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A Samuel French Acting Edition

Music and Lyrics by

Jerry HermanBook by

Harvey FiersteinBased on the Play La Cage Aux Folles by Jean Poiret

Book Copyright 1984, 1987 by Harvey Fierstein

ALL RIGHTS RESERVED

CAUTION: Professionals and amateurs are hereby warned that LA CAGE AUX FOLLES is subject to a Licensing Fee. It is fully protected under the copyright laws of the United States of America, the British Commonwealth, including Canada, and all other countries of the Copyright Union. All rights, including professional, amateur, motion picture, recitation, lecturing, public reading, radio broadcasting, television and the rights of translation into foreign languages are strictly reserved. In its present form the play is dedicated to the reading publiconly.

The amateur live stage performance rights to LA CAGE AUX FOLLES are controlled exclusively by Samuel French, Inc., and licensing arrangements and performance licenses must be secured well in advance of presenta-tion. PLEASE NOTE that amateur Licensing Fees are set upon application in accordance with your producing circumstances. When applying for a licensing quotation and a performance license please give us the number of performances intended, dates of production, your seating capacity and admission fee. Licensing Fees are payable one week before the opening per-formance of the play to Samuel French, Inc., at 45 W. 25th Street, New York, NY 10010.

Licensing Fee of the required amount must be paid whether the play is presented for charity or gain and whether or not admission is charged.

Stock licensing fees quoted upon application to Samuel French, Inc.For all other rights than those stipulated above, apply to: William Morris

Endeavor Entertainment, 1325 Avenue of the Americas, New York, NY 10019.

Particular emphasis is laid on the question of amateur or professional readings, permission and terms for which must be secured in writing from Samuel French, Inc.

Copying from this book in whole or in part is strictly forbidden by law, and the right of performance is not transferable.

Whenever the play is produced the following notice must appear on all programs, printing and advertising for the play: Produced by special arrangement with Samuel French, Inc.

Due authorship credit must be given on all programs, printing and advertising for the play.

No one shall commit or authorize any act or omission by which the copyright of, or the right to copyright, this play may be impaired.No one shall make any changes in this play for the purpose ofproduction.Publication of this play does not imply availability for performance. Both amateurs and professionals considering a production are strongly advised in their own interests to apply to Samuel French, Inc., for written permission before starting rehearsals, advertising, or booking a theatre.No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, now known or yet to be invented, including mechanical, electronic, photocopying, recording, videotaping, or otherwise, without the prior written permission of the publisher.

ISBN 978-0-573-68163-9 Printed in U.S.A. #637

RENTAL MATERIALSAn orchestration consisting of a Keyboard/Conductor Score, Reed 1 (flute, piccolo, clarinet, alto saxophones), Reed 2 (flute, piccolo, clarinet, alto saxophones) Reed 3 (Oboe, English Horn), Reed 4 (tenor saxophone, clarinet), Reed 5 (bassoon, baritone saxophone), Alternate Reed 5 (bass clarinet, baritone saxophone), Trumpets 1 & 2, Trumpet 3, Trombone 1, Trombone 2, Percussion 1 & 2, Drums, Violins A & B, (4 players, 2 books), Cello, Bass, Guitar/Banjo, Harp, Accordian/Electric Keyboard and 30 Principal Chorus Books will be loaned two months prior to the production ONLY on the receipt of the Licensing Fee quoted for all performances, the rental fee and a refundable deposit.

Please contact Samuel French for perusal of the music materials as well as a performance license application.

Music and Lyrics (except for Promenade) Copyright 1983 by Jerry HermanPromenade Copyright 1987 by Jerry Herman

All Rights Controlled by Jerryco Music Co. Exclusive Agent: Edwin H. Morris & Company, a division of MPL Communications, Inc.

International Copyright Secured. All Rights Reserved.Musical Numbers:

We Are What We AreMascaraSong on the SandLa Cage Aux FollesI Am What I AmMasculinityLook Over ThereFugue (Canon) [Cocktail Counterpoint]PromenadeThe Best of TimesWith Anne on My Arm

Allan Carr originally produced La Cage aux Folies on Broadway with Kenneth-Mark Productions, Marvin A. Krauss, Stewart F. Lane, James M. Nederlander, Martin Richards, and as Execu-tive Producers, Barry Brown and Fritz Holt.

4

IMPORTANT BILLING AND CREDIT REQUIREMENTS All producers of LA CAGE AUX FOLLES must give credit to the Authors in all forms of publicity and advertising wherever and whenever such publicity and/or advertising is under the control of the producer including, but not limited to, press releases, theatre programs, ABC ads, teasers, shallow-doubles, houseboards, playboards, posters, periodicals, handbills, flyers, newspaper~ . magazines, radio, television, biUboards, theatre marquees and, in general, wherever and whenever the title of the Play appears. The Authors' billing must appear immediately after the title of the Play, with no matter appearing be-tween the title and the billing, on two separate lines (the first line to indicate respective authorship and the second to contain the name of the respective Authors) with the billing for Jerry Herman on the left side of both lines and the billing for Harvey Fierstein on the right side of both lines, and with no other names or matter appearing on such lines or preceding the Authors' names ex-cept the name(s) of star(s), if any, appearing above the title of the play and the name of the producer above the title. The placement of the Authors' credits to appear as follows:

LA CAGE AUX FOLLES (lOOOJo) Book by (37Yz0Jo) Music and Lyrics by

JERRY HERMAN HARVEY FIERSTEIN (750Jo) The size of the billing given to the Authors must be the same and in no event less than 750Jo with respect to their names and 37\lz OJo with respect to their authorship contribution of the type size used for the largest letter used in the particular advertising of publicity for the title of the Play. No billing may ap-pear in type larger or more prominent than the billing to the Authors except for the title of the Play. In addition, only stars may receive billing as large and prominent as the Authors. No more than two stars may receive billing above the title of the Play. No biDing box may be used. No person (including, without limitation, the producer) may be accorded possessory credit (e.g. "Director's Production of" or "Producer's Production of" with the title of the Play. The following credit must be accorded wherever and whenever the names of the Authors appear, on a separate line immediately beneath the Author's credit and at 500Jo of the size and prominence of the Authors' credit:

"Based on the Play 'La Cage aux Folies'

'-- 1st OJo , by JEAN POIRET _,_..

37\lz OJo Notwithstanding the foregoing, the producer is not required to give M. Poiret such billing credit on marquees or in ABC ads of less than two column inches.

5

OPENING NIGHT, AUGUST 21, 1983

TilE P.t\L.c\CE TIIEATRE UNDER THE DIRECTION OF TH[ MESSRS. NEDERLAND[R

AND STlWAIIT F. LAN[

ALLAN CARR

KENNETH D MAlVIN A STIWAIT F UWfS M MAlliN GIEENatAn KIAUSS lANf. NIOfll.ANOEI IICHAIOS.

George Hearn Gene Barry

tpf!tfE: ........ -l,....... 11'4,~ ..... ..,

JERRY HERMAN HARVEY FIERSTEIN

JAY GARNER JOHN WEINER ELIZABETH PARRISH LESLIE STEVENS WILLIAM THOMAS. JR. MERLE LOUISE WALTER CHARLES BRIAN KELLY

ANO ~IAI,_......C ,,. N()l()fii()V\

I "lfS CAGfllfsl ""'".....,.o....,.....,_ c .. -o .. ~"' ,..,. ..... a... .........

DAVID MITCHELL THEONI V. ALDREDGE JULES FISHER ,._,.a...,.... ...

PETER J. FITZGERALD - ..... g.. __ _

v., .. ..,.,_.. ... --_ ..

- ....... -- ..t .... TED AZAA

....... _ , ___ ..

DONALD PIPPIN JIM TYLER G . HARRELL RICHARD BALESTRINO , .......... --SHINl~'E HERZ

, .... -. PUl'IIN() & H0'1Ait0 .,.'I"C"C..-..'ooC(O

IOWIN H ....a-ft\ & CO

JONATHAN FARKAS JOHN POM(RANTZ ,_...TtN HEINFLING

SCOTI SALMON

ARTHUR LAURENT$ Oriainal Cast Album on RCA Records and Tapes

Pen Am the oHictal Atllne for "La Cace Aux Folies

The Producers and Theatre Mana1ement are Members of The Leaeue of New York Theatres and Producers, Inc.

6

Georges "L" Cagellcs"

C hantal Monique Dermah Nico le Hanna Mercedes llitcllc Lo Singh Odette Angcliquc l'haedra Clo-Cio Francio~; Jacob Alhin Jean-Michel Anne Jacqueline M. Renaud St. Tropez Townpeoplc

Mme. Renaud l)aulclle Herculc Ericnne llabelle Colclle Tabarro Pepc

l:douard Dindon Mm e D1ndun Swing Performers

f.::AST (iu order of appearance)

GENE !lARRY

DAVI[) CAHN .... . .. . ... . . . .... . ......... DENNIS CALLAHAN

. . .. . .. .. . . ... . . . . .... . .... FRANK DiPASQUALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN DOLF

.. .. .. .. .. .. .. DAVID ENGEL . .. .. .. . .. . DAVID EVANS

. . . .... .. . . . . . . . .... . .. ... . LINDA HABERMAN . . . . . . . . . . . . . . . ... . ............ ERI C LAMP

.. .. . . .. .. .. . .. . DAN O'C.RADY . . ... . ... . . . . . . .. . . . . . . . . . . . ... DEBORAH PHELAN

. .. ... . _ ........ . DAVID SCALA . . .. .. ... . ...... SAM SINGIIAUS

. . . ............ URIAN KEI.LY ... WILLIAM THOMAS. JR.

GEORGE HEARN JOHN WEINER

..... LESLIE STEVENS ELIZAAE'I H PARRISH

.... WALTER CHARLES

. .... .. .... SYDNEY ANDERSON ... llETSY CRAIG

. .. . . .. .. . . ... .... JACK NI'I JIIFCK .. . .. .. .. . .. JAY PIERCE . . . . . . . . . . . . MARIE SANTELL

. . .... JENNIFER SMITH MARK WALDROP

KEN WARD JAY GARNER

MERI.E LOUISE .. !lOll BRUilACH, DREW ( ;E RAC':I,

JAN LE IG H HERNDON, LESLIE SIMONS

UNDERSTUOIES Uncfer.;ludirs never snho;;titutc for lt oc:. tcd players unle

Overture

TIME: Summer

PLACE: St. Tropez, France

MUSICAL NUMBERS ACT I

"We Are What We Are" . . . . . . . . . . . . . . . . . . . . . .. . . .. . . . . . .. . . . . . . . . . Les Cagelles

"A Little More Mascara" .

"With Anne on My Arm"

"With You on My Arm" (Reprise)

"The Promenade" ..

"Sons on The Sand"

"La Cage aux Folies" .

"I Am What I Am"

Entr'acte

"Song on The Sand" (Reprise)

"Masculinity"

"Look Over There"

'"Cocktail Counterpoint" .

"The Best of Times"

"Look Over There" (Reprise)

Grand Finale

. . . . . . . . . . . . . . . . . . . . . . . . . Albin and Friends

. . . .. . . . .. . . .. . . ... . .. . .. .... . ...... Jean-Michel

... . ..... . ... . . . ... . ..... . Georges and Albin

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Townspeople

. .. . .. .. .. . ..... . .... . .... . ... . ...... Georges

. . . . . . . . . . . . . . . . . . . . . . . . . Albin and Les Cagelles

. . . . ....... . .... ... ........... ... . .. . . .... Albin

INTERMISSION

ACT D

8

. . . . . . . . . . . . . . . . . Georges and Albin

....... Georges, Albin and Townspeople

.... . .. . .... .. . . .... .. . .. . . .. Georges

Georges, Dindon, Mme. Dindon and Jacob

. .. . .. .... . Albin, Jacqueline and Patrons

... . ... .. .. . ... .. . .. Jean-Michel

JERRY HERMAN (Composer/ Lyricist). There is never an evening when, somewhere in the world, the music and lyrics of Jerry Herman are not being sung by a lady with a bugle and a lady in a red headdress descending their respective staircases. Marne and Hello, Dolly! are the most popular, the most often performed, and the most successful musical comedy heroines of all time. Their composer/lyricist believes in trying to make peo-ple hum on their way out of the theatre and in writing melodic songs that can have lives of their own outside of the show. His scores include Milk and Honey; Hello, Dolly!; Marne; Dear World; Mack and Mabel; The Grand Tour and La Cage aux Folies. Jerry,s Girls, a revue of his life's work, received rave notices both Off-Broadway in 1981 and on Broadway in 1985. Jerry has been awarded Tony and Drama Critics' Circle awards for shows including La Cage, plus two Grammy's, two Gold Records, three Variety Critics' Poll Awards, and was inducted into the Songwriters Hall of Fame and the Theatre Hall of Fame.

HARVEY FIERSTEIN (Librettist) is a recipient of the Rocke-feller Foundation Grant in Playwriting, the Ford Foundation Grant for New American Plays, a CAPS Fellowship, a special Obie Award for writing and acting, the Fund For Human Dig-nity Award, the George Oppenheimer/Newsday Playwriting Award, the Hall/Warriner Award from the Dramatists Guild and the Theatre World Award. He was represented on Broad-way with the hit play Torch Song Trilogy, for which he won two Tony and Drama Desk awards (for Best Play and Best Actor). He won a third Tony Award for Outstanding Book of a Musical for La Cage aux Folies. Mr. Fierstein made his professional act-ing debut with Andy Warhol in 1971 at La MaMa ETC and has over 60 productions to his credit, including appearances in nu-merous films. He wishes to dedicate his contribution in La Cage to all those who've ever said "I am what I am," and most impor-tantly to Jerry Herman and Arthur Laurents.

9

A NOTE FROM THE AUTHOR

"This is all about love, this marriage," says Albin ~o Georges when he hears of their son's impending marriage. And it's what I say to you when describing not only the creation of this musical comedy, but the collaboration that brought La Cage aux Folies into being.

From the moment that Jerry Herman, Arthur Laurents and I began work, in the summer of '82, ours has been a marriage of love, respect and trust. We (the "Collaborationists," as we call ourselves) worked hand in hand in hand, almost single-mindedly, adapting the long-running French play for the musical stage.

La Cage ... in its original form was a bevy of sight gags, wildly drawn characters and sexual rompery. Truly the fabric of farce. What was lacking for our creative team was the stuffing-the helium that would fill our beautiful bejewelled balloon and make it soar. That stuffing was the heart. Without that heart Jerry could not make it sing and I could not make it speak. It took many long hours of discussion to find the heart of our piece. In our incarnation La Cage . .. is a love story, the tale of a marriage of 20 years almost ruined by a son's thoughtlessness.

Here, amidst the age-old triangle of mother, father and child, we found our justification, our universality, our reason to cre-ate. What child has not at some point in its life been ashamed to introduce its parents to friends? What parent has not wondered, "Where did we go wrong?" What marriage has not been tested in these familial flames? When Georges asks his son what had the boy ever asked for that he'd been refused, Jean-Michel answers, "A little respect for what I want, a little understanding." Georges, taken aback, answers, "A little respect? A little understanding?" and, referring to Albin, sings, "How often is someone concerned with the tiniest thread of your life? ... Look over there!" Now we had our stuffing!

Adding to our music, lyrics and libretto the elements of cos-tume, scenery, lighting and dance was more than adding icing on the cake. We were blessed with the genius of Theoni Aldredge, David Mitchell, Jules Fisher and Scott Salmon. Each element added new levels to our creation, new heights and flavors and spicings. The scenery placed us in the fantasy world of St. Tropez, all sun-bleached pastels and sparkling blue Mediter-ranean waters. The costumes gave us character, glamour and

10

style. The lighting added mood of moonlit nights, starry skies and romance. The choreography gave us life exploding before our very eyes. Here was fun, boundless energy and humor. And last but hardly least, our hats are off to Allan Carr, Barry Brown, Fritz Holt and our other producers for their vision and faith.

To say that La Cage ... is a unique creation, only time will tell. But I can say that its birth was unique. We "Collaboration-ists" love one another deeply and want nothing more than to share that love wit'1 :ou. Our only wish, as Georges would say, is that you "Open your eyes! For if we've done our job correctly, you will leave with more than a torn ticket stub and a folded pro-gram." Messieurs-dames, we give you La Cage aux Folies.

11

-HARVEY FIERSTEIN for the Collaborationists

CASTING BREAKDOWN (PRINCIPALS) ALBIN- a performer of star quality; mature; great powerhouse

of a Broadway voice; fine comic actor.

GEORGES- a star, mature and attractive; good singer; energetic, loving and caring; must move well.

JEAN-MICHEL-must appear to be 20 years old; handsome, bru-nette, masculine, well-mannered, educated; desperately in love with his fiancee, Anne; lyric baritone who acts, sings, and moves well.

JACOB- Black male butler/maid in his early 20's; brilliant co-median who sings and moves well.

ANNE-18-21; Jean-Michel's fiancee; lovely to look at; spunky; a superb dancer who acts well.

DINDON- Anne's father; right-wing radical politician; pompous; quirky; must sing, move well, and be a fine comedian.

MARIE DINDON-Anne's mother; 48-52, shy, retiring, sexually repressed and sex-starved; good singer and actress who moves well; must look great in a leotard for the finale.

JACQUELINE- mature, female friend of Georges and Albin; owns a chic restaurant; attractive, charming; very theatrical; not necessarily a singer.

RENAUo-mature, male friend of Georges and Albin; owns a small cafe; understudies both of the 2 leads.

FRANCis-male stage manager in Georges' club; strong actor/ dancer.

13

MUSICAL CUES COMPLETE LIST

1. '84 PRELUDE lA. FIRST SPEECH 2. WE ARE WHAT WE ARE 2AA. WE ARE-PLAYOFF 2B. WE 1.1.4 (on tape) 3. MASCARA 3A. MASCARA- ENCORE 3AA. VAMP (on tape) 3B JEAN-MICHEL'S ENTRANCE 4. WITH ANNE ON MY ARM 5. WITH YOU ON MY ARM-REPRISE 7-1. PROMENADE/ACT I (PART I) 7-II. PROMENADE/ACT I (PART II) 8. SONG ON THE SAND SA. SONG ON THE SAND-PLAYOFF 8AA. "WE ARE" INTO SCENE I-5 (PRE-RECORD)

(on tape) 8BB. MASCARA UNDERSCORE (PRE-RECORD)

(on tape) 8E. BEFORE LA CAGE (CLUB BAND) 8F. ZAZA PLAYON 9. LA CAGE AUX FOLLES

10. HANNA'S TANGO lOA. HANNA'S TANGO-PART II (PRE-RECORD)

(on tape) lOB. "I AM" VAMP (PRE-RECORD) (on tape) 11. I AM WHAT I AM

12. ENTR'ACTE 12A. PROMENADE/ ACT II 12B. SONG ON THE SAND- REPRISE 12C. MOUNTAIN BUILD 13. MASCULINITY LESSON 13A. MASCULINITY-PLAYOFF 13B. JACOB'S CROSS 14. LOOK OVER THERE 14C. PRESTO 14D. DINDON'S MARCH

14

15. DISHES (COCKTAIL COUNTERPOINT) 15A. TO JACQUELINE 16. THE BEST OF TIMES 16A. BEST OF TIMES-PLAYOFF/FURIES CHASE 16B. LOOK OVER THERE-REPRISE 17. FINALE 18. CURTAIN CALLS (and THE BEST OF TIMES-

REPRISE) 19. EXIT MUSIC

15

FIGURE 1

F ;---- --- ---: ~ I ' ' L---- -----1 L-----------~ -0\

------.------~.-... -+--

~ ~ ~ ~

VfQ -===A===;---===__J CLUB FACADE ' A

ACT I Prologue ACT II Curtain Call (w/o Club Facade)

~ tT:I > c: >< d t'""' t'""' tT:I en

La Cage Aux Folies

ACT ONE

SCENE 1

MUSICAL PRELUDE

(MUSIC NO. 1: '84 PRELUDE)

St. Tropez, late afternoon. As the sun goes, lights come on in the buildings in the square. Now it is dark, the buildings in the square part to reveal, Upstage, a cabaret facade, which moves n.s. [FIGURE 1] The legend above the entrance door glows: LA CAGE AUX FOLLES. At the end of the club overture, the doors split and a crash of cymbals is heard as a spot hits GEORGES, who has entered u.s.L. and crossed n.s.c. The La Cage Traveller curtain closes behind him.

(MUSIC NO. 1A: FIRST SPEECH)

GEORGES. Bon soir! Bon soir! Here we are at the pride of St. Tropez, the envy of the cabaret world, the jewel of the Riviera. Only champagne from now to the finale. Oh, I see so many old friends and so many new faces. Bon soir. Bon soir. Messieurs-dames, the inevitable is upon us. Welcome to the fifteenth edi-tion of our world famous revue starring the one and only Zaza and featuring the notorious and dangerous Cagelles! (timpani roll)

Ladies and Gentlemen, I warn you to remain in your seats while Les Cagelles perform. The management will not be re-sponsible for your safety. And now, I beg you: . . . (cross-ing S.R.)

... open your eyes. You have arrived at La Cage Aux Folies!!!

(MUSIC NO. 2: WE ARE WHAT WE ARE)

(GEORGES exits s.R. as the music- which has been intermittent during his speech-segues to a vamp and we bleed through

17

FIGURE 2

~ ''EI!,TE" '1'1l.Wt:I4R--; ~

~ ~

-SHOW RISERS

a SL1pi!l ~

SLID&"lt o - _,

a SL.1t>6~ Sh\P!fl n A ~A--;=::::==:=.-

"ONST AGE" ACT I Scene 1: "WE ARE"

ACT I Scene 6: "I AM" (w/o Show Risers)

00

t""' > () > a tTl > c :>( "!1 0 t""' ~ C/}

LA CAGE AUX FOLLES 19 the cabaret curtain to show in silhouette, twelve striking FIGURES in glamorous evening coats, their backs to us. [FIGURE 2] On the third vamp, the Club curtain opens, and one by one the FIGURES turn around. They seem to be a fascinating assortment of beautiful women. There is some-thing a-kilter about them, but now, they are singing- with decidedly male voices.)

CAGELLES. (MEN only) WE ARE WHAT WE ARE AND WHAT WE ARE IS AN ILLUSION WE LOVE HOW IT FEELS PUTTING ON HEELS CAUSING CONFUSION WE FACE LIFE THO IT'S SOMETIMES SWEET AND SOMETIMES BITTER FACE LIFE WITH A LITTLE GUTS AND LOTS OF GLITTER LOOK UNDER OUR FROCKS GIRDLES AND JOCKS PROVING WE ARE WHAT WE ARE!

WE ARE WHAT WE ARE WOMEN.

HALF A BRASSIERE MEN.

HALF A SUSPENDER ALL,

HALF REAL AND HALF FLUFF YOU'LL FIND IT TOUGH GUESSING OUR GENDER SO JUST (whistle) IF WE PLEASE YOU THAT'S THE WAY TO SHOW US JUST (whistle) CAUSE YOU'LL LOVE US ONCE YOU GET TO KNOW US LOOK UNDER OUR GLITZ MUSCLES AND TITS PROVING WE ARE WHAT WE ARE!

(The "PARADE:" they all promenade.) (After the "PARADE," GEORGES enters from D.S.R. and

crosses c. to present the FEATURED PERFORMERS.)

20 LA CAGE AUX FOLLES GEORGEs. Messieurs-dames, for your delight-the songbird of

A vignon. When she opens her golden throat, the swallows re-turn in shame. Permit me to present: Chantal!

(GEORGES backs u .s.R. a jew steps as CHANTAL steps o.s.c. CHANTAL sings an exaggerated cadenza. Then GEORGES returns o.s.c., CHANTAL crosses u.s.L.)

GEORGES. Merci, Chantal. And now, for your pleasure, Hanna from Hamburg! (crossing s.L., as HANNA poses:) Men call her diva. Women call her devil! Police call her daily!

(HANNA dances and cracks her whip.) GEORGEs. Danke, Hanna. (GEORGES crosses c. and up to

the s.R. side of the risers, as PHAEDRA crosses o.s.) Phaedra the Enigma! The riches of the Pharaohs, the spices of Siam, the Babel and Babylon cannot buy the secret of her fatal charms ...

(A long pause. PHAEDRA licks out with her tongue. Gong. GEORGES crosses o.s.c.)

GEORGEs. Thank you, Phaedra. And now, on with our spec-tacular extravaganza! (He exits o.s.R.)

(SIX CAGELLES dance u.s., the remaining SIX dance o.s.)

CAGELLES. WE FACE LIFE THO IT'S SOMETIMES SWEET AND SOMETIMES BITTER FACE LIFE WITH A LITTLE GUTS AND LOTS OF GLITTER

(A deco framework with six archways descends from the flies. The o.s. SIX CAGELLES exit as the u.s. SIX pose in each of the archways. The framework flies up, taking with it the CA GELLES' coats and leaving them wearing "lounging pa-jamas." The SIX cross o.s. and begin a TAP DANCE. Half-way through the dance the remaining SIX CAGELLES enter and join in.)

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