(#1 = OVERTURE begins.) SCENE ONE (The curtain rises om the New York City Municipal Orphanage ~ Girls” Arex. Shortly after 3:00 am. on a chilly morning in early December 1933.) (The stage is nearly dark. Aslep in the dormitory are ORPHANS ~ MOLLY, the littlest who is 6; KATE, the rnext-toldlest, who is 7; TESSIE, the crpbaby, who is 10; PEPPER, the toughest, whois 12; JULY, the quietest, who is 13; and DUFFY, the biggest, who is also 13.) (@2.= MAYBE (UNDERSCORE) begins.) MOLLY (avaking from a dream and crying out) ‘Mama! Mama! Mommy! PEPPER shut up! DUFFY Can't anybody get any sleep around here? MOLLY Mama, Mommy. PEPPER I said shut your trap, Molly (PEPPER shoves MOLLY to the floor.) yuLy Ath, stop shovin’ the poor kid. She ain't doin’ nuthin to yo.Nores i ucHTINe you have the resources, light ony the area ere you stage the Ophans and not Miss Hennigan’ office costume Think about ayering the Orphan costumes With drab sweaters and smocks fr warmth Institutions ofthat era were not krown for good heating systems! ae PROP Annie has handkerchief inher pocket foe Moly ae PROP ‘Anne should have crumpled not inher pocket to take out and rea,PEPPER she’s keepin’ me avrae, ain't she? yoy No, you're keeping ws awale— PEPPER ‘You wanna make somethin’ out of it? july How “bout I make a pancake outta you? ~ (PEPPER and JULY fight.) TESSIE coh my goodness, oh my goodness, theyre fighting se won't ord sleep all might. Oh my goodness, oh my goods s mm FASTA (ANNE, who i 1, runs in woth ket, he has Pee ; up cleaning.) ANNIE Pipe down, all of ya. Go back to steep (fo MOLLY) res all sight, Molly. Annie's hese. MOLLY teas my mama, Annie We was rain’ on the frrybos Ad Teas my sn me upto see all the big ships And then | couldn't find her no more. (ANNIE holds a hariky for MOLLY.) ANNIE sow. was only a dream, honey. Now, you gotta go back f° sleep. It’s ater three o'clock. MOLLY ‘snnie, read me your note ANNIE Again? MOLLY Please? ANNIE see, Moly. PEPPER Here it comes again. (ANNIE takes a crumpled note fom her pocket, ls land reads it to MOLLY.) aNotes © Dinecrine Encourage al the Orphans o speak loudly and deliveratly. This dialogue is eseenta tothe, story. @ irecriNG Have your Orohans experiment with itterent vocal tone colors to match the age snd Personality of thelr character. Peppers tough, Tessie scared, ote © ‘music cur Track #3 ~ Maybe" (UE = MOLLY: Gee, dream about havin’ a ‘mother and father agnin But youre has You really got ‘om. i uerrina {ts very effective to use a spotint on te 00s a “Maybe. The settings dark and lonely, ‘and the spotlight wi highght the touching eesANNIE crease take good care of ou ite daving, Her name s Annie. : KATE Anocknghy she has heard iste read thousand times) sh box on October 28th, We wl be back 10 get Met PEPPER (mockingly) ey et att of ver locket around er neck a2 kept the other half—" PEPPER, DUFFY, KATE sg that when we come back for her you wil know shat she's cour baby.” TESSIE coh my goodness, oh my goodness, ow theyre Mush ANNIE (to the others) auiaGhit Do you wanna sleep with your teeth snida our ‘mouth or out! CaN lovingly fos her mae and pats ack in pocket.) MOLLY ee, eam about havin’ a mother and father again: But you'teTucky. You really Bot“ (@3= MAYBE esis.) MAYBE "ANNIE: (fingering her locket) I know. ‘(ANNIE and MOLLY cuddle together on the floor) Somewhere. sweetlya vagina Make sure Anni s performing this song {loumstage. The aucence wil wantte hear every ord of his poignant number, a muste Use the abies of your singers to your advantage necessary pair a weaker vlc with {2.stronger one, or have the performer spec sole,aaa smay-be real near-by, hhe may be pour-in’ her ibe a g coffee, she may be straight-nin’ his te! & = = May-be in a howe all id-den by SEs = e's sittin play-int pi = & a =, ae ‘Betcha they're young. pate oe _ pr ae Bet they collect things like ash-trays and atl— 4 me KALA Oe4 , NorEs STAGING During the underscoring at measure 38, Annie stables hor materaltendemes tvard the other Orphans. Rehearse this moment mith the ‘music So Anne s comfortably in positen for the last verse,= ye petecha theyre good.— Why should-nt they be?— ANNIE, (ORPHANS: ‘Their one mis-take was giv-in’ up_me— they'll be there, all-in) me (ANNIE carries MOLLY, i has fille tale back to be, ad ks her. te ‘ORBIIANS, one by one, sav goodnight ‘Fhe mute continues spy underneath THN is il thinking abut er paren.) ri [ee] Atempo 15 eetOW cia ey DirEcTING Remind Annie to use her best etic inthis solo slo,ANNIE: oe ee et-cha he reads aS mR ALT LS May-be they're sie as__ straight as Tine — SS Dont really care, a3 long as they're mine! =e1 = Sea] payer's the So, maybe now this (at the foo ofthe bod) = ‘wont you please come get your 6cena Shai Notes De] usin Seen tees ga © muste cue Track #4 ~ ‘Annie's Escape" (CUE - Segue from No. 3= "Maybe a costume Annie's sweater shoul be preset onstage for hor eat(ANNIE einds into bod td tucks herself.) ANNIE, (24. ANNIE'S ESCAPE begins. A faraway chur (ee atames 4:00 a.m. ANNIE goes up tothe window Tooking out into the stret, then rts to er bed and ‘arts puting somethings ito sal basket, The ‘GaoHANs are dimly seen waking up as ANNIE tums om 4 flashlight) PEPPER Now what? KATE ‘Annie, whattaya doin’? ANNIE Runnin’ away. TESSIE ‘oh my goodness, ANNIE (puts on her sweater) My fotle are never comin’ for me, I gotta go find them. juLy Annie, you're crazy. Miss Hannigan'l catch you. TESSIE ‘And give you the pad ANNIE T don’t cate. I'm getting out of here (ith a basket under her arm) kay. I'm ready. Wish me luck. ALL EXCEPT PEPPER Good luck, Annie. PEPPER so long, dumbbell. And good luck. ee 7Sr nd A SANY NorEs ‘staaine ‘Annie should pack her baskot an work her ay downstoge so she Is in poston for Mes Hannigan’ entrance ater Peppers ine, “and ood Wile" binecTiNa Miss Hannigan’s characters larger than lite Encourage her to make a memorable entrance so the aucience can antcpate what sn store for By ucHrine possible, when Miss Hannigan figs opon the door immediatly brighten the ight sit ahe Alpped them on, bimecrina Rehearse the moment whore Miss Hannigan {ngs Annie tothe for earefuly with yous ators, ‘This stage combat and safety shoud be fst oe ® DirecriNG Keep the pacing of tis scone as esas Possible. Th tempo bulls upto Its The Horde nook ite." DimecIna ‘Many young performers rush thelr fines when they are portraying omery characters the Miss Hannigan. Spend a iti extra rehearse time ‘chieving immaculate ation withthe set so the audience understands every wor,it the basket under her am and sing flashlight (ent of her, ANNIE sneaks 0 0 8 stage, It tor. Suspense us as Weer ANNIE teaches to open the doot, MISS HANNIGAN, ae ang a bathrobe, figs open her door ane wwitclke, a ated in white Hight before ANNIE.) Miss HANNIGAN ‘Aha! Caught you! Sass HANNIGAN flings ANNIE tthe flor and switches fon the hallway light) Get up. Get up! ANNIE (getting up, warily) Yes, Miss Hannigan. Miss HANNIGAN ‘Turn around, (ANNIE doesn’t move.) {said tum around. UATE ns aound and MISS HANNIGAN Wis He” the backside with « paade.) mene Now, what do you say? What. dou You say? ANNIE reluctant, through her tet) ove you, Miss Hanniga. Miss HANNIGAN Rotten orphan. (angrily) rn area phan, My moter and fates ek 2 00 saying we owed me and they were coming back oF Miss HANNIGAN ‘That was 1922; this is 1933. huss HANNIGAN sultces onthe ight in dormitory, ad through te dor, ad BOWS et HT get apl Now, for tis one’s shenanigans, SO fall get down on. pe Enobby ile knees and clean this 4ureP ‘until shines HKe he top of the Chrysler Building! TESSIE (starting t0 <1) ‘put t's four o'clock in the morning Miss HANNIGAN (laughs erelly) Get to work mA ADICTSNoTes © birecrine Every single one of Miss Hannigan entrances Sau 6 part of her “it Have fon eosin Sled entrances and exts with is perenne © music cue Tack #5 — “ts The Hardknock Let GLE MISS HANNIGAN: Why any Kid would want 0 bean orphan, never kane cue ‘atts Should brighten athe beginning of-t's The HaresKnoek Lite" ate PROP {tou ae using brushes and pais in yur Rovwosraphy, make sure that any sounds mado sing he props arene louder thar ne eae a musicANNIE, ORPHANS Yes, Miss Hannigan. Now! te ORPHANS man for pails and return to front) Wing any Kid would want fo be an orphan, Tl never now (#5 ={1'S THE HARD-KNOCK LIEE begins) | 2 Miss HANNIGAN ye he e « IT'S THE HARD-KNOCK LIFE it (As MISS HANNIGAN exits shaming 7 the dor behind her, the ORPHANS. Ur don hr Srub brushes.) ‘Moderato int [ALL ORPHANS: sae Its the hard-knock life for ust EE oS We the herd -knock Me for aN ALLORPHANS: = 255 ‘stead =a treat-ed, WE et Wicked! [ALLORPHANS: 1s the hard-Knock life! Gor no folks t0SS lee tetas Notes © ‘CHOREOGRAPHY Take time to check outs The HardKnock Lite? ‘on the Choreography DVD for insiaton, a music ‘At measure 22 there is a tne shit in the musi, Encourage the sololsts to sng legato, but sti, ith excolent dition,po 1s the hard-Knock Wife! ie enn SB feel like the wind is al-ways howlin?Nores At measure 36, he Orphans all sing together ‘alo. Make tis 2 ‘wow moment ona futon by rehearsing tn rhythms cary here = young performors are often tempted Peed up winen there is change in dmaNoTes @ DiReeTING Make sure Molly and Pepper are hight visible ‘onstage forthe soles at measure enefe SSS -moe-row lie Fall-of-sor-row liet me RAY ee SS S= SSS See es the hard-knock isracine {your Moly isa very young actress, set her up for suceess by having her deve er ines downstage oon ahighor level. Either staging choles onaures she can easly be the centr of attention dung ‘hr imitation of Miss Hannigan, a music ‘Again, clcton is key trom measures 60-65. Encourage the Ophans to have fun wlth ove Your Miss Hannigan” at measure 68a, _muloo un eS eae Jab her with a safe-ty Pin aS ‘Make her drink a Mic-Key Finn its the hard -knock life ‘MOLLY: (drunlerly)Notes © CHOREOGRAPHY Using levels. lanes, and present, create a Sanamie stage picture withthe Orhanstoend {iS The Hard Kock Life" Hav each Ophan ‘hooks an emotion they wish to expres nn [a cee {ndeneral I's great io chang the eng ater {he musical number i over. This shits {he audlence that tis the approplae tae lau and also directs tho attention ioe ‘upcoming action.MOLLY: Merry Christmas. a —_ ae vratte terd-Haock “eis te ached Mout ery baer tod is ever oth shel the eile Five eripped from the beds.) gq its the hard - knock fe (qulss HANNIGAN, nov dressed, enters wd whites CONTE andthe ORPHANS ran to their Hine up i font of ‘his beds, but ANNI attention remains om the lund ‘She ts hatching an idea.) MISS HANNIGAN. Good moming, childzen. ‘ORPHANS Good morning, Miss Hannigan. MISS HANNIGAN ‘well? ‘ORPHANS Tove you, Miss Hannigan. MOLLY (from the hamper) Hove you, Miss Hannigan. eeNores sTaaine Mis Hannigan should take a postion of Superiority downstage. The audience should bo able to easily see her boast, yea aca ‘expressions, ®@ bimecrINe ‘Miss Hanniga's domeanor and body language ‘should change immediatly when Bundes ashes fon tho scone. She rtumns to her ad el ast ‘Uickyattorhe ext, ae PROP large rong laundry bin can be used along wth, Fin place of, Bundles launery bogMiss HANNIGAN ‘You. What are you doing in there? MOLLY Nothin’. MISS HANNIGAN (to JULY, who is nearest the hamper) Get her out of there! (0 MOLLY) ‘Your days are numbered. whist) Alright. Breakfast ‘ORPHANS (ejected) ‘Hot mush? Yuck! MISS HANNIGAN No, not hot mush. we ORPHANS and ANNIE react hapily 19 HS NeW ) Cold mush. {ine ORPHANS and ANNIE groan) [and after your mush, you'll go to our SN machines. a er oxder of dieses 10 finish f you have 1 ‘wotk Straight through to midnight: ANNIE, ORPHANS ‘Yes, Miss Hannigan. miss HANNIGAN [Now line up. (the ORPHANS and ANNIE fle past MIP HANNIGAN, esther as the unary man, UNDIES a ey enters, caring oa of lean seb.) BUNDLES Laundry. Laundry man. ANNIE, ORPHANS Mornin’, Bundle. BUNDLES ‘Mornin kids. Clea sheets once a month whether 78 need fem or not. ANNIE, iden by the ORPHANS, gets fo he taundry bag.) wae Ane, Age How's the pets a 00 of 1a street? OEPani Notes. staaina St Orbhans should move their eds statage hit others move New York Cty sets ast ‘Smoothly wansien into Scene tae, © music cur Tun HS «I's The Hardrock Lite Repisoy GUE “JULY No more hardknock ie for ny (The ORPHAN: )Miss HANNIGAN ‘bundles, get out of here with that laundry! ‘BUNDLES (picking up the Launary bag wit) ANNIE So long, gorgeous ~ and Merry Christmas. MISS HANNIGAN (checking floor) taunt ou cal this lean, Annie. Tis place is ke @ PIE Annie? Annie? ‘ORPHANS Annie ain't here. MISS HANNIGAN What do you mean “Annie ain't here"? TESSIE she just went, With Mr. Bundles MOLLY im the laundry bag. MISS HANNIGAN. Bundles! (runs out) Police! Police! JULY ‘No more hard-knock life for Annie! (ue ORPHANS chcer agin, A6-~ 1S THE HARD-ANOCK LIFE. (REPRISE) bess) IT'S THE HARD-KNOCK LIFE (REPRISE) oe 16 rreo7~ me ADNoTEs Ds Employ a blucout tthe end of ts The Herd Knock tite Reprise,” © Music cue ‘Track 87 ~ “Scene Change 1" (UE Sedu fom No. = “It's The Hardknock ‘fe Reprise)” ser The et transtions from an orphanege to a New ‘York Oty street during the Depression tf on change this scone infu vew of the audioce, {tink about having your stage crew dressed ae ‘roe cleanors and making the ransiton goof = ’ DIRECTING ‘Make sure that the audio has enough time {0 absorb the New York Cty scene, as veg Anne's cejocted walk, before the Apple Seles lines n Seene Two,72s veo were gonena have 10 pay, Gomena 6 OU 1 ‘DUFFY, PEPPER: aa Wa the hard knock fe, i the hard kno 18, isthe hard - knock (Blackout. #7 = SEINE. CHANGE 1 Mein) ‘SCENE TWO eights up. A few grbage cms place ws om ae Oe Cg es Place. Ie isa chilly December aero Coeiiaer, A DOGCATCHER with a rope uns ACTOS fi dnge An APPLE SELLER enters, appealing 108 ‘ocasional PASSERSBY.) [APPLE SELLER “apples, apples. Two fora nickel ANNIE runs out from behind a tenement) pxcule'me, st, but could you donate an apple 10 ‘36 ‘onphani’s plenic? [APPLE SELLER (giving ANNIE an apple) why not? Nobody's buying em anyway: 17sTagiNG {Greate the itusion ofa busy New York Cty street Dy having actors cross the stage wth a purpsecal urna ‘Te lighting shoul suzgost a cold outdoor scone. @ DIRECTING [RaNGY shouldbe played by a student Encourage {he actor pleying Sandy to study dows aden ‘mimic thie mannertares, @ binecriNe {Ts wonderful opportunity for young actors {0 exloro a variety of characters trousn theater game. See the Rehearsal section otis {lide for suggestions. 2) music cur Track #8 ~ “Tomorrow” CUE ~ ANNIE: Everything’ gonna be fine,ANNIE Gee thanks, Mister. [APPLE SELLER say ki, when isthe oxphan’s pienie? ANNIE milng and taking big bite of te apple) Soon as I take a bite (The APPLE SELLER shakes his bead at having oe Ce ary a hd aad wanders offstage Search of customers.) re sou of baking dos fer fom ofa COGCATCHER enters, pushing a wheeled dog aoe NAY.C. DOG POUND! The DOGCATCHEE ree cnterstage, looking fo tay gs. He speaks to ANNIE) DOGCATCHER ‘You seen any stray mutts around here? ANNIE No, si. DOGCATCHER Good, Then they must al be runnin’ wil overt AS}# Mace (aie DOGCATCHER ets. ANNIE watches hi 50 end then turns and notices DOG.) ANNIE Hey, there's one they didn't get ANNIE gets downs ner hands and kes and SIS (ape BOG to came to er. SANDY enters ad css 2 “ANNIE,) (ANNIE) (o SANDY) -tmey eater you ain't they? Well they te afer te But Tesh Noorty,£ain’t gonna Tet them get You or me: ‘verything’s gonna be fine. (@8= TOMORROW begins) ee anactor fs welteheara Us ong sale, song: Mato sure your "ed and comfortable singingTOMORROW (ANNIE) For the both of us. ifnot today, wel ee it ang 200 ‘the sun come out to-mor-f0W. ‘et your bot-tom dollar that 10 ~ mor-tow— theell Pe pa SS Jone-ly, _T just stick out my chin and ee 19 we NTBAN Y el Ga ~ LS Notes © biREcTING Sandy shoud sing" thse ines tke a howting or baying dog. the performer playing Sandy cant Sng Ne oF she could bark te ines @ DimecrING Coretuly rehearse the ailogue between Annie {nd Officer Ward with the underscoring so that the timing syns withthe ending of “omorrny? staaing (tices Ward can enter om stage rig or stage {eft When ho continues on his beat, h shouts ‘ext opposite from th side he enteredfhe sun come out— hove ya, To-morrow! Youte always to-mor-10¥, aby ae WARD: Hey, you! Little girl, Comehere TANNIE: Yes, Officer? ‘Apotcoman, ‘WARD: That dog there heasteay? (Apolenet ep, Nt Astray? Oh, Officer HES Ty 0g: ANN, Your dog, tin? $0, what's bis name? ANINIE: His name? His name Sandy. Right thet Ny becanse of hse sandy clot sar Otay ets see him answer fo his mame ANNIE: 2 3 it cal im Sea ef 1st got hi ard someties Calli!Shaw Nores * possible, spotig signature number. By uaHmina Annie ond Sandy during this“ANDY cross to ANNIE, ‘andy, Here, boy. Sandy. (5. "Good Sandy. Good ANNIE: Her, aaa and puss fron ps on er solders old Sandy. wanna see him Sar Kt time you take i ut WARD: Hes oa mse or snc iegos othe poe o Ww and. yout deathof ANNIE: Yes, sin Lunde SNARD: Nove get along wit old in this weather. SQNNTE: Oh, I don't mind the weathes 3 th you before you catch % ees ‘When Tim stuck with a ay aS chin and grin andl thats gray and eae 1 just stick out my lonely, fl to-m0"-10W, the sun-Il come out— PAS = come what so ya got-ta hang on. “il #0 ee 21Notes High or stage lt, th etmanenty et on stage transition fs seams,‘to-mor-row! Youre al-ways a day 8 7 love ya, ANNIE: rove yu Tormor-owl Youre sl-wave swayt— ‘and SANDY walk behind a fenement and (ANNIE. rom sight. Blackout) disappear (@9.= SCENE CHANGE 2 begins.) ‘SCENE THREE (the tights come up as MISS HANNIGAN as her re ch contain a desk, a rocking co of tc chai, On te des is aca lle ESE Ms in and goes upto MISS HANNIGAN. begins.) EE 22SOY el ies ‘Notes ‘svagine Miss Hannigan shouldbe sprawled out in hor ‘desk chair when Tessie delivers he- nest tne stagiNG {yeu a Including Orphans in hs scene, they fan be playing cards or amusing themacties fs long as thelr actions do not upstage Msg Hanoigan, Music Encourage Miss Hennigan to sing Lite Gist in $,2ervous, cautious manner, asf she sty Second guess when the net “‘oten ophan ene op out fo un Mer day.“TESSTE: Miss Hannigan, you know your souvent fom coney Isard? pillow: Miss HANNIGAN: Yes. MESSTE: Molly just threw up on i Ta TE ANNAN thesis TESSIE. TESTE ot a HANNIGAN sts te ofc chi, She 309 > om which se hs just sat) Folding a broken Moderato in 4 ee | MISS HANNIGAN: a LITTLE GIRLS | : he 7 < k ited gis, t-te gs ev~yowhere Fons Ft ring with Some wom-en are dip SSNotes. ©a do tw lt - me RAT> Sa Say NoTES C3 awe Focus your lighting on Miss Hannigan ofc. @ DinecriNa Miss Hannigan's demeanor sheuld change abropty as Offcer Ward anves onthe seene, Encourage her to deliver he ine a sweat ne Possible. When her dalogue ls deed to Ani, she Is back to her sour self, @ DIRECTING ‘Anne's reactions tothe conversation between Mis Hannigan and Grace should be tnmmecits ‘nd exoxgerated or comedic effect.(qaiss HANNIGAN sts don) oe sitsl_ —— (pepper and DUFFY have ben plying os and a fight Grats. We ear PEPPER saying “YOu heated.” DUBFY crus td ot” and PEPPER responds Wi To ad seer and oer. The oer ORPHANS Sr 1, ae ag he fight. MISS HANNIGAN crosses the hall, Spon te dor and bows the white) (miss HANNIGAN) shut up! Ass HANNIGAN retums to he fi and oes nto (MSS Nr, OFFICER WARD ters rom i ging ANNIE by the cola. ANNIF Darts Miss dng orto OFFICER WARD, and he Kwes Migs HANNIGAN responds tthe knock) Yeah. Come in. (As OFFICER WARD enters Mis) Hargis. office, se sae the alt ret the ORPHANS) OFFICER WARD Good aftanoon. Miss Hannigan, is MISS HANNIGAN Yeah. OFFICER WARD ‘Ym Lieutenant Ward ofthe 17° Precinet We found y runaway. Miss HANNIGAN oh, thank you, Officer. OFFICER WARD she was in one of them Hoowesiles over 0 te SHEE with a ‘bunch of bums. ANNIE “They weren't bums, OFFICER WARD sad a many mutt with her, bute got 47 eS eeNotesMiss HANNIGAN on, poor punkin’, out in the feein’ old with Ie that thin Oh, poor Me you didn't catch infiuenza Thanks so ‘much eee OFFICER WARD ‘Alkin the line of duty. (0 ANNIE) and gu, Don’t let me ever near that you ran a8) again. From this nice lady. {to MISS HANNIGAN with alte slut) Good afternoon. MISS HANNIGAN Good afternoon, Offices aASSICER WARD owt, hen retro) roe erat ume you walk out that door, be 1953 Wel are ‘you glad to be back? Huh? ANNIE (cowed; reluctantly) Yes, Miss Hannigan. MISS HANNIGAN ‘art What's the one thing Labways taught you: neve telalle. {she grabs ANNIE around the shoulders, on her from (She sa RACE PARRELL enter, cans am ata case) GRACE Good afternoon. Miss Hannigan? Miss HANNIGAN yes! GRACE ‘pm Grace Fel private secretary to oliver Watbucks (she sisi the ofice cat, stage left of te desk) MISS HANNIGAN “the Oliver Warbucks? The milionalre? GRACE Me, Warbucks has decided to invite an orphan {9 spend the Christmas holidays at his home. MISS HANNIGAN What sort of orphan did he have in min? ee 26Notes @ DiRecriINe (gee and Miss Honnigan’s vocal tones should be ‘he utimate in contrat = sweet and seatGRACE ‘Well, she should be friendly (ANNIE waves fo GRACE) And intelligent. ANNIE Missisippt. Capital M--double S--double S-Fdouble-P Mississipp, GRACE And cheerful (ANNIE laughs.) MISS HANNIGAN (kicks ANNIE to quiet her) You shut up. And how old? GRACE On, age doesn’t rally matter. Oh, sey, eight o¢ nine ANNIE gestures upward to inate she wants GRACE 9 say a higher age) Ten, (ANNIE gestures still higher) Bleven. “ANNIE gestures to GRACE to stop and the points ther ‘own hair.) Yes leven would be perfec. And ol, 1 almost forgot Mis, Warbucks prefers redheaded childxen. MISS HANNIGAN leven? A redhead? Sorry, we don't have any GRACE ‘What about this child right here? orphans like that (MISS HANNIGAN ruses in between GRACE and ANNIE fan pins ANNIE behind her Back.) MISS HANNIGAN ‘Annie? Oh, no! You don't want het. GRACE ‘Annie, would you like to spend the next two weeks at Mr Warbucks’ house? - ANNIE would love to. MISS HANNIGAN ‘You can have any orphan here, but not Annie oe 27SW ee mat NoTes © Music cue ack #24 ~ “uti Gis (Reprise (CUE ~ ANNIE: Hey kis, gttng us for Christmas. wt toy,GRACE eshaps I should call the Board of Orphans and (ass HANNIGAN laughs.) MISS HANNIGAN rfit’s Annie you want, i¢3 Annie you get wen GRACE a it’s Annie I want. « ANNIE “ oh, boy! i c GRACE ie you'l gt her coat, take her along ight now MISS HANNIGAN she don’t have no coat. GRACE ‘dhen welll buy her one, ANNIE Oh, boy! GRACE ome along, Annie, Me, Warbueks' mousine is oust ANNIE ‘oh, boy! I can hardly believe it MISS HANNIGAN she can hardly believe 17 (GRACE and ANNIE stato leave, The ORPHANS gue round ANNIE in the hallway) ANNIE ey kids I'm getting out for Christmas TM write £0 2+ (@11 = LIPTLE. GIRLS (REPRISED Ps")Reel. Bay uceiNe {t boss, cm lights atthe end cf “Lite Gis (epes0)." This shite wl alow the trans ‘he Warbucks mansion to take place © Music cue Track #12 - ‘Scene Change 3 begins (CUE - Segue trom Nor 12, entisay"LITTLE GIRLS (REPRISE) anton he ORDEANS say soniye fs GRACE ee (ARNE a ORHAN rast MISS HANNIGAN, ANNIE en peng. The ONPHANS ext) Moderato in = some-day Yl land in the So S= riat-howse with all the nts Ree “el the pro-hib-i- ton of (Blackout) (#12 = SCENE CHANGE 3 Desis) ea 29 wm RASTA eeNotes ser ‘is sa cramatie scene shit int the large and {lgnited Warbcks mansion. Youmy choose to have your Servanis help with tis shit ana ‘move small et pleces into place ha stately and refined manner, Annie should acd hor now winter esat to hor ‘2stume inthis scene. A redone eidear By uaHTiNe Use your lighting resources to thelr fost ‘2paciy. The mansion should appear ea ‘right and wel birecrina ‘The Servants! movements shouldbe very proper picalent posture, curses and nodesheos bo used to welcome Annie and Graceo the {Mansion The Servants’ actions are mata by ‘he pride they takin thet wn ®@ DirecTING ‘Anne should be taking it alin a5 she is Direcrina I shouldbe obvious that Annie is completely ‘unaccustomed to this royal treatment‘SCENE FOUR aight up, Pe Ting oor of he Ware ‘mansion Ci outs ater, DRAKE, the Engh 4 bing the SERVANTS ofthe use, 0 bustling ser bon CECILLE and ANNETTE @ Fy ‘of French aot GREER, the housekeeper, MRS, PUCK, the a dig wih pd an pen writin OM @ TT and four MANSERVANTS) (GRACE FARRELL and ANNIE enter door. (ONE is wearing a new hat and @ Me” furcollared coat) DRAKE {Good afternoon, Miss Farrell, GRACE Good afternoon, Drake. Everyone: SERVANTS Good afternoon, Miss GRACE as Me. Warbucks arrived yet? DRAKE ‘No, Miss. We're expecting him any minute ANNIE boo you really live here, ofthis 2 tain station? GRACE We really live here {io SERVANTS) ‘Now would you all come here for a moment please? DRAKE ‘Quickly everyone. GRACE “ts is Annie. Shell be with ws for Chests (to ANNIE) ‘Annle, this is everyone. ANNIE i, everyone, DRAKE May I take your coat, Miss? ANNIE {will L get It back? we ALTE foe oa 30stave rake ets carying Annie's coat, © wusie cue Think Gonna Lhe it Herat See RACE: Annie you won't have toto ory leaning. Youre cur guest BS ueHNe erin the so thelr fl capacity atthe end oF°1 Think Ym Gonna Like HoeGRACE of couse, dear. Now, what do you want to do fist? ANNIE “The floors It serub them frst; then Tl get to the windows GRACE “Annie, you won't have to do any cleaning, You're our Ss (¢13 = LTHINK EM GONNA LIKE IL ERE besirs) | THINK I'M GONNA LIKE IT HERE (GRACE) Andi fr the next two weeks, Sout going to have a swell tne, Now. | a he we € *" t (GRACED show style Ce- eile will CECILLE: Greenis her best talon no, blue, Chink, * = ick out all your dothes————— Ce (GRACE) Se Your bath is drawn by Mis ~ sus 'S. GREER: Soap. yo, bubbles, think. "(GRACED = ‘Annette comesNoTES Make sure everyone: “os to ensure Ann hertine louaty and music cuts off together onthe word le has enough space to say leary,ANNETTE: The silk 0, in to make your bed geS= 1 dink Tm pniere tke wes SE eT = No need to pick up am annette clayNotes At measure 36, In whichever ce & music have Grace andthe Servants sag avo thay fel most comvortabie,SS SSS ‘will you Lif my dear — crac =) SERVANTS: geese iaas 5 Wee have but one re-questi —pleate, put Pe SSeS 1 know Tm gon-na Hi pinch me, please? 33 am AAR ETONovesNotes Bo stagina {il have a large number of Servants ery fective to have them assemble na stight ne Fler Warbucks says, Where is everytoays Th 28g choice wil odd elegance and shacton onic 7 birecTIna ‘eearse the Servants’ response to Wabueks “Hella, everybody" so they al answer ee simuitaneousyGRACE, SERVANTS: Se here eon (asthe applause des, a voice is heard fm offstage) WARBUCKS (offstage) ‘Whereis everybody? OLIVER WARBUCKS, tailed by a uniformed (CAAUFFEUR, comes Bustling i, WAKBUCAS i crag crplging brgfease an the CHAUFFEUR i coming aoe WARBUCKS takes off hs overcoat and ands it to DRAKE.) Hello, everybody. SERVANTS. sit. GRACE ‘Welcome home, Mr. Warbucks. WARBUCKS {t's good to be home. DRAKE How was your flight from Chicago? —rr—C“EENotes stacine The action tht happens between Warbucks, {Grace and Ami should take place domnstage in front of the tne of Sorants @ Dimecrina When Warbucks says,“ get backto him {omorow,”tis an indication of his weeth and ower; even the president ofthe United State s of secondary importance to hit ® bimecTiNG ‘Grace and Warbucks speak quiet to each other and ensure that Annie cannot nest thomy /owever, itis important thatthe audlorce next thetnes,WARBUCKS ‘Notbad... only took eleven hours. Grace? GRACE (eagerly) Yes, sit? WARBUCKS, Messages? GRACE (consulting a notepad) ress toceevelt wants you to call him a the White HOU WARBUCKS, Jil get back to him tomorrow. GRACE (ayng to introduce ANNIE to WARBUCKS) ‘Mtr. Warbucks. WARBUCKS. Ail ight, good to see you all again. SERVANTS. si WARBUCKS Drake, dismiss the staff DRAKE Yes, sit. (The SERVANTS, not including GRACE, ext Ce BUCKS turns fo speak 10 GRACE and, for the Fst time, notices ANNIE.) WARBUCKS ‘And, Grace, i youl get your notebook. Who is hat? GRACE sis s Annie, Me, Warbucks: the orphan who wil Be with v8 for Christmas. WARBUCKS “that’s not a boy. Orphans are boys: GRACE fm somy, si, you just said “orphan,” 30,1 chose ag WARBUCKS ‘wall, {suppose she'll have to do. rong, he approaches ANNIE, assessing He) Anse, huh? Annie what? 36ANNIE (nervously) ob, erjust Annie, Me. Warbucs, st haven't got any 1s ppame. I'm sorry Tm not a DOY: wes WARBUCKS [Not at all I couldn't be happier. Grace, wel start with the Figures on the ion-ore shipments from. Toledo (aside to GRACE) ‘What are we supposed to do with this child?” GRACE (aside to WARBUCKS) It is her fist night here, si WARBUCKS ‘Wel, Annie, 1 gues we ought todo something special on Your first night. (as a idea) ‘Would you like to go to a movie? mm RAR (ANNIE checks in with GRACE tose i this would Be alt right. GRACE nods “yes.") ANNIE Gosh, Me, Warbucks, I've never been to one. WARBUCKS. ‘then you'll goto the Roxy. And then an ice-cream so8 Fret zimayers and a ansom ab ide around Central ark ANNIE Golly! WARBUCKS Grace forget about the dictation for tonight. Instead, you take Annie to the movies, GRACE Yes, sit ANNIE (isagpointed) ‘Aw, gee. WARBUCKS Something the matter, Annie? ANNIE Wes just that. well. I Uaought you were going to rate me. WARBUCKS ‘oh, no, I'm afraid I'l be far too busy tonight. 37SW cans Raa. NoTES te costume Drake enters with a coat fr Warbucks BS ening ‘Thelen shoud tower to transition th sory Into the stroets of New York Cty.ANNIE Aw, wee WARBUCKS ‘Now, Annie. Wve just been away for si wees And whena Now fminnng 2 mult-bilion dollar corporation ANNIE oy, sure, Tov. That's okay, Mr. Warucks WARBUCKS: oegards ANNIE and is moved by her disappointment; calls offstage lef) Drake. DRAKE (fiom offstage eR) Yes, sit? WARBUCKS Get our coats ANNIE (omiting triumphantly; she’s wor) hw, gee! WARBUCKS Grace, you'll come, t00, of course. (GRACE nods “yes” as DRAKE enters wth ee coats) DRAKE “Which car will you be wanting, i? WARBUCKS, “the Duesenberg. No, wait. This he’s been ‘cooped up in an ‘orphanage, Well walk, GRACE ‘Walk to the Roxy? WARBUCKS, “Why not? i's only 45 blocks. GRACE Yes, sit (ds DRAKE helps WARBUCKS into Hs cont As Pas to change to become upper Pith Sven set bent trols donstage wile GRACE a ANNIE et into ther coats beim) OELe ser ‘he transition to Now York Cty happens without use. Servants should remove tormeran: Props, andthe stage crew can reveal te hoe pacha (whether bea wal do o flag fat) and ada a Times Square ste sigy © ‘music cue Track #14 — nye" (UE waRBucKs; iota go tothe Come on, yu sowpokes! We ‘ony before the pies change.WARBUCKS ‘smell those bus fumes! There's no alike the it of Nee A sme on, you slowpokes! We gotta get to he RoxY ‘before the prices change. ao (14 =NX. begins. Scene Four lends into Scene Five) SCENE FIVE N.Y.C. (GRACE, ANNIE, and WARBUCKS bit, (ort es various NEW YORKERS ene) Brisk Tempo WARBUCKS, 2 GRACE ws AY ‘the shim-mer of Times Square, the pulse, ‘WARDUCKS, Ym square, but wow! = T-come© ‘CHOREOGRAPHY Refor tote Choreography DVD fer excellent ‘Ideas on how to stage this show stoping umber, © ‘choreocraPny ‘Te capture the feting ofa busy New York City street, reak your cast int four geup: Assign 2h group an entrance location, Goup one {an enter from stage right, group to fom the ‘audlence, roup thee fom stage et and group four trom upstage, staaine The actors should cross the stage witha Purposeful a. Hole them deci on tho motivation - catching cab, beng at fora "Meeting rloking fora tend, @ DiREcrING {fou have a lange ensombie, cast more than one ‘Startobe for vocal stongth on this solaie city's bright a8 pope aeS it rings. To think that Tye lived here we RAY (eae com-ing, vy bus, by tain; you cant SSS = [m, STARTOBE a Just got here this, morn-ing: ee 40NoTEs @ DirEcrING ‘So that yourcast can crete thet own backstores, have tham explore the charactors ‘and occupations of New Yrkors this seen Have cast members think about where they oe {2ing and vnen they need tobe tere toy can act appropriately For example someone hoffe fran appolntment wl wale suey, nile a sighseer may move slowh, taking ol) In. Character study 2 good way ty onnect your rofvtin to language arts, By ueurine "yur backcrop i it by twinkle ts on a ‘Meostat, bring the lights up onthe Strobes is, Up thera, nights be."o— ess wm RANT pa ‘up there, in lights Til Pe! Go ask theRao... Notes Fl Music In measure 70, the note in parenthsl isan temate note choice tor your Starto te. She hould sing the note tht fels most cornortale‘Show style cep, STARTOE: = ee an fo-nigh? The Why not? (at arc down the atempo front edge ofthe stage) You'e still the champ!sracina The New Yorkers can begin to ea after the _srumpy Man yells “Koop It quiet down thre!” This staging choice wil intensify re tender fending between Warbucks and Arno by having them alone onstage Ba uasriINe The ending of "N.C" is a perfect pace to Spotlight Warbucks, Anie and thelr newfound ‘Hlendship. Te iting fades s tho transivon to Miss Hannigan’ office bein.[MAN slamming sper brownstone oindov) Keep itquiet down ther! > > =—— for N — - (As the sage begins to slowly dim, ae USHERETTE toh a flashlight enters from slag et) LUSHERETTE: immediate seatng...thereis immediate seating. Slowly (in) ict (The lne of NEW YORKERS breaks up, some toaeer off tothe Ry eis tee of Se right ing abo their un buses.) WARBUCKS: Popcorn, what do you say to weene popcorn? [ haven had popcorn since. {ANNIE puns and leans against WARBUCKS' sleeve) 2 (WARBUCKS) Steep tight in N= ¥-G 43Notes Gi] ‘ser Miss Hannigan’s ofc should be set as it was forScene Thee. Mere sao scene change music leading into this scene ther office isnot pre- ot, this transition neods to happen as quickly as Possible, etna Ughting should brighten on His Hennigan’s = é bimecrina ‘The Announcer's Vole ean come fram ‘an ensemble member using an offstage ‘microphone, » ‘Grace should have legal papers inher lpboard(WARBUCSpics th sleepy ANIIE wp ini arms a walks oftageright e CARRE TBE un cs ge eS y RAE en el ck of Sue on sal of ee co i SAADY comer al ip Erm tage cg eh onde ig je te ee fal) i SCENE SIX Lights up on Miss Hannigan’ office i the mpl, were he Three. MISS HANNIGAN, seated by het dest, aac the me and tums on the cathedratye, table- ‘model Pilco radio.) ANNOUNCER’S VOICE once again we bring you the romance of Helen Trent. 9 cee deo prove that fost because a woman is thiry-Bve oF SSore, romance in life need not be over. MISS HANNIGAN God, I hope not. (GRACE enters.) cRACE Good afternoon, Miss Hannigan. MISS HANNIGAN, (ovithing off the radio) wna ae attes,"Warbucks fed up with Annie already? GRACE on the contrary, harals MISS HANNIGAN a legal document) ass Hennigan, this as to be signed and sent back 1 the aise d of Orphans no later than 10 o'clock tomorrow. MISS HANNIGAN What for? GRACE ‘Because Mr. Warbucks is 0 taken with Annie that he wants 19 adopt her. MISS HANNIGAN 2) The daughter of a milllonaire?@ DimecrIne Rooster is a swaggering, ashy cheracter, His ‘movements and tone of vice haves ale vetconfidence and shoud set him apart rom alte other charactors Lily fllos Rooster wherever he goes, and shes lays ser absorbed. While Rooster makes his deals Lily an bo using her purse minor fo puto her, lipstick. stacine (Grace ext as Rooster and iy enerstag let, ts vita to draw the aualencesatowtio othe ‘moment when Rooster bumps into Grace sinew {he corresponding moment In Scone Ten wl be his downtat, PROP Roaster should have the divers icens, bith xticate and half ofthe locket in issoat, Docket.GRACE ‘The daughter ofa billionaire. Miss HANNIGAN Would you excuse me for a moment, please) a en tthe alive), Hes on 8 0 at Ke (hess and rast hen res tthe of) Got any more wonderful news? = GRACE “ Meaty Christmas, Mis Hannigan « hs GRACE exits, she bumps ito ROOSTER) te ROOSTER oops, pardon me, blondie ‘cleac gives ROOSTER a sain look and ei ) Hiya, Sis. Long time no see. (MISS HANNIGAN rooster? They finally et you outa prison? What fee 70010 for this time? ROOSTER ome old geezer sad I swindled him outta clever undred bucks. MISS HANNIGAN ‘Why'd he say that? uty entering) ecaie the Rooster swindled im outta eleven undied bucks. ROOSTER sis, lke you to meet a friend of mine fom. uty Jersey City! Miss HANNIGAN Rooster, do me a favor. Get outta here ROOSTER so who was the blondie I bumped into when I coms in? ogked like she had a couple of dollars MISS HANNIGAN ‘she works for Oliver Warbucks. uty ‘The Oliver Warbucks? Ee 45Notes @ DIRECTING Rooster and Liy ean make their guises even ‘more comic by changing ther votes and poste, These choices should not affection Music cue Track #45 ~ “Eaey Strecte (GUE ~ ROOSTER: Ya hn’ in thetap of tury mile the two Hannigan kids endedupontn ‘skids! © cHoneocrapny This verse of Easy Sret tells avery important er choreogragh het; t achanes for yourperfommerste erate son ‘teat stage poses before they break ine en Fefrain ofthe numberMISS HANNIGAN annie, one ofthe orphans fom ber, is getting adopted PF him. uty Crummy orphan! ROOSTER ea, vin inthe lap of luxury while the two Hannigan is tended up on the skids! (215 = EASY STREET basins) EASY STREET Freely It aint fair how we scrounge for three or four bucks, while she gets War-bucks aint fai. This here life is dtiv-in’ ne nats! While we get pescrnty a's Hvis ~~ MAARNoTEs & CHOREOGRAPHY Take time to check out how this umber is resented on the Choreography EVD. wl Inspire your performers ast ends with good ls fashioned Wick tne! a music “Easy Steet Is an animated and fun number to perform, Remember to pay close attention tothe leton, especialy withthe t'son steet wll ‘84d excitement and pizzazz tothe performance,MISS HANNIGAN: ROOSTER: SS fa - dy, To get-tnt_ more bucks instead of shady. Where does that pat ust Give you one ‘swing, mm A AY oorSay Rina. Notes Ba ueHTING Fad toa biueout atthe end of Easy Steck. ©) music cue Track #46 - “Scene Change 4" (UE Segue fom No, 15 = “Easy Street” [ail set When Scene Seven opens, the Servants can be setting the mansion props a they iin Soene Four Make the passage of tine event by adding holiday decorations, abe PROP ‘The Tiffany box shouldbe set on Warbucks! desk, + ‘costume Grace can wear a diferent costume ir this scone resources allow.(Blackout. #16 ~ SCENE. CHANGE 4 Pesins) SCENE SEVEN (ight upon Warbucks office in his manson. Lats oan ofthe following day. WARBUCKS is seated of ee pining on the telephone. GRACE 3 nearby wel ‘a steno pad.) WARBUCKS. (into the phone) ye es Meter President. No, Lam not asking for Your hey Yeo yecug you that you've goto do something. A Hh well talk about It 00. Grace lday. WARBUCKS eiay, stn, Mister President, wy dont we bury the Hak Fay ene nee ith Mis. Roosevelt for supper Casas vel (disappointed) yo text. Goodtye, Mister President Thangs up pone) Grace fnd out what Democrats et. GRACE Yes sit WARBUCKS “the package from Tiffany's? GRACE Arrived this morning, ee 48ae costume After Anne's ext in Scene Five, ste should be chaning for her entrance in Scere Seven, Tis ‘moments the reveal of the classe red eress and art airs important she contre t woer the ‘ocket and kop the crumpled nots In her pocket © DirecTINa ‘When Annie appears in Scene Seven, her _2bpearance has completely changed forthe fist {ime inthe show. Prepare the acon to gauge the pacing of their tines by the autionce reaction tothe ‘new* Annie. Warbucks showd be warm {and patemal - the audience needsto foo! he, tenderess they share in ths bit sceneWARBUCKS Fine. 'm going to give it to her and then tell her that I want to adopt her y GRacE . he’s going to be the happiest ttle gel In the worl. Ny WARBUCKS es Get her down here. “ GRACE Yes, sie « {GRACE exits. ANNIE enters. Se snow wearing a re C oR ret cured to look forthe ist time as Ste “les in “Little Orphan Annie." ANNIE Halo. WARBUCKS ‘Annie, can we have a man-to-man talk? ANNIE ‘You're sending me back to the orphanage, sight? WARBUCKS of course not. (pause) ‘anne Tas born into avery poor family and both of my pani died belore 1 was ten. SoT made a promise fo BYSA Pare ice way oF another, {was going to be ich. Very rch ANNIE “That was a good idea. WARBUCKS But, ve lately realized something. No matter How much at you've got you have no one to share your Hf with, $F Youre alone, then you might as wel be broke {ie takes the Tiffany package fom his desk and ands iF fo ANNIE.) ‘was in Tiffany’s yesterday and picked this up for you: ANNIE For me? Gee, thanks, Mr, Warbucks. TUANNIE opens up the package and looks atthe gif She is early unhappy with it But pretends to like i) Ob, gee. WARBUCKS it’s silver locket, Annie oe 49Rin NoTES © DIRECTING Annie's discomtort with the situation should be ‘obvious in her facial gestures and body language Defore delivering the ine “Nol dort wants ne a Grace enters atthe sound of Ani's hysterics Her actions toward Anale shoul be very maternal and protective, DIRECTING After Anne's outburst, Warbveks delves is ‘ines n'a most convincing and conten tone © music cur Track #47 - "You Won't Be An Orphan For Long” CUE - WARUCKS: understand But itould bo ‘ur best clue, Wel have the FB race and nd ut wine bought i(WARBUCKS) nace hat, broken one you as we 300 1° | ald gto get tha ku aice new TOKE a Mngt tke off i’ ol ake) Fe aust take this old one off nd ANNIE ecoiting fom WARBUCES; ye) No! don't want a new one. WARBUCKS: oto ANNIE as Se comers Back Fro him ‘Annie, what Is it? ANNIE (touching her locket) sis ent ano ad dad Jefe wer eft me at Ts ospamage, And a note, too. THEY TE ‘pack for me. 1 aoe real Tacky, being here with You for (Christmas. But eye thing 1 want in all the work (crying) 1 ate say moter and father. And tobe TE other Kids, ‘with folks of my own. (AN goes into a steric! avin ANNIE runs t0 (ANNE fe has tured ae sone of Fo RACE esa ates 9 cmt He GRACE ey sar ells, daze, tally wale cope with a crying child.) WARBUCKS {etl be all ight. I find Unem... PU nd Your parerts for You. GRACE sy, shin. Me, Warbueks sll fin Your manne and father. 10he Sat Sn everyone in his organization on he job. If he has to ta very pola stzing tete 5 € Pul WARBUCKS Lp to and including the Write House! Ann sive me your locket ANNIE But, Mr. Warbucks: WARBUCKS, understand. But tt could be our best clue welllhave the PBL Te it and find out wlio bought (e17=YOUWONTBEAN ORPHAN -FORLONS begins.) ee 50 me RALNoresYOU WON'T BE AN ORPHAN FOR LONG (Somewhat reluctantly, ANINTE tats of hr locket anand i 0 (PARUCI wl slo taking her cmp mote otf foc) ANNIE: Really? WARBUCKS: Really. WAR Ok boy gotta write a letter tothe kids about this GANNIE runs to Warbucks des, its dwn a and ahs anata he SERVANTS exit GRACE sett em, but Fingers near the door.) == WARBUCKS: (quiet) ==F What a thing to oc ~ cur; finding (takes a deep breath ed) SSS wont be an orphan for 51 we RAY Oe© music cue Track #48 — “Maybe Reprise)” CUE Seu rom No. 47 = "You Won't Be An. rohan Por tone" [al ‘Set ‘The transition fom Warbucks’ mansion tothe ‘radlo broadcast both happens during "Maybe Reprise)” Having a radio broadcast booth and Mis Hannigan’ offte set permanenty on, ‘Post sides ofthe stage allows for seamless \zanstion trom Scone Seven in the rado booth to ‘Scene Nine inthe orphanage. Ityou stage these {oo Soenes soparatly, keep the sets minimal so transitions take place quicly and safeANNIE: ortng) And prety se0 ANTE: (eto an ooking hy ks. y exeryonegaua goon teradio and ( ‘Sues Sethe are you ten okay? K (e1g.—MAVIRE (REPRISE) bess, Te sons Fado studi ive rao progam called re 4 tent our of Sis, staring Bert Healy. a8 2558 Oa the back of the studio indicates) SCENE EIGHT (here ta soundefets table stage righ, a ekind Sree SOUND EFFECTS MAN cues the allen aoe fo applaud. ANNIE stands on a box £0 ort he ophone. At centestage anther Crp ns tn ioc a wil e se Later by WARBCK cure wate ina folding ca upstage ceri, NOE sh er an’s empty chat. GRACE stands bent them.) eeware I resources allow, bing your lights up en {he raco broadcast boath and eroesfogs on {he ocphanage when that part ofthe scare =e ® Dinecrina courage the actor playing Bert Healy to use a Pooming, rado-stle voice. He should nudge and Brompt Warbucks to say is ines, The ensea Pete the two of tem inthis scene shaun sg humorous?(At stage lf in sthouette, we see the ORPHANS at ere Honigan’s desk, listening to ANNIE on the radio.) MAYBE (REPRISE) Choral Style 8 (As AWE finishes er son, the SOUND EFFECTS MANN ae as APPLAUSE” sign fo the audience. BERT HEALY Treads fiom a script) HEALY ‘Thank you, Anne, And welcome to America’s fvorte a0 Program, Te Oxydent How of Ses sasing Your softy, Bert Healy. And good evening to drop by. Oliver Warbuicks, it’s nice of you WARBUCKS (reading) Goodl evening, Bert Healy. 1s nice to be here. _ ee RaNotes © DIRECTING \iven the Sound Erfects Man raises the ‘Appts sign, t's meant for the actual ‘uence viewing the proton,HEALY vier Watbucs, Lundesstand tat you have something. fe the folks at home about litle Annie here WARBUCKS Yes, Bert Healy, Lam now conducting a coast to-ceas, yet petide seach for Annie’s parents. Furthermore, 1 arcing a certified check fr fifty thousand dollars 9 any Gersons who ean prove that they are Annie's paren ANNIE Wow! HEALY so, Annie's parents if you're lstertin’ a, ete to OR Sos care of tis station, Thank you, Oliver Warbusks we A ee WARBUCKS ‘Thank you, Bert Healy. HEALY ‘Well, Ise by the od clock on the wal that another oft wrath dtyenignt get-togethers has gone By faster chan J For Ty Onydent. Yes this s your OH softy, Mis, Heats oe Bett, oem ext week same time, same station.” 0d night. {SOUND EFFECTS MAN raises hs ‘APPLAUSE ito ie andince. Scene Eight blends into Scene Nine) SCENE NINE (The scone has shied to Miss Hannigan’ of Cokanage. A moment late, The ORPHANS have stked see offce and listened to The Oxydent Hout of ares on the radio, They ae sitting om the desk, on he ora in Ass Hannigan’ cat. JULY i i the csk Chair with MOLLY in her lap) DUFFY Gee, Annie on the radio, coast-to-coast. She's famous ‘MOLLY ‘Wish Iwas on the radio. DUFFY Me, too! PEPPER Who wants to be on the dumb old radio? EERida. NoTES © Music cue Track #49 - “You're Never Fully ressod Without Smile" (UE - PEPPER: Who wants tobe on the dumb old rao? TESSIE: (vossing na strut downsiag contor, Imitating BERT HEALY) \ do, © Choreocrapny Be sure to refer tothe Choreography DVD Inthe {media section fra great appreach'o staging “Youre Nove Fully Dressed Withouta sineTESSIE (crossing in a strut dovenstage center, imitating BERT HEALY) Leo. _ YOU'RE NEVER FULLY DRESSED WITHOUT ‘ASMILE begins.) YOU'RE NEVER FULLY DRESSED WITHOUT A SMILE (TESSIF) So, for al of the "Hour of Smiles" amily, this Bert Healy saying a Easy 2-beat or) a” Sa = resed with-out @ ea aaa Beau Brum - mel-Iy, wee RA eeNW te! eats NoTes Remember, the On show. This constu styles and voles, music hans ar imitating the radio fet means ats of oom for ilySS 3 they stand out a mile, but, bro ~ ther youre ee ful-ly jor] SSS Row? Ws what you wear from ear t© not from head 10 au Se [SS fo Tong_— for a while, Re ~ mem -bet 56staaina End this number with a great stage pete and tiles from ear to eat! This momer® wil earn Spontaneous applause from the auton! Ba uae Lghts face at th end ofthe song ae costume ‘Rooster an Ly should be in cisguise as Ralph ‘and Shiiey Mudge, svacine For variety, have Rooster and Ly enter om the ‘stein the house Ht possible,