shing AL of MCA, 9 eserved Table Of Contents 5 Used by Und by THE CHARACTERS ou . ‘ AUTHOR'S NOTE ne - i opyright © gs. Ine NOTES FROM THE DIRECTOR .. sprtight © PRODUCTION NOTES Copyright PERFORMANCE NOTES. ‘Renewed MUSICAL NUMBERS by The On February Ninth (Wndere0re.. Chane: Deus ex Plaid pyri © Whar Happens (Undencer) co EMI Three Coins In The Fountain Caalogue, Gor Be This Or That Undecided > 1968 by Moment: To Remember jeories and ? Crazy Bout Ya Baby Copyright The Onerizer Schol of Harmonic Theory (Undescore). NoNot Much ic Ine and Pafidia ae. oy Sixtcon Tort Chain Gig voi Eureka, The Catering DrillShe Loves You alogue, Ine The Golden Cardigan q Catch A Falling Star © 1954 by Caribbean Plaid aes for Cahn Heart and Soul 94 Con Ine Mercury Lay Of Spain Seuland The Brave 9 by MCA | ablishing, a Shangei-LalRags Ta Riches permission. Before Love (Underscore) Love Is Many Splendared ThingFOREVER PLAID officially opened in New York Cicy on May 20, 1990, wich the following cast FRANKIE, Guy Stroman SMUDGE. David Engel SPARKY.... Jason Graze Stan Chandler JINX. Understudies: Larry Raben, Drew Geraci PRODUCTION TEAM FOR THE ORIGINAL PRODUCTION Scenery: Neil Peter Jampolis Lighting: Jane Reisman ‘Costumes: Debra Stein Sound: Mark Salaberg Assistant Director: Laery Raben Hairstyles: Bobby Grayson Stage Managemenc: John Rainwater/Connie DrewDEDICATION FOREVER PLAID is dedicated to the “good guys” — To the guys who carried an extra handkerchief To the guys who saved thei allowances to give their parents an extra special night on the town for their anniversary — To the guys who wheeled the projector carts for the Driver Education films — To the guys who didn't go beyond first base, and if, by some miracle, they did, they didn’e cell anyone. We salute you!Forever Plaid Page i The Characters ! (In Order of Speaking) L FRANCIS: The leader and caretaker of the group. He has the mosc confidence. He ' takes care of his fellow PLAIDS and makes sure that everyone knows where i night on they're supposed to be and what is suposed to happen next. He is also the connection berween the audience and the guys. He has aschma which acts up whenever numbers are (00 fast or the choreography too energetic. He has a great i — deal of compassion for the music and che group. He is always saving che guys from embarrassment. He feels obliged co keep the show moving and is always did, they apologizing co the audience when it’s not going as he hopes. When he does his specch as the end he must not preach or pause during ic. FRANCIS must be as humble as they come, or else there is a danger that he will seern like a “lounge i lizatd” and the audience will tire of him. Despite his humility, he is “Romantic Croones”. In “Chain Gang” he sings his heart out like a great spitirual singer. ; (Second tenor-Lyric Baritone) SPARKY: The clown — the imp — the scamp. The “cup” of the group. He is always looking for ways to crack jokes. He is very sharp and loves singing his tailor-made solos, He wears a retainer and has a slight speech impediment or lisp. 4 Even though he is energetic and clever, he cares for his step-brother. He sings with a joyous bravura and loves to perform. He loves to tell stories and relishes every word. He is the comic engine of the show. He often speaks so fast that he | cepexts himself. (“It's time for Crazy ‘Bout You”, I's time for “Crazy "Boue You” I love this number. I jasc love it.”) He has his moment of tenderness during THE PERRY COMO section, He has to admic co Mr. “C” what he did was wrong. Since he stares out with great verve and showmanship, his arc has co soften. The class clown is shown to have a heart. (Baritone) JINX: The shy one. He is terrified. He doesn’t always remember whar song comes next or whac the next move is. He is Sparley's step-brother and there is alittle step-sibling civalry going on berween them. He occasionally gets a nose bleed when he sings above an A. He lives his life terrified. He was abused and beaten. He is only in the group because he sings great and high. The others ae ve protective of him. He transforms during “Cry” and sheds his fears eo be dhe star we always thought he could be. Afier “Cry” he has metamorphosed from being 2 timid boy ¢© a moce confident man. (Lenor)I Page i _ SMUDGE: The worrier. He worries about che props, about che running order and always assurnes that the audience won't like him, He has a chronic nervous stomach. He is very reluctant to perform. Ffc is also dyslexic when it comes to telling his left foor from his right. His name is Sraudge because he is left-handed and he would smudge the page every time he wrote. Smudge never enjoyed or appreciated what he had. He always worried abour what was coming up and regrecred what had passed. He was stuck in che “would've, should've, coutd’ve” syndrome. At “Rags to Riches” he lets go of this and just “is.” — He bowls us over with sheer stage presence and musical peowess. His glasses are accidentally thrown off and he is gorgeous. At the top of the play he wanted to skip the whole event and Seave. Az the end he's che last one to want to leave. SMUDGE wears glasses which hide his good looks and sex appeal i Bass} i Although there is a great deal of humor in FOREVER PLAID, the show muse be ] performed “straight.” The characters should never be awate of the humor, excep where noted. These are each individual characters, who in life, were not successes, buc they had a deep passion for music, They ate not sure of themselves as performers, yet when they sing, they sound MAGNIFICENT. q ‘The audience must believe that if the circumstances and society were differenc, they would have become recording stars. The PLAIDS always remain humble, modes:, secious and graceful, even Sparky.order and comes (0 lefi-handed ajoyed or upand could've” bowls us ccidencally sip the whole IGE wears 1 must be or, except successes, as performers, ifferent, they ule, modest, Forever Plaid Page itt Author’s Note (To be put in program in theatre lobby) When most of us think of the 1950s, we think of rock ‘n’ roll, greasers, hor rods, Elvis, Annette, Fabian, D.A., haircuts and teenage rebellion. Buc there was 2 flip side «0 this era — che side of harmony, innocence and the sincerity of dreams. It is the side thar’s been fost in the shuffle of peogress. It was a time when most parents and kids listened and danced ta the same music; when families partook of the ritual of gathering in fronc of the TV to watch their favorite variery shows, like che Ed Sullivan show or the Perry Como Show. Ic was a time when every family worked co fulfil the American Dream. Ir was 2 period when four-part guy groups harmonized their way accoss the airwaves, jukeboxes and hi-fis of the country. Throughout che land they would stand aca ‘quartet of microphones, crooning a multitude of chaperoned prom-goers into dreamy romance. ‘They wore dinner jackets and bow ties (or perhaps cardigans and white bucks). Each move was drilled to precision. Each vocal arrangement soared to stratospheric heights of harmony. This sound crested right before rock ‘n’ roll stole the heartbeat of music across the globe. During this time, guys across the country banded cogether to sing in the basement for fun. If things worked our they might be hired vo sing at weddings, conventions, proms and country chub socials. Inspired by the success of the recording stars, chey f made plans to 200m into careers of farne and forsune. Buc the musical taste of the U.S.A. was changing, and the country would not scop to listen to their dreams. This is the story af such a group —- FOREVER PLAID. Once upon a time, there were four guys (Sparky, Smudge, Jinx and Frankie) who loved co sing. They all mec in high school, when they joined the audiovisual club (1956). Discovering they shared an affection for music and entertaining, they got together and dreamed of becoming like their idols — The Four Aces, The Four Lads, The Four Freshman, The Hi-Los and The Crew Cuts. They rehearsed in the basement of Smudge’s family’s plumbing supply company. Ie was here they became Forever Plaid — a name that connects che continuation of a craditional values of family, home and harmony. although rock ‘n’ roll was racing down the fast lane like a candy apple “verte”, they believed im. their music. As their sound developed, they sang ac family gatherings, fund-raisers, and eventually graduated co supermarket openings and proms. They had little time foc romance or leisure for chey supported their fancasy by holding down day jobs —~ Frankic was in dental supplies, Smudge was in bathroom fixcures. Spasky was in betcer dresses. They devoted themselves to singing at nights and on weekends. Then, finally, chey landed their firs big gig 2c the Airport Hilton cocktail bar — The Fusel LoungePage iv February 9, 1964 En roure to pick up their custom-made plaid ruxedos, chey were slammed broadside by a school bus filled with eager Catholic teens. The teens were on their way to witness the Beatles make their U.S. television debut on the Ed Sullivan Show and miraculously escaped uninjured. The members of Forever Plaid were killed instandly. | Ic is ar that moment, when their carcers and lives ended, that the story of FOREVER | PLAID begios. ‘Through the Power of Harmony and the Expanding Holes in the Ozone Layer, in conjunction with the positions of the planets and all che astrotechincal stuff, chey are allowed to come back to perform he show they never got to do in life. And having completed cheir Mission of Harmony, our men in plaid must return 10 the cosmos. Although they may be gone, through this production their dreams live on forever.| Forever Plaid Page » Notes From The Director oadside The essence of the show, the subtexe, the background and the environment from © which the show developed is incorporated in the dedication and the “Playwright’s vand ‘noces”. Therefore, they should be included in che programs or be available to the nscanly. audience, either in the lobby ot in an insert to the program. The reason is simple. A DREVER great deal of time and thought went into assembling this show. A great deal of effort {goes into each production. I have found that when the audience and the press read the Playwright’s notes, they seem ¢o realize that we are serious about this period. We yer, in are not crying to capitalize on the nostalgia aspect of che show. If anything we fight 5 they are what the steceorype of the show is. Yes, the guys in Plaid are nerdy, awkward and socially unskilled. Yes, chey sing corny songs. Yes, che audience thinks they know them. But, 2s che show progresses, the guys should become sexier, more passionate seurn (0 and more confident till the audience is hooked and we have taken them co another ums live time, or [ should say, another mind set. The audience must see THE PLAIDS as more than “nerds.” THE ACTING STYLE should be simple and sincere. They should always look to each other. Play the subrexe very simply. The show works best and the laughs come the strongest when the actors are the most serious and most sad. Remember, these guys never chought they were any good. They just loved singing together. They were not “successful”. They each have physical disabilities they feel prevented them from achieving stardom. They are underconfident and had miserable lives — or 50 they think. They all had dreams which were never realized. Tonight, they realize those dreams. The characters sbould never appeat to expect applause, and when they get it, they are amazed and thrilled and very grateful. NEVER PLAY the comy “white guy” thing, Ics crucial co make the audience look beyond the stereotype of a nerd and realize that there is a handsome, sexy, powerful man inside each Plaid waiting co come our. The costumes and the hairdos take care of che “nesd thing”. [f che accor playsa nerd, che humanicy and cruth of the characters goes away. The show is more powerful when THE PLAIDS are portrayed with reality. Sage whisper dialogue chat the audience is not supposed to hear. Also, itis importane for the actors to remember that THE PLAIDS are playing this show for the firse time and the last time simultaneously. Therefore, our characters experience che thrill of the firse rime and che melachaly of che last rime simultaneously. We rarely mention anything about the 1950s in che show. The show is set today. SINGING — The singing should be powerful and passionate. Crescendo at the ends of pheases. oncrol your vibratos. Blend and power are important. Save your voices, Sing correctly. Make a parts tape. Make available t0 all casts an original artists tape, ic. The Four Aces, The Ames Brothers, The Crew Cuts, Perry Como, Harry Belafonce, Eddie Fisher, Johnny Ray, ‘Cennessee F'mnie Ford. The audience must see|. how emotionally commited THE PLAIDS are to the music, especially as each number concludes. THE CHOREOGRAPHY — This is where the majoriey of the laughs come from THE PLAIDS had no one there to say whac they wece doing was funny or wrong They believe in their choreographic work. They truly believe they are fircing the moves co the feel of the music and the sense of the lyric. They ofen paca move with each note. Buc che moves should never gec in the way of the music. I always thought SMUDGE to be the choreographer. He's dyslexic, like me. Keep THE PLAIDS as close as possible. This helps the singing. Lec the steps be inadvertently fuany. Lec the moves come together because of the need to make the music tighter. ie. “No Noc Much” — swoop heads together on the swell in the music, co make the sound better — not because it is funny. Consequently, itis very Fanny. ‘The staging is precise, o the point of seeming ritualistic. Even from the top FOREVER PLAID bas 2 formal, ticualized look because of the chois boy candles and the folding of the dust cloths. And there are many rituals: the passing out of the f tartans, the delivery of Perry Como’s cardigan on a red velvet pillow; the intcoduetion of each Plaid and the band — ro name buta few. The period of FOREVER PLAID was also a period of tituals and formulas. THE PARADOX — The guys must sing brilliantly, a if they were stars, bur they don’t realize how really good chey are. There is a universal feeling for “the need co fic in and be liked” FOREVER PLAID depends on and thrives on this need and it succeeds because of this. ‘THE PURPOSE OF THE SHOW is to demonstrate to these characters thar chey had a wonderful life even without stardom. Icis all summed up in che final speech. That is what separates this show from being just a nostalgic jukebox revue. The more} seriously che characters take the show, the more suovessful the production and the greater is the audience's appreciation, PITFALLS — Playing for laughs — Don’t Have I said this yee Don’ play this show for laughs. The show is filled wich hundreds of jokes — musical and otherwise. The audience doesn’t have (0 laugh every miauce. Don’t worry if not every line or bit of business gets a laugh. Lec the audience understand the show. Iris far better that they take the show, or che decams of the characters, seriously I DIDN'T INTEND FOR THE SHOW TO BE A TRIP DOWN MEMORY LANE. Ic is supposed to be more like che reverse of BACK TO THE FUTURE. We are showing what would happen if people wich a 1950s sensibility came co the 19906}Forever Plaid Page vii SUGGESTED RESEARCH: \ BOOKS. Populioce — Thomas Hine from. American Singing Groups — Billboard Publishing the VIDEOS: £4 Sullivan Shows ve wich Perey Como Shows In addition, Life magazine is an invaluable resource as are album covers of the petiod. veehey ed 10 fic adic rac they vy chi otherwise. | yline orbit ver that “ORY URE. We fo the 19905ve | Production Notes (Thanks and deep appreciation to Neil Peter Jampolis, Jane Reisman, Debra Stein and James Raitt) SETS AND PROPS — The setting is simple. Four microphones, a piano and a bass. “The stage is enclosed in a deep blue curtain (scrim) with glictering stars applied to it and 2 star drop behind ic. The proscenium is a deep blue with green. Chaser lights are hidden. Both sides of the stage have a portal chat also serves a plaid light box. They extend into the stage area. The light boxes illuminate a Plaid intecior. The Perry Como colanders are also attachable to the fronts. Half circle seats are attached to the front of the boxes. The tops raise to reveal scorage area for props. The floor is a deep blue lexan with glitcery stars applied underneath. There can be a lower lip or deck to the front of the stage for intimacy in larger theatres. The actors can address the audience dicectly from this apron. Icis nice to use the old CBS EYE logo to be part of che set when they mention the “Columbia Broadcasting System.” It could be on the reverse side of the accordion case. Sometimes we have JINX and SPARKY sit on the accordion case downstage for intimacy. During “Shangri-La/Rags to Riches” the entice serting goes Plaid. The light boxes go Plaid. Chaser lights and the portals light up. The mirror ball begins to whirl and scacs appear above the audience, The back curtain opens ¢o reveal a wall of Plaid. The stage floor fills wich smoke as thousands of bubbles fill the air. A star canopy is over the audience's heads and fils the ceiling of the theatre. ‘As the Plaids leave the black stage for the curtain call, their silhouettes are seen rising up to the moon, microphones and suitcase in hand. During the curtain call, a sign drops in with the FOREVER PLAID logo. The first set of album covers for SMUDGE'S speech should look as if he made them They aren't jokes; they are jusr sienple THE DOLLS should be dressed exactly like THE PLAIDS. Use a glove to hold the ball where the head of the doll should be. Like Senor Wences’ puppets the gloves have faces painted on chem and the actors move their thumbs like che lips of the dolls. This is one of the biggest laughs in the show. THE PLAID BOOK OF LIFE — A loose leaf wich pages that have spaces far name, and address. Make sure an usher keeps track of it. We've lost plency. An usher should also be available co escort the woman fram the stage and back to her seatda bass, ed wit lights xtend »mo fronc of can bea ion the ordion stage for boxes g0 and sears i The oy is over seen rising Jl, a sign made them. co hold che ¢ gloves sof the zs for name usher sho Forever Plaid Page ix COSTUMES — White Dinner Jackets (with shaw collars) with black tuxedo pants Pink nuxeda shirts and Plaid cummerbunds and bowries. Plaid suspenders, Plaid pocker swatches (to be revealed during “Perfidia") and red bouronniets. Class rings LD. bracelet for Francis. Black wing-tip shoes. Four Plaid cuxedo jackets with white pocket swacches and white bouconniers, lined in satin with satin collars. The suspenders, bowties and cummerbunds must be co- ordinated with the Plaid cuxedo jackets. The should have their names on the inside of the jackets on the left side. Piano player in black saxeda (tails optional), whice shirt. Either black or Plaid bowtie and curnmerbund. Black shoes. Bass player in solid black. (Bere optional) NOTES ON THE MICROPHONES -— Ik is better to use corded microphones for the peried flavor and radio (RF) mikes worn for the dialogue only in bigger chearres. ‘The mike scands should have round bases. There is a company that we have ordered from that have the bese mike stands for the show. They ace black so they don’t reflece she light, and they have shock cushions in the bases so they don’t make sound when you couch chem. They are also very inexpensive. In addition, please use windscreens. THE SOUND —should be lush and rich and whenever possible speakers should be used around the theatre co give the “SURROUND SOUND — LIVING STEREO” effect. The sound should be processed so the audience feels the music in their bones rather than just their ears. If you use reverb — and you should — use it with taste. A litdle reverb as a bass is good to assisc in “floating the blend” Sound should be fist ching to tech. It is the most important element of this show. Also use substitute mikes in rehearsal: getting che acwors used co holding the mikes is very important and should begin as soon as they know each nurmber. AMBIENCE — There should be as much done as possible to create a fan atmosphere for the audience. It is essential that the lobby be decorated in various Plaids, with fun memorabilia from the fifties. Fifties food should be served... Rice Krispie Marshmallow squares, S’Mofes, Sloppy Joes, Plaid burgers. root beer floats, malteds, hanging stars, hanging 45 records, pictures of Perry Como, Patti Page, record covers of The Four Lads, The Four Aces, The Hi-los, exc. 1950's cars on the street front. Just remember thar chis is the other side of the 50's and 60's — wor che rock Rock'n Roll 50's and 60's. We are very proud of che face thar che audience becomes part of the Family of Plaid. “The Plaid” experience begins when they buy their tickersForever Plaid Page xi Performance Notes Although there is a great deal of humor in FOREVER PLAID, the show must be performed “straight.” The characters should never be aware of the humor, except where noted. These are each individual characters, who in life, were nor successes, but they had a deep passion for music. They are not sure of themselves as performers, yecwhen they sing, they sound MAGNIFICENT. The audience must believe that if the circumstances and society were different, chey ‘would have become recording stars. THE PLAIDS always remain humble, medest, serious and grateful, even Sparky. FOREVER PLAIDis divided into four main beats, which will be noved below. During the prologue the voice-over works bese if it is spoken live, like a newsreet newscaster. There should be no hint of camp in ic. “The prologue sets everything up, all the relationships and the premise of the evening. “Three Coins In A Fourain” is a classic wish song. Ir should be treated with reverence. AVERY IMPORTANT NOTE — As in “Three Coins.” each number has an emotional connection and can be tracked for the growth of each character. We must see the passion and belief in the music in each character. During the numbers, o establish relationships, itis wesful and necessary for the actors to make eye contact and to continually monitor each other's actions. There are sueprisingly few moments in the show for great loud, jazzy singing, “Undecided”, “Crazy "Bout You Baby” and “Peefidia” are the three most repsesentative of this style. Therefore, sing out and have 2 great time enjoying singing strongly. “Crazy "Bout You Baby” —They should use che plungers like microphones. The staging should get crazier as che number goes on. It should gec stronger and jazzier. is Nat Much” — This number ends the first beat of the show. The first beat of how introduces the characiess and the sound of the group as a whole and che style of what 2 concert would have been like. During this mamber the cast should reach a climax of great emotional singing. Then what happens is their human foibtes foil cheir progress a bit: Asthma, nose bleeds, ulcers and forgesfulness. After "No Not Much” we learn abouc the characters on a deeper level and we sce different facets of them a they each take a feature number.Page xii Regarding the Record speech, the simpler and more direct ic is, the greater the pay- off in “Rags to Riches” especially in regards to the Gold Record. This specch is the bridge to the second beat searting with “Perfidia” and ic ends with che Golden Cardigan sequence. MISS RHEINGOLD BEER CONTEST was a popular contest of the fifties. The Miss Rheingold contestants were often seen of calendars and in TV and Princ ads. f | you Feel it necessary, you can change che name of the beer to BUD WEISER or : SCHLITZ or PABST BLUE RIBBON. The only criterion is that it be a beer that | ‘would have been available in Pennsylvania in che 1950s “Perfidia” — Sparky should sing his heart out in the number and ery to cover up the fact chat he needs to look at the words on his hand. Te should be a subtle joke or else ic gets tiring. Don’t play “Perfidia” for laughs! He's waited over theee decades to sing this number. JINX’S line, “The sentiments of that song, while peppy, are tue, We always wanted 10 be i Looov...” This planes a seed for “Cry”. I've watched this work over che yeats “The mare sincere and sad this line, the more powerful the effect of CRY. “Cry” — This is not “Star Search.” It was originally conceived to show the growing, up of JINX. It was not conceived as an imitation of Johnnie Ray. During this number JINX breaks through his shyness and realizes this is his only chance co sing the way he’s always secretly dreamed of singing. He feels it’s his obligation to communicate the message of the song to everyone. That's what” brings the house down” during this song. He sings ic with all his heart and voice. It should start like a timid lullaby, then burst into a plea of love “16 Tons"/"Chain Gang” — THERE IS A PITFALL: A MAJOR PITFALL, with these two songs. They should be performed as if you were great singers. Never, never perform if as a parody of a “white boy trying co sing with soul”. THE PLAIDS should just sing full out. This is especially rue for FRANCIS. He dossn’t have many ‘opportunities to wail in the show so when he sings “Chain Gang” he rause sing with bis entire being. He, of all che characters, realizes the power of their mission. If SMUDGE is incapable of producing the low C at the end of the song, do not make fun of that inability — he should simply sing it as best he can. ‘Heart And Soul” — AUDIENCE PARTICIPATION —Never use a “plane Always piek a woman or alitde girl. This is the first cime a woman has entered ‘THE PLAIDS lives. She must be treated with great respect. Ad lib light “hellos” co her 0 make her feel comfortable, as she sits at the piano.© pay- is che The acads. If .or that sr up the ceor ee -s10 sing swanced the years, growing his rosing shouse wart like a L, wich over, never AIDS cave many sing wich do not slanc™ ered THE wher Forever Plaid Page xiii THE ED SULLIVAN SHOW — Do not use the cast album as an example of how 0 do “Lady of Spain” wich ali the Ed Sullivan “bies”. ‘This cue on che alburn was made to give a complete fecling of che number without secing the show. The guys aren't sure that the audience is going to like chem, so they try extra hard JINX singing “Lady of Spain” and playing the accordion is the anchor to the piece Hle must sing with great zest and love and bravura. When he sings the first note the sound should soar. ‘When I first creaced this number, JINX didn’e even know what was going en around him, He juse sang his lee lungs ou and ie was great SMUDGE doing the Ed Sullivan imitation. This is one of the things that he should begin doing at the first rehearsal. He should go to the library of the video store or a Museum of Broadcasting and look at old Ed Sullivan shows. [cis more helpful to swatch the Ed Sullivan impersonators. (Rich Little, Jackie Mason, John Byner, etc.) The actors should also research Senor Wences for “'S’ allright? 'S all right.” The Singing Nun, Topo Gigio — The Italian Mouse, Jose Jimenez and anyzhing else that's not familiar co them. SPARKY appearing as “The Lady of Spain” with a veil over his face aad two big red ostrich feather fans. He must try to dance the flamenco down to JINX. He should be very serious —~ as with everything else in this number. SMUDGE using the whip is a greac bie if you have room to use a big bullwhip and he can learn how to make ix crack If nor, a toy one is vety funny if he reats it as if is a big whip. This is also a first day of rehearsal prop. Finally, SMUDGE should eat fire at the end. This should be aught at the beginning of the rehearsal process. We have never had 2 problem or an accident. An off stage person muse dip che wick of the torch during the ser up of the number, which happens while SPARKY and JINX chat about theie childhood. “Scodand the Brave” — This muse be very solemn, All thac is wrong with it is chat SMUDGE has his cloth on the wrong shoulder. He has to get it back like che others have theirs by the end of the number. It's nice when SPARKY and JINX don’t notice anything. They just keep singing. The subtler SMUDGE is in changing the side of. his cloth, che funnier and truer to the spirit of che show. This is where the show can be “too cute.” [is an act of God that allows him to get it right by the end of che number. FRANCIS may look over occasionally. but he and SMUDGE never make eye contact. “Shangri-La/Rags ‘To Riches” — This number is cheir dream come trve, Bubbles lights, fog, speccacular lighting, They even get the record covers of their dreams and they have gold records in them. Everything is perfect. No mistakes. It is slick andPage xiv fabulous and the audience should cheer. When SMUDGE takes che stage and throws his head and his glasses ly off, it should not appear intentional. He is now gorgeous and sexy. He sings with ineredible power and magnetism, He is culy possessed by the greatness chat he always had within him, To make this work well, the audience should not expect him to do this number and perform this wonderfully. Remember, he is the one who didn’t want to be here in the first place. On che final notes of this medley the set becomes Plaid and a big flashing logo for FOREVER PLAID descends. All the chaser lights go berserk and a canopy of lights over the audience shimmers. At the crest of she applause the lights begins to fade; the cease is devastated. They ccalize chat cheir eime on earth is nearly over FINAL SCENE — Having finally touched their dream, and having performed a great number they are saddened by their inevitable deparcure and they can't sing. FRANCIS has to pull chem together — he realizes thar for all che greatness of “Shangti La/Rags...", they're is still one the more thing they must do <0 fulfil cheie destiny, completing the show is completing their mission, The speech should move and should be moving. There is a time pressure. FRANCIS has asthma so itis a strain for him