Fame the Musical GB_ITA

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FAME

THE MUSICAL

byDavid De Silva, J. Fernandez, J. Levi, S. Margoshes

PROGRAMMA DI SALA AD ESCLUSIVO USO DIDATTICO.SONO VIETATE LA RIPRODUZIONE E LA DIVULGAZIONE

TRAMITE APPARATI FOTOCOPIATORI,

SALVO ESPRESSA AUTORIZZAZIONE DI PALKETTOSTAGE.

D

FAME

IL MUSICAL

diDavid De Silva, J. Fernandez, J. Levi, S. Margoshes

PROGRAMMA DI SALA AD ESCLUSIVO USO DIDATTICO.SONO VIETATE LA RIPRODUZIONE E LA DIVULGAZIONE

TRAMITE APPARATI FOTOCOPIATORI,

SALVO ESPRESSA AUTORIZZAZIONE DI PALKETTOSTAGE.

D



di un ampio spazio del palcoscenico per le loro evoluzioni coreografiche,dall’altra, sfruttando i differenti livelli su cui è organizzata, moltiplicale possibilità performative e restituisce forza e impatto visivo alle scened’insieme. Accanto alle performance live, la proiezione di estratti dal filmoriginale di Alan Parker punteggia la messinscena, mentre l’uso di modernetecnologie, come l’ologramma, arricchisce lo spettacolo di pathos. Infine,oltre agli interpreti, protagonista del musical è anche la New York degli anni

’80. Evocata fin nei particolari dai costumi degli attori e dai murales checoprono le scene, l’atmosfera della vivace metropoli rivive nei suoni e neirumori tipici: il traffico, le discussioni dei passanti, i concerti improvvisatiagli angoli di strada.Regia di Christine Appleby.

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La vita di David De SilvaDavid De Silva (1941) è l’ideatore e l’autore del soggetto di Fame , il musicalche porta in scena le emozioni e le storie di un gruppo di studenti dellaPerforming Arts School di New York, scuola che ha formato artisti delcalibro di Al Pacino e Liza Minnelli.Fu proprio l’ambiente ricco di arte e di umanità della celebre scuolanewyorkese che suggerì a De Silva l’idea di seguire il percorso scolastico di

alcuni allievi dell’istituto. L’autore fin dall’inizio sognava di realizzare unmusical per il teatro, ma per primo fu girato il film diretto da Alan Parker(1980); nel 1982 andò in onda la serie televisiva e solo nel 1988, a Miami,debuttò Fame the Musical . Lo spettacolo, in scena a Londra nel 1995,ottenne due nomination ai Laurence Olivier Awards, mentre a Broadway,dal 2003, restò in cartellone per 304 repliche. De Silva immaginò anche unsequel, Fame Forever: Reunion and Rebirth (2007), che racconta, vent’annidopo, il destino dei protagonisti originali del musical e le storie dei figli, inuovi studenti della scuola d’arte.

La tramaDalle audizioni al diploma: Fame the Musical ritrae un gruppo di talentuosi

e appassionati studenti della Performing Arts School di New York, tra il1981 e il 1984. Tra loro c’è Serena, giovane e timida attrice appassionatache si innamora del compagno di corso Nick; Schlomo, il violinista, chesi invaghisce della bella Carmen, ambiziosa e promettente ballerina, chelascerà la scuola per inseguire il suo sogno a Los Angeles; e naturalmenteTyrone, danzatore sublime ma studente scarso nelle altre materie. Accanto aloro ci sono i professori che li accompagnano in questo percorso di crescita:l’insegnante di danza, Greta Bell, e quella di letteratura Esther Sherman.Passioni, ambizioni e sogni infranti, “Fame - dichiarò lo stesso De Silva -racconta dell’amore per l’arte vissuto da alcuni adolescenti e di quanto siaimportante nella loro crescita e formazione umana. È sorprendente poter

scoprire quale grande influenza posit iva possa avere sulla crescita di un

adolescente lo studio di una di queste discipline”.

Note di regiaIl musical che portiamo in scena rispetta testo e musiche originali, inseriti inun progetto scenico moderno che utilizza molteplici linguaggi performativi.Una suggestiva parete-fondale, rappresentazione di un’immaginariaNew York, ricrea i diversi ambienti grazie ad evoluzioni scenotecniche eall’utilizzo di puntuali oggetti scenici. La particolare struttura scenograficaoffre molte possibilità: da una parte consente agli interpreti di disporre

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SYNOPSIS OF SCENES

Scene 1 page 6Scene 2 page 7Scene 3 page 13Scene 4 page 17Scene 5 page 19Scene 6 page 20Scene 7 page 23Scene 8 page 28Scene 9 page 30Scene 10 page 33Scene 11 page 38Scene 12 page 38Scene 13 page 42Scene 14 page 47Scene 15 page 51Scene 16 page 53Scene 17 page 54Scene 18 page 58Scene 19 page 59

SINOSSI DELLE SCENE

Scena 1 pagina 6Scena 2 pagina 7Scena 3 pagina 13Scena 4 pagina 17Scena 5 pagina 19Scena 6 pagina 20Scena 7 pagina 23Scena 8 pagina 28Scena 9 pagina 30Scena 10 pagina 33Scena 11 pagina 38Scena 12 pagina 38Scena 13 pagina 42Scena 14 pagina 47Scena 15 pagina 51Scena 16 pagina 53Scena 17 pagina 54Scena 18 pagina 58Scena 19 pagina 59

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CHARACTERS

(in order of appearance)

NICK PIAZZA

SERENA KATZ

TYRONE JACKSON

CARMEN DIAZ

IRIS KELLY

MISS ESTHER SHERMAN

SCHLOMO METZENBAUM

MS. GRETA BELL

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PERSONAGGI

(in ordine di apparizione)

NICK PIAZZA

SERENA KATZ

TYRONE JACKSON

CARMEN DIAZ

IRIS KELLY

MISS ESTHER SHERMAN

SCHLOMO METZENBAUM

MS. GRETA BELL



SCENE 1

Traffic noises are heard including the rumbling of a subway.

Students are onstage.

Nick. – PRAY PRAY PRAY

I PRAY I MAKE P.A.I PRAY I MAKE

I PRAY I MAKE P.A.

Serena. – PRAY PRAY PRAY

I PRAY I MAKE P.A.

I PRAY I MAKE

I PRAY I MAKE P.A.

Tyrone. – PRAY PRAY PRAY

I PRAY I MAKE P.A.

Carmen. – I PRAY I MAKE

Iris. – I PRAY I MAKE

Carmen/Tyrone/Iris. – P.A.

All. – PRAY PRAY

PRAY PRAY

PRAY PRAY

PRAY PRAY

PRAY

PRAY

Chorus 1. – I PRAY I MAKE P.A.


Chorus 1. – I PRAY I MAKE

Chorus 2. – I PRAY I MAKE

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SCENA 1

Si sentono i rumori del traffico e della metropolitana.

Gli studenti sono sul palco.

Nick. – PRAY PRAY PRAY

I PRAY I MAKE P.A.

I PRAY I MAKE

I PRAY I MAKE P.A.

Serena. – PRAY PRAY PRAY

I PRAY I MAKE P.A.

I PRAY I MAKE

I PRAY I MAKE P.A.

Tyrone. – PRAY PRAY PRAY

I PRAY I MAKE P.A.

Carmen. – I PRAY I MAKE

Iris. – I PRAY I MAKE

Carmen/Tyrone/Iris. – P.A.

Tutti. – PRAY PRAY

PRAY PRAY

PRAY PRAY

PRAY PRAY

PRAY

PRAY

Coro 1. – I PRAY I MAKE P.A.


Coro 1. – I PRAY I MAKE

Coro 2. – I PRAY I MAKE




Male Solo. – MAKE P.A.

Students open envelopes and read letters.

Carmen. – I made it! I made it!

The kids run around triumphantly.

SCENE 2

All. – I’m in! I made it! Yeah, I made it!

Miss Sherman. – Ladies and gentlemen, welcome to P.A., the High School

of the Performing Arts. You are the class of ’84 and I am your Drama and

English teacher, Miss Sherman.

The students sing.

THIS AIN’T NO

MOVIE SHOW

PLAYIN’ IN A THEATRE

OR A VIDEOFANTASY

I WAS ALWAYS HOT TO SEE

ON THE TV

I’M SO HOT

HOT TO TROTI CAN HARDLY WAIT

TO SHOW THEM WHAT I GOT

WONDER WHO’LLCOME OUT SHININ’ LIKE A JEWEL

IN THE FAME SCHOOL!

Miss Sherman. – Everyone quiet, please! Quiet! (Silence.) Thank you. Last

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Assolo Maschile. – MAKE P.A.

Gli studenti aprono le buste e leggono le lettere.

Carmen. – Ce l’ho fatta! Ce l’ho fatta!

I ragazzi corrono in giro trionfalmente

SCENA 2

Tutti. – Mi hanno preso! Ce l’ho fatta! Ce l’ho fatta!

Miss Sherman. – Ragazze e Ragazzi, benvenuti alla P.A., la High School of

the Performing Arts. Voi siete la classe dell’84 e io sono la vostra insegnante

di lettere e recitazione, Miss. Sherman.

Gli studenti cantano.

THIS AIN’T NOMOVIE SHOW

PLAYIN’ IN A THEATREOR A VIDEO

FANTASYI WAS ALWAYS HOT TO SEE

ON THE TV

I’M SO HOT

HOT TO TROTI CAN HARDLY WAIT

TO SHOW THEM WHAT I GOT

WONDER WHO’LLCOME OUT SHININ’ LIKE A JEWEL

IN THE FAME SCHOOL!

Miss Sherman. – Fate silenzio, vi prego! Silenzio! (Silenzio.) Grazie. La



spring over four thousand young hopefuls auditioned to get into P.A. -

ninety-seven were accepted. (The kids respond proudly, high five.) That’s

right. You are the cream of the crop - the best of the best - but that doesn’t

mean you get a free ride.

Tyrone. – I’LL BE GONE

Miss Sherman. – So if you consider slacking off...

Nick. – WHERE’S THE JOHN?

Miss Sherman. – ...remember this: each of you must maintain a 2.5 grade

average in academics, while excelling in the arts. If you don’t, you’re out.

Two Female Students. – MAN THEY GOT ME RUNNIN’ IN A MARATHON

All. – CAN’T SLOW UP

Miss Sherman. – So, if you’re here believing you’re “gonna live forever,” or

envision yourself dancing on top of cars down 46th street - you are definitelyhumming the wrong tune.

All. – I’LL GO HOME AND NOT SHOW UP

Serena. – MAYBE THROW UP!

All. – CLASS TO CLASS

TRY’N TO PASSLEARNIN’ WHO THE TEACHERS ARE

WHO GIVE YOU CLASS

FEELIN’ SMALL

FEELIN’ TALL BUT ONLYDURING ROLL CALL

Miss Sherman. – Settle down. When I call your name, please answer. Diaz,Carmen?

Carmen (standing). – That’s me. Three times the talent and ten times the fun.

Miss Sherman. – Katz, Serena?

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scorsa primavera più di quattromila speranzosi ragazzi sono stati esaminati

per entrare alla P.A. e solo novantasette sono stati scelti. (I ragazzi simostrano orgogliosi e “si danno un cinque”.) Certo, voi siete il fior fiore delraccolto, il meglio del meglio, ce l’avete fatta. Ma non illudetevi non significache sarà facile.

Tyrone. – I’LL BE GONE

Miss Sherman. – Non pensate di prendervela comoda.

Nick. – WHERE’S THE JOHN?

Miss Sherman. – Ricordate che ognuno di voi deve avere almeno lasufficienza nelle materie scientifiche e letterarie mentre eccelle nelle arti,altrimenti siete fuori.

Due Studentesse. – MAN THEY GOT ME RUNNIN’ IN A MARATHON

Tutti. – CAN’T SLOW UP

Miss Sherman. – Quindi, se pensate di “vivere per sempre” e di passare ipomeriggi a ballare sul tetto dei taxi sulla 46° strada, vi sbagliate di grosso.

Tutti. – I’LL GO HOME AND NOT SHOW UP

Serena. – MAYBE THROW UP!

Tutti. – CLASS TO CLASSTRY’N TO PASSLEARNIN’ WHO THE TEACHERS AREWHO GIVE YOU CLASSFEELIN’ SMALLFEELIN’ TALL BUT ONLY

DURING ROLL CALL

Miss Sherman. – Ora facciamo l’appello. Quando vi chiamo, per favorerispondete. Diaz, Carmen!

Carmen (alzandosi) . – Presente! Tre volte il talento e dieci volte ildivertimento.

Miss Sherman. – Katz, Serena.



Serena (almost inaudible). – Here.

Miss Sherman. – Speak up, dear. You are in Drama, aren’t you? Metzenbaum,

Schlomo?

Schlomo. – Yeah, Schlomo, here!

Miss Sherman. – It’s nice to meet you, Mr. Metzenbaum. I’m a big fan ofyour father’s.

Schlomo. – Great. At least one of us is not me!

All. – HERE WE ARE

Miss Sherman. – Piazza, Nicholas?

Nick. – Present.

All. – SO BIZARRE

Miss Sherman. – By the way, I got a call from your agent about an audition.

All. – THIS IS WHERE THEY SHOW YOU

Miss Sherman. – Please tell him, I am not your personal secretary.

All. – HOW TO BE A STAR!

Nick. – Sorry.

Nick takes note and moves off.

All. – I CAN’T WAIT

Miss Sherman. – Jackson, Tyrone?

All. – I CAN’T EVEN CONCENTRATE

Miss Sherman (louder). – Jackson, Tyrone?!

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Serena (a voce bassa). – Presente.

Miss Sherman. – Alza la voce! Non vuoi fare l’attrice? Metzenbaum, Schlomo.

Schlomo. – Sì, presente!

Miss Sherman. – Piacere di conoscerti, Mr. Metzenbaum. Sono una grande

fan di tuo padre.

Schlomo. – Fantastico. Almeno uno di noi lo è, io no!

Tutti. – HERE WE ARE

Miss Sherman. – Piazza, Nicholas?

Nick. – Presente.

Tutti. – SO BIZARRE

Miss Sherman. – A proposito, mi aveva telefonato il tuo agente perun’audizione.

Tutti. – THIS IS WHERE THEY SHOW YOU

Miss Sherman. – Potresti dirgli che non sono la tua segretaria personale?

Tutti. – HOW TO BE A STAR!

Nick. – Certo, mi spiace!

Nick prende nota ed esce.

Tutti. – I CAN’T WAIT

Miss Sherman. – Jackson, Tyrone.

Tutti. – I CAN’T EVEN CONCENTRATE

Miss Sherman (più forte). – Jackson, Tyrone?!



All. – I JUST PULSATE!

Tyrone enters. He crosses to Miss Sherman.

Tyrone. – Yo! I’m Tyrone Jackson. Am I in the right place?

Miss Sherman. – You’re in the right place, but at the wrong time.

Tyrone. – Sorry, sweet thing.

Miss Sherman. – My name isn’t “sweet thing.” It’s Miss Sherman. If you are

not on time - you will not remain at PA. Do you understand me?

Tyrone. – Yes.

Miss Sherman. – Yes what?

Tyrone. – Yes Ma’am.

All sing.

I’M ALIVE

AND I WILL SURVIVE

SHOW THE WORLD

THAT I CAN TAKE IT

WHEN I HIT THE HEIGHTS

PUT MY NAME IN LIGHTS

SHOW THE WORLD

THAT I CAN MAKE IT

BY DOIN’

During the following, the students sing backup sotto voce.

Miss Sherman. – Acting not only takes talent and determination. It requires

a solid technique. Freshman year will be devoted to the discovery of self -

who you are.

All. – BY DOIN’

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Tutti. – I JUST PULSATE!

Tyrone entra. Va verso Miss Sherman.

Tyrone. – Ciao! Sono Tyrone Jackson. Sono nel posto giusto?

Miss Sherman. – Sì! Il posto è giusto ma l’orario sbagliato.

Tyrone. – Scusami bella.

Miss Sherman. – Non mi chiamo “Bella”. Il mio nome e’ Miss Sherman. Se

non sarai puntuale non rimarrai alla P.A. Chiaro?

Tyrone. – Sì.

Miss Sherman. – Sì cosa?

Tyrone. – Sì signora.

Tutti cantano.

I’M ALIVE

AND I WILL SURVIVE

SHOW THE WORLD

THAT I CAN TAKE IT



SHOW THE WORLD

THAT I CAN MAKE IT

BY DOIN’

Durante la parte seguente, gli studenti cantano in sottofondo sottovoce.

Miss Sherman. – Recitare non richiede solo talento e determinazione.

Serve anche una tecnica solida. Nel primo anno ci occuperemo del lavoro

dell’attore alla scoperta di sé stesso, di chi siete.

Tutti. – BY DOIN’



Miss Sherman. – You must be in touch with your own emotions, if you expect

to touch others.

Ms. Bell. – We will study ballet, modern, folk, and jazz. You will push your

bodies to the limit until every muscle cries out for mercy.

All. – DOIN’

Ms. Bell. – Those who meet this challenge will be richly rewarded, for dance

is the core of life. Dance is our salvation.

All. – WO - WO - WO

WO - WO - WO

DOIN’

Ms. Bell. – You will play scales till your fingers fall off. At the same time you

will attempt to comprehend the genius of Bach, Beethoven, Mozart.

All.

– WO - WO - WOWO - WO - WO

DOIN’

Carmen. – Pink Floyd!!!!

All. – BY DOIN’

DOIN’

Miss Sherman enters.

Miss Sherman. – Ladies and gentleman (The kids turn upstage to face her.)

Two things make life worth living, “to love and to work.” Here at P.A. you

have the privilege of working hard at something you love. The operative

words being “hard work.” For the next four years those two words will own

you!

Students (exploding). – BY DOIN’ HARD WORK!

Nick (ad-lib). – DOIN’ DOIN’ HARD WORK!

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Miss Sherman. – Dovete imparare ad entrare in contatto con le vostreemozioni più profonde se volete trasmettere qualcosa agli altri.

Ms. Bell. – Studierete danza classica e moderna, folk e jazz. Spingerete i

vostri corpi fino all’estremo limite in cui ogni muscolo grida pietà.

Tutti. – DOIN’

Ms. Bell. – Coloro che intraprenderanno questa sfida saranno riccamente

ricompensati, perché la danza e’ il fulcro della vita. La danza è la nostra

salvezza.

Tutti. – WO - WO - WO

WO - WO - WO

DOIN’

Ms. Bell. – Suonerete le scale finchè le vostre dita cadranno.

Contemporaneamente cercherete di comprendere il genio di Bach,

Beethoven, Mozart.

Tutti. – WO - WO - WO

WO - WO - WODOIN’

Carmen. – Pink Floyd!!!

Tutti. – BY DOIN’

DOIN’

Miss Sherman entra.

Miss Sherman. – Signore e signori! (I ragazzi si voltano verso di lei.) Duecose rendono la vita degna di essere vissuta: l’amore e il lavoro. Qui alla P.A.

avrete la fortuna di lavorare intensamente per qualcosa che amate. La parola

d’ordine sarà: “lavorare di più”. Per i prossimi quattro anni queste parole vi

apparterranno.

Studenti (esplodendo). – BY DOIN’ HARD WORK!

Nick (improvvisando). – DOIN’ DOIN’ HARD WORK!



Students. – BY DOIN’ HARD WORK!

Carmen/Serena. – I’M DOIN’ HARD WORK!

YEAH! YEAH!

Students split into three groups: Drama, Dance and Music.

Miss Sherman. – ACTING IS THE HARDEST PROFESSION IN THE WORLD

Acting Students. – HARD WORK

THE HARDEST PROFESSION IN THE WORLD

Ms. Bell. – MUSIC IS THE HARDEST PROFESSION IN THE WORLD

THE HARDEST PROFESSON IN THE WORLD

Music Students. – HARD WORK!THE HARDEST PROFESSION IN THE WORLD


Ms. Bell and MUSIC IS HARD WORK

Music Students. – IT’S THE HARDEST PROFESSION IN THE WORLD

MUSIC IS HARD WORKIT’S THE HARDEST PROFESSION IN THE WORLD

I’M ALIVE

AND I WILL SURVIVE

SHOW THE WORLD THAT I CAN TAKE IT


Student. – HIT THE HEIGHTS

Students. – PUT MY NAME IN LIGHTS

Carmen. – YES I’M GONNA PUT MY NAME IN LIGHTS YEAH!

Students. – SHOW THE WORLD THAT I CAN MAKE IT.

BY DOIN’ DOIN’

DOIN’ DOIN’

BY DOIN’ HARD WORK



HARD WORK!!

Bell rings.

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Studenti. – BY DOIN’ HARD WORK!

Carmen/Serena. – I’M DOIN’ HARD WORK!

YEAH! YEAH!

Gli studenti si dividono in tre gruppi: recitazione, danza, musica.

Miss Sherman. – ACTING IS THE HARDEST PROFESSION IN THE WORLD

Studenti di Recitazione. – HARD WORK


Ms. Bell. – MUSIC IS THE HARDEST PROFESSION IN THE WORLD


Studenti di Musica. – HARD WORK! THE HARDEST PROFESSION IN THE WORLD


Ms. Bell e MUSIC IS HARD WORK

Studenti di Musica. – IT’S THE HARDEST PROFESSION IN THE WORLD

MUSIC IS HARD WORK

IT’S THE HARDEST PROFESSION IN THE WORLD

I’M ALIVE

AND I WILL SURVIVE



Studente. – HIT THE HEIGHTS

Studenti. – PUT MY NAME IN LIGHTS


Studenti. – SHOW THE WORLD THAT I CAN MAKE IT.BY DOIN’ DOIN’

DOIN’ DOIN’




HARD WORK!!

Suona la campanella.



SCENE 3 A

Ms. Bell enters with a stack of papers. The dance students meet her.

Ms. Bell. – Introductory Ballet meets first period every morning. (Handing

out the papers.) Students are expected to arrive dressed and ready to dance.

Tyrone. – What’s this? A shopping list?

Ms. Bell. – Participation in the dance program requires specific attire,

including tights, leotards, leg warmers, and specialized footwear.

Carmen (reading from the list). – Character shoes, jazz shoes, pointe shoes?

Who do you think I am? Imelda Marcos?

Ms. Bell (heading toward the exit). – Luckily, we have received a generous

grant from the National Endowment to help cover the cost.

Tyrone. – Yo, Ms. Bell. I can’t be wearin’ no leotards.

Ms. Bell. – And why is that?

Tyrone. – Cause I got a generous natural endowment of my own.

Ms. Bell rolls her eyes and exits, followed by the dance students.

SCENE 3 B

Schlomo and Carmen are onstage.

Schlomo. – If we’re gonna form a band, we gotta get along. (Ms. Bell enters.)

Excuse me, Miss Bell. We’d like to work together in Freshman Ensemble.

Ms. Bell. – Really? What kind of music would you play?

Schlomo. – New wave...

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SCENA 3 A

Ms. Bell entra con un pacco di fogli. Gli studenti di danza le vanno incontro.

Ms. Bell. – “Introduzione alla danza” sarà la prima lezione ogni mattina.(Distribuisce un foglio.) Gli studenti devono venire in tenuta da ballo epronti a danzare.

Tyrone. – Che cos’è ? La lista dello shopping?

Ms. Bell. – Per partecipare alle lezioni bisogna essere vestiti in modoadeguato: tuta, ginocchiere, fasce elastiche, scaldamuscoli e, naturalmente,scarpe adatte.

Carmen (leggendo la lista). – Scarpe per la danza di carattere, per quella jazz, per la classica sulle punte ma per chi mi avete preso? Per ImeldaMarcos?

Ms. Bell (sta per uscire). – Fortunatamente abbiamo ricevuto una generosadonazione dalla National Endowment per aiutarci a coprire i costi.

Tyrone. – Hey, Ms. Bell io non mi metterò mai la calzamaglia!

Ms. Bell. – E perché?

Tyrone. – Perché ho già ricevuto una generosa dotazione naturale.

Ms. Bell rotea gli occhi ed esce, seguita dagli studenti di danza.

SCENA 3 B

Schlomo e Carmen sono sul palco.

Schlomo. – Se dobbiamo essere una band, dobbiamo andare d’accordo.(Entra Ms. Bell.) Mi scusi professoressa Bell. Vorremmo suonare insiemenella lezione di gruppo.

Ms. Bell. – Davvero? Ma che genere di musica vorreste suonare?

Schlomo. – New wave…



Carmen. – Classic rock… Funk…

Schlomo. – Maybe a little disco.

Carmen. – We wanna start a band.

Ms. Bell. – Oy, it’s going to be a long year.

Ms. Bell and music students exit. Nick, Tyrone and Carmen enter.

Tyrone. – Wait, wait, wait! Do you see that girl? Isn’t she cute? She’s in

dance class. You should see her in a leotard what legs! And what thighs! A

really cute girl! Before I told her hey, are you listening to me?

Nick (rummaging in his bag). – Not really. I tuned you out somewhere

between her thighs and that cute little beauty spot on her lip, man.

Tyrone. – I’m going there and telling her: listen baby… what do you think if

we… yes, we… we are born to be with each other.

Nick (without paying attention to Tyrone). – I cannot find a copy of

Stanislavsky’s book. And yet I put it in my bag this morning!

Tyrone. – The book of Sta… what? Wake up Nick! I’m talking about a girl

and you are thinking about a book? Hey, forget about the book. (Carmen

crosses, as Tyrone stops her.) Yo, my little jalapeña pepper! My name’s

Tyrone, how ‘bout we go dancing Saturday night?

Carmen. – How ‘bout we don’t.

Tyrone. – But you and me, we got a lot in common. You’re gorgeous, I’m

gorgeous. You’re sexy…

Carmen. – And you aren’t!

Tyrone. – You’re right, I’m sorry, I’m going too fast. Give me another chance.

Let’s know each other better! What is your zodiac?

Carmen. – For you it’s virgin!

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Carmen. – Rock classico… Funk…

Schlomo. – Forse anche un po’ di disco music!

Carmen. – Vogliamo dar vita a una band.

Ms. Bell. – Sarà un lungo anno!

Ms. Bell e gli studenti di musica escono. Nick, Tyrone e Carmen entrano.

Tyrone. – Aspetta, aspetta, aspetta. Vedi quella ragazza? Non è uno schianto?È nel corso di danza. Immaginala con la calzamaglia. Che gambe! E chefianchi! Insomma davvero uno schianto! Prima le ho detto ehi, ma mi staiascoltando?

Nick (frugando nella sua borsa). – A dire il vero no. Ti ho spento a un certopunto mentre parlavi delle sue gambe e di quella macchiolina così carina sulsuo labbro.

Tyrone. – Adesso vado lì e le dico: senti bella… che ne dici se noi due… sì

insomma… siamo fatti l’uno per l’altra.

Nick (senza prestare attenzione a Tyrone). – Non riesco a trovare la copia dellibro di Stanislavsky. Eppure l’avevo messa nello zaino stamattina!

Tyrone. – Il libro di Sta… che? Nick sveglia! Sto parlando di una ragazzae tu pensi a un libro? Lascia perdere il libro. (Carmen si avvicina e Tyrone

la blocca.) Ehi, Peperoncino! Io mi chiamo Tyrone, perché non andiamo aballare sabato sera?

Carmen. – Perché invece no.

Tyrone. – Eh dai, noi due abbiamo molto in comune. Tu sei favolosa, io sonofavoloso. Tu sei sexy…

Carmen. – E tu no!

Tyrone. – Hai ragione, scusami, corro un po’ troppo. Dammi un'altraoccasione. Conosciamoci meglio! Di che segno sei?

Carmen. – Per te della vergine!



Carmen exits.

Tyrone (to Nick, who has found his book and is reading it) . – Here it is,

you see… They do all the same when falling in love. I am an expert aboutwomen. Now I will go, charm her and come back. You can stay here wuth

your book. Adios, Nick…

He exits, Nick shakes his head.

SCENE 3 C

Serena enters. She sees Nick reading his book.

Serena. – Excuse me, but aren’t you… aren’t you that guy from the peanut

butter commercial?

Nick. – Yeah. But do me a favor, don’t “spread it around.”

Serena. – Why not? My God, I’d kill to have a national commercial on the air.

Nick. – You sound like my mom. She’s been dragging me to auditions since Iwas three.

Serena. – I wish I had a mom like that.

Nick. – Trust me, you don’t.

He goes back to reading his book.

Serena (after a beat). – My name’s Serena Katz.

Nick. – I know. I saw you in homeroom.

Serena. – Do you think… I mean, I hate to impose, but… could I have yourautograph?

Nick. – Look, I’m sorry. But I came here so I could concentrate on my

studies.

15

Carmen esce.

Tyrone (rivolto a Nick che ha trovato il suo libro e lo sta leggendo) . – Ecco,

vedi… fanno tutte così quando si innamorano. Io di donne me ne intendo. Oravado, la conquisto e torno. Tu resta pure qui con il tuo libro. Adiòs, Nick…

Esce. Nick scuote la testa.

SCENA 3 C

Entra Serena che vede Nick leggere il suo libro.

Serena. – Scusami, ma tu non sei... non sei il ragazzo della pubblicità del

burro d’arachidi?

Nick. – Sì. Ma fammi un favore, non dirlo in giro.

Serena. – E perché? Mio Dio, ucciderei per avere in onda uno spotnazionale.

Nick. – Sembri mia madre. E’ da quando avevo tre anni che mi trascina a

fare audizioni.

Serena. – Piacerebbe anche a me avere un madre così.

Nick. – Credimi, non lo vorresti.

Torna a leggere il suo libro.

Serena (dopo un po’). – Il mio nome è Serena Katz.

Nick. – Lo so. Ti ho vista nella stanza comune.

Serena. – Credi… voglio dire, odio essere esigente, ma … potrei avere il tuoautografo?

Nick. – Guarda, mi dispiace. Ma sono venuto qui per potermi concentrare

sugli studi.



Serena. – But why? You’re already a pro. I bet you’ve even got your Actors’Equity card.

Nick. – I want to be a real actor, not just some tv hack. Have you ever read

Stanislavsky?

Serena. – Stan who?

Nick. – Konstantine Stanislavsky. He founded the Moscow Arts Theatre in

1897. He and his friends struggled and starved, but that was okay, because

they believed in what they were doing.

Serena. – Wow, you’re really into this.

Nick. – You have to be. The work… the craft… that’s all that really matters.Listen to this (he reads from “An Actor Prepares”): “The actor must learn to

use the magical ‘if’. What ‘if’? From the moment of the appearance of this

‘if’, the actor passes from a plane of actual reality into a plane of another life,

created and imagined by himself. Believing in this life, the actor can begin tocreate…”

He sings.

I WANT TO MAKE MAGIC

I WANT TO BE BIGGER THEN I AMI WANT TO MAKE PEOPLE REALLY CARE

REALLY GIVE A DAMN

I WANT TO MAKE MAGICI WANT TO BREATHE FIRE ON THE STAGE

I WANT TO MAKE EVERY SINGLE LINE

JUMP RIGHT OFF THE PAGE

I WANT TO DO IT ALL FROM “A” TO “Z”

I WANT TO DO “THE LION IN WINTER”

BRECHT AND HAROLD PINTERSOPHOCLES EUGENE O’NEILL

I WANT A CHANCE TO SEE WHAT I CAN BEANOTHER JASON ROBARDS OR DE NIRO

16

Serena. – E perché? Sei già arrivato tu. Scommetto che hai anche ricevuto la

tua Actors’ Equity card.

Nick. – Voglio essere un vero attore, non un semplice volto da tv. Hai mai

letto Stanislavsky?

Serena. – Stan chi?

Nick. – Konstantine Stanislavsky. Ha fondato la Moscow Arts Theatre nel

1897. Lui e i suoi compagni hanno lottato e sofferto la fame, ma andava

bene, perché credevano in quello che facevano.

Serena. – Wow, sei veramente preso.

Nick. – Devi esserlo. Il lavoro… l’arte… è tutto ciò che conta. Ascolta (legge

da “An Actor prepares”.): “L’attore deve imparare ad usare il magico ‘se’.

Cosa ‘se’? Dal momento in cui appare questo ‘se’, l’attore passa dal livello

della realtà a quello di un’altra vita, creata ed immaginata da lui stesso.

Credendo in questa vita, l’attore può iniziare a creare…”

Canta.


I WANT TO BE BIGGER THAN I AM

I WANT TO MAKE PEOPLE REALLY CARE

REALLY GIVE A DAMN


I WANT TO BREATHE FIRE ON THE STAGE

I WANT TO MAKE EVERY SINGLE LINE

JUMP RIGHT OFF THE PAGE

I WANT TO DO IT ALL FROM “A” TO “Z”

I WANT TO DO “THE LION IN WINTER”

BRECHT AND HAROLD PINTER

SOPHOCLES EUGENE O’NEILL

I WANT A CHANCE TO SEE WHAT I CAN BE

ANOTHER JASON ROBARDS OR DE NIRO



PLAY A TRAGIC HERO

GO FOR IT ALL AND REALLY SHOW THE WAY I FEEL


I WANT TO ELECTRIFY THE PLACE

I WANT TO BE MORE THEN JUST A FOOL

WITH MAKE-UP ON HIS FACE


MAGIC!

MAGIC!

MAGIC!

The class assembles around Nick.

SCENE 4

Dance Studio. The dance students warm up before class.

Ms.Bell enters with Iris.

Ms. Bell. – Good morning, class. I’d like to introduce our newest arrival. Her

name is Iris Kelly. We are very lucky to have this young lady with us.

Iris. – Merci, Madame.

Ms. Bell. – All right, people. Let’s find our partners for the adagio.

The students move to find their partners. Carmen and Tyrone chat.

Carmen (mimicking). – “Merci, Madame.” Who does she think she is, Pepé

Le Pew?

Tyrone. – Trust me, Carmen, that girl ain’t no skunk.

Carmen. – Put your eyes back in your head, Tyrone. She is way outta your

league.

Tyrone. – Says who?

17

PLAY A TRAGIC HERO

GO FOR IT ALL AND REALLY SHOW THE WAY I FEEL


I WANT TO ELECTRIFY THE PLACE

I WANT TO BE MORE THAN JUST A FOOL

WITH MAKE-UP ON HIS FACE


MAGIC!

MAGIC!

MAGIC!

La classe si stringe attorno a Nick.

SCENA 4

Sala di danza. Gli studenti di danza si scaldano prima della lezione.

Ms. Bell entra con Iris.

Ms. Bell. – Buongiorno ragazzi. Lasciate che vi presenti l’ultimo arrivo. Il suo

nome è Iris Kelly. Siamo molto fortunati di avere con noi questa signorina.

Iris. – Merci Madame!

Ms. Bell. – Bene, ragazzi. Formiamo le coppie per l’adagio!

Gli studenti si affrettano alla ricerca dei loro partners.

Carmen e Tyrone chiacchierano.

Carmen (imitando). – “Merci, Madame!” Chi si crede di essere? Pepé Le

Pew?

Tyrone. – Fidati Carmen, quella ragazza non ha stoffa.

Carmen. – Rimetti gli occhi al loro posto Tyrone. E’ fuori dalla tua portata.

Tyrone. – Chi lo dice?



Carmen. – Says the shiny black limo that dropped her off just beforehomeroom.

Ms. Bell. – All right, class. Let’s take it from the top. Ready, and…

As the music begins, the students execute a graceful adagio.

Ms. Bell (circling the floor). – Point your toes. You look like you’re wearing

ice skates. Chin up, chin up, eyes to the horizon.

The music stops. Ms Bell gives them a dirty look. Class starts over.

Ms. Bell. – Keep the movements fluid. Ready, and… (Music begins again.)

Imagine crystal clear water flowing gently downstream. (Ms. Bell ad-libscriticism to students.) I said water, not molasses. What’s wrong with youtoday? Let’s take it from the second phrase. Ready? Begin.

Schlomo enters with violin and begins playing.

Ms. Bell. – Classical lines, people. Imagine you’re dancing for Balanchine.

Gently ladies, gently. You’re ballerinas, not truck drivers. (As Ms. Bell ad-libscriticism to class, Tyrone and Carmen go into dirty dancing.) Carmen, Tyrone.This is adagio, not disco.

Tyrone. – But it’s so boring… and talk about uptight.

Ms. Bell. – We study classical dance for the same reason we study Mozart. Tobuild technique and learn classic form. Think of it as a trip to the museum.

Tyrone. – But why does it have to be like that? Why couldn’t you do balletthat was different - switched on - tight - wired - like the traffic in TimesSquare?

Ms. Bell (impressed). – Sounds like you’ve given this a lot of thought.

Carmen. – Tyrone did more than think about it. He made up a whole newdance.

Tyrone. – I don’t s’pose you’d wanna see it?

Ms. Bell. – I’m game if you are.

18

Carmen. – Lo dice la scintillante limousine nera che l’ha lasciata proprio difronte alla scuola.

Ms. Bell. – Bene, ragazzi. Prendiamola dall’alto. Pronti, e…

Mentre la musica inizia, gli studenti eseguono un grazioso adagio.

Ms. Bell (cerchiando il pavimento). – Sulle punte. Sembra che indossi pattini

su ghiaccio. Mento alzato, mento alzato, occhi all’orizzonte.

La musica si ferma. Ms. Bell lancia loro un’occhiataccia. La lezione ricomincia.

Ms. Bell. – Sciolti quei movimenti ! Pronti, e… (La musica ricomincia.)

Immaginate l’acqua cristallina che scorre lievemente. (Ms. Bell critica gli studenti. ) Ho detto acqua, non melassa. Cosa c’è che non va oggi? Siriprende dal secondo movimento. Pronti? Iniziamo.

Schlomo entra con il violino e inizia a suonare.

Ms. Bell. – Linee classiche, ragazzi. Immaginate di danzare per Balanchine.

Con grazia, ragazze, con grazia. Siete ballerine, non camionisti. (MentreMs. Bell critica la classe, Tyrone e Carmen ballano danze sfrenate.) Carmen,Tyrone, è un adagio non discoteca.

Tyrone. – Ma è così noioso... e parla di preoccupazione.

Ms. Bell. – Studiamo danza classica per lo stesso motivo per cui si studiaMozart. Per costruire le basi tecniche e imparare la forma classica. Pensa aquesto come a una visita al museo.

Tyrone. – Ma perché dev’essere così? Perché non possiamo ballare in mododiverso, in modo acceso, serrato... come il traffico in Times Square?

Ms. Bell (impressionata). – Sembra che tu ci abbia pensato su molto.

Carmen. – Tyrone ha fatto di più che pensarci su. Ha fatto una danzacompletamente nuova.

Tyrone. – Non credo che lei la voglia vedere.

Ms. Bell. – Sto al gioco se ci stai anche tu.



Tyrone (to the kids). – Ya’ll remember it, right? Here we go. (Counting off.)

Five, six, seven, eight!

The dancers do Tyrone’s choreography. When the routine ends.

Tyrone. – So…?

Ms. Bell. – So… I think we’ve got a budding choreographer in our midst.

Carmen. – Move over, Alvin Ailey!

Tyrone and Carmen high five as the bell rings.

SCENE 5

Schlomo and Carmen play rock and roll.

After a moment Ms. Bell walks over.

Ms. Bell. – What is this?

Schlomo. – Practice.

Ms. Bell. – Practice for what? To play in the subways? May I remind you that

the purpose of Freshman Ensemble is to learn to listen to one another.

Carmen. – Come on. We’re not hurting anything.

Ms. Bell. – Except your eardrums. Mr. Metzenbaum, I received a phone callfrom your father. He wants to make sure you practice your violin at least

three hours each day.

Carmen. – Aw, isn’t that cute? Daddy’s worried about his pint-sized

Paganini.

Ms. Bell. – Mr. Metzenbaum, I know you are eager to find your own voice,but don’t forget musical genius runs in your family.

Carmen. – And musical chairs runs in mine.

19

Tyrone (ai ragazzi). – La ricordate, vero? Andiamo. (Contando). Cinque,sei,

sette, otto!

I ballerini fanno la coreografia di Tyrone. La coreografia termina.

Tyrone. – Allora…?

Ms. Bell. – Allora… credo che abbiamo un coreografo in erba tra noi.

Carmen. – Muoviti, Alvin Ailey!

Tyrone e Carmen si danno un cinque mentre suona la campana.

SCENA 5

Schlomo e Carmen suonano un pezzo rock’n’roll.

Dopo un momento entra Ms. Bell.

Ms. Bell. – Cosa state facendo?

Schlomo. – Ci esercitiamo.

Ms. Bell. – Esercitarvi a cosa? A suonare nella metropolitana? Devo

ricordarvi che lo scopo della musica d’insieme è imparare ad ascoltarsi l’un

l’altro.

Carmen. – Andiamo. Non stiamo facendo nulla di male.

Ms. Bell. – A parte alle vostre orecchie. Mr. Metzenbaum, suo padre mi

ha telefonato. Si è raccomandato di farle fare almeno tre ore al giorno di

violino.

Carmen. – Wow, non è grazioso? Il papà è preoccupato per il piccolo Paganini.

Ms. Bell. – Mr. Metzenbaum, so che lei vuole trovare la propria strada ma losa che il genio musicale e’ di casa nella sua famiglia.

Carmen. – E il gioco delle sedie musicali nella mia.



Carmen plays aloud.

Ms. Bell. – Now, I believe you had a Mozart assignment.

Carmen. – We practiced already.

Ms. Bell. – Good. Let me hear. (Counting off.) One, two, three, four.Good,good. Very good. Almost good enough to begin practicing.

Ms. Bell exits.

Carmen. – All right, back to the good stuff.

Schlomo. – No, Bell’s right. What would a kid raised in concert halls knowabout rock? I should be practicing my violin.

Schlomo heads for the door.

Carmen. – Where you going? Back to Daddy?

Schlomo. – Look, I’m sorry I wasted your time. But this band thing - it’snever going to work.

Carmen. – It will work!

Schlomo (in his best imitation). – “Good. Good. Very good. Almost goodenough…

Schlomo/Carmen. – …to begin practicing.”

Carmen (counting off). – One, two, three, four.

SCENE 6

Iris and Tyrone are rehearsing “Romeo and Juliet”. Iris hits Tyrone during a

pirouette. Tyrone’s inadequate partnering makes Iris explode.

Iris. – For God’s sake! Why can’t you get it together! These steps are so

basic, it’s ridiculous.

20

Carmen suona forte.

Ms. Bell. – Ora, mi sembra che avevate Mozart da preparare.

Carmen. – Lo abbiamo già preparato.

Ms. Bell. – Oh? Bene ! Fatemelo sentire. (Contando.) Un, due, tre, quattro.Bene. Bene. Come inizio non c’è male per iniziare a fare pratica.

Ms. Bell esce.

Carmen. – Okay, torniamo alle cose belle.

Schlomo. – No. Ms. Bell ha ragione. Cosa ne sa del rock un bambinocresciuto nelle sale da concerto? Forse dovrei dedicarmi al violino.

Schlomo si dirige alla porta.

Carmen. – Dove stai andando? Torni dal papà?

Schlomo. – Mi dispiace di avervi fatto perdere tempo. Ma questa cosa delgruppo - non funzionerà mai.

Carmen. – Funzionerà!

Schlomo (nella sua migliore imitazione). – “Bene. Bene. Come inizio non c’èmale…

Schlomo/Carmen. – …per iniziare a fare pratica.”

Carmen (contando). – Uno, due, tre, quattro.

SCENA 6

Iris e Tyrone stanno provando ‘Romeo e Giulietta’. Iris colpisce Tyronedurante una piroetta. Il supporto inadeguato di Tyrone fa esplodere Iris.

Iris. – Uffa! Possibile che non riesci a essere in sintonia? Questi passi sono

così semplici, è ridicolo.



Tyrone. – I’m tryin’. Can’t you see, I’m tryin’.

Iris. – You don’t support me in the promenade. You drop me out of the

arabesque sauté…

Tyrone. – I don’t know what you’re talkin’ about! I don’t speak no French!

Iris. – These are technical terms. Every dancer knows them.

Tyrone. – Not me. Down in my neighborhood, we bust moves to hip-hop.

How you gonna say that in French? Besides, it don’t matter how much I

practice I still don’t have no future in ballet.

Iris. – Maybe you would, if you worked harder.

Tyrone. – Hey, I work as hard as anyone. But, be honest, when was the last

time you saw a brother dancin’ in the ballet?

Iris. – What does the color of your skin have to do with it?

Tyrone. – Maybe you haven’t heard. Blacks can’t cut ballet. ‘Cause ourbodies are all wrong for classical dance.

Iris. – It’s not your body that’s the problem, Mr. Tyrone Jackson. It’s your

attitude.

Tyrone. – Hey, leave it off, Iris, you and that silver spoon you keep shovin’

down my throat.

He sings: “Tyrone’s Rap”.

DON’T NEED NO RICH BITCHTELL ME WHICH

FORK TO USE

I PAID MY DUES

IN A RAT TRAP CITY CALLED NEW YORKLIVING OFF GREENS BEANS AND PORK

IN A BASEMENT TENEMENTNO ONE GOT TO TELL ME WHAT IT MEANT

21

Tyrone. – Ci sto provando. Non lo vedi che ci sto provando?

Iris. – Non mi tieni nella promenade. Mi lasci andare alla arabesque sauté…

Tyrone. – Non so di cosa tu stia parlando! Non parlo francese io!

Iris. – Sono termini tecnici. Ogni ballerino li conosce!

Tyrone. – Non io. Giù nel mio quartiere, noi ci muoviamo con l’hip hop.

Come si dice in francese questo? Inoltre, non importa quanto tempo mi

alleni non avrò comunque futuro nel balletto.

Iris. – Forse ce la faresti, se lavorassi di più.

Tyrone. – Ehi, fatico come tutti. Ma, sii onesta, quand’è l’ultima volta che hai

visto un fratello danzare nel balletto?

Iris. – Cosa c’entra con questo il colore della tua pelle?

Tyrone. – Forse non lo sai, ma i neri non sono tagliati per il balletto. Perché ilnostro corpo non è fatto per la danza classica.

Iris. – Non è il tuo corpo il problema, Mr. Tyrone Jackson. E’ il tuo

atteggiamento.

Tyrone. – Ehi, smettila di rompere, Iris, tu e quelle arie che continui a darti

con me.

Canta: “Il Rap di Tyrone”.

DON’T NEED NO RICH BITCH

TELL ME WHICHFORK TO USE

I PAID MY DUES

IN A RAT TRAP CITY CALLED NEW YORK

LIVING OFF GREENS BEANS AND PORK

IN A BASEMENT TENEMENT

NO ONE GOT TO TELL ME WHAT IT MEANT



TO BE BLACK JACK ACE OF SPADES

ALL THE CAR-WASH WASHERS AND DAY-WORK MAIDS

CAN’T WASH IT OFF IT NEVER FADES

IT’S WHO YOU ARE UNTIL YOU’RE DEAD

NOW AIN’T THAT A KICK UPSIDE THE HEAD?

YES I KNOW ABOUT PRYOR AND POITIER

CAN’T GET HIGHER THAN SUGAR RAY

MUHAMMED ALI AND DOCTOR J

AND NINETY PERCENT OF THE NBA

REGGIE JACKSON JESSE JACKSON

MICHAEL AND MAHALIA JACKSON

AND WHAT’S THAT GOT TO DO WITH ME?

ON THE STREET THE ONLIEST THING I SEE IS

CRACK DEALERS POCKETBOOK STEALERS

COKE SNORTERS TIMES SQUARE DAUGHTERS

EIGHT YEARS OLD WHO DANCE FOR QUARTERS

FOR TOKES AND TWO-LINE BLOWS

NEW ADIDAS AND STEREOSTHAT’S US! THAT’S IT!

SO DON’T BE GIVIN’ ME ALL YOUR SHIT!

Tyrone starts to exit. Iris decides to come clean.

Iris. – Tyrone, wait. My family’s not rich. They barely have enough money to

keep me in pointe shoes.

Tyrone. – Yeah, right. That’s why you show up every day in that long black

limo.

Iris. – My father’s a chauffeur. He drops me off on his way to work. And Idon’t speak French either.

Tyrone. – Then how come you been puttin’ on this act?

Iris. – Because I was scared.

Tyrone. – Scared ‘a what? You’re the best dancer in this school, Iris.

22

TO BE BLACK JACK ACE OF SPADES

ALL THE CAR-WASH WASHERS AND DAY-WORK MAIDS

CAN’T WASH IT OFF IT NEVER FADES

IT’S WHO YOU ARE UNTIL YOU’RE DEAD

NOW AIN’T THAT A KICK UPSIDE THE HEAD?

YES I KNOW ABOUT PRYOR AND POITIER

CAN’T GET HIGHER THAN SUGAR RAY

MUHAMMED ALI DOCTOR J

AND NINETY PERCENT OF THE NBA

REGGIE JACKSON JESSE JACKSON

MICHAEL AND MAHALIA JACKSON

AND WHAT’S THAT GOT TO DO WITH ME?

ON THE STREET THE ONLIEST THING I SEE IS

CRACK DEALERS POCKETBOOK STEALERS

COKE SNORTERS TIMES SQUARE DAUGHTERS

EIGHT YEARS OLD WHO DANCE FOR QUARTERS

FOR TOKES AND TWO-LINE BLOWS

NEW ADIDAS AND STEREOSTHAT’S US! THAT’S IT!

SO DON’T BE GIVIN’ ME ALL THAT SHIT!

Tyrone fa per uscire. Iris gli corre dietro.

Iris. – Tyrone! Aspetta. La mia famiglia non è ricca. Fanno fatica a pagarmi le

scarpette da ballo.

Tyrone. – Sì, infatti ti fai vedere ogni giorno con quella lunga e nera

limousine.

Iris. – Mio padre fa l’autista. Mi accompagna perché la scuola è sulla strada.E non parlo neanche il francese.

Tyrone. – Ma perché ti dai tutte queste arie?

Iris. – Perché ero spaventata.

Tyrone. – Spaventata da cosa? Sei la ballerina migliore della scuola, Iris.



Iris. – Scared no one would like me. Tyrone, I’ve never done anything but

dance. I’ve never been on a date, never had a boyfriend… never even been

kissed.

Tyrone (with a sexy smile). – Well… maybe I can help you with that.

Iris. – Maybe we can help each other.

They kiss.

SCENE 7

Lunch-room. Iris and Tyrone are smooching. Miss Sherman crosses the stage.

Miss Sherman. – Mr. Jackson. Save the love scene for acting class.

Tyrone. – Sorry, Miss Sherman. We were just settling an argument.

Miss Sherman. – Try a handshake. By the way, you owe me a book report.

Five hundred words, on my desk, first thing tomorrow morning.

Miss Sherman exits. Tyrone crosses Iris calling after Miss Sherman.

Tyrone. – You got it, Miss Sherman. (Turning to Iris.) Iris, I don’t s’pose you

ever read “To Kill a Mockingbird?”

Iris. – Are you kidding? It’s my favorite book. It’s all about this lawyer

named Atticus Finch, and his crazy neighbor Boo.

Tyrone and Iris move off. Serena and Carmen enter.Serena is carrying a tray loaded with food.

Carmen. – Fried chicken, potato salad, candy bars…? Girl, you gonna eat all

that?

Serena. – I have tried every weight loss program known to man. But I always

go back to the Seafood Diet.

23

Iris. – Spaventata che non sarei piaciuta a nessuno. Tyrone, non ho mai fattoaltro che ballare. Non ho mai avuto un appuntamento, non ho mai avuto unragazzo… nemmeno un bacio.

Tyrone (con un sorriso sexy). – Bene… forse in questo ti posso aiutare.

Iris. – Forse ci possiamo aiutare l’un l’altro.

Si baciano.

SCENA 7

Sala da pranzo. Tyrone e Iris si stanno sbaciucchiando. Miss Shermanattraversa il palco.

Miss Sherman. – Mr. Jackson. Risparmia la scena d’amore per la lezione direcitazione.

Tyrone. – Mi scusi, Miss Sherman. Stavamo solo facendo pace.

Miss Sherman. – Prova con una stretta di mano. A proposito, stò ancoraaspettando la tua relazione sul libro. Cinquecento parole, sulla mia scrivaniaper domattina come prima cosa.

Miss Sherman esce. Tyrone incrocia Iris mentre rincorre Miss Sherman.

Tyrone. – Lo avrai, Miss Sherman. (Girandosi verso Iris.) Iris, non credo chetu abbia mai letto “To Kill a Mockingbird?”

Iris. – Stai scherzando? E’ il mio libro preferito. E’ la storia di un avvocatochiamato Atticus Finch, e il suo pazzo vicino Boo.

Tyrone e Iris se ne vanno. Entrano Serena e Carmen.Serena porta un vassoio pieno di c ibo.

Carmen. – Pollo fritto, patate, barrette di dolciumi…? Ragazza, nonmangerai tutta questa roba?

Serena. – Ho provato con tutte le diete conosciute. Ma torno sempre alla

dieta del “Mangia tutto il cibo che vedi.”



Carmen. – What’s that?

Serena. – I see food, and I eat! (No response.) It’s a joke, Carmen.

Carmen. – I’m laughin’ I’m laughin’.

As they move to table.

Serena. – What’s your secret, Carmen? I never once seen you pig out.

Carmen. – That’s the beauty of diet pills - a handful of uppers for breakfast

and I’m good to go all day.

Serena. – Girl, don’t you know drugs are bad?! And I don’t mean good bad,

I mean bad, bad.

Carmen. – Hey, what’s to worry? I’m young. I’m healthy. I’m gonna live

forever. (Carmen sees Miss Sherman enter. She crosses to her.) Yo, Miss

Sherman. I need to be excused from class on Friday. See, they’re doing arevival of West Side Story. And I am like perfect for the role of Anita.

Miss Sherman. – I’m sorry, Carmen. The last thing you need right now isanother character to hide behind.

Carmen. – What’s that supposed to mean?

Miss Sherman. – It means no! No audition. You are in school to learn.

Carmen. – Why won’t you help me?

Miss Sherman. – Carmen, I’m trying to. The first rule of acting is “know

thyself.” And you have no idea who you are. If you don’t learn to dealhonestly with your own emotions, you’ll just be another pretty face that

nobody cares about.

She exits.

Carmen (calling after her). – You’re wrong about me, Miss Sherman. I’m

gonna make it. ‘Cause I got what it takes. From now on I got three things toworry about. Me, myself and I!

24

Carmen. – Cos’è?

Serena. – Quella che mangio il cibo che vedo! (Nessuna risposta.) E’ uno

scherzo, Carmen.

Carmen. – Sto ridendo, sto ridendo.

Si muovono verso la tavola.

Serena. – Qual è il tuo segreto, Carmen? Non ti ho mai vista abbuffarti.

Carmen. – Io uso le pillole dietetiche, una manciata per colazione e sei inpista tutto il giorno.

Serena. – Ma non lo sai che le droghe fanno male? Voglio dire, ti fa male sulserio, non per scherzo.

Carmen. – Ma di cosa ti preoccupi? Sono giovane. Piena di vita. Vivrò per

sempre. (Carmen vede Miss Sherman entrare. Le va incontro) Ciao, MissSherman. Mi deve giustificare per la lezione di venerdì. Vede, stanno facendo

un revival di West Side Story. E sembro perfetta per il ruolo di Anita.

Miss Sherman. – Mi dispiace, Carmen. L’ultima cosa di cui hai bisogno ora è

un altro personaggio dietro cui nasconderti.

Carmen. – Cosa significa?

Miss Sherman. – Significa no! Nessuna audizione. Sei a scuola per imparare.

Carmen. – Perché non mi vuole aiutare?

Miss Sherman. – Carmen, ci sto provando. La prima regola della recitazione è“conosci te stesso”. E tu non hai idea di chi sei. Se non impari a essere onesta

con le tue emozioni, sarai solo un’altra bella faccia di cui nessuno si interessa.

Esce.

Carmen (richiamandola). – Si sbaglia su di me, Miss Sherman. Ce la farò.

Perché ho ciò che serve. D’ ora in poi mi preoccuperò solo di tre cose: me,me stessa e io!



Serena. – Sparkle, girl! Sparkle.

Carmen. – One day you’re gonna see my name up in lights. Carmen Diaz.

Serena. – Sparkle, girl! Sparkle.

Carmen. – I’m talkin’ Broadway, movies.

Serena. – Atlantic City, Radio City.

Carmen. – People are gonna shiver when they see me comin’.

Serena. – Shiver, honey. Shiver!

Carmen. – They’ll say, “There she goes! Carmen! Not the movie, not the

opera, but the human being!”

She sings.

THERE SHE GOES!

AIN’T SHE THE PICTURE OF A REAL LIVE STAR?

YOU’LL WANT TO FOLLOW HER WHOEVER YOU ARE

AND THERE SHE GOES!

SHE’S PASSIN’ YOU

YOU BETTER HURRY IF YOU WANNA LOOK

MAYBE YOU’LL GET HER IN YOUR AUTOGRAPH BOOK

SHE’S PASSIN’ YOU!

REACH OUT TO TOUCH, DON’T BE SHYTHERE AIN’T NO REASON TO BE SCARED

NO IT’S TOO MUCH I CAN’T LOOK HER IN THE EYE

NO I’M NOT PREPARED!

Carmen. – Well, thank you ladies and gentlemen, thank you! You’ve all been

so wonderful to me, I don’t know how to thank you enough. And thank you,

too, God… for making me so fantastic!

25

Serena. – Fai scintille, ragazza! Scintille.

Carmen. – Un giorno vedrai il mio nome illuminato. Carmen Diaz.

Serena. – Fai scintille, ragazza! Scintille.

Carmen. – Sto parlando di Broadway, dei film.

Serena. – Atlantic City, Radio City.

Carmen. – La gente tremerà quando mi vedrà arrivare.

Serena. – Trema, dolcezza. Trema!

Carmen. – Diranno, “Eccola! Carmen! Non il film, non l’opera, ma lei in

persona!”

Canta.

THERE SHE GOES!

AIN’T SHE THE PICTURE OF A REAL LIVE STAR?

YOU’LL WANT TO FOLLOW HER WHOEVER YOU ARE

AND THERE SHE GOES!


YOU BETTER HURRY IF YOU WANNA LOOK



REACH OUT TO TOUCH DON’T BE SHYTHERE AIN’T NO REASON TO BE SCARED

NO IT’S TOO MUCH I CAN’T LOOK HER IN THE EYE


Carmen. – Grazie signore e signori, grazie! Siete stati tutti così meravigliosi

con me. Non so come ringraziarvi abbastanza. E grazie anche a te, Signore…

per avermi fatto così fantastica!



Carmen. – I’M ON TOP OF THE CHARTS!

I’M ON TOP IN THEIR HEARTS!

LOOK AT THEM ALL!

LOOK AT THE CROWDS!

EVERYTHING IS BEAUTIFUL UP HERE IN THE CLOUDS!

All. – FAME!

Carmen. – I’M GONNA LIVE FOREVERI’M GONNA LEARN HOW TO FLY

All. – HIGH!

Carmen. – I FEEL IT COMIN’ TOGETHER

PEOPLE WILL SEE ME AND CRY

All. – FAME!

Carmen. – I’M GONNA MAKE IT TO HEAVEN

LIGHT UP THE SKY LIKE A FLAME

All. – FAME!

Carmen. – I’M GONNA LIVE FOREVER

BABY REMEBER MY NAME

All. – REMEMBER REMEMBER REMEMBER

REMEMBER REMEMBER REMEMBER

Carmen. – VOY A VIVIR PA’ SIEMPRE

VOY A LLEGAR A VOLAR

All. – FAME!

Carmen. – ESTRELLA EN TODO EL CIELO

QU’ EMPEZARA A BRILLAR

All. – FAME!

VOY A VIVIR PA’ SIEMPRE


26


I’M ON TOP OF THEIR HEARTS!

LOOK AT THEM ALL!

LOOK AT THE CROWDS!

EVERYTHING IS BEAUTIFUL UP HERE IN THE CLOUDS!

Tutti. – FAME!

Carmen. – I’M GONNA LIVE FOREVERI’M GONNA LEARN HOW TO FLY

Tutti. – HIGH!



Tutti. – FAME!



Tutti. – FAME!


BABY REMEMBER MY NAME

Tutti. – REMEMBER REMEMBER REMEMBER

REMEMBER REMEMBER REMEMBER

Carmen. – VOY A VIVIR PA’ SIEMPRE


All. – FAME!

Carmen. – ESTRELLA EN TODO EL CIELO

QU’ EMPEZAR A BRILLAR

All. – FAME!

VOY A VIVIR PA’ SIEMPRE




Carmen. – A VOLAR

All. – ESTRELLA EN TODO EL CIELO

Carmen. – MIRA!

All. – MIRA!

QUIERO BRILLAR!

Dance break.


Boys. – WO - WO - WO

Carmen. – I’M ON TOP IN THEIR HEARTS!

Boys. – WO - WO - WO

Carmen. – LOOK AT THE CROWDS ALL

LOOK AT THEM ALL AAHAY MAMACITA

I AM HAVIN’ A BALL!

THERE SHE GOES!

All. – THERE SHE GOES!

Carmen. – THERE SHE GOES!

All. – THERE SHE GOES!

Carmen. – NOW WOULDN’T ANYBODY WISH

THEY WERE HER

All (except Carmen). – WISH THEY WERE HER!

Carmen. – AND THERE SHE GOES!

All (except Carmen). – REMEMBER REMEMBER REMEMBER

REMEMBER

27

Carmen. – A VOLAR

All. – ESTRELLA EN TODO EL CIELO

Carmen. – MIRA!

All. – MIRA!

QUIERO BRILLAR!

Dance break.


Ragazzi. – WO - WO - WO

Carmen. – I’M ON TOP IN THEIR HEARTS!

Ragazzi. – WO - WO - WO

Carmen. – LOOK AT THE CROWDS ALL

LOOK AT THEM ALL AAHAY MAMACITA

I AM HAVIN’ A BALL!

THERE SHE GOES!

Tutti. – THERE SHE GOES!

Carmen. – THERE SHE GOES!

Tutti. – THERE SHE GOES!

Carmen. – NOW WOULDN’T ANYBODY WISH

THEY WERE HER

Tutti (tranne Carmen). – WISH THEY WERE HER!

Carmen. – AND THERE SHE GOES!

Tutti (tranne Carmen). – REMEMBER REMEMBER REMEMBER

REMEMBER



All. – REMEMBER MY NAME!

Bell rings.

SCENE 8

Nick and Serena rehearse.

Nick. – Real talent! I have more real talent than all of you put together.

You, with your hackneyed conventions have usurped the foremost places inart. Go back to your charming theatre and play in your miserable, worthless

plays!

Serena. – I have never acted in such plays! Leave me! You’re nothing but a

Kiev petty bourgeois! (Breaking character.) Nick, I don’t like this scene.

Nick. – But The Seagull is a classic play...

Serena. – Classic - schmassic!

Nick. – …and Madame Arkadina is a great role.

Serena. – I don’t want to play your mother!

Nick. – All right. How about Shakespeare? A comedy? Two Gentlemen of

Verona!

Serena. – Which one would I play?

Nick. – Would you stop being difficult!

Serena. – I’m not being difficult. We just spent a whole year investigating our

own emotions, and you keep picking scenes I can’t relate to. Why can’t we

try something different?

Nick. – Like what?

Serena. – Like… Abelard and Eloise, or… Troilus and Cressida. Or how

28

All. – REMEMBER MY NAME!

Suona la campanella.

SCENA 8

Nick e Serena provano una scena.

Nick. – Talento vero! Io ho più talento di tutti voi messi insieme. Tu con tutte

le tue vecchie convenzioni hai usurpato quanto c’è di meglio nell’arte. Tornain quel tuo grazioso teatrino e recita quelle miserabili ed inutili commedie!

Serena. – Non ho mai recitato in quelle commedie! Lasciami! Non sei altroche un piccolo borghese di Kiev! (Interrompe la scena.) Nick, non mi piace

questa scena.

Nick. – Ma Il Gabbiano è un classico.

Serena. – Troppo classico!

Nick. – …e Madame Arkadina è un grande ruolo.

Serena. – Non voglio recitare tua madre!

Nick. – Va bene. Allora che ne dici di Shakespeare? Una commedia? I Due

Gentiluomini di Verona!

Serena. – Io quale dei due potrei recitare?

Nick. – Vuoi smetterla di fare la difficile!

Serena. – Non sto facendo la difficile. Abbiamo passato tutto l’anno a

scoprire le nostre emozioni più profonde e tu continui a scegliere scene a cui

io non posso relazionarmi. Perche’ non proviamo qualcosa di diverso?

Nick. – Del tipo?

Serena. – Tipo… Abelardo ed Eloisa, o… Troilo e Cressida. O che ne dici di



about Cat on a Hot Tin Roof? I would just die to play Maggie the Cat. Ihave a copy right here in my bag.

She begins rummaging in her bag and a photo of Nick falls out.

Nick (picking up the picture). – What’s this?

Serena. – Uh… you gave it to me?

Nick. – Last semester. You carry my headshot around?

Serena. – Yes. (Nick reacts.) No. I, um, meant to leave it at home… (Angrily,

Nick tears up the picture and throws it on the floor.) What are you doing?!

Nick, wait! Don’t!

Nick. – For crying out loud! How’re we gonna get any work done if you keep

acting like an adolescent?

Serena. – What’s wrong with acting like adolescents, when that’s exactlywhat we are?

Serena sings to Nick.

WE ALWAYS SEEM TO BE

SISTER AND BROTHERLYIT’S SUCH A LOVELY WAY TO BE

AND I WANT TO SAY WHAT IT MEANS TO ME

HOW I COULD NEVER BE THE SAME WITHOUT YOUAND SOMETHING MORE THAT I KNOW

THO’ I NEVER COULD SHOW

HOW IT KEPT RIGHT ON GROWING

THE WAY I KNOW I REALLY FEEL ABOUT YOU

THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOU

WHY CAN’T WE WHY CAN’T WE WHY CAN’T WE TRY

TO PLAY A LOVE SCENE

WE DON’T NEED THE VIOLINSTO PLAY A LOVE SCENE

29

la Gatta sul Tetto che Scotta? Morirei per fare Maggie il Gatto. Ne ho una

copia proprio qui nella mia borsa.

Cerca nella sua borsa e una foto di Nick cade per terra.

Nick (raccogliendo la foto). – E questa cos’e’?

Serena. – Ah… me l’avevi data tu.

Nick. – Già, lo scorso semestre. Ti porti dietro la mia foto?

Serena. – Sì. (Nick reagisce.) No. Io, be’, volevo lasciarla a casa… (Infuriato,

Nick straccia la foto e la getta a terra.) Cosa stai facendo?! Nick, aspetta! No!

Nick. – Gridare forte! Come possiamo concentrarci sul lavoro se ti comporti

come una adolescente?

Serena. – Cosa c’è di sbagliato nel comportarsi come adolescenti, quando è

esattamente ciò che siamo?

Serena canta rivolta a Nick.

WE ALWAYS SEEM TO BE

SISTER AND BROTHERLY

IT’S SUCH A LOVELY WAY TO BE

AND I WANT TO SAY WHAT IT MEANS TO ME

HOW I COULD NEVER BE THE SAME WITHOUT YOU

AND SOMETHING MORE THAT I KNOW

THO’ I NEVER COULD SHOW

HOW IT KEPT RIGHT ON GROWING


THE WAY I KOW I’LL ALWAYS FEEL ABOUT YOU

WHY CAN’T WE WHY CAN’T WE WHY CAN’T WE TRY


WE DON’T NEED VIOLINS




WHERE WE SEE HOW LOVE BEGINSWE COULD FIND A WAY TO START

AND LEARN TO PLAY THE PARTA PERFECT SCENE FROM A PLAY UNKNOWN

LET’S PLAY A LOVE SCENE OF OUR OWN

Nick. – Look, Serena. It’s obvious we’re not coming from the same place.Maybe you should find yourself another scene partner.

Nick exits. Holding back tears,Serena picks up the pieces of the picture as she sings:

AND I WANT TO SAY WHAT IT MEANS TO MEHOW I COULD NEVER BE THE SAME WITHOUT YOU

AND SOMETHING MORE THAT I KNOWTHO’ I NEVER COULD SHOW

HOW IT KEPT RIGHT ON GROWINGTHE WAY I KNOW I REALLY FEEL ABOUT YOU

THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOUWHY CAN’T WE WHY CAN’T WE WHY CAN’T WE TRY

TO PLAY A LOVE SCENEWE DON’T NEED THE VIOLINS

TO PLAY A LOVE SCENEWHERE WE SEE HOW LOVE BEGINS

FIND A WAY TO STARTAND PLAY IT FROM THE HEART

A PERFECT SCENE FROM A PLAY UNKNOWN

LET’S PLAY A LOVE SCENEOF OUR OWN

She runs off.

SCENE 9

Schlomo is playing violin. Carmen enters, not seen by Schlomo.

She startles him.

Schlomo. – Geez. I didn’t hear you come in.

30

WHERE WE SEE HOW LOVE BEGINSWE COULD FIND A WAY TO START

AND LEARN TO PLAY THE PART


LET’S PLAY A LOVE SCENE OF OUR OWN

Nick. – Guarda Serena. E’ ovvio che non proveniamo dallo stesso posto. Forse

faresti meglio a trovarti un altro partner per le prove.

Nick esce. Serena, trattenendo le lacrime, raccoglie i pezzi della foto mentre canta:

AND I WANT TO SAY WHAT IT MEANS TO MEHOW I COULD NEVER BE THE SAME WITHOUT YOU

AND SOMETHING MORE THAT I KNOW

THO’ I NEVER COULD SHOWHOW IT KEPT RIGHT ON GROWING


THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOU

WHY CAN’T WE WHY CAN’T WE WHY CAN’T WE TRYTO PLAY A LOVE SCENE

WE DON’T NEED THE VIOLINSTO PLAY A LOVE SCENE

WHERE WE SEE HOW LOVE BEGINS

FIND A WAY TO START

AND PLAY IT FROM THE HEARTA PERFECT SCENE FROM A PLAY UNKNOWN

LET’S PLAY A LOVE SCENE

OF OUR OWN

Corre fuori.

SCENA 9

Schlomo sta suonando il violino.

Entra Carmen, non vista da Schlomo, e lo fa sobbalzare.

Schlomo. – Ah, non ti ho sentito entrare.



Carmen. – Sorry, I didn’t mean to scare you. Genius at work, right?

Schlomo. – I’m hardly a genius.

Carmen. – You know Schlomo, your problem is you don’t have enoughconfidence. Like that piece you play all the time solid gold.

Schlomo. – It’s for Sophomore Composition. I’ve been working on it for

weeks, but I feel like something’s still missing.

Carmen. – Maybe this’ll help. (She hands him a piece of paper.) They’re

lyrics! I wrote ‘em to go with that tune. Go ahead, check ‘em out.

Schlomo. – Carmen, this isn’t a song, it’s a sonata.

Carmen. – What difference does it make? I know a top ten hit when I hear

one.

Schlomo. – You really think so?

Carmen. – Guaranteed to go platinum like that! (She snaps her fingers.) Butthen I guess you hear this stuff all the time. Compliments.

Schlomo. – Are you kidding? I come from a family of perfectionists. Nothing

I do is ever good enough.

Carmen. – Hey, I hear what you’re sayin’. I could win a Grammy and my Ma

would still call me a slut. So you wanna take ‘em for a test drive? (She stuns

Schlomo.) The lyrics.

Schlomo. – Oh, yeah!

He crosses to the piano, and sings.

BRING ON TOMORROW

LET IT COMELET ‘EM KNOW THAT WE’RE THERE

LET ‘EM KNOW WE KNOW WHERE WE’RE COMIN’ FROM

WE CAN MAKE A DIFFERENCEIT’S NOT TOO LATE

31

Carmen. – Scusa non volevo spaventarti. Genio al lavoro, giusto?

Schlomo. – Non sono proprio un genio.

Carmen. – Sai, Schlomo, il tuo problema è che non sei abbastanza sicuro.

Come quel pezzo che suoni sempre solid gold.

Schlomo. – E’ per l’esame di composizione. Sono settimane che ci lavoro, ma

sento che manca ancora qualcosa.

Carmen. – Forse questo ti può aiutare. (Gli consegna un foglio di carta.)

Sono versi! Li ho scritti per questa melodia. Vai avanti, controllali.

Schlomo. – Carmen, questa non è una canzone, è una sonata.

Carmen. – Che differenza fa? Riconosco un successo quando lo sento.

Schlomo. – Lo credi davvero?

Carmen. – Garantito il disco di platino con questo! (Schiocca le dita.). Ma

credo che tu senta sempre questa roba. Complimenti.

Schlomo. – Stai scherzando? Vengo da una famiglia di perfezionisti. Niente

di ciò che faccio è mai abbastanza buono.

Carmen. – Hey, so cosa vuol dire. Potrei vincere un Grammy e mia madre mi

chiamerebbe comunque sciattona. Allora cosa dici? Proviamo? (Gli da uno

spintone.) Il testo.

Schlomo. – Oh, va bene!

Si avvicina al pianoforte e canta.

BRING ON TOMORROW

LET IT COME

LET ‘EM KNOW THAT WE’RE THERE

LET’EM KNOW WE KNOW WHERE WE’RE COMIN’ FROM

WE CAN MAKE A DIFFERENCE

IT’S NOT TOO LATE



BRING ON TOMORROWI CAN’T WAIT!

He stops playing.

Schlomo. – It’s really good!

Carmen. – Thanks.

Schlomo. – No, really good. Except the second and third lines. (Ad-libs the

lyrics.) They just don’t flow.

Carmen. – Okay, yeah. I see what you mean. Wanna try it again?

They think for a moment, then he starts playing again.

Carmen. – BRING ON TOMORROW LET IT (pause) SHINE!

They search for line.

Carmen/Schlomo. – LIKE

Schlomo. – LIKE

Carmen. – LIKE THE SUN COMIN’ UP ON A BEAUTIFUL DAY

Schlomo. – IT’S YOURS AND MINE.

Carmen. – Yeah!

Both. – WE CAN MAKE A DIFFERENCE. IT’S NOT TOO LATE

BRING ON TOMORROW WE CAN’T WAIT!

Carmen. – You’re unreal!

Schlomo. – You’re crazy!

Carmen. – I’m crazy?! I just struck gold.

Schlomo. – Sure. Why not? After all, we just wrote our first song together.

32

BRING ON TOMORROWI CAN’T WAIT!

Si ferma.

Schlomo. – E’ veramente bello!

Carmen. – Grazie.

Schlomo. – No, davvero. A parte il secondo e il terzo verso. (Improvvisa i

versi.) Non scorrono bene.

Carmen. – Ok, ho capito. Proviamo di nuovo?

Pensano un momento, poi riprende a suonare.

Carmen. – BRING ON TOMORROW LET IT (pause.) SHINE!

Pensano al prossimo verso.

Carmen/Schlomo. – LIKE

Schlomo. – LIKE

Carmen. – LIKE THE SUN COMIN’ UP ON A BEAUTIFUL DAY

Schlomo. – IT’S YOURS AND MINE.

Carmen. – Yeah!

Insieme. – WE CAN MAKE A DIFFERENCE. IT’S NOT TOO LATE


Carmen. – Sei fantastico!

Schlomo. – Sei matta.

Carmen. – Matta? Ho appena scoperto l’oro.

Schlomo. – Sicuro. Perché no? Dopo tutto, abbiamo appena scritto la nostra

prima canzone insieme.



Carmen. – Oh man, you are too much. (Realizing the time.) All right. Look, I

gotta go. I got an audition. But I’ll catch you later!

Schlomo. – Yeah, catch me later.

Carmen. – You got it, Schlomo! You definitely got it! And I got you!

SCENE 10

Dance Studio. Tyrone and Iris dance on, followed by Ms. Bell.

They’re rehearsing a Pas de Deux.

Ms. Bell. – Good. Very good. You’ve got the choreography, now let’s talk

about the quality of movement. It should be lyrical but strong, like fire and

ice. Let’s take it again from the top. (As they begin the combination again,

Miss Sherman enters.) Hello, Esther, what brings you to the fourth floor?

Miss Sherman. – I understand you’ve chosen to feature Iris and Tyrone in

the Junior Festival.

Ms. Bell. – They earned it. Iris, watch your arms in the grand jeté.

Miss Sherman. – Unfortunately, Tyrone won’t be able to participate.

The dancing abruptly stops.

Tyrone. – Say what?

Miss Sherman. – I’m sorry Tyrone, you failed Sophomore English.

Tyrone. – You flunked me?! But I did all the work. I even handed in my termpaper on time.

Miss Sherman. – Unfortunately, it bore a remarkable similarity to Iris’s.

Tyrone. – Wait a minute. Are you accusin’ me of cheatin’?

Iris. – Tyrone and I study together. So what if the papers are similar?

33

Carmen. – Ehi, sei troppo forte. (Realizzando che ora è.) Bene. Ora devoandare ho un’audizione. Ma ci vediamo dopo!

Schlomo. – Sì, a dopo.

Carmen. – Ce l’hai, Schlomo, ce l’hai davvero! E io ho te!

SCENA 10

Studio di danza. Tyrone ed Iris danzano, seguiti da Ms. Bell.

Provano un passo a due.

Ms. Bell. – Bravi. Complimenti. Siete padroni della coreografia, ora parliamodella qualità del movimento. Deve essere lirico ma forte, come fuoco eghiaccio. Riprendiamo dall’inizio. (Mentre ricominciano la combinazione,

entra Miss Sherman.) Ciao Esther, cosa ti porta al quarto piano?

Miss Sherman. – Ho saputo che hai deciso di far partecipare Iris e Tyrone alJunior Festival.

Ms. Bell. – Si, se lo meritano. Iris, attenta al braccio nel grand jeté.

Miss Sherman. – Purtroppo Tyrone non potrà partecipare allo spettacolo.

La danza si interrompe bruscamente.

Tyrone. – Cosa?

Miss Sherman. – Mi spiace ma sei stato bocciato in lettere.

Tyrone. – Mi hai bocciato? Ma se ho fatto tutto il lavoro. Ho anche

consegnato il mio lavoro di fine trimestre puntuale.

Miss Sherman. – Sfortunatamente, è estremamente simile a quello di Iris.

Tyrone. – Aspetti un attimo. Mi sta accusando di imbrogliare?

Iris. – Tyrone e io studiamo insieme. Cosa c’è di male se i nostri compiti si

assomigliano?



Miss Sherman. – They weren’t similar, they were identical.

Ms. Bell. – Then why not accuse Iris?

Miss Sherman. – Because she’s a straight A student. (To Tyrone.) Let’s behonest. Iris has been carrying you in your academic subjects for the entire

year.

Tyrone. – Nobody carries me. I do my own work, in my own way.

Miss Sherman. – You may think you do, but your reading is sub-standard.

You couldn’t possibly have written that paper.

Tyrone. – Hey, forget this noise. I didn’t wanna be in no festival anyway.

Tyrone exits. Iris follows him out.

Ms. Bell. – Tyrone, wait. Wait! (She turns back to Miss Sherman.) You’re not

being fair, Esther. Tyrone works hard in my class. He’s motivated in my class.This young man has the potential to be a true artist.

Miss Sherman. – A true artist that can hardly read? Let Tyrone pass hisacademic subjects then we’ll talk about his future in the arts.

Ms. Bell. – No! We’ll talk about it now!

Ms. Bell. – ARTISTS ARE SPECIAL CELESTIAL FOOLS

BLESSED WITH A TALENT FOR BREAKING THE RULES

FEELING CONFINED IN CUBICAL SCHOOLS

ARTISTS ARE SPECIAL.

Miss Sherman. – ARTISTS ARE PEOPLE NOT PRIMITIVE FOOLS

THEY LEARN WHAT TO DO BEFORE BREAKING THE RULESTHEY KNOW THAT THE BRAIN IS THE FINEST OF TOOLS

ARTISTS ARE PEOPLE

Both. – WHETHER IN THEATER OR MUSIC OR DANCE

THEY HAVE TO BE GIVEN A CHANCE…

Ms. Bell. – TO FLY BY THE SEAT OF THEIR PANTS!

34

Miss Sherman. – Non erano simili, erano identici.

Ms. Bell. – Perché non accusare Iris allora?

Miss Sherman. – Perché è una studentessa di livello A. (A Tyrone.) Siamoonesti. Iris ti ha trascinato nelle materie accademiche per tutto l’anno.

Tyrone. – Nessuno mi ha trascinato. Faccio il mio lavoro, a modo mio.

Miss Sherman. – Forse credi di farlo, ma la tua lettura è sotto lo standard.

Non avresti potuto scrivere quel tema.

Tyrone. – Hey, lascia perdere questo baccano. Non volevo partecipare a

nessun festival in ogni caso.

Tyrone esce. Iris lo rincorre.

Ms. Bell. – Tyrone, aspetta. Aspetta! (Si rivolge a Miss Sherman.) Non sei

stata leale, Esther. Nella mia classe Tyrone si da’ da fare, è motivato. Questogiovanotto ha il potenziale per diventare un vero artista.

Miss Sherman. – Un vero artista che sa a malapena leggere? Fai in modo cheTyrone passi le materie accademiche, poi parleremo del suo futuro nell’arte.

Ms. Bell. – No! Ne parleremo adesso!

Ms. Bell. – ARTISTS ARE SPECIAL CELESTIAL FOOLS

BLESSED WITH A TALENT FOR BREAKING THE RULES

FEELING CONFINED IN CUBICAL SCHOOLS

ARTISTS ARE SPECIAL

Miss Sherman. – ARTISTS ARE PEOPLE NOT PRIMITIVE FOOLS

THEY LEARN WHAT TO DO BEFORE BREAKING THE RULESTHEY KNOW THAT THE BRAIN IS THE FINEST OF TOOLS

ARTISTS ARE PEOPLE.

Insieme. – WHETHER IN THEATRE OR MUSIC OR DANCETHEY HAVE TO BE GIVEN THE CHANCE…

Ms. Bell. – TO FLY BY THE SEAT OF THEIR PANTS!



Miss Sherman. – TO DEVELOP THEIR MINDS!

Both. – AND BE NURTURED LIKE PLANTS

Miss Sherman. – ARTISTS ARE PART OF THE SAME HUMAN RACE

AS EVERYONE ELSE IN THE SAME BLOODY PLACE

YOU LEARN TO SURVIVE OR YOU FALL ON YOUR FACE

ARTIST OR NOT! ARTIST OR NOT!

Miss Sherman. – You know perfectly well, ninety per cent of these kids will

never make a living in the arts. We have to prepare them for life! What’s

Tyrone going to do if he can’t make it as a dancer? Mop floors?

Ms. Bell. – Tyrone will make it!

She sings.

I’VE SEEN THEM COME AND GO FOR ALL THESE YEARS

KIDS WITH NO TALENT FOR ANYTHING MORE

THEN CARRYING SPEARS

ANOTHER YEAR ANOTHER SHIPMENT

LACKING THE DRIVE OR THE STYLE

OR THE BASIC EQUIPMENT

THIS ONE IS DIFFERENT

I CAN SEE ME THEN

UNREMARKABLE ME

THE KID IN THE BALLET CLASS

THE PRINCESS I WANTED TO BE

TUTU AND POINTE SHOES

HAIR IN A BUN

COMPLETELY UNNOTICED AS IF I WERE NO ONE

THIS ONE IS DIFFERENT I TELL YOU

THIS ONE CAN DANCE!

THIS ONE IS SPECIAL I TELL YOU

GIVE HIM A CHANCE!

Ms. Bell. – He will make it! He will!

35

Miss Sherman. – TO DEVELOP THEIR MINDS!

Insieme. – AND BE NURTURED LIKE PLANTS

Miss Sherman. – ARTISTS ARE PART OF THE SAME HUMAN RACE

AS EVERYONE ELSE IN THE SAME BLOODY PLACE

YOU LEARN TO SURVIVE OR YOU FALL ON YOUR FACE

ARTIST OR NOT! ARTIST OR NOT!

Miss Sherman. – Lo sai perfettamente che il novanta per cento di questi

ragazzi non ce la faranno mai a mantenersi con la professione artistica.

Dobbiamo prepararli alla vita! Cosa farà Tyrone se non dovesse diventareun ballerino? Pulirà i pavimenti?

Ms. Bell. – Tyrone ce la farà!

Canta.

I’VE SEEN THEM COME AND GO FOR ALL THESE YEARSKIDS WITH NO TALENT FOR ANYTHING MORE

THEN CARRYING SPEARSANOTHER YEAR ANOTHER SHIPMENT

LACKING THE DRIVE OR THE STYLE

OR THE BASIC EQUIPMENT

THIS ONE IS DIFFERENT

I CAN SEE ME THEN

UNREMARKABLE ME

THE KID IN THE BALLET CLASSTHE PRINCESS I WANTED TO BE

TUTU AND POINTE SHOES

HAIR IN A BUN

COMPLETELY UNNOTICED AS IF I WERE NO ONE

THIS ONE IS DIFFERENT I TELL YOU

THIS ONE CAN DANCE!THIS ONE IS SPECIAL I TELL YOU

GIVE HIM A CHANCE!

Ms. Bell. – Ce la farà! Ce la farà!



Miss Sherman. – Fine. I wish him luck. But this is also an academicinstitution, with academic standards. Oh, I know… we’re the “FAME” highschool now, ever since that movie came out. They come here expecting tobecome stars! And you people think you run the show here. Teach them toperform and who cares if they read or write anyway? As long as they cansign their name on a contract.

Ms. Bell. – And who are you, “Defender of the true faith?”

Miss Sherman. – Exactly!

Miss Sherman. – WHAT DID THEY TELL ME WHEN I WAS A GIRL?

LEARN!DAY AFTER DAY WHEN I WAS A GIRL?LEARN!THE LAND OF DREAMS WAITS OVER THE MEADOW

IF YOU CAN FIND YOUR WAY OUT OF THE GHETTO

LEARN! LEARN!PUT YOUR FAITH IN BOOKSTHAT WILL PROTECT YOUPUT YOUR FAITH IN BOOKS

AND A MIND OF YOUR OWNNEITHER CHARM NOR LOOKSWILL MAKE THEM RESPECT YOUYOU MUST LEARN TO STANDYOU MUST LEARN TO STAND ALONE!

Ms. Bell. – THIS ONE IS DIFFERENT!

Miss Sherman. – PUT YOUR FAITH IN BOOKS!

Ms. Bell. – THIS ONE CAN DANCE!


Ms. Bell. – ARTISTS ARE SPECIAL!

Miss Sherman. – ARTISTS ARE PEOPLE!

Both. – THIS ONE MUST HAVE THE CHANCE!

THIS ONE MUST HAVE A CHANCE!

36

Miss Sherman. – Bene! Gli auguro buona fortuna. Ma questa è ancheun’istituzione accademica, con standard accademici. Certo, lo so… ora siamola scuola “FAME” e da quando e’ stato fatto quel film, vengono qui conl’intenzione di diventare delle star! E voi pensante di poter dettare leggequi! Gli insegnate a fare gli artisti e che importa se non sanno scrivere oleggere! Basta che sappiano firmare un contratto.

Ms. Bell. – E chi sei tu, il “Difensore della vera fede?”

Miss Sherman. – Esattamente!

Miss Sherman. – WHAT DID THEY TELL ME WHEN I WAS A GIRL?

LEARN!DAY AFTER DAY WHEN I WAS A GIRL?LEARN!THE LAND OF DREAMS WAITS OVER THE MEADOW

IF YOU CAN FIND YOUR WAY OUT OF THE GHETTO

LEARN! LEARN!PUT YOUR FAITH IN BOOKSTHAT WILL PROTECT YOUPUT YOUR FAITH IN BOOKS

AND A MIND OF YOUR OWNNEITHER CHARM NOR LOOKSWILL MAKE THEM RESPECT YOUYOU MUST LEARN TO STANDYOU MUST LEARN TO STAND ALONE!

Ms. Bell. – THIS ONE IS DIFFERENT!


Ms. Bell. – THIS ONE CAN DANCE!


Ms. Bell. – ARTISTS ARE SPECIAL!

Miss Sherman. – ARTISTS ARE PEOPLE!

Insieme. – THIS ONE MUST HAVE THE CHANCE!

THIS ONE MUST HAVE A CHANCE!



The bell rings. Students enter noisily. Tyrone crosses, heading toward the exit.

Miss Sherman. – Tyrone. Perhaps we could compromise. If you repeat

sophomore English in summer school and get a passing grade, you canparticipate in the dance festival next year.

Tyrone. – Don’t be doin’ me no favors. I don’t need this damned school, andI don’t need you.

Tyrone exits.

Ms. Bell. – Tyrone. Wait. Wait!

She starts to exit following Tyrone.

Miss Sherman. – Greta, Tyrone has made his decision. Now, he’ll have to live

with it.

Ms. Bell. – Do you really think I’d let Tyrone just walk away? After

everything I’ve invested in him? Obviously, you don’t know me very well.

She exits.

Miss Sherman (to rest of the students). – You all knew the conditions when

you enrolled. Nobody said it was going to be easy. You focus on what you

need to do to get the job done. Now we go on. Back to work. Everyone!

Back to work.

She exits.

Nick. – Work. Work.

All. – WORK!WORK!

WORK!

HARD WORK!WORK!

HARD WORK!WORK! WORK! WORK!

HARD WORK! HARD WORK!

I’M ALIVE

37

Suona la campanella. Gli studenti entrano rumorosamente.

Tyrone irrompe nella scena, dirigendosi verso l’uscita.

Miss Sherman. – Tyrone, forse potremmo raggiungere un compromesso. Seripeterai l’esame di riparazione e lo passerai, potrai ballare nello spettacolol’anno prossimo.

Tyrone. – Non ho bisogno che mi si facciano favori. Non ho bisogno diquesta maledetta scuola, non ho nemmeno bisogno di lei.

Tyrone esce.

Ms. Bell. – Tyrone. Aspetta. Aspetta!

Fa per uscire seguendo Tyrone.

Miss Sherman. – Greta, Tyrone ha fatto la sua scelta. Ora deve sopportarnele conseguenze.

Ms. Bell. – Credi davvero che lo lasci andare via così? Dopo tutto il tempoche gli ho dedicato? Allora non mi conosci bene.

Esce.

Miss Sherman (agli studenti rimasti). – Tutti sapevate quali erano lecondizioni quando vi siete iscritti. Nessuno vi ha mai detto che sarebbe statofacile. Concentratevi su quello che dovete fare per finire il lavoro. E adessoandiamo avanti. Al lavoro. Tutti! Al lavoro.

Esce.

Nick. – Lavoro. Lavoro.

Tutti. – WORK!WORK!WORK!HARD WORK!WORK!HARD WORK!WORK! WORK! WORK!HARD WORK! HARD WORK!

I’M ALIVE

AND I WILL SURVIVE AND I WILL SURVIVE



AND I WILL SURVIVE

SHOW THE WORLD

THAT I CAN TAKE IT


HIT THE HEIGHTS



All. – SHOW THE WORLD THAT I CAN MAKE IT

BY DOIN’ DOIN’

BY DOIN’ HARD WORK!



HARD WORK! YEAH!

Bell rings. Students exit.

SCENE 11

Traffic noise and an ambulance in the background.

A “shady character” is leaning against the proscenium.

Carmen enters, crosses to him and looks around nervously.

They talk, she hands him money, he hands her some drugs.

She then exits as the “shady character” runs off.

SCENE 12 A

Ms. Bell and Miss Sherman are setting the stage

for the Junior Festival dress rehearsal.

The students are playing and singing ad-lib.

Ms. Bell. – Now remember, the conductor is the conduit between the

orchestra and the singers. So please attempt to keep one eye on me.

38

AND I WILL SURVIVE

SHOW THE WORLD

THAT I CAN TAKE IT


HIT THE HEIGHTS



Tutti. – SHOW THE WORLD THAT I CAN MAKE IT

BY DOIN’ DOIN’




HARD WORK! YEAH!

Suona la campanella. Gli studenti escono.

SCENA 11

Rumori del traffico e un’ambulanza in sottofondo.

Un “personaggio oscuro” si sporge verso il proscenio.

Carmen entra, va verso di lui e si guarda attorno nervosamente.

Parlano, lei gli da del denaro, lui le da la droga.

Poi esce mentre il “personaggio oscuro” corre nella direzione opposta.

SCENA 12 A

Ms. Bell e Miss Sherman preparano la scena per la prova generale del Junior

Festival. Gli studenti suonano strumenti e cantano improvvisando.

Ms. Bell. – Ora ricordatevi, il direttore d’orchestra è il canale tra l’orchestra

e i cantanti. Perciò per favore cercate di tenere un occhio su di me.

Mi Sh m Ok b in in th t in Pl l M B ll Mi Sh m Ok i t t d nt il i i Ai t i ti



Miss Sherman. – Okay guys, bring in the curtain. Places please. Ms Bell,we’re at places.

Serena enters and crosses to Miss Sherman.

Serena. – Have you seen Carmen?

Miss Sherman. – Isn’t she in the dressing room?

Ms. Bell. – She should be on stage, warming up. Excuse me, Schlomo. Have

you seen Carmen?

Schlomo (hesitantly). – I don’t know Ms. Bell. We came in together. Maybe

she’s in the bath room.

Carmen runs on.

Miss Sherman. – Greta, she’s here. Carmen, where have you been?

Carmen. – Sorry Ms. Bell, I just went out to get a breath of fresh air.

Ms. Bell. – Well breathe on your own time, not mine. Okay, everybody. Thisis your first time in costumes. Do not eat in them, drink in them, or sleep

in them. They are rented. If anything goes wrong keep going. Do not stop.

Places everyone.

Miss Sherman. – Ms Bell, start the music, maestro.

SCENE 12 B

Music begins and Nick steps forward to recite a soliloquy from “Henry V.”

Nick. – “Oh, for a muse of fire that would ascend the brightest heaven ofinvention. A kingdom for a stage, Princes to act, and Monarchs to beholdthe swelling scene. Think, when we speak of horses, that you see them,printing their proud hoof in the receiving earth. For it is our thoughts thatnow must deck our kings, carry them here and there, jumping o’er times,turning the accomplishment of many years into an hour glass”.

39

Miss Sherman. – Ok ragazzi, portate dentro il sipario. Ai vostri posti perfavore. Ms. Bell, siamo ai nostri posti.

Serena entra e va verso Miss Sherman.

Serena. – Avete visto Carmen?

Miss Sherman. – Non è nello spogliatoio?

Ms. Bell. – Dovrebbe essere sul palco a scaldarsi. Scusami Schlomo hai visto

Carmen?

Schlomo (esitante). – Non so Ms. Bell. Siamo arrivati insieme. Forse è in

bagno.

Entra Carmen.

Miss Sherman. – Greta, eccola è qui. Carmen, dove sei stata?

Carmen. – Mi scusi Ms. Bell, ero uscita a prendere una boccata d’aria.

Ms. Bell. – Bene, respira durante il tuo tempo, non il mio. Ok, tutti. E’ lavostra prima volta in costume. Non mangiate, non bevete e non dormite con

indosso i costumi. Sono a noleggio. Se qualcosa va storto andate avanti. Non

fermatevi. Ognuno al proprio posto.

Miss Sherman. – Ms. Bell, musica maestro.

SCENA 12 B

La musica inizia e Nick recita da solo un brano dall’Enrico V.

Nick. – “Oh, avere qui una Musa di fuoco capace di elevarsi al più fulgido cielodell’invenzione, avere un regno per palcoscenico, principi per attori e sovrania guardar la grandiosa scena! Pensate, quando parliamo di cavalli, di vederlistampar gli zoccoli superbi sul molle terreno che li riceve. Saranno infattii vostri pensieri a rivestire i re di ricche vesti, a trasferirli ora qua ora là,saltando le stagioni, concentrando anni di eventi con un giro di clessidra.”

Nick I WANNA MAKE MAGIC Nick I WANNA MAKE MAGIC



Nick. – I WANNA MAKE MAGICI WANNA STRIKE LIGHTNING IN THE SKY

I WANNA DO THINGS YOU CAN’T BELIEVE

ANYONE WOULD TRY

Serena. – I WANNA MAKE MAGIC

AND MAKE EVERY MOMENT A SURPRISE

Nick.– I’LL CAPTURE YOUR SENSES IN A SPELLRIGHT BEFORE YOUR EYES

Serena. – RIGHT BEFORE YOUR EYES

Nick/Serena. – I WANNA MAKE MAGIC

Schlomo plays a solo with Carmen supporting him.

Tyrone and Iris enter and dance a Pas de Deux.

Following the dance, Carmen and Schlomo begin the Spanish flamenco section.

Schlomo (playing guitar and singing in mock flamenco style). – C…a…r…

m…e…n! (Takes a deep breath.) C…a…r…m…e…n!

Ms. Bell (interrupting him). – Schlomo!

Schlomo. – Olé!

Schlomo and Carmen begin the Spanish version of “There She Goes!”

Men. – THERE SHE GOES!

Miss Sherman. – Spot!

Men. – AIN’T SHE THE PICTURE OF A REAL LIFE STAR?YOU WANT TO FOLLOW HER

WHOEVER YOU ARE

THERE SHE GOES!

SHE’S PASSING YOUYOU BETTER HURRY IF YOU WANT A LOOK


SHE’S PASSING YOU!

40

Nick. – I WANNA MAKE MAGIC

I WANNA STRIKE LIGHTNING IN THE SKY

I WANNA DO THINGS YOU CAN’T BELIEVE

ANYONE WOULD TRY

Serena. – I WANNA MAKE MAGIC

AND MAKE EVERY MOMENT A SURPRISE

Nick. – I’LL CAPTURE YOUR SENSES IN A SPELL

RIGHT BEFORE YOUR EYES

Serena. – RIGHT BEFORE YOUR EYES

Nick/Serena. – I WANNA MAKE MAGIC

Schlomo suona un assolo con Carmen che lo supporta.

Tyrone e Iris entrano e ballano un passo a due. Dopo la danza, Carmen e

Schlomo iniziano la sessione di Flamenco spagnolo.

Schlomo (suonando la chitarra e cantando in stile flamenco) . – C…a…r…

m…e…n..! (Fa un respiro profondo.) C…a…r…m…e…n..!

Ms. Bell (interrompendolo). – Schlomo!

Schlomo. – Olé!

Schlomo e Carmen iniziano la versione spagnola di “There she goes”

Uomini. – THERE SHE GOES!

Miss Sherman. – Luce!

Uomini. – AIN’T SHE THE PICTURE OF A REAL LIFE STAR?YOU WANT TO FOLLOW HER

WHOEVER YOU ARE

THERE SHE GOES!

SHE’S PASSING YOU

YOU BETTER HURRY IF YOU WANT A LOOK



Carmen – REACH OUT TO TOUCH Carmen – REACH OUT TO TOUCH



Carmen. REACH OUT TO TOUCH

DON’T BE SHY

THERE’S NO REASON TO BE SCARED!

Men. – NO IT’S TOO MUCH

I CAN’T LOOK HER IN THE EYE


Carmen ad-libs complaints about the costumes to Ms. Bell.

Ms. Bell. – We’ll talk about it later. (Carmen continues to complain.) Get

back in line Carmen!

All. – MAGIC MAGIC MAGIC MAGIC

Ms. Bell. – All right everyone, pretty good. (The students cheer.) Final dress

tomorrow! Don’t be late.

The students, except Tyrone,

exit in all directions during the following exchange.

Ms. Bell. – You did well, Tyrone. I’m real proud of you.

Tyrone. – Thanks, Ms. Bell.

Tyrone turns to go and almost bumps into Miss Sherman.

Miss Sherman. – Tyrone, I understand you passed Sophomore English in

summer school. I hope this time you did the work yourself.

Tyrone. – You just couldn’t wait to bring me down, could you?

Miss Sherman. – My goal is to see you succeed.

Tyrone. – You sure got a funny way of showing it. But it don’t matter, not

today. ‘Cause today… I’m flying high.

He does a spin, snaps his fingers in Miss Sherman’s face, and walks out.

41

Carmen. REACH OUT TO TOUCH

DON’T BE SHY

THERE’S NO REASON TO BE SCARED!

Uomini. – NO IT’S TOO MUCH

I CAN’T LOOK HER IN THE EYE


Carmen, improvvisamente, si lamenta con Ms. Bell per i costumi.

Ms. Bell. – Ne parleremo dopo. (Carmen continua a lamentarsi.) Torna al tuo

posto Carmen!

Tutti. – MAGIC MAGIC MAGIC MAGIC

Ms. Bell. – Tutti bene, abbastanza buono. (Gli studenti si rallegrano.) Prova

finale domani! Siate puntuali.

Gli studenti, eccetto Tyrone, escono in tutte le direzioni

durante lo scambio seguente.

Ms. Bell. – Sei stato bravo Tyrone. sono veramente orgogliosa di te.

Tyrone. – Grazie, Ms. Bell.

Tyrone si gira per uscire e quasi sbatte contro Miss Sherman.

Miss Sherman. – Tyrone, vedo che ce l’hai fatta a superare l’esame di

riparazione! Spero almeno che questa volta non abbia copiato.

Tyrone. – Non vedeva l’ora di bocciarmi non è vero?

Miss Sherman. – Il mio obiettivo è di vederti avere successo.

Tyrone. – Allora ha uno strano modo di farmelo capire. Però non mi

interessa, non oggi, perché oggi… ho le ali ai piedi.

Fa una giravolta, schiocca le dita in faccia a Miss Sherman ed esce.

Ms. Bell. – Was that really necessary? Ms. Bell. – Era davvero necessario?



Ms. Bell. Was that really necessary?

Miss Sherman (interrupting her.). – I don’t know, Greta. Only time will tell.

SCENE 13 A

School Hallway. Carmen and Schlomo enter.

Carmen. – That’s my number. They have no right to put those other girls inthe same dress. I’m supposed to be the star of that number. This school is toodamn confining… like a prison.

Schlomo. – Carmen…

Carmen. – They don’t respect me here. First I’m not being honest, then I’mindicating. Now Sherman got me stuck doing sense memory. When do I getto do some real acting?

Schlomo. – Maybe you have to learn to be real before you can learn to act.

Carmen. – You know, Schlomo. Sometimes you sound like one of them.

Schlomo. – “One of them?” Carmen, teachers aren’t some sort of alien race.Maybe Sherman could help you.

Carmen. – Help me with what? You think I got some kind a problem?

Schlomo. – Well, maybe you do. It’s like all this stuff about being famous allthe time. Maybe you should take a break from that?

Carmen. – Look, Mr. Metzenbaum, Mr. Son of the Famous Violin Virtuoso,some people get handed life on a silver tray. The rest of us have to reach out

and grab it. Which is what I’m doin’ right now.

Schlomo. – What?!

Carmen. – I’m dropping out of school. Goodbye prison. It is time now tofollow Elliot Green’s advice. L.A is waiting for me!

Schlomo. – Elliot Green? Who is he?

42

Ms. Bell. Era davvero necessario?

Miss Sherman (interrompendola). – Non so, Greta. Solo il tempo ce lo dirà.

SCENA 13 A

Atrio della scuola. Carmen e Schlomo entrano.

Carmen. – Quello è il mio numero. Non hanno il diritto di far indossare lostesso abito a quelle altre ragazze. Dovrei essere io la star di quel numero.Questa scuola è troppo chiusa. Ha troppe regole, come una prigione.

Schlomo. – Carmen…

Carmen. – Qui non mi rispettano. Prima non sono onesta, poi mi giudicano.Ora Sherman mi tiene bloccata facendo memoria sensoriale. Ma quandocomincerò a recitare sul serio?

Schlomo. – Forse devi imparare a essere vera prima di imparare a recitare.

Carmen. – Sai Schlomo, a volte parli come uno di loro.

Schlomo. – “Uno di loro”? Carmen, gli insegnanti non sono dei marziani.Forse Sherman potrebbe aiutarti.

Carmen. – Aiutarmi in cosa? Pensi che io abbia qualche problema?

Schlomo. – Forse sì. Come tutta questa storia sull’essere famosi, cosìinsistente. Forse dovresti prenderti una pausa da ciò?

Carmen. – Senti, Mr. Metzenbaum, sig. figlio del Famoso Virtuoso delViolino, ad alcuni viene consegnata la vita su un vassoio d’argento. Il resto di

noi deve afferrarla e tenerla. Che è ciò che sto facendo proprio adesso.

Schlomo. – Cosa?!

Carmen. – Lascio la scuola. Addio prigione. E’ venuto il momento di seguirei consigli di Elliot Green. L.A. mi aspetta!

Schlomo. – Elliot Green? Chi è?

Carmen. – He’s my new agent. Elliot Green came to New York to scout Carmen. – E’ il mio nuovo agente. Elliot Green è venuto a New York a



y gtalent, and he found me! And I trust him.

Schlomo. – But if you have hardly known him?!

Carmen. – He’s got faith in me. Which is more than I can say for you.

Schlomo. – But what about the band? I finished that new song we wereworking on.

Carmen. – I can’t pass this up. Besides, the band ain’t goin’ nowhere.

Schlomo. – Who says? Mr. Showbiz?

Carmen. – He’s a professional agent.

Schlomo. – He’s a professional con artist! Carmen, I used to see guys like

that all the time, hanging around my father. He doesn’t care about you; he just wants a piece of you.

Carmen. – You’re wrong. He does care about me. He’s got all kinds of thingslined up for me in L.A.

Schlomo. – Like what? Your favorite white substance?

Carmen. – I don’t do drugs anymore.

Schlomo. – Carmen, don’t you get it? I’m crazy about you.

Carmen. – Then please, be happy for me, ‘cause tomorrow morning, I’ll be

winging my way to dreamland.

Schlomo. – You know what your problem is? You want everything too fast.Instant fame. But Carmen, that only happens in fairy tales.

Carmen. – You know what your problem is? You don’t have enough faith inme. You can’t even wish me good luck.

Schlomo. – You know what Carmen, you and me - we could have really beensomething.

43

gscoprire nuovi talenti e ha scoperto me. E io mi fido di lui.

Schlomo. – Ma se l’hai appena conosciuto?!

Carmen. – Lui crede in me! Che è più di quello che posso dire di te.

Schlomo. – E il nostro gruppo? Ho terminato quella nuova canzone su cuistavamo lavorando.

Carmen. – Non posso lasciarmelo scappare. Inoltre, il gruppo non sta

andando da nessuna parte.

Schlomo. – E chi lo dice? Mr. Scopritore di talenti?

Carmen. – E’ un agente professionista.

Schlomo. – Un professionista? Carmen. Sono abituato a vedere uominicome quello attorno a mio padre. Non gli interessa niente di te; vuole solo

una parte di te.

Carmen. – Ti sbagli. Si interessa a me. Ha qualsiasi cosa pronta per me a L.A.

Schlomo. – Ad esempio? La tua sostanza bianca preferita?

Carmen. – Non prendo più droghe.

Schlomo. – Carmen, non lo capisci? Sono pazzo di te.

Carmen. – Allora per favore, sii felice per me, perché domani mattina starò

volando verso il paese dei sogni.

Schlomo. – Sai qual è il tuo problema? Vuoi tutto e subito. Successoimmediato. Ma Carmen, succede solo nelle fiabe.

Carmen. – Sai qual è il tuo problema? Non hai abbastanza fiducia in me.Non riesci nemmeno ad augurarmi buona fortuna.

Schlomo. – Sai una cosa Carmen, io e te, avremmo potuto davvero esserequalcuno.

SCENE 13 B SCENA 13 B



Nick and Serena enter.

Nick. – Hi… I’m really happy for you. (She looks at him - confused.) Sherman

posted the cast list for the Junior show - looks like you’ll be playing Juliet.

Serena. – Me? Are you serious? Oh, my God! You are serious! I don’tbelieve it! Juliet! I’m playing Juliet. As in “Romeo and.” My parents are

gonna plotz! (Jumping on him, then composing herself.) Nick… Look, I’msorry about last year - throwing myself at you like that. I was so immature.

But this year, I plan to be much more focused on the work.

Nick. – Serena, I’m not angry, really. In fact, I care more about you thananyone else in this school.

Serena. – You do?

Nick. – Yeah, I do.

Serena. – Good. Then we can be friends offstage. And lovers onstage.

Nick. – Sorry, you’ll be playing the love scenes with someone else. I’ve beencast as Mercutio. (He leaps onto the stairs, grabs the railing with one hand and

his wounded gut with the other, overly theatrical.) “A plague on both yourhouses! They have made worms’ meat of me.”

Serena. – You already know your lines?

Nick. – I’ve been doing Shakespeare since I was in grade school. See you at

rehearsal.

He exits up the stairs. Serena calls after him.

Serena. – Wait a minute. If Nick’s playing Mercutio, who’s playing Romeo?

Tyrone (from offstage.). – Nooooooooo! (He enters and crosses the stage.)

What is this? I’ll kill her! I swear, I’ll kill her! She knows I hate Shakespeare.

Why did she do it? Why?

44

Nick e Serena entrano.

Nick. – Ciao… sono proprio felice per te. (Lei lo guarda confusa.) Shermanha inviato la lista del cast per il Junior show, sembra che sarai tu Giuliettanello spettacolo.

Serena. – Io? Dici sul serio? Oh, Dio mio! Veramente! Non possocrederci! Giulietta! Farò Giulietta. Come in “Romeo e.” I miei sveniranno!(Saltandogli in braccio, poi ricomponendosi.) Nick… senti, mi spiace perl’anno scorso, gettarmi su di te come ho fatto. Ero così immatura. Ma quest’anno sarò molto più concentrata sul lavoro.

Nick. – Serena, non sono arrabbiato, davvero. Sai che tengo a te più che achiunque altro nella scuola.

Serena. – Davvero?

Nick. – Davvero.

Serena. – Bene. Allora saremo amici nella vita e amanti sul palcoscenico.

Nick. – Mi spiace, farai le scene d’amore con qualcun altro. Sono stato sceltocome Mercuzio. (Recitando salta giù dalle scale, tenendosi alla ringhiera con

una mano e allo stomaco ferito con l’altra, apertamente teatrale.) “Tragedia esventura sulle vostre case! Hanno fatto di me carne per i vermi”.

Serena. – Conosci già le tue battute?

Nick. – Faccio Shakespeare da quando ero alla scuola dell’obbligo. Civediamo alle prove.

Esce da sopra le scale. Serena lo chiama.

Serena. – Un attimo. Se Nick fa Mercuzio, chi farà Romeo?

Tyrone (da fuori). – Noooooooo! (Entra e attraversa il palco.) Cos’è? Laammazzo! Giuro che la ammazzo! Lo sa che odio Shakespeare. Lo sa.

Perche’ lo ha fatto? Perché?

He exits ad-libing in Spanish. Esce improvvisando in spagnolo.



Serena. – He’s my Romeo? Oy vey!

Iris. – Hey, better a crazy Romeo, than a fruity - toots, no matter how cute he is.

Nick has overheard this.

Serena.– Fruity - toots? You couldn’t be talking about Nick. Not my Nick.Not Nick Piazza?

Iris. – You ever seen him on a date with a girl?

Serena. – That’s because he’s so serious about his work.

Iris. – At his age? Nobody’s that serious.

Iris exits.

Serena. – Gay?! The love of my life is gay?!

Nick (rushing down the stairs). – Serena, please. Stay calm.

Serena. – I thought we were friends.

Nick. – We are.

Serena. – Then why didn’t you tell me?

Nick. – Tell you what? What exactly was I supposed to say?

Serena. – Look, there’s nothing wrong with being gay. It’s just… well… it

must get lonely in that closet all by yourself.

Nick. – Serena, read my lips. I’m not gay.

He crosses to exit.

Serena. – Well, if you’re not gay, then what have you been into all this time?

45

Serena. – E lui e’ il mio Romeo? Ohh!

Iris. – Hey, meglio un Romeo matto, che finocchio. Non importa quanto sia

carino.

Nick ha sentito tutto ciò.

Serena. – Gay? Non puoi parlare di Nick. Non del mio Nick. Non NickPiazza?

Iris. – L’hai mai visto uscire con una ragazza?

Serena. – E’ solo perché è così serio col suo lavoro.

Iris. – Alla sua età? Nessuno è così secchione.

Iris esce.

Serena. – Gay?! L’amore della mia vita è gay?!

Nick (correndo giù dalle scale). – Serena, per favore, stai calma.

Serena. – Credevo che fossimo amici.

Nick. – Lo siamo.

Serena. – E perché non me l‘hai detto?

Nick. – Dirti cosa? cosa avrei dovuto dirti?

Serena. – Non c’è niente di male ad essere gay. E’ solo… bene… deve esseretriste tenerti dentro questo segreto di omosessualità.

Nick. – Serena, leggimi le labbra. Io non sono gay.

Nick fa per uscire.

Serena. – Bene, se non sei gay, a cosa ti sei dedicato in tutto questo tempo?

Nick. – Nothing. Into nothing. I didn’t know sex was a required activity. Nick. – Niente.A niente! Non sapevo che il sesso fosse un’attività obbligatoria.



Serena. – You make it sound like detention. It’s supposed to be fun.

Nick. – Look, Serena, I know this may be hard for you to understand butsome people think there’s more to life than having sex.

Serena. – Just my luck. I fall for a guy with no sex drive. Nick Piazza, you pissme off.

Nick. – Serena…

Serena. – Leave me alone. Go on. Go practice your death scene. Maybe

you’ll fall on your own sword. Go!

Nick. – All right.

Serena. – Go!

Nick. – All right.

He exits.

Serena. – Oh, I feel like such a fool! How could I be so naïve? I could die - I

could just… Wait. That’s it. Remember this emotion. That’s it! That’s whatSherman taught us. Remember this emotion.

She sings “Think of Meryl Streep”.

THINK OF HOW TO USE IT USE IT ON THE STAGE

THINK OF KATH’RINE HEPBURN THINK OF GERRY PAGE

THINK OF ALL THE FEELINGS WASTED ON THIS CREEP

THINK HOW YOU COULD USE THEMTHINK OF MERYL STREEP!

WHY SHOULD I BE CRAZY SPILLING OUT MY GUTSMAKE A BIG EXPLOSION GO COMPLETELY NUTS?

THESE ARE MY EMOTIONS MINE ALONE TO KEEP

I KNOW I COULD USE THEMTHINK OF MERYL STREEP!

46

Serena. – Lo fai sembrare una cosa da detenuti. Dovrebbe essere divertente.

Nick. – Senti, Serena, so che potrebbe essere difficile per te da capire, ma cisono persone che pensano anche ad altro nella vita oltre che a fare sesso.

Serena. – Ecco. Con la mia fortuna mi dovevo innamorare di uno senzapulsione sessuale. Nick Piazza, mi hai seccato!

Nick. – Serena...

Serena. – Lasciami sola. Vai avanti. Vai a provare la tua scena di morte.

Magari cadrai sulla tua stessa spada. Vai!

Nick. – Va bene.

Serena. – Vai!

Nick. – Va bene.

Nick esce.

Serena. – Mi sento cosi’ stupida! Come ho potuto essere così ingenua?

Vorrei morire! Mi sento così… Aspetta. Ecco! Ricorda questa emozione.Ecco! E’ ciò che ci ha insegnato Sherman. Ricorda questa emozione.

Canta “Think of Meryl Streep”.

THINK OF HOW TO USE IT USE IT ON THE STAGE

THINK OF KATH’RINE HEPBURN THINK OF GERRY PAGE

THINK OF ALL THE FEELINGS WASTED ON THIS CREEP

THINK HOW YOU COULD USE THEMTHINK OF MERYL STREEP!

WHY SHOULD I BE CRAZY SPILLING OUT MY GUTSMAKE A BIG EXPLOSION GO COMPLETELY NUTS?

THESE ARE MY EMOTIONS MINE ALONE TO KEEP

I KNOW I COULD USE THEMTHINK OF MERYL STREEP!

INSIDE ME THERE’S A WORLD OF COLOR AND LIGHT

NOTHING HAS TO BE WRONG NOTHING HAS TO BE RIGHT

INSIDE ME THERE’S A WORLD OF COLOR AND LIGHT





INSIDE ME ARE TREASURES THAT GLOW

AN ACTRESS’S JOB IS TO KNOW WHAT SHE’S WILLING TO SHOW

AND THEN HIDE ALL THE REST SO NO ONE’S THE WISER

SAVE UP ALL THE BEST AN EMOTIONAL MISER

KEEP EV’RY MOMENT UNDER CONTROL

ALWAYS IN CHARGE PLAYING A ROLE

SMILE AND SHRUG YOUR SHOULDERS

MAKE BELIEVE IT’S FINE

COME UP WITH AN ANSWER OR A WITTY LINE

THOUGH YOUR HEART IS BREAKING NEVER START TO WEEP

SOMEDAY YOU CAN USE IT



THINK OF MERYL STREEP!

SCENE 14

Students enter noisily. Miss Sherman enters.

Miss Sherman. – All right, class, let’s come to order. (The students take their

seats except Tyrone, who continues yakking.) Well, Tyrone, since you’re

already up, let’s hear your summary of “Death of a Salesman.”

Tyrone (taking chewing gum out of his mouth and sticking it behind his ear). – So,

Willy Loman - he’s a traveling salesman and he’s havin’ a nervous breakdown. I

guess what he’s sellin’ ain’t sellin’! See, he had these big dreams for his two sons,

Biff and Happy. But, trust me, nobody’s happy in this play. Oh, yeah, like the

title says, he croaks at the end. It was real sad. No really. It almost drained my

eyeballs.

Miss Sherman. – You’ve obviously read the play, Tyrone, but your use of the

English language is atrocious . Write it out five hundred words, by tomorrow.

47


INSIDE ME ARE TREASURES THAT GLOW

AN ACTRESS’S JOB IS TO KNOW WHAT SHE’S WILLING TO SHOW

AND THEN HIDE ALL THE REST SO NO ONE’S THE WISER

SAVE UP ALL THE BEST AN EMOTIONAL MISER

KEEP EV’RY MOMENT UNDER CONTROL

ALWAYS IN CHARGE PLAYING A ROLE

SMILE AND SHRUG YOUR SHOULDERS

MAKE BELIEVE IT’S FINE

COME UP WITH AN ANSWER OR A WITTY LINE

THOUGH YOUR HEART IS BREAKING NEVER START TO WEEP




THINK OF MERYL STREEP!

SCENA 14

Gli studenti entrano rumorosamente. Miss Sherman entra.

Miss Sherman. – Seduti, seduti. Silenzio. (Tutti gli studenti si siedono tranne

Tyrone, che continua a chiacchierare.) Bene, Tyrone, dato che sei già in piedi,

sentiamo il tuo riassunto di “Morte di un commesso viaggiatore.”

Tyrone (sputando la gomma da masticare e attaccandosela dietro l’orecchio) . –

Allora, Willy Loman è un commesso viaggiatore che ha un esaurimento

nervoso. Vede, aveva grandi sogni per i suoi due figli, Biff e Felice. Ma,

mi creda, nessuno è felice in quest’opera. Oh, sì, come dice il titolo, alla

fine muore. Era veramente triste. No davvero. Mi ha quasi prosciugato gli

occhi.

Miss Sherman. – Hai chiaramente letto il libro, Tyrone, ma il tuo uso

della lingua inglese è atroce. Scrivi cinquecento parole, per domani.

(She looks around the class. She looks back at Tyrone only to find that he has

started reading a comic book ) Tyrone! What was Mr Miller’s point?

(Guarda in giro per la classe. Ritorna a guardare Tyrone che ha iniziato

a leggere un fumetto ) Tyrone! Qual era il punto più importante per



started reading a comic book.) Tyrone! What was Mr. Miller s point?

Tyrone (still paging through the comic book.). – You know Miss Sherman, Ididn’t really relate to that play. See, it’s all about failure, and I’m all about

success.

Miss Sherman (taking the comic book away.) . – Superman belongs on

Krypton, not in school!

Tyrone. – Hey, don’t be dissin’ the “The Man of Steel.” He’s a role model I

can relate to.

Miss Sherman. – Oh, really? In that case, why don’t you read it to us? Outloud.

Tyrone. – I can’t. I left my reading glasses at home.

Miss Sherman. – Give it up, Tyrone. Your vision is 20 - 20 and you know it.

(After a long pause, she holds out the comic book.) We’re waiting!

Tyrone. – You’re tryin’ to make me look stupid. But I ain’t stupid!

Miss Sherman. – No, you aren’t stupid. But you do need help.

Tyrone snatches the comic from her hands.

Tyrone. – Yeah, help the poor nigger! Don’t give me that tired - ass attitude,

like you care.

Miss Sherman. – But I do care.

Tyrone. – Look, woman, you been disrespectin’ me since day one.

Miss Sherman. – I have been challenging you since day one.

Tyrone. – You wanna fail me again? Go ahead. I’ll pass in summer school,

just like I did last time.

Miss Sherman. – How? By cheating?

48

a leggere un fumetto.) Tyrone! Qual era il punto più importante per

Miller?

Tyrone (continuando a sfogliare il fumetto). – Sai Miss Sherman, non mi sono

relazionato al libro. Vedi, è una storia di falliti e io penso solo al successo.

Miss Sherman (gli toglie il fumetto). – Superman appartiene a Krypton, non

alla scuola!

Tyrone. – Hei, non denigrare l”Uomo d’acciaio”! E’ un modello di ruolo a

cui posso riferirmi.

Miss Sherman. – Davvero ? Allora perché non ce lo leggi? Ad alta voce.

Tyrone. – Non posso, ho lasciato gli occhiali a casa.

Miss Sherman. – Niente storie, la tua vista è 10/10 e lo sai. (Dopo una lunga

pausa, tira fuori il fumetto.) Stiamo tutti aspettando!

Tyrone. – Mi sta facendo fare la figura da scemo. Ma io non sono scemo!

Miss Sherman. – No, non sei scemo ma hai bisogno di aiuto.

Tyrone le toglie i l fumetto di mano.

Tyrone. – Certo, aiuta il povero negro! Non far finta con me che te ne frega

qualcosa.

Miss Sherman. – Ma mi interessa.

Tyrone. – Senti, mi hai disprezzato fin dal primo giorno.

Miss Sherman. – Ti ho sfidato, fin dal primo giorno.

Tyrone. – Mi vuoi bocciare di nuovo? Prego, passerò nella sessione estiva,

come l’ultima volta.

Miss Sherman. – Come? Imbrogliando?

Tyrone. – I told you. I don’t cheat, bastard! Tyrone. – Te l’ho detto, io non imbroglio, stronza!



Miss Sherman slaps Tyrone across the face. Tyrone turns away.

The students freeze. Miss Sherman rushes off.

Tyrone. – Yo! Ears up! I don’t need to read. Know why? Cause I’m a laser. I

got the moves. Yeah, I got the moves, baby. I’m choreographin’ my own life.

Serena. – Yeah, doin’ what, sucker? Shakin’ your ass on a street corner forsmall change? Hey! Wake up, fool.

Tyrone. – I’m up. I’m up, Serena. I’ll get my piece of the Big Apple dancin’.

Just dancin’.

Tyrone. – EV’RY DAY I’LL WAKE UP IN THE MORNIN’

SPLASH MY FACE TO KEEP MYSELF FROM YAWNIN’

GET DRESSED AND GET MY BONES TOGETHER

OPEN THE WINDOW TO CHECK OUT THE WEATHER

THEN LIKE I SEEN A GHOST MAN I’LL BE MOVIN’ MY FEET

JUST LIKE THE POSTMAN IN THE COLD OR THE HEAT

NO TIME TO TALK AND I GO DANCIN’ ON THE SIDEWALK

Students. – DANCIN’ ON THE SIDEWALK!

DANCIN’ ON THE SIDEWALK!


Tyrone. – LUNCHTIME IS MUSIC TO MY EARS

I’M DOWN ON WALL STREET WITH ALL THEM FINANCIERS

SOUTH STREET SEAPORT I AM THE ACTION

THE NUMBER ONE TOURIST ATTRACTION

HIP-HOP TO THE WEST SIDE

WHERE I DO MYSELF PROUD

THE WEST SIDE I S THE BEST SIDE FOR DRAWIN’ A CROWD

THE CABBIES SQUAWK

WHEN I AM DANCIN’

ON THE SIDEWALK

Students. – DANCIN’ ON THE SIDEWALK!


49

Miss Sherman gli molla un bel ceffone sulla faccia.

Tyrone si volta. Gli studenti si immobilizzano. Miss Sherman scappa via.

Tyrone. – Ei, voi! Ascoltatemi! Io non ho bisogno di leggere, e lo sai perche’?

Perche’ sono un laser! Mi so muovere. Sì, mi so muovere baby. Coreograferò

la mia stessa vita.

Serena. – Sì, facendo cosa, stupido? Muovendo il culo all’angolo della strada

per elemosinare monetine? Hey! Svegliati, sciocco.

Tyrone. – Sono sveglio! Sono sveglio, Serena. Mi farò strada nella Grande

Mela ballando. Semplicemente ballando.

Tyrone. – EV’RY DAY I’LL WAKE UP IN THE MORNIN’

SPLASH MY FACE TO KEEP MYSELF FROM YAWNIN’

GET DRESSED AND GET MY BONES TOGETHER

OPEN THE WINDOW TO CHECK OUT THE WEATHER

THEN LIKE I SEEN A GHOST MAN I’LL B E MOVIN’ MY FEET

JUST LIKE THE POSTMAN IN THE COLD OR THE HEAT

NO TIME TO TALK AND I GO DANCIN’ ON THE SIDEWALK

Studenti. – DANCIN’ ON THE SIDEWALK!



Tyrone. – LUNCHTIME IS MUSIC TO MY EARS

I’M DOWN ON WALL STREET WITH ALL THE FINANCIERS

SOUTH STREET SEAPORT I AM THE ACTIONTHE NUMBER ONE TOURIST ATTRACTION

HIP-HOP TO THE WEST SIDE

WHERE I DO MYSELF PROUDTHE WEST SIDE IS THE BEST SIDE FOR DRAWIN’ A CROWD

THE CABBIES SQUAWK

WHEN I AM DANCIN’

ON THE SIDEWALK

Studenti. – DANCIN’ ON THE SIDEWALK!




DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!



DANCIN ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!

Tyrone. – Y’all ready to do this? A - five, six, seven, eight!

Tyrone. – UPTOWN I DO MY BOOGALOOSTOPPIN’ TRAFFIC ON SEVENTH AVENUE

NIGHT TIME THE CORNER TO BE ONTIMES SQUARE UNDER THE NEONFOR MY FINALE I’LL BE DOIN’ MY THINGIN SHUBERT ALLEY THEY’RE GONNA CROWN ME THE KING

OF ALL NEW YORKBECAUSE I’M DANCIN’DANCIN’DANCIN’WOO DANCIN’ON THE SIDEWALK

Students. – DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!

DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!

Miss Sherman reenters.

Miss Sherman. – Everyone, that’s all for today. Class dismissed. (All the

students starts to exit, including Tyrone.) Tyrone, wait .

He stops. They are alone in the classroom.

Miss Sherman. – I am so sorry for having raised my hand to you but anyway

nobody has never insulted me like that before. Can you read at all?

Tyrone. – Just some words here and there. But mostly the letters look

jumbled.

50

DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!

Tyrone. – Siete pronti per farlo? E cinque, sei, sette, otto!

Tyrone. – UPTOWN I DO MY BOOGALOOSTOPPIN’ TRAFFIC ON SEVENTH AVENUE

NIGHT TIME THE CORNER TO BE ONTIMES SQUARE UNDER THE NEONFOR MY FINALE I’LL BE DOIN’ MY THINGIN SHUBERT ALLEY THEY’RE GONNA CROWN ME THE KING

OF ALL NEW YORKBECAUSE I’M DANCIN’DANCIN’DANCIN’WOO DANCIN’ ON THE SIDEWALK

Studenti. – DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!

DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!DANCIN’ ON THE SIDEWALK!

Miss Sherman rientra.

Miss Sherman. – E’ tutto per oggi. La lezione è finita. (Tutti gli studenti fanno per uscire, incluso Tyrone.) Tyrone, aspetta.

Lui si ferma. Sono soli nella s tanza.

Miss Sherman. – Mi spiace. Ti chiedo scusa per aver alzato le mani, mad’altronde nessuno mi aveva mai insultata in questo modo finora. Sei ingrado di leggere qualcosa?

Tyrone. – Solo qualche parola qua e là. Ma per la maggior parte le lettere

sembrano mischiate.

Miss Sherman. – What do you mean by jumbled? Miss Sherman. – Cosa intendi per mischiate?



Tyrone. – I mean I know the words when I hear them - but not when I see them.

Miss Sherman. – Tyrone, when you are dancing do you have trouble withright and left?

Tyrone. – How stupid do you think I am?

Miss Sherman. – Answer me Tyrone - it’s important. (Tyrone does notanswer.) Dear Lord, all this time. Tyrone, it’s very possible you may have a

reading disorder. It’s called dyslexia.

Tyrone. – You mean there’s something wrong in my head?

Miss Sherman. – A small glitch in the system. But with effort, you can

overcome it.

Tyrone. – Uh, uh. I ain’t goin’ to no readin’ class for dummies.

Miss Sherman. – Then I’ll work with you myself. Every day, after school.

Tyrone. – Not me. No way.

Miss Sherman. – Please, Tyrone, don’t give up on yourself. Don’t give up on me.

Tyrone runs out.

SCENE 15

Serena and Tyrone get into position for “Romeo and Juliet” rehearsal.

Serena. – “Good pilgrim, you do wrong your hands too much

Which mannerly devotion shows in this;

For saints have hands that pilgrim’s hands do touch,And palm to palm is holy palmer’s kiss.”

Tyrone. – Yo! Julie baby! Have not saints lips, and holy palmers, too!?

51

Tyrone. – Voglio dire che conosco le parole quando le sento, ma non quando

le vedo.

Miss Sherman. – Tyrone, quando balli hai difficoltà con la destra e la sinistra?

Tyrone. – Quanto credi che io sia stupido?

Miss Sherman. – Rispondimi, Tyrone, è importante. (Tyrone non risponde.)Oh Signore, tutto questo tempo. Tyrone, è possibile che tu abbia un disturbo

della lettura. Si chiama dislessia.

Tyrone. – Vuole dire che c’è qualcosa che non va nella mia testa?

Miss Sherman. – Una piccola falla nel sistema. Ma, sforzandoti, puoi superarla.

Tyrone. – Uh, uh. Non seguirò lezioni di lettura per deficienti.

Miss Sherman. – Allora lavorerò io stessa con te. Ogni giorno, dopo la scuola.

Tyrone. – Non io. Assolutamente no.

Miss Sherman. – Per favore Tyrone, non ti devi arrendere. Non fare arrendere me.

Tyrone corre fuori.

SCENA 15

Serena e Tyrone si mettono in posizione per provare “Romeo e Giulietta”.

Serena. – “Buon Pellegrino, per dimostrare la tua cortese devozione fai

troppo torto alla tua mano. Le mani dei pellegrini possono toccare

le mani delle sante e il vero bacio del fedele è quello della palma

contro la palma”.

Tyrone. – Ehi! Julie, baby! Le sante non hanno labbra e i fedeli non hanno

palmi?!

Serena. – Wait a minute! What’s with the ad-libs? Serena. – Aspetta un momento! Cos’e’ questa improvvisazione?



Tyrone. – I’m drawin’ from my own experience, okay?

Serena. – But Romeo wasn’t born in the Bronx.

Tyrone. – Damn right! (To Sherman.) So what the hell am I doin’ here?

Miss Sherman. – I cast you in this role so you could stretch yourself.

Tyrone. – But I ain’t looking to be no Laurence Olivier. Serena, level withme. Do you buy me as Romeo?

Serena. – I buy you, I buy you! Just please, please stop being such an asshole!

Miss Sherman. – Okay, folks, let’s try to keep this moving. We open in lessthan two weeks.

Tyrone. – Okay! (Resuming his pose.) “Have not saints…?”

Forgetting line.

Serena. – “Lips,” damn it. “Lips!”

Tyrone (mimicking). – “Lips,” damn it. “Lips!” “And holy palmers, too!”

Serena. – “Ay pilgrim, lips that they must use in prayer.”

Tyrone. – “O, then dear saint, let lips do what hands do.” Miss Sherman, Iain’t gonna cut it. You gotta replace me.

Nick (raising his hand). – Miss Sherman. I think I know what his problem is.

Miss Sherman. – Be my guest.

Nick. – You’re too busy thinking about yourself. You should be concentratingon the beautiful girl standing right in front of you.

Serena (miffed). – Excuse me. Why, may I ask, are you butting in?

Nick. – I want to help.

52

Tyrone. – Mi ispiro alla mia esperienza personale, ok?

Serena. – Ma Romeo non e’ nato nel Bronx.

Tyrone. – Dannatamente giusto! (A Sherman.) Allora io che diavolo ci faccio qui?

Miss Sherman. – Ti ho scelto per questo ruolo per farti esercitare.

Tyrone. – Ma io non assomiglio a Laurence Olivier. Serena, stai dalla miaparte. Mi daresti credito come Romeo?

Serena. – Sì, sì! Contento? Solo ti prego, ti prego smettila ora di fare cosìl’idiota!

Miss Sherman. – Ok, ragazzi, cerchiamo di andare avanti. Debuttiamo trameno di due settimane.

Tyrone. – Ok. (Riprendendo la posa.) “I pellegrini non hanno... ?”

Dimentica la battuta.

Serena. – “Labbra”, maledizione! “Labbra”!

Tyrone (mimando). – “Labbra”, maledizione! “Labbra”! “E neanche palmi santi”!

Serena. – “Sì pellegrino, labbra che servono per pregare.”

Tyrone. – “Allora, cara santa, lascia che anche le labbra facciano quel chefanno le mani”. No Miss Sherman, ci rinuncio. Mi dovrà sostituire.

Nick (alzando la mano). – Miss Sherman. Forse ho capito qual’e’ il problema.

Miss Sherman. – Prego Nick, fai pure.

Nick. – Sei troppo occupato a pensare a te stesso. Ti devi concentrare sullabella ragazza che ti sta di fronte.

Serena (offesa). – Posso chiederti perche’ ti intrometti?

Nick. – Voglio solo esservi d’aiuto.

Serena. – Who needs help? Serena. – E chi ha bisogno d’aiuto?



Tyrone. – We do! We do! Sir Laurence, knock yourself out.

Tyrone takes a seat as Nick gets up.

Nick. – I mean, think about it. Romeo and Juliet grew up in the same small

town. They may have seen each other every day of their lives. But on thisnight, this special night… it’s as if he’s seeing her for the very first time.

Maybe it would make more sense if I showed you.

Serena. – Yeah… maybe it would.

Nick (taking her hand.). – “O! Then dear saint, let lips do what hands do;

They pray, grant thou, lest faith turn to despair”

Serena. – “Saints do not move, though grant for prayer’s sake.”

Nick. – “Then move not, while my prayer’s effect I take. Thus from my lips,by thine, my sin is purged.”

Nick kisses her deeply and Serena responds.

They finally break from the kiss, looking slightly punch drunk.

Miss Sherman. – Let’s see a show of hands. How many of you “believe” that

kiss? Well, Tyrone, you got your wish this time. (Then to Serena.) Juliet, meetyour new Romeo.

Serena. – Hello Romeo!

SCENE 16

Iris enters quickly and is being pursued by Tyrone.

Iris. – Tyrone, quit following me. I have nothing to say to you.

Tyrone. – Right, you haven’t had anything to say to me all semester. Why is

that, Iris?

53

Tyrone. – Noi! Noi! Sir Laurence, fuori.

Tyrone si siede mentre Nick si alza.

Nick. – Voglio dire, pensaci. Romeo e Giulietta sono cresciuti nella stessa

città. Potrebbero essersi visti ogni giorno della loro vita. Eppure solo questasera, questa sera speciale… è come se lui la vedesse per la prima volta. Forse

avrebbe più senso se te lo mostrassi.

Serena. – Sì… forse.

Nick (prende le sue mani). – “Ma allora cara santa lascia che anche le labbra

facciano quel che fanno le mani. Le mie labbra continueranno a pregarefinchè la fede non si muti in disperazione.”

Serena. – “Le sante non si muovono anche se esaudiscono i voti di chi le prega”.

Nick. – “Allora non ti muovere mentre mi esaudisci. Dalle tue stesse labbra

io sono assolto dal peccato delle mie”.

Nick la bacia e Serena risponde. E’ un lungo bacio.

Alla fine Nick e Serena terminano il bacio, sembrando leggermente ubriachi.

Miss Sherman. – Vediamo per alzata di mano. Quanti di voi hanno creduto aquesto bacio? Bene Tyrone, hai avuto ciò che volevi stavolta. (Poi a Serena.)

Juliet, ecco il tuo nuovo Romeo.

Serena. – Ciao Romeo!

SCENA 16

Iris entra in fretta. Tyrone e’ dietro di lei.

Iris. – Tyrone, è inutile che continui a seguirmi! Non ho niente da dirti.

Tyrone. – E’ da tutto il semestre che non hai niente da dirmi. Perche’ Iris?

Iris. – Okay, look, I’ll make it simple. I don’t want to be with a loser, ‘causewhat does that make me?

Iris. – Ok, guarda, la faccio semplice. Non voglio stare con un perdente,perché cosa mi fa sembrare questo?



Tyrone. – Oh, I get it. I see what this is about.

Iris. – You used me, Tyrone. All those book reports I helped you with. Whydidn’t you tell me you couldn’t read?

Tyrone. – What was I supposed to say, “Hey, baby, come and get me. I’m

illiterate? (Iris moves away.) Iris, you don’t know what it’s like. You look at abook and you see words. When I look… I see garbage. I see noise. But thanks

to Miss Sherman, that noise is starting to sound like music. (He reaches

into his bag and pulls out a book. He opens it and reads.) Listen to this… “To be, or not to be: that is the question:Whether 'tis nobler in the mind to sufferThe slings and arrows of outrageous fortune…”

(He looks up proudly.) William Shakespeare. “Hamlet”.

Iris. – That’s great, Tyrone. But it’s just one poem.

Tyrone. – I’m not takin’ the easy way out. I’m repeating my senior year. I’ll bethe first to graduate from the new Lincoln Center school. I am not a loser, Iris.

SCENE 17

Schlomo is rehearsing. Carmen steps out of the shadows.

Carmen. – So… I hear you guys are signing a record deal.

Schlomo. – Carmen! Is that you?

Carmen. – Sure is.

Schlomo. – Carmen! (He picks her up and swings her around.) When did youget back?

Carmen. – Couple a weeks ago. Thought I’d stop by - see if you found a new

singer?

54

Tyrone. – Ah, ho capito. So a cosa ti riferisci.

Iris. – Mi hai usata, Tyrone. Tutte quelle relazioni sui libri che ti ho aiutato a

fare. Perché non mi hai detto che non sapevi leggere?

Tyrone. – Cosa avrei dovuto dirti “Hey baby, vieni con me. Sono analfabeta?

(Iris se ne va) Iris, non sai com’è. Tu guardi un libro e vedi le parole. Quandoguardo io… vedo spazzatura. Vedo confusione. Ma grazie a Miss Sherman,

quel rumore inizia a sembrare musica. (Cerca nella sua borsa e ne estrae un

libro. Lo apre e legge.) Ascolta…

“To be, or not to be: that is the question:Whether 'tis nobler in the mind to sufferThe slings and arrows of outrageous fortune...”

(Alza lo sguardo orgoglioso.) William Shakespeare. “Amleto.”

Iris. – Fantastico, Tyrone. Ma e’ solo un poema.

Tyrone. – Lo so. Non sto prendendo una scorciatoia. Ripeterò l’anno e sarò

il primo a diplomarmi nella nuova sede del Lincoln Center. Non sono unperdente, Iris.

SCENA 17

Schlomo sta provando. Carmen esce dall’ombra.

Carmen. – Allora… vedo che voi ragazzi state firmando un accordo da record.

Schlomo. – Carmen! Sei tu?

Carmen. – Sì che sono io.

Schlomo. – Carmen! (Lui la solleva e la fa girare.) Quando sei tornata?

Carmen. – Un paio di settimane fa. Ho pensato che avrei potuto passare di

qua per vedere se avete trovato un nuovo cantante?

Schlomo. – Our manager set us up with someone else. Of course, she’s not as

good as you. But then, there’s only one Carmen Diaz.

Schlomo. – Il nostro manager ci ha sistemato con qualcun altro. Certo non èbrava come te. Ma ovviamente c’è solo una Carmen Diaz.



Carmen. – You got that right. Three times the talent and ten times the fun.

Nick and Serena enter in conversation.

Nick. – So what about our final scene? Shall we make it unusual or shall weplay it straight?

Serena. – Who are you kidding? A twisted guy like you can’t do anythingstraight.

Schlomo. – Hey, Nick, Serena, look who’s here.

He indicates Carmen.

Serena. – Carmen, how are you? Jesus, I almost didn’t recognize you.

Carmen. – I’m fine. I just lost a little weight.

Serena. – Girl, what you need is the seafood diet.

Carmen/Serena. – I see food and I eat.

They all force a laugh, which peters out.

Nick. – So… how was L.A.? Did you meet any movie stars?

Carmen. – Oh, sure. The town’s crawlin’ with ‘em. And you can read thenames of the dead ones on the pavement… up and down HollywoodBoulevard. The streets really are paved with gold.

She starts to sing.

I GOT A TRIP AND A TAN ON A TICKET THAT MY AGENT SENT MESEXY CLOTHES BRAND NEW CAR

ON A CREDIT CARD THAT HE LENT MEI STAYED FOR A WHILE AT HIS PLACE

RUNNIN’ WITH THIS CROWD OF HISPARTYIN’ DAY AFTER DAY

MEETIN’ EVERYBODY IN THE BIZ

55

Carmen. – L’hai detto. Tre volte il talento e dieci volte il divertimento.

Nick e Serena entrano parlando.

Nick. – Allora cosa ne dici della nostra scena finale? Pensi che dovremmofarlo in modo originale o normale?

Serena. – Ma chi vuoi prendere in giro? Un ragazzo contorto come te nonpuò fare nulla di normale.

Schlomo. – Hey, Nick, Serena, guardate chi c’è qui.

Indica Carmen.

Serena. – Carmen? Come stai? Gesù, quasi non ti riconoscevo.

Carmen. – Sto benissimo. Sono solo dimagrita un po’.

Serena. – Ragazza, tu hai bisogno della dieta “mangio tutto…”

Carmen/Serena. – “Mangio tutto quello che vedo”

Entrambe fanno una risata sforzata, che si esaurisce.

Nick. – Allora com’era L.A.? Hai incontrato qualche star del cinema?

Carmen. – Sicuro. La città è piena di star. E puoi leggere perfino il nome diquelle morte sui marciapiedi… lungo la Hollywood Boulevard. Le stradesono davvero asfaltate d’oro.

Inizia a cantare.

I GOT A TRIP AND A TAN ON A TICKET THAT MY AGENT SENT MESEXY CLOTHES BRAND NEW CAR

ON A CREDIT CARD THAT HE LENT MEI STAYED FOR A WHILE AT HIS PLACE

RUNNIN’ WITH THIS CROWD OF HISPARTYIN’ DAY AFTER DAY

MEETING EVERYBODY IN THE BIZ

OH THEY KNOW HOW TO DO IT IN L.A.THEY KNOW HOW TO MAKE IT SEEM BRAND NEW

THOUGH IT’S TRUE WHAT THEY SAY

OH THEY KNOW HOW TO DO IT IN L.A.THEY KNOW HOW TO MAKE IT SEEM BRAND NEW

THOUGH IT’S TRUE WHAT THEY SAY



THOUGH IT S TRUE WHAT THEY SAY

THAT IT’S ONLY A DREAM

AND A DREAM IS A WISH YOU WISH FOR YOUIN L.A. YOUR DREAM MAY COME TRUE

Nick. – Sorry, Carmen. I gotta go. We got a recording session.

Carmen. – No problem. Good seein’ you.

Nick. – Bye. If you get a chance, come check us out in ‘Romeo and Juliet’.

Serena. – You take care, girl. And don’t forget to eat.

Nick. – Hey Schlomo, your recording session…

Schlomo. – Just a minute. (Serena and Nick exit. To Carmen.) So, if your

dream was coming true, why’d you come back?

Carmen sings.

AFTER THE BOOZE AND THE COKE

THE VISIONS OF THE BLUE PACIFIC

AFTER THE TWO HUNDREDTH TIME

I TOLD HIM HE WAS “JUST TERRIFIC”I WOKE UP ONE LATE AFTERNOON

AND COULDN’T TELL QUITE WHERE I WAS

LEFTOVER TASTE IN MY MOUTHAND WITH THE MORNIN’ AFTER BUZZ

I PACKED MY BAG AND SPLITAND FOUND MYSELF A DANCIN’ JOB

WORKED THE BAR FOR TIPS

AND STRIPPED FOR EV’RY LONELY SLOB

COUNTED EVERY SINGLE MINUTE AS THE HOURS WENT BYTHEN FELL IN BED AND CRIED

TILL THERE WERE NO MORE TEARS TO CRY

YOU TRY TO STOP THE THOUGHT FROM COMIN’THAT IT NEVER ENDS

56

THOUGH IT S TRUE WHAT THEY SAYTHAT IT’S ONLY A DREAM

AND A DREAM IS A WISH YOU WISH FOR YOU

IN L.A. YOUR DREAM MAY COME TRUE

Nick. – Scusa, Carmen. Devo andare. Abbiamo una registrazione da fare.

Carmen. – Nessun problema. E’ stato bello vedervi.

Nick. – Ciao. Se ti capita, vieni a vederci al “Romeo & Juliet”.

Serena. – Abbi cura di te, cara. E non scordarti di mangiare.

Nick. – Ehi Schlomo, la tua sessione di registrazione…

Schlomo. – Solo un momento. (Serena e Nick escono. A Carmen.) Allora, seil tuo sogno si stava avverando, perché sei tornata?

Carmen canta.

AFTER THE BOOZE AND THE COKETHE VISIONS OF THE BLUE PACIFIC

AFTER THE TWO HUNDREDTH TIMEI TOLD HIM HE WAS “JUST TERRIFIC”

I WOKE UP ONE LATE AFTERNOON

AND COULDN’T TELL QUITE WHERE I WASLEFTOVER TASTE IN MY MOUTH

AND WITH A MORNIN’ AFTER BUZZ

I PACKED MY BAG AND SPLITAND FOUND MYSELF A DANCIN’ JOB

WORKED THE BAR FOR TIPS

AND STRIPPED FOR EV’RY LONELY SLOBCOUNTED EVERY SINGLE MINUTE AS THE HOURS WENT BY

THEN FELL IN BED AND CRIED

TILL THERE WERE NO MORE TEARS TO CRYYOU TRY TO STOP THE THOUGHT FROM COMIN’

THAT IT NEVER ENDS

YOU THINK ABOUT HOW FAR YOU ARE FROM HOME AND FRIENDS

YOU GET THROUGH ONE DAY AT A TIME

YOU FIND A WAY OF STAYIN’ NUMB

YOU THINK ABOUT HOW FAR YOU ARE FROM HOME AND FRIENDS

YOU GET THROUGH ONE DAY AT A TIME

YOU FIND A WAY OF STAYIN’ NUMB



YOU FIND A WAY OF STAYIN NUMB

DON’T LOOK IN THE MIRROR TO SEE WHAT YOU’VE BECOME

BUT THEY KNOW HOW TO DO IT IN L.A.

THEY KNOW HOW TO MAKE IT SEEM SO NEW

IT’S TRUE WHAT THEY SAY



IN L.A.

IN L.A.

IN L.A. THE DREAMS ALL COME TRUE

Schlomo. – Carmen, are you gonna be okay?

Carmen. – Hey, don’t look so worried. I’m a survivor. But right now, I could

have some money.

Schlomo (reaching into his pocket). – No problem. My Dad sent me fifty formy birthday…

Carmen (taking the money). – You got any more?

Schlomo. – No.

Carmen. – Thanks, I promise I will pay you back…

Schlomo. – Listen Carmen, if you ever need anything, anytime day or night,

you call, okay? ‘Cause I’ll always be here for you.

Carmen. – Thanks Schlomo, you're the best.

Schlomo. – I love you Carmen. Don't ever forget that.

Reluctantly Schlomo exits. Carmen is left alone and sings.

YES THEY KNOW HOW TO DO IT IN L.A.

57

YOU FIND A WAY OF STAYIN NUMB

AND DON’T LOOK IN THE MIRROR TO SEE WHAT YOU’VE BECOME

BUT THEY KNOW HOW TO DO IT IN L.A.

THEY KNOW HOW TO MAKE IT SEEM SO NEW

IT’S TRUE WHAT THEY SAY



IN L.A.

IN L.A.

IN L.A. THE DREAMS ALL COME TRUE

Schlomo. – Carmen, va tutto bene?

Carmen. – Hey, non essere così preoccupato. Sono sopravvissuta. Ma se

proprio ora mi potessi prestare dei soldi…

Schlomo (cercando nelle sue tasche). – Nessun problema. Mio padre mi hadato un cinquanta per il mio compleanno…

Carmen (prendendo il denaro). – Ne hai ancora?

Schlomo. – No.

Carmen. – Grazie. Ti prometto che te li restituirò...

Schlomo. – Senti Carmen, se mai avessi bisogno di qualcosa, a qualsiasi ora

del giorno o della notte, chiama, ok? Perché per te ci sarò sempre.

Carmen. – Grazie Schlomo, sei il migliore.

Schlomo. – Ti amo, Carmen. Non dimenticarlo mai.

Riluttante, Schlomo esce. Carmen rimane sola e canta.

YES THEY KNOW HOW TO DO IT IN L.A.

THEY KNOW THAT SOMEWHERE UP THERE THE SKY IS BLUESO SMILE WHEN THEY SAY “IT’S ONLY A DREAM”

AND YOU’LL GET WHAT IS COMIN’ TO YOU

THEY KNOW THAT SOMEWHERE UP THERE THE SKY IS BLUESO SMILE WHEN THEY SAY “IT’S ONLY A DREAM”

AND YOU’LL GET WHAT IS COMIN’ TO YOU



AND YOU LL GET WHAT IS COMIN TO YOU

IN L.A.

IN L.A.IN L.A. YOUR DREAMS ALL COME TRUE

SCENE 18

Tyrone and Iris on stage. Serena and Nick enter.

Tyrone. – Hey Nick! Serena! Don’t’ forget, party at my house. We’re all

gonna get naked and play Twister on my Mom’s waterbed.

Serena. – The finish line! Tonight I feel the electricity! This wonderful current

flowing through every nerve, every cell, every pore in my body. I feel like

shooting into space - a supernova!! I’d explode into a million pieces and floatback down to earth. Then I’d touch every living thing on this gorgeous planet.

Nick. – Are you crazy?

Serena. – Just think, it’s the end of an era. We are the...

Both. – ...Class of ’84!

Serena. – The last class to graduate from this dumb, drafty, wonderful old

building. I wonder what’s gonna happen to it. I wonder what’s gonna happento us…

Nick. – Serena - I want to try a new scene.

Serena. – New scene? Are you crazy?

Nick. – YOU WERE THE HONEST FRIENDI WAS THE GREAT PRETENDER

I HID MY FEELINGS TO THE END

NOW I WANT TO SAY WHAT IT MEANS TO MEHOW I COULD NEVER BE THE SAME WITHOUT YOU

58

AND YOU LL GET WHAT IS COMIN TO YOU

IN L.A.

IN L.A.IN L.A. THE DREAMS ALL COME TRUE

SCENA 18

Tyrone e Iris sono sul palco. Serena e Nick entrano.

Tyrone. – Hey Nick! Serena! Non dimenticatevi della festa a casa mia.

Finiremo tutti nudi a giocare a Twister sul materasso ad acqua di mia mamma.

Serena. – Il traguardo! Questa sera sono elettrizzata! Sento una corrente

che scorre attraverso ogni nervo, ogni cellula, ogni poro del mio corpo. Mi

sento come se mi lanciassi nello spazio, una supernova che esplode in milleframmenti e poi ricade sulla terra toccando ogni creatura vivente su questo

favoloso pianeta.

Nick. – Ma sei fuori?

Serena. – Pensaci. La fine di un’era. Noi siamo…

Entrambi. – ...la Classe dell’84!

Serena. – L’ultima a diplomarsi in questo buio, pieno di correnti d’aria efantastico vecchio palazzo. Mi chiedo cosa ne sarà. Mi chiedo cosa sarà di noi…

Nick. – Serena, voglio provare una nuova scena.

Serena. – Una nuova scena? Ma sei fuori?

Nick. – YOU WERE THE HONEST FRIENDI WAS THE GREAT PRETENDER

I HID MY FEELINGS TO THE END

NOW I WANT TO SAY WHAT IT MEANS TO MEHOW I COULD NEVER BE THE SAME WITHOUT YOU

Nick. – You’ll probably go off to Brooklyn College and meet some guy andforget all about me.

Nick. – Probabilmente tu andrai al Brooklyn College e incontrerai qualcuno

e ti dimenticherai di me.



Serena. – And you’ll probably go off to New Haven and meet some guy and

forget all about me!

Nick. – Very funny.

Serena. – THE WAY I KNOW I REALLY FEEL ABOUT YOU

Nick. – THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOU

Serena. – WHY CAN’T WE

Nick. – WHY CAN’T WE

Both. – WHY CAN’T WE TRY

TO PLAY A LOVE SCENEWE DON’T NEED THE VIOLINS TO PLAY A LOVE SCENE


FIND A WAY TO START

AND LEARN TO PLAY THE PARTA PERFECT SCENE FROM A PLAY UNKNOWN

LET’S PLAY A…LET’S PLAY A…


OF OUR OWN!

They kiss passionately.

SCENE 19

Schlomo is holding his violin.

Schlomo. – Ladies and gentlemen, the following song is dedicated to

Carmen Diaz, a student who should have been graduating with us. Shedied one month ago today… of a drug overdose. She was my friend, and

collaborator, and this is in her memory. (Eyes up to heaven.) Carmen, we’ll

always remember your name!

59

Serena. – E tu probabilmente andrai a New Haven e incontrerai qualcuno e

ti dimenticherai di me!

Nick. – Molto divertente.

Serena. – THE WAY I KNOW I REALLY FEEL ABOUT YOU

Nick. – THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOU

Serena. – WHY CAN’T WE

Nick. – WHY CAN’T WE

Insieme. – WHY CAN’T WE TRY


WE DON’T NEED THE VIOLINS TO PLAY A LOVE SCENE


FIND A WAY TO STARTAND LEARN TO PLAY THE PART


LET’S PLAY A… LET’S PLAY A…


OF OUR OWN!

Si baciano appassionatamente.

SCENA 19

Schlomo ha in mano il suo violino.

Schlomo. – Signore e signori, la prossima canzone è dedicata a Carmen Diaz,

una studentessa che avrebbe dovuto diplomarsi con noi. E’ morta un mese

oggi… per overdose. Era un’amica, e una collega, e questa è in sua memoria.

(Occhi verso il cielo.) Carmen, noi ricorderemo sempre il tuo nome!

During the following diplomas are distributed by the teachers to the students.

Schlomo. – WE HAVE ARRIVED

Durante la canzone gli insegnanti distribuiscono i diplomi agli studenti.

Schlomo. – WE HAVE ARRIVED



AT A MOMENT IN OUR LIVES

WHEN THE FUTURE PASSES INTO OUR HANDS

WE CAN FIND OUT

ARE WE REALLY STRONG ENOUGH

TO FULFILL WHAT THE FUTURE DEMANDS

Serena. – WE CAN STAND ON THE EDGEAND LOOK OUT INTO SPACE

AND BE AWED BY THE WONDERS WE SEE

Nick. – WE CAN ALL MAKE A PLEDGE

THAT THE WHOLE HUMAN RACE

WILL BECOME WHAT WE WANT IT TO BE!

Nick/Serena/Schlomo. – BRING ON TOMORROW

LET IT SHINE

LIKE THE SUN COMING UP ON A BEAUTIFUL DAY

IT’S YOURS AND MINE


IT’S NOT TOO LATE


Iris. – LONG LONG AGO

IN A WORLD WE NEVER MADE

WE WERE CHILDREN

WHO WERE MAKING BELIEVE

Iris/Serena. – CLOSING OUR EYES

WE WERE TRAVELERS IN AIR

TO A LAND WE WOULD NOT WANT TO LEAVE

Tyrone enters.

Iris/Tyrone. – BUT THIS FAIRY TALE LAND

BUT THIS FAIRY TALE LAND

FADES AWAY AS WE GROW


60

AT A MOMENT IN OUR LIVES

WHEN THE FUTURE PASSES INTO OUR HANDS

WE CAN FIND OUT

ARE WE REALLY STRONG ENOUGH

TO FULFILL WHAT THE FUTURE DEMANDS

Serena. – WE CAN STAND ON THE EDGEAND LOOK OUT INTO SPACE

AND BE AWED BY THE WONDERS WE SEE

Nick. – WE CAN ALL MAKE A PLEDGE

THAT THE WHOLE HUMAN RACE

WILL BECOME WHAT WE WANT IT TO BE!

Nick/Serena/Schlomo. –BRING ON TOMORROW

LET IT SHINE




IT’S NOT TOO LATE


Iris. – LONG LONG AGO

IN A WORLD WE NEVER MADE

WE WERE CHILDREN

WHO WERE MAKING BELIEVE

Iris/Serena. – CLOSING OUR EYES

WE WERE TRAVELERS IN AIR

TO A LAND WE WOULD NOT WANT TO LEAVE

Tyrone entra.

Iris/Tyrone. – BUT THIS FAIRY TALE LAND

BUT THIS FAIRY TALE LAND



Schlomo/Nick. – AND WE ALL HAVE TO SAY OUR GOODBYES

Tyrone. – BYE BYE BYE

Schlomo/Nick. – AND WE ALL HAVE TO SAY OUR GOODBYES

Tyrone. – BYE BYE BYE



Iris. – AND WE NOW UNDERSTAND

THAT THIS WORLD THAT WE KNOW

Serena/Schlomo. – CAN BE OURS IF WE OPEN OUR EYES

The rest of the students enter.

All. – BRING ON TOMORROW

LET IT SHINE



WE CAN MAKE A DIFFERENCE IT’S NOT TOO LATE


BRING ON TOMORROW

WE CAN’T WAIT

Men. – NO WE CAN’T WAIT


IT’S NOT TOO LATE

Men. – NO NOT TOO LATE


WE CAN’T WAIT

BRING ON TOMORROW

WE CAN’T WAIT!

BRING ON TOMORROW

LET IT SHINE




IT’S NOT TOO LATE

BRING ON TOMORROW

WE CAN’T WAIT!

BRING ON TOMORROW

WE CAN’T WAIT!

61

Iris. – AND WE NOW UNDERSTAND

THAT THIS WORLD THAT WE KNOW

Serena/Schlomo. – CAN BE OURS IF WE OPEN OUR EYES

Entrano gli altri studenti.

Tutti. – BRING ON TOMORROW

LET IT SHINE



WE CAN MAKE A DIFFERENCE IT’S NOT TOO LATE


BRING ON TOMORROW

WE CAN’T WAIT

Uomini. – NO WE CAN’T WAIT


IT’S NOT TOO LATE

Uomini. – NO NOT TOO LATE


WE CAN’T WAIT

BRING ON TOMORROW

WE CAN’T WAIT!

BRING ON TOMORROW

LET IT SHINE




IT’S NOT TOO LATE

BRING ON TOMORROW

WE CAN’T WAIT!

BRING ON TOMORROW

WE CAN’T WAIT!

The entire cast, except Carmen, take their bows.

All. – I’M ALIVE

AND I WILL SURVIVE

L’intero cast, eccetto Carmen, fa l’inchino.

Tutti. – I’M ALIVE

AND I WILL SURVIVE



AND I WILL SURVIVE



Male Solo. – HIT THE HEIGHTS

All. – PUT MY NAME IN LIGHTS

Female Solo. – YES I’M GONNA PUT MY NAME IN LIGHTS YEAH!

All. – SHOW THE WORLD THAT I CAN MAKE IT

BY DOIN’

DOIN’


The Taxi enters with Carmen riding on top.

Carmen. – BABY LOOK AT ME

AND TELL ME WHAT YOU SEE

YOU AIN’T SEEN THE BEST OF ME YET

GIVE ME TIME I’LL MAKE YOU FORGET

THE REST

I GOT MORE IN ME

AND YOU CAN SET IT FREE

I CAN CATCH THE MOON IN MY HAND

DON’T YOU KNOW WHO I AM?

REMEMBER MY NAME

All (except Carmen). – FAME!


I’M GONNA LEARN HOW TO FLY

All (except Carmen). – HIGH!



62

AND I WILL SURVIVE



Assolo Maschile. – HIT THE HEIGHTS

Tutti. – PUT MY NAME IN LIGHTS

Assolo Femminile. – YES I’M GONNA PUT MY NAME IN LIGHTS YEAH!

Tutti. – SHOW THE WORLD THAT I CAN MAKE IT

BY DOIN’

DOIN’


Entra il Taxi entra con Carmen che lo guida sopra.

Carmen. – BABY LOOK AT ME

AND TELL ME WHAT YOU SEE

YOU AIN’T SEEN THE BEST OF ME YET

GIVE ME TIME I’LL MAKE YOU FORGET

THE REST

I GOT MORE IN ME

AND YOU CAN SET IT FREE

I CAN CATCH THE MOON IN MY HAND

DON’T YOU KNOW WHO I AM?

REMEMBER MY NAME

Tutti (tranne Carmen). – FAME!



Tutti (tranne Carmen). – HIGH!



All. – FAME!



Tutti. – FAME!






All. – FAME!



FAME

All. – REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

Carmen. – BABY HOLD ME TIGHT

CAUSE YOU CAN MAKE IT RIGHTYOU CAN SHOOT ME STRAIGHT TO THE TOP

GIVE ME LOVE AND TAKE ALL I GOT TO GIVE

BABY I’LL BE TOUGH

TOO MUCH IS NOT ENOUGH

I CAN RIDE YOUR HEART TIL IT BREAKS

OOO I GOT WHAT IT TAKES

All. – FAME!



All. – HIGH!

Carmen. – I FEEL IT COMING TOGETHER


All. – FAME!

63


Tutti. – FAME!



FAME

Tutti. – REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

REMEMBER

Carmen. – BABY HOLD ME TIGHT

CAUSE YOU CAN MAKE IT RIGHTYOU CAN SHOOT ME STRAIGHT TO THE TOP

GIVE ME LOVE AND TAKE ALL I GOT TO GIVE

BABY I’LL BE TOUGH

TOO MUCH IS NOT ENOUGH

I CAN RIDE YOUR HEART TIL IT BREAKS

OOO I GOT WHAT IT TAKES

Tutti. – FAME!



Tutti. – HIGH!

Carmen. – I FEEL IT COMING TOGETHER


Tutti. – FAME!



All FAME!



Tutti FAME!



All. – FAME!



All. – REMEMBER

REMEMBERREMEMBER

REMEMBER

REMEMBER MY NAME!

The cast exits.

THE END

64

Tutti. – FAME!



Tutti. – REMEMBER

REMEMBERREMEMBER

REMEMBER

REMEMBER MY NAME!

Il cast esce.

FINE

ENJOY YOURSELF WITH OUR GAMES!Practical exercises edited by Gianfranca Olivieri

Theatrical Season 2009/2010

FAME THE MUSICAL1. PUZZLE. -

What does "FAME" mean to an artist?



SignatureDate

Il Palchetto Stage s.a.s. ai sensi e in conformità con l’art. 13, D. Lgs 30 giugno 2003 n. 196,informa che i dati raccolti saranno utilizzati per informarLa in merito a nuove iniziative.

Send all the original pages by 31/05/2010 to:

IL PALCHETTO STAGE s.a.s., Via Montebello 14/16 - 21052 Busto Arsizio (VA)

You’ll receive a nice gadget and you’ll get the chance to win a final prize!

FILL IN THE FORM IN BLOCK LETTERS USING A PEN

Surname: Name: F M

Address: N.:

Postcode: Town: Province:

Telephone: Mobile:

E-mail:

Date of birth:

School:Address: N.:

Postcode: Town: Province:

Telephone:

English teacher:

Find the missing words in the sentences below, referring to the text,and write them in the puzzle.

Solution: .................................................................................................................................

1. Miss Sherman is a big fan of Schlomo’s ......................... .

2. Acting requires talent, determination and a solid ......................... .

3. Miss Sherman is the ......................... and english teacher.

4. Schlomo comes from a ....................... of perfectionists.

5. Iris has never had a ..................... .

6. Ms. Bell says that dance is the core of ......................... .

7. Participation in the dance program requires specific ......................... .

8. Ms. Bell says that musical ....................... runs in Mr. Metzenbaun’s family.

9. Schlomo plays ......................... and piano.

10. Iris’s father is a ......................... .

11. Serena has tried every weight ......................... program.

12. Tyrone may have a ......................... disorder.

13. Carmen says: "This school is too damn confining like a ......................... ".

14. Nick has been ......................... as Mercutio in the junior show.

15. Tyrone’s term paper is ......................... to Iris’s .

5

6

9

11

12

8

7

4

2

3

13

14

15

1

10

Now read the column under the arrow and you'll find the solution.

2. SPIRAL. –

He was famous in the 20 th century!

3. LETTERS AND NUMBERS. -

A good piece of advice... if you want to hit the heights!



Solution: .......................................................................................

ADJECTIVES SYNONYMS

B

1. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

2. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

3. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

4. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

5. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

6. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

7. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

8. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

9. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Now read the letters in the circles and you’ll find the name of themost famous choreographer of the 20 th century.

In the spiral below there are 9 names of specific attire for stageperformers and 10 spare letters. Starting from the letter B find andwrite the names on the broken lines and the spare letters in the circles.

R S H O E S E

E Z E D F O O T W E

T I I N T E S H O A

C L O A R D S L E R

A A P T I G H L S H

R I A O T B T E N J

A C S E L A S G C A

H E R E M R A W O Z

C P S C E M U T S Z

N G I W I S E O H S

In each sentence in box (A), quoted from the text, there is a missingword. Find it in box (B).

Example: 1 You are the cream of the crop = N

BOX (B)

V. FUN

G. STARS

E. PLOTZ

R. RULE

N. CROP

P. LIGHTS

U. GOING

E. PIG OUT

I. EYE BALLS

V. TRAY

E. TUNE

Sentences BOX (A)

1 You are the cream of the crop .

2 You are definitely humming the wrong ........................ .

3 Three times the talent and ten times the ........................

4 I never once seen you ........................ .

5 The first ........................ of acting is “know thyself”.

6 They come here expecting to become ........................ .

7 It almost drained my ........................ .

8 Some people get handed life on a silver ........................ .

9 My parents are gonna ........................ .

10 If anything goes wrong keep ........................ .

11 I’m gomma put my name in ........................ .

Solution:

1

N

2 3 4 5 6 7 8 9 10 11

BOX (C)

Now match the letters in box (B) to the numbers in box (C) and you'llfind the solution.

4. RIDDLE. –

Many dancers want to become like him!

5. A SPOT OF RELAXATION. -

Let’s help Tyrone to put his name in lights!



Solution: .......................................................................................Solution: .......................................................................................

Below there are 13 descriptions of some technical terms in thetheatre. Find for each description its corresponding name in box (A)and write it on the broken lines.

DESCRIPTION NAMES

1. A famous person’s signature. _ _ _ _ _ _ _ _ _ _ _ _ _

2. A melody you listen to. _ _ _ _ _ _ _ _ _ _ _ _ _

3. A small group of musicians. _ _ _ _ _ _ _ _ _ _ _ _ _

4. Who invents steps and movements for dance. _ _ _ _ _ _ _ _ _ _ _ _ _

5. To practise a play, dance or music

for a performance._ _ _ _ _ _ _ _ _ _ _ _ _

6. Entertaining an audience by dancing or acting. _ _ _ _ _ _ _ _ _ _ _ _ _

7. A short performance to demonstrate your ability. _ _ _ _ _ _ _ _ _ _ _ _ _

8. To clap your hands to show approval. _ _ _ _ _ _ _ _ _ _ _ _ _

9. A speech or section of text that introduces a play. _ _ _ _ _ _ _ _ _ _ _ _ _

10. The area where the actors perform. _ _ _ _ _ _ _ _ _ _ _ _ _

11. A piece of writing which is performed in a theatre. _ _ _ _ _ _ _ _ _ _ _ _ _

12. Clothes worn by an actor while

performing._ _ _ _ _ _ _ _ _ _ _ _ _13. A story you can see on a screen. _ _ _ _ _ _ _ _ _ _ _ _ _

Now read the letters appearing in the circles and you'll find thename of a famous dancer.

BOX (A)

BAND - AUTOGRAPH - PERFORMANCE - TUNE

AUDITION - STAGE - CHOREOGRAPHER - REHEARSAL

PLAY - PROLOGUE - APPLAUSE - COSTUME - MOVIE

Fame the Musical GB_ITA

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Transcript of Fame the Musical GB_ITA