original broadway cast of merrily we roll along - opening doors lyrics
[the slide reads: new york city 1957-1959. charley is at a
table with a portable electric typewriter; frank is at a piano, pencil in mouth, m-n-script paper spread in front of him.]
[charley types]
[frank picks out a phrase on the piano]
[charley types]
[frank plays the phrase, changing two notes]
[charley types a bit more energetically; the margin bell rings; he returns the carriage, rolls it up, starts to read what he has written]
[frank changes another note]
[charley grunts in displeasure]
[frank tries another note]
[charley rolls the carriage down]
[frank tries another note, getting desperate]
[charley x’s out what he has written]
[frank tries the phrase again, changes another note, finally slams his fist down in the b-ss and throws the pencil down in disgust]
[frank, spoken]
how’s it going?
[charley, spoken]
good. you?
[frank, spoken]
fair.
[charley, spoken]
yeah, tell me.
[the phone rings; frank answers]
[frank, spoken]
chinese laundry
[mary is at her desk, phoning]
[mary, spoken]
hi!
[frank, spoken to charley]
mary!
[charley, spoken]
say h-llo.
[mary]
i think i got a job!
[frank, spoken]
where?
[mary, spoken]
true romances
[frank, spoken]
posing?
[mary, spoken]
thank you. writing captions.
[frank, spoken]
what about the book?
[mary, spoken]
what about the book?
[frank, spoken]
nothing, are you working on your book?
[mary, spoken]
yes…
[frank, spoken]
good.
[mary, spoken]
no..
[frank]
mary—!
[mary, spoken]
right, i know, yes, me and balzac…
[she hangs up. they all resume work on their typewriters and piano.]
[charley]
i finished the one-act
so where are we eating?
i’m doing a rewrite
i rewrote the rewrite
i’m meeting an agent [frank]
i got an audition
rehearsal pianist
the publisher called me
i saw my fair lady
i sort of enjoyed it [mary]
i started the story
i’m moving to playboy
my parents are coming
i threw out the story
[all]
we’ll all get together on sunday
we’re opening doors
singing, “here we are!”
we’re filling up days
on a dime
that faraway sh0r-‘s
looking not too far
we’re following every star
there’s not enough time!
[the stage becomes alive with activity: charley being interviewed by an agent; frank playing the same bars of rehearsal music over and over while dancers rehe-rs-; mary meeting a musician on a subway. frank suddenly gets an idea, plays his phrase in the middle of the “rehearsal” and writes it down excitedly, then crosses, as do charley and mary.]
[charley]
i sent off the one-act
i dropped out of college
they’re doing my one-act!
we started rehearsals. [frank]
i called a producer
he said to come see him
i’m playing a nightclub
i rewrote the ballad. [mary]
i started the story
i met this musician
i’m moving to redbook
i finished the story
i threw out the story
and then the musician
i’m moving to popular science
[all]
we’re opening doors
singing, “look who’s here!”
beginning to sail
on a dime
that faraway sh0r-‘s
getting very near
we haven’t a thing to fear
we haven’t got time!
[all three throw themselves simultaneously into activity; charley and mary type ferociously while frank whistles and hums as he tries out a different vamp for his tune. after a bit, he hits a chord triumphantly, turns, and looks over at charley as mary picks up her phone and starts to dial.]
[frank, spoken]
how’s it coming?
[charley, spoken]
good. you?
[frank, spoken]
done!
[charley, spoken]
one minute…!
[the phone rings; frank answers]
[frank, spoken]
hamburg heaven!
[mary]
hi!
[frank, spoken to charley]
mary!
[charley, spoken]
say h-llo!
[mary]
i got another job!
[frank, spoken]
where?
[mary, spoken]
chic!
[frank, spoken]
what’s that?
[mary, spoken]
a brand-new concept: pop-up pictures.
[frank, spoken]
what about the book?
[mary, spoken]
what about the book?
[frank, spoken]
did you give the publisher the book?
[mary, spoken]
yes…
[frank, spoken]
good…
[mary]
no…
[frank]
mary…!
[mary]
look, i never—
[charley rips the paper out of the typewriter]
[charley, spoken]
finished!
[frank, spoken into phone]
let me call you back.
[mary, spoken]
right.
[she hangs up]
[charley, spoken]
this is just a draft.
[frank, spoken]
right.
[charley, spoken]
probably it stinks.
[frank, spoken]
right.
[charley, spoken]
i haven’t had the time to do a polish…
[frank, spoken]
will you sing?
[charley, spoken]
right!
(sung)
“who wants to live in new york?
who wants the worry
the noise, the dirt, the heat?
who wants the garbage cans
clanging in the street?
suddenly i do
[during the following, joe josephson is wheeled in by his
secretary [gussie] and starts to listen judiciously, as gussie
waits behind the chair; frank and charley are auditioning for
him; charley sings, as frank accompanies him]
[charley]
they’re always poppin’ their cork
(spoken)
i hate that line—
(sung)
the cops, the cabbies
the salesgirls up at saks
you gotta have a real taste for maniacs—
suddenly i do!
[joe]
that’s great! that’s swell!
the other stuff as well
it isn’t every day
i hear a score this strong
but fellas, if i may
there’s only one thing wrong:
[to frank’s tune]
there’s not a tune you can hum
there’s not a tune you go
bum-bum-bum-di-dum
you need a tune to go
bum-bum-bum-di-dum
give me a melody!
why can’t you throw ’em a crumb?
what’s wrong with letting ’em
tap their toes a bit?
i’ll let you know when
stravinsky has a hit—
give me some melody!
oh sure, i know
it’s not that kind of show
but can’t you have a score
that’s sort of in between?
look, play a little more
i’ll show you what i mean…
[frank resumes at the piano]
[charley, overselling]
who wants to live in new york?
i always hated the dirt, the heat, the noise
but ever since i met you, i—
[joe, shaking his head, still smiling]
listen, boys
maybe it’s me
but that’s just not a
hum-mm-mm-mm-mm-mm-mm-able melody!
write more, work hard
leave your name with the girl
less avant garde
leave your name with the girl
just write a plain old
melodee-dee-dee-dee-dee-dee…
dee-dee-dee-dee-dee-dee…
[gussie wheels joe off. frank and charley stand
downstage dejectedly for a moment; mary joins them]
[charley]
they’re stopping rehearsals
they ran out of money
they screwed up the laundry
we’re being evicted. [mary]
we lasted one issue
my book was rejected
my parents are coming
i saw the musician
i’m having a breakdown! [frank]
the nightclub was raided
i have to start coaching
my wallet was stolen
[all]
we’ll all get together on sunday
they’re slamming the doors
singing, “go away!”
it’s less of a sail
than a climb
that faraway sh0r-‘s
farther every day
we’re learning to ricochet
we still have a lot to say
[frank]
you know what we’ll do?
[charley, spoken]
what?
[frank]
we’ll do a revue
[charley, spoken]
what?
[mary, spoken]
what?
[frank]
we’ll do a revue of our own!
[mary, spoken]
what?
[charley, spoken]
where?
[mary, spoken]
why?
[charley, spoken]
when?
[frank]
not just songs, but stories
scenes, piano pieces, mime!
[charley, spoken]
yeah!
[mary, spoken]
“frankly frank!”
[frank]
a showcase of our own!
[charley, spoken]
where?
[frank, spoken]
the club’s reopening.
[mary, spoken]
we’ll write a lot of new stuff—
[charley, spoken]
rewrite old stuff—
[frank, spoken]
what about the girl?
[charley, spoken]
what about the girl?
[frank, spoken]
only that we’re gonna need a girl.
[charley, spoken]
well, mary—
[mary, spoken]
thanks, i don’t perform except at dinner.
[two girls hold rehearsal copies of music, ready to audition. the first girl starts, singing shrilly and off-key as a pianist accompanies her]
[first girl]
who wants to live in new york?
who wants the worry
the noise, the dirt, the heat
who wants the garbage cans clanging in the street—
[frank, spoken]
thank you for coming. next eight, please.
[second girl (beth)]
they’re always popping their cork
[frank, spoken]
up a tone.
[beth, spoken]
—the cops, the cabbies
the salesgirls up at saks—
[frank exchanges a look of approval with mary and charley]
[frank, spoken]
up a tone.
[beth]
—you gotta have a real taste for maniacs—
[frank, spoken]
thank you. you’re hired.
[beth, spoken]
i’m beth.
[frank, spoken]
i’m frank.
[beth]
i really thought i stank.
[mary]
i’m mary.
[charley]
charley.
[frank]
by the way
i’m told we open sat-rday
[charley, mary, & beth, spoken]
what?!
[mary]
you’re not serious!
[charley]
n0body’s ready!
[frank]
apparently someone cancelled a booking
[charley]
the songs aren’t finished
[mary]
and what about costumes?
[beth]
and how do i learn all these numbers?
[frank]
i’ll bring you the copies of everything later this evening
[beth]
okay, but i’ll have to have all of the music and
sat-rday i’ve got to sing at a wedding. oh
god, is there dancing, ’cause i’m not a dancer [charley]
not to mention i still haven’t finished the
synanon song or the kennedy number
and what’ll we do about getting publicity
run around town putting stickers on windows [frank]
you don’t have to, we’ll segue the
end of it into the dance we cut out
no, we’ll use it but not with the long introduction [mary]
and have we decided or not on the restaurant sketch?
i need two or three days to replace it
[all]
we’ll worry about it on sunday!
we’re opening doors
singing, “here we are!”
we’re filling up days
on a dime
that faraway sh0r-‘s
looking not too far
we’re following every star—
there’s not enough time!
we’re banging on doors
shouting, “here again!”
we’re risking it all
on a dime
that faraway sh0r-‘s
looking near again
the only thing left is when
we know we should count to ten—
we haven’t got time!
we haven’t got time!
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