Chapter 16

[Disclaimer: This story reads best in LANDSCAPE MODE on a smart phone or any other mobile device.]

Meanwhile, back at Jackson Heights, I got to orchestra class just as the bell rang. I didn’t have the ANNIE score with me, but I figured I knew it well enough to wing it.

I visualized the score in my head and announced, “We are only doing the musical numbers I have heard regular mistakes in. Go to music #2 and start playing. I will stop you as necessary.”

We started the underscoring, and I conducted and listened closely. “Measure 44, somebody isn’t playing the A natural they should be. I think it’s a flute...”

“Sorry,” came from Chester, the fourth flautist. “I have been misreading that this whole time, Michael.”

“You found it, go back to measure 36, please?”

“Very good, go on.”

“The A note at Measure 60, that’s a whole note everybody.”

I took them back four measures to run up to it, and they ended the measures perfectly.

“Very good everybody. The best it’s ever sounded. Dorothy, your team of clarinetists is so much better than before our first concert.”

“Thank you,” Miss Roussé said with a slight blush.

“‘Hard Knock Life’ is wonderful, let’s play and listen to music #6 ‘Tomorrow’ and fix the few bits that need it.”

I began, with the flutes starting the music, again listening, and I heard a futz at measure 14. “Somebody just played a D instead of a C sharp. It might have been a flute again.”

Looking worried, Chester spoke up and said, “I misread that, Michael. It sounded bad the second I played it, but it won’t happen again; I promise.”

“Nobody is perfect all the time Mr. Wallace. One of my favorite expressions is ‘All you can do, is All you can do!’ Let’s go back to measure 12 and try it again. Maybe you need glasses, Chester?”

They played it again, and my sixth-grade flute player was note perfect. When the song was over, those around him shouldered him as a measure of respect.

We continued through the show, picking out and correcting those moments that will make us all sound much better after school. When we were all through with “A New Deal for Christmas,” I didn’t have enough time to do anything from LES MISÉRABLES. Paul got up and applauded them, and I joined in on that.

“Did anybody notice that Michael did all that without the score in front of him?” Paul asked.

My first trumpet Michael Bell stood and applauded, quickly getting his trumpeters up as well. Each segment in front of me did the same, starting with the first chair. Genny (Violins), Joseph (Violas), James (DBassists), Jorge (Bassists), Lupe (Flutes), Russell (Piccolos), Barbara (Oboes), Nancy (Pitched Percussion) Dorothy (Clarinets), Chloe (Saxophones), David (Bassoons), Mike (Trumpets), Andrea (Cello), Jett (French Horns), Jeff (Trombones), Natalie (English Horn) and Luke (Percussion) led the others in much too long of an applause.

“Sit down, and put your valuable instruments away. Before the last day of school, I will have a schedule for the summer LES MIZ rehearsals posted in administration.”

Each first chair, as I listed above, gave me a handshake or a kiss on the cheek as they left. What a fabulous bunch of the best boys and girls were leaving the room. I have two eight-year-old young ladies among this group, who hopefully will be back next year and move up a chair or two during third grade.

Moving forward to our first performance of ANNIE, I got there early enough to talk to Stu. As we talked about each of my concerns, Stu wrote them down and promised to deal with them. I was confident in his abilities.

Janice and Alice got there twenty minutes early with those clothes that had needed some repair. Mom also brought me a nice shirt and jacket to change into. They came up to me and each gave me a kiss, before heading backstage to help with the quick changes during the show.

The musicians arrived, and they immediately started warming up. Cece was going to warm up the cast and chorus before the show. I like self-motivated people.

After changing, I met with the audience as they arrived. Clara and Harold showed up together. Jen Stapleton arrived with Clarice. It was a girl’s night out, I suppose. Principal Summers and his family arrived. He has a beautiful brunette wife. I believe her name was Julia.

I glanced at my watch, and excused myself. I walked down into the pit, putting on the headset.

“I see you are not above schmoozing the crowd,” Stu said.

“Don’t worry Stu. I will still talk to the little people on my way up the ladder of success,” I said.

“Don’t forget; I control both the horizontal and the vertical,” he said.

“All right already, roll the tape,” I said.

My mother’s voice came on, “Ladies and gentlemen ... you have likely seen this show before, but this time my son is the conductor, and the characters are being portrayed by students from eight through the age of fourteen years old. My son Michael will be directing and producing the massive musical LES MISÉRABLES during the new upcoming school year.”

That’s my cue to look down to my orchestra.

“However, tonight is all about ANNIE.”

We started the overture, to applause from a full house of 1,400. The violins, clarinets, and the trumpets never sounded better.

The orphans were lit as they lay on the large bed set on rollers and the show began...

(Awaking from a dream and crying out)
MOLLY
Mama! Mama! Mommy!

PEPPER (Sitting up)
Shut up!

DUFFY
Can’t anybody get any sleep around here?

MOLLY
Mama. Mommy

PEPPER
I said, shut your trap, Molly

(PEPPER shoved Molly to the floor, downstage center)

JULY
Ahh, stop shovin’ the poor kid. She ain’t doin’ nuthin’ to you

PEPPER
She’s keepin’ me awake, ain’t she?

JULY
No, you are keeping us awake

The audience really fell for these little girls all through the rest of the scene and the subsequent musical numbers, and cheering and applauded every chance they could for them.

Scene Three – Annie’s Escape – had been mostly cut way back.

Annie gets up in the dark getting her belongings in a sack. She flicks on a flashlight and carefully moves forward.

She doesn’t see Miss Hannigan walking behind her.

“Pepper, stop it, I am getting outta here.”

Joan puts her hand on her shoulder turning Anna around and they both scream, instantly.

Miss Hannigan yells, “AHA, caught you” causing the girls to get up and the lights to transition from night to morning.

This got applause from the audience simply because Miss Hannigan was on stage. I gave her the standard wait for applause direction, and she did for a beat, before she started haranguing the girls.

She loved playing this part, but I saw something about her that told me she would enjoy a lifetime of theatre and arts. Wait until everyone gets a load of her as Mme. Thenardier!

I had my hands up to begin the ‘Hard Knock Life’ underscoring. Joan had some business with a flask of room temp tea, but pretending it was scotch. Molly notices and said nothing. Joan looks over at her and says with much aplomb, “It’s ... Medicine.”

Sweet little Rose Newman turned to the audience and said straight-faced, “You must be very sick.”

That generated the first great cheer of the show. After a full three seconds, they went on, and I started “It’s a Hard Knock Life.”

Joan tells them to get to work and, “Why any kid would want to be an orphan, I will never know” and left to applause.

The music begins and these girls and the girl’s chorus never sounded so good.

Things went on from there. Everyone was on top of his or her lines, it sounding more conversational than ever.

The moment Miss Hannigan was informed that Annie left in the laundry cart; Joanie let out a huge “Aaaaaaaaaaauuuuggggghhhh” and then screamed for the police running off as the Orphans sing the reprise.

There was a blackout.

The audience approved, as the oversized bed was wheeled off.

Lights up as we see the dogcatcher pulling a dog in a cage across the stage. As he left the stage, Annie came on saying, “Here’s one they didn’t get.”Isabel was magnificent making sounds like she had been beaten and abused.

The entire audience gave an “Awww,” but still stopped to listen.

ANNIE
Oh, poor girl. Did they hurt you? They’re after you, ain’t they? Well, they’re after me, too. But, don’t worry, I ain’t gonna let them get you or me. I will take care of you. And everything’s gonna be fine. For the both of us. If not today, well

I almost missed starting “Tomorrow” watching the two of them cuddle...

The sun will come out Tomorrow
Bet your bottom dollar
That tomorrow
There will be sun!
Just thinkin’ about Tomorrow
Clears away the cobwebs,
And the sorrow
Til there’s none!

She had so much emotion in her singing as the cop comes into the scene to make her prove that Sandy was her dog.

The moment when she first calls for her, and she doesn’t move, then again and again, until Isabel sprints on four feet to her new master. What a moment! What a scene-stealer!

There is a blackout, and it comes back up with Hooverville, and the song immediately begins. When it is done, Annie and Sandy come in and interact with the people.

A police whistle happens, and everyone leaves with Annie picking up Sandy and running off stage.

No blackout this time, as Miss Hannigan and the orphans are immediately on the stage ready to go.

Mom and Ally are doing a fabulous job of getting people dressed and prepared to go on.

Some dialogue with Joanie berating the orphans, which turns into her signature song, “Little Girls” the orphans are all over the stage as Joanie steps over them as she does the song. They occasionally pretend that she stepped on them as she went.

Blackout as we bring in the Radio set, which includes the orphanage radio. Miss Hannigan turns on to hear...

STUART’S VOICE (Recorded)
Once again, we bring you the romance of Helen Trent. Who sets out to prove for herself what so many women long to prove? That because a woman is thirty-five or more, romance in life need not be over. That romance can live at thirty-five ... and after...

... which is interrupted by the policeman who caught Annie. They have a few words, including a mild amount of flirting. After that moment and the policeman leaves, there is another knock on the door (which is always pantomimed) and Grace (Cece) walks in.

I remember back to the first time these two did this. They both seemed so stilted and formal. All the rehearsals got the stick up Cece’s butt completely removed and Joanie has become such a wonderful re-actor to other people.

I had originally planned to cut most of this, but it ended up virtually complete. When Grace left, the orphans started encircling Joanie as she sang the “Little Girls” reprise.

Blackout transitions the action to Warbucks Mansion.

As the servants arrived, I began the underscoring to “I Think I am Gonna Like It Here.”

This is our biggest production number in the first Act. Miss Crabtree put out some MARY POPPINS quality vocals as she sang first. Alice’s choreography filled the stage with plenty of movement as everyone sang.

As the song ends and the applause dies down, we hear Oliver Warbucks from offstage.

OLIVER WARBUCKS
“I have been away six weeks ... where the hell is everybody?”

Drake takes his hat and coat, and the pleasantries happen until Grace tries to introduce Annie to her boss. As the servants go off to perform their functions, all who is left is Grace, Warbucks ... and Annie!

They play it wonderfully. Grace makes the marvelous point that her boss didn’t specify a boy.

Grace finally gives him the idea to take her to the movies.

That gets her so excited, until he makes it clear Grace was taking her by herself. The cute and lovely Anna Prefontayne uses all of her wiles to talk him, and Grace into taking her to the movies.

Anna is clothed in a plush jacket. She, Grace, and Oliver start the 45-block walk to the Roxy (a movie theatre from 1927 to 1960; capacity was 5,920).

Stu came through with moving colorful lights as the three of them begin their trek. I had added some lively ripples of music as he began the song, not going into the audience, but covering the complete proscenium from stage right to stage left and back again.

We put some of the auditoriums’ chairs on a rolling piece of furniture for when the three sit down just prior to the reprise.

The outfit for Sally, our ‘Star to Be’ was a very glittery outfit that Alice and Janice made from scratch.

Everyone, including the entire chorus sang at the end of this number, with Jennifer, Nancy, and Kaylee singing up in the stratosphere. Jenn sang from offstage, but I heard her belt out the high G from where I was conducting.

Paul put the sleepy Annie in the chair next to him with Grace on the other side. She moves a little, moving her head to end up on Oliver’s shoulder. He and Grace shared a look. He got the young lady in his arms as Grace took his other arm and he sang a cappello...

OLIVER
Give In,
Don’t Fight,
Good Girl,
Good Night,
Sleep Tight In NYC

BLACKOUT – A wonderful bit of applause to them all.

Things go back to Miss Hannigans office.

Grace comes in, and they talk about how taken Oliver is with Annie. Molly listens in. The talk of adoption puts a look of glee on Molly’s face while making Joanie moan in disgust. As Grace leaves, a dishonest looking man runs into her. This is Miss Hannigans ne’er-do-well brother Daniel, who is also known as Rooster, because he likes to cackle like one as he sees fit.

His girlfriend from the last month or so is on his arm. She is a breathtaking, but ditsy version of my super sexy girlfriend, Jennifer Guthrie.

She is the epitome of a gum-chewing dumb blonde who is clearly too good for Rooster, but he’s all there is for now.

When she says, “I’m named after the Hotel St. Regis,” it inspires Miss Hannigan to ask, “Which floor?”

Both lines caused a superabundance of laughter from our audience. Their discussion leads to the fabulous “Easy Street.”

Rooster started it, and then his sister jumps into the song. Jennifer was bouncing around in tempo ready for her moment coming up.

Alice’s simple choreography takes over, and they move all about the stage, with my girl clearly the best dancer of the three.

They finish it dancing, singing, and heading off stage. Jenn trips, but catches up with a big “Whoopsie daisy,” and the three of them get an outstanding applause to what had just happened.

Paul comes on stage with a phone as he speaks to President Roosevelt.

OLIVER
Yes ... yes ... yes ... Mister President, I will grant you that Barney Baruch and I are not exactly standing on breadlines, yet ... No, I am not asking for your help. I have never asked for any man’s help and I never will ... but ... but I am telling you that you have got to do something and do it damn fast. All right, we will talk about it on

(Consulting her pad)
GRACE
Friday

OLIVER
All right, Friday, at the White House.

(GRACE indicates that he should ease up on the President)

Listen, Mister President, why don’t we bury the hatchet and you come here with Mrs. Roosevelt for supper Christmas Eve on your way to Hyde Park? Good, I am delighted. Goodbye Mister President

(Hangs up phone – puts it in his pocket)

If I thought he was going to say “Yes” I never would have asked him to dinner. Grace, call Al Smith and find out ... what Democrats eat.

The crowd loudly loved that line, I told Paul to expect it. It turns into the scene where we find out that he intends to adopt Annie. He tells Grace to get Annie downstairs so he can talk to her.

Music to “Why Should I Change a Thing?” begins. During this Annie comes down, but he doesn’t see her. Grace starts to leave, but steps back into the light to listen in.

Paul sings to the jewelry he has in his hands for Annie. She walks in to see him; he looks at her while Grace steps out of the light.

As the music builds, Annie leaves the stage seemingly happy.

After the song is over, Drake the Butler comes out, “Miss Annie, Sir.”

She walks in, and the audience is still applauding Paul. She walks up to him and takes his hand, and the scene goes on.

They are both nervous about this as he attempts to take off her necklace prior to giving her a new one. She screams very loud, not wanting it removed...

She calms down and explains why it is so important. Grace comes in and Annie runs to her.

Glaring at Oliver, Grace asks: “What did you do?”

Paul just raised his hands and said nothing.

This all segues into “You Won’t Be an Orphan for Long” the final number of the first act.

Grace begins it as the household adds their voices, then the choruses add in as well.

A bit of “Won’t be an Orphan” ends the first act.

BLACKOUT!

The audience started clapping and didn’t stop for a solid three minutes or so.

A faceless female voice (Alice) said, “There will be a fifteen-minute intermission. There is a varied selection of food and drink in the lobby.”

“Be back in ten minutes,” I told the orchestra and choruses.

I went backstage to check on everyone. I got a hug from Joan, Isabel, and Anna. Jennifer gave me a whopper, making those around us laugh a bit.

“You guys are fantastic. Everything ... you are speaking articulately; your singing is marvelous and especially the two ‘real adults’ in this play are so multitalented.”

That got me a kiss from Cece and a big hug from Paul. “I may keep my head shaved. There are benefits to being bald.”

Cece slapped him with love on his chest.

I went back to the pit area. Principal McGowan told me that the newly purchased percussion instruments had all been put in the orchestra room, all locked up.

The ten-minute blink of lights happened, so I went back into the pit. Stu said in my ear, “Five-minute hold for concession sales, Sir!”

“Really?”

“They have sold out of most everything, sorry?”

“Do I need to talk to somebody about this before tomorrow?” I asked with faux anger in my voice.

“No ... the order for tomorrow has already been trebled. Four minutes.”

“Thank you ... four.”

I saw my choruses and my orchestra, mostly back in place. I was looking quickly over the first number of act two, as the radio set/orphanage set was ready with the actors. The oboe group got in place just as I was about to start up. Barbara and Karen were taking a final drink of water.

I raised my baton and the Entr’acte began...

... “Maybe” was ending, and the Radio set people were starting things.

Hey Hobo Man...

The scene went well, as the moment Oliver boisterously said, “I just did a commercial?”He storms out; Grace starts to pick up the pages that had been dropped, but just runs off. Man, Cece is so talented!

When over, the lights went off then on and back on to the girls at the orphanage.

They sang their version of “Fully Dressed” and their dance number was quite good.

Breaking it up was Joan blowing a whistle and saying, “Did I hear happiness in here?”

This transitioned to the orphans leaving and an unknown couple entering...

(Trying not to reveal their faces)
ROOSTER
Excuse us, ma’am, we knocked upstairs but nobody answered. Are you the lady that runs this here orphanage?

MISS HANNIGAN
Yeah. What’s it to ya?

LILY
Oh, Ralphie, I am so sceered. Somethin’ coulda happened to her

ROOSTER
Hush, Shirley. It’s gonna be all right, Shirl. She’s gonna be here and she’s gonna be ours again
(To MISS HANNIGAN)
Ma’am?

MISS HANNIGAN
Whatta ya want?