by to-night ‘Cause its eR Piano Cntr 132 tae Dame — pte oe [94] swing feel, not too pushy play Vor-ite sport’ When the tem-per-a = ie ee his fa - [102] stow four (20) f ¥ = at ous =z = f= 5 siz - ning. ot, + when the ther-mo-me-ter goes ‘way up And the weath-er is ee uch oe ro asl — : | re =e = = a re ce a TR aye ee oe ~ ey ra) 6 $e iio ee a ee tT ar r a Bright two (=108) = a Is not, == ‘A-dam For his mad-am, *Cause it's t00, too, ‘ari, Pro, 82, Or tne IR Faso Contr =e ten [baseball rss] hot, os, Br Hn Poo Be, Pro, Dis me [124] Pat Tike to call— fon my ba-by to-night, — And 5 7 A a 7 semi shuffle Be. Pro, ra IR age Canter ‘give my all_— tomy _ba-by to-night. A, A a >= 155 [132] SS SS a 5 = Pat But I can't —j3— give my all_ to my __ by-by to-night. play ball with my = : = : e = SS = it ae. ——— IR- Pano Candace 156 12 "Teo Dam Ha — ato eae == Paul —_ — 2 ——— 7 = = @ becky waighCame Ws oo dam hat if SEMI BATB ame seNN yt —— ——: # o t= Os ve tee Ey —— as pe te fs _ optional scat Gone rs hot. > To Ba Va, Ve 1144) pack oft“ E f= 1 Dam te — pons es is =e ——— = 7 —_ = ~ off my feet with my ba = by to nigh. — || like to sneet_—_with ba- by. to-night— off my feet with my ba-by to-night. But mo re-peat___ with my 158 aa Ss # ba=by to-night, ‘Cause is too dam bot Irs : i ENSEMBLE. (SATB Chorus, some MEN 8 It's =e eel =p te ceptional seat too darn hot, Its too darn hot. Ta =~: 7 = = = == like to coo to my ba-by to-night, ‘And TWO MUSICIANS g —~g? ‘ Co (sre. tom est (Fete tba 87) $s, at [pct = 28 : $484.5 a'8 — é A Ee, TP es reo tr ee rr 15. "To Dalt"— parton. von 159 pitch some woo with my ba = by to - night.— Woo- A. (oe, tam thar 177) oer peraa, sero gfe Pl to coo— with my — ba- by to-night, ba by to-night. to coo with my TF pitch some woo with my — ba-by to-night. But, broth - er, you bite my deo 160 16 "on Dam Hr — pa vt ba - by to-night —_ sei n [180] Swing four _ Tie pul aM S cord - ing to sey Re~port Ev’ - ry av-er-age man you know engay = a6 = Fees SSS = Nase f = > a+ z prefers to play his fa vorvite spot When the eh 9 ot PP 7 When the ther-mo-me-ter 17D at — pon vet 6 == goes ‘way up And the weath-er is siz, - ling. hot, ‘TRIO a Mis-ter or a J e [192] ‘TWO MUSICIANS PAUL, ; — Deitel ral oe SS SS . Gob For his squab, AG ee === = mt L, ‘* ewer = wie HOP "Cause it’s 100, 00, 162 on Dam Ho — pata el [200] Too dam hot ENSEMBLE (SATB Choris] hot, ly: Poo Or, Pu mn cae No. 14a “Too Darn Hot” — part two, dance (Orchestra with Ensemble interjections: Chorus & Dancers led by Paul and Two Musicians) Cue: (Asacca from No, 14“Too Daca Hot” ~ part one, vocal) [Liistesso (J=108)] Bl hot. (spoken) Man it’s hot! : ab, Bea, Conte Vans ey (Ri Pro aa me apace Tedey eo spe) 28 Society aw (15) Sean ofa 163 tary MamSI2AN™ pant a Fence Dancer o a ty. Pe >& [35] 30's Broadway (Hot Box) . [2 Female Dancers os + ‘Smt eons J a4 pho Tes i Li, Bo T POT eee eee r t ae. 3-Too Dam pan dance f ae fem gh Woy — :s ad nn aa! be fa 4 omy a somestorm |g f Tage tee leet rT F [42] ENSEMBLE [SATB Chorus, some MEN 8™ ] és 3 27) lt a - Rs wo dam hott querer, ee - te Seppe er ed ea mf ah aE fe bg. te SS + [46] Mere mon egy Pat one) ‘ pate = St Car ea Fa wen 4 Ex ———— or [54] manent tow ott ————— «| * pre re [ENSEMBLE [some MEN 8] = Too darn af ted w so t Fy - ca | ng ; Any =) = FI —- rer ro 8 _ (2° lit) (Girt on fire escape whistles) 164] cine = = + — = € = too darn hot! Hey, fel las! = 4 a : == ie pe 7 ‘crese. poco a poco. rate i é = eee = Loeyt =e —_——S=— esc = eee a ee ee 2 (Girt) s rr pp Pr eh prep re 5" Dm Hoa ee 161 Raucous Burlesque 172) gee ome ett wa wa waxdot wat! agit dor a nado st [strip tease] aa yt Gr v curs wa 086! yg dor wat? — Yeah! yg thiss) —_Y_{eatch] [30] {robe throw] 101, 59954 — oo ROP mf Res iy ouster. Safes as! & 2 [84] {jumping section) = sora cs "atest atin |S gtne [92] [eap) Ueap|~ 7 leap} pote aoe SS yen = ie 4 oS ee = ae Mae ee ww cureon PP PP TP Pf FP Fe s [leap] > fate SS t- 4 = — ee _ i = Hl Pi a a a a a a a [aie out] Seb Tin plunger decresc clade rh eae [102} New Oretans ~ slow & bluesy. (kick) [foot scrape] infor <——————_, savpne, ™P Ors te, user Pra, atest at are, P-pein te pee w a SE RS ebiadatad fe = re aE == = et -4 |} 4 be dj} — wee i aes i ee [end of snake] 170 Too Du Hep wo. dace A ——— 9, Tee, ——. [RAL Ron Poo, tom toe] Tet. sty tap00 Tae 7 ? ~ 9 Dam at — pa wo nee m [160] build in intensity — , A Where is the fun ee Poe Soe & or Vos. ee The Life a Late La 187 Where has it gone? Gone with the = Wats Ge. Ta? —— oF eo cUferer FT a [51] a ‘wind 8.29 Do Bay eum Tairring an heir Could never compare With rais-ing a Dit of A 188 $e Te if ht Late La ritard Where is the life Tet, cota, hae Manasy Hp. I scaie iss. (malt Gym, so) . u [66] Molto rubato — Still sell - ing those omy 4. pic - tures of the Scrip - tures KIR- Pate Cantor Whe We Me Matte 9 the streets 0 mi - na? And in Fir - os oti. wai cE porno Be (74) oe se a J==5 ° = =e cm where wenpoy AL eel here in your | ds a: ee 1. * fe : ly, Lope = S ze ~ FP te ‘Sol Cp onsrvace 3 Mande, big 8660 Gr Ze = SS S55 So young and gay - ee? What seal - dal - ous <3 SS eee See 8501 (av Gi aut) do - in's in the m - ins of Pom - pe Where is the Sir -_ a [82] A Tempo C lite that vou e TS [90] , To-tal-ly dead. SSS Where is the fun ves Sy Sr je gt bet? peg pea meer Is fie Wee Pate Las 191 Where has it gone?. Gone with the a Toe, mar - riage Ev. a" —— daring the day It's eas-y to play, But, oh, what a bore N =o === = > z == \ Pet ‘Where is the life I~ Where is Re- oa, - decrese. (note Maras) Ho Beabgtis (CymN) ~ 8% [113] Motto rubato 2 == — SS} =SS==55 : bec - ca, my Becki - wee cruis - ing that a mus - ing Pon - te ‘So1CI, B21 uncer vac 10h he fe ata a 193 Pete dor = ra, the wild vir-a = go’ ce a ana. missed her gang - ster sis. - = = o—— ve cr i ~ as mad : oe ——— [121] ppt —— E —_— ron SSS SSS == + = © ne - tia, who loved to chat Sona Could still she be Lyte 4 7 Sioat, —o —1F ce = Sagas — 4, rom {2 : - ee = = 7 = Br es = o drink - in’ inher stink - in’ pink pa - la - zo? And love - ly obiy, 8201, Br, KIR- Plana Condor 196 er eh Life at Late a where are you, Li B04 (ah Ci eat) mean - ing to the lean - ing tow’r “=, ——__ sent [129] A Tempo y Pee life that Savi, wet reF : nae 0 , 1137) Where is the fun os oe. ae sz Paro aap ET 0G IR Pao Cmdr 1a The if ate a 195 Pe Where has it gone?. wear a, cms Sa t i G0 | tJ 201, Ten, Pra, Dr. Va. Ve 86 rubato 5 up - tial bliss, But what do you do, At quar-ter to two With, Wi, ‘WH. Pra ‘i Sy scan ¥ ‘a tempo - [153] wo on-ly a shrew to So I re - peat what first ‘viswhsceon zs ae FPPC ee J+ va.ve. 2 aso Fay 5 7? 196 13-"Whe Me ite it Late a ritard cadenza, f= a waa y ro, 8D, Timp, Be. 2 [161] Prestissimo ee, lea? eee eS coins * . C — cexenoyg Eo. s ‘== ae : 7 iS erese. al fine 4. ts Pein 0. 17 “Always True to You in My Fashion” (Lois) Gye: LOIS: Just becuse gts god heared ad norma (nasi) Sha pao and wants opt along wh Re flow ant newt Slowly [2] Rubato, move along BILL, Why hhave?. 7 1 To, Si a ges NP A Ae Bi dressing room door xe BILL shrugs and exits) Jeal-ous J When you know, baby, I'm your slave? R T'm just ‘SobPro. ft areg erese. To “Spay 6 “=, Sorrel coma all. | Suddenly hot swing tempo (J=c.92) mad for you, And I'll al - ways be, But nat-u-ral- ly u A Pes Be] LA = = cus - tom - tail -ored vet, Asks me out for something wet,— t,o, re, ? eee ar Fett is vot be - gins to pet,— ery “hoo - ray!”. if ™ 1 Pacino 2 3 6) Yo" 2 -*Alnas Tet Yule My Fashion i al = ways true to you,— dar - i ‘Ct, Po, Ve (co) SSS 2 2 ee al - ways true to you,—_ dar - lin’ eee Sicko Gym Zee ; r SLR om a es mid - dle class and not Back Bay, al - ways true to you,— dar - lin’, Se BCI, Pro. Ve (8, cet) Hoe (BILL goes back no his oom) *> =SEs —— = > CU ——— al — ways tue to you,— dar - lin’, in my way. ee foptyl me ed a a a ae) as betore) = May —— Su Pa g SS == es ne pt tet 7a mad at-tack— means a Cad~il-tac 0 = kay! Sct gp Ny Pro Be, De, Pro 9 Stabs Yuin Pal” ae 201 ¢ ati SaaS al - ways true to you,— dar lin’, in my fash - ion, (BILL goes back into his room) ——— S43 - _— teen pare : 3 j ett O besty EF asked (0 have a meal By a big ty - coon in pez Su a Poo, 88,01. (Stel Pia) 202 9 ("Abs Tae Yous My aio xe 5 +S oF fag —— : SS SSS [74] coe = imo FT . al - ways true to you,— dar - lin’, in my fash - ion,— $y§ oad #2 rt. tom = ios nieve JO = SSF Po. 4H = ~ fs : SSS == = I could al - ways true to you,— dar- lin’, in my way. t "Alay Tu Youn My Fao 182] * ss - pass 41d o" curl my lip daz- alin’ dia- mond clip, o clip meant “let ‘er rip, Td not say “Nay!” gr 19°8cn lis eA merort Pf wet IR Pano Candace al = ways true 0 you,— darlin’, in my way, === oy cil man known as “Tex” Who is keen to give me checks, And his vn ox ww Fa + = re doa a * checks, I fear,mean that sex is here to stay! x Hn, As in A fo —= ere _Peaeeemaeneaneminn 7 I 208 4 Fao ose a SS Ss v = al ways true to you,— dar-lin’, in my fash ~ ion,— Yes, I'm Ls 4 —— — a — = ee — Ge» -—¥F~ ert s aoe: ee aS . ‘Solo Pro. ‘minuet” mp re Eee ergs (erates br 08) 4 wo 21 a hoe de Bee von == — Ere ena a al. ways me you, dar - tin’, in my = a : 3 hla meee ©m) 2) 3 FL | = 5 ps a) os ee ap eg EE ae gd. = IR. Peo Condor ‘Applause ~ segue 206 No. 17a _ Encore: Always True to You in My Fashion (Lois) Cue: (Applause ~ segue from No. 17 "Always Trve to You in Liistesso tempo xo" vs ‘Bee Bo 7 em OP os Medium bounce (d=. 98) meri i weal thy Hin -du_priest_. 763% 5. 7 WOFWho's a wolh 10 say the leash yy hen the tele (Po la eps | STE on ree cx Proce, . Sm Ye Sh BARS priest goes too far east Talo stray. But I'm sees Pe F [ Hn Va. es, Aty R-Fr Cendaaer (O18 TR) sponge =i ways tre to you, dar- Tin’, in_my fash - ion,— 5 = yal-sways true fo you, dar-lin’, in my ions} S AP ess. wm mag SF % [a] » Sa v PB = === J rn a a nd e 7 as | tush from Port - land, Ore Who is rich _but_sich “a bore When the | a Tie, Got Tee : ¥ bore falls on. the floor, let him lay, sere OS ria. 30.70" Peo. Won ha (stom) we dete |e A Sele IR Pao Condor v 4 are Atay Tae You i My Fin 09 [45] molto rubato decrese. JR one em ‘a tempo Oui, je suis tou-jours fi - dale, Darlin, in my Zz os au 5 NE ee ee dé A (ona) way. asa rehyrde DRL A365 Mis- ter Thome— Calls me up from night “il morn, A hi - 0 ‘A ‘Sol Be, Po. Dre plz Ve. A om. Ti lphane rd) IR Pano Cmte | ay 6 Encore: Always Tratt Yuin My Fashion ie Hee eI 9“ —3— = ble boat Means a = ble coat,— Ln long os “Pick 2 Seacp Swing four, as befor ral. f_ es eagtap era: 5 Tet o Bui.8s,00. (991 Fieavyseut 2 AL -RNOr GH 17 -Bncor: Ag Tuto Yona My ain gor ’ FONE rea cee YON oy Hn at Ay Lo ga PET gt Applause ~ segue No. 17b Scene Change: Fashion Tag (Orchestra) ue: Applause ~ segue from No. 17a Encore: Always True to You in My Fashion) Liistesso tempo ena 213 No. 18 “From This Moment On” Lilli and General Howell) (Cue: GENERAL: Thank you, Graham. I hink Lean make te litle woman happy. [2] Rubato jin 0} (a _GEN. HOWELL Re te — = = =—-—. oe a _a = i + 7 ee Now that we ae clo, No more aight) mo-1086, [ __Shnosmoaicvennteiny : Etat = o = = = ie = Ee = ™ ye CF LP _ _ : ae —— = = =I ont . = == 3 Fa = SS that We are one, The be auine has fst bem é {10} ox ritif Se ent : === Now that we're side by side, The fu - ture looks so gay, ww ane 24 2a Ths Meme [16] A Tempo (= 120) cos FARE = = 7 G ae SS Now we are al - i-- bied When we cara Fon (bis mo - ent for me, +0 0, st unr =a tere [ye Fee ret Leyte |< he eo G ae a pis a are Gent is i os i +a Si wom, 2 oo ie Ton ath (co f —————_ [36] 216 om Ths Mom [88] Flowing . i: (under aati) SS = From this. mo - ment on a = I = — + s 4 — + LLILL: Darling, 1 sant wat think PH probably do some work forthe UN, ie ie ig re om) ayy a ERED: For the frst time I wemble fo the word [96] sh ——— w. SFr Tis Mona Or 207 LILLI: (continues) But Harrison's given me a whole blazing new world be rall. [104] tempo GEN. HOWELL, dear cone, My — fair one, My — sun pEH,CL.O5C, nite 7 = Gent beam, My moon = beam, My blue - "2 Bind, My ua] : 7 28 6 "ron Tis Moment On [120] agitato uur GEN. ULL GEN. H, east. puff, My ducky, My wuck-y, My poopy, My woop-sy, My BipA sory ao Se Mamba pl Sat. hn ee ™p BACK, Ve ot a | ay iy, Pr re wb [124] LILLE GEN.H ‘ena toot-sy, My woot - sy, FS} 6 ——4 120 [to bar 132), by crese. poco @ Baci.tn. Yebes 128] ig - ey, My — sweet, p22 St 4880 7 on Ti Monet 2109 rit, ‘Tempo di marcia i est won - der we re - won - der, we re - wonder, we re ~ peat "32 pec Pro, Bx (Om. ena) (aot Tes) (137) cus ! i 7 r Rhy: Pno. VeBe, Di, scent dechbea notin busy You wa — ‘8504, Ton. ro. Ve Bs ie IR- Po Candace , wt === = oe at i é etn ; 2 un of 2 5 = con x : o = = From this m6 ~ ment on tetova gg : z = 9 Frm This Moment On oy cock, GEN. E the Spirit of 76 £ £ 2 2 £37) 1 ent ent For you've m2 10 "Fem it Mane On [169] treey 1 ges HI iy. pe 7 nl SSS got the love 1 heed $0 mich, po - — = Ty Pe. mnie ete eh, —3— 7 —SS— Les 1 Fram The Mana Ox 23 [181] tempo LLL sweet lips to me ee [185] resume march gna CEN. HOWELL t t :e ly: o,Bs, Or, bus tan Before (P. act bar 0) Ran Conde EV oy care is gone, weg fg gm SSS SSS ep SS See aS ee dtm TP + [201] straight two-beat uur Sing alittle 13 ram Ths Mame On ns straight two-beat 206 19 “Bianca” (Bill & Ensemble: Four Men & Four Women) {Stage Doorman, 3 Stagehands, Wardrabe Lady & 3 Women Ensemble Singers) (Cue: FRED & THE TWO MEN: (to LILLD “is charity to show.” (Blackout — music in.) Scene Change double ine Allegro agitato (¢=144) ‘Sov Pro, Rise. we ae A. 5.6 Fin, va too > ope be Gm af Bsc, ve, (68D. Timp) double time = 2 WH, Pro 2 tina am A 08, Hn. Tan, St. be, Pro. bi So (Geri bnckoom) 017] poorman se for Miss Lo - is Lane. Pack - age sls.X DOORMAN & Ist STAGEHAND. 3 STAGEHANDS For your 0, C1 Hn Poo. 28 a DOORMAN & 2 STAGEHANDS MEN [Male Quartet) Mea For your Bi - an - cal Gua Ha, [33] WOMEN [Female Quartet) Wom] [es os i SS = — Pack - age for Miss Lois Lane ses. o saa ' ¥ Fe + = Hae ; 9g SS oie 7 i——= toe Prt wa aa wm e_| ome | Eo boon. bg bow + poe | 2 rade Tpe) = =, 4 z < Fe 22 — : be ba be be Ist STAGEHAND, eof Pack - age for Miss Lo - is Lane,___ = (ona) id aR Po onde tine" 29 [WOMEN sing ALL [bott Quartets} (MEN unptched} (41) Pack - age. eee r ro eng Ca Mena hha, ha, ha, ha, — | aa La (BILL stops ther laughing, crosses to center and sings!) ‘ "8? iL. a Women 20 Stine (53] She's the dar-ling 1 atempo | 1 found She's been a - round But I still love her more and NS —~ i love song Though I'm se00 etn ter enGatbea) ‘EE. Bs, (Sym swish wth) > Freely D> just an_am-a- teun Til sing it through ins 231 a tempo it's wor- thy of her Are yub fist? - nin’? 71] [soft shoe tempo] an - ca “Bi 2nd STAGEHAND, yc. Pno, Dra wt accent bactoeat ba- by, will you be mine?. on) (791 one = 33 ===: =—= =: amen Bi - m-c You'd BOORMAN flit Mn vate usted _—— rel ie _ === == == Bi - an-ca (whistle) fet. a, to . saw god —y 4s eee = = aa rer fot eet ee ee Fy. 8s,Pno.018. ome (MEN Jeugh LOIS enters from her dressing room and listens, bemused Meith inereasing awe, a the number progresses on the stage below.) nap Dee == ee === ° — —riéi‘“CO™—_m._ishfrshésisesfsesfs# To oe o te £ 4 ee SS Pee fe PRES rey bay ores | gp dont 4 be 2 = —s— =— S28 4 =} = ars 2 87] wen Bi - an-ca “fee SS T To win you Ce “ ee wt —_ ci =p ——— == —ja A S = : | ts, ich Se pitt + a a tes * ————- : ff foros Po, 0 233 Freely ai T would swim from here to far Cas - Ps | Be. Fio Bo - Ist STAGEHAND: (spoken) Llove that movie! it. atempo (BILL Sweet Bi - an-ca, Bi - i 24 9. in “a spach fom fe sea gies. ae 3 Doodle - 00, Doo-dle - 00, Doot ty. mp ile 0, Set {SR Pvces. Pro, cre wae 10. 235 Ya bet-ter be ans- wer in’ yes 3 > Ya bet-ter be ans-wer- in’ yes (whistle) if ya don't, then Pop-pa’s gon-na wan-na give nis. Ooh! my ‘cuz if ya don’t, then Pop-pa’s gon-na wan-na give a spank -a. nf a ia [119] win you, win you, win you, (98.008) noth - ing. noth - ing. Jd _ noth - ing he y 4 (o.ve.sun) mp rit, See Sri wa Seok i won| 1135) Py: Be Pro. Save a Rubato glad - ly Sanka, Dance Tt ? of give up Bi - an-ca, crese. cof - fee ~ for optional: -~~----=-4 OF Sanka, ba-ba-ba ~ Boo, 20 (ordinary im voice) (sigh) — a —_——~ 238 15. "ane RH Pre. Or) "7 act moto UE [151] aig Ts, (Tor) fe tava = 5 3 (BILL inshes his dance with a climb upto Lois" dressing room. He uses the ironwork supporting the catwalk , Benn aA “ A ashe climbs, a a AY oa ‘avoiding the stairs When hereaches Lois, he swings himself ont the catwalk with her.) ata Y A A a ; 5 £ bg A No. 19a Incidental: General’s Entrance (Drum Cadence) Cue: Ist MAN: “Clothes doth proclaim the man.” The Warden at San Quentin, March (4=120) (THE TWO MEN exit, GENERAL HOWELL enters) ‘Drums out on cue: GENERAL: Tet’ get that transport rolling! (He exits.) IR Piano Canctr 240 No. 20 Reprise: So In Love (Fred) ‘Cues PRED: Sane old Lili— (music in, dafogue continues) (PRED. —and I thought I detected a note. (ete) nov 2, ES ioe | Je = Tanga wu Cue: FRED: Leame back, GENERAL'S DRIVER: (appearing at stage door) Miss Vanessi. The General doesn’t ike tere ree pe 7 Od Php soon —— WY PewProl [17] A Tempo, misterioso (J«72) 2 Rep Soe Love A FRED Strange, dear, (Su. aat a 2) a you, dear, +7. mutr0gs ai (Gis susty —————= p00 r t r i (opt poco ten) (or Pgs, ut rt, eter « 24 133] 810mP0 parnaene sitaomnovie) ed (ax. yna. vest sty POO POCO oa "ip Cacao sobobig. gn (@scl, Ve. cust baa tbr) KIR- Pano Canc » poco pitt mosso [49] [taster) = ——+ SE 3 —= Th tove with the night oo i . 5 i Pee ple PFs s tes T=EE = —"s — (cate vec molto rall. o taunt eae ewe 6 Rae Son Love = Soin _ love, = t ° bd TS wwe. ‘ia SSS © Applause ~ segue 6 No. 20a Scene Change: Venice Chaser (Orchestra) Cue: Applause ~ segue from No, 20 Reprise: So In Love.) Vivo (4=198) mute Be uf Ms son een ep PR A tet at t iy 8, Po, Dr WH asi ou when lights come up for next scene before the Taming. of the Shrew Show Curtain Ot ight come up for next scene—befr % corm) c * = , SS cata in 27 No. 21 “Brush Up Your Shakespeare” (The Two Men) Ge: (Te Taming ofthe Shrew show curtain drop hits the dec, THE TWO MEN face upstage.) Ist MAN: We'te trapped like rats. a n oe . Grobe @PB> ‘ X e -) Moo Cena sh a me he Bowery waltz tempo(=6o) Pa.) ov, 07, Fs. eco, mer Tae hy 8s. Pro. Dre wns f (THE TWO MEN turn downstage.) ee E et (st time only) a 2 “TProtaoe £ mae . The “ r suagiagm gills to = day in 0 - clas - si - cal vant & 248 2 Brash Up You Shes” [21] their hearts one must quote with x0 Ist MAN 2nd Man case ra ie and Eu ioe pi des, One Y oe ee a S op? apne must know Hom-er, And bilieve * # ry. Pro, Or yy les oe aaran 7 Sap ~ pho - ho,g.coa Un - less you know Shel - ley And Keats, Be carn easy ob ina os. nf poco crese hy. 2h Up Yau Steen 249 Pope, + Daino - deb-bies will call you ramortron J ge. 8 : seein —— 2d Ma Sa Fc asc ann, $2" . Seer ec fi of ‘Strat -ford-on - A- von. enti | ar rlonttopeeen Fo CPW? Fa dere x : sn OL {691 +2 quot = ing him Brush oe (al. arco Str, sust) moo ® SRE, AR reget GMs naman [77] claim a few lines from “0 - oe na eet, ‘ ee. Just i de - mp 1 Fry 8s, Pro, Om. IR Pon Conte rue st "tah Sgn > se MAN [85] 2nd Man think you're a hell-uv - a fel - Ia, If your blonde won't re - fee ol. Hn, 8 egato oot Fe. cM spond when you flat er ‘er gsm J, Tell her what ‘To - ny told Cle - Cee es ek Fry in sue) ? Be oO as Se Leo 2nd Man [93] santa pat-er-er, If she fights when her clothes you are muss - ing, Fe. aonoy Se my BBect. tn Yaok a Boru 7 as lene 2ach other, What are clothes? “Much A - do A - bout es wa IR Pao Cana your Shake - speare a, Tes. [frst watkaround} 2, [109] And they'll ah all goa De TeckProice 5: 2 yi Pro.otes. 2 Shrug up your Shake- speare, son We, ye 88 Pro Or whi ype SPOS rr oi = 7 =e — quote ing him now — 6 Shake - speare Cre. Ti (Bai, ve eat) ima [133] a With the wife of the Brit-ish Em - bes-si-da YG et id z ve Ty a 2 pz, gto 254 ro Up Ye Saespen” andMAN___ [141]. out of “Troi-lus and Cres-si-da.” gf she says “she won't i ti Pe gH. ene | chitin anose, 2a an FI = * Make her tke it, what's. more, A eal CCS SP som _ 494 wor 2 = 7 Lite km says your x ee te ewer. =e ages vemef A Stbewe the "Cori - 0 - your Shake -speare ay 2s res 8s ve a Py ? ‘(065)) cnt strona af SBE june Tota, Ton. oS 6253 58a aN sh “13 ) sont x Pro. gs, a Sug your Shakespeare, soo WH. a a 1,85, Fn a, oa quot - ing him now. ep Reve ge 2nd MAN If you t 101.8201 uae We a5 pronto Bee ede fet ieman [197] _— é . Just re - cite “ano - Chat Se, Fg ‘Soo Gost. plead - ing for pleas - ure +7 2 cc Het & a Poseine sor * A eet Lbreak in timel \\p\ sam - ple your “Meas - ure for ‘Meas-ure.” oe Se TG vuoro NN 12- “Brush Up Your Stakes 5 oi Se your Shake - speare And they'll all ——— dt St, WM, sau Fev comotee FB Pro. Drs. (i IstMAN BOTH y tow. TP faith, And they’ | Staton ame? > — Applause — segue 259 No. 21a First Encore: Shakespeare (he Two Men) Cue: (Applause ~ segue from No.21 “Brush Up Your Shakespeare." During applause, ‘THE TWO MEN exit and shen reurn having exchanged thelr fedoras for straw boaters.) * TaskProiok F patina, vmisenss Lee dead Guyjin Zod of hand sil Sree Listesso - Bowery weltz tempo (d.~60) S| . : —— . 7 aes on xo 4 1st MAN 2nd‘ MAN a= te Tip sexo. rh Tore a) sour shakespeare, Fy + Satz to Roan “ot quot - ing him — now. eee , 4 eS | Brus} _ ‘Shake - speare Pet SSE anaman, [25D5 Better _men- ton “The Ven ice”. Mer-chant of ag A Pra ee SH) _ ae of rei —tenrame Tf her 1H, Sgt flesh_you would men-ace.— {ve her sweet_pound of . ts) Lae nore = SATB hod sat firs, she de - fends— well’ gram J, Just re - mind. her that wd eu Sieh A | —<—-— Ry Tw Beck 3 1-FetBnee sage 2s a rman [41] \ - ot = “Ais Well That Ends Well” 0 f'And if still she won't give you a bon- us Fe storai wef Bac os SS sor#— C.9. soe yq You know what Ven - us got from A - don - isl Sheftle He fading Cl ; a af ee, a (491 34M oop dace el : Up __, your Shake -speare they'll all ae purge FT Cian senor BR tutors) ina 2nd MAN 2nd MAN Ast MAN tse Man 2h Man = “tow. Thinks thou? And they'll all kow - =~ tow, : = y =. a WN ‘Odds 262 eo a EacceShakespene & 40.3 cing ie o.C ace oes) Get aoe S < ‘on, Bo, Poo, or No. 21b Second Encore: Shakespeare (The Two Men) HOw vr Cue: Applause segue from No, 21a Fist Bncore: Shakespeare. During applause, THE TWO MEN exit and then return having exchanged their boaters for black lp hats and canes.) re ek 1 Listesso tempo TR com < 9 (Blegan) as your Shake- speare, . vee 2. Sen En Siegen | 263 Bat your Shake - speare Fs. Ts. If your goil is a Wash ing - ton Heights dram 1 Fey. 8, 8901, Hn, Se we “Mid - sum - mer Night’s Dream.” +. If she ln Sete ‘\¢ . esc Ko KI io onde 4 033] ecole Ist MAN 2nd Man by = A iy Sor, | : ‘e BAleha suena ‘lev -enth or “Twelfth Night."_ , If be - cause_of your heat she gets = fy “otige “dy on, Mac’ - duffy! Sof Fe, BHC 2 And they'll WwW, (#01, B80 sust ta $.0. a4) ae ae . Vg 4-seent tae Spsagead GP : man) nor 157] For - sooth. And they'll aff oe - oe Coe Se anny ir 4{tdisr uy Jocotin. sr, - es. (65) We trow. And they'll all” Jui Ss eee (eae) st PS ve cee aioe as SSP ste - ; nod rt oF De Ksbeny- Ci of ot ¢ Pes, ve _wihtsPe (oendmy Applaisse ~ segue IR Pen Cantor 266 No. 22 Pavane (Orchestra) (Cue: (Applause ~ segue from No. 21b Secon Encore: Shakespeare, ‘Music nas the scene changes tothe garden of Baptists house) (At rise, FOUR COUPLES are discovered frozen in position) Fanfare (d=19 Peco The ‘St200,FGym, Paso (break freeze) [5] Slightly faster (d=c. 164) ir cou Jes promenade’ , Poco accel. oa ‘I we lint —_— age wa we) (A PRIEST and other citizens of Padua [ENSEMBLE] enter {forthe celebration and observe the dance. (walk around] [wax on, wax off) ae (aft) . 267 peat Nt Se | ve ust. i ae ent a : [ching ching] E [16] tintnre] (BIANCA & LUCENTIO ener) 1 3 a Tao Toe, ota PF sander) Came 4 ores Bai) 268 soma, iin | 40) lees trough) 269 23. “TAm Ashamed That Women Are So Simple” (Katharine) (Cue: KATHARINE: (entering) What is thy will, sir? (Music in as KATHARINE and PETRUCHIO cross oward each other ~ dialogue continues) PETRUCHIO: Datling (che assembled ENSEMBLE. "sig Andantino then picking up the play again) Katharine, that cap .. (etc) Eng Hn, _——_—_— ? P = oo ee (Cue: PETRUCHIO: ... what duty they do owe [9] G96) their lords an osbasds, 7 KATHARINE = a am ashamed that_wom - en Hos. sim- ple of- fer war where they should kneel in peace, Bene KIR- Pao Candace Ee 270 2.°1Am thane Te Wore A So Sing = ea & 2 (es werotarz0) Ff 17]. Freely bound to serve, love and o- bey. are our bod-ies soft and weak and atempo Un apt to toil and trou-ble in the world, But ee Pe pi a that our soft con - di - tions and our Should well a - 23+°1Am ham ht Wore 0 Sige’ a [25] Kat, Fiche ne Ree a gree with our ex-ter - nal parts? So, _wife, hold_your tem-per and Te conrated ; oes nip eat, meck - ly put Your hand ‘neath _the sole of your hus - band’s foot, Ea ath_the so ——— FOMEHnVn2 eu "2 Bene. 48s a awn. cptae. 2 at cook of which duty, if he plows My hand is ead y.2— “ead r = ; Shes) ae 3 errs KATHARINE & BIANCA exchange _ He Teich ey = rit, aay Kata may it do him ease soon 2 m No. 24 Finale Act Two Reprise: Kiss Me, Kate Katharine, Petruchio & Company, except Paul & General Howell) ue PETRUCHIO: Why Thee’sa wench! Cone on sh is me, Kate / | _— Brightly (J=144) [3] i 2 red ehS? Kop ore So, kiss me, Kate— De. 0r r oe 2. Fle Aa Two ™ iii awoke ek oe i Tg B= mol HUG oe Pus - wo! ro f= —}{—— SS . Oh, kiss fra _ ling 1, WOMEN [Soprano ee me SS ee —— —— SS cml ob, iss _ . Dar - ting MEN reno) =F te ec gg on, iss him, Kate Dar ~ ting fete tan ves) ay a (oyna) oo Fast waltz (4.= (15] Fast waltz (84) imo B a ~ For now thou shall ev - er be, an - gel, di vine! _ 15] Fast waltz. (.-84) Tin one] ce PEA ‘(y Bec. ve Now thou shall ev-er be, Now thou shall Now thou shall] ev-er be, . Now thou shall Kat Ps at ey GP FE rnsene 275 Dar- ling am thine, And Dar - ting am thine, And WM, whaces 23] arg | a PEPER. poco a poco anger Ts cer veo) Py. se Hr, To poco allargands “Core she is thine. poco allargando —av.ww, 6. ‘molto crest P 276 5. Plea Ta se) ETRUCHIO 61 G-0 CeO = —3 = 7 thine! (eggs) [36] (=138) aS iy Cl. 8861 Ton, Pro, Va Ve not eee (PIbek Beale les. a. wie tba 95) a ew 65 ont ae oom 5 da bp Ss TET" E Begranwcamyee, PAR me emman "> SSS a ae oS ER a aN Lp dtgay* 3» Fyre stds JS fy fl : al : eer £ = Ft = 4 & 4e- So = = ~ = SS } ; f f a : [44] Perr fiid 3 tad oa i8 7 +a Tote, a g : ‘ . uf 6 Fe Ato a [donkey break] ae AAG Ties a yy eee Rep Be et sog ng - (PETRUCHIO esa arg an offer pl fom oe of eases (S1]_ (168) lower petal tos] Sevows hom high ite th ey fr do ont Re td ie one) (Cheer) eee Dye SP semssor0, (each om) am No. 25 Bows (Cue: (Fina curtain Aet Two) (Orchestra) [7] Vivo @=138)') ‘ —— 15) * Pee —{_ S08 84 $08 Hn (cone Sees Ci tert, op [Bow: GREMIO & HORTENSIO} 23] corm 7 ry. ateTae 2-Bow 29 Hn Tom 85, ro. (ey "Be rt ~ habe a P eo ll Tr vd viny a t " 280 Stowe to oF et 7 5 = —— = aaa + SSS ==2 a a SSS — mi ‘ eS ===s © E € Ss a! oe _t | Ren | ee SSS = Sa a at ora 2 a ‘[Bow: BILL CALHOUN & LOIS LANE] se __—__ [77] New tempo, swing two (/=108) = (Nee: Or ate age toC pneu bar 3) <> 4 = Ty <1 ora || py cesodrmsepeaeny aH a ows a [79] swing feet out pA cay} | or [97] Waltz (2.-72) = 3 53 Mo] ti ot 2 es ran ee tw crese. a Py: Pro... “Vernise Wate" 282 Stowe (Bow: FREDGRAHAM &LILLIVANESS] Roe 2 Ber 88.00. 08 ows 283 [133] _ Big sound (=138) r fF AR Pano Conducta el ial S| ! ‘Gockel bar 58) SSS ee 7 = zs oo i Jem Ten, 8a ve a an ra Ato, Se 496 Ream py ie dems west) 9, 98 fe LA (0% bi s0b a4) ey BA De No. 26 Exit Music : (Orchestra) [230] gospel Stop time (4108) _—— ‘atts PF (a nin oa et Py. coe) seen oe A a - ee é sa a 287 Reb, ine pay coe wdrums ae eseat) P +t = sooo, 1 1d ly a — [260] Big two-beat > 8 jap [266] mp 516. Ton. Pro. A (sa basin, Oe: Tos pt nate eae ee eee 288 ia (te era ao (Choa ts. ob atove band tuba 277) 274} a st eet > molio_crese. poe