It 1M tl Setting by || Costumes by || 4 || Lighting by Sound by | Robin Wagner TheoniV.Aldredge | | Tharon Musser Abe Jacob t \ th | Orchestrations by |) "| Music Coordinator " \Bill Byers, Hershey Kay & |. Robert Thomas Jonathan Tunick | Py \ it j \ Music Direction and Vocal Arrangements by j i ;Don| Pippin. Rena H Vi |) Associate |Producer | |v. | Bernard |Gersten Whee y| Robert H.Noeltner Te [el i ney | ISBN: 0 8494 0086 4 inn ‘MORRIS & COMPANY, INC, «2 civaion of MPL Communleatlons la -FIRST PERFORMANCE AT THE PUBLIC THEATRE, NEW YORK April 16, 1975 CAST OF CHARACTERS } (in alphabetical order) | ROY =» Scott Allen 1 KRISTINE. vseees Renee Baughman SHEILA . Carole Bishop VAL. Pamel Blair MIKE. . Wayne Cilento BUTCH .. « Chuck Cissel LARRY. . « Clive Clerk MAGGIE Kay Cole i RICHIE. Ronald Dennis TRICIA +. Donna Drake ToM.. - Brandt Edwards JUDY. Patricia Garland LoIs . Carolyn Kirsch DON... Ron Kuhlman Naney Lane Baayork Lee Priscilla Lopez - Robert LuPone MARK ° Cameron Mason CASSIE . . Donna McKechnie Aue Don Percassi FRANK... - Michael Serrecchia GREG . - Michel Stuart BOBBY - Thomas J. Walsh PAUL. Sammy Williams VICKI. « Crissy WilzakSCENE. An Audition Time: Now. Place: Here. ‘The characters portrayed in ‘A Chorus Line” are, for the most part, based upon the lives and experiences of Broadway dancers. This show is dedicated to anyone who has ever danced in a chorus or marched in step anywhere. A CHORUS LINE IS PERFORMED WITHOUT AN INTERMISSION ORCHESTRA, REEDS: I, Alto Sax, Flute, Piccolo, Clarinet, Alto Flute IL, Alto Sax, Clarinet, Bass Clarinet, E Flat Clarinet, Flute IIL. Tenor Sax, Oboe, English Horn, Clarinet, Flute IV. Bari. Sax, Bassoon, E Flat Contra-Bass Clarinet, Flute, Clarinet ‘TRUMPETS I, If, 111 (All Double Flugelhorn) | 1 TROMBONES I, II, TROMBONE III (Bass Trombone) PERCUSSION: Timpani, Xylophone, Vibes, Grande Casa, Bell Plate, Bell Tree, Bells, Drums, Harp, Bass (Doubles Fender Bass), Guitar/Banjo KEYBOARD I: Piano, Electric Fender Rhodes Piano, Celeste *KEYBOARD II: Yamaha Y-30 Organ + Leslie Speaker, Baldwin Harpsichord (Electric) ‘Keyboard Is played by the conductor. “The purchase of this score does not constitute permission to perform. Applications for per- formance of this work, whether legitimate, stock, amateur, or foreign, should be addressed to the licensing agent, Any inquiries should be directed to Flora Roberts, Inc., 65 East $Sth Street, New York, N.Y. 10022 and Jack Lenny Associates, 140 West S8th Street, New York, N.Y. 10019,22a, 24, 2s, MUSICAL NUMBERS Opening, I Hope Get It “Morales"” — Underscore. After “The Opening”’ (The Line) Intro — 1 Can Do That 1. Can Do That Introduction Amd Introduction — At The Ballet . At The Ballet. . Introduction — Sing And...” Sing! oe : Montage — Part 1 (Hello Twelves” Mark Connie) eo Montage—Part2 (“Nothing”) ......-0000ee00eeeeeee eres 85 Montage — Part 3 (Don, Judy, Mother”) .. 7 Montage — Part 4 (Judy (cont.), Greg, Richie) = 108 Dance: Ten; Looks: Three....-.. +++ 127 Short ‘Paul’ Scene....... 138 ‘The Music And The Mirror . 139 After Music And Mirror . ++ 156 End Of Paul's Scene 157 One... 157 Tap Dance. - 188 Alternatives 5 196 New — What I Did For Love — wn. 201 After — What I Did For Love oo cece cesses 208 BOWS o00cccccccccceeeeeeeeee sees eeee eet eeen esse ences 209A CHORUS LINE a Lyrics by EDWARD KLEBAN ‘Music by MARVIN HAMLISCH | No.1 OPENING Moderato (not too fast) Cue: From Stage Manager 5 1/2 SETTING ON FENDER; Organ: Preset #1 Plus Pec, ZACH: 1 o oO | ‘Acgaint Step, eck, Kick, leap, kick, touch, A-gain! eae Sol) oF a . (Plano) step, kick, kick, leap, lek, toueh, Again! Step, kick, kick, leap, kick, touch, A-gain! hick, kick, leap, kek, touch, Right! ‘That con-nects with ura, turn, out, in, touch, step, Step, Beseturn, touch, down, back, step, piv-ot, step, walk, walk, wall, the whole combination facing sway trom the mirror, Fromthetop, 6 - @ - 7 - 29 2tempo uy (Brass aust) AVocal - Tempo co (SLOTEVED) 7 O.k, Tim going to ut you into your __groups now, When 1 call_ovt your number, Fl tell _you where you're gonna be in the formation, Dialogue continues ~ | NOTE: Cassie doos not cing in the | pening number. Bebe, Vieky,, Lots: ; ees On Cue: {Do not sing "til oat of purple: ncin Mambes $7. Number 60, upstage. ste 2 wf [vam] ros mean AEH Got, Te T ge 1 hope t get 3 eat.)BOVE . eres How man-y peo-ple does he need? Tire Hows) How many peo-ple does he need? 2 mts: Howman-y boys, how man-y.. pore, How man-y boys, how man-y girls? "fF P Look at all the peo- ple! How man-y peo-ple doeshe (ocal Coes Only) (Tons) girle? How man -(RT ART THT! 7 ex 7) | aan | i | ropT ey | Te got to get this job, —______— J eaPanoy rots, /8x8.) ic ee Creer pr pr ore vit | ont] ZACH: ‘Third group of boys. Number "63" downstage... ete, First group of girls. © 1-2 1 Second group follow. 4 - 8 = Dre.) (On Cus: 12t Grow Ballet Girls tor wees t creel) Baas)db. tr r [ i ‘han, you're dancing with your tone aga = ACH: "You! Any ballet? ae eae ae ip ; cot t r 7 Next groupfand)ome rd aed oatt--.,? 2° ad HR Ie We z Brees) (Pimp) oa ‘rd Group Ballet Girls i r eT fa py tae es LH) » (simile) WS nyAst Group of Bors vel wl Up! *55 uns, soll) mt ic (Dre Bn) Hold it, Hold it, Stop! (toRoy) How many BF (S010 Piano} ZACH: (to Roy) Ro. act: 369 years ballet? One! ‘Any Broadway shows? No. ArmsAst Group of Boys aguln 371 (Teas, a0) ' nf (Bese +B. .Dr8.) 1 (time) Next Growp:(And) (tim)ZACK: Boy in the head band: Keep your head up, oa _—— ; 19s ww.svu) Head band, (oTimp.) vel ant Group of Boys (Timp)UWL I 7 we) aL (toys on 12) ALL: God, I real-ly blew it! How could 1 do a thing likepoys; How could I do ating like. ..? 206 ists Walsh ‘that? NowT'lnev-er make It. Tilnev-ermakett! He does-n't lke the way vate woos Cues Ons) (Pedal)| ys £ WT cna vad ‘Tempo di Funk iris fh: look He does-n't like the way I dance, He does-n'tlike the way 1 a oxgany(Ad 1b.) cma at eeera ela| ZACH: Girl in brown, ‘Boa (ate. .8x8,) (@iss0) 1d itt Hold ttt ‘ZACH: Hold it! ‘much better but still too much tension, face, houlders, Relax, (Pender, Plana) (Gass) a= (Dr) & ali oll 8 oy oy oy 8 (to Fender) ZACH ‘but could you have someone do it in front please? Larry. wu 2. os oy oy Y ey ‘2nd Group of Girls 230 (Org. aust) (Sree, © it Piao) cea) r C r |‘rd Group of Gis fore Fd a a a ance out (ete.) x x os a ‘ZACH: fo Vay r ptt Hold it. stop! ‘ sa (ott) ny (gender Rhodes) (org. ,Gte- with wacws & suze) cot @ 8 ll(cry. nts.) 254 ras.) (aust, Sx.) (org. 04 ub) 288 Aut Group of Boys ocracway (Fende® Rhodes) 269 (0rg), Shella, do you know the combination? PP (Plane 6a) knew it when T'was in front, ZACH: Okay, boys. 5 ~ oe 2122 zach: Aer wold, stop! (Pago) 62 AD Te step is down stp, pivot step, Not pivot a = = = step, plvot step, right? chewing gum? Get_ rid of it ftom. the - Again, (ro Baten) 1 ep. BLE, By _ (Fender Rhodes) 5 = 6-7-8 let Grow of Boys:as 3 ere aig tnd Group: Riche overdoed i) Ly | (pute wats.) | Plans) a roFP OF Rich) « Listen, that's really great, and tone it down. Relax, Boy in the headband, sen ek tay tn hf "he (Plame only) ai ail ‘nd Group of Boys Again we, ea] ob el scutsaT on melody (wa-wa) (era) _ * Sexe, Br ore, 6a)24 ° foeo a 4 a aA ToBar dite ast Grow of 3 ‘3106 (Render Rhode > ote. — } PP (Piano Only) ” 1 realy 9 — Ta (simitey (x64) (@va bassa) || |, (eas) &