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ALL THE THINGS YOU ARE (Very Warm for May, Kern & Hammerstein) You are the promised breath of springtime That makes the lonely winter seem long. You are breathless hush of evening That trembles on the brink of a lovely song You are the angel glow that lights a star. The dearest things I know are what you are. Someday my happy arms will hold you And someday I’ll find that moment divine When all the things you are, are mine. SOMEONE TO WATCH OVER ME (Oh Kay!, Gershwins, 1926) There’s a somebody I’m longing to see, I hope that he turns out to be Someone to watch over me. I’m a little lamb who’s lost in the wood, I know I could always be good To one who’d watch over me. Although he may not be the man some would think of as handsome, To my heart he’ll carry the key. Won’t you tell him please to put on some speed, follow my lead, oh how I need Someone to watch over me. VARSITY DRAG (Good News, De Sylva, Brown, & Henderson, 1927) Here is the drag, see how it goes, Down on your heels, up on your toes, That’s the way we do the varsity drag. Hotter than hot, newer than new, Meaner than mean, bluer than blue, Gets as much applause as waving the flag.

You can pass many a class whether you’re dumb or wise, If you all answer the call when your professor cries -- Everybody Down on your heels, up on your toes, Stay after school, learn how it goes, Everybody do the varsity drag. CAN’T HELP LOVING THAT MAN (Show Boat, Kern & Hammerstein, 1927) Fish gotta swim, and birds gotta fly, I gotta love one man till I die, Can’t help loving that man of mine. Tell me he’s lazy, tell me he’s slow, tell me I’m crazy, maybe I know. Can’t help loving that man of mine. When he goes away, that’s a rainy day But when he comes back that day is fine, the sun will shine. He can come home as late as can be, Home without him is no home to me, Can’t help loving that man of mine.

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OL’ MAN RIVER (Show Boat, Kern & Hammerstein, 1927) Ol’ man river, that ol’ man river, He must know something, but he don’t say nothing, He just keeps rollin’, he keeps on rollin’ along. He don’t plant taters, he don’t plant cotton, And them that plants ‘em is soon forgotten, But ol’ man river, he just keeps rolling along. You and me, we sweat and strain, body all achin’ and racked with pain. Tote that barge, lift that bale, get a little drunk and you land in jail. I gets weary and sick of trying, I’m tired of livin’ and scared of dyin’, But ol’ man river, he just keeps rollin’ along. BUT NOT FOR ME (Girl Crazy, George & Ira Gerswhin, 1930) They’re writing songs of love, but not for me, A lucky star’s above, but not for me, With love to lead the way I’ve found more clouds of gray Than any Russian play could guarantee. It all began so well, but what an end. This is the time a fellow needs a friend. When every happy plot end with a marriage not, But there’s no knot for me. I GOT RHYTHM (Girl Crazy, George & Ira Gerswhin, 1928) I got rhythm, I got music, I got my love, who could ask for anything more? I got daisies in green pastures, I got my love, who could ask for anything more? Old man trouble, I don’t mind him. You won’t find him round my door. I got starlight, I got sweet dreams, I got my love, Who could ask for anything more? Who could ask for anything more? EMBRACEABLE YOU (Girl Crazy, George & Ira Gerswhin, 1928) Embrace me my sweet embraceable you, Embrace me, my irreplaceable you. Just one look at you, my heart grew tipsy in me, You and you alone bring out the gypsy in me. I love all the many charms about you. Above all, I want my arms about you. Don’t be a naughty baby, come to papa, come to papa, do. My sweet embraceable you. WHAT’LL I DO? (Music Box Revue, Irving Berlin, 1924) What’ll I do when you are far away and I am blue, what’ll I do? What’ll I do when I am wondering who is kissing you, what’ll I do? What’ll I do with just a photograph to tell my troubles to? When I’m alone with only dreams of you that won’t come true, what’ll I do?

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EASTER PARADE (As Thousands Cheer, Irving Berlin, 1931) In your Easter bonnet, with all the frills upon it, You’ll be the grandest lady in the Easter parade. I’ll be all in clover and when they look us over, We’ll be the grandest couple in the Easter parade. On the avenue, Fifth Avenue, The photographers will snap us, And you’ll find that you’re on the rotogravure, Oh, I could write a sonnet about your Easter bonnet, And of the girl I’m taking to the Easter parade. A PRETTY GIRL IS LIKE A MELODY (Zeigfeld Follies, Irving Berlin, 1919) A pretty girl is like a melody that haunts you night and day. Just like the strain of a haunting refrain, She’ll start upon a marathon and run around your brain. You can’t escape, she’s in your memory, by morning, night and noon. She will leave you and then, come back again, Because a pretty girl is just like a pretty tune. MOUNTAIN GREENERY (Garrick Gaities, Rodgers & Hart, 1926) In our mountain greenery, where God makes the scenery, Just two crazy people together. While you love your lover let blue skies be your coverlet, When it rains we’ll laugh at the weather. And if you’re good, I’ll search for wood so you can cook while I stand looking. Beans could get no keener reception in a beanery, Bless our mountain greenery home. BLUE SKIES (Betsy, Irving Berlin, 1926) Blue skies, smiling for me, nothing but blue skies do I see. Blue bird, singing a song, nothing but blue skies all day long.

Never saw the sun shining so bright, never saw things going so right. Noticing the days hurrying by, when you’re in love, my how they fly. Blue days, all of them gone, nothing but blue skies from now on. MY FUNNY VALENTINE (Babes in Arms, Rodgers & Hart, 1937) My funny valentine, sweet comic valentine, you make me smile with my heart. Your looks are laughable, unphotographable, Yet, you’re my favorite work of art. Is your figure less than Greek? Is your mouth a little weak? When you open it to speak, are you smart? Don’t change a hair for me, not if you care for me, Stay little valentine, stay. Each day is Valentine’s Day.

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WHERE OR WHEN (Babes in Arms, Rodgers & Hart, 1937) It seems we’ve stood and talked like this before, We looked at each other in the same way then, But I don’t remember where or when. The clothes you’re wearing are the clothes you wore, The smile you are smiling, you were smiling then, But I don’t remember where or when. Some things that happened for the first time seem to be happening again. And so it seems that we have lived before, and laughed before and loved before, But who knows where or when? POOR JOHNNY ONE NOTE (Babes in Arms, Rodgers & Hart, 1937) Poor Johnny One Note, sang out with gusto, and just overlorded the place. Poor Johnny One Note, Yelled willy nilly until he was blue in the face. For holding one note was his grace. Couldn’t hear the brass, couldn’t hear the drum, He was in a class by himself, by gum. Poor Johnny One Note, got in Aida, indeed a great chance to be brave. He took his one note, Howled like the North Wind, Brought forth wind that made critics rave while Verdi turned around in his grave. Couldn’t hear the flute or the big trombone, Everyone was mute, Johnny stood alone.

Cats and dogs stopped yapping, Lions in the zoo Were all jealous of poor Johnny’s trill. Thunderclaps stopped clapping, traffic ceased it’s roar, And they tell us Niagara stood still. He stopped the train whistles, boat whistles, steam whistles, cop whistles, All whistles bowed to his skill. So sing, Johnny One Note, Sing out with gusto and just overwhelm all the crowd. Ah_______ So sing Johnny One Note, out loud. Sing Johnny one note out loud. MY ROMANCE (Jumbo, Rodgers & Hart, 1935) My romance doesn’t have to have a moon in the sky, My romance doesn’t need a blue lagoon standing by. No month of May, no twinkling stars, So hideaway, no soft guitars. My romance doesn’t need a castle rising in Spain, Nor a dance to a constantly surprising refrain Wide awake I can make my most fantastic dreams come true. My romance doesn’t need a thing but you.

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THERE’S A SMALL HOTEL (On Your Toes, Rodgers & Hart, 1936) There’s a small hotel with a wishing well, I wish that we were there together. There’s a bridal suite, one room small and neat, Complete for us to share together. Sitting by the window you can see a distant steeple, Not a sign of people, who needs people? When the steeple bell rings “good night, sleep well” We’ll bless the small hotel, we’ll crawl into our little shell, And we will bless the small hotel together. FALLING IN LOVE WITH LOVE (Boys from Syracuse, Rodgers & Hart, 1938) Falling in love with love is falling for fairy tales, Falling in love with love is playing the fool. Caring too much is such an juvenile fancy. Learning to trust is just for children in school. I fell in love with love one night when the moon was full, I was unwise with eyes unable to see. I fell in love with love, with love ever lasting, but love fell out with me. I WISH I WERE IN LOVE AGAIN ((Babes in Arms, Rodgers & Hart, 1937) The sleepless nights, the daily fights, The quick toboggan when you reach the heights, I miss the kisses and I miss the bites, I wish I were in love again. The broken dates, the endless waits, the lovely loving and the hateful hates, The conversations with the flying plates, I wish I were in love again. No more pain, no more strain, Now I’m insane, but I’d rather be punch drunk. Believe me sir, I much prefer the classic battle of a him and her, I’ve learned my lesson but I wish I were in love again. NIGHT AND DAY (Gay Divorce, Cole Porter, 1932) Night and day you are the one, only you beneath the moon and under the sun. Whether near to me or far, it’s no matter, darling where you are, I think of you night and day. Day and night, why is it so that this longing for you follows wherever I go. In the roaring traffic’s boom, in the silence of my lonely room I think of you Night and day. Night and day under the hide of me There is oh such a hungry yearning burning inside of me. And its torment won’t be through till you let me spend my life making love to you Day and night, night and day.

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ANYTHING GOES (Anything Goes, Cole Porter, 1934) In olden days a glimpse of stocking was looked on as something shocking, Now heaven knows, anything goes. And writers who all once knew better words now only use four letter words In their prose, anything goes.

The world has gone mad today, and good’s bad today, And black’s white today, and day’s night today, And most guys today that women prize today are just silly gigolos.

And though I’m not a great romancer, I know how you’re bound to answer When I propose, anything goes. I GET A KICK OUT OF YOU (Anything Goes, Cole Porter, 1934) I get no kick from champagne, Mere alcohol doesn’t thrill me at all, But tell me why should it be true that I get a kick out of you. Some get their kicks from cocaine, But I know if I took only one sniff it would bore me terrifically too, But I get a kick out of you.

I get a kick every time I see you standing there before me I get a kick though it’s clear to me you obviously don’t adore me. Some get their kicks in a plane. Flying so high in the sky with some guy is my idea of nothing to do, But I get a kick of out you. YOU’RE THE TOP (Anything Goes, Cole Porter, 1934) You’re the top, you’re the coliseum, You’re the top, you’re the Lourve Museum, You’re a melody from a symphony by Strauss, You’re a Bendel bonnet, a Shakespeare sonnet, You’re Mickey Mouse. You’re the Nile, you’re the tower of Pisa, you’re the smile on the Mona Lisa, I’m a worthless check, a total wreck, a flop, But if baby I’m the bottom, You’re the top. You’re the top, you’re Mahatma Gandhi, You’re the top, you’re Napoleon brandy, You’re the purple light of a summer night in Spain, You’re the National Gallery, you’re Garbo’s salary, you’re cellophane. You’re sublime, you’re a turkey dinner, you’re the time of the derby winner, I’m a toy balloon that is fated soon to pop, But if baby I’m the bottom, You’re the top. You’re the top, you’re a waldorf salad, you’re the top, you’re a Berlin ballad, You’re the nimble tread of the feet of Fred Astaire, You’re an O’Neill drama, you’re Whistler’s mama, you’re Camenbert. You’re repose, you’re Inferno’s Dante, you’re the nose on the great Durante, I’m a lazy lout who is just about to stop, But if baby I’m the bottom you’re the top.

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DELOVELY (Red Hot and Blue, Cole Porter, 1936) The night is young, the skies are clear, and if you want to go walking, dear, It’s delightful, it’s delicious, it’s delovely. I understand the reason why you’re sentimental, cause so am I, It’s delightful, it’s delicious, it’s delovely. You can tell at a glance what a swell night this is for romance, You can hear dear Mother Nature whispering low, “let yourself go.” So please be sweet my chickadee and when I kiss you, just say to me, It’s delightful, it’s delicious, it’s delectable, it’s delirious, It’s dilemma, it’s delimit, it’s deluxe, it’s delovely. BEGIN THE BEGUINE (Jubilee, Cole Porter, 1935) When they begin the beguine, It brings back the sound of music so tender It brings back a night of tropical splendor, It brings back a memory of green. I’m with you once more under the stars And down by the shore, an orchestra’s playing, And even the palms seem to be swaying, when they begin the beguine. To live it again is past all endeavor, Except when that tune clutches my heart And there we are swearing to love forever, and promising never never to part. A moment divine, what rapture serene, Till cloud came along to disperse the joy we had tasted And now when I hear people curse the chance that was wasted, I know all too well what they mean.

So don’t let them begin the beguine, Let the love that was once a fire remain an ember Let it sleep like the dear desire I only remember When they begin the beguine. Oh yes let them begin the beguine, Make them play till the stars that were there before return above you, Till you whisper to me once more darling, I love you, And we suddenly know what heaven we’re in when they begin the beguine. MY HEART BELONGS TO DADDY (Leave it to Me, Cole Porter, 1938) While tearing off a game of golf, I may make a play for the caddy, But when I do, I don’t follow through ‘cause my heart belongs to daddy. If I invite a boy some night to dine on my fine fin and haddie, I just adore his asking for more, but my heart belongs to daddy. Yes my heart belongs to daddy, so I simply couldn’t be bad. Yes my heart belongs to daddy, da-da da, da-da da, da-da dad. So I want to warn you laddie, though I know you’re perfectly swell, That my heart belongs to daddy, cause my daddy, he treats me so well.

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SUMMERTIME (Porgy and Bess, Gershwins & Heyward, 1935) Summertime and the living is easy, Fish are jumpin’ and the cotton grows high. Your daddy’s rich and your mama’s good lookin’, So hush little baby, don’t you cry. One of these mornings, you’re gonna rise up singing, And you’ll spread your wings and you’ll take to the sky. But till that morning, there is nothin’ to harm you, With Daddy and Mammy standing by. I GOT PLENTY OF NOTHIN’ (Porgy and Bess, Gershwins & Heyward, 1935) I got plenty of nothin’, and nothin’s plenty for me, I got no car, I got no mule, I got no misery. The folks with plenty of plenty, they got a lock on the door, Afraid somebody’s gonna come rob ‘em while they’s out a’makin’ more, what for? I got no lock on the door, that’s no way to be. They can steal the rug from the floor, that’s okay with me Cause the things that I prize like the stars and the skies all are free. I got plenty of nothin’, and nothin’s plenty for me, I got my love, I got my song, got heaven the whole day long. Got my love, got my Lord, got my song. SEPTEMBER SONG (Knickerbocker Holiday, Weill & Anderson, 1938) Oh it’s a long long while from May to December, But the days grow short when you reach September. When the autumn weather turns the leave to flame One hasn’t got time for the waiting game. Oh, the days dwindle down to a precious few, September, November, And these few precious days I’ll spend with you. These precious days I’ll spend with you. BEWITCHED (Pal Joey, Rodgers & Hart. 1940) I’m wild again, beguiled again, a whimpering, simpering child again, Bewitched, bothered and bewildered am I. Wouldn’t sleep and couldn’t sleep when love came and told me I shouldn’t sleep. Bewitched, bothered and bewildered am I.

Lost my heart, but what of it? He is cold, I agree. He can laugh, but I love it, although the laugh’s on me.

I’ll sing to him each spring to him, and long for the day when I cling to him, Bewitched, bothered and bewildered am I.

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OKLAHOMA (Oklahoma, Rodgers & Hammerstein, 1943) Oklahoma, where the wind comes sweeping down the plain And the waving wheat can sure smell sweet When the wind comes right behind the rain. Oklahoma, every night my honey lamb and I Sit along and talk, and watch a hawk making lazy circles in the sky. We know we belong to the land, And the land we belong to is grand. And when say “Yo, ay yippie yippie yay” We’re only saying “you’re doing fine Oklahoma, Oklahoma, O-K-L-A-H-O-M-A, Oklahoma.” I CAIN’T SAY NO (Oklahoma, Rodgers & Hammerstein, 1943) I’m just a girl who cain’t say no, I’m in a terrible fix, I always say “come on, let’s go” just when I oughta say nix. When a person tries to kiss a girl, I know she oughta give his face a smack. But as soon as someone kisses me, I somehow sorta wanna kiss him back. I cain’t resist a Romeo in a sombrero and chaps. Soon as I sit on their laps, something inside of my snaps, I cain’t say no. I’m just a girl who cain’t say no, cain’t seem to say it at all. I hate to disappoint a beau when he is paying a call. For a while I’ll act refined and cool, a-sittin’ on a velveteen settee, Then I think of that old Golden Rule, and do for him what he would do for me. Though I can feel the undertow, I never make a complaint Till it’s too late for restrain, Then when I wanna, I cain’t, I cain’t say no. Whatcha gonna do when a feller gets flirty, and starts to talking purty, Whatcha gonna do? Supposin’ that he says that your lips are like cherries, or roses or berries, Whatcha gonna do? Supposin’ that he says that you’re sweeter than cream, And he’s gotta have cream or die? Whatcha gonna do when he talks that way? Spit in his eye? I’m just a girl who cain’t say no, kissin’s my favorite food. With or without the mistletoe, I’m in a holiday mood. Other girls play coy and hard to catch, but other girls ain’t havin’ any fun. Every time I lose a wrestlin’ match, I got a funny feelin’ that I won. I’m just a fool when lights are low, I cain’t be prissy and quaint, I ain’t the type that can faint, How can I be what I ain’t? I cain’t say no.

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KANSAS CITY (Oklahoma, Rodgers & Hammerstein, 1943) Everything’s up to date in Kansas City, They’ve gone about as fur as they can go. They went and built the skyscrapers seven stories high, About as high as a building oughta grow. Everything’s like a dream in Kansas, It’s better than a magic lantern show. You can turn the radiator on whenever you want some heat, With every kind of comfort, every house is all complete. You can walk to the privy in the rain and never wet your feet. They’ve gone about as fur as they go, They’ve gone about as fur as they go, Everything’s up to date in Kansas City, They’ve gone about as fur as they can go. They got a big theatre, they call the bur-ly-cue, For fifty cents you can see a dandy show. One of the girls was fat and pink and purdy, As round above as she was round below, I could swear that she was padded from her shoulder to her heel, But later in the second act when she begun to peel She proved that everything she had was absolutely real, She went about as fur as she could go, She went about as fur as she could go. O WHAT A BEAUTIFUL MORNING (Oklahoma, Rodgers & Hammerstein,1943) There’s a bright golden haze on the meadow, There’s a bright golden haze on the meadow, The corn is as high as an elephant’s eye, And it looks like it’s climbing clear up to the sky. CHORUS: O what a beautiful morning, O what a beautiful day,

I got a beautiful feeling, everything’s going my way. All the cattle are standing like statues, All the cattle are standing like statues, They don’t turn their heads when they see me ride by, But a little brown maverick is winkin’ her eye. CHORUS All the sounds of the earth are like music, All the sounds of the earth are like music, The breeze is to busy it don’t miss a tree And an old weeping willow is laughing at me. CHORUS

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SURREY WITH THE FRINGE ON TOP (Oklahoma, Rodgers & Hammerstein) Chicks and ducks and geese better scurry, When I take you out in the surrey, When I take you out in the surrey with the fringe on top. Watch that fringe and see how it flutters, When I drive them high steppin’ strutters, Nosy folks will peek through the shutters and their eyes will pop. The wheels are yellow, the upholstery’s brown,The dashboard’s genuine leather, With isinglass curtains you can roll right down In case there’s a change in the weather, Two bright sidelights winkin’ and blinkin’, Ain’t no finer rig, I’m a-thinkin’ You can keep your rig if you’re thinkin’ that I’d care to swap For the shiny little surrey with the fringe on the top. All the world will fly in a flurry, When I take you out in the surrey When I take you out in the surrey with the fringe on top. When we hit that road, hell for leather, Cats and dogs will dance in the heather Birds and frogs will sing altogether and the toads will hop. The wind will whistle as we rattle along, The cows will moo in the clover, The river will ripple out a whispered song, And whisper it over and over. Don’t you wish it’d go on forever? Don’t you wish it’d go on forever? Don’t you wish it’d go on forever and would never stop In the shiny little surrey with the fringe on the top? I can see the stars getting’ blurry, When I drive you home in the surrey Riding slowly home in the surrey with the fringe on top. I can feel the day getting’ older, Feel a sleepy head on my shoulder Noddin’, dreamin’ close to my shoulder till it falls ker-plop. The sun is a-swimmin’ on the rim of the hill, The moon is takin’ a header, And just as I’m thinkin’ all the world is still, A lark’ll wake up in the meader, Hush you bird, my baby’s a-sleepin, Maybe got a dream worth a-keepin, Slow, team, and just keep a-creepin’ at a slow clip clop, Don’t you hurry with the surrey with the fringe on the top. IF I LOVED YOU (Carousel, Rodgers & Hammerstein, 1945) If I loved you, time and again I would try to say all I’d want you to know. If I loved you, words wouldn’t come in an easy way, Round in circles I’d go. Longing to tell you, but afraid and shy, I’d let my golden chances pass me by. Soon you’d leave me, off you would go in the mist of day Never never to know, How I loved you, If I loved you.

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JUNE IS BUSTIN’ OUT ALL OVER (Carousel, Rodgers & Hammerstein, 1945) June is bustin’ out all over, all over the meadow and the hill Buds are bustin’ out of bushes and the romping river pushes Every little wheel that wheels beside the mill. Just is busting out all over, the feeling is getting so intense That the young Virginia creepers have been hugging the bejeepers Out of all the morning glories on the fence Because it’s June, June, June, June, June, Just because it’s June, June, June. June is bustin’ out all over, the saplings are bustin’ out with sap, Love has found my brother Junior, and my sister’s even lunier And my ma is getting’ kittenish with pap. June is bustin’ out all over, the ocean is filled with Jacks and Jills. With her little tail a-swishin’, every lady fish is wishin’ That a male would come and grab her by the gills. Because it’s June, June, June, June, Just because it’s June, June, June. June is bustin’ out all over, to ladies the men are paying court. Lots of ships are kept at anchor just because the captains hanker For a comfort they can only get at port. June is bustin’ out all over, the sheep, they’re not sleepin’ anymore. All the rams that chase the ewe sheep are determined to have new sheep And the ewe sheep, they’re not even keeping score. Because it’s June, June, June, June, Just because it’s June, June, June. YOU’LL NEVER WALK ALONE (Carousel, Rodgers & Hammerstein, 1945) When you walk through a storm, hold your head up high, And don’t be afraid of the dark. At the end of the storm is a golden sky and the sweet silver song of a lark. Walk on through the wind, walk on through the rain Though your dreams be tossed and blown. Walk on, walk on, with hope in your heart, And you’ll never walk alone, You’ll never walk alone. I GOT THE SUN IN THE MORNING (Annie Get Your Gun, Irving Berlin, 1946) Got no mansion, got no yacht, still I’m happy with what I got, I got the sun in the morning and the moon at night. Got no checkbooks, got no banks, Still I’d like to express my thanks, I got the sun in the morning and the moon at night. Sunshine gives me a lovely day, Moonlight gives me the Milky Way. Got no silver, got no gold, what I got can’t be bought or sold, I got the sun in the morning and the moon at night. And with the sun in the morning and the moon in the evening, I’m all right.

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I GOT THE SUN IN THE MORNING (continued) Got no money, I don’t care, still I’m living like a millionaire, I got the sun in the morning and the moon at night. Got no butler, got no maid, still I think I’ve been overpaid, I got the sun in the morning and the moon at night. Sunshine gives me a lovely day, Moonlight gives me the Milky Way. Got no heirlooms for my kin, Made no will, but when I cash in, I’ll leave the sun in the morning and the moon at night. And with the sun in the morning and the moon in the evening, I’m all right. SHOW BUSINESS (Annie Get Your Gun, Irving Berlin, 1946) The butcher, the baker, the grocer, the clerk, are secretly unhappy men because The butcher, the baker, the grocer, the clerk Get paid for what they do but no applause. They’d gladly bit their dreary jobs good-bye for anything theatrical, and why There’s no business like show business, like no business I know. Everything about it is appealing, everything that traffic will allow. Nowhere could you get that happy feeling When you are stealing that extra bow. There’s no people like show people, they smile when they are low. Yesterday they told you you would not go far, That night you open and there you are. Next day on your dressing room they’ve hung a star, Let’s go on with the show. The costumes, the make-up, the scenery, the props, The roustabouts that move the show at dawn, The headaches, the heartaches, the backaches, the flops, Your baggage with the labels pasted on. The opening when your heart beats like a drum. The closing when the customers won’t come. There’s no business like show business like no business I know. All made up and soon you’ll be appearing, every bit of nervousness is gone. And the sound that’s music to your hearing, To hear them cheering when you come on. There’s no people like show people, they smile when they are low. Even with a turkey that you know will fold, You might be stranded out in the cold, Still you wouldn’t change it for a sack of gold, let’s go on with the show.

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YOU CAN’T GET A MAN WITH A GUN (Annie Get Your Gun, Berlin, 1946) I’m quick on the trigger with targets not much bigger Than a pinpoint I’m number one. But my score with a feller is lower than the cellar Oh you can’t get a man with a gun. When I’m with my pistol, I sparkle like a crystal, Yes I shine like the morning sun, But I lose all my luster when with a bronco buster, Oh you can’t get a man with a gun.

With a gun, with a gun, no you can’t get a man with a gun. A man’s love is mighty, he’ll even buy a nightie For a girl that he thinks is fun, But they don’t buy pajamas for pistol packing mamas, Oh a man may be hot, but he’s not when he’s shot, Oh you can’t get a man with a gun. I’m cool, brave, and darin’ to see a lion starin’ When I’m out with my Remington, But a look from a mister will raise a fever blister Oh you can’t get a man with a gun. If I went to battle with someone’s herd of cattle We’d have steak when the job was done, But if I shot the herder, they’d holler bloody murder, Oh you can’t get a man with a gun.

With a gun, with a gun, no you can’t get a man with a gun. If I shot a rabbit, some furrier would grab it For a coat that would warm someone. But you can’t shoot a lover and use him for a cover, Oh, you can’t shoot a male in the tail like a quail, No, you can’t get a man with a gun. ALMOST LIKE BEING IN LOVE (Brigadoon, Lerner & Loewe, 1947) What a day this has been, what a rare mood I’m in, Why it’s almost like being in love. There’s a smile on my face for the whole human race, Why it’s almost like being in love. All the music of life seems to be like a bell that is ringing for me. And from the way that I feel when that bell starts to peal, I would swear I was falling, I could swear I was falling, It’s almost like being in love. THERE BUT FOR YOU GO I (Brigadoon, Lerner & Loewe, 1947)

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I saw a man with his head bowed low, his heart had no place to go. I looked and I thought to myself with a sigh, There but for you go I. I saw a man walking by the sea, alone with the tide was he. I looked and I thought as I saw go by, there but for you go I. Lonely men around me trying not to cry. Till the day I found you, there among them was I. I saw a man who had never known a love he could call his own, I thought as I thanked all the stars in the sky, There but for you go I. LOOK TO THE RAINBOW (Finian’s Rainbow, Lane & Harburg, 1947) On the day I was born, said my father, said he, “There’s an elegant legacy waitin’ for ye, ‘Tis a rhyme for your lips and a song for your heart, To sing it whenever the world falls apart.” Look, look, look to the rainbow, follow it over the meadow and stream. Look, look, look to the rainbow, follow the fellow who follows a dream. ‘Twas a sumptuous gift to bequeath to a child, Oh the lure of that song kept my feet running wild For you never grow old and never stand still With whippoorwills singing beyond the next hill. CHORUS So I bundled my cares and I roamed the world free, To the east with the sun, to the west with the sea, And I searched all the world, and I scanned all the skies. And I found it at last in my own true love’s eyes. CHORUS Follow the fellow, follow the fellow, follow the fellow who follows a dream. OLD DEVIL MOON (Finian’s Rainbow, Lane & Harburg, 1947) I look at you and suddenly something in your eyes I see Soon begins bewitching me. It’s that old devil moon that you stole from the skies. It’s that old devil moon in your eyes. You and your glance make this romance too hot to handle. Stars in the night blazing their light can’t hold a candle to your razzle dazzle. You got my flying high and wide on a magic carpet ride full of butterflies inside. Wanna cry, wanna croon, wanna laugh like a loon. It’s that old devil moon in your eyes. Just when I think I’m free as a dove, Old devil moon deep in your eyes blinds me with love. ONCE IN LOVE WITH AMY (Where’s Charley?, Frank Loesser, 1948)

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Once in love with Amy, Always in love with Amy, Ever and ever fascinated by her, set your heart a-fire to stay. Once you’re kissed by Amy, tear up your list, it’s Amy, Ply her with bonbons, poetry and flowers, spoon a million hours away.

You might be quite the fickle hearted rover, so carefree and bold Who loves a girl and later thinks it over, and just quits cold.

But once in love with Amy, Always in love with Amy, Ever and ever sweetly you’ll romance her, Trouble is, the answer will be that Amy’d rather stay in love with me. ANOTHER OPENIN’, ANOTHER SHOW (Kiss Me Kate, Cole Porter, 1948) Another openin’, another show, in Philly, Boston, or Baltimoe, A chance for stage folk to say hello, Another openin’ of another show. Another job that you hope at last will make your future forget your past. Another pain where the ulcers grow, another openin’ of another show. Four weeks, you rehearse and rehearse, three weeks and it couldn’t be worse. One week, will it ever be right? Then out of the hat, it’s that big first night. The overture is about to start, You cross your fingers and hold your heart, It’s curtain time and away we go, Another openin’of another show. SO IN LOVE (Kiss Me Kate, Cole Porter, 1948) Strange dear, but true dear, when I’m here with you dear The stars fill the sky, so in love with you am I Even without you my arms fold about you You know, darling, why, so in love with you am I

In love with the night mysterious, the night when you first were there, In love with my joy delirious, when I knew that you could care.

So taunt me and hurt me, deceive me, desert me, I’m yours till I die, So in love, so in love, so in love with you am I. BALI HAI (South Pacific, Rodgers & Hammerstein, 1949) Bali Hai may call you, any night, any day, In your heart you’ll hear it call you, come away, come away. Bali Hai will whisper on the wind of the sea. Here am I your special island, come to me, come to me. Your own special hopes, your own special dreams Bloom on the hillsides and shine in the streams If you try you’ll find me where the sky meets the sea. Here am I you special island, come to me, come to me. Bali Hai, Bali Hai, Bali Hai.

A WONDEFUL GUY (South Pacific, Rodgers & Hammerstein, 1949)

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I’m as corny as Kansas in August, I’m as normal as blueberry pie, No more a smart little girl with no heart, I have found me a wonderful guy. I am in the conventional dither, with the conventional star in my eye. And you will note, there’s a lump in my throat when I speak of that wonderful guy.

I’m as trite and as gay as a daisy in May, a cliché coming true. I’m bromidic and bright as a moon happy night pouring light on the dew.

I’m as corny as Kansas in August, high as the flag on the Fourth of July. If you’ll excuse an expression I use, I’m in love, I’m in love, I’m in love, I’m in love I’m in love with a wonderful guy.

A COCK-EYED OPTIMIST (South Pacific, Rodgers & Hammerstein, 1949) When the sky is a bright canary yellow, I forget every cloud I’ve ever seen, People call me a cock-eyed optimist, immature and incurably green, I have heard people rant and rave and bellow That we’re done and we might as well be dead, But I’m only a cock-eyed optimist, and I can’t get it into my head.

I hear the human race is falling on its face and hasn’t very far to go. But every whippoorwill is selling me a bill and telling me it just ain’t so.

I could say life is just a bowl of jello and appear more intelligent and smart, But I’m stuck like a dope with this thing called hope And I can’t get it out of my heart, Not this heart.

SOME ENCHANTED EVENING (South Pacific, Rodgers & Hammerstein, 1949) Some enchanted evening, you may see a stranger, You may see a stranger across a crowded room. And somehow you know, you know even then That somehow you’ll see her again and again. Some enchanted evening, someone may be laughing, You may hear her laughing across a crowded room. And night after night, as strange as it seems The sound of her laughter will ring in your dreams.

Who can explain it, who can tell you why? Fools give you reasons, wise men never try.

Some enchanted evening, when you find your true love, When you hear her call you across a crowded room, Then fly to her side, and make her you own, Or all through you life you may dream all alone.

Once you have found her, never let her go. Once you have found her, never let her go.

GONNA WASH THAT MAN RIGHT OUT OF MY HAIR (South Pacific, 1949)

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I’m gonna wash that man right out of my hair, (3 X) and send him on his way. I’m gonna wave that man right out of my arms (3 X) And send him on his way. Don’t try to patch it up, tear it up, tear it up, Wash him out, dry him out, push him out, fly him out, Cancel him, and let him go, yeah, sister. I’m gonna wash that man right out of my hair, (3 X) and send him on his way. If a man don’t understand you, if you fly on separate beams, Waste no time, meet no more, show him what the door is for, Rub him out of your roll call, and drum him out of the dreams, If you follow different comics, if you root for different teams, Waste no time, make a switch, drop him in the nearest ditch, Rub him out of your roll call, and drum him out of the dreams,

You can’t light a fire if the wood’s all wet, You can’t make a butterfly strong. You can’t fix an egg if it ain’t quite good, And you can’t fix a man when he’s wrong. You can’t put back a petal when it falls from a flower, Or sweeten up a fella when he starts turning sour. Oh no. Oh no.

I went and washed that man right out of my hair (3 X) And sent him on his way. THIS NEARLY WAS MINE (South Pacific, Rodgers & Hammerstein, 1949) One dream in my heart, One love to be living for One love to be living for, this nearly was mine. One girl for my dreams, One partner in paradise, This promise of paradise, this nearly was mine. Close to my heart she came, only to fly away. Only to fly as day flies from moonlight. Now, now I’m alone, Still dreaming of paradise, Still saying of paradise, This nearly was mine. FUGUE FOR TINHORNS (Guys and Dolls, Frank Loesser, 1950) I got the horse right here, the name is Paul Revere And here’s a guy who says if the weather’s clear Can do, can do, this guy says the horse can do If he says the horse can do, can do, can do.

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FUGUE FOR TINHORNS (continued)

But look at Valentine ‘cause in the morning line The guy has got him figured at five to nine. Has chance, has chance, this guy says the horse has chance. If he says the horse has chance, has chance, has chance.

I’m betting Epitaph, he wins it by a half According to the fella in the Telegraph. Big threat, big threat, This guy calls the horse big threat If he calls the horse big threat, big threat, big threat.

I tell you, Paul Revere, now this is no bum steer, It’s from a handicapper that’s real sincere. Can do, can do, this guy says the horse can do If he says the horse can do, can do, can do.

I’m betting Valentine, the odds are five to nine, Besides, the jockey’s brother is a friend of mine. Needs race, needs race, yes, he says the horse needs race, If he says the horse needs race, needs race, needs race.

For Epitaph I’ll bite, I hear his foot’s all right, Of course it all depends if it rained last night. Likes mud, likes mud, this “X” means the horse likes mud, This “X” means the horse likes mud, likes mud, likes mud.

All: I got the horse right here. LUCK BE A LADY (Guys and Dolls, Frank Loesser, 1950) Luck be a lady tonight, luck be a lady tonight, Luck, if you’ve ever been a lady to begin with, Luck be a lady tonight. Luck, let a gentleman see how nice a dame you can be. I know the way you’re treated other guys you’ve been with, Luck, be a lady with me.

A lady doesn’t leave her escort, it isn’t fair, it isn’t nice. A lady doesn’t wander all over the room And blow on some other guy’s dice. So let’s keep the party polite, never get out of my sight. Stick with me baby, I’m the fella you can in with, Luck, be a lady tonight.

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YOU’RE JUST IN LOVE (Call Me Madam, Irving Berlin, 1950) I hear singing when there’s no one there, I smell blossoms but the trees are bare All day long I seem to walk on air, I wonder why, I wonder why. I keep tossing in my sleep at night and what’s more I’ve lost my appetite, Stars that used to twinkle in the skies now twinkle in my eyes, I wonder why. You don’t need analyzing, it is not so surprising That you feel very strange but nice Your heart goes pitter patter, I know just what’s the matter Because I’ve been there once or twice. Put your head on my shoulder, You need someone who’s older, A rubdown with a velvet glove. There is nothing you can take to relieve that pleasant ache, You’re not sick, you’re just in love. GETTING TO KNOW YOU (The King and I, Rodgers & Hammerstein, 1951) Getting to know you, getting to know all about you, Getting to like you, getting to hope you like me. Getting to know you, putting my way, but nicely, You are precisely my cup of tea. Getting you know, getting to feel free and easy When I am with you getting to know what to say. Haven’t you noticed, suddenly I’m bright and breezy Because of all the beautiful and new things I’m learning about you day by day. SHALL WE DANCE (The King and I, Rodgers & Hammerstein, 1951) We’ve just been introduced, I do not know you well, But when the music started something drew me to you side. So many men and girls are in each other’s arms, It made me think, we might be similarly occupied. Shall we dance? On a bright cloud of music, shall we fly? Shall we dance? Shall we then say goodnight and mean goodbye? Or perchance when the last little star has left the sky Shall we still be together with our arms around each other And shall you be my new romance? On a clear understanding that this kind of thing can happen, Shall we dance? Shall we dance? Shall we dance?

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I WHISTLE A HAPPY TUNE (The King and I, Rodgers & Hammerstein, 1951) Whenever I feel afraid, I hold my head erect And whistle a happy tune and no one would suspect I’m afraid. While shivering in my shoes, I strike a careless pose And whistle a happy tune and no one ever knows I’m afraid.

The results of this deception are very strange to tell For when I fool the people I fear I fool myself as well.

I whistle a happy tune and every single time The happiness in that tune convinces me that I’m not afraid. Make believe you’re brave and the trick will take you far. You may be as brave as you make believe you are. (Whistle) You may be as brave as you make believe you are. I LOVE PARIS (Can Can, Cole Porter, 1953) I love Paris in the springtime, I love Paris in the fall, I love Paris in the winter, when it drizzles, I love Paris in the summer, when it sizzles. I love Paris every moment, every moment of the year. I love Paris, why oh why do I love Paris, because my love is near. C’EST MAGNIFIQUE (Can Can, Cole Porter, 1953) When love walks in and takes you for a spin ooh la la la, c’est magnifique. When every night your lover holds you tight, ooh la la la, c’est magnifique. But when one day, your loved one drifts away, ooh la la la, It is so tragique, But when once more he whispers “je t’adore,” c’est magnifique.

STRANGER IN PARADISE (Kismet, Wright & Forest (and Borodin), 1953) Take my hand, I’m a stranger in paradise, All lost in a wonderland, a stranger in paradise. If I stand starry-eyed, that’s a danger in paradise For mortals who stand beside an angel like you.

I saw your face and I ascended out of the commonplace and into the rare. Somewhere in space I stand suspended, Until I know there’s a chance that you care. Won’t you answer the fervent prayer of a stranger in paradise? Don’t leave me in dark despair from all that I hunger for. Won’t you open your angel arms to a stranger in paradise And tell me that I need be a stranger no more.

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HERNANDO’S HIDEAWAY (Pajama Game, Adler & Ross, 1953) I know a dark secluded place, a place where no one knows you face, A glass of wine, a fast embrace, it’s called Hernando’s Hideaway, Ole! All you see are silhouettes, and all you hear are castanets, And no one cares how late it gets, not at Hernando’s Hideaway, Ole!

At the Golden Finger Bowl or anyplace you go You will meet your Uncle Max and everyone you know. But if you go to this spot that I am thinking of, You will be free to gaze at me and talk of love.

Just knock three times and whisper low that you and I were sent by Joe, Then strike a match and you will know, you’re in Hernando’s Hideaway. Ole! HEY THERE (Pajama Game, Adler & Ross, 1953) Hey there, you with the stars in your eyes, Love never made a fool of you, you used to be too wise. Hey there, you on that high flying cloud, Though she won’t throw a crumb to you, you think some day she’ll come to you. Better forget her, her with her nose in the air. She has you dancing on a string, break it and she won’t care. So please take this advice I hand you like a brother, Or are you not seeing things too clear? Are you too much in love to hear? Is it all going in one ear and out the other? HEART (Damn Yankees, Adler & Ross, 1955) You gotta have heart, all you really need is heart, When the odds are saying you’ll never win, that’s when the grin should start. You gotta have hope, mustn’t sit around and mope Nothing’s half as bad as it may appear, just wait till next year and hope.

When you luck is batting zero, pick you chin up off the floor. Mister you could be a hero, you could open any door, There’s nothing to it, but to do it,

You gotta have heart, Miles and miles and miles of heart, Oh, it’s fine to be a genius, of course, but keep that old horse before the cart. ‘Cause first, first you gotta have heart. ON THE STREET WHERE YOU LIVE (My Fair Lady, Lerner & Loewe, 1956) I have often walked down this street before, But the pavement always stayed beneath my feet before. Now at once am I several stories high, Oh it’s just on the street where you live.

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ON THE STREET WHERE YOU LIVE (continued) Are there lilac trees in the heart of town? Can you hear a lark in any other part of town? Does enchantment pour out of every door? No, it’s just on the street where you live. And oh, the towering feeling just to know somehow you are near. The overpowering feeling that any second you may suddenly appear. People stop and stare, they don’t bother me, For there’s nowhere else on earth that I would rather be, Let the time go by, I don’t care if I can be here on the street where you live. ASCOT GAVOTTE (My Fair Lady, Lerner & Loewe, 1956) Every duke and earl and peer is here, Everyone who should be here is here, What a dashing, positively smashing spectacle, the Ascot opening day. At the gate are all the horses waiting for the signal to fly away. What a ripping, absolutely gripping spectacle, the Ascot opening day.

Pulses rushing, Faces flushing, Heart beats speed up, I have never been so keyed up. Any second now they’ll begin to run. Hark, the bell is ringing, they are springing forward, Look, it has begun.

What a frenzied moment that was, didn’t they maintain an exhausting pace. What a thrilling, positively chilling running of the Ascot opening race. GET ME TO THE CHURCH ON TIME (My Fair Lady, Lerner & Loewe, 1956) I’m getting married in the morning, ding dong the bells are gonna chime. Pull out the stopper, let’s have a whopper, but get me to the church on time. I gotta be there in the morning, spruced up and looking in my prime. Girls, come and kiss me, show how you’ll miss me, But get me to the church on time. If I am flying, then shoot me down, If I am wooing, get her out of town. ‘Cause I’m getting married in the morning, ding dong the bells are gonna chime. Kick up a ruckus, but don’t lose the compass, And get me to the church, get me to the church, For Pete’s sake get me to the church on time.

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I COULD HAVE DANCED ALL NIGHT (My Fair Lady, Lerner & Loewe, 1956) I could have danced all night, I could have danced all night And still have begged for more. I could have spread my wings and done a thousand things I’ve never done before. I’ll never know what made it so exciting, why all at once my heart took flight. I only know when he began to dance with me, I could have danced, danced, danced all night. STANDIN’ ON THE CORNER (Most Happy Fella, Frank Loesser, 1956) Standing on the corner, watchin’ all the girls go by. Standing on the corner, watchin’ all the girls go by. Brother, you don’t know a nicer occupation, matter of fact, neither do I Than standin’ on the corner, watchin’ all the girls, Watchin’ all the girls, watchin’ all the girls go by.

I’m the cat that got the cream, I haven’t got a girl, but I can dream, I haven’t got a girl, but I can wish, so I take me down to Main Street, And that’s where I select my imaginary dish.

Standin’ on the corner, watchin’ all the girls go by. Standin’ on the corner, givin’ all the girls the eye. Brother if you’ve got a rich imagination, give it a whirl, give it a try. Try standin’ on the corner, watchin’ all the girls, Watchin’ all the girls, watchin’ all the girls go by.

Saturday and I’m so broke, I couldn’t buy a girl a nickel Coke, But still I’m living like a millionaire when I take me down to Main Street And I review the harem parading for me there.

Standing on the corner, watchin’ all the girls go by. Standing on the corner, underneath the springtime sky. Brother, you can’t go to jail for what you’re thinking Or for the wild look in your eye, You’re only standin’ on the corner, watchin’ all the girls, Watchin’ all the girls, watchin’ all the girls go by. BIG D (Most Happy Fella, Frank Loesser, 1956) You’re from Big D, I can guess, from the way you drawl and the way you dress. You’re from Big D, my oh yes, Big D, little a double l a, S. And that spells Dallas, where every home’s a palace ‘Cause the settlers settle for no less, down in Big D, my oh yes, Big D, little a double l a, Big D, little a double l a, Big D, little a double l a, S. And that spells Dallas, I mean it with no malice, But the rest of Texas is a mess Compared to Big D, my oh yes, Big D, little a double l a, Big D, little a double l a, Big D, little a double l a, S.

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NEVER NEVER LAND (Peter Pan, Styne, Comden and Green, 1954) I know a place where dreams are born and time is never planned, It’s not on any chart, you must find it with your heart, never never land. It may be miles beyond the moon, or right here where you stand, Just have an open mind, and then suddenly you’ll find never never land.

You’ll have a treasure if you stay there, more precious far than gold, For once you have found your way there, you can never never grow old. So come with me where dreams are born and time is never planned, Just think of happy things, and your heart will fly on wings Forever in never never land. TONIGHT (West Side Story, Bernstein and Sondheim, 1957) Tonight, tonight, won’t be just any night, Tonight there will be no morning star. Tonight, tonight, I see my love tonight, And for us stars will stop where they are. Today the minutes seem like hours, the hours go so slowly, And still the sky is bright, Oh moon, grow bright, and make this endless day endless night, Tonight. MARIA (West Side Story, Bernstein and Sondheim, 1957) Maria, I just met a girl named Maria, And suddenly that name will never be the same to me. Maria, I just kissed a girl named Maria, And suddenly I’ve found how wonderful a sound can be. Maria, say it loud and there’s music playing, Say it soft and it’s almost like praying, Maria, I’ll never stop saying Maria. TILL THERE WAS YOU (The Music Man, Meredith Willson, 1957) There were bells on the hill, But I never heard them ringing, No, I never heard them at all till there was you. There were birds in the sky, but I never saw them winging, No I never saw them at all till there was you.

And there was music, and there were wonderful roses they tell me In sweet fragrant meadows of dawn and dew, There was love all around, but I never heard it singing, No I never heard it at all till there was you.

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SEVENTY SIX TROMBONES (The Music Man, Meredith Willson, 1957) Seventy six trombones led the big parade, With a hundred and ten cornets close at hand. They were followed by rows and rows of the finest virtuosos, The cream of every famous band. Seventy six trombones caught the morning sun With a hundred and ten cornets right behind. There were more than a thousand reeds springing up like weeds, There were horns of every shape and kind.

There were copper bottomed tympani and horse platoons Thundering, thundering all along the way, Doubled belled euphoniums and big bassoons, Each bassoon having its big fat say. There were fifty mounted cannon in the battery, Thundering, thundering, louder than before. Clarinets of every size and trumpeters who’d improvise A full octave higher than the score.

Seventy six trombones hit the counterpoint While a hundred and ten cornets played the air. Then I modestly took my place as the one and only bass And I oom-pahed, oom-pahed, oom-pah-pahed, Oom-pahed up and down the square. GOOD NIGHT, MY SOMEONE (The Music Man, Meredith Willson, 1957) Good night, my someone, good night, my love. Sleep tight, my someone, sleep tight, my love. The stars are shining their brightest light, so goodnight, my someone good night Sweet dreams be yours dear, if dreams there be Sweet dreams to carry you close to me. I wish they may and I wish they might, so goodnight, my someone, good night. EVERYTHING’S COMING UP ROSES (Gypsy, Styne and Sondheim, 1959) Things look swell, things look great, gonna have the whole world on a plate, Starting here, starting now, honey everything’s coming up roses. Clear the deck, clear the tracks, we got nothing to do but relax, Blow a kiss, take a bow, honey everything’s coming up roses.

Now’s our inning, stand the world on its ear. Set it spinning, that’ll be just the beginning,

Curtain up, light the lights, we got nothing to hit but the heights, We’ll be swell, we’ll get great, I can tell, just you wait, That lucky star I talk about is due. Honey everything’s coming up sunshine and lollipops, Everything’s coming up bright lights and Santa Claus, Everything’s coming up roses for me and for you.

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MY FAVORITE THINGS (Sound of Music, Rodgers & Hammerstein, 1959) Raindrops on roses and whiskers on kittens, Bright copper kettles and warm woolen mittens, Brown paper packages tied up with strings, These are a few of my favorite things. Cream-colored ponies and crisp apple strudel, Door bells and sleigh bells and schnitzel with noodles, Wild geese that fly with the moon on their wings, These are a few of my favorite things. Girls in white dresses with blue satin sashes, Snowflakes that stay on my nose and eyelashes. Silver white winters that melt into springs, These are a few of my favorite things. When the dog bites, when the bee stings, When I’m feeling sad, I simply remember my favorite things, and then I don’t feel so bad. CLIMB EVERY MOUNTAIN (Sound of Music, Rodgers & Hammerstein, 1959) Climb every mountain, search high and low. Follow every byway, every path you know. Climb every mountain, ford every stream Follow every rainbow till you find your dream.

A dream that will need all the love you can give Every day of your life for as long as you live.

Climb every mountain, ford every stream. Follow every rainbow, till you find your dream. THE SOUND OF MUSIC (Sound of Music, Rodgers & Hammerstein, 1959) The hills are alive with the sound of music, With songs they have sung for a thousand years. The hills fill my heart with the sound of music, My heart wants to sing every song it hears.

My heart wants to beat like the wings of the birds that rise From the lake to the trees. My heart wants to sigh like a chime that flies from the church on a breeze, To laugh like a brook as it trips and falls over stones on its way, To sing through the night like a lark who is learning to pray. I go to the hills when my heart is lonely, I know I will hear what I’ve heard before, My heart will be blessed with the sound of music, And I’ll sing once more.

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IF EVER I WOULD LEAVE YOU (Camelot, Lerner & Loewe, 1960) If ever I would leave you, it wouldn’t be in summer, Seeing you in summer I never would go. Your hair streaked with sunlight, you lips red as flame, Your face with a luster that puts gold to shame. But if I’d ever leave you, it couldn’t be in autumn How I’d leave in autumn I never could know. I’ve seen how you sparkle when fall nips the air. I know you in autumn, and I must be there. Or could I leave you running merrily through the snow? Or on a wintry evening when you catch the fire’s glow? But if I’d ever leave you, how could it be in springtime? Knowing how in spring I’m bewitched by you so? Oh no, not in springtime, summer, winter, or fall. No, never could I leave you at all. THE SIMPLE JOYS OF MAIDENHOOD Where are the simple joys of maidenhood? Where are all those adoring, daring boys? Where’s the knight pining so for me, he leaps to death in woe for me? Oh, where are a maiden’s simple joys? Shouldn’t I have the simple joys a maiden should? Shall I never be rescued in the wood? Shall two knights never tilt for me and let their blood be spilt for me, Oh where are the simple joys of maidenhood? Shall I not be on a pedestal, worshipped and competed for? Not be carried off, or better still, cause a little war?

Tell me, where are the simple joys of maidenhood? Are those sweet gentle pleasures gone for good? Shall a feud not begin for me, shall kith not kill their kin for me? Oh where the trivial joys, harmless, convivial joys, Where are the simple joys of maidenhood?

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CAMELOT (Camelot, Lerner & Loewe, 1960) The law was made a distant moon ago here, July and August cannot be too hot. And there’s a legal limit to the snow here in Camelot. The winter is forbidden till December and exits March the second on the dot. By order, summer lingers through September in Camelot. Camelot, Camelot, I know it sounds a bit bizarre. But in Camelot, Camelot, that’s how conditions are. The rain must never fall till after sundown, By nine p.m. the moonlight must appear In short there’s simply not a more congenial spot For happily ever after-ing than here in Camelot. Each evening from December till December, before you fall asleep upon your cot Think back upon the legends you remember of Camelot. Ask every person if they’ve heard the story And sing it loud and clear if they have not. That once there was a fleeting wisp of glory called Camelot. Camelot, Camelot, now sing it out with pride and joy. Camelot, Camelot, sing Camelot my boy. Where rain could never fall till after sunset, By eight a.m. the morning fog had flown. Don’t let it be forgot that once there was a spot For one brief shining moment that was known as Camelot. I BELIEVE IN YOU (How to Succeed.., Frank Loesser, 1961) You have the cool clear eyes of a seeker of wisdom and truth. Yet there’s the upturned chin and the grin of impetuous youth. Oh I believe in you. Yes, I believe in you. I hear the sound of good solid judgment whenever you talk. Yet there’s the bold brave roar of a tiger that quickens your walk. Oh I believe in you. Yes, I believe in you. And when my faith in my fellow man all but falls apart, I’ve but to reach out and take you hand, and I take heart, I take heart To see the cool clear eyes of a seeker of wisdom and truth. Yet there’s the slam bang tang reminiscent of gin and vermouth. Oh I believe in you. Yes, I believe in you.

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HEY LOOK ME OVER (Wildcat, Coleman and Leigh, 1960) Hey, look me over, lend me an ear, Fresh out of clover, mortgaged up to here, But don’t pass the plate, folks, don’t pass the cup, I figure whenever you’re down and out, the only way is up, And I’ll be up like rosebud, high on the vine, Don’t thumb your nose, bud, take a tip from mine, Just a little bit short on the elbow room, but let me get me some, Better look out world, here I come. Nobody in the world was ever without a prayer, How can you win the world if nobody knows you’re there. Just when you need the crowd, the tickets are hard to sell, But you can lead the crowd if you stand up and yell. (Repeat first stanza) PUT ON A HAPPY FACE (Bye Bye Birdie, Adams and Strouse, 1960) Gray skies are gonna clear up, put on a happy face. Brush off the clouds and cheer up, put on a happy face. Wipe off that gloomy mask of tragedy, it’s not your style. You’ll feel so good that you’ll be glad you decided to smile. Pick out a pleasant outlook, stick out that noble chin, Wipe off that full of doubt look, slap on a happy grin And spread sunshine all over the place, just put on a happy face. Gray skies are gonna clear up, put on a happy face. Turn off the tears and cheer up, put on a happy face. And if you’re feeling cross and bickerish, don’t sit and whine. Think of banana splits and licorice, and you’ll feel fine. I knew a girl so gloomy, she wouldn’t dance or sing. She wouldn’t listen to me, now she’s a mean old thing, So spread sunshine all over the place, just put on a happy face. CONSIDER YOURSELF (Oliver!, Lionel Bart, 1962) Consider yourself at home, consider yourself one of the family, We’ve taken to you so strong, it’s clear we’re going to get along. Consider yourself well in, consider yourself part of the furniture, We haven’t a lot to share, who cares, whatever we got, we share.

And if it chance to be we should see some harder days, Empty larder days, why grouse? Always a chance we’ll meet somebody to foot the bill, Then the drinks are on the house.

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Consider yourself at home, we don’t want to have no fuss, For after some consideration we can state, consider yourself one of us. WHAT KIND OF FOOL AM I? (Stop the World, Bricusse & Newley, 1962) What kind of fool am I, who never fell in love? It seems that I’m the only one that I have been thinking of. What kind of man is this, an empty shell, A lonely cell in which an empty heart must dwell. What kind of lips are these that lied with every kiss, That whispered empty words of love that left me alone like this? Why can’t I fall in love like any other man? And maybe then I’ll know what kind of fool I am. COMEDY TONIGHT (A Funny Thing Happened…, Stephen Sondheim, 1962) Something appealing, something appalling, Something for everyone, a comedy tonight, Something contagious, something outrageous, Something for everyone a comedy tonight, Nothing with kings, nothing with crowns, bring on the liars, lovers and clowns. Old situations, new complications, something for everyone in sight, Tragedy tomorrow, comedy tonight. Something convulsive, something repulsive, Something for everyone, a comedy tonight. Something esthetic, something frenetic, Something for everyone a comedy tonight. Nothing of Gods, nothing of fate, weighty affairs will just have to wait. Nothing that’s normal, nothing that’s formal, Nothing portentous or polite, Tragedy tomorrow, -- Comedy tonight. PEOPLE (Funny Girl, Styne & Merrill, 1964) People, people who need people are the luckiest people in the world, We’re children needing other children, And yet letting our foolish pride hide all the need inside, Acting more like children than children. Lovers are very special people, they’re the luckiest people in the world. With one person, one very special person, a feeling deep in your soul Says you were half, now you’re whole, There’s no more hunger and thirst, But first be a person who needs people, People who need people are the luckiest people in the world.

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HELLO, DOLLY (Hello Dolly!, Jerry Herman, 1964) Hello, dolly, well, hello, dolly, it’s so nice to have you back where you belong. You’re looking swell, dolly, I can tell, dolly, you’re still crowin’, you’re still glowin’ You’re still goin’ strong. I feel the room swayin’, and the band’s playin’ One of our old favorite songs from way back then, so Golly gee, fellahs, find her an empty knee, fellahs, Dolly’ll never go away again. Hello, dolly, well hello, dolly, good to see you back, let’s thank our lucky star. You’re looking great, dolly, lose some weight, Dolly? Dolly’s overwhelmed and overjoyed and over par. I hear the ice tinkling, see the lights twinkling, Do you still get glances from those handsome men? Oh Wow wow wow, fellahs, look at the old girl now, fellahs, Dolly’ll never go away, Dolly’ll never go away, Dolly’ll never go away again. PUT ON YOUR SUNDAY CLOTHES (Hello Dolly!, Jerry Herman, 1964) Put on your Sunday clothes, there’s lots of world out there, Break out the brilliantine and dime cigars. We’re gonna find adventure in the evening air, With girls in white on a perfumed night where lights are bright as the stars. Put on your Sunday clothes, we’re gonna ride through town In one of them new horse-drawn open cars, We’ll see the shows at Delmonico’s and we’ll leave the town in a whirl, And we won’t come home until we’ve kissed a girl. Put on your Sunday clothes when you feel down and out, Stroll up the street and get your picture took. Just like a dream, your spirits seem to turn about, That Sunday shine is a certain sign that you feel as fine as you look. Beneath a bowler brim the world’s a simple song, A lovely lilt that makes you tilt your nose. Get out your feathers, your patent leathers, your beads and buttons and bows ‘Cause there’s no blue Monday in your Sunday clothes. SUNRISE, SUNSET (Fiddler on the Roof, Harnick & Bock, 1965) Is this the little girl I carried? Is this the little boy at play? I don’t remember growing older. When did they? When did she get to be a beauty? When did he grow to be so tall? Wasn’t it yesterday when they were small?

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SUNRISE, SUNSET (continued) CHORUS: Sunrise, sunset, sunrise, sunset, swiftly flow the days. Seedlings turn overnight to sunflowers, blossoming even as we gaze. Sunrise, sunset, sunrise, sunset, swiftly fly the years. One season following another, laden with happiness and tears. What words of wisdom can I give them? How can I help to ease their way? Now they must learn from one another day by day. They look so natural together, just like two newlyweds should be. Is there a canopy in store for me? CHORUS IF I WERE A RICH MAN (Fiddler on the Roof, Harnick & Bock, 1965) If I were a rich man, daidle deedle daidle digguh digguh deedle daidle dum. All day long I’d biddy biddy bum, If I were a wealthy man, I wouldn’t have to work hard, daidle deedle daidle digguh digguh deedle daidle dum, If I were a biddy biddy rich, digguh digguh deedle daidle man. I’d build a big tall house with rooms by the dozen right in the middle of the town, A fine tin roof and real wooden floors below. There would be one long staircase just going up And one even longer coming down, And one more leading nowhere, just for show. I’d fill the yard with chicks and turkeys and geese and ducks for the town to see and hear, Squawking just as noisily as they can, And each loud quack and cluck and gobble and honk would land like a trumpet on the ear, As if to say, here lives a wealthy man. If I were a rich man, daidle deedle daidle digguh digguh deedle daidle dum. All day long I’d biddy biddy bum, If I were a wealthy man, I wouldn’t have to work hard, daidle deedle daidle digguh digguh deedle daidle dum, If I were a biddy biddy rich, digguh digguh deedle daidle man. I see my wife, my Golde, looking like a rich man’s wife with a proper double chin, Supervising meals to her heart’s delight. I see her putting on airs and strutting like a peacock, Oy, what a happy mood she’s in, Screaming at the servants day and night. The most important men in town will come to faun on me, They will ask me to advise them, Like a Solomon the wise, “If you please, Reb Tevye, Pardon me, Reb Tevye,” Posing problems that would cross a rabbi’s eyes. And it won’t make one bit of different if I answer right or wrong. When you’re rich, they think you really know.

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IF I WERE A RICH MAN (continued) If I were rich I’d have the time that I lack to sit at the synagogue and pray, And maybe have a seat by the eastern wall. And I’d discuss the Holy Book with the learned men seven hours every day. This would be the sweetest thing of all. If I were a rich man, daidle deedle daidle digguh digguh deedle daidle dum. All day long I’d biddy biddy bum, if I were a wealthy man, I wouldn’t have to work hard, daidle deedle daidle digguh digguh deedel daidle dum. Lord, who made the lion and the lamb, You decreed that I be what I am. But would it spoil some vast eternal plan if I were a wealthy man? I AM I, DON QUIXOTE (Man of La Mancha, Leigh & Darion, 1965) Hear me now, oh thou bleak and unbearable world, Thou art base and debauched as can be. And a knight with his banners all bravely unfurled Now hurls down the gauntlet on thee. I am I, Don Quixote, the lord of La Mancha, my destiny calls and I go. And the wild winds of fortune will carry me onward, oh withersoever they blow. Hear me, heathens and wizards and serpents of sin, All your dastardly doings are past. For a holy endeavor is now to begin And virtue shall triumph at last. I am I, Don Quixote, the lord of La Mancha, my destiny calls and I go. And the wild winds of fortune will carry me onward, oh withersoever they blow. Withersoever they blow, Onward to glory I go. THE IMPOSSIBLE DREAM (Man of La Mancha, Leigh & Darion, 1965) To dream the impossible dream, to fight the unbeatable foe, To bear the unbearable sorrow, to run where the brave dare not go. To right the unrightable wrong, to love pure and chaste from afar, To try when your arms have grown weary to reach the unreachable star. This is my quest to follow that star, no matter how hopeless no matter how far To fight for the right, without question or pause, To be willing to march into hell for a heavenly cause. And I know if I’ll only be true to that glorious quest, Then my heart will be peaceful and calm when I’m laid to my rest. And the world will be better for this, That one man scorned and covered with scars

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Still strove with his last ounce of courage to reach the unreachable stars. WE NEED A LITTLE CHRISTMAS (Mame, Jerry Herman, 1966) Haul out the holly, put up the tree before my spirit falls again. Slice up the fruitcake, I may be rushing things but deck the halls again now. Because we need a little Christmas right this very minute, Candles in the window, carols at the spinet, Yes we need a little Christmas right his very minute. It hasn’t snowed a single flurry, but Santa, please, we’re in a hurry, so Slide down the chimney, put up the biggest string of lights I’ve ever seen. Fill up the stocking, it’s time to hang some tinsel on the evergreen bough. Because we need a little music, need a laughter, Need a little singing ringing to the rafter And we need a little snappy happy ever after, We need a little Christmas now. IF HE WALKED INTO MY LIFE (Mame, Jerry Herman, 1966) Did he need a stronger hand, did he need a lighter touch? Was I soft or was I tough, did I give enough? Did I give too much? At a moment when he needed me, did I ever turn away? Would I be there when he called if he walked into my life today? Were his days a little dull? Were his nights a little wild? Did I overstate my plan? Did I stress the man and forget the child? And there must have been a million things that my heart forgot to say. Would I think of one or two if he walked into my life today? Should I blame the times I pampered him or blame the times I bossed him? What a shame I never really knew the boy before I lost him. Were the years a little fast? Was his world a little free? Was there too much of the crowd, all too lush and loud, and not enough of me? So I’ll ask myself my whole life though, what went wrong along the way? Would I make the same mistakes if he walked into my life today? MAME (Mame, Jerry Herman, 1966) You coax the blues right out of the horn, Mame, You charm the husk right off of the corn, Mame. You’ve got the banjoes strummin’ and plunkin’ out a tune to beat the band. The whole plantation’s hummin’ since you brought Dixie back to Dixie land. You make the cotton easy to pick Mame, You give my old mint julep a kick Mame

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You make the old magnolia tree blossom at the mention of your name. You made us feel alive again, you’ve given us the drive again. You’ll make the South revive again, Mame. MAME (Continued) You brought the cake walk back into style, Mame. You make the weeping willow tree smile, Mame. Your skin is Dixie satin, there’s rebel in your manner and your speech. You may be from Manhattan, but Georgia never had a sweeter peach. You make our black-eyed peas and our grits, Mame, Seem like the bill of far at the Ritz, Mame. You came, you saw, you conquered, and absolutely nothing is the same. Your special fascination ‘ll prove to be inspirational, We think you’re just sensational, Mame, Mame, Mame, Mame. CABARET (Cabaret, Kander & Ebb, 1966) What good is sitting alone in your room? Come hear the music play. Life is a cabaret old chum, Come to the cabaret. Put down the knitting, the book and the broom. Time for a holiday. Life is a cabaret, old chum, Come to the cabaret. Come taste the wine, come hear the band, Come blow your horn, start celebrating, Right this way, your table’s waiting. No use permitting some prophet of gloom to wipe every smile away. Life is a cabaret, old chum, Come to the cabaret. I used to have a girlfriend name of Elsie, With whom I shared four sordid rooms in Chelsea. She wasn’t what you’d call a blushing flower. As a matter of fact, she rented by the hour. When she died, the neighbors came to snicker, Well, that’s what comes of too much pills and liquor. But when I saw Elsie laid out like a queen, She was the happiest corpse I’d ever seen. I think of Elsie to this very day, and when I do, I always smile and say. What good is sitting alone in your room, Come hear the music play. Life is a cabaret, old chum, come to the cabaret. And as for me, and as for me, I made my mind up back in Chelsea, When I go, I’m going like Elsie. Start by admitting from cradle to tomb isn’t that long a stay. Life is a cabaret, old chum, only a cabaret, old chum, And I love a cabaret. BIG SPENDER (Sweet Charity, Coleman and Fields, 1966)

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The minute you walked in the joint I could tell you were a man of distinction, A real big spender, good looking, so refined, So wouldn’t you like to know what’s going on in the mind? Well let me get right to the point, I don’t pop my cork for every man I see. Hey big spender, (hey big spender) spend a little time with me. Wouldn’t you like to have fun, fun, fun, How’s about a few laughs, laughs, laughs, I can show you a good time, Let me show you a good time. (repeat first stanza) IF THEY COULD SEE ME NOW (Sweet Charity, Coleman and Fields, 1966) If they could see me now, that little gang of mine, I’m eating fancy chow and drinking fancy wine, I’d like those stumble bums to see for a fact The kind of top drawer first rate chums I attract, All I can say is “wow”, to look at where I am, Tonight I landed pow right in a pot of jam, What a set up, holy cow, they’d never believe If my friends could see me now. If they could see me now, that little tawdry group, I’m traipsing round this million dollar chicken coop. I’d hear those thrift shop cats say “brother, get her, Draped on a bedspread made of three kinds of fur.” To think the highest brow, which I must say is he, Should pick the lowest brow, which there’s no doubt is me, What a set up, holy cow, they’d never believe If my friends could see me now. ON A WONDERFUL DAY LIKE TODAY (Roar of the Greasepaint, Bricusse & Newley, 1965) On a wonderful day like today, I defy any cloud to appear in the sky, I dare any raindrop to plop in my eye, on a wonderful day like today. On a glorious evening like this when the moon is as big as a yellow balloon, Even the crickets are chirping in tune on a wonderful day like today. On an evening like this, I could kiss everybody, I’m so full of love and goodwill. Let me say, furthermore, I’d adore everybody To come and dine, the pleasure’s mine, I will pay the bill. May I take this occasion to say That the whole human race should bow down on its knees, To show that we’re grateful for moments like these, For the world’s in a wonderful way, on a wonderful day like today.

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WHO CAN I TURN TO? (Roar of the Greasepaint, Bricusse & Newley, 1965) Who can I turn to when nobody needs me? My heart wants to know, and so I will go where destiny leads me. With no one beside me, and no star to guide me, I’ll go on my way, and after the day, the darkness will hide me. And maybe tomorrow I’ll find what I’m after. I’ll cast off my sorrow, beg, steal or borrow my share of laughter, With you I could learn to, with you it’s a new day, But who can I turn to when you turn away? MY CUP RUNNETH OVER (I Do, I Do, Jones and Schmidt, 1966) Sometimes in the morning when shadows are deep, I lie here beside you just watching you sleep And sometimes I wonder what you’re dreaming of, My cup runneth over with love. Sometimes in the evening when you do not see I study the small things you do constantly, I memorize moments that I’m fondest of, My cup runneth over with love. In only a moment we both shall be old, We won’t even notice the world growing cold, And so in this moment of sunshine above, My cup runneth over with love. THE AGE OF AQUARIUS (Hair, Ragno and Radi, 1968) When the moon is in the seventh house and Jupiter aligns with Mars Then peace will rule the planets and love will rule the stars. This is the dawning of the age of Aquarius, the age of Aquarius, Aquarius, Aquarius. Harmony and understanding, Sympathy and trust abounding, No more falsehoods or derisions, Mystic crystal revelations And the mind’s true liberation, Aquarius, Aquarius. (repeat first stanza)

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I’LL NEVER FALL IN LOVE AGAIN (Promises Promises, Bacharach/David, ‘69) What do you get when you fall in love, a guy with a pin to burst your bubble, That’s what you get for all your trouble, I’ll never fall in again, I’ll never fall in love again. What do you get when you kiss a guy, You get enough germs to catch pneumonia After you, he’ll never phone ya, I’ll never fall in love again, I’ll never fall in love again.

Don’t tell me what it’s all about, I’ve been there and I’m glad I’m out, Out of those chains, those chains that bind you, That is why I’m here to remind you.

What do you get when you give you heart? You get it all broken up and battered, That’s what you get, a heart that’s shattered, I’ll never fall in love again, I’ll never fall in love again. What do you get when you need a guy, you get enough tears to fill an ocean, That’s what you get for your devotion, I’ll never fall in love again. I’ll never fall in love again.

Don’t tell me what it’s all about, I’ve been there and I’m glad I’m out, Out of those chains, those chains that bind you, That is why I’m here to remind you.

What do you get when you fall in love, you only get lies and pain and sorrow, So for at least until tomorrow, I’ll never fall in love again, I’ll never fall in love again. BEING ALIVE (Company, Stephen Sondheim, 1969) Somebody, hold me too close, somebody, hurt me too deep, Somebody, sit in my chair, and ruin my sleep, And make me aware of being alive, being alive. Somebody, need me too much, Somebody, know me too well, Somebody, pull me up short, and put me through hell, And give me support for being alive, being alive, Make me alive,

Make me confused, mock me with praise, Let me be used, vary my days.

Somebody, crowd me with love, Somebody, force me to care, Somebody, make me come through, I’ll always be there, as frightened as you To help us survive being alive, being alive, being alive.

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ANOTHER HUNDRED PEOPLE (Company, Stephen Sondheim, 1969) Another hundred people just got off of the train and came up through the ground While another hundred people just got off of the bus and are looking around At another hundred people just off of the plane and are looking at us Who got off of the train and the plane and the bus maybe yesterday. It’s a city of strangers, some come to work, some to play. It’s a city of strangers, some come to stare, some to stay And every day They find each other in the crowded streets and the guarded parks, By the rusty fountains and the dusty trees with their battered barks. And they walk together past the postered walls with their crude remarks. And they meet at parties at the friends of friends whom they never know, Should I pick you up or should I meet you there? Shall we let it go? Did you get my message, ‘cause I looked in vain? Could we see each other Tuesday if it doesn’t rain? Look, I’ll call you the morning or my service will explain. And another hundred people just got off the train. And another hundred people just got off the train. And another hundred people just got off the train. BROADWAY BABY (Follies, Stephen Sondheim, 1970) Broadway Baby, walking off my tired feet, Pounding forty second street to be in a show. Broadway Baby, learning how to sing and dance, Waiting for my one big chance to be in a show. Gee, I long to be on a marquee, all twinkling lights, A spark to pierce the dark from Battery Park to Washington Heights. Someday maybe, all my dreams will be repaid, Heck, I’d even play the maid, to be in a show. Hey mister producer, I’m talking to you sir. I don’t need a lot, only what I got, plus a tube of greasepaint and a follow spot. Broadway Baby, slaving at the five and ten, Waiting for that big day when I’ll be in a show. Broadway Baby, making rounds all afternoon, Eating at a greasy spoon to save on my dough. At my tiny flat there’s just a cat, a bed, and a chair. Still I’ll stick it till I’m on a bill all over Time Square. Someday maybe, if I stick it long enough I will get to strut my stuff Working for a nice man like a Zeigfeld or a Weisman In a big time Broadway show.

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I’M STILL HERE (Follies, Stephen Sondheim, 1970) I’ve been through Reno, I’ve been through Beverly Hills, and I’m here. Reefer and vino, rest cures, religion and pills, but I’m here. I’ve stuffed the dailies in the shoes, Strummed ukuleles, sung the blues, Seen all my dreams disappear, but I’m here. Black sable one day, next day it goes into hock, but I’m here. Top billing Monday, Tuesday you’re touring in stock, but I’m here. First you’re another sloe-eyed vamp, then someone’s mother, then you’re camp, Then you career from career to career, I’m almost through my memoirs, but I’m here. I made it through “Hey lady, aren’t you whosit? Man, what a looker you were.” Or better yet, “Sorry, I thought you were whosit. Whatever happened to her?” Good times and bum times, I’ve seen they all, and my dear, I’m still here. Plush velvet sometimes, sometimes a kick in the rear, but I’m here. I’ve run the gamut A to Z, and I’ll say it, dammit, three cheers for me! I got through all of last year and I’m here. Lord knows at least I was there, and I’m here! Look who’s here! I’m still here! LOSING MY MIND (Follies, Stephen Sondheim, 1970) The sun comes up, I think about you; my coffee cup, I think about you. I love you so, it’s like I’m losing my mind. The morning ends, I think about you; I talk with friends, and think about you. You have to know, it’s like I’m losing my mind. All afternoon doing every little chore, the thought of you shines bright. Sometimes I stand in the middle of the floor, not going left, not going right. I dim the lights and think about you, spend sleepless night and think about you. You said you loved me, or were you just being kind? Or am I losing my mind? SEND IN THE CLOWNS (A Little Night Music, Stephen Sondheim, 1971) Isn’t it rich? Are we a pair? Me here at last on the ground, you in midair. Where are the clowns, there ought to be clowns. Isn’t it rich? Don’t you approve? One who keeps tearing around, one who can’t move. Where are the clowns, please send in the clowns.

Just when I stopped opening doors, Finally knowing the one that I wanted was yours. Making my entrance again with my usual flair, Sure of my lines, no one is there. Don’t you love farce? My fault I fear. I thought that you’d want what I want. Sorry, my dear. Where are the clowns, Quick, send in the clowns, Don’t bother, they’re here.

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MAGIC TO DO (Pippen, Stephen Schwartz, 1972) Join us, leave your field to flower, Join us, leave your cheese to sour, Join us, come and waste an hour to two. Join us, journey to a spot exciting, mystic and exotic, Journey through our anecdotic revue. CHORUS: We’ve got a magic to do, just for you, We got miracle plays to play. We got parts to perform, hearts to warm, Kings and things to take by storm As we got along our way. We got intrigue, plots to bring disaster, humor handled by a master, Romance, sex presented pastorally. We got illusion, fantasy to study, battles barbarous and bloody, Join us, sit where everybody can see. CHORUS CORNER OF THE SKY (Pippin, Stephen Schwartz, 1972) Everything has a season, everything has a time, Show me a reason and I’ll soon show you a rhyme, Cats fit on the windowsill, Children fit in the snow, Why do I feel I don’t fit in anywhere I go? CHORUS: Rivers belong where they can ramble, Eagles belong where they can fly I’ve got to be where my spirit can run free, Gotta find my corner of the sky. Every man has his daydreams, every man has his goal, People like the way dreams have of sticking to the soul. Rain comes after thunder, winter comes after fall, Sometimes I think I’m not after anything at all. CHORUS So many men seem destined to settle for something small, But I won’t rest until I know I’ve had it all, So don’t ask me where I’m going, just listen for when I’m gone, And far away you’ll hear me singing softly to the dawn. CHORUS SUMMER NIGHTS (Grease, Jacobs and Casey, 1972) Guys: Summer lovin’, had me a blast, Girls: Summer lovin’, happened so fast, Guys: Met a girl crazy for me, Girls: Met a guy cute as can be. All: Summer days, drifting away, but oh those summer nights. Well-a-well-a-well – a well

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SUMMER NIGHTS (continued) Guys: Tell me more, tell me more, did you get very far? Girls: Tell me more, tell me more, like does he have a car? All: Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Girls: He got friendly holding my hand Guys: She got friendly down in the sand Girls: He was sweet, just turned eighteen, Guys: She was good, you know what I mean? All: Summer fun, something’s begun, but oh those summer nights.

Well-a-well-a-well-a- Girls: Tell me more, tell me more, How much dough did he spend? Guys: Tell me more, tell me more, can She get me a friend? All: Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Guys: We went bowling in the arcade, Girls: We went strolling, drank lemonade, Guys: We made out under the dock, Girls: We stayed out till ten o’clock All: Summer heat, boy and girl meet, but oh those summer nights. Girls: Tell me more, tell me more, was it love at first sight? Guys: Tell me more, tell me more, did she put up a fight? All: Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Uh huh, Girls: It turned colder, that’s where it ends, Guys: So I told her we’d still be friends. Girls: Then we made our true love’s vow, Guys: Wonder what she’s doin’ now. All: Summer dreams ripped at the seams, but oh those summer nights. WHAT I DID FOR LOVE (Chorus Line, Hamlisch & Kleban, 1975) Kiss today goodbye, the sweetness and the sorrow, We did what we had to do And I don’t regret what I did for love, what I did for love. Look my eyes are dry, The gift was ours to borrow. It’s as if we always knew. And I can’t forget what I did for love, what I did for love.

Gone, love is never gone, As we travel on, Love’s what we remember. Kiss today goodbye, and point me toward tomorrow. Wish the luck, the same to you. Don’t regret, can’t forget, what I did for love. What I did for love.

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ONE (Chorus Line, Hamlisch & Kleban, 1975) One singular sensation every single step she takes. One thrilling combination every movement she makes. One smile and suddenly nobody else will do. You know you’ll never be lonely with you know who. One moment in her presence and you can forget the rest. She’s the girl that’s second best to none, son. Ooh, sigh, give her your attention. Do I really have to mention? She’s the one. RAZZLE DAZZLE (Chicago, Kander & Ebb, 1975) You’ve got to give ‘em the old razzle dazzle, Razzle dazzle ‘em. Give ‘em an act with lots of flash in it, and the reaction will be passionate. Give ‘em the old hocus pocus, Bead and feather ‘em. How can they see with sequins in their eyes? Long as you keep ‘em way off balance, how can they spot you got no talents? Razzle dazzle ‘em, and they’ll never catch wise. You’ve got to give ‘em the old razzle dazzle, Razzle dazzle ‘em. Back since the days of old Methuselah, everyone loves a big bamboozeler. Give ‘em the old flim flam flummox, fool and fracture ‘em, Show ‘em the first rate sorcerer you are. Though you are stiffer than a girder, they’ll let you get away with murder. Razzle dazzle ‘em, and they’ll make you a star. AND ALL THAT JAZZ (Chicago, Kander & Ebb, 1975) Come on, babe, why don’t we paint the town, and all that jazz, I’m gonna rouge my knees and roll my stockings down, and all that jazz. Start the car, I know a whoopee spot where the gin is cold but the piano’s hot. It’s just a noisy hall, where there’s a nightly brawl and all that jazz. Slick your hair and wear your buckle shoes and all that jazz. I hear that Father Dip is gonna blow the blues and all that jazz. Hold on, hon, we’re gonna bunny hug, I got aspirin down at United Drug In case we shake apart and want a brand new start to do that jazz. Oh, you’re gonna see your Sheba shimmy shake and all that jazz. Oh, I’m gonna shimmy till my garters break and all that jazz. Show me where to park my girdle, Oh, my mother’s blood would curdle If she’d hear here baby’s queer for all that jazz. No, I’m no one’s wife, but oh I love my life and all that jazz.

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WE’D LIKE TO THANK YOU, HERBERT HOOVER (Annie, Strouse & Charnin, 1978) Today we’re living in a shanty, today we’re scrounging for a meal, Today we’re stealing coal for fire. Who knew we could steal? I used to winter in the tropics, I spent my summers by the shore. I used to throw away the paper. I don’t anymore. We’d like to thank you, Herbert Hoover, for really showing us the way. We’d like to thank you, Herbert Hoover, you made us what we are today. Prosperity was round the corner, a cozy cottage built for two. In this blue heaven that you gave us, Yes, we’re turning blue. They offered us Al Smith or Hoover, we paid attention and we chose. Not only did we pay attention, we paid through the nose. In every pot there’d be a chicken, But Herbert Hoover, he forgot. Not only don’t we have a chicken, we don’t have a pot. You left behind a grateful nation, So Herb, our hats are off to you. We’re up to here with admiration, come down and have a little stew. Come down and share some Christmas dinner, be sure to bring the Mrs. too. We got no turkey for our stuffing, Why don’t we stuff you? YOU’RE NEVER FULLY DRESSED WITHOUT A SMILE (Annie) Hey, hobo man, hey, dapper Dan, you both got your style, But brother, you’re never fully dressed without a smile. Your clothes may be Beau Brummel-ly, they stand out a mile, But brother, you’re never fully dressed without a smile.

Who cares what they’re wearing on Main Street or Saville Row, It’s what you wear from ear to ear and not from head to toe that matters. So, Senator, so janitor, so long for a while, Remember, you’re never fully dressed, though you may wear the best, You’re never fully dressed without a smile. THE BALLAD OF SWEENEY TODD (Sweeney Todd, Sondheim, 1979) Attend the tale of Sweeney Todd, his skin was pale and his eye was odd. He shaved the faces of gentlemen who never thereafter were heard from again. He trod a path that few have trod, did Sweeney Todd, The demon barber of Fleet Street. His hands were quick and his fingers strong, It stung a little, but not for long. And what if none of their souls were saved? They went to their maker impeccably shaved By Sweeney, by Sweeney Todd, the demon barber of Fleet Street.

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THE BALLAD OF SWEENEY TODD (continued)

Raise you razor high, Sweeney, raise it to the skies. Freely flows the blood of those who moralize.

His needs were few and his room was bare, a lavabo and a barber chair. A razor blade and a leather strop, a brush and a comb and a pail and a mop. For neatness he deserves a nod, does Sweeney Todd, The demon barber of Fleet Street Attend the tale of Sweeney Todd, he served a dark and a hungry god. To seek revenge may lead to hell, but everyone does it and seldom as well As Sweeney, as Sweeney Todd, the demon barber of Fleet Street. ANOTHER SUITCASE IN ANOTHER HALL (Evita, Webber & Rice, 1979) I don’t expect my love affairs to last for long, Never fool myself that my dreams will come true. Being used to trouble, I anticipate it. All the while I hate it. Wouldn’t you? CHORUS So what happens now? Another suitcase in another hall

So what happens now? Take you pictures off another wall Where am I going to? You’ll get by you always have before. Where am I going to? Don’t ask anymore.

Time and time again I’ve said that I don’t care. I’m immune to gloom, that I’m hard through and through. When it really matters all my words desert, And anyone can hurt me, and they do. CHORUS Call in three months time and I’ll be fine I know, Maybe not that fine, but I’ll survive anyhow. I won’t recall the details of this sad occasion, But that’s no consolation here and now. CHORUS MEMORY (Cats, Webber and Nunn, 1982) Memory, turn your face to the moonlight, Let your memory lead you, Open up, enter in. If you find there the meaning of what happiness is then a new life will begin. Memory, all alone in the moonlight, I can smile at the old days, I was beautiful then. I remember the time I knew what happiness was, Let the memory live again.

Burnt out ends of smoky days, the stale cold smell of morning. A street lamp dies, another night is over, another day is dawning. Touch me, it’s so easy to leave me All alone with the memory of my day in the sun. If you touch me you’ll understand what happiness is, Look, a new day has begun.

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OLD FRIEND (Merrily We Roll Along, Stephen Sondheim, 1983) Hey, old friend, what do you say, old friend, Doin’ okay, old friend? Are we or aren’t we unique? Time goes by, everything else keeps changing, You and I, we get continued next week. Some friends fade, others don’t make the grade, New friends are quickly made, and in a pinch, sure, they’ll do, But us, old friend, what’s to discuss, old friend Talk about us, who’s like us, darned few. Hey, old friend, how do we stay old friends? No one can say, old friend, just how a friendship survives. One day chums, sharing a laugh a minute, Next day comes and they’re a part of your lives. New friends pour through a revolving door, Suddenly one means more to you than all of the rest, Like you, old friend, what would I do, old friend, If not for you? You’re simply the best. I AM WHAT I AM (La Cage aux Folles, Jerry Herman, 1983) I am what I am, I am my own special creation So come take a look, give me the hook or the ovation, I face life, though it’s sometimes sweet and sometimes bitter, Face life with a little guts and lots of glitter. Life’s only a sham till you can say, hey world, I am what I am. I am what I am, and what I am needs no excuses. I deal my own deck, sometimes the ace, sometimes the deuces. It’s my world that I want to have a little pride in, My world, and it’s not a world I have to hide in. Life’s not worth a damn till you can say, hey world, I am what I am. THE BEST OF TIMES (La Cages aux Folles, Jerry Herman, 1983) The best of time is now, what’s left of summer but a faded rose? The best of times is now, as for tomorrow well, Who knows? who knows? who knows? So hold this moment fast, and life and love as hard as you know how. And make this moment last, because the best of times is now, is now, is now.

Now, not some forgotten yesterday, Now, tomorrow is too far away. So hold this moment fast, and life and love as hard as you know how. And make this moment last, because the best of times is now, is now, is now.

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I DREAMED A DREAM (Les Miserables, Schonberg & Kretzmer, 1986) I dreamed a dream in time gone by, when I was young and life worth living. I dreamed that love would never die, I dreamed that God would be forgiving. When I was young and unafraid, when dreams were made and used and wasted. There was no ransom to be paid, no song unsung, no wine untasted.

But the tigers come at night, with their voices soft as thunder, And they tear your world apart, and they turn you dreams to shame.

He spent the summer by my side, he filled my days with endless wonder. He took my childhood in his stride, but he was gone when autumn came. And now I dream he’ll come to me, and we will live our lives together. But there are dreams that cannot be, and there are storms we cannot weather. I had a dream my life would be so different from this hell I’m living, So different now from what it seemed, the world has killed the dream I dreamed. PHANTOM OF THE OPERA (Phantom of the Opera, Webber & Hart, 1989) In sleep he sang to me, in dreams he came, That voice which calls to me and speaks my name. And do I dream again? For now I find The phantom of the opera is there inside my mind. In all your fantasies you always knew That man and mystery were both in you, And in this labyrinth where night is blind The phantom of the opera is there inside your mind. THINK OF ME (Phantom of the Opera, Webber & Hart, 1989) Think of me, think of me fondly when we’ve said good-bye, Remember me once in a while, please promise me you’ll try. And when you find that once again you long To take your heart back and be free, If you ever find a moment say, spare a thought for me. Think of me, think of me waking, silent and resigned, Imagine me trying too hard to put you from my mind, Recall those days, look back on all those days, Think of the things we’ll never do. There will never be a day when I don’t think of you.

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AS IF WE NEVER SAID GOOD-BYE (Sunset Boulevard, Webber&Black, 1994) I don’t know why I’m frightened, I know my way around here, The cardboard tree, the painted seas, the sound here, Yes, a world to rediscover, but I’m not in any hurry, and I need a moment. The whispered conversations in overcrowded hallways, The atmosphere as thrilling here as always, Feel the early morning madness, feel the magic in the making, And everything’s as if we never said good-bye.

I don’t want to be alone, that’s all in the past, This world’s waited long enough, I’ve come home at last.

I’ve spent so many mornings just trying to resist you, I’m trembling now, you can’t know how I’ve missed you, Missed the fairy tale adventures in this ever spinning playground, And everything’s as if we never said good-bye. SEASONS OF LOVE (Rent, Jonathon Larson, 1996) Five hundred twenty five thousand six hundred minutes, Five hundred twenty five thousand moments so dear. Five hundred twenty five thousand six hundred minutes, How do you measure, how do you measure a year? In daylights, in sunsets, in midnights, in cups of coffee, In inches, in miles, in laughter and strive. Five hundred twenty five thousand six hundred minutes, How do you measure a year in the life? What about love? What about love? (Seasons of Love) Five hundred twenty five thousand six hundred minutes (Seasons of Love) Five hundred twenty five thousand journeys to plan (Seasons of Love) Five hundred twenty five thousand six hundred minutes (Seasons of Love) How do you measure the live of a woman or a man? In the lessons she learned, in the times that he cried. In the bridges she burned, or the way that he died. It’s time now to sing out, for the story never ends. Let’s celebrate, remember a year in the life of friends. Remember the love, Remember the love. (Seasons of Love) Five hundred twenty thousand six hundred minutes (Seasons of Love) That’s how you measure, that’s how you measure a year.