LIBRETTO VOCAL BOOK
Conceived and Developed by David De Silva Book by
Lyrics by
Music by
José Fernandez
Jacques Levy
Steve Margoshes
NOTICE: DO NOT DEFACE! • Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOT FOR SALE • This book is rented for the period specified in your contract. It remains the property of:
MUSIC THEATRE INTERNATIONAL
Music Theatre International (Australasia) Ground Floor, Suite 2 20-22 Albert Road, South Melbourne, Victoria, 3205 Australia
SVN01-3/96 Logo Copyright © 1993 by The Fame-US Production Co. Book, Music and Lyrics Copyright © 1991 by The Fame-US Production Co. Copyright assigned to Father Fame Foundation 2001
In accordance with the terms and conditions specified in your performance license, all music, lyrics and dialogue contained herein are the property of the Authors and are fully protected by copyright. You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material and/or the exclusion of existing material. Any changes shall constitute a wilful infringement of said copyright and will subject you to all the criminal penalties and civil liabilities under the United States Copyright Act. This book may not be duplicated and must be returned at the conclusion of your production. This Play is the property of its Authors. Remember, you have rented these materials and been granted a performance license. You may not duplicate any portion of these materials, disseminate them in any way, in whole or in part, including electronic or digital transmission and posting on the Internet, or use them for performances other than those specified in your license agreement.
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C HARACTERS
THE ACTORS: NICK PIAZZA SERENA KATZ JOE (JOSÉ) VEGAS THE DANCERS: TYRONE JACKSON CARMEN DIAZ IRIS KELLY MABEL WASHINGTON THE MUSICIANS: SCHLOMO METZENBAUM (VIOLIN/PIANO) GRACE ‘LAMBCHOPS’ LAMB (DRUMS) GOODMAN ‘GOODY’ KING (TRUMPET OR SAX) THE TEACHERS: MISS ESTHER SHERMAN (ENGLISH) MS. GRETA BELL (DANCE) MR. MYERS (ACTING) MR. SHEINKOPF (MUSIC) OTHER STUDENTS: 5 OR MORE MALE ENSEMBLE 5 OR MORE FEMALE ENSEMBLE
Action takes place at New York’s High School of Performing Arts on W. 46th Street, between 1980 and 1984.
— iii —
MUSICAL
NUMBERS
ACT I, SCENE I #1—Hard Work .......................................................................................................1 SCENE II #1A—Hard Work Playoff .......................................................................................11 SCENE IIIA SCENE IIIB #1B—Locker Tag 1 ................................................................................................12 SCENE IIIC #1C—Locker Tag 2 ................................................................................................13 #1D—Practice Room .............................................................................................13 SCENE IIID #2—I Want to Make Magic ...................................................................................15 SCENE IV #3—Can’t Keep It Down .......................................................................................17 #3A—Intro To Dance Class ...................................................................................21 SCENE V #4—Dance Class ...................................................................................................22 #4A—Rock ‘n’ Roll ...............................................................................................24 SCENE V #4B—The Music Room ..........................................................................................25 #4C—Rock ‘n’ Roll ................................................................................................25 #4D—Romeo & Juliet Ballet ..................................................................................26 SCENE VII #5—Tyrone’s Rap ..................................................................................................27 #5A—The Lunch Room .........................................................................................28 SCENE VIII #6—There She Goes!/Fame ....................................................................................30 #6A—Fame Playoff ...............................................................................................33 SCENE IX #7—Let’s Play a Love Scene ..................................................................................35 #8—Bring On Tomorrow .......................................................................................37 SCENE X #8A—After Tomorrow ...........................................................................................40 #8B—Magic Scene Change ....................................................................................40 SCENE XI #9—The Teachers’ Argument .................................................................................42 #10—Hard Work Reprise .......................................................................................45
— iv —
ACT II, SCENE I Ad Lib Orchestra Warm-Up ...................................................................................47 SCENE IIA #11—The Junior Festival .......................................................................................48 SCENE IIB #11A—Only Time Will Tell ...................................................................................50 #11B—Practice Room ............................................................................................51 SCENE IIIA #11C—Locker Tag 3 ..............................................................................................52 SCENE IIIB #12—Think Of Meryl Streep .................................................................................55 #12A—Locker Tag 4 ..............................................................................................56 SCENE IV #13—Mabel’s Prayer .............................................................................................57 #13A—Scene Change ............................................................................................58 SCENE V #13B—The Kiss–Off ..............................................................................................60 #13C–Rap Reprise .................................................................................................60 SCENE VI #14–Dancin’ on the Sidewalk ................................................................................62 #15—These Are My Children ................................................................................65 #15A–Fanfare & Flute ...........................................................................................66 SCENE VII #15B—Pavanne 1 ..................................................................................................67 #15C—Pavanne 2 ..................................................................................................68 #15D—Fanfare & Funk .........................................................................................69 SCENE VIII #16—Pas de Deux .................................................................................................70 #16A—Carmen’s Return .......................................................................................70 SCENE IX #17—In L.A. .........................................................................................................72 #17A—The Prom ...................................................................................................75 SCENE X #17B—After Prom .................................................................................................75 #18—Love Scene Reprise .......................................................................................75 SCENE XI #19—Bring On Tomorrow Reprise .........................................................................77 #20—Bows & Exit Music ......................................................................................80
— v —
S ONGS BY C HARACTER CARMEN #1—Hard Work . . . . . . . . . . . . . . .1
NICK #1—Hard Work . . . . . . . . . . . . . . .1
#6—There She Goes!/Fame . . . . . .30
#2—I Want to Make Magic
#8—Bring On Tomorrow . . . . . . .37
#11—The Junior Festival . . . . . . .48
#10—Hard Work Reprise . . . . . . .45
#18—Love Scene Reprise . . . . . . .75
#17—In L.A. . . . . . . . . . . . . . . . .72
#19—Bring On Tomorrow Rep . . .77
#20—Bows & Exit Music
. . . . . .80
GOODY #1—Hard Work . . . . . . . . . . . . . . .1
. . . . .15
SCHLOMO #1—Hard Work . . . . . . . . . . . . . . .1
#8—Bring On Tomorrow . . . . . . .37
#19—Bring On Tomorrow Rep . . .77
#19—Bring On Tomorrow Rep . . .77
IRIS #19—Bring On Tomorrow Rep . . .77
SEERENA #1—Hard Work . . . . . . . . . . . . . . .1
JOE #1—Hard Work . . . . . . . . . . . . . . .1
#7—Let’s Play a Love Scene . . . . .35 #12—Think Of Meryl Streep
. . . .55
. . . . . . .17
#18—Love Scene Reprise . . . . . . .75
#11—The Junior Festival . . . . . . .48
#19—Bring On Tomorrow Rep . . .77
#19—Bring On Tomorrow Rep . . .77
STUDENTS #1—Hard Work . . . . . . . . . . . . . . .1
#3—Can’t Keep It Down
LAMBCHOPS #1—Hard Work . . . . . . . . . . . . . . .1
#19—Bring On Tomorrow Rep . . .77 MABEL #1—Hard Work . . . . . . . . . . . . . . .1
#3—Can’t Keep It Down
. . . . . . .17
#6—There She Goes!/Fame . . . . . .30 #10—Hard Work Reprise . . . . . . .45 #11—The Junior Festival . . . . . . .48
#13—Mabel’s Prayer . . . . . . . . . .57
#13—Mabel’s Prayer . . . . . . . . . .57
#19—Bring On Tomorrow Rep . . .77
#14–Dancin’ on the Sidewalk . . . .62
MR. MYERS #1—Hard Work . . . . . . . . . . . . . . .1 MR. SHEINKOPF #1—Hard Work . . . . . . . . . . . . . . .1 MS. BELL #1—Hard Work . . . . . . . . . . . . . . .1
#9—The Teachers’ Argument . . . .42 MS. SHERMAN #9—The Teachers’ Argument
. . . .42
#15—These Are My Children . . . .65
— vi —
#19—Bring On Tomorrow Rep . . .77 #20—Bows & Exit Music TYRONE #5—Tyrone’s Rap
. . . . . .80
. . . . . . . . . . . .27
#14–Dancin’ on the Sidewalk . . . .62 #19—Bring On Tomorrow Rep . . .77
AUTHOR’S NOTE Fame – The Musical is set in New York City, in the old High School of Performing Arts Building on 46th Street East of Broadway, just off Times Square, during the years 1980-1984. It concerns the last group of students and teachers to inhabit this grand, historic (some might say ancient) edifice, following them on a four-year journey from freshman term through graduation. The word “inhabit” is a key to the production style. Except for a brief introductory section, the piece never leaves the school; though reference is made to the characters’ home lives, we see only what takes place in and around the building -- which, from beginning to end, is usually an ant-hill of activity. Whatever may be in highlighted focus at any given time, there should also often be present the ongoing action of the rest of the school, of students practicing, searching for something in their lockers, snacking, sneaking a smoke, getting to know one another, flirting, catching up on homework, changing clothes, moving from class to class, or just hanging out. The presence of a school in continual flux can also be indicated through the use of sound or sound effects, of students practicing their instruments, for example; there is also the regular occurrence of period-ending bells; and at certain moments, in order to place the school in its larger context, there might be heard the noise from outside, of traffic, of taxicab horns honking, of the subway’s rumble. Having said this, however, let us add a cautionary note. It is easy to go overboard when using such sounds and activities. Employ them with care and taste, and make sure to allow for silence and stillness when they seem appropriate, even vital. It requires skill and a craftman’s restraint to insure that the audience can focus on what at any moment is essential to the development of character or plot, yet also create the ambience of a special, percolating environment. The intent should be to make a collage, not a blur. Another aspect of the piece’s style has to do with the manner in which transitions are made from scene to scene. Through the traditional blackout or fade-out can be used here, and there, in a show containing many short scenes, they can make for a choppy, linear experience, whereas we are trying to give the impression that the events depicted may be taking place in the same time-frame. For the most part, then, we prefer scenes to segue one to the other in a fluid way. This is not meant to advise a frantic pace. Certain moments need breathing room. But, in general, do not wait for a scene to end before starting, or at least setting up, the next one. Our set had a second story running all the way around the stage, with a staircase leading to it, so that playing areas were established on different levels and action could take place in a variety of places and on separate planes simultaneously. We also made effective use of smooth-rolling casters – on staircases, schoolroom desk-and-chairs, lockers, the dance barre, a piano, the drum kit -- and could thereby cross-fade from scene to scene using a “cinematic” device resembling the lap-dissolve. However it is accomplished, the aim should be to present an ever-changing, kaleidoscopic view of the life of the school. — vii —
A final word, about some implications of the time-period. Because the action begins in 1980, the characters know that their school has been the subject of a hit movie and a TV series, in now the world-renowned “Fame School.” Aware that “reality” is not the movies, in the very first scene the students sing: THIS AIN’T NO MOVIE SHOW PLAYIN’ IN A THEATER, OR A VIDEO FANTASY I WAS ALWAYS HOT TO SEE ON THE T.V. And they are immediately confronted with a teacher’s blunt warning: “If you’re here believing you’re ‘gonna live forever,’ or envision dancing on top of cars down 46th Street – you are humming the wrong tune! Still the effect on the school’s celebrity on both the students and faculty remain, most clearly seen, in our view, in the friction between the demand to meet academic requirements and the yearning for performance stardom. When Carmen, the hottest young performer in the school, jumps on a lunch-room table and proclaims she is bound and determined to be a star, the image of Irene Cara (the movie’s heroine) is not far from her mind. The fact that our young lady’s path diverges drastically from her role model’s only affirms that a hard fall may come when overly ambitious dreams crash into the wall of stark reality. This divergence also serves to illustrate our overall approach to the subject. Our goal was to stimulate, as much as possible, the “real thing,” not a musical-comedy version of it. For the most part, the actors were directed not to break the “fourth wall.” And given that any work based on Fame will surely present a group of high school students going through the course of study at Performing Arts and playing out their individual and interactive dramas and comedies, nevertheless, we did not attempt to put either the movie or the TV series on stage. We did find it helpful to use some of the “character types” and some of the plot devices of the earlier incarnations, but we tried to deal with the subject matter in as fresh and unencumbered a way as we knew how. We invite you to do the same.
Note Regarding The Fall Festival The authors understand that The Fall Festival is a heavily danced musical number. In light of this, they have expressed their desire to make available an alternate musical number, I Want To Make Magic (Reprise), which may be performed in place of The Fall Festival.
— viii —
Page 26: Black Jack Substitute JACK ZAKOWSKI ("Black Jack" because he always wears black He is a sexy, macho dancer with style and flash from Russia) ACT I, Scene vii (Iris and Jack are rehearsing to Romeo and Juliet. They stop after Iris hits Jack in the groin during a pirouette. Finally Jack's inadequate partnering makes Iris explode.) IRIS For God's sake! Why can't you get it together! These steps are so basic it's ridiculous. JACK I'm tryin'. Can't you see I'm tryin'? IRIS You don't support me in the attitude promenade. You drop me out of the arabesque sauté.... JACK I don't know what you're talking about. I don't speak French! IRIS These are technical terms. Every dancer knows them. JACK Nobody in Brighton Beach knows them. IRIS Hey, you know what? You're just a lazy shit! JACK Hey, screw you, Iris, you and that silver spoon you keep shoving down my throat. #5 Jacks' Rap (JACK) DON'T NEED NO RICH BITCH TELL ME WHICH FORK TO USE, I PAID MY DUES IN A BURNT-OUT FLAT IN LENINGRAD ALL ON MY OWN AND GOING' MAD
(JACK) IN A BASEMENT, CRACKED CEMENT LUCKY I AIN'T LIVIN' IN A TENT ON A RIVER BANK, COLD AND DANK, BE A LOSER, USER, WHACKED OUT BOOZER, CRUISE THE STREET FOR A HUNK OF MEAT, FILL MY BELLY WITH VERMICELLI, LONG AS IT'S DEAD AND MOSTLY EDIBLE, NOW AIN'T THAT A BITCH AND WAY INCREDIBLE? NOT NO REBEL OR RENEGADE, WHAT I PLAYED WAS NO REVOLTER, HEAR A GROOVE AND START TO MOVE AND THE KIDS ALL SHOUT: IT'S JOHN TRAVOLTA! FIGURED I COULD REALLY DANCE, NOT IN MOSCOW, OR PARTS, FRANCE, THE U.S.A. WAS MY COOLEST CHANCE, WITH A PHONY I.D. I STOWED AWAY AND MADE MY MOVE TO START ALL OVER.
RUNNIN' LIKE A MAN WHO WAS COMIN' HOME LATE, AND RUN RIGHT OVER TO THE WHITE CLIFFS OF DOVER, IT WAS SIMPLE TO GET FROM THERE TO HERE, A 20TH CENTURY GREENHORN PIONEER, AND NO WAY I WAS EVER GOIN' BACK, MY NAME IS YEHUDA, BUT CALL ME JACK, AND EXCEPT IN DREAMS I WILL NEVER ADMIT I COULD WAKE UP IN JAIL OR HAVE TO SPLIT, SO DON'T BE TELLIN' ME ALL THAT SHIT!
Page 23: Suggestion for Carmen: MS. BELL So...I think we've got a budding choreographer in our midst. CARMEN Move over Barishnikov!
FAME
ACT I, Scene i: The Opening (A dark stage. Traffic noises are heard and the rumbling of a subway.)
#1—Hard Work (In the next segment, behind a scrim area lights come on one by one, revealing the students on various levels of the stage and stairs holding envelopes.)
NICK PRAY, PRAY, PRAY, I PRAY I MAKE P.A. I PRAY I MAKE I PRAY I MAKE P.A.
SERENA PRAY, PRAY, PRAY, I PRAY I MAKE P.A. I PRAY I MAKE I PRAY I MAKE P.A.
JOE PRAY, PRAY, PRAY, I PRAY I MAKE P.A.
CARMEN I PRAY I MAKE…
MABEL I PRAY I MAKE…
CARMEN, JOE, MABEL P.A.
(As they join in singing, light specials slowly reveal the rest of the students.)
BASS PRAY… PRAY…
ALTO PRAY… PRAY…
TENOR PRAY… PRAY…
SOPRANO & ALTO PRAY… PRAY…
— 1 —
— 2 —
FAME
S, A, T & B PRAY... PRAY... I—
(Split into 2 Choruses)
CHORUS 1 I PRAY I MAKE P.A.
CHORUS 2 I PRAY I MAKE P.A.
CHORUS 1 I PRAY I MAKE,
CHORUS 2 I PRAY I MAKE,
CHORUS 1 I PRAY I MAKE
CHORUS 2 MAKE P.—
CHORUS 1 P.—
CHORUS 1&2 —A.
SOLO BOY MAKE P.A.
(Students open envelopes and read letters, as Lambchops runs through the doors of the Door Unit.)
LAMBCHOPS I made it! I made it!
(Music explosion. Scene change as scrim flies out and Door Unit moves US. The kids run around triumphantly.) ACT I, Scene ii: Hard work (Company)
ALL I’m in! I made it! Yeah, I made it! Etc.
MISS SHERMAN Ladies and gentlemen, welcome to P.A., the High School of the Performing Arts. I’m your English teacher, Miss Sherman.
FAME
STUDENTS THIS AIN’T NO MOVIE SHOW PLAYIN’ IN A THEATRE OR A VIDEO FANTASY I WAS ALWAYS HOT TO SEE
(Split into 4 part harmony) ON THE TV I’M SO HOT, HOT TO TROT, I CAN HARDLY WAIT TO SHOW THEM WHAT I GOT WONDER WHO’LL COME OUT SHININ’ LIKE A JEWEL IN THE FAME SCHOOL!
MISS SHERMAN Everyone quiet, please! Quiet!
(Silence) Thank you. Last spring over four thousand young hopefuls auditioned to get into P.A.—ninety-seven were accepted.
(The kids respond proudly, high five, etc.) That’s right. You are the cream of the crop—the best of the best—but that doesn’t mean you get a free ride.
GOODY I’LL BE GONE…
MISS SHERMAN So if you consider slacking off…
JOE WHERE’S THE JOHN?
MISS SHERMAN …remember this: each of you must maintain a 2.5 grade average in academics, while excelling in the arts. If you don’t, you’re out.
TWO FEMALE STUDENTS MAN THEY GOT ME RUNNIN’
— 3 —
— 4 —
FAME
IN A MARATHON
ALL CAN’T SLOW UP…
MISS SHERMAN So, if you’re here believing you’re “gonna live forever,” or envision yourself dancing on top of cars down 46th street—you are definitely humming the wrong tune.
ALL I’LL GO HOME AND NOT SHOW UP
MABEL MAYBE THROW UP!!
ALL CLASS TO CLASS, TRY’N TO PASS, LEARNIN’ WHO THE TEACHERS ARE WHO BUST YOUR ASS, FEELIN’ SMALL FEELIN’ UP AGAINST THE WALL DURING ROLL CALL.
MISS SHERMAN When I call your name, please answer. Diaz, Carmen?
CARMEN (Strutting across the stage) That’s me. Three times the talent and ten times the fun.
MISS SHERMAN Katz, Serena?
SERENA (Almost inaudible) Here…
MISS SHERMAN Speak up, dear. You are in Drama, aren’t you?
(Serena vigorously shakes her head “yes.”) Metzenbaum, Schlomo?
SCHLOMO Yeah, Schlomo, here!
FAME
MISS SHERMAN It’s nice to meet you, Mr. Metzenbaum. I’m a big fan of your father’s.
SCHLOMO Great. I’m glad one of us is.
ALL HERE WE ARE…
MISS SHERMAN Piazza, Nicholas?
NICK Present.
ALL SO BIZARRE…
MISS SHERMAN By the way, I got a call from your agent about an audition.
ALL THIS IS WHERE THEY SHOW YOU—
MISS SHERMAN Please tell him, I am not your personal secretary.
ALL —HOW TO BE A STAR!
NICK Sorry.
(He takes note and moves off.)
ALL I CAN’T WAIT…
MISS SHERMAN Jackson, Tyrone?
ALL I CAN’T EVEN CONCENTRATE….
MISS SHERMAN (Louder) Jackson, Tyrone?!
ALL I JUST PULSATE!
— 5 —
— 6 —
FAME
MISS SHERMAN Vegas, José!
JOE That’s Joe! Joe Vegas! As in Las Vegas. I wanna thank my producers, Pepe and Maria Vegas, of the South Bronx…
MISS SHERMAN Mr. Vegas, save the acceptance speech for Awards Night.
(Tyrone enters. He crosses to Miss Sherman.)
TYRONE Yo! I’m Tyrone Jackson. Am I in the right place?
MISS SHERMAN You’re in the right place, but at the wrong time.
TYRONE Sorry, sweet thing.
MISS SHERMAN My name isn’t “sweet thing.” It’s Miss Sherman. I’m your homeroom teacher.
TYRONE Don’t play with me, girl. A good lookin’ woman like you…?
MISS SHERMAN Mr. Jackson, you can butter me up like a stack of flapjacks, but you still have to be on time for class.
TYRONE Shit.
MISS SHERMAN And no four letter words.
(Tyrone moves off to join the rest of students.)
ALL I’M ALIVE AND I WILL SURVIVE, SHOW THE WORLD THAT I CAN TAKE IT, WHEN I HIT THE HEIGHTS PUT MY NAME IN LIGHTS SHOW THE WORLD THAT I CAN MAKE IT BY DOIN’…
FAME
(During the following the students sing backup sotto voce.)
MR. MYERS Acting not only takes talent and determination. It requires a solid technique. Freshman year will be devoted to the discovery of self—who you are.
ALL BY DOIN’…
MR. MYERS You must be in touch with your own emotions, if you expect to touch others.
MS. BELL We will study ballet, modern, folk, and jazz. You will push your bodies to the limit until every muscle cries out for mercy.
ALL DOIN’
MS. BELL Those who meet this challenge will be richly rewarded, for dance is the core of life. Dance is our salvation.
MR. SHEINKOPF Each music student is required to take elementary piano.
ALL WO—WO—WO— WO—WO—WO— DOIN’…
MR. SHEINKOPF You will play scales till your fingers fall off. At the same time you will comprehend the genius of Bach, Beethoven, and Mozart–
ALL (Simultaneous with above) WO—WO—WO— WO—WO—WO— DOIN’...
LAMBCHOPS Pink Floyd!!!!
ALL BY DOIN’ DOIN’
(Miss Sherman enters bridge and crosses USC.)
— 7 —
— 8 —
FAME
MISS SHERMAN Ladies and gentleman…
(The kids turn upstage to face Sherman.) Two things make life worth living, “to love and to work.” Here at P.A. you have the privilege of working hard at something you love. The operative words being “hard work.” For the next four years those two words will own you!
(Sherman turns the blackboard over revealing the words Hard Work.)
ALL (Exploding) BY DOIN’ HARD WORK!
JOE (Ad lib) DOIN’, DOIN’ HARD WORK!
ALL BY DOIN’ HARD WORK!
LAMBCHOPS AND MABEL (Ad lib) I’M DOIN’ HARD WORK! YEAH! YEAH!
ALL BY DOIN’ HARD WORK!
(DANCE BREAK) (Students split into three groups: Drama, Dance, and Music.)
MR. MYERS ACTING IS THE HARDEST PROFESSION IN THE WORLD…
ACTING STUDENTS HARD WORK THE HARDEST PROFESSION IN THE WORLD
MS. BELL DANCE IS THE HARDEST PROFESSION IN THE WORLD…
DANCE STUDENTS THE HARDEST PROFESSION IN THE WORLD HARD WORK!
FAME
— 9 —
MR. SHEINKOPF MUSIC IS THE HARDEST PROFESSION IN THE WORLD THE HARDEST PROFESSON IN THE WORLD
MUSIC STUDENTS HARD WORK! THE HARDEST PROFESSION IN THE WORLD THE HARDEST PROFESSION IN THE WORLD
(ROUNDS)
MEYERS & STUDENTS
BELL & STUDENTS
SHEINKOPF & STUDENTS
ACTING IS THE HARDEST PROFESSION IN THE WORLD THE HARDEST PROFESSION IS ACTING IS THE
DANCE
HARDEST PROFESSION
IS THE HARDEST
IN THE WORLD
PROFESSION IN THE WORLD
THE HARDEST
HARD WORK!
PROFESSION IS ACTING IS THE HARDEST PROFESSION
MUSIC
IN THE WORLD
IS HARD WORK! IT’S THE HARDEST
THE HARDEST
PROFESSION
PROFESSION IS
IN THE
ACTING IS THE
WORLD
HARDEST PROFESSION
MUSIC
IN THE WORLD
IS HARD WORK! IT’S THE HARDEST
THE HARDEST
PROFESSION
PROFESSION IS
IN THE
— 10 —
FAME
MEYERS & STUDENTS
BELL & STUDENTS
SHEINKOPF & STUDENTS
ACTING IS THE
DANCE
WORLD
HARDEST PROFESSION
IS THE HARDEST
MUSIC
IN THE WORLD
PROFESSION
IS HARD WORK!
IN THE WORLD
IT’S THE HARDEST
THE HARDEST
HARD WORK!
PROFESSION
PROFESSION
HARDEST
IN
IN THE WORLD
IN THE WORLD
THE WORLD.
ALL I’M ALIVE AND I WILL SURVIVE SHOW THE WORLD THAT I CAN TAKE IT, WHEN I HIT THE HEIGHTS,
MALE SOLO (Ad lib) HIT THE HEIGHTS
ALL PUT MY NAME IN LIGHTS,
CARMEN YES, I’M GONNA PUT MY NAME IN LIGHTS, YEAH!
ALL SHOW THE WORLD THAT I CAN MAKE IT, BY DOIN’… DOIN’… DOIN’… DOIN’… BY DOIN’ HARD WORK
(Bell riffs “BY DOIN’ HARD WORK”) BY DOIN’ HARD WORK
(Sherman riffs “BY DOIN’ HARD WORK”) BY DOIN’ HARD WORK
(Schlomo riffs) HARD WORK!!
(Bell rings. Scene shift.)
FAME
#1A—Hard Work Playoff ACT I, Scene iiia: Ms. Bell and dance students (Ms. Bell begins dialog as she heads down the stairs SL with a stack of papers. The dance students meet her at the foot of the stairs.)
MS. BELL Introductory Ballet meets first period every morning.
(Handing out the papers.) Students are expected to arrive dressed and ready to dance.
MABEL What’s this? A shopping list?
MS. BELL Participation in the dance program requires specific attire, including tights, leotards, leg warmers, and specialized footwear.
CARMEN (Reading from the list.) Character shoes, jazz shoes, pointe shoes? Who do you think I am? Imelda Marcos?
MS. BELL Luckily, we have received a generous grant from the National Endowment to help cover the cost.
(Heading toward the exit SR.)
TYRONE Yo, Ms. Bell. I can’t be wearin’ no leotards.
MS. BELL And why is that?
TYRONE ‘Cause I got a generous natural endowment of my own.
(Ms. Bell rolls her eyes, exits SR, followed by the dance students.) ACT I, Scene iiib: Sheinkopf & music students (Goody and Schlomo enter to see Lambchops as she drum riffs on lockers SR.)
SCHLOMO Hey Lambchops… Goody, this is the drummer I told you about!
— 11 —
— 12 —
FAME
GOODY But she’s a girl.
LAMBCHOPS Yeah. You got a problem with that?
GOODY No, no, I like girls. It’s just I get nervous when they got sticks in their hands.
SCHLOMO Knock it off, guys. If we’re gonna be a band, we gotta get along.
(Mr. Sheinkopf enters and starts to cross.) Excuse me, Mr. Sheinkopf. We’d like to work together in Freshman Ensemble.
MR. SHEINKOPF Percussion, trumpet, violin? What kind of music would you play?
SCHLOMO New wave…
LAMBCHOPS Funk…
GOODY Classic rock…
SCHLOMO Maybe a little disco.
GOODY We’re starting a band.
LAMBCHOPS That’s if this guy stops jerkin’ my chain.
MR. SHEINKOPF Oy, it’s going to be a long year.
# 1 B — L o c k e r Ta g 1 (Sheinkopf and music students exit.) ACT I, Scene iiic: Nick, Joe & Carmen (Nick enters USR closely followed by Joe. They cross to the stairs. Nick sits down and searches through his backpack.)
FAME
JOE Wait, wait, wait! You should see her in a leotard. Oh my God! You remember Sheena, the Jungle Queen. Bad kitty! Bad kitty! I said to her, I said, “Carmen, listen, if you’re not using your breasts, you mind if I just borrow them overnight?” Hey, are you listening to me?
NICK (Rummaging in his bag.) Not really. I tuned you out somewhere between her curvaceous thighs and that cute little beauty spot on her lip, man.
JOE Hey, forget about the book. A book you can replace. But a pair of melónes like that you lose, you lose forever.
(Hearing Carmen and another female student enter US.) Oh man, here she comes!
(Carmen crosses DS, as Joe stops her.)
JOE Yo, my little jalapeña pepper! How ‘bout we go dancing Saturday night?
CARMEN How ‘bout we don’t.
JOE But you and me, we got a lot in common. You’re Spanish, I’m Spanish! You’re gorgeous, I’m gorgeous. You’re hot!
CARMEN (Mimicking Joe.) You’re not!
(Carmen exits DSR.)
# 1 C — L o c k e r Ta g 2 JOE (To Nick) See, what’d I tell ya, she’s crazy about me.
(He chases Carmen out.)
#1D—Practice Room
— 13 —
— 14 —
FAME
ACT I, Scene iiid: Serena & Jack (Serena enters from SR. She sees Nick reading his book.)
SERENA Excuse me, but aren’t you… aren’t you that guy from the peanut butter commercial?
NICK Yeah. But do me a favor, don’t “spread it around.”
SERENA Why not? My God, I’d kill to have a national commercial on the air.
NICK You sound like my mom. She’s been dragging me to auditions since I was three.
SERENA I wish I had a mom like that.
NICK Trust me, you don’t.
(He goes back to reading his book.)
SERENA (After a beat.) My name’s Serena Katz.
NICK I know. I saw you in homeroom.
SERENA Do you think… I mean, I hate to impose, but… could I have your autograph?
NICK Look, I’m sorry. But I came here so I could concentrate on my studies.
SERENA But why? You’re already a pro. I bet you’ve even got your Actors’ Equity card.
NICK I want to be a real actor, not just some TV hack.
(Music out.) Have you ever read Stanislavsky?
SERENA Stan who?
FAME
NICK Konstantine Stanislavsky. He founded the Moscow Arts Theater in 1897. He and his friends struggled and starved, but that was okay, because they believed in what they were doing.
SERENA Wow, you’re really into this.
NICK You have to be. The work… the craft… that’s all that really matters. Listen to this—
(He reads from “An Actor Prepares.”) “The actor must learn to use the magical ‘if’. What ‘if’?
#2—I Want to Make Magic From the moment of the appearance of this ‘if’, the actor passes from a plane of actual reality into a plane of another life, created and imagined by himself. Believing in this life, the actor can begin to create…” I WANT TO MAKE MAGIC I WANT TO BE BIGGER THEN I AM I WANT TO MAKE PEOPLE REALLY CARE REALLY GIVE A DAMN
(Schlomo plays violin obbligato on upper level as if in a practice studio.) I WANT TO MAKE MAGIC I WANT TO BREATHE FIRE ON THE STAGE I WANT TO MAKE EVERY SINGLE LINE JUMP RIGHT OFF THE PAGE I WANT TO DO IT ALL FROM “A” TO “Z” I WANT TO DO “THE LION IN WINTER” BRECHT AND HAROLD PINTER SOPHOCLES, EUGENE O’NEILL I WANT TO REALLY SEE WHAT I CAN BE ANOTHER JASON ROBARDS OR DENIRO PLAY A TRAGIC HERO GO FOR IT ALL AND REALLY SHOW THE WAY I FEEL I WANT TO MAKE MAGIC I WANT TO ELECTRIFY THE PLACE
— 15 —
— 16 —
FAME
(NICK) I WANT TO BE MORE THEN JUST A FOOL WITH MAKE-UP ON HIS FACE I WANT TO MAKE MAGIC, MAGIC! MAGIC! MAGIC!
(As the song ends, segue as the acting class assembles around Nick. The bookcase unit rolls on, Mr. Myers and the rest of the acting students enter.) ACT I, Scene iv: Acting class (After the applause.)
MR. MYERS Thank you, Nick, for sharing those thoughts. Okay, it’s good to have role models, but at this point in your training, you need to concentrate on process, not results.
NICK (Embarrassed.) I’m sorry. It’s just… I’ve got so much I want to say…
MR. MYERS No need to apologize. In my class you get points for honesty. Because emotional honesty is what it’s all about. Right, Carmen?
CARMEN Yeah, sure, Mr. Myers. Whatever you say.
MR. MYERS Now, let’s all give Nick a hand.
(The kids all clap and whistle as Nick takes a seat.)
JOE Yo, baby. Yo, baby. Way ta go!
MR. MYERS Joe, front and center.
(Joe bounds to his feet.)
JOE So, you want I should tell you my goals? ‘Cause like my personal hero is Freddie Prinz.
(Looking up to heaven.) Yo, Chico, you’re the man, ba-bee.
FAME
— 17 —
MR. MYERS This time, we’re going to play a theater game called “Truth or Consequences.” I want you to share with the class a secret - about yourself. Something that reveals the essence of who you really are.
JOE You mean like some kinda deep, dark, secret, I would only, maybe, maybe tell my priest?
MR. MYERS Exactly.
JOE Whoa! I think I’m gonna like this game.
CARMEN Mr. Myers, what’s with all this true confessions stuff? Are you an acting teacher or a shrink?
MR. MYERS A little of both. Human psychology is a big part of acting.
(To Joe) Joe, begin when you’re ready.
(Mr. Myers moves off, giving Joe the floor.)
JOE Yo, can I get some light up here?
(Myers shoots him a disapproving look.) No? O.K. Man, this is going to be painful. You see, there’s this girl I like. And every time I see her, something comes over me…
# 3 — C a n ’t K e e p I t D o w n
( A l t . Ve r s i o n : “ C a n ’t K e e p I t C o o l ” )
JOE
JOE [ALT. LYRICS] JOE
YOU KNOW WHAT IT’S LIKE YOU KNOW LIKE WHEN YOU WAKE UPWHAT IN THEIT’S MORNIN’
YOU KNOW WHAT IT’S LIKE
THE CHANGIN’ OF THE GUARD? LIKE THELIKE CHANGIN’ OF THE GUARD?
IS DIANA ROSS, THE SUPREME?
WHEN YOU WAKE UP IN THE MORNIN’ WHEN YOU WAKE UP IN THE MORNIN’ AND HARD, AND IT’S HARD, FROMIT’S A DREAM? UP STRAIGHT AT ATTENTION AND THE GIRL THAT YOU LEFT THERE STANDIN’STANDIN’ UP STRAIGHT AT ATTENTION
(Saluting, as he does a slow take.) At ease, soldier! OR HOW IT ORISHOW IT IS IN A PORNO SHOP
OR MOVIN’ AND GROOVIN’
IN A PORNO SHOP WHEN YOU PUT YOUR QUARTER IN THEDOWN SLOT, AROUND TIME’S SQUARE, WHEN YOU PUT YOUR QUARTER
HANGIN’ WITH YOUR CREW,
IN THE SLOT,
FEELIN’ SLICK,
— 18 —
FAME
(JOE)
(JOE)
AND YOU TRY AND TO LOOK YOUCOOL TRY TO LOOK COOL
(JOE [ALT. LYRICS]) AND YOU’RE LOSIN’ YOUR MIND
SO NOBODY KNOWS THAT YOU’RE HOT SO NOBODY KNOWS THAT YOU’RE HOT FROM THE X-RATED POSTERS FOR SOME FLICK. YOU GO TO AYOU CLUBGO TO A CLUB
YOU GO TO A CLUB
ON SOME FINE MARIJUANA AND YOU’RE AND HIGH YOU’RE ON SOMEHIGH FINE MARIJUANA AND YOU’RE HIGH WITHOUT NO MARIJUANA ANDINTHE IN THE BAND AND THE SINGER THESINGER BAND
AND THE SINGER IN THE BAND
ALL OF HER MOVES FROM MADONNA— COPPED ALL COPPED OF HER MOVES FROM MADONNA— COPPED ALL OF HER MOVES FROM MADONNA— AND YOU WANNA… AND YOU WANNA…
AND YOU WANNA…
OR LATE AT NIGHT, OR LATE AT NIGHT,
OR LATE AT NIGHT,
YOU’RE HOMEAND IN BED ALONE AND IT’S COLDHOME OUTIN BED ALONE AND IT’S COLD OUT YOU’RE HOME IN BED ALONE IT’S COLD OUT YOU’RE YOU PUTWHERE YOURIT’S HAND WHERE IT’S WARM YOU PUT YOUR HAND WARM SO YOU COZY UP THE COVERS UP MISS JANUARY’S FOLDOUT, AS YOU OPENAS UPYOU MISS OPEN JANUARY’S FOLDOUT, AND CONTEMPLATE MISS JANUARY’S FOLDOUT, THAT’S HOW IS, WHEN SHE’SWELL AROUND WELL THAT’SWELL HOW IT IS, WHEN SHE’SITAROUND THAT’S HOW IT IS, WHEN SHE’S IN SCHOOL I CAN’T, NO I CAN’T AND I CAN’T,AND NO I CAN’T
AND I CAN’T, NO I CAN’T
CAN’T I CAN’T KEEPIIT DOWN!KEEP IT DOWN!
I CAN’T KEEP IT COOL!
CAN’T I CAN’T KEEPIIT DOWNKEEP IT DOWN
I CAN’T KEEP IT COOL
THAT GIRL’S AROUND WHEN THAT WHEN GIRL’S AROUND
WHEN THAT GIRL’S IN SCHOOL,
CAN’T IT UNDER MY CONTROLI CAN’T KEEP IT UNDER MY CONTROL I CAN’T KEEPIIT UNDERKEEP MY CONTROL CAN’T KEEP IT, KEEP IT DOWN, I CAN’T KEEPIIT, KEEP IT DOWN,
I CAN’T K—K—KEEP IT COOL,
NO,I CAN’T! NO, NO, NO I CAN’T! NO, NO, NO, NO
NO, NO, NO, NO I CAN’T!
BOYS
BOYS
CAN’T KEEP IT CAN’T DOWN! KEEP IT DOWN!
BOYS CAN’T KEEP IT COOL!
JOE I WANNA, I WANNA , I WANNA ROCK AND ROLL!!
(He does a wild dance, spins and falls flat on stomach. Everything stops.)
MR. MYERS I see you don’t suffer from stage fright.
JOE I’m like what you call an extrovert.
MALE STUDENT More like a pervert.
MR. MYERS Let’s see a show of hands. How many of you “believed” his story?
FAME
(Most of the students, including Joe & Serena raise their hands.) Serena. Why?
SERENA Adolescent boys are horny all the time.
STUDENT How do you know?
(The kids react. Serena is embarrassed.)
SERENA At least that’s what my mother said.
MR. MYERS Any naysayers?
(Nick raises his hand.) Nick?
NICK All that stuff about porno shops and smokin’ weed… It’s vintage Joe Vegas.
MR. MYERS …like he’s doing a stand-up act?
NICK Yeah. Probably the only naked female he ever saw was his big sister.
MR. MYERS What about it, Joe? Truth? Or consequences?
JOE Okay. All right. Lemme try it again.
(#3—CAN’T KEEP IT DOWN continues)
JOE I’M THINKIN’ ‘BOUT THE TIME IN MY LIFE WHEN I FIRST LEARNED WHAT CRYIN’ WAS, THE FIRST TIME I EVER HAD TO COME FACE TO FACE WITH WHAT DYIN’ WAS. MY RELATIVES GATHERED ALL IN BLACK TO MOURN FOR MY GREAT AUNT JUANITA, WHEN WHO COMES THROUGH THE DOOR TO PAY HER RESPECTS BUT OUR COUSIN CONCHITA
— 19 —
— 20 —
FAME
(JOE) THE TEARS IN HER EYES ONLY MADE HER SEEM EVEN MORE SPANISH AS I WATCHED HER I SWEAR I COULD FEEL THE FLOOR UNDER ME VANISH SO SHE GOES TO THEM ALL THEN SHE FIN’LLY COMES OVER TO ME AND SHE KISSES MY CHEEK AND I LOWER MY EYES… I CAN HARDLY BELIEVE WHAT I SEE!
JOE [ALT. LYRICS]
JOE ‘CAUSE I’M DOWN LOOKIN’ DOWN ‘CAUSE I’M LOOKIN’ THE OF HER GOWN THE FRONT OFFRONT HER GOWN
‘CAUSE I’M LOOKIN’ DOWN
ANDNO, I CAN’T, NO, I CAN’T AND I CAN’T, I CAN’T I CAN’T KEEP IT DOWN, I CAN’T KEEP IT DOWN,
AND I CAN’T, NO, I CAN’T
I CAN’T KEEP IT DOWN! I CAN’T KEEP IT DOWN!
I CAN’T KEEP IT COOL!
BOYS
THE FRONT OF HER GOWN I CAN’T KEEP IT COOL,
BOYS’ CHORUS
BOYS [ALT. LYRICS] CAN’T KEEP IT COOL!
CAN’T KEEP IT DOWN! CAN’T KEEP IT DOWN…
JOE
JOE NO, NO, NO, CAN’T! NO,NO, NO,I NO, NO, I CAN’T!
BOYS’ CHORUS BOYS’ CHORUS
BOYS’ CHORUS [ALT.] CAN’T KEEP IT COOL….
CAN’T KEEP IT DOWN…. CAN’T KEEP IT DOWN….
JOE
JOE I WANNA,I IWANNA, WANNA,I WANNA,
I WANNA IROCK AND ROLL! WANNA ROCK AND ROLL! ROCK AND ROLLAND ROLL ROCK
SOLO VOICE
SOLO VOICE
ROCK AND ROCK ROLLAND ROLL
BOYS
BOYS
BOYS [ALT.]
CAN’T KEEP CAN’T IT, KEEP IT,
CAN’T KEEP IT,
CAN’T CAN’T KEEP IT, KEEP IT,
CAN’T KEEP IT,
CAN’T KEEP IT DOWN. CAN’T KEEP IT DOWN.
CAN’T KEEP IT COOL.
JOE I WANNA ROCK AND ROLL!
(At end of applause THE BELL RINGS—everyone starts to leave.)
FAME
MR. MYERS Okay folks, next class—emotional recall. Thank you, Joe. That was very honest. A little X-rated, but honest.
(Myers exits. Joe holds center, then follows him out as scene changes.)
JOE An avalanche of emotions. That’s what you wanted, right? It’s my head, I need help.
# 3 A — I n t r o To D a n c e C l a s s (Scene change to Dance Studio.) ACT I, Scene v: Dance class (The dance students warm up before class. Ms. Bell enters with Iris.)
MS. BELL Good morning, class. I’d like to introduce our newest arrival. Her name is Iris Kelly. We are very lucky to have this young lady with us.
IRIS Merci, Madame.
MS. BELL All right, people. Let’s find our partners for the adagio.
(The students move to find their partners. Mabel and Tyrone chat DS. Across the room, Iris shows off her world-class extension.)
MABEL (Mimicking.) “Merci, Madame.” Who does she think she is, Pepé Le Pew?
TYRONE Trust me, Mabel, that girl ain’t no skunk.
MABEL Put your eyes back in your head, Tyrone. She is way outta your league.
TYRONE Says who?
MABEL Says the shiny black limo that dropped her off just before homeroom.
MS. BELL All right, class. Let’s take it from the top.
— 21 —
— 22 —
FAME
(Carmen hurries in.) Thank you for joining us, Carmen.
CARMEN Sorry, Ms. Bell. I got hung up on the subway.
MS. BELL Ready, and…
#4—Dance Class (As the music begins, the students execute a graceful adagio. As MS. BELL circles the floor.) Point your toes, Sonia. You look like you’re wearing ice skates. Chin up, chin up, eyes to the horizon.
(Tyrone and Carmen begin to come on to each other with some sexy dance moves. The music stops. Ms. Bell gives them a dirty look. Class starts over.)
MS. BELL Keep the movements fluid. Ready, and…
(Music begins again.) Imagine crystal clear water flowing gently downstream. Mabel! I said water, not molasses. What’s wrong with you today?
MABEL I feel faint. I haven’t had a thing to eat since breakfast.
MS. BELL It’s only 9:15.
MABEL I don’t care what time it is. My stomach’s screamin’ “Feed me! Feed Me!”
MS. BELL Hang in there, Mabel, only three and a half hours till lunch.
(To the class.) Let’s take it from the second phrase. Ready? Begin.
(#4—DANCE CLASS continues. Schlomo enters upper level SL with violin as if in a rehearsal room and begins playing.)
MS. BELL Classical lines, people. Imagine you’re dancing for Balanchine.
(Mabel falls on her partner.)
FAME
MS. BELL Iris, take Mabel’s place. Gently ladies, gently. You’re ballerinas, not truck drivers. That’s lovely, Iris. You look like the Swan Queen.
(Tyrone and Carmen go into dirty dancing again.) Carmen, Tyrone. This is adagio, not disco.
TYRONE But it’s so boring… and talk about uptight.
MS. BELL We study classical dance for the same reason we study Bach. To build technique and learn classic form. Think of it as a trip to the museum.
TYRONE But why does it have to be like that? Why couldn’t you do ballet that was different— switched on—tight-wired—like the traffic in Times Square?
MS. BELL (Impressed.) Sounds like you’ve given this a lot of thought.
CARMEN Tyrone did more than think about it. He made up a whole new dance.
TYRONE I don’t s’pose you’d wanna see it?
MS. BELL I’m game if you are.
TYRONE (To the kids.) Now remember, just like we practiced.
(Counting off.) Five, six, seven, eight!
(The dancers do Tyrone’s choreography. When the routine ends:)
TYRONE So…?
MS. BELL So… I think we’ve got a budding choreographer in our midst.
CARMEN Move over, Alvin Ailey!
— 23 —
— 24 —
FAME
#4A—Rock ‘n’ Roll (Tyrone and Carmen high five as the bell rings and the scene changes.) ACT I, Scene vi: Band room 1 (As band unit rolls on we hear Schlomo, Goody and Lambchops playing rock and roll. After a moment Mr. Sheinkopf enters. First Lambchops sees him and stops playing, then Scholmo, then finally Goody.)
MR. SHEINKOPF What is this?
SCHLOMO Practice.
MR. SHEINKOPF Practice for what? To play in the subways? May I remind you that the purpose of Freshman Ensemble is to learn to listen to one another.
LAMBCHOPS Come on, Mr. Sheinkopf. We’re not hurting anything.
MR. SHEINKOPF Except your eardrums. Mr. Metzenbaum, I received a phone call from your father. He wants to make sure you practice your violin at least three hours each day.
LAMBCHOPS Aw, isn’t that cute?
GOODY Daddy’s worried about his pint-sized Paganini.
MR. SHEINKOPF Mr. Metzenbaum, I know you are eager to find your own voice, but don’t forget musical genius runs in your family.
(Lambchops plays a loud drum rim shot.) And musical chairs runs in yours, Miss Lamb. Now, I believe you had a Mozart assignment.
LAMBCHOPS We practiced already.
MR. SHEINKOPF Good. Let me hear.
(Counting off.) One, two, three, four.
FAME
#4B—The Music Room (Sheinkopf conducts as the kids play a refrain of “Eine Kleine Nachtmusik,” featuring Lambchops on the triangle.)
MR. SHEINKOPF Good, good. Very good. Almost good enough to begin practicing.
(Sheinkopf exits.)
LAMBCHOPS All right, back to the good stuff.
SCHLOMO No, Sheinkopf’s right. What would a kid raised in concert halls know about rock? I should be practicing my violin.
(Schlomo heads for the door.)
GOODY Where you going? Back to Daddy?
SCHLOMO Look, I’m sorry I wasted your time. But this band thing—it’s never going to work.
LAMBCHOPS It will work!
(Lambchops plays a knock-out drum solo. After which Schlomo in his best imitation:)
SCHLOMO “Good. Good. Very good. Almost good enough to begin practicing.”
GOODY Let’s rock!!
LAMBCHOPS (Counting off.) One, two, three, four.
#4C—Rock ‘n’ Roll (Played by Schlomo, Goody and as the band unit rolls out.) Note: Overlaps MUSIC CUE #4D
— 25 —
— 26 —
FAME
#4D—Romeo & Juliet Ballet ACT I, Scene vii: Tyrone’s Rap (Iris and Tyrone are rehearsing to Romeo and Juliet. They stop after Iris hits Tyrone in the groin during a pirouette. Finally Tyrone’s inadequate partnering makes Iris explode.)
IRIS For God’s sake! Why can’t you get it together! These steps are so basic it’s ridiculous.
TYRONE I’m tryin’. Can’t you see, I’m tryin’.
IRIS You don’t support me in the attitude promenade. You drop me out of the arabesque sauté…
TYRONE I don’t know what you’re talkin’ about! I don’t speak no French!
IRIS These are technical terms. Every dancer knows them.
TYRONE Not me. Down in my neighborhood, we bust moves to hip-hop. How you gonna say that in French? Besides, it don’t matter how much I practice my Chevrolets…
IRIS Cabriolets…
TYRONE …. I still don’t have no future in ballet.
IRIS Maybe you would, if you worked harder.
TYRONE Hey, I work as hard as anyone. But, be honest, when was the last time you saw a brother dancin’ in the corps de ballet?
IRIS What does race have to do with it?
TYRONE Maybe you haven’t heard. Blacks can’t cut ballet. ‘Cause our bodies are all wrong for classical dance.
FAME
IRIS It’s not your body that’s the problem, Mr. Tyrone Jackson. It’s your attitude.
TYRONE Hey, screw you, Iris, you and that silver spoon you keep shovin’ down my throat.
# 5 — Ty r o n e ’s R a p (TRYONE) DON’T NEED NO RICH BITCH TELL ME WHICH FORK TO USE I PAID MY DUES IN A RAT TRAP BUILDING CALLED NEW YORK LIVING OFF GREENS, BEANS, AND PORK IN A BASEMENT, TENEMENT NO ONE GOT TO TELL ME WHAT IT MEANT TO BE BLACK, JACK, ACE OF SPADES ALL THE CAR-WASH WASHERS AND DAY-WORK MAIDS CAN’T WASH IT OFF, IT NEVER FADES IT’S WHO YOU ARE UNTIL YOU’RE DEAD. NOW AIN’T THAT A KICK UPSIDE THE HEAD? YEAH I KNOW ABOUT PRYOR AND POITIER, CAN’T GET HIGHER THAN SUGAR RAY, MUHAMMED ALI AND DOCTOR J AND NINETY PERCENT OF THE NBA REGGIE JACKSON, JESSE JACKSON, MICHAEL AND MAHALIA JACKSON AND WHAT’S THAT GOT TO DO WITH ME? ON THE STREET THE ONLIEST THING I SEE IS CRACK DEALERS, POCKETBOOK STEALERS, COKE SNORTERS, TIMES SQUARE DAUGHTERS, EIGHT-YEAR-OLDS WHO DANCE FOR QUARTERS, FOR TOKES AND TWO-LINE BLOWS, NEW ADIDAS AND STEREOS THAT’S US! THAT’S IT! SO DON’T BE TELLIN’ ME ALL THAT SHIT!
— 27 —
— 28 —
FAME
(Tyrone starts to exit. Iris decides to come clean.)
IRIS Tyrone, wait. My family’s not rich. They barely have enough money to keep me in pointe shoes.
TYRONE Yeah, right. That’s why you show up every day in that long black limo.
IRIS My father’s a chauffeur. He drops me off on his way to work. And I don’t speak French either.
TYRONE Then how come you been puttin’ on this act?
IRIS Because I was scared.
TYRONE Scared‘a what? You’re the best dancer in this school, Iris.
IRIS Scared no one would like me. Tyrone, I’ve never done anything but dance. I’ve never been on a date, never had a boyfriend… never even been kissed.
TYRONE (With a sweet smile) Well… maybe I can help you with that.
IRIS Maybe we can help each other.
(They kiss and segue to LUNCHROOM.)
#5A—The Lunch Room ACT I, Scene viii: Lunch room (Lunch tables are wheeled onstage by the students. Iris and Tyrone are DSC smooching. Miss Sherman crosses the stage with a lunch tray.)
MISS SHERMAN Mr. Jackson. Save the love scene for acting class.
TYRONE Sorry, Miss Sherman. We were just settling an argument.
FAME
MISS SHERMAN Next time, try a handshake. By the way, you owe me a book report. Five hundred words, on my desk, first thing tomorrow morning.
(Miss Sherman exits. Tyrone crosses Iris calling after Miss Sherman.)
TYRONE You got it, Miss Sherman.
(Music out. Turning to Iris.) Iris, I don’t s’pose you ever read “TO KILL A MOCKINGBIRD?”
IRIS Are you kidding? It’s my favorite book. It’s all about this lawyer named Atticus Finch, and his crazy neighbor Boo.
(Tyrone and Iris move off. Mabel and Carmen enter. They cross toward table SL. Mabel is carrying a tray loaded with food.)
CARMEN Fried chicken, potato salad, candy bars…? Girl, you gonna eat all that?
MABEL I have tried every weight loss program known to man. But I always go back to the Seafood Diet.
CARMEN What’s that?
MABEL I see food, and I eat!
(No response.) It’s a joke, Carmen.
CARMEN I’m laughin’ I’m laughin’.
(As they move to table SL.)
MABEL What’s your secret, Carmen? I never once seen you pig out.
CARMEN That’s the beauty of diet pills—a handful of uppers for breakfast and I’m good to go all day.
MABEL Girl, don’t you know drugs are bad?! And I don’t mean good bad, I mean bad, bad.
— 29 —
— 30 —
FAME
CARMEN Hey, what’s to worry? I’m young. I’m healthy. I’m gonna live forever.
(Carmen sees Mr. Myers enter with a clipboard. She crosses to him.)
CARMEN Yo, Mr. Myers. I need to be excused from class on Friday. See, they’re doing a revival of West Side Story. And I am like perfect for the role of Anita.
MR. MYERS I’m sorry, Carmen. The last thing you need right now is another character to hide behind.
CARMEN What’s that supposed to mean?
MR. MYERS Carmen, the first rule of acting is “know thyself.” If you don’t learn to deal honestly with your own emotions, you’ll just be another pretty face that nobody cares about.
(He exits.)
CARMEN (Calling after him.) You’re wrong about me, Mr. Myers. I’m gonna make it. ‘Cause I got what it takes.
#6—There She Goes!/Fame CARMEN From now on I got three things to worry about. Me, myself and I! One day you’re gonna see my name up in lights. Carmen Diaz.
MABEL Sparkle, girl! Sparkle!
CARMEN I’m talkin’ Broadway, movies…
MABEL Atlantic City, Radio City…
CARMEN People are gonna shiver when they see me comin’…
MABEL Shiver, honey. Shiver!
FAME
CARMEN They’ll say, “There she goes! Carmen! Not the movie, not the opera, but the human being!!!” THERE SHE GOES! AIN’T SHE THE PICTURE OF A REAL LIVE STAR? YOU’LL WANT TO FOLLOW HER WHOEVER YOU ARE, AND THERE SHE GOES!! SHE’S PASSIN’ YOU YOU BETTER HURRY IF YOU WANNA LOOK MAYBE YOU’LL GET HER IN YOUR AUTOGRAPH BOOK SHE’S PASSIN’ YOU!! REACH OUT TO TOUCH, DON’T BE SHY THERE AIN’T NO REASON TO BE SCARED NO, IT’S TOO MUCH I CAN’T LOOK HER IN THE EYE, NO I’M NOT PREPARED!!
(spoken) Well, thank you ladies and gentlemen, thank you! You’ve all been so wonderful to me, I don’t know how to thank you enough. And thank you, too, God…. for making me so fantastic!
(sings) I’M ON TOP OF THE CHARTS! I’M ON TOP IN THEIR HEARTS! LOOK AT THEM ALL! LOOK AT THE CROWDS! EVERYTHING IS BEAUTIFUL UP HERE IN THE CLOUDS!
ALL FAME!
CARMEN I’M GONNA LIVE FOREVER, I’M GONNA LEARN HOW TO FLY
ALL HIGH!
CARMEN I FEEL IT COMIN’ TOGETHER PEOPLE WILL SEE ME AND CRY
— 31 —
— 32 —
FAME
ALL FAME!
CARMEN I’M GONNA MAKE IT TO HEAVEN, LIGHT UP THE SKY LIKE A FLAME
ALL FAME!
CARMEN I’M GONNA LIVE FOREVER, BABY REMEBER MY NAME
ALL REMEMBER, REMEMBER, REMEMBER REMEMBER, REMEMBER, REMEMBER
CARMEN VOY A VIVIR PA’ SIEMPRE, VOY A LLEGAR A VOLAR
ALL FAME!
CARMEN ESTRELLA EN TODO EL CIELO, QU’ EMPEZARA A BRILLAR
ALL FAME! VOY A VIVIR PA’ SIEMPRE, VOY A LLEGAR A VOLAR
CARMEN A VOLAR
ALL ESTRELLA EN TODO EL CIELO,
CARMEN MIRA!
ALL MIRA!
ALL QUIERO BRILLAR!
FAME
— 33 —
(DANCE BREAK)
CARMEN I’M ON TOP OF THE CHARTS!
ALL WO, WO...
CARMEN I’M ON TOP IN THEIR HEARTS!
ALL WO, WO...
CARMEN
ALL
LOOK AT THE CROWDS
AAH…
LOOK AT THEM ALL!
(AHH)
AY, MAMACITA MIA,
(AHH)
I AM HAVIN’ A BALL!
(AHH)
THERE SHE GOES! THERE SHE GOES! THERE SHE GOES! THERE SHE GOES! HOW WOULDN’T ANYBODY WISH THEY WERE HER, WISH THEY WERE HER,
CARMEN AND THERE SHE GOES!
ALL (EXCEPT CARMEN) REMEMBER, REMEMBER, REMEMBER REMEMBER
ALL REMEMBER MY NAME!
(BELL rings and segue to next scene.)
#6A—Fame Playoff
— 34 —
FAME
ACT I, Scene ix: Love scene (Nick and Serena rehearse a scene from “The Seagull.”)
NICK Real talent! I have more real talent than all of you put together. You, with your hackneyed conventions have usurped the foremost places in art. Go back to your charming theater and play in your miserable, worthless plays!
SERENA I have never acted in such plays! Leave me! You’re nothing but a Kiev petty bourgeois!
(Breaking character) Nick, I don’t like this scene.
NICK But The Seagull is a classic play
SERENA Classic-schmassic!
NICK … and Madame Arkadina is a great role.
SERENA I don’t want to play your mother!
NICK All right. How about Shakespeare? A comedy? …Maybe Two Gentlemen of Verona.
SERENA Which one would I play???
NICK Would you stop being difficult!!
SERENA I’m not being difficult. We just spent a whole year investigating our own emotions, and you keep picking scenes I can’t relate to. Why can’t we try something different?
NICK Like what?
SERENA Like… Abelard and Eloise, or… Troilus and Cressida. Or how about Cat on a Hot Tin Roof ? I would just die to play Maggie the Cat. I have a copy right here in my bag.
(She begins rummaging in her bag and a photo of Nick falls out.)
FAME
NICK What’s this?
(Picking up the picture.)
SERENA Uh…you gave it to me?
NICK Last semester. You carry my headshot around?
SERENA Yes.
(Nick reacts.) No. I, um, meant to leave it at home…
(Angrily, Nick tears up the picture and throws it on the floor.) What are you doing?! Nick, wait! Don’t!
# 7 — L e t ’s P l a y a L o v e S c e n e NICK For crying out loud! How’re we gonna get any work done if you keep acting like an adolescent?
SERENA What’s wrong with acting like adolescents, when that’s exactly what we are?
(Serena sings to Nick.)
SERENA WE ALWAYS SEEM TO BE SISTER AND BROTHERLY IT’S SUCH A LOVELY WAY TO BE AND I WANT TO SAY WHAT IT MEANS TO ME HOW I COULD NEVER BE THE SAME WITHOUT YOU AND SOMETHING MORE THAT I KNOW, THOUGH I NEVER COULD SHOW HOW IT KEPT RIGHT ON GROWING, THE WAY I KNOW I REALLY FEEL ABOUT YOU THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOU, WHY CAN’T WE, WHY CAN’T WE, WHY CAN’T WE TRY
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FAME
TO PLAY A LOVE SCENE WE DON’T NEED THE VIOLINS TO PLAY A LOVE SCENE WHERE WE SEE HOW LOVE BEGINS IF WE COULD FIND A WAY TO START AND LEARN TO PLAY THE PART A PERFECT SCENE FROM A PLAY UNKNOWN LET’S PLAY A LOVE SCENE OF OUR OWN
NICK Look, Serena. It’s obvious we’re not coming from the same place. Maybe you should find yourself another scene partner.
(Nick exits. Holding back tears, Serena picks up the pieces of the as she sings:)
SERENA AND I WANT TO SAY WHAT IT MEANS TO ME HOW I COULD NEVER BE THE SAME WITHOUT YOU AND SOMETHING MORE THAT I KNOW, THOUGH I NEVER COULD SHOW HOW IT KEPT RIGHT ON GROWING, THE WAY I KNOW I REALLY FEEL ABOUT YOU, THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOU, WHY CAN’T WE, WHY CAN’T WE, WHY CAN’T WE TRY TO PLAY A LOVE SCENE WE DON’T NEED THE VIOLINS TO PLAY A LOVE SCENE, WHERE WE SEE HOW LOVE BEGINS, FIND A WAY TO START, AND PLAY IT FROM THE HEART, A PERFECT SCENE FROM A PLAY UNKNOWN, LET’S PLAY A LOVE SCENE… OF OUR OWN.
(End of song bell rings and Serena runs off. Applause. Lights change. Scene Shift into Bandroom.)
FAME
# 8 — B r i n g O n To m o r r o w ACT I, Scene x: Band room 2 (As stairs part, we see Schlomo playing violin as lights change. After a few notes Carmen enters, but is not seen by Schlomo. After a few beats she startles him by blowing in his ear.)
SCHLOMO Geez. I didn’t hear you come in.
CARMEN Sorry, I didn’t mean to scare you. Genius at work, right?
SCHLOMO I’m hardly a genius.
CARMEN You know Schlomo, your problem is you don’t have enough confidence. Like that piece you play all the time…solid gold.
SCHLOMO It’s for Sophomore Composition. I’ve been working on it for weeks, but…I feel like something’s still missing.
CARMEN Maybe this’ll help.
(She hands him a piece of paper.) They’re lyrics! I wrote ‘em to go with that tune. Go ahead, check ‘em out.
SCHLOMO Carmen, this isn’t a song, it’s a sonata.
CARMEN What difference does it make? I know a top ten hit when I hear one.
SCHLOMO You really think so?
CARMEN Guaranteed to go platinum like that!
(She snaps her fingers.) But then I guess you hear this stuff all the time. Compliments and shit—
SCHLOMO Are you kidding? I come from a family of perfectionists. Nothing I do is ever good enough.
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FAME
CARMEN Hey, I hear what you’re sayin’. I could win a Grammy and my Ma would still call me a slut. So you wanna take ‘em for a test drive?
(Stuns Schlomo.) The lyrics.
SCHLOMO Oh, yeah!
(He crosses US to the piano on the band unit and plays.) BRING ON TOMORROW, LET IT COME LET ‘EM KNOW THAT WE’RE THERE LET ‘EM KNOW WE KNOW WHERE WE’RE COMIN’ FROM, WE CAN MAKE A DIFFERENCE, IT’S NOT TOO LATE BRING ON TOMORROW, I CAN’T WAIT!
(Stops.) It’s really good!
CARMEN Thanks.
SCHLOMO No, really good. Except the second and third lines.
(Ad-libs the lyrics.) They just don’t flow.
CARMEN Okay, yeah. I see what you mean. Wanna try it again?
(They think for a moment, then he starts playing again.)
CARMEN BRING ON TOMORROW LET IT…
(Pause) SHINE!
(They search for line.) LIKE…
SCHLOMO LIKE
FAME
CARMEN LIKE THE…
(Inspired) SUN COMIN’ UP ON A BEAUTIFUL DAY…
SCHLOMO IT’S YOURS AND MINE.
CARMEN Yeah!
BOTH WE CAN MAKE A DIFFERENCE, IT’S NOT TOO LATE BRING ON TOMORROW, WE CAN’T WAIT!
CARMEN You’re unreal!
SCHLOMO You’re crazy!
CARMEN I’m crazy?! I just struck gold. Don’t you see? We’re good for each other Schlomo. I’m what your band needs.
SCHLOMO Sure. Why not? After all, we just wrote our first song together.
CARMEN Oh man, you are too much. I’m in the band. I’m in the band!
(Realizing the time.) All right. Look, I gotta go. I got an audition. But I’ll catch you later!
SCHLOMO Yeah, catch me later.
CARMEN You got it, Schlomo! You definitely got it! And I got you!
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FAME
# 8 A — A f t e r To m o r r o w (She kisses him on the lips and leaves. Schlomo is completely entranced. Goody having entered during the above exchange, smiles at her as she exits. Then he slowly tiptoes to Schlomo (whose eyes are still closed) and puckers up his lips as if to kiss him. Schlomo, sensing someone near him, opens his eyes and screams.)
SCHLOMO Goody! We were rehearsing!
GOODY Yeah? For what?
(As he waves his trumpet on his crotch.)
SCHLOMO Hey, good news! Carmen’s gonna join the band.
GOODY Schlomo, now we got two chicks in the band and one of ‘em doesn’t even play anything!
SCHLOMO We’ll give her a tambourine. And besides, we need a lead singer anyway. So that’s it. Case closed.
(He goes to exit.)
GOODY OOH! Testy, aren’t we? Hey Schlomo, c’mere….
(Schlomo stops and turns to Goody.)
SCHLOMO What?
GOODY Come here!
(Schlomo crosses back to Goody.) Gimme a kiss!
#8B—Magic Scene Change (He chases Schlomo out trying to kiss him as the scene changes.)
FAME
ACT I, Scene xi: Dance rehearsal (As the scene changes to the dance studio, Tyrone and Iris dance on, followed by Ms. Bell. They’re rehearsing a Pas de Deux “I Want To Make Magic.”)
MS. BELL Good. Very good. You’ve got the choreography, now let’s talk about the quality of movement. It should be lyrical but strong, like fire and ice. Let’s take it again from the top.
(As they begin the combination again, Miss Sherman enters.) Hello, Esther, what brings you to the fourth floor?
MISS SHERMAN I understand you’ve chosen to feature Iris and Tyrone in the Junior Festival.
MS. BELL They earned it. Iris, watch your arms in the grand jeté.
MISS SHERMAN Unfortunately, Tyrone won’t be able to participate.
(The dancing abruptly stops.)
TYRONE Say what?
MISS SHERMAN I’m sorry Tyrone, you failed Sophomore English.
TYRONE You flunked me?! But I did all the work. I even handed in my term paper on time.
MISS SHERMAN Unfortunately, it bore a remarkable similarity to Iris’s.
TYRONE Wait a minute. Are you accusin’ me of cheatin’?
IRIS Tyrone and I study together. So what if the papers are similar?
MISS SHERMAN They weren’t similar, they were identical.
MS. BELL Then why not accuse Iris?
MISS SHERMAN Because she’s a straight A student.
(To Tyrone)
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FAME
Let’s be honest. Iris has been carrying you in your academic subjects for the entire year.
TYRONE Nobody carries me. I do my own work, in my own way.
MISS SHERMAN You may think you do, but your reading is sub-standard. You couldn’t possibly have written that paper.
TYRONE Hey, forget this noise. I didn’t wanna be in no festival anyway.
(Tyrone exits. Iris follows him out.)
MS. BELL Tyrone, wait. Wait!
# 9 — T h e Te a c h e r s ’ A r g u m e n t (Ms. Bell turns back to Miss Sherman.) You’re not being fair, Esther. Tyrone works hard in my class. He’s motivated in my class. This young man has the potential to be a true artist.
MISS SHERMAN A true artist that can hardly read? Let Tyrone pass his academic subjects—then we’ll talk about his future in the arts.
MS. BELL No! We’ll talk about it now! ARTISTS ARE SPECIAL, CELESTIAL FOOLS BLESSED WITH A TALENT FOR BREAKING THE RULES I’M FIT FOR CONFINEMENT IN CUBICAL SCHOOLS ARTISTS ARE SPECIAL.
MISS SHERMAN ARTISTS ARE PEOPLE, NOT PRIMITIVE FOOLS, THEY LEARN WHAT TO DO BEFORE BREAKING THE RULES THEY KNOW THAT THE BRAIN IS THE FINEST OF TOOLS ARTISTS ARE PEOPLE
BOTH WHETHER IN THEATER OR MUSIC OR DANCE, THEY HAVE TO BE GIVEN THE CHANCE…
MISS BELL TO FLY BY THE SEAT OF THEIR PANTS!
FAME
MISS SHERMAN TO DEVELOP THEIR MINDS!
BOTH AND BE NURTURED LIKE PLANTS,
MISS SHERMAN ARTISTS ARE PART OF THE SAME HUMAN RACE, AS EVERYONE ELSE IN THE SAME BLOODY PLACE, YOU LEARN TO SURVIVE OR YOU FALL ON YOUR FACE, ARTIST OR NOT! ARTIST OR NOT!
You know perfectly well, ninety per cent of these kids will never make a living in the arts. We have to prepare them for life! What’s Tyrone going to do if he can’t make it as a dancer? Mop floors?
MS. BELL Tyrone will make it! I’VE SEEN THEM COME AND GO FOR ALL THESE YEARS KIDS WITH NO TALENT FOR ANYTHING MORE THAN CARRYING SPEARS ANOTHER YEAR, ANOTHER SHIPMENT, LACKING THE DRIVE OR THE STYLE OR THE BASIC EQUIPMENT THIS ONE IS DIFFERENT AND I CAN SEE ME, THEN... UNREMARKABLE ME. THE KID IN THE BALLET CLASS THE PRINCESS I WANTED TO BE TUTU AND POINTE SHOES, HAIR IN A BUN, COMPLETELY UNNOTICED, AS IF I WERE NO ONE THIS ONE IS DIFFERENT, I TELL YOU THIS ONE CAN DANCE! THIS ONE IS SPECIAL, I TELL YOU GIVE HIM A CHANCE!
He will make it! He will!
MISS SHERMAN Fine. I wish him luck. But this is also an academic institution, with academic standards. Oh, I know… we’re the “FAME” high school now, ever since that movie came out. They come here expecting to become stars! And you people think you run the
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FAME
show here. Teach them to perform and who cares if they read or write anyway? As long as they can sign their name on a contract.”
MS. BELL And who are you, “Defender of the true faith?”
MISS SHERMAN Exactly! WHAT DID THEY TELL ME WHEN I WAS A GIRL? LEARN! DAY AFTER DAY WHEN I WAS A GIRL? LEARN! THE LAND OF DREAMS WAITS OVER THE MEADOW, IF YOU CAN FIND YOUR WAY OUT OF THE GHETTO, LEARN! LEARN! PUT YOUR FAITH IN BOOKS, THAT WILL PROTECT YOU PUT YOUR FAITH IN BOOKS AND A MIND OF YOUR OWN NEITHER CHARM NOR LOOKS WILL MAKE THEM RESPECT YOU YOU MUST LEARN TO STAND YOU MUST LEARN TO STAND ALONE!
MS. BELL THIS ONE IS DIFFERENT
MISS SHERMAN PUT YOUR FAITH IN BOOKS!
MS. BELL THIS ONE CAN DANCE!
MISS SHERMAN PUT YOUR FAITH IN BOOKS!
MS. BELL ARTISTS ARE SPECIAL!
MISS SHERMAN ARTISTS ARE PEOPLE!
BOTH THIS ONE MUST HAVE THE CHANCE! THIS ONE MUST HAVE A CHANCE!
FAME
(The BELL rings—Scene shift to Hallway as Dance Mirror flies out. Students enter noisily all around the two teachers. Tyrone crosses in street clothes, carrying his dance bag, heading toward the exit.)
MISS SHERMAN Tyrone. Perhaps we could compromise. If you repeat sophomore English in summer school and get a passing grade, you can participate in the dance festival next year.
TYRONE Don’t be doin’ me no favors. I don’t need this school, and I don’t need you.
(Tyrone exits.)
MS. BELL Tyrone. Wait. Wait!
(Ms. Bell starts to exit following Tyrone.)
MISS SHERMAN Greta, he’s made his decision. Now, he’ll have to live with it.
MS. BELL Do you really think I’d let Tyrone just walk away? After everything I’ve invested in him? Obviously, you don’t know me very well.
(Ms. Bell exits.)
MISS SHERMAN (To rest of the students.) You all knew the conditions when you enrolled. Nobody said it was going to be easy. You focus on what you need to do to get the job done. Now we go on. Back to work. Everyone! Back to work.
(She exits.)
NICK Work. Work.
#10—Hard Work Reprise ALL STUDENTS WORK! WORK! WORK! HARD WORK!
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— 46 —
FAME
(ALL STUDENTS) WORK! HARD WORK! WORK! HARD WORK! WORK! HARD WORK! WORK! WORK! WORK! HARD WORK! HARD WORK! I’M ALIVE AND I WILL SURVIVE SHOW THE WORLD THAT I CAN TAKE IT, WHEN I HIT THE HEIGHTS
MALE SOLO (ad lib) HIT THE HEIGHTS
ALL PUT MY NAME IN LIGHTS
CARMEN YES, I’M GONNA PUT NAME IN LIGHTS, YEAH!
ALL SHOW THE WORLD THAT I CAN MAKE IT BY DOIN’, DOIN’, DOIN’, DOIN’ BY DOIN’ HARD WORK!
(Vocal ad-libs.) BY DOIN’ HARD WORK!
(Vocal ad-libs.) BY DOIN’ HARD WORK!
(Vocal ad-libs.) HARD WORK!
(Bell rings. BLACKOUT. Students exit.) END OF ACT I
FAME
ACT II, Scene i: Drug deal (As the scene opens in front of the Door Unit, we hear traffic noises. A “shady character” wearing dark glasses is leaning against the SR proscenium smoking a cigarette. Carmen then enters DC through the Door Unit, looks around nervously, and crosses to him. They talk, she hands him money, he hands her some drugs. Carmen runs through the doors as the “shady character” runs off. The Door Unit clears upstage.)
Ad Lib Orchestra Warm-Up ACT II, Scene iia: The Junior Festival prologue (As the lights come up, we see the backstage crew setting the stage for the Junior Festival dress rehearsal, which is about to take place. Instruments are playing in the pit and lines and singing are being ad-libbed by the students offstage. We see Mr. Myers and Schlomo talking on the staircase SL.)
MR. SHEINKOPF (In the pit to the musicians.) Now remember, the conductor is the conduit between the pit and the stage. So keep one eye on the music and the other on me. An A, if you please.
(Orchestra tunes.)
MR. MYERS Okay set for places, guys. Places please. Mr. Sheinkopf, we’re at places.
(A flurry of activity as we see stagehands in full view setting the staircases and hanging the center red drape. Ms. Bell enters and crosses to Myers.)
MS. BELL Have you seen Carmen?
MR. MYERS Isn’t she in the dressing room?
MS. BELL She should be on stage, warming up. Excuse me, Schlomo. Have you seen Carmen?
SCHLOMO (Hesitantly) I don’t know Ms. Bell. We came in together. Maybe she’s in the bath room.
(Carmen runs on from SL.)
MR. MYERS Greta, she’s here.
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FAME
MS. BELL Carmen, where have you been?
CARMEN Sorry Ms. Bell, I just went out to get a breath of fresh air.
MS. BELL Well breathe on your own time, not mine. Okay, let’s get this show on the road.
MR. MYERS Places everyone. Mr. Sheinkopf, start the music, maestro.
# 11 — T h e J u n i o r F e s t i v a l ACT II, Scene iib: The Junior Festival dress rehearsal (Music begins and the drapes part for Nick to step forward to recite a soliloquy from “Henry V.”)
NICK Oh, for a muse of fire that would ascend the brightest heavens of invention. A kingdom for a stage, Princes to act, and Monarchs to behold the swelling scene. Think, when we speak of horses, that you see them, printing their proud hoof in the receiving earth. For it is our thoughts that now must deck our kings, carry them here and there, jumping o’er times, turning the accomplishment of many years into an hour glass. I WANT TO MAKE MAGIC I WANT TO STRIKE LIGHTNING IN THE SKY I WANT TO DO THINGS YOU CAN’T BELIEVE ANYONE WOULD TRY I WANT TO MAKE MAGIC AND MAKE EV’RY MOMENT A SURPRISE I’LL CAPTURE YOUR SENSES IN A SPELL RIGHT BEFORE YOUR EYES I WANT TO MAKE MAGIC
(The bandwagon segues in DS. Goody plays a solo of “Magic” with Schlomo and Lambchops supporting him. As this section finishes, Tyrone and Iris enter and dance a “Magic” Pas de Deux. Following the dance, Carmen, in a traditional red Flamenco dress and Joe, with slicked back hair and a rose between his teet, appear on the balconies and begin the Spanish flamenco section.)
FAME
JOE (Playing guitar and singing in mock flamenco style.) C…a…r…m…e…n!
(Takes a deep breath.) C…a…r…m…e…n!
CARMEN (Interrupting him.) Joe!
JOE Olé
(Joe and Carmen begin the Spanish version of “There She Goes!”)
JOE THERE SHE GOES! AIN’T SHE THE PICTURE OF A REAL, LIVE STAR? YOU WANT TO FOLLOW HER WHOEVER YOU ARE AND THERE SHE GOES! SHE’S PASSING YOU, YOU BETTER HURRY IF YOU WANNA LOOK MAYBE YOU’LL GET HER IN YOUR AUTOGRAPH BOOK SHE’S PASSING YOU. REACH OUT TO TOUCH DON’T BE SHY THERE’S NO REASON TO BE SCARED! NO, IT’S TOO MUCH I CAN’T LOOK HER IN THE EYE NO, I’M NOT PREPARED!
(The ensemble joins Joe and Carmen in a flamenco dance/clapping combination to a rousing dance finale with the full company. The teachers who have been watching from the balcony applaud.)
MS. BELL All right everyone, pretty good.
(The students cheer.) Final dress tomorrow! Don’t be late.
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FAME
MR. MYERS Okay guys, we can lose the drapes now… thank you.
(The red drapes fly out.)
JOE C…a…r…m…e…n…!
MR. MYERS Please, Mr. Vegas, for once in your life—keep it down!
JOE That’s a good one Mr. Myers!
(The students, except Tyrone, exit in all directions during the following exchange.)
MS. BELL You did good, Tyrone. I’m real proud of you.
TYRONE Thanks, Ms. Bell.
(Tyrone turns to go and almost bumps into Miss Sherman.)
MISS SHERMAN Tyrone, I understand you passed Sophomore English in summer school. I hope this time you did the work yourself.
TYRONE You just couldn’t wait to bring me down, could you?
MISS SHERMAN My goal is to see you succeed.
TYRONE You sure got a funny way of showing it. But it don’t matter, not today. ‘Cause today… I’m flying high.
(Tyrone does a spin, snaps his fingers in Miss Sherman’s face, and walks out.)
MS. BELL Was that really necessary?
MISS SHERMAN (Somewhat distrustful.) I don’t know, Greta. Only time will tell.
# 11 A — O n l y Ti m e W i l l Te l l
FAME
# 11 B — P r a c t i c e R o o m ACT II, Scene iiia: Carmen & Schlomo in the hallway (School Hallway. Carmen and Schlomo enter above on upper level.)
CARMEN You know what the problem with this school is, it’s too damn confining… like a prison.
SCHLOMO So, I guess that means somebody had another run-in with Myers.
CARMEN First I’m not being honest, then I’m indicating. Now he’s got me stuck doing sense memory. When do I get to do some real acting?
SCHLOMO Maybe you have to learn to be real before you can learn to act.
(This hits her like a slap in the face.)
CARMEN You know, Schlomo. Sometimes you sound like one of them.
SCHLOMO “One of them?” Carmen, teachers aren’t some sort of alien race. Maybe Myers could help you.
CARMEN Help me with what? You think I got some kinda problem? (Music out.)
SCHLOMO No… I mean, yeah. I mean… well, maybe you do. It’s like all this stuff about being famous all the time. Maybe you should take a break from that?
CARMEN Look, Mr. Metzenbaum, Mr. Son of the Famous Violin Virtuoso, some people get handed life on a silver tray. The rest of us have to reach out and grab it.
(She starts to exit.)
SCHLOMO Carmen, wait. I’m sorry. I didn’t mean to make you angry. I just wish… I wish you didn’t feel like you have to fight all the time.
CARMEN I’m a survivor. That’s who I am. Take it or leave it.
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FAME
SCHLOMO (Still angry.) Okay. All right. I’ll take it. I’ll take it. Geez.
CARMEN Wait a minute. What did you say?
SCHLOMO I said I’d take it. Carmen, don’t you know I’m crazy about you? Good times or bad, we are a team.
(Takes her hands.) Hey, I finished that new song we were working on. It turned out pretty good.
CARMEN Of course it did. With my words and your music, how could we lose?
(Carmen and Schlomo kiss.)
SCHLOMO Come on. I’ll play it for you.
# 11 C — L o c k e r Ta g 3 (They exit hand in hand as we segue into next scene.) ACT II, Scene iiib: Nick & Serena in the hallway (Immediate segue from previous scene as Serena enters from one direction and Nick from another. The stage is dressed with a handful of students lingering on the stairs or the balcony above.)
NICK Hi … I’m really happy for you.
(She looks at him - confused) Myers posted the cast list for the Junior show - looks like you’ll be playing Juliet.
SERENA Me? Are you serious? Oh, my God!! You are serious! I don’t believe it! Juliet! I’m playing Juliet. As in “Romeo and.” My parents are gonna plotz!
(Jumping on him, then composing herself.) Nick… Look, I’m sorry about last year - throwing myself at you like that. I was so immature. But this year, I plan to be much more focused on the work.
FAME
NICK Serena, I’m not angry, really. In fact, I care more about you than anyone else in this school.
SERENA You do?
NICK Yeah, I do.
SERENA Good. Then we can be friends offstage. And lovers onstage.
NICK Sorry, you’ll be playing the love scenes with someone else. I’ve been cast as Mercutio.
(Nick leaps onto the stairs, grabs the railing with one hand and his wounded gut with the other, overly theatrical:) “A plague on both your houses! They have made worms’ meat of me.”
SERENA You already know your lines?
NICK I’ve been doing Shakespeare since I was in grade school. See you at rehearsal.
(He exits up the stairs, stopping on the landing above where he is joined by a male and female student. Serena calls after him, just as Lambchops enters SR below to her locker.)
SERENA Wait a minute. If Nick’s playing Mercutio, who’s playing Romeo?
JOE (From offstage.) Nooooooooo!!
(He enters and crosses the stage.) What is this? I’ll kill him! I swear, I’ll kill him! He knows I hate Shakespeare. Why did he do it? The dude hates me!
(Exits ad lib-ing in Spanish.)
SERENA He’s my Romeo? Oy vey!
LAMBCHOPS Hey, better a crazy Romeo, than a fruity-toots, no matter how cute he is.
(On the level above, Nick has overheard this.)
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FAME
SERENA Fruity-toots? You couldn’t be talking about Nick. Not my Nick. Not Nick Piazza?
LAMBCHOPS You ever seen him on a date with a girl?
SERENA That’s because he’s so serious about his work.
LAMBCHOPS At his age? Nobody’s that serious.
(Lambchops exits SR.)
SERENA Gay?! The love of my life is gay?!
NICK (Rushing down the stairs.) Serena, please. Stay calm.
SERENA I thought we were friends.
NICK We are.
SERENA Then why didn’t you tell me?
NICK Tell you what? What exactly was I supposed to say?
SERENA Look, there’s nothing wrong with being gay. It’s just…well…it must get lonely in that closet all by yourself.
NICK Serena, read my lips. I’m not gay.
(Nick crosses to exit SR.)
SERENA Well, if you’re not gay, then what have you been into all this time? Plants?
NICK Nothing. Into nothing. I didn’t know sex was a required activity.
SERENA You make it sound like detention. It’s supposed to be fun.
FAME
NICK Look, Serena, I know this may be hard for you to understand—but some people think there’s more to life than screwing around.
SERENA Just my luck. I fall for a guy with no sex drive. Nick Piazza, you piss me off.
NICK Serena…
SERENA Leave me alone. Go on. Go practice your death scene. Maybe you’ll fall on your own sword. Go!
NICK All right.
(Serena growls at him under her breath.) All right.
(He exits SR.)
SERENA Oh, I feel like such a fool! How could I be so naïve? I could die—I could just…
#12—Think Of Meryl Streep Wait. That’s it. Remember this emotion. That’s it! That’s what Myers taught us. Remember this emotion. THINK OF HOW TO USE IT, USE IT ON THE STAGE THINK OF KATH’RINE HEPBURN, THINK OF GERRY PAGE, THINK OF ALL THE FEELINGS WASTED ON THIS CREEP THINK HOW YOU COULD USE THEM... THINK OF MERYL STREEP! WHY SHOULD I BE CRAZY, SPILLING OUT MY GUTS MAKE A BIG EXPLOSION, GO COMPLETELY NUTS? THESE ARE MY EMOTIONS, MINE ALONE TO KEEP, I KNOW I COULD USE THEM, THINK OF MERYL STREEP INSIDE ME THERE’S A WORLD OF COLOR AND LIGHT NOTHING HAS TO BE WRONG, NOTHING HAS TO BE RIGHT INSIDE ME ARE TREASURES THAT GLOW AN ACTRESS’S JOB IS TO KNOW WHAT SHE’S WILLING TO SHOW
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FAME
SERENA (CONT.) AND THEN HIDE ALL THE REST, SO NO ONE’S THE WISER SAVE UP ALL THE BEST, LIKE MIDAS THE MISER, KEEP EV’RY MOMENT UNDER CONTROL, ALWAYS IN CHARGE, PLAYING A ROLE. SMILE AND SHRUG YOUR SHOULDERS, MAKE BELIEVE IT’S FINE, COME UP WITH AN ANSWER, OR A WITTY LINE THOUGH YOUR HEART IS BREAKING, NEVER START TO WEEP, SOMEDAY YOU CAN USE IT… SOMEDAY YOU CAN USE IT… SOMEDAY YOU CAN USE IT… THINK OF MERYL STREEP!
I could just kill him!
(BLACKOUT. Applause. Segue to next scene.)
# 1 2 A — L o c k e r Ta g 4 ACT II, Scene iv: Mabel’s Prayer (Dancers’ locker room. Several dancers enter, including Iris who is tasting pudding from a plastic container. We hear Mabel scream as she enters.)
MABEL A hundred and fifty-five pounds! That scale better be broken! I give up!! I just give up. This body’s retainin’ more water than the Titanic!!! Wait a minute. What’s that smell?
(She looks around, then sees Iris with the pudding.) Ooooh!
(Music out.) Vanilla pudding!! My favorite.
IRIS Sorry, Ms. Bell says you need to lose weight.
MABEL Then how about a sniff? One good sniff could tide me over till lunch.
IRIS Well, okay. But just one.
FAME
— 57 —
(Iris holds out the pudding to her, but then suddenly passes it to another girl, who in turn keep passing it to another, until it finally ends back in Iris’ hand.) No Mabel, you better not tempt yourself.
MABEL (Falling to the floor.) I wanna die. Lord, I wanna die. Do you know what I go through day in and day out? There’s the sore muscles and the back pain and the sweat. But worse than that—I CANT EAT!! Oh, Lord, save this hungry soul. Take me now, Jesus, and get it over with.
# 1 3 — M a b e l ’s P r a y e r MABEL OH LORD, GIVE ME A SIGN GIVE ME A CALL ON YOUR HEAVENLY LINE TELL ME, OH LORD, WHAT IT IS THAT YOU WANT OF ME KEEP ME FROM EATIN’ WHATEVER’S IN FRONT OF ME
(Ad lib-ing “C’mon girls, won’t you help me out?”)
MABEL
GIRLS
OH LORD,
OH LORD, GIVE HER A SIGN
GIVE ME A SIGN GIVE HER A CALL CALL ME UP ON YOUR CALL ME UP
HEAVENLY LINE
ON YOUR HEAVENLY LINE
TELL HER, OH LORD,
TELL ME, OH
WHAT IT IS THAT YOU WANT OF HER
SAVE ME
KEEP HER FROM EATIN’
SAVE ME ROM EATIN’
WHATEVER’S IN FRONT OF HER
WHAT’S IN FRONT OF ME. OH LORD.
OOH
GIVE ME THE ANSWER
AH
SAVE ME FROM BEIN’
AH
THE WORLD’S FATTEST DANCER.
OOH
— 58 —
FAME
(After the applause.)
MABEL Come to think of it. I don’t know why any of us would want to be dancers. Dancers are always the first ones to arrive and the last ones to leave.
GIRL #1 We work harder than anyone.
GIRL #2 Sweat more.
GIRL #3 Hurt more.
GIRL #4 Get paid less.
MABEL You know, you’re right. It don’t pay to be a dancer.
(Inspiration hits.) So that’s it! I’m changin’ my major. Mabel Washington’s gonna be an actress y’all.
(Then ála Scarlet O’Hara.) And as God is my witness, I will never go hungry again!
#13A—Scene Change (Iris hands Mabel the pudding. Mabel ad libs as the girls follow her off.) ACT II, Scene v: Carmen goodbye (Hallway with lockers SR. As the lights come up we see Carmen clearing out her locker. Mr. Myers enters from SL.)
MR. MYERS Carmen…I just heard the news. You’re dropping out of school?
CARMEN Today’s my last day.
(Music out.) They’ll be poppin’ champagne corks in the teacher’s lounge.
MR. MYERS I know you’ve had your difficulties at P.A., but believe me, no one is happy to see you leave.
FAME
CARMEN Oh, yeah? I wish I could say the feeling’s mutual.
MR. MYERS You know, Carmen, your anger could be your greatest asset. But you’ve got to make it work for you, instead of against you. If you don’t, it will eat you alive.
(He starts to exit.) Look, I can’t make you stay. But if you leave, you’ll be making the biggest mistake of your life.
(Myers exits. After he’s gone, Carmen pounds her fist on her locker. Schlomo enters from above.)
SCHLOMO So, you made up your mind. And I’m the last to hear about it.
CARMEN Please, don’t you start buggin’ me too. (She goes back to packing.)
SCHLOMO Carmen, I’m your friend. I care what happens to you.
CARMEN Then be my friend and get off my case.
SCHLOMO But you hardly know this guy.
CARMEN Elliot Green came to New York to scout talent, and he found me!
(Slamming her locker shut.) He’s got faith in me. Which is more than I can say for you.
SCHLOMO But what about the band? What about us?
CARMEN I can’t pass this up. Besides, the band ain’t goin’ nowhere.
SCHLOMO Who says? Mr. Showbiz?
CARMEN He’s a professional agent.
SCHLOMO He’s a professional con artist! Carmen, I used to see guys like that all the time, hanging around my father. He doesn’t care about you; he just wants a piece of you.
— 59 —
— 60 —
FAME
CARMEN You’re wrong. He does care about me. He’s got all kinds of things lined up for me in L.A.
SCHLOMO Like your favorite white substance?
CARMEN I don’t do drugs anymore.
SCHLOMO Yeah, right.
CARMEN Schlomo, please, be happy for me, ‘cause tomorrow morning, I’ll be on a big silver bird, winging my way to dreamland.
SCHLOMO You know what your problem is? You want everything too fast. Instant fame. Unfortunately, that only happens in fairy tales.
#13B—The Kiss–Off (He starts to exit, then without turning back.) You know, Carmen, you and me, we coulda really been something.
(Schlomo exits SR. Carmen watches him go, then picks up her bag and exits in the opposite direction SL as the lights fade. Bell rings.)
#13C–Rap Reprise ACT II, Scene vi: English class (As the lights and scenery change, students enter noisily from DSR and DSL rolling desks on. They stand around talking, waiting for class to begin. Miss Sherman enters.)
MISS SHERMAN All right, class, let’s come to order.
(The students take their seats except Lambchops, who continues yakking.)
MISS SHERMAN Well, Grace, since you’re already up, let’s hear your summary of “Death of a Salesman.”
FAME
LAMBCHOPS So, Willy Loman—he’s a traveling salesman and he’s havin’ a nervous breakdown. I guess what he’s sellin’ ain’t sellin’! See, he had these big dreams for his two sons, Biff and Happy. But, trust me, nobody’s happy in this play. Oh, yeah, he croaks at the end. It was real sad. No really. It drained my eyeballs.
MISS SHERMAN A little rough around the edges, Grace.
(She looks around the class, sees Tyrone reading a comic book.) Tyrone! What was Mr. Miller’s point?
TYRONE (Still paging through the comic book.) You know Miss Sherman, I didn’t really relate to that play. See, it’s all about failure, and I’m all about success.
MISS SHERMAN (Taking the comic book away.) Superman belongs on Krypton, not in school!
TYRONE Hey, don’t be dissin’ the “The Man of Steel.” He’s a role model I can relate to.
MISS SHERMAN Oh, really? In that case, why don’t you read it to us? Out loud.
TYRONE I can’t. I left my reading glasses at home.
MISS SHERMAN Give it up, Tyrone. Your vision is 20-20 and you know it.
(After a long pause, she holds out the comic book.) We’re waiting!!
TYRONE You’re tryin’ to make me look stupid. But I ain’t stupid!
MISS SHERMAN No, you aren’t stupid. But you do need help.
(Tyrone snatches the comic from her hands.)
TYRONE Yeah, help the poor nigger! Don’t give me that tired-ass attitude, like you care.
— 61 —
— 62 —
FAME
MISS SHERMAN But I do care.
TYRONE Look, woman, you been disrespectin’ me since day one.
MISS SHERMAN I have been challenging you since day one.
TYRONE You wanna fail me again? Go ahead. I’ll pass in summer school, just like I did last time.
MISS SHERMAN How? By cheating?
TYRONE I told you. I don’t cheat, bitch!
(Miss Sherman slaps Tyrone across the face. Tyrone turns away. The students freeze. Overwhelmed by the moment, Miss Sherman rushes off.)
TRYONE Yo! Ears up!
#14–Dancin’ on the Sidewalk I don’t need to read. Know why? Cause I’m a laser. I got the moves. Yeah, I got the moves, baby. I’m choreographin’ my own life.
MABEL Yeah, doin’ what, sucker? Shakin’ your ass on a street corner for small change? Hey! Wake up, fool.
TYRONE I’m up. I’m up, Mabel. I’ll get my piece of the Big Apple dancin’. Just dancin’. Let me break it down. EV’RY DAY I’LL WAKE UP IN THE MORNIN’ SPLASH MY FACE TO KEEP MYSELF FROM YAWNIN’ GET DRESSED AND GET MY BONES TOGETHER, OPEN THE WINDOW TO CHECK OUT THE WEATHER THEN LIKE I SEEN A GHOST, MAN, I’LL BE MOVIN’ MY FEET JUST LIKE THE POSTMAN, IN THE COLD OR THE HEAT NO TIME TO TALK, AND I GO DANCIN’ ON THE SIDEWALK
FAME
STUDENTS DANCIN’ ON THE SIDEWALK DANCIN’ ON THE SIDEWALK DANCIN’ ON THE SIDEWALK
TYRONE LUNCHTIME IS MUSIC TO MY EARS I’M DOWN ON WALL STREET WITH ALL THEM FINANCIERS SOUTH STREET SEAPORT I AM THE ACTION THE NUMBER ONE TOURIST ATTRACTION HIP-HOP TO THE WEST SIDE WHERE I DO MYSELF PROUD THE WEST SIDE IS THE BEST SIDE FOR DRAWIN’ A CROWD THE CABBIES SQUAWK WHEN I AM DANCIN’ ON THE SIDEWALK
STUDENTS DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK!
(DANCE BREAK)
TYRONE UPTOWN I DO MY BOOGALOO, STOPPIN’ TRAFFIC ON SEVENTH AVENUE NIGHT TIME THE CORNER TO BE ON TIMES SQUARE, UNDER THE NEON FOR MY FINALE, I’LL BE DOIN’ MY THING IN SHUBERT ALLEY, THEY’RE GONNA CROWN ME THE KING OF ALL NEW YORK BECAUSE I’M DANCIN’ DANCIN’, DANCIN’, WOO! DANCIN’ON THE SIDEWALK
— 63 —
— 64 —
FAME
STUDENTS DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK! DANCIN’ ON THE SIDEWALK!
(On the last bars of “Dancin’ on the Sidewalk,” as the dancers exit, the English Class students return with their desks. After the applause, Miss Sherman reenters.)
MISS SHERMAN Everyone, that’s all for today. Class dismissed.
(All the students starts to exit, including Tyrone.)
MISS SHERMAN Tyrone, wait.
(He stops. They are alone in the classroom.)
MISS SHERMAN I am so sorry. I swear I have never before raised my hand to a student.
(Beat) Can you read at all?
TYRONE A couple of words here and there. But mostly the letters look jumbled. They just don’t make sense.
MISS SHERMAN Tyrone, I think you may have a reading disorder. It’s called dyslexia.
TYRONE You mean there’s something wrong in my head?
MISS SHERMAN A small glitch in the system. But with effort, you can overcome it.
FAME
TYRONE Uh, uh. I ain’t goin’ to no readin’ class for dummies.
#15—These Are My Children MISS SHERMAN Then I’ll work with you myself. Every day, after school.
TYRONE Not me. No way.
MISS SHERMAN Please, Tyrone, don’t give up on yourself. Don’t give up on me.
(Tyrone runs out. Crestfallen, Miss Sherman turns centerstage.)
MISS SHERMAN IN TIMES OF TROUBLE WHEN ALL THE WORLD SEEMS, OH, SO DARK AND I CAN’T FIND A WAY TO COPE, WHEN DEEP INSIDE ME I CAN NO LONGER FEEL THE SPARK WHEN I CAN SEE NO RAY OF HOPE WHEN I AM LOST WHAT MAKES IT ALL WORTHWHILE ONE SIMPLE THOUGHT TO MAKE ME SMILE THESE ARE MY CHILDREN, MY SAVING GRACE I SEE MY CALLING IN EVERY FACE THESE ARE MY CHILDREN, MY FAMILY TREE AND I THANK GOD FOR CHOOSING ME, FOR CHOOSING ME
(During the following, she moves slowly from chair to chair, straightening the disordered room and then to the blackboard to erase the day’s assignment and eventually moving center to a lighting special.) I WASN’T BLESSED AS OTHER WOMEN IN THIS LIFE TO HAVE MY OWN, TO BE MOTHER AND WIFE
— 65 —
— 66 —
FAME
(MS. SHERMAN) BUT I WAS BLESSED BEYOND WHERE WILDEST DREAMS CAN REACH FOR I HAVE THE PRIV’LEGE YES, THE PRIV’LEGE TO TEACH! THESE ARE MY CHILDREN MY SAVING GRACE I SEE MY CALLING IN EACH AND EVERY FACE THESE ARE MY CHILDREN, MY FAMILY TREE AND I THANK GOD AND I THANK GOD YES, I THANK GOD FOR CHOOSING ME FOR CHOOSING ME THESE ARE MY CHILDREN.
(Lights fade. Applause. Then scene shift segue into acting classroom.)
#15A–Fanfare & Flute ACT II, Scene vii: Romeo and Juliet rehearsal (As Miss Sherman exits, we see Goody enter and cross DSC. He plays a fanfare. At the same time Mr. Myers and several other students, including Nick, wheel out several desks. Serena and Joe, in Elizabethan costume, get into position on the SL stairs for “Romeo and Juliet” rehearsal. A baroque pavanne underscores the scene.)
SERENA “Good pilgrim, you do wrong your hands too much Which mannerly devotion shows in this; For saints have hands that pilgrim’s hands do touch, And palm to palm is holy palmer’s kiss.”
JOE Yo! Julie baby! Have not saints lips, and holy palmers, too, Mamacita!?
SERENA Wait a minute! What’s with the ad libs?
JOE I’m drawin’ from my own experience, okay?
FAME
SERENA But Romeo wasn’t born in the Bronx.
JOE Damn right!
(To Myers.) So what am I doin’ here?
MR. MYERS I cast you in this role so you could stretch yourself.
JOE But I ain’t looking to be no José Gielgud. Serena, level with me. Do you buy me as Romeo?
SERENA I buy you, I buy you! Just please, please stop being such an asshole!
MR. MYERS Okay, folks, let’s try to keep this moving. We open in less than two weeks.
#15B—Pavanne 1 JOE (Resuming his pose.) “Have not saints…?”
(Forgetting line.)
MALE STUDENT “Lips,” damn it. “Lips!”
JOE (Mimicking.) “Lips,” damn it. “Lips!” “And holy palmers, too!”
SERENA “Ay pilgrim, lips that they must use in prayer.”
JOE “O, then dear saint, let lips do what hands do.”
(Music out.) They whack off like I’m doing right now! Mr. Myers, I ain’t gonna cut it. You gotta replace me.
— 67 —
— 68 —
FAME
NICK (Raising his hand.) Mr. Myers. I think I know what his problem is.
MR. MYERS Be my guest.
NICK You’re too busy thinking about yourself. You should be concentrating on the beautiful girl standing right in front of you.
SERENA (Miffed.) Excuse me. Why, may I ask, are you butting in?
NICK I want to help.
SERENA Who needs help?
JOE We do! We do! Sir Lawrence, knock yourself out.
(Joe takes a seat as Nick gets up.)
NICK I mean, think about it. Romeo and Juliet grew up in the same small town. They may have seen each other every day of their lives. But on this night, this special night… it’s as if he’s seeing her for the very first time.
(Serena is starting to catch the special meaning in Nick’s words.) Maybe it would make more sense if I showed you.
SERENA Yeah… maybe it would.
#15C—Pavanne 2 NICK (Taking her hand.) “O! Then dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair”
SERENA “Saints do not move, though grant for prayer’s sake.”
FAME
NICK “Then move not, while my prayer’s effect I take. Thus from my lips, by thine, my sin is purged.”
(Nick kisses her deeply. Serena responds. The kiss goes on, and on, and on. The other students nudge each other and whisper. Goody plays a schmaltzy rendition of “Feelings” on his trumpet. The whole class bursts into applause, whistles and catcalls. Nick and Serena finally break from the kiss, looking slightly punch drunk.)
MR. MYERS Let’s see a show of hands. How many of you “believe” that kiss?
MR. MYERS Well, Joe, you got your wish.
(Then to Serena.) Juliet, meet your new Romeo.
SERENA Hello Romeo!
#15D—Fanfare & Funk (She grabs Nick’s hand and pulls him out to exit SL. Mr. Myers and the kids exit.) ACT II, Scene viii: Dance studio (Iris enters quickly and is being pursued by Tyrone.)
IRIS Tyrone, quit following me. I have nothing to say to you.
TYRONE Right, you haven’t had anything to say to me all semester. Why is that, Iris?
IRIS Okay, look, I’ll make it simple. I don’t want to be with a loser, ‘cause what does that make me?
TYRONE Oh, I get it. I see what this is about.
IRIS You used me, Tyrone. All those book reports I helped you with. Why didn’t you tell me you couldn’t read?
TYRONE What was I supposed to say, “Hey baby—you wanna be my girlfriend? I’m illiterate?
(Iris moves away.)
— 69 —
— 70 —
FAME
TYRONE Iris, you don’t know what it’s like. You look at a book and you see words. When I look… I see garbage. I see noise. But thanks to Miss Sherman, that noise is starting to sound like music.
(Tyrone reaches into his bag and pulls out a book. He opens it and reads:) Listen to this… “I celebrate myself, and sing myself, And what I assume, you shall assume, For every atom belonging to me, As good belongs to you…”
(Looks up proudly.) Walt Whitman. “Leaves of Grass.”
IRIS That’s great, Tyrone. But it’s just one poem.
TYRONE I’m not takin’ the easy way out. I’m repeating my senior year. I’ll be the first to graduate from the new Lincoln Center school. I am not a loser, Iris.
#16—Pas de Deux (Iris and Tyrone dance a pas de deux. At the end of the Pas, he playfully smacks her rear and then they hug. They exit hand in hand. Applause. Segue.)
# 1 6 A — C a r m e n ’s R e t u r n ACT II, Scene ix: School alley (Scene change to the school alley. In the distance, traffic noises and the rumbling of a subway are heard. As lights come up Carmen is onstage, pacing. Her hair pulled back and wearing no makeup, she appears as if she could be living on the streets. She steps back into the shadows as she hears Schlomo, Lambchops and Goody enter from the school DSR.)
SCHLOMO We’re a class act. I say we wear tuxedos.
LAMBCHOPS We’re a rock band, not a symphony orchestra.
SCHLOMO No, Lamb. I’m not talkin’ penguin suits. I’m talkin’ real sharp—burgundy velvet, with leopard-skin lapels.
FAME
GOODY Oh, I get it - kinda like a teenage Liberace.
(Carmen steps out of the shadows)
CARMEN So…I hear you guys are talkin’ a record deal—
SCHLOMO Carmen! Is that you?
CARMEN —and that you’re going to Juilliard.
SCHLOMO Carmen!
(He picks her up and swings her around.) When did you get back?
CARMEN Couple a weeks ago. Thought I’d stop by—see if you found a new singer?
LAMBCHOPS Our manager set us up with someone else.
SCHLOMO Of course, she’s not as good as you. But then, there’s only one Carmen Diaz.
CARMEN You got that right. Three times the talent and ten times the fun.
(Joe and Mabel enter DSR in conversation.)
JOE So what about my warm-up? You think I should do it straight, or with a twist?
MABEL Who are you kidding? A twisted guy like you can’t do anything straight.
SCHLOMO Hey, Joe, Mabel, look who’s here.
(He indicates Carmen.)
MABEL Carmen? Jesus, I almost didn’t recognize you.
JOE Tú no estás bién. ¿Qué te pasa?
— 71 —
— 72 —
FAME
CARMEN Nada. I’m fine. I just lost a little weight.
MABEL Girl, what you need is the seafood diet.
CARMEN & MABEL I see food and I eat.
(They all force a laugh, which peters out. Awkward beat.)
LAMBCHOPS So…how was L.A.? Did you meet any movie stars?
CARMEN Oh, sure.
#17—In L.A. The town’s crawlin’ with ‘em. And you can read the names of the dead ones on the pavement…up and down Hollywood Boulevard…up and down the boulevard of broken dreams.
CARMEN (Becoming self-absorbed.) OUT IN L.A. AND BROKE ON THE TICKET THAT THIS FELLOW SENT ME ONE CHANGE OF CLOTHES IN THE SUITCASE THAT MY GIRLFRIEND ANNA LENT ME. I STAYED FOR AWHILE IN HIS PLACE RUNNIN’ WITH THIS CROWD OF HIS PARTYIN’ DAY AFTER DAY MEETIN’ EVERYBODY IN THE BIZ OH, THEY KNOW HOW TO DO IT IN L.A. THEY KNOW HOW TO MAKE IT SEEM BRAND NEW THOUGH IT’S TRUE WHAT THEY SAY THAT IT’S ONLY A DREAM AND A DREAM IS A WISH YOU WISH FOR YOU IN LA YOUR DREAM MAY COME TRUE
GOODY (As he points to his wristwatch.) Lambchops… Tick tock.
FAME
LAMBCHOPS Sorry, Carmen. We gotta go. We got finals.
CARMEN No problem. Good seein’ you guys.
JOE Adios, Chica. If you get a chance, come check me out at the Comedy Club.
MABEL You take care, girl. And don’t forget to eat.
SCHLOMO Go ahead, I’ll catch up with you later.
(Mabel, Lampchops, Goody and Joe exit. To Carmen.) So, if your dream was coming true, why’d you come back?
CARMEN AFTER THE BOOZE AND THE COKE THE VISIONS OF THE BLUE PACIFIC AFTER THE TWO HUNDREDTH TIME I TOLD HIM HE WAS “JUST TERRIFIC” I WOKE UP ONE LATE AFTERNOON AND COULDN’T TELL QUITE WHERE I WAS LEFTOVER TASTE IN MY MOUTH AND WITH A MORNIN’ AFTER BUZZ I PACKED MY BAG AND SPLIT AND FOUND MYSELF A DANCIN’ JOB WORKED THE BAR FOR TIPS AND STRIPPED FOR EV’RY LONELY SLOB COUNTED EVERY SINGLE MINUTE AS THE HOURS WENT BY THEN FELL IN BED AND CRIED TILL THERE WERE NO MORE TEARS TO CRY YOU TRY TO STOP THE THOUGHT FROM COMIN’ THAT IT NEVER ENDS YOU THINK ABOUT HOW FAR YOU ARE FROM HOME AND FRIENDS YOU GET THROUGH ONE DAY AT A TIME YOU FIND A WAY OF STAYIN’ NUMB DON’T LOOK IN THE MIRROR TO SEE WHAT YOU’VE BECOME
— 73 —
— 74 —
FAME
(CARMEN) BUT THEY KNOW HOW TO DO IT IN L.A. THEY KNOW HOW TO MAKE IT SEEM SO NEW IT’S TRUE WHAT THEY SAY THAT IT’S ONLY A DREAM AND A DREAM IS A WISH YOU WISH FOR YOU IN L.A. IN L.A. IN L.A. THE DREAMS ALL COME
SCHLOMO Carmen, are you gonna be okay?
CARMEN Hey, don’t look so worried. I’m a survivor. But right now, I could use some cash.
SCHLOMO (Reaching into his pocket.) No problem. My Dad sent me fifty for my birthday…
CARMEN (Taking the money.) Thanks, I promise I will pay you back.
SCHLOMO Listen Carmen, if you ever need anything, anytime day or night, you call, okay? ‘Cause I’ll always be here for you.
CARMEN Thanks Schlomo, you're the best.
SCHLOMO I love you Carmen. Don't ever forget that.
(Schlomo exits. Carmen is left alone.)
CARMEN YES, THEY KNOW HOW TO DO IT IN L.A. THEY KNOW THAT SOMEWHERE UP THERE THE SKY IS BLUE SO SMILE WHEN THEY SAY, “IT’S ONLY A DREAM” AND YOU’LL GET WHAT IS COMIN’ TO YOU IN L.A. IN L.A. IN L.A. YOUR DREAMS ALL COME TRUE
FAME
(The spot closes to head shot then bumps out. Blackout. Sound of ambulance in the distance. Applause and segue.)
#17A—The Prom ACT II, Scene x: Prom (Crossover on upper level from SL to SR with Joe and an ensemble girl. Serena and Nick enter on the level above.)
JOE Hey Nick! Serena! Don’t’ forget, party at my house.
#17B—After Prom We’re all gonna get naked and play Twister on my Mom’s waterbed.
SERENA The finish line! Tonight I feel the electricity! This wonderful current flowing through every nerve, every cell, every pore in my body. I feel like shooting into space—a supernova!! I’d explode into a million pieces and float back down to earth. Then I’d touch every living thing on this gorgeous planet.
NICK What have you been smokin’??
SERENA Just think, it’s the end of an era. We are the...
BOTH Class of ‘84!
SERENA The last class to graduate from this dumb, drafty, wonderful old building. I wonder what’s gonna happen to it. I wonder what’s gonna happen to us…
#18—Love Scene Reprise NICK Serena—I want to try a new scene.
SERENA New scene? What have you been smoking?
— 75 —
— 76 —
FAME
NICK YOU WERE THE HONEST FRIEND I WAS THE GREAT PRETENDER I HID MY FEELINGS TO THE END NOW I WANT TO SAY WHAT IT MEANS TO ME HOW I COULD NEVER BE THE SAME WITHOUT YOU…
You’ll probably go off to Brooklyn College and meet some guy and forget all about me.
SERENA And you’ll probably go off to New Haven and meet some guy and forget all about me!
NICK Very funny.
SERENA THE WAY I KNOW I REALLY FEEL ABOUT YOU
NICK THE WAY I KNOW I’LL ALWAYS FEEL ABOUT YOU
SERENA WHY CAN’T WE
NICK WHY CAN’T WE
BOTH WHY CAN’T WE TRY TO PLAY A LOVE SCENE WE DON’T NEED THE VIOLINS TO PLAY A LOVE SCENE WHERE WE SEE HOW LOVE BEGINS FIND A WAY TO START AND LEARN TO PLAY THE PART A PERFECT SCENE FROM A PLAY UNKNOWN LET’S PLAY A, LET’S PLAY A, LET’S PLAY A, LOVE SCENE OF OUR OWN!
(They kiss passionately. BLACKOUT)
FAME
ACT II, Scene xi: Graduation (As the lights come up we see Schlomo wearing a cap and gown centerstage holding his violin.)
SCHLOMO Ladies and gentlemen, the lyrics to our senior song were written by a very talented student—Carmen Diaz. Unfortunately, Carmen is no longer with us. She died one month ago today… of a drug overdose.
(Eyes up to heaven.) This is for you Carmen—we’ll always remember your name.!
# 1 9 — B r i n g O n To m o r r o w R e p r i s e (Schlomo plays violin solo)
SCHLOMO WE HAVE ARRIVED AT A MOMENT IN OUR LIVES WHEN THE FUTURE PASSES INTO OUR HANDS WE CAN FIND OUT, ARE WE REALLY STRONG ENOUGH TO FULFILL WHAT THE FUTURE DEMANDS
(Serena enters from US and crosses DSC, followed by the other principals.)
SERENA WE CAN STAND ON THE EDGE AND LOOK OUT INTO SPACE, AND BE AWED BY THE WONDERS WE SEE.
NICK WE CAN ALL MAKE A PLEDGE, THAT THE WHOLE HUMAN RACE WILL BECOME WHAT WE WANT IT TO BE!
ALL BRING ON TOMORROW LET IT SHINE LIKE THE SUN COMING UP ON A BEAUTIFUL DAY, IT’S YOURS AND MINE WE CAN MAKE A DIFFERENCE IT’S NOT TOO LATE BRING ON TOMORROW, WE CAN’T WAIT!!
— 77 —
— 78 —
FAME
LAMBCHOPS LONG, LONG AGO IN A WORLD WE NEVER MADE WE WERE CHILDREN WHO WERE MAKING BELIEVE
(Iris enters US and crosses DC to join Lambchops.)
IRIS & LAMBCHOPS CLOSING OUR EYES WE WERE TRAVELERS IN AIR TO A LAND WE WOULD NOT WANT TO LEAVE
(Tyrone enters on the upper level.)
JOE BUT THIS FAIRY TALE LAND
TYRONE BUT THIS FAIRYTALE LAND
JOE FADES AWAY AS WE GROW
TYRONE FADES AWAY AS WE GROW
SCHLOMO & JOE AND WE ALL HAVE TO SAY OUR GOOD-BYES
TYRONE BYE, BYE, BYE
MABEL AND WE NOW UNDERSTAND THAT THIS WORLD THAT WE KNOW
MABEL & GOODY CAN BE OURS IF WE OPEN OUR EYES…
(The rest of the students enter in lines from both sides of the stage.)
ALL BRING ON TOMORROW LET IT SHINE LIKE THE SUN COMING UP ON A BEAUTIFUL DAY IT’S YOURS AND MINE
FAME
WE CAN MAKE A DIFFERENCE, IT’S NOT TOO LATE BRING ON TOMORROW, WE CAN’T WAIT!
(The students move DS towards the audience and form two lines. They clap their hands, Gospel-style.)
ALL BRING ON TOMORROW WE CAN’T WAIT BRING ON TOMORROW IT’S NOT TOO LATE BRING ON TOMORROW WE CAN’T WAIT BRING ON TOMORROW WE CAN’T WAIT! BRING ON TOMORROW LET IT SHINE LIKE THE SUN COMING UP ON A BEAUTIFUL DAY IT’S YOURS AND MINE WE CAN MAKE A DIFFERENCE IT’S NOT TOO LATE BRING ON TOMORROW, WE CAN’T WAIT!
SOLO 1 WE CAN’T WAIT!
SOLO 2 WE CAN’T WAIT!
SOLO 3 WE CAN’T WAIT!
ALL BRING ON TOMORROW WE CAN’T WAIT!!
(BLACKOUT. Applause and segue to curtain call.)
— 79 —
— 80 —
FAME
#20—Bows & Exit Music (The entire cast, except Carmen, take their bows.)
ALL I’M ALIVE AND I WILL SURVIVE SHOW THE WORLD THAT I CAN TAKE IT WHEN I HIT THE HEIGHTS PUT MY NAME IN LIGHTS
CARMEN YES, I’M GONNA PUT MY NAME IN LIGHTS, YEAH!
ALL SHOW THE WORLD, THAT I CAN MAKE IT BY DOIN’… DOIN’… BY DOIN’ HARD WORK
(When all DS then scene shift into finale. On the music change the Taxi enters USC with Carmen riding on top.)
CARMEN BABY, LOOK AT ME AND TELL ME WHAT YOU SEE. YOU AIN’T SEEN THE BEST OF ME YET GIVE ME TIME, I’LL MAKE YOU FORGET THE REST I GOT MORE IN ME AND YOU CAN SET IT FREE. I CAN CATCH THE MOON IN MY HAND DON’T YOU KNOW WHO I AM? REMEMBER MY NAME.
ALL (EXCEPT CARMEN) FAME!
CARMEN I’M GONNA LIVE FOREVER, I’M GONNA LEARN HOW TO FLY
ALL (EXCEPT CARMEN) HIGH!
CARMEN I FEEL IT COMIN’ TOGETHER, PEOPLE WILL SEE ME AND CRY
FAME
ALL FAME!
CARMEN I’M GONNA MAKE IT TO HEAVEN, LIGHT UP THE SKY LIKE A FLAME
ALL FAME!
CARMEN I’M GONNA LIVE FOREVER BABY, REMEMBER MY NAME.
ALL REMEMBER, REMEMBER, REMEMBER, REMEMBER REMEMBER MY NAME!
(Carmen takes a solo bow. Then final company bows and then a joyous ad lib dance as the cast exits. Taxi driver gets out of taxi, puts “Off Duty” sign on front window, tips his hat to the audience, and then exits.) THE END
— 81 —
MUSICAL
NUMBERS
(VOCAL
BOOK )
ACT ONE #1—Hard Work ......................................................................................................85 #1a—Hard Work Playoff ........................................................................................98 #1b—Locker Tag 1 ..................................................................................................99 #1c—Locker Tag 2 ..................................................................................................99 #1d—Practice Room ...............................................................................................99 #2—I Want To Make Magic ..................................................................................100 #3—Can’t Keep It Down ......................................................................................103 #3a—Intro To Dance Class ...................................................................................108 #4—Dance Class ..................................................................................................108 #4a—Rock ‘n’ Roll................................................................................................109 #4b—The Music Room .........................................................................................109 #4c—Rock ‘n’ Roll ................................................................................................108 #4d—Romeo & Juliet Ballet ..................................................................................108 #5—Tyrone’s Rap..................................................................................................111 #5a—The Lunch Room ..........................................................................................113 #6—There She Goes!/Fame....................................................................................113 #6a—Fame Playoff................................................................................................121 #7—Let’s Play a Love Scene .................................................................................122 #8—Bring On Tomorrow ......................................................................................125 #8a—After Tomorrow ...........................................................................................127 #8b—Magic Scene Change....................................................................................127 #9—The Teachers’ Argument ................................................................................128 #10—Hard Work Reprise ......................................................................................133 ACT TWO #11—The Junior Festival ......................................................................................137 #11a—Only Time Will Tell ...................................................................................142 #11b—Practice Room............................................................................................142 #11c—Locker Tag 3...............................................................................................142 #12—Think of Meryl Streep .................................................................................143 #12a—Locker Tag 4 ..............................................................................................146 #13—Mabel’s Prayer ............................................................................................146 #13a—Scene Change.............................................................................................148 #13b—The Kiss–Off .............................................................................................148 #13c—Tyrone’s Rap Reprise .................................................................................148 #14—Dancin’ on the Sidewalk ..............................................................................149 #15—These Are My Children ...............................................................................156 #15a—Fanfare & Flute .........................................................................................159 #15b—Pavane.......................................................................................................159 #15c—Pavane 2 ....................................................................................................159 #15d—Fanfare & Funk .........................................................................................160 #16—Pas de Deux ................................................................................................160 #16a—Carmen’s Return .......................................................................................160 #17—In L.A. ........................................................................................................161 #17a—The Prom ...................................................................................................166 #17b—After Prom ................................................................................................166 #18—Let’s Play a Love Scene—Reprise.................................................................167 #19—Bring on Tomorrow—Reprise.......................................................................169 #20—Bows & Exit ................................................................................................177
— 82 —
S ONGS BY C HARACTER CARMEN #1—Hard Work . . . . . . . . . . . . . .85
NICK #1—Hard Work . . . . . . . . . . . . . .85
#6—There She Goes!/Fame . . . . .113
#2—I Want to Make Magic
#8—Bring On Tomorrow
#11—The Junior Festival . . . . . .137
. . . . . .125
. . . .100
#10—Hard Work Reprise . . . . . .133
#18—Love Scene Reprise
#17—In L.A. . . . . . . . . . . . . . . .161
#19—Bring On Tomorrow Rep . .169
#20—Bows & Exit Music . . . . . .177
SCHLOMO #1—Hard Work . . . . . . . . . . . . . .85
GOODY #1—Hard Work . . . . . . . . . . . . . .85
#8—Bring On Tomorrow
. . . . . .167
. . . . . .125
#19—Bring On Tomorrow Rep . .169
#19—Bring On Tomorrow Rep . .169
IRIS #19—Bring On Tomorrow Rep . .169
SEERENA #1—Hard Work . . . . . . . . . . . . . .85
JOE #1—Hard Work . . . . . . . . . . . . . .85
#7—Let’s Play a Love Scene . . . .122
#3—Can’t Keep It Down
. . . . . .103
#12—Think Of Meryl Streep #18—Love Scene Reprise
. . .143
. . . . . .167
#11—The Junior Festival . . . . . .137
#19—Bring On Tomorrow Rep . .169
#19—Bring On Tomorrow Rep . .169
STUDENTS #1—Hard Work . . . . . . . . . . . . . .85
LAMBCHOPS #1—Hard Work . . . . . . . . . . . . . .85
#19—Bring On Tomorrow Rep . .169 MABEL #1—Hard Work . . . . . . . . . . . . . .85
#3—Can’t Keep It Down
. . . . . .103
#6—There She Goes!/Fame . . . . .113 #10—Hard Work Reprise . . . . . .133 #11—The Junior Festival . . . . . .137
#13—Mabel’s Prayer . . . . . . . . .146
#13—Mabel’s Prayer . . . . . . . . .146
#19—Bring On Tomorrow Rep . .169
#14–Dancin’ on the Sidewalk . . .149
MR. MYERS #1—Hard Work . . . . . . . . . . . . . .85 MR. SHEINKOPF #1—Hard Work . . . . . . . . . . . . . .85 MS. BELL #1—Hard Work . . . . . . . . . . . . . .85
#9—The Teachers’ Argument
. . .128
MS. SHERMAN #9—The Teachers’ Argument
. . .128
#15—These Are My Children . . .156
— 83 —
#19—Bring On Tomorrow Rep . .169 #20—Bows & Exit Music . . . . . .177 TYRONE #5—Tyrone’s Rap . . . . . . . . . . . .111
#14–Dancin’ on the Sidewalk . . .149 #19—Bring On Tomorrow Rep . .169
— 84 —
FAME
— 85 —
HARD WORK
1 CUE: Light Off - E sus arpeggios
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18
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— 86 —
FAME
23
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31
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34
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CARMEN MABEL JOE
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FAME
— 87 —
(Split in 2 Choruses)
(Religious Choir)
&
# # # # 37 F ˙
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39
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44
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pray
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— 88 —
FAME
# # # # 45 œ & n œ œœ n œœ œœ
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[CHORUS 1]
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51
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8
8
A Tempo On Cue
MISS SHERMAN: "Ladies & Gentlemen..."
U ∑
70
[Drums]
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G. P. "...I'm your English teacher, Miss Sherman." 71
&
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76
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# 1 — H a r d Wo r k
77
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FAME
&
# # # # 79
— 89 —
ALL
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sy
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ta
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# # # # 83 œ œ Ó N œœ œ œœ œ & SOP/ALTO
80
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see
81
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84
85
86
on the T. V.
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wait to show
on the T. V.
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I can hard - ly
wait to show
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them what
nœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œ œ œœ
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like a jewel
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92
#### 4 & 4 108
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# # # # 111 œ .
JOE
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∑
44
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∑
44
in the "Fame" school!
96
4
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in the "Fame" school!
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TEN/BASS
82
12 Miss S.: “...get a free ride.”
Dialogue
MISS S.: “So if you consider slacking off...”
œ
109
œ
110
w
w
gone... “...remember this: each of you must maintain...”
œ œ J
#œ
the
john
112
113
w
w
4
# 1 — H a r d Wo r k
114
∑
“If you don't, your out.”
— 90 —
FAME
# # # # 119 œ œ j œ œ œ œ. & 2 FEMALE STUDS.
Man they got 123
&
&
####
ALL
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135
˙
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2
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136
133
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learn - in' who the teach - ers are
Class to class,
try'n to pass,
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# # # # 138 œœ œœ œœ &
139 œœ œœ œœ œœ n œœ
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# # # # 4 MISS S.: “When I call your, please answer.” etc... & 4
44
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j œœ œœ œœ œœ
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10
# 1 — H a r d Wo r k
who
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who
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24 141
∑
44
42
∑
44
roll call.
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∑
137
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130
up
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4
124
‰
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# # # #128
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121
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me run - in'
œ J
# # # # 131 & œ.
120
roll call.
FAME
& 162
&
# # # #152 ####
— 91 —
SCHLOMO: “I'm glad one of us is.”
10
MISS S.: “Piazza, Nicholas?”
ALL
œ
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we
# # # # 165 & œ œ #œ so
œ
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NICK: “Present”
2
163
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2
166
Œ
168
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MISS S.: “Please...secretary.”
& 173
&
# # # # 169
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171
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172
∑
star!
MISS S.: “Jackson, Tryone?”
# # # # 177 & œ.
181
170
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cen
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174
175
w
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178
trate...
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Ó
179
180
Ó
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trate...
MISS S.: “Vegas, José!” dialoge etc...
189
8
pul - sate!
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Ó
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TYRONE: “Yo! I'm Tyrone Jackson.” cresc. . . 8
[SAFETY VAMP if necessary]
# # # # .197 . &
ALL
CUE OUT: “S___! ...no 4 letter words.”
..
2
199
∑
200
Ó
201 Œ œj ‰ 42 ‰ œj œ œ
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# 1 — H a r d Wo r k
a
-
44
— 92 —
FAME
202
#### 4 & 4 w
ALL
203
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# # # # 206
(∑)
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212
name
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216
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219
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213
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208
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205
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218
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221
,
FAME
&
# # # #222
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&
— 93 —
a˙ a˙
225
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MEYERS: “You must be in touch with your emotions...”
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227
n wwww
228
229
in... BELL: “You will study ballet, modern, folk, jazz. You will push you bodies...cries out for mercy.”
# # # #230
4
ALL
BELL:“Dance is the core of life. Dance is our salvation.”
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236
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237
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243
ww
œœ ˙˙ J
j nœ œ nœ œ œ œ
246
Wo
˙˙ ..
w ? #### w p # # # # 248 œ . & a œœ .. œ.
239
in'...
j nœ œ nœ œ œ œ
P œ. ? #### n œ .
˙˙ .. ˙˙ ..
238
SHEINKOPF: “Each music student is required...” etc... sub.
Wo
Wo
ww
œ. nœ.
j nœ œ œ œ
œ œ
Wo
Wo
Wo
247
œ. nœ.
nœ œ nœ œ œ œ J
œ. nœ.
nœ œ nœ œ œ œ J
Wo
Wo
Wo
Wo
Wo
Wo
LAMB CH.
sub.
do
ww ww
235
j œœ ˙˙ œœ ˙˙
cresc.
-
249
ww ww
250
ww ww
in...
Œ 251 ˙˙ ˙˙
"Pink Floyd"
‹
‹ Œ
œ œ By
# 1 — H a r d Wo r k
— 94 —
FAME
f # # # # n œj œ . & nœ œ. 252
253
Ó
j œ œ. œ œ.
254
∑
do - in' 256
255
Ó
∑
Do - in'
SHERMAN: “Ladies and gentleman...”
&
####
MISS. S.: “Those two words will own you!”
&
# # # #264
8
3
j œ œ œ œ ‰ œ œ œ œ
267
Œ
cresc. By JOE sings1st X Ad Libs “Doin’, Doin’ Hard Work!” 2nd X LAMBCHOPS & MABEL Ad Lib
268
#### . œ Œ . œ &
2
269
Ó
271
Œ
hard
j œ œ œ œ ‰ œ œ œ œ
work!
# # # #276 œ & œ
do - in'
..
By do - in' hard
DANCE BREAK
Œ
Ó
nnnnb
8
277
work!
&b
8
285
12
293
# n# # #
16
305
"Bring it down" quiter, but cooking DRAMA STUDENTS
321
MYERS 322 323 #### j Œ Œ ‰ & ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
Act -ing
# # # # 325 ‹ Œ Ó &
is the
hard-est
326
‹
pro-fes-sion in the world... Hard Work!
327
∑
BELL
‹
world.
Œ
Œ
Dance DANCE STUDENTS
The
hard- est
pro - fes- sion in the
# 1 — H a r d Wo r k
The hard-est
pro-fes-sion in the
‹ ‹
j ‹ ‹ ‰ ‹ ‹ ‹ ‹ ‹
is the
hard - est
328
# # 329 ‹ 330‹ ‹ ‰ ‹ ‹ ‹ ‹ ‹ 331 ‹ J & ## ‹ Œ Œ ‰ J world.
‹ ‰ ‹ 324‹ ‹ ‰ ‹ ‹ ‹ ‹ ‹ J J
‹
‹
world. Hard Work!
pro - fes - sion in
Œ
332
∑
the
FAME
— 95 —
334 335 336 # # # # 333 j j Œ Œ ‰ ‰ j Œ Œ ‰ & ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ SHEINKOPF
Mu - sic
&
is the
hard- est
pro - fes - sion in the
world.
The
hard - est
pro - fes- sion in the
MUSIC STUDENTS
# # # # 337
‹ ‹ ‰ ‹ 338‹ ‹ ‰ ‹ ‹ ‹ ‹ ‹ 339 ‹ Œ Œ ‰ ‹ 340‹ ‹ ‰ ‹ ‹ ‹ ‹ ‹ n n n n b b b b J J J J b
‹
world! Hard work! The hard-est
pro-fes-sion in the world!
The hard-est
pro-fes-sion in the
MYERS & STUDENTS 341
‹ ‹ Œ‹‹
(ALL 4 times)
4X
b & b b b b ..
Act-ing
343 # 342 n n n n n # # # ‹ ‹ ‰ J‹ ‹ ‹ ‹ ‹ ‹
is the
344 Œ ‹ ‹ J‹ ‹ J‹ ‹ ‹ ‹ ..
Œ
hard-est pro-fes-sion in the world
thehard
-
est pro-fes-sion is
BELL & STUDENTS
∑‹
# nnnnn# # #
(2nd X Only)
b & b b b b ..
Œ
Ó
> ∑ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ >‹ J J ∑
Œ
Dance
is thehard-est
pro - fes-sion in theworld.Hard
∑ >‹ Œ Ó
..
Work!
SHEINKOPF & STUDENTS
# nnnnn# # # ‹ ‹ Œ
(START 3rd X)
b ‹ & b b b b .. Œ Ó world.
357
&
#### ‹
‹
Mu-sic
358 Œ ‹ ‹ J‹ ‹
Act - ing
#### Œ Œ & ## & ## ‹ world.
‹
is the
hard - est
Œ
Œ
Dance
Œ
Ó
is hard
‹
‹ ‹ ‹ ‹ ‹ J J
work!
pro - fes - sion in
the
j ‹ ‹ ‹ ‹
j ‹
is
pro
the hard - est
‰ J‹ ‹ is hard
# 1 — H a r d Wo r k
‹ ‹ ‹
It's the hard-est pro - fes-sion
‹ ‹ ‹ ‹ ‹ 359 ‹ J
‹ ‹ Œ Mu - sic
‰ J‹ ‹
Œ
Œ
world.
-
in
‹ .. the
‹ ‹ the hard -
‹ ‹ ‹ ‹ ‹
‹ >
fes - sion
in
Hard
‹
‹ ‹ ‹ ‹ J
‹ J
It's
pro -
work!
the world
the hard - est
— 96 —
FAME
MYERS & STUDENTS
# # # # 360 ‹ ‹ J & ## & ## ‹ >
‹ ‹ J
est
‹
‹
‹
pro - fes - sion
in
the
world.
‹
‹
‹
‹
the
world.
ALL
‹
361
Œ
Work!
&
‹
hard - est
in
SHEINKOPF & STUDENTS
‹
‹
‹
‹
fes
sion
in
the
world.
#### ‹
-
Œ aœ
‰ œj œ œ
I'm
BELL & STUDENTS
Œ
Ó
362
Œ
Ó
Œ ? aœ
a
‰ Jœ œ œ
I'm
Œ
Ó
-
a
-
∑
363
## & ## w
364
Œ
live
and
? #### w
Œ
live
I
# # 367 & # # nw
368
Œ
world
Œ
world
I
will
sur
I
-
sur
-
vive,
369
that
I
vive,
˙˙ ˙
œœ œœ œ œœ œ œ œœ œ
take
˙˙ ˙
œœ œœœ œœœ œœœ œ
take
it,
w # ww
S. S. A.
can
œ œ Jœ
œœœ
366
œ œ
j œ. œ œ œ . œ œ œ œ that
? #### n w
will
œ œ œ œ
and
# www
365
œœ
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œ.
T. T. B.
can
œœ œ
Œ
Œ
œ
show
the
œ
œ
show
the
‰ œœj œœ
370
˙˙ ˙
it,
œ
when I
˙˙˙
œ ‰ Jœœ œ when I
Ad. Lib MALE SOLO
## & # # œœœ ... 371
hit
? # # # # œœœ ... hit
œœ œœ œ œ J the
œœ œœ œ œ J
the
œœ œ heights,
œœ œ
372
Ó ww w ww w
Hit the
Œ œ œ 3
heights.
ww˙ . w
373
ww w
heights,
œ œ œ 374˙˙ ˙ ˙˙ ˙
Œ
3
œ œ put
3 œ Œ œ
Put
# 1 — H a r d Wo r k
my
my
FAME
&
# # # # 375
## & ##
CARMEN
(∑ )
376
Yes, I'm gon - na put my
œ œ œ # œœœ ... œœ œœ œœ J ALL
in
lights,
name
in
lights,
# # # # 379 œ
Œ
Ó
œ œ œ # œœœ ... œœ œœ œœ J
ALL
~~
&
~~
Ó
380
Œ
œ œ œ œ. J
Œ
381
make
that I
make
384
can
can
∑
Do - in'...
œ œ œ œ ˙ 382
Œ
it,
œ œ œ œ ˙
by
Œ
it,
a œœœ œœœ Œ
385
œ by
386
Ó
œ
∑
Do -in'...
Ó
a œœœ œœœ
∑
Œ
Ó
∑
Do -in'...
Ó
388
∑
Do - in'...
n œœ œœ ? #### n œ œ Œ
œœ œ Œ œ œ
˙
do - in...
# # 387 & # # n n œœœ œœœ Œ
Show the
˙
œ œ œ œ. J
do - in'...
nœ œ ? # # # # n œœ œœ Œ
œœ Œ œ œ œ
Show the
world
# # # # 383n œ œ Œ n œœ œœ &
(∑ )
Yeah!
ww w
that I
Ó
378
ww w
ww w
œ
Œ
œ œ œ3 œ œ Œ
name in lights,
ww w
world
? ####
377
Œ œ œ #œ œ œ œ
name
? ####
— 97 —
œ œ. a œœ œœ .. J
˙˙ ˙
œ œ. a œœ œœ .. J
˙˙ ˙
389
Do - in'...
Ó
∑
Do - in'...
# 1 — H a r d Wo r k
390
Œ
Œ
œ œ œ œ ‰ Jœœ œœ œœ œœ ƒ By do - in' hard œœ œœ œœ œœ œ œ œ œ ‰ J ƒ By do - in' hard
— 98 —
391
FAME
ALL
# # # # a œœœ ‰ Œ & J
BELL riffs “By doin' hard work”
2
392
Ó
394
Œ
work,
a œœ ? # # # # Jœ ‰ Œ
œ œ œ œ ‰ Jœœ œœ œœ œœ By do - in' hard
2
Ó
Œ
œœ œœ œœ œœ œ œ œ œ ‰ J
work,
# # # # 395 œœœ ‰ Œ & J
By do - in' hard
SHERMAN riffs “By doin' hard work”
2
396
Ó
398
Œ
work,
œœ ? # # # # Jœ ‰ Œ
œ œ œ œ ‰ Jœœ œœ œœ œœ By do - in' hard
2
Ó
Œ
œœ œœ œœ œœ œ œ œ œ ‰ J
work,
# # # # 399 œœœ ‰ Œ Ó & J
By do - in' hard
SCHLOMO riffs “By doin' hard work” 400
2
402
Ó
work!
œœ ? # # # # Jœ ‰ Œ Ó
Hard
2
work!
1a
> 403 > Œ ‹ ‹ Œ Ó
Ó
> Œ ‹ Hard
Work!
>‹ Œ Ó Work!
H A R D W O R K P L AY O F F TACET
U ∑
(Bell Ring) 404
U ∑ Applause Segue
FAME
1b
L O C K E R TA G 1 TACET
1c
L O C K E R TA G 2 TACET
1d
PRACTICE ROOM TACET
— 99 —
— 100 —
FAME
I WA N T T O M A K E M A G I C
2
WARNING: Nick: "Stanislavski." CUE: "The actor must learn to use the magical 'if'. What 'if'"?
Rubato ("...actual reality into a
# 1 & c uÓ
plane of another life,)
2
Ó u
(created and imagined by himself...)
(the actor can begin to create...)
(believing in this life,)
3
Ó u
Ó u
Œ
NICK
‰
p gg O [Bell Tree]
4
&
#
œ ˙ J
œ. mag
-
#7 & Œ
‰ œj œ œ œ
# 10œ
Œ
&
#
3
œ œ œ
œ I
want
œ œ
œ
q » ¡º• 15 Œ œ . Jœ ˙
want
8
œ
to make
peo
-
to
6
I
to
make
big - ger
œ
œ
j œ œ
œ J
ple
real
-
care,
12
than
ly
∑
want
œ œ œ ˙ I
am,
9
13
Œ
‰
damn.
w
j œ œ œ œ I
A Tempo
mag - ic,
œ
3
œ
œ
œ
be
œ 11 w
real - ly give a
14
Œ
ic,
I
&
5
j œ œ
‰ j œ œ œ œ 3
I want to breathe
16
3
œ œ œ œ œ fi - re on the stage,
˙
want to make
Œ ‰ œj œ œ œ
17
I
want to make
FAME
j œ œ œ œ
# 18 & aœ
ev - ery sin
&
-
œ J
gle
w
— 101 —
˙
19
œ œ
20
line
#22
25
Œ
26
27 # œMovingœforward j œ œ & J œ Nœ œ
&
from A
# 30 œ
Œ
to
&
# 34 œ . b œ œ
Z,
# œ #œ & Ro - bards
I
and har - old
want to
‰
do "The
De
Nir - o,
œ
I
to
want
Li - ion
in
bœ
Œ
do
it
bœ b˙
Œ
Win - ter",
Œ bœ bœ bœ
33
see what
40
œ
œ
29
˙.
œ œ
Soph - o - cles,
I want to real - ly
or
j œ œ
32
œ Œ
Pin - ter,
n œ 39 n œ n ˙ . J
page.
œ
36 Œ ‰ b œj œ œ œ b œ œ œ N œ œ œ
‰ œ
the
bœ b˙
28
35
b˙
Neill
38
‰ œj œ œ œ œ
31 j ‰ b œ œ œ n œj b œ .
Brecht
œ
jump right off
3
all
œ 21 w
I
a
trag
Nœ ‰ #œ œ œ œ œ J
# 2 — I Wa n t To M a k e M a g i c
be,
an - oth - er Ja - son
œ b œ 41œ œ . J -
O’ -
37
can
œ œ œ Play
Eu - gene
ic
he
-
ro,
Ó
— 102 —
&
&
&
FAME
# 42 œ
œ œ œ
œ œ
œ
go
for
it
all
and
#45Œ
‰
j œ œ
œ
œ
I
to
make
œ Œ
49
# 48
want
3
œ œ œ œ œ
real - ly
46
&
&
#
&
# 60
œ œ J -
the
I
œ.
j œ ˙
-
Œ
on
-
ic!
way
his
j œ œ
œ
I
want
to
œ œ œ œ œj J
51
Œ
more
54
‰
than just
∑
a
3
œ e -
w
fool
‰ jœ œ œ œ
55
Œ
I want to make
58
∑
rit.
62
˙ ma
-
œ œ J
œ.
ma
Ó
feel.
face,
57
61
#w
ic,
want to be
Ó
44
47
50 Œ ‰ œj œ œ œ a œ
ic,
bœ ˙ J
œ.
mag
show
œ œ œ œ 53 ˙ J œ
œ. mag
œ
I
with make - up
56
œ œ œ
œ
mag
lec - tri - fy the place,
# 52 œ .
43
-
Œ
59
∑
gic!
U w
gic...
# 2 — I Wa n t To M a k e M a g i c
63
∑
FAME
— 103 —
CAN’T KEEP IT DOWN
3
(Alt. Version: “Can’t Keep It Cool”) CUE: “And every time I see her something comes over me.”
Fast 4 (q » ¡£•)
bb P & c œj
4
know what it's like know what it’s like,
5
∑
when you when you
8
Ó
9
∑
straight that
or Or
11
12
‰ œ œ œ œ œ J
put with
your quar - ter your crew,
b &b œ
œ bœ
œ
14
in the feel - in’
œ
wake up wake up
in the morn - in' and it's in the morn - in’ from a
at at - ten - tion you left there is
how it is mov-in’ and groov-in’
Œ
œ
Œ
slot, slick,
œ
no - bo - dy knows ra - ted pos - ters
Œ
3
go go
b20 &b Ó
to to
a a
club club
Œ
‰
œ
œ
that you're for some
in a por - no shop down a - round Time’s Square,
œ œ
13
Œ
16
Ó
Ó
œ
j œœ
the
So ‘X’ -
‰ œj
Œ
hot. flick.
You You
œ
œ
and you're and you’re
high high
on some fine with - out no
21
œ œ œ œ œ œ ˙ in the band in the band
19
3
œ œ
sing - er sing - er
of the the su -
when you hang - in’
j Œ œ œ œ œ œ ‰
18
And the and the
œ œ
j j œ œ ‰ œ œ
17
b &b œ œ œ œ
hard, dream?
and you try to look cool. you’re los - in’ your mind from 15
œ
Ó
like the chang - in' Di - a - na Ross,
10 3 ‰ œj œ œ œ œ œ ‰ œ œ œj œ
guard, preme?
b &b œ
3 j j œ œ œ œ œ œ œ œ ˙
6 3 ‰ œ œ œ œ œ œ œ œj œ
œ œ œ œ œ Œ stand-in' up And the girl
b7 &b ˙
2
œ. œ œ œ œ ‰ œ œ
You [Alt. lyrics] You
b &b
(Rhythm can be loose)
1
JOE
œ œ
œ œ œ
œ copped copped
j œ œ.
Ó
mar - i - juan - a. ma - ri - juan - a,
22
3
œ
œ
œ
all all
of of
her her
œ
3
œ
moves from moves from
œ Ma Ma -
— 104 —
FAME
JOE
b23 & b Jœ œ .
Œ
don - na... don - na
and (and
b &b œ œ 26
home home
b &b œ
œ œ œ
in in
you you
œ J œ.
it's warm up the cov - ers
b &b œ œ œ œ œ 33
that's how that’s how
it it
b 37b œ Œ b &
œ
3
œ
27
œ.
j œ œ
and and
it's it’s
cold cold
out out,
keep keep
at at
Œ
28
Ó
Œ
no, no
I I
can't, can’t,
Œ
42
œ Œ
Œ
I I
œ ‰ Jœ
Ó
it down it cool
46
Œ
it it
œ
œ
keep it, keep k - k - keep
œ it it
‰ œ J
39
‰ œj œ œœ Œ
j œ ˙
œ œ œ
she's she’s
you're you’re
you
bœ
when when
night, night,
Ó
œ.
32
Ó
œ
well, Well, 36
Œ
Ó
Œ
down, cool,
bœ
œ œ œ
when that when that
girl's girl’s
‰ Jœ
40
Ó
47
un - der un - der
my my
con - trol con - trol,
œ.
œ
‰ œj œ
44
Œ
Ó
I can't I can’t
œ œ ‰ J
48
Ó
bœ œ ˙
I I
œ.
œ3
œ
œ
œ3
œ
51
no, No,
no. no,
no. no,
no, no
I I
can't! can’t
#3—Can’t Keep It Down
I I
I can't I can’t
a - round in school,
œ
Œ
œ œ and and
f œ œ œ œ ˙
œ
Œ
Œ œ
a - round, in school,
bœ œ. J
50
put your so you
can't keep it down. can’t keep it cool!
43
j œ
‰
sub.
œ œ
œ
35
œ
Œ
Ó
fold out, fold - out.
34
Œ
œ œ œ
45
49 bb b œ
late late
o - pen up Miss Jan - u - ar - y's con- tem-plateMiss Jan - u - ar - y’s
you and
38
Œ
b & b b Jœ œ . keep keep
or Or
31
Rock & Roll
b bœ
œ œ
30
is is
can't, can’t,
&b
j 25 œ œ
‰
œ œ Jœœ œ œ Jœ œ œ œ œ œ œ œ œ
œ
hand co - zy
41
Œ
wan - na wan - na)
œ
bed a - lone bed a - lone,
29
&
24
œ œ
œ J
˙
can't can’t
FAME
&
54 œ œ œ ‰ b Jœ œ œ ‰ Jœ œ œ ‰ b Jœ œ œ œ JOE
52 bb
53
∑ BOYS
I I
b b œœ œœ œœ œœ œœ &b b œ œ œ œ œ Can't keep Can’t keep 55
Œ
58 bb
wan - na, wan - na,
Œ
I I
wan - na, wan - na,
I I
wan - na rock and wan - na rock and
∑
roll! roll.
∑
it down. it cool.
Go Latin! [TUTTI]
b &b œ
&
— 105 —
’’
’ ’
Ad. Lib Rock Riffs
56
Ó
59
’ ’
’’
’
’ ’
60
57
’
Œ
’
’
’
MR. MEYERS: “Go! But I'm warning you...”
U Ó
Dialogue
’
JOE
Œ " ‰ œj G.P. P I'm
61
Ó
A Tempo
&
62 bb
JOE
œ œ œ œ œ Œ
think-in' 'bout the time
b &b Ó 65
j b 68 b & œ œ ‰ œ œ Œ
b &b œ 72
mourn
63
in my
life
66 ‰ œj œj œ
Œ
the
dy - in'
3
‰ œ œ œ
3
first time
69
‰ œ œ œ
3
œ
64
œ
when I first learned what
I
with what
ev - er
had to come face to face
for my great Aunt Juan
j œ œ.
-
œ
71 3 ‰ œj œ œ œ œ œ ‰ œ œ œ Œ Œ ‰ œ J
73
œ
3
70
The rel - a-tivesgath-ered
œ
cry-in' was
œ
∑
3
j œ œ œ œ ‰ Ó
67 3 3 j j œ œ œ œ œ œ œ œ œ œ ‰ Œ
was.
œ œ œ œ
3
i - ta,
Œ
œ when
74
œ
3
œ
who comes
#3—Can’t Keep It Down
all in black
to
œ œ œ œ.
j œ
through the door
to
— 106 —
FAME
JOE
b &b
75
76
Œ j ‰ ‰ œ œ œ œ œ
3
œ
œ
œ
pay
her
re - spects
b &b œ 78
œ
b &b Ó 81
85
œ œ
so
Œ
b 91 &b œ œ œ œ œ
can't,
I could feel
the floor
span - ish.
un - der
van-ish,
she
fin - 'ly
can
95
Ó
œ
œ
And
she
œ œ
99
no,
can't,
œ Œ
90
œ
‰ œ J
œ
œ
my
cheek
I I
front of
100
comes
œ
be - lieve
what
I
œ
œ
kis - ses
96 Œ ‰ œj b œ œ œ œ œ
Œ
me
œ
œ œ œ œ œ œ œ
hard - ly
84
3
then
Œ
93
œ
œ
Œ
see!
Œ
œ œ œ œ ˙
#3—Can’t Keep It Down
œ œ œ
o
-
ver to
‰
3
œ œ and
Œ
I
‰ œj 'Cause
97
Ó
her gown,
can't keep it down! can’t keep it cool!
Ó
j œ œ. Ó
to them all,
Ó
j œ œ.
œ œ œ
87
3
The
3
‰ œ œ œ. œ œ
the
I
more
goes
I
Œ
ev - en
œ
I'm look - in' down
Œ
seem
œ
œ
œ œ
b &b œ œ œ œ œ
98
her
œ
œ
92
my eyes
œ
œ.
94
b & b bœ Œ
made
swear
me.
low - er
œ
80
œ œ œ Œ
89
Ó
I
86
she
3
83
watched her
œ œ
3
œ
3
‰ œj
Œ
Con - chi - ta.
œ
œ œ œ œ
I
Œ
79
on - ly
82
Œ œ œ
b &b Ó
88
œ
in her eyes
As
b &b œ
but our cous - in
œ œ œ
tears
77 ‰ œj œ œ Œ
Œ
Œ œ œ And I
101
Ó
œ œ ‰ J I can't I can’t
FAME
102
bb JOE & œ bœ
œ
keep keep
down, cool,
b &b Ó
it it
œ
Œ
b 105
j ≈ bœ . œ
œ
keep keep
& &
JOE
Œ
it it
b &b
no,
no,
no,
no,
I
104
œ.
œ ˙ J
can't.
w
down. cool.
107 ‰ b Jœ œ œ ‰ Jœ œ œ ‰ b Jœ œ œ œ œ œ œ
wan - na,
I
wan - na,
I
wan - na rock and
∑
Œ
3
œ
œ
Rock
and
109
110
w
roll
‰ b Jœ
BOYS
∑ MALE SOLO
∑
Ó
w
Œ œ œ
œ
Rock and
roll!
3
œ
œ
Can't keep
it,
‰ b Jœ œ œ œ œ œ œ
‰
rock and
œ J
œ
œ
can't keep
it,
113
œ
Œ
Ó
roll
∑
∑
∑
∑
~~~
b bœ &b ‰ J œ œ ‰ œ
wan - na
‰
˙.
112
I
&b
b nw
roll!
∑
w
∑
b
111
œ
it down. it cool.
bb
&b
œ3
Œ
b b b œœœ œœœ œœœ œœœ Ó b &
bb œ
œ
w
I
108
œ
106
∑
Can't keep Can’t keep
œ3
BOYS
Can't Can’t
&b
103
— 107 —
can't keep can’t keep
it it
down. cool.
#3—Can’t Keep It Down
— 108 —
FAME
INTRO TO DANCE CLASS
3a
TACET
4
DANCE CLASS TACET
FAME
4a
ROCK ‘N’ ROLL TACET
4b
THE MUSIC ROOM TACET
— 109 —
— 110 —
FAME
4c
ROCK ‘N’ ROLL TACET
4d R O M E O & J U L I E T B A L L E T TACET
FAME
— 111 —
TYRONE’S RAP
5
CUE: Tyrone: "...and that silver spoon you keep shovin' down my throat."
q » •• TYRONE RAP b j &b c ‹ ‹ ‹ Don't need
b &b ‹ 3
‹
b &b ‹ 5
no
‹
rat - trap
1
‹
‹
‹ ‹ ‹ ‹
rich
bitch,
tell me which
‹
‹
buil - ding
Œ
‹
‹
called
‹
6
Œ
ten - e-ment,
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ fork
4
New York
‹ ‹ ‹
base - ment,
‹
2
to use,
I
paid
my dues
in a
‹ ‹ ‹
‹
‹
‹ ‹
‹ ‹ ‹
liv - in' off
greens,
beans,
and pork,
in
‹ ‹ ‹ ‹ ‹
‹
‹ ‹ ‹
≈ ‹ ‹
no one got
me
what it meant
to
to
tell
7
b &b ‹ black,
b &b ‹ 9
‹
‹ ‹
‹
jack,
ace of
spades,
‹
can't wash
b &b ‹ 11
ain't
b 13 &b ‹
‹ ‹ ‹ all the
‹ ‹ ‹
‹
it off,
nev - er fades.
it
‹ ‹
‹ ‹ ‹
‹
that
up - side
a
kick
8
‹
‹
‹
‹
‹ ‹ ‹ ‹ ‹ ‹
‹
car
wash
wash - ers and the day - work
maids
‹ ‹ it's
and
Poi - ti - er,
‹
‹
‹
‹
who
you
are
un - til
j ‹ ‰
‹
12
Ó
‹
‰
the head?
14 j j ‹ ‰ ‹ ‹ ‹ ‹ ‹ ‰ ‹
Pry - or
10
can't
‹
‹
you're dead,
a
be
j ‹ ‰
‹ ‹ now
‹ ‹ ‹ ‹ ‹ Yeah I know a - bout
‹ ‹ ‹.
‹
‹ ‹ ‹
‹
get
high - er than
sug - ar Ray,
‹ Mu -
— 112 —
FAME
b 15 &b ‹ ‹ ‹
‹
‹
‹
ham - mad Al - i
and
doc - tor J.
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
‹
j ‹ ‰
nine - ty per - cent
B.
A.
16
‹ ‹ ‹ ‹ and
of the N.
17
b &b ‹
Reg - gie Jack
œ 19 . bb
œ
SUNG
&
Mi
-
b &b ‹ 21
what's 23
&b
b
b & b ‹. 25
coke
&b
b 27
œ
3
œ
œ
and
Ma
Œ
that
got
to do
me?
deal
-
‹
‹ ‹.
snort
-
On the
24
Ó
‹ ‹ ‹.
ers,
year olds
who
dance
‹ ‹ ‹ ‹ ‹
‹
new Ad - i - das and
ster
street
steal - ers,
‹
‹
‹
Times
Square
-
‹
‹
‹ J
be
tell - in'
all
that
shit!
and
‹ ‹ ‹ ‹ ‹. thing I
see
is:
‹
j ‹ ‰
Ó
‹
Ó
‹.
‰ ‹j ‹ ‹
‹
tokes,
30
That's
‹ ‹ ‹ me
28
‹
‹
j ‹
RAP
daugh-ters,
ters, for
e - os!
‰
son,
the on - li - est
pock - et - book
‹ ‹ ‹ -
-
≈ ‹ ‹ ‹ ‹
‹
‹ ‹ ‹ ‹ ‹ for quar
lia Jack
‹
26
Ó
son,
‹ ‹ ‹
ers,
eight
22
-
œ œ œ œ.
-
‹ ‹ ‹ ‹
‹
don't
ha
‹ ‹ ‹ ‹ with
sie Jack
œ
‹
‹
b31 ‹
-
-
œ
‹
‹ ‹ ‹
29
20
Ó
‹ ‹ ‹ ‹.
‹ Jes
‹
b &b ‰
&b
son,
chael
‹. Crack
-
18
Ó
‹ ‹ ‹ ‹.
and
‹ ‰ ‰ ‹ ‹ ‰ ‰ ‹
us!
‰
# 5 — Ty r o n e ’s R a p
two - line blows,
That's it! 32 42
So
∑
FAME
— 113 —
THE LUNCH ROOM
5a
TACET
THERE SHE GOES!/ FA M E
6
& b c ..
5
..
2
1
2
3
CARMEN
&b œ œ œ There she goes!
9
3
&b œ œ œ ˙ ev - er
you are,
6
˙
7
‰ j œ œ œ œ œ œ # œ Nœ œ nœ
8
˙
Ain't she the pic - ture of a real live star?
10
Œ
œ œ œ
œ
and there
she
11
œ œ ˙.
goes!
‰ j œ œ œ Aœ œ œ œ You'll want to fol - low her who -
12
œ Œ
Œ
œ She's
— 114 —
13
FAME
CARMEN 14
‰ j œ œ œ nœ #œ œ œ
&b œ œ œ ˙ pass - in' you!
17
15
You bet - ter hur - ry if you
3
&b œ œ œ
18
Œ
Œ
œ
she's pass
-
‰ j œ œ œ Aœ œ œ œ
wan- na look,
may - be you'll get her in your
19
œ œ œ œ œ œ
au - to - graph book,
16
œ œ Nœ Ó
in'
20
œ Œ Ó
w
you!
21
&b œ œ œ œ
22
˙
Reach out to touch,
&b
25
don't be shy,
26
∑
there ain't no rea - son to be
œ œ œ œ
no,
it's
too much
28
27
œ œ œ I
can't
œ
#œ
œ #œ
no...
I'm
not
pre - pared!
œ #œ œ ˙
look
in
the eye,
œ
Œ
&b
her
30
w
7
38
scared,
œ #œ
SPOKEN: "Thank you, ladies and gentlemen, thank you!" etc...
Œ
3
29
&b œ 31
24 ‰ œj œ œ œ œ œ œ ˙ .
23
œ œ œ ˙
SUNG 3
Ó
3
Œ Nœ Aœ
œ
œ
œ
I'm
top
of
the
on
39
&b w
40
œ Œ Ó
41
3
Œ Nœ Aœ œ œ œ
charts!
3
I'm
on
top
of their
42
43
œ Œ Ó
w hearts!
44
&b œ œ œ œ ˙ Look at them all!
45
œ œ œ
˙ œ œ œ œ œ œ œ œ œ Nœ œ œ 46
œ
Look at the crowds!
47
Ev-ery-thing is beau-ti-ful up here
#6—There She Goes!/Fame
in the clouds!
˙ bbbb
FAME
48
b & b bb
— 115 —
Slightly Faster 8
56
CARMEN
b & b bb
57
∑
j œ œ. Ó
œ œ œ œ œ œ œ
58
I'm gon - na live
-
for - ev
er,
59
œ œ œ œ œ œ œ œ
I'm gon - na learn
how to fly,
bbb Œ ˙ b ˙ &
Œ
∑
∑
∑
˙˙ ? bb b Œ ˙ b -
Œ
∑
∑
∑
ALL
Fame!
&
Fame!
b b b 60œj ‰ Œ Ó b & > bb b b Œ ˙ &
61
j œ œ. Ó
œ œ œ œ œœ œ œ
62
I feel it com
-
-
in' to - geth
er,
63
œ œ œ œ œ œ œ œ œ
peo - ple will see
me and cry,
Œ
∑
∑
∑
Œ
∑
∑
∑
High!
> bb b b Œ ˙ &
?
High!
bb b 64 j ‰ & b œ ˙
‰ œj œ œ œ œ œ œ œ œ 65
Fame!
b & b bb Œ
I'm
gon - na make
it to heav
66
œœ œ Ó -
en,
67
œ œ œ œ œœ œ œ
light up the sky
like a flame,
˙˙
Œ
∑
∑
∑
˙˙ ˙ -
Œ
∑
∑
∑
Fame!
? bb Πbb
Fame!
#6—There She Goes!/Fame
— 116 —
FAME
bb b j ‰ & b œ ˙ CARMEN
68
Œ
Fame!
bbbb Œ
ALL
&
œœ
69
œ œ œ œ œ œ œ
I'm gon - na live
for - ev
œœ œœ œœ
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œœœ
70
œœœ Ó -
71
œ œ œ œ œœ œ œ
er,
ba - by re - mem
Œ
∑
∑
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Œ
∑
∑
œ œœ ˙
Œ
∑
∑
-
ber my
Fame!
œœ
? bb b Πb
Fame!
œ
? bb b Πb
Fame!
b 72 & b bb œ
Œ
73
Ó
∑
74
75
∑
∑
bbbbbb
name.
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re-mem-ber,
re - mem - ber
re - mem-ber,
re - mem-ber,
re - mem - ber.
j > j > j > j > j > j > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b b b ‰ Jœœ œœ œœ ‰ Jœœ œœ œœ ‰ Jœœ œœ œœ Ó ‰ Jœœ œœ œœ ‰ Jœœ œœ œœ ‰ Jœœ œœ œœ Ó b b b bbb b > > > > > > Re-mem-ber,
re-mem-ber,
re - mem - ber
re - mem-ber,
re - mem-ber,
#6—There She Goes!/Fame
re - mem - ber.
FAME
76
CARMEN
bbb j 77 j b b & b bœ œ œ œ œ œ œ œ œ ˙ Voy a viv - ir
pa' siem
-
— 117 —
Œ 78 79 Œ œ œ œ œ œ Aœ Aœ œ œ
pre,
voy a - lle - gar
a
ALL
˙˙ ˙˙
vo - lar,
Fame!
œ œ œ œ œ Aœ Aœ œ
Œ ˙œ ˙˙˙
Œ
ALL
CARMEN
b & b bbbb œ œ œ œ œ œ œ œ 80
Es - trel - la en
œœ ˙
to do'el cie
b b b b 84 œ œ œ œ œ œ œ b & b J J CARMEN
Voy a viv - ir
81
-
lo,
qu’em - pe - za - ra
œ œ ˙
85
pa' siem
-
Œ
82
Œ
pre,
86
a
bril - lar!
œ œ œ œ œ œ œ œ
voy a - lle - gar
a
83
Œ
Fame!
œ œ3 œ œ . œ œ
87
vol - ar,
a vol- ar,
œœœ œœœ œœœ n œœœ œœœ n œœœ œœœ œœœ
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ALL
b j j & b b b b b œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙ œ œœ œ œ œ œ œ œ ˙ Voy a viv - ir
b b b b 88 ˙ b & b
pa' siem
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-
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voy a - lle - gar
89
Œ
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90
a
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vol - ar,
91
Ó
Mi -ra!
b & b b b b b œœœ œœ œœ œœœ œœœ œœœ œœœ œœœ œ œ es - trel - la en
to do'el cie
Œ
œœœ œœ ˙˙ œ ˙ -
Ó
lo,
b & b bbbb
Quier - o bril - lar.
6
#6—There She Goes!/Fame
> j œœ ‰ Œ œœ œœ œœ n œœœ nœ œ œ œ
˙˙˙ Mi
92
> œ œ œ œ
-
ra!
Quier - o bril - lar.
nnn nb n
— 118 —
FAME
> 98Œ ƒ œ
[Stage Trumpet - Concert Pitch]
&b
‰
∑
j œ œ œ
100
&b
121
Œ
‰
œœ
œ œ œ œ œ ˙
101
∑
∑
8
102
&b
Œ
∑
&b
110
> œ
3
œ 99œ œ œ œ œ ˙
~~~~~~~~~~~~ 119 ‰ 120 œ œ œ œ œ ‰ œ w ’ ’ ’ ’ ∑
Dm 6 118
8
∑
CARMEN
124
&b
∑
‰ œj œ œ œ œ œ œ
œ
123
∑
3
3
œ
∑
œ nœ
œ
œ
∑
CARMEN
œ
œ
œ
I'm
top
of
the
3
126
Œ
w
charts!
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b Ó
ALL
œœ n œœ
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˙˙˙ ,
œœœ
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∑
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125
w
3
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122
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œ
œ
œ
I'm
on
top
of
their
œ. ‰ Œ œ J
3
#6—There She Goes!/Fame
3
3
Ó
FAME
— 119 —
127 CARMEN
128
&b w
w
hearts!
?b Ó
n œœ
œœ
ALL
˙˙ , ˙
œœ
œœ œ
3
Wo,
129
Wo...
œœ œ
œœœ œ
&
3
CARMEN
&b œ œ œ Look
at
130
œ
˙
the crowds!
œ œ œ œ œ
Look at them all!
131
œ
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Ay
ma - ma - ci - ta mi - a,
ALL
& b ww P
ww
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132
&b œ hav
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133
∑
& b œœ ..
j œœ
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Œ
∑
#œ. ? b # œœ ..
n œœ nœ J
œœ œ
Œ
∑
#6—There She Goes!/Fame
I
am
— 120 —
FAME
134
CARMEN
&b œ There
135
œ œ
˙
she goes! ALL
œœ There
?b
œœœ
∑
There
&b ‰
j œ œ
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œ
˙˙
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‰
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There
‰
she goes!
138
œ
she goes!
she goes!
œ œ œ œ œ
Now would - n't
œ & b œ œœ œœ
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There
∑
&b
137
136
∑
œœ œ J
?b
œ
œ
140
w
wish they were her,
˙˙ ..
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˙˙˙ .. .
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w &b w her,
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141
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139
˙
goes!
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There
3
œœ
she goes!
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Wish
œœœ œœ œœ œ œ
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142
∑
Ó
˙ and
œœ œœ J
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they
were
œœœ œœœ J
they
were
˙
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there
she
143
˙˙ ..
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∑
∑
œœ .. œœ ˙ . œ . œ ˙˙ ..
œœ œ J ‰
∑
∑
her,
#6—There She Goes!/Fame
œœœ
FAME
— 121 —
CARMEN
&b
ww
ww
144 (ossia)
145
146
j ‰
˙˙..
œœ
J ‰
goes!
œœ b ‰ œ & J ALL
>œœ œœ œœ ‰ œ œ œ J
re - mem - ber,
œœœ >œœ œœœ ?b ‰ J œ ‰ re - mem - ber,
147
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‰
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b
re - mem - ber,
œœœ >œœ œœœ œ ‰ J Œ
re - mem - ber,
re - mem - ber,
nœ
Re - mem - ber
my
name!
œ
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re - mem - ber
6a
j œ ‰ œœ
re - mem - ber,
œ
b b œœœ J
>œœ œœ œ œ Œ
œœœ >œœ œœœ J œ
re - mem - ber
œœ .. œ.
‰ œœœ J
œ
#œ J j bb œœœ
œ. & b œœ ..
>œœ œœ œ œ
œœœ n n œœ œ my
œœ .. œ.
j bb œœœ
œœœ .. .
b b œœœ J
re - mem - ber,
œœ œ ‰ J
>œœ .. œ.
œœœ J
re - mem - ber,
148
w
149
˙
Ó
ww w
˙˙ ˙
Ó
ww w
˙˙ ˙
Ó
name!
œœ n œœ œ nœ my
j > œœ œœ .. œ œ.
name!
FA M E P L AY O F F TACET
— 122 —
FAME
L E T ’ S P L AY A L O V E S C E N E
7
CUE: SERENA; "Nick! What are you doing?"
q » ¶¢ # # # # 41 & # 4 5
#### ‰ & #
4
SERENA
3 j œ œ œ œ
We
#### 7 ‰ j & # aœ
6
œ
al - ways seem
œ œ œ to
-
8
13
be
the
and broth - er - ly,
9
bœ nœ œ bœ nœ œ nœ bœ œ œ œ œ ˙
ly way to be,
I could nev - er
œ œ œ œ nœ œ œ œ. sis - ter
and
11 # # # # 10 j ‰ & # nœ œ nœ bœ œ œ bœ œ bœ
how
3
be
œ œ œ œœ œ œ œ
it's such a love
Œ
I want
to
say
what
12
œ nœ nœ b˙
same
poco cresc.
42 ‰
3
it means to me,
with - out you,
44
j bœ bœ bœ and some - thing
Tempo
#### 4 & # 4 bœ
more
œ bœ bœ œ that
kept
right
though
I
œ bœ bœ
nev
-
œ
er could show
œ œ Aœ how
it
16
œ
‰ aœ œ œ œ œ œ œ œ
on grow - ing,
# # # # 17 & # ‰ œ œ œœ œ œ œ œ The way
3
œ œ œ bœ
œ
I know,
# # # # 15 & # #œ. nœ œ #œ œ
14
3
I know I'll al - ways
the way
I know
I
real - ly
œ œ œ œ œ feel
a - bout you.,
‰ œj œ œ ‰ œj œ œ 42 œ œœ œ œ 18
feel
a - bout you,
why can't we,
why can't we,
FAME
# # # # 219‰ & # 4
j œ
œ
œ
why
can't
we
— 123 —
4420 w
‰ œj œ œ
21
˙
try
to
play
a
22
## & # ## ˙
23
‰ œ œ œ
˙
love
scene.
We don't need
# # # # 25‰ & # œ œ œ
learn
# # # # 29 ˙ & # known.
# # # # 33 & #
the
vi
-
œ œ œ
o - lins,
to play
a
œ œ œ œ how love
œ
œ œ œ œ
&
####
be - gins,
if we could
3
œ œ œ
œ œ œ
œ œ
to play
the part
a
‰ œ #œ #œ J Let's play
30
a
love
find a way
28
œ
per - fect
# # # # 39 & # bœ same
scene,
œ œ œ
from
a play
32
Œ
œ
˙
what
it means
to me,
3
œ nœ nœ b˙ with - out
œ œ. of our
36
Ó
bœ nœ œ bœ And
œ œ œ
un -
scene
2
œ nœ bœ œ
and
scene
w
‰ œj
to start,
aœ
w
say
love
˙
31
˙
a˙
34
# nœ
˙
œ œ œ œ œ œ œ
own. 37
˙
cresc. 26
where we see
# # 27 & # ## a œ
œ œ œ œ
24
œ œ
‰ n œj œ n œ b œ œ
38
how
2440‰
you.
# 7 — L e t ’s P l a y a L o v e S c e n e
I
œ bœ
I could nev - er
j bœ
bœ
And
some
want
be
bœ -
thing
to
œ the
44
— 124 —
FAME
# # # # 441 & # 4 bœ
œ bœ bœ œ
more
that
kept
right
though
50
&
####
œ
œ
why
can't
we
-
the way
I know I
feel
real - ly
a - bout you,
# # # # 58 & # a˙ love
˙
# # # # 61 A Tempo & # w
we can't we,
to
œ œ œ œ
We don't need
the
vi
56
œ œ œ œ a per - fect
59
-
˙
scene
Find a way
œ
œ
from a play
3
scene...
62
poco rit.
w
to start,
œ œ œ 57 ˙
œ œ œ ˙.
love
a
54 j j‰ œ œ œ œ œ œ œ ‰ œ œ
be - gins.
3
play
œ œ œ œ œ o - lins to play a
œ œ œ
the heart,
scene...
a - bout you,
try
where we see how love
˙
feel
‰ œj œ œ
49
‰ œ œ œ œ œ œ œ œ
# # # # 55 & # œ œ œ œ œ œ
œ œ œ œ œ
why can't we,
cresc.
53
play it from
it
j j œ œ œ œ œ ‰ # œ # œ œ ‰ œ œ œ 42
4448 w
scene.
scene,
how
46
al - ways
‰
˙
˙
œ œ Aœ
œ
er could show
51
love
love
I know I'll
j œ
# ˙
# # 52 & # ## ˙
nev
‰ aœ œ œ œ œ œ œ œ
œ
# # # # 45‰ & # bœ bœ œ bœ bœ bœ bœ œ # # # # 247 & # 4‰
I
œ bœ bœ
44
on grow - ing,
the way
3
œ œ œ bœ
œ
I know,
# # 43 & # ## # œ . n œ œ # œ œ
42
3
‰ n Jœ œ œ
un - known.
60
˙
and
Let's play a
U" p U U Œ œ œ of
63
own.
# 7 — L e t ’s P l a y a L o v e S c e n e
U w
our
Bell rings
FAME
BRING ON TOMORROW
8
Schlomo On Piano (Can be faked from pit, or Schlomo can play for real)
‰
Œ
&b c œ
œ
œ
J
— 125 —
˙ ∑
œ
∑
[Carmen interrupts]
∑
∑
œ œ œ œœœ œ œ œ œœœ œ œ œ œ œ ‰ Jœ œ œœ œœ œœœ œœœ 3
[Dialogue]
&b
CUE: SCHLOMO: "Bring on tomorrow.'
&b Ó
5
know
œ œ
œ œ
Bring
on
to - mor
œ
that we're there,
œ. & b Jœ 7
ference,
&b
œ
‰
&b œ
11
j œ
SCHLOMO
2
œ
˙
-
row,
œ œ œ
œ œ
let 'em know
we know where
8 ‰ œ œ œ œ œœ ˙
it's not
3
too
late.
4
œ œ let
6
œ
œ we're
it
‰ œj œ œ œ
9
Bring on to - mor
-
[Dialogue] SCHLOMO: "You know, the second and third lines..." etc...
come,
œ. œ œ com - in'
‰
˙.
from.
let 'em
‰ bœ œ œ œ œ We can make a dif -
œ œ. Œ œ œ . J row,
œ œ
I can't
[He Stops]
10
w wait!
"
— 126 —
12
FAME
CARMEN: "Yeah, I hear ya. I hear ya..." (Sings)
&b Ó
j œ
œ
œ œ
13
Bring
on
to - mor
-
‰
S.
[Searching for line] 15
&b Œ
œ Like...
œ œ
Like...
&b
œ œ. J
Œ
œ œ
row...
let it
16
Like the
∑
Œ
˙. shine!
C.
j " œ ‰
‰
U ‰
[Pause as she thinks up lyric] 14 Tempo
3
œ
sun
œ œ œ
œ œ œ œ œ œj
com - in'
on
up
a beau - ti - ful
Ó
‰
day
SCHLOMO [Jumping In]
Œ
‰
j œ
It's
17
&b Ó &b œ yours
19
&b œ
‰
and mine
late.
we
a
we
, œ
late.
&b ˙
bœ œ
‰ bœ œ œ
œ œ œ
œ
œ œ œ
‰
can make
can make
a
j œ œ.
œ
œ
œ œ
Bring
on
to - mor
-
j œ œ
œ œ
œ œ. J
to - mor
-
on
dif
-
œ œ
20
Bring
j œ œ.
18
dif
ference,
œ.
œ J -
‰ œ œ œ œ œ œ it's not
‰ œ œ œ œ œ œ
ference,
Œ
row,
Œ
row,
# 8 — B r i n g O n To m o r r o w
œ œ.
too
it's not
21
U ˙.
we can't
wait!
œ œ.
U̇.
we can't
wait!
too
Œ
Œ
FAME
8a
AFTER TOMORROW TACET
8b
MAGIC SCENE CHANGE TACET
— 127 —
— 128 —
FAME
THE TEACHERS’ ARGUMENT
9
WARNING: TRYONE: "Forget this noise. I didn't want to dance in no recital anyway." CUE: BELL: "Tyrone wait. Wait!"
q. » ¡º¢ [NO FASTER] b & 12 8
4 [Under Dialogue]
3
7
11 BELL
&b
12
œ œ œ œ œ œ œ œ œ œ.
œ
Art - ists are spec- ial, ce - les - ti - al fools,
& b 98
13
œ
cu
œ
fit
for
con - fine - ment
j j œ œ œ
œ art
&b
in
œ
15
18
œ
œ
œ
& b Ó.
-
ists
blessed with
œ
16
are
-
œ
œ
bi -
cal
tal - ent for break - ing the rules, 14 . 12 8 ˙
Ó.
schools,
Ó.
17
∑
œ œ œ œ œ œ œ œ œ œ Ar - tists are peo - ple, not prim - i - tive fools,
they
learn what to do be - fore break - ing the rules.
œ
œ
œ
œ
œ
œ
1221 ˙ . 8
brain
is
the
fin - est
of
tools,
20
know
œ that
& b Ó.
œ the
j j œ œ œ
22
œ art
-
ists
& b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ in
thea - ter
or
mus - ic
j œ œ.
23
œ
are
BELL/SHERMAN
Wheth - er
j 98 œ
19
j œ œ œ œ œ œ œ œ œ œ œ
œ
I’m
spe - cial.
SHERMAN
9 &b 8
24
a
j œ œ.
œ
j 98 œ
œ œ œ œ œ œ œ œ œ
peo
,
or dance,
-
Ó.
Ó.
ple.
j 25 œœ œœ œœ œœ œœ œœ œœ they
They
have to
œœ ..
be giv - en the chance...
Œ
BELL
j œ
To
FAME
— 129 —
BELL
. &b œ
œ
26
fly
œ
œ
œ
by
the
seat
of
their pants!
œ
œ
œ
To
de - vel - op
their
ww ..
œ
œ œ œ œ œ œ œ œ œ œ
j œ œ œ œ œ œ œ œ
œ œ œ
Art - ists are part of the same hu - man race
as
29
œ œ œ œ œ And
be
nur - tured like
30
Œ.
plants.
32
33
œ œ œ œ œ œ œ œ œ
"Jack Up" Tempo
œ.
Œ.
q. » ¡¡™ Ó.
j 98 œ
ev - ery - one else in this same blood - y place,
34 12 8 ˙.
sur - vive or you fall on your
12 8
œ
SHERMAN
learn to
&b
œ.
Œ.
& b 98
36
œ
SHERMAN
# ˙˙ ..
‰
minds!
&b
œ
BOTH
28 & b 12 8 ˙.
31
6827‰
you
35 Œ. œ œ œ œ. Œ. Œ. œ œ œ
face.
Art - ist or
not!
Art - ist or
bbbb
6
37
not! 43
BELL
j bb & b b ‰ ‰ bœ œ I've
b & b bb œ . 45
Kids
seen
j œ œ
j 44 œ œ
œ œ œ
them come and
go
for
‰ œ œ œ œ œ œ œ nœ with no
tal - ent
b b 47‰ ‰ j b & b œ œ œ œ œ an - o - ther year,
for
an - y - thing
j œ œ œ œ an - oth - er
ship
œ J
all
œ
these
j œ œ.
Œ.
years,
œ
j œ œ œ œ ˙.
more
than car - ry - ing spears,
48
œ
œ J
-
ment,
46
# 9 — T h e Te a c h e r s ’ A r g u m e n t
œ ‰ ‰ Œ. J
œ œ œ lack - ing
the
— 130 —
FAME
BELL
b & b bb œ . 49
50
drive
or the style
b & b bb œ
j œ œ.
52
dif
-
Slower
54
# & # nœ.
or the
53
U Œ
Ó.
Œ.
#œ.
‰ œ œ
then...
55
&
the prin- cess I
q. » ¡™º
j œ œ.
[Back to reality]
œ no
can
see
com - plete - ly
Œ.
60
j œ œ œ œ
me,
the
œ œ œ
want -ed to be,
‰ ‰ œj œ œ œ
Faster Tempo
##
I
‰ ‰
œ œ œ œ.
un - re - mark - a - ble
˙.
bun, 61
nnnn##
j #œ œ nœ nœ
q. » §º
bal - let class,
&
is
(Slower)
And
57 # # 56 j j ‰ ‰ œ œ œ œ œ ˙. & œ œ. œ œ œ
# # 59
œ. Œ. œ œ œ œ J J This one
ferent!
[Shifts into a reflective mode]
me,
51
ba - sic e - quip - ment. rit. . . .
Ó.
˙.
œ J
‰ œ œ œ. ‰ œ œ œ œ œ œ
58
tu - tu and
j œ nœ
62
in
the
j œ œ. Œ. œ œ œ
œ
pointe shoes,
hair in a
U ‰ ‰ œj œ œ b œ
poco rit.
œ.
un - not - iced,
Œ.
kid
Ó.
Œ.
one...
as
if
I
œ
œ
œ
This
one
is
were
nnb
63
& b nœ
œ
dif - ferent, 65
&b œ
I
tell
I
64
Œ.
tell you,
Œ.
œ
œ
œ
˙.
this
one
can
dance!
œ œ œ
66
w.
you,
j œ œ #œ œ
spe - cial,
Œ.
j œ #œ œ
give him
a
Ó.
69
This one
nw.
67
is
bbb
chance!
68
b & b b Jœ ‰ ‰ Œ .
œ œ œ
7
# 9 — T h e Te a c h e r s ’ A r g u m e n t
nnn
FAME
76
82
SHERMAN
6
&
— 131 —
83
œ œ œ œ œ œ œ œ œ œ. What did they tell me when I was
j œ œ
84
& œ œ œ œ
Day af - ter day when I was a girl?
87
& #œ
œ # œj œ
œ
o - ver
the
out of
### œ &
&
&
in
œ
j œ œ
faith
in
# # # 96 œ
land
of
dreams
#œ
œ
œ
œ
j œ ˙.
if
you
can
find
your way
Œ.
Ó.
#˙.
91
Œ.
93
nor
# # 98 & # ‰ œ œ œ you must learn
that
you,
will
pro - tect
a
mind of
‰ ‰ n œj œ
stand,
Œ.
‰ œ œ œ
99
you must learn
# 9 — T h e Te a c h e r s ’ A r g u m e n t
put your
‰ œ œ
your own,
œ œ œ
will make them
j œ œ. to
œ œ œ œ
j œ œ œ œ
97
looks
###
Put your
‰ œ œ œ œ œ œ. and
waits
‰ œ œ
95
books
j j œ œ ‰ ‰ Œ.
Œ.
#˙.
Learn!
books,
j j œ œ ‰ ‰ Œ.
86
88
90
j j œ œ ‰ ‰ Œ.
j œ œ
charm
The
learn!
j œ œ
faith
# # # 94
œ.
Œ.
the ghet - to,
92
Learn!
mea - dow,
& # œ œ œ # œj # œ
‰ ‰ # œj # œ œj œ œj œ .
Œ . ‰ ‰ œj
œ.
89
Learn!
˙.
85
œ œ œ.
a girl?
Ó.
˙.
nei - ther
j œ œ.
re - spect
you,
œ J œ.
œ
to
a
stand
j œ -
lone!
— 132 —
100
&
###
FAME
SHERMAN
Ó.
˙.
Ó.
Œ.
101
‰ œ œ
102
Put your
## & #
œ œ œ œ This one is
&
# # # 103Ó .
Œ.
Put your
## œ œ œ & # J Jœ this one
# # # 106 . Π&
faith in
# # # 109 . rall.œ . œ . . œ & Œ
Œ . n œ œ œ œj œ œ . Ar - tists are spe - cial
110
Œ Jœ œ
œ J œ.
œ
j œ
this one
must have
the
chance.
Œ Jœ œ
œ J œ.
œ
j œ
this one
must have
the
chance.
107
œ.
˙.
U ˙.
one muct
have
## & # Œ. œ. œ. œ.
˙.
U ˙.
This
have
a
one muct
∑
books
can dance!
∑
This
∑
∑
ar - tists are peo - ple
&
books
105 œ œj œ œj œj ‰ ‰ Œ .
œ œ œ œ.
œ œ œ œj œ
###
in
dif - ferent
104
‰œ œ
faith
j œ œ.
BELL
Œ.
∑
œ œj œ œj œj ‰ ‰ Œ .
a
111
w.
112
˙.
j œ ‰ ‰ Œ.
˙.
j œ ‰ ‰ Œ.
108
2
chance!
w. chance!
# 9 — T h e Te a c h e r s ’ A r g u m e n t
2
FAME
— 133 —
10 H A R D W O R K R E P R I S E CUE: NICK: "Work!"
q » ¡§• # # # # 41 & 4
ALL STUDENTS
2
3
4
‹ Œ Ó
5
∑
Work!
##6 & ##
7
∑
8
‹ Œ Ó
Ó
Work!
Œ ‹
Work!
11
&
9
Hard
10
‹ Œ Ó
∑
Work!
* [Optional Cut to M. 19]
####
‹
Œ
Ó
12
Ó
13
Œ
Work!
&
‹ Œ Ó
# # # #15
‹
‹
Hard
Work!
Œ
Ó
14
∑
Œ
Ó
18
∑
Œ
Ó
22
∑
cresc. poco a poco
‹
Œ
Ó
16
Ó
Œ
Work!
17
‹
‹
Hard
Work!
19
#### * & ‹ Work!
Œ
Ó
20
Ó
Œ
21
‹
‹
Hard
Work!
— 134 —
23
&
####
FAME
Ó
Œ
‹ Work!
&
####
Ó
&
####
‹
Œ
‹
Œ
Œ
Œ
live
live
&
œ œ œ and
sur
and
will
I
Œ
world
that
I
will
sur
world
that
I
can
can
Ad. Lib MALE SOLO
# # # # 35 œ . & œœ .. hit
? # # # # œœœ ... hit
œœ œœ œ œ J the
œœ œœ œ œ J the
œœ œ
36
wwÓ w
‰ œj œ
I'm
a
‹
‹ Work!
Work!
# www
-
?œ
‹
29
30
I'm
œœœ
w # ww
Œ
-
œœ œ
Œ
vive,
˙˙ ˙
œœ œœ œœ œœ œ œ œ œ
take
it,
˙˙˙
œœœ œœ œœ œœ œ œ
take
it,
Hit the
34
Œ œ œ 37 ww˙ . w
a
-
œ
œ
show
the
œ
œ
show
the
when I
˙˙
‰ Jœœ œœ when I
œ œ œ 38˙˙ ˙
heights,
œœ œ
-
‰ œœj œœ
˙˙ ˙
heights
3
œ
‰ Jœ œ œ
vive,
33
. œ œ Jœ œ
Œ
‹
‹
œ œ
j œ œ œ œœ .. œ œ œ
32
? #### n w
‹
œœ
I
‹
Hard Work! Hard
œ œ œ œ
Œ
nw
Œ
Work!
28
# # # # 31
‹
Work!
? #### w
‹
Hard Work! Hard
Œ
œ
26
Œ
Work!
‹
w
25
Œ
‹
Work!
Work!
27
24
Œ
3
œ œ put my
ww w
ww w
heights,
# 1 0 — H a r d Wo r k R e p r i s e
˙˙ ˙
3 œ Œ œ
put my
FAME
&
# # # # 39
— 135 —
CARMEN
(∑)
40
Œ
41
œ œ #œ œ œ œ Yes, I'm gon - na put my
ALL STUDENTS
# ## & # # œœœ ...
œœ œœ œœ œ œ œ J
name
in
name
in
# # # # 43 œ
Œ
ww w
œœ œ Œ œ œ show the
~~
œ œ œ œ. J
44
Ó
Œ
~~
Ó
45
can
that
48
I
œ œ œ œ ˙ 46
Œ
it,
˙
can
∑
˙
make
œ œ œ œ. J
Œ
Ó
I
do - in'...
do - in'...
œœ Œ œ œ œ
lights,
world
? # # # # n n œœœ œœœ Œ
Yeah!
ww w
œ
# # # 47 & # n n œœœ œœœ Œ
(∑ )
show the
that
Œ
42
lights,
world
? ####
in lights,
ww w
ALL STUDENTS
&
name
ww w
œœ œœ œœ œ œ œ J
œ. ? # # # # # œœ ..
œ œ œ3 œ Œ œ
by
œ œ œ œ ˙
make
Œ
it,
a œœœ œœœ Œ
49
Ó
Ó
∑
Œ
Do -in'...
# 1 0 — H a r d Wo r k R e p r i s e
Ó
œ by
50
∑
Do -in'...
a œœœ œœœ
œ
∑
— 136 —
FAME
ALL STUDENTS
# # # # 51 n œ œ & n œœ œœ Œ
52
Ó
∑
Do - in'...
œ œ. a œœ œœ .. J
53
Do - in'...
œ œ ? # # # # n n œœ œœ Œ
Ó
∑
œ œ. a œœ œœ .. J
Do - in'...
˙˙ ˙ ˙˙ ˙
54
Œ
By do - in' hard
ƒ œœœ œœœ œœœ œœœ Œ ‰ J
Do - in'...
By do - in' hard
55
# # a œœ & # # Jœ ‰ Œ
Ó
56
(Vocal ad lib)
2
58
Œ
work,
a œœ # ? # # # Jœ ‰ Œ
ƒ œœ œœ œœ œœ ‰ Jœ œ œ œ
œ œ œ œ ‰ Jœœ œœ œœ œœ By do - in' hard
2
Ó
Œ
œœ œœ œœ œœ œ œ œ œ ‰ J
work,
# # # # 59 œœœ ‰ Œ & J
By do - in' hard
Ó
60
(Vocal ad lib)
2
62
Œ
work,
œœ ? # # # # Jœ ‰ Œ
œ œ œ œ ‰ Jœœ œœ œœ œœ By do - in' hard
2
Ó
Œ
œœ œœ œœ œœ œ œ œ œ ‰ J
work,
# # 63 œœ & # # Jœ ‰ Œ Ó
By do - in' hard
64 (Vocal ad lib)
2
66
Ó
work!
œœ ? # # # # Jœ ‰ Œ Ó work!
> 67 > Œ ‹ ‹ Œ Ó Hard
2
Ó
> Œ ‹ Hard
# 1 0 — H a r d Wo r k R e p r i s e
68
∑
Work!
>‹ Œ Ó Work!
∑ END ACT 1
FAME
— 137 —
11 T H E J U N I O R F E S T I V A L Cue: "Mr. Sheinkopf, start the music, masestro."
q » ¡™• 1 4 &4 6
&
# # # # Under Dialogue Slower
b & b bbbb Ó
q » ¡º¢
'3,4'
U Œ
15
4
Œ
Majestic
b & b bbbb
33
nnnnbb b b bb
8
14
19
####
5
13
32
U Œ
NICK
‰
j œ œ
œ
œ
I
to
make
want
Rubato
bb & b b bb œ .
mag
bb & b b bb Π36
œ ˙ J -
Œ
‰ œj œ œ œ want to
œ
œ
I
to
strike
œ œ
œ
37
do
œ
an - y - one would
40
w
try.
3
‰ j œ œ
ic
I
b 39˙ & b bbbb
34
want
35
3
œ
œ
light - ning
œ
œ
œ
œ
things
you
can't
41
Œ
œ
œ œ œ ˙ in
the sky
œ
38
w
be - lieve
‰ j œ œ œ œ I
want to make
42
œ.
œ ˙ J
mag - ic
— 138 —
FAME
b b b 43Πb & bb
3
‰ j œ œ œ œ and make
b & b bbbb œ 46
sen
-
3
44
ev - 'ry
œ
mom - ent
œ j œ œ œ
œ J
ses
spell
in
b 49 & b bbbb w
a
50
Œ
‰
eyes.
b & b b b b b ..
∑
œ
œ
Œ
I'll cap - ture your
w
œ
48
œ œ
Œ
right
j œ œ œ œ
51
want to make
∑
54
mag
-
Œ
be - fore your
˙
Ó
ic.
∑
∑
56
œ
œ
œ
œ
52
œ ˙ J
œ.
55
bw
œ
Œ
sur - prise
47
I
53
a
‰ œj œ œ œ
45
œ œ œ œ ˙
œ
œ
œ
..
œ
bœ
[Tpt.]
b & b bbbb 61
&
bbbb
nbbbbb
4
57
11
b
72
On Stage Guitar Only
œ
œ
œ
œ
∑
œ
œ
œ
œ
gradual accel.
b & b bbb
73
b b 77 b & bb
74
75
∑
∑ Œ
.
78
Œ
JOE
œ
∑ œ.
Melismas ad lib
∑ Car - men,
80
Presto
& b 43
76
œ 79 œ œ œ œ ˙ J
∑ nnn b 3 n 4
Car - men
q » ™¡º 14
# 11 — T h e J u n i o r F e s t i v a l
b b b b b 44
FAME
q » ¡¢º
Tango 94
œ b & b b b b 44
JOE
œ œ
There
b b 97‰ b & bb
— 139 —
œ
‰ œj œ œ œ œ œ œ
95
Œ
she goes!
j œ œ You want
Ain't she
the
œ
œ
œ
œ
to
fol - low
her
who - ev - er
Ó
102
b b b 100 w b & b
œ
101
Œ
Ó
3 bb b b 107œ œ œ & b
if you
˙
103
œ
œ
She's pass
-
ing
111
œ
œ
œ
touch
don't
be
shy
˙.
116
œ 3
œ
œ
Reach out
to
b b b 114 w b & b
115
Œ
scared.
œ nœ
œ
I'm
pre
not
112
Œ
nw
119
-
œ
real
live
star?
œ œ
œ
œ
she
œ œ œ
Œ
pass - ing you,
‰ œj œ œ œ œ œ œ
109
w
her
110
in
your
∑
you.
Œ
‰ œ
113
there's
œ œ œ œ œ J no
reas - on
œ œ3 œ œ
œ œ 117 œ n œ œ œ œ
No
I can't
it's
Œ
and there
May - be you'll get
œ nœ
Œ
œ
œ
106
wan - na look
108
au - to - graph book
No
Œ
œ
Œ
b b b 104‰ j œ œ œ œ œ œ 105œ œ œ œ Œ b & b œ
b 118 & b bbb œ
99
She's
you bet - ter hurr - y
a
you are
goes.
b œ & b bbb
of
œ œ3 œ ˙
œ
98
pic - ture
œ
96
too much,
look her in the eye.
w 120
pared.
# 11 — T h e J u n i o r F e s t i v a l
to
121
∑
be
Œ
— 140 —
FAME
q » ¡£• b b CLAP ‹ Œ b & bb
122
Ó
123
‹
124
∑
‹
Ó
125
∑
ALL
? bb b bb
b 126‹ ‹ ‹ & b bbb ? bb b bb
STAMP
∑
Ó ∑
Œ
‹
127
‹
Ó
‹
‹
Ó
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ 129‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
128
∑
‹
∑
Ó
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ > >
b b b 130‹ >‹ ‹ ‹ ‹ ‹ >‹ ‹ 131‹ >‹ ‹ ‹ ‹ ‹ >‹ ‹ 132 ‹ ‹ ‹ ‹ 133 ‹ ‹ ‹ ‹ b & b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ? bb b bb ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ > > > > > > > >
b b 134 ‹ ‹ ‹ 135 ‹ ‹ ‹ 136 &bbb ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ > > > ? bb b b b >‹ ‹ ‹ ‹ >‹ ‹ ‹ ‹ >‹ ‹ ‹ ‹ >‹ ‹ ‹ ‹ >‹ ‹ ‹ >‹ ‹ ‹ >‹ ‹
# 11 — T h e J u n i o r F e s t i v a l
FAME
— 141 —
b & b bbb ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ > > > 137
3
3
3
3
138
3 3 3 3 ? bb b bb ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ > > >
139
‹
‹
‹ ‹ ‹ ‹
‹
‹
‹ ‹ ‹ ‹
>j > ‰ ‰ Œ Ó 141 ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ 142‹ ‹ ‹ ‹ 143 ‹ ‰ ‹ bb b b 140 & b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‰ ‹ ‹ J COUNTDOWN: 3
4
2
1
? bb b j bb ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‰ ‹ ‹
144
Samba/Salsa
q » ¡™º 8
nnnnn##
##
8
nnbb
b
b &bb
20
nnn##
#
&
152
&
bbbb
b
160
180
### &
Maestoso 12
# 11 — T h e J u n i o r F e s t i v a l
— 141A —
FA M E
(Optional Number) !!
11
I WANT TO MAKE MAGIC—REPRISE
[Cue] MISS BELL: “Places, everyone!” q = 120
b & b b b b b 44
Gently Flowing
7
A-G
H
Œ
‰ j œ œ œ œ
NICK:
I
b & b b bb b œ . 1
mag
œ ú J
-
b & b b bb b Œ
3
ic
5
I want to do
bb b b w b & b 7
8
‰
11
œ
Œ
j œ œ œ œ
I want to make
b & b b bb b 14
(Vln Solo)
œ œ
œ
things you can't
œœ
œ œ
12
9
w
!
10
would try,
œ.
mag
œ
w
6
be - lieve
-
œ ú J
!
13
ic
9
14–22
œ œ œœœ ú 3
3
œ œ œ
an - y - one
b & b b bb b Œ
want to make
I want to strike light - ning in the sky,
‰ œj œ œ œ
4
‰ j œ œ œ œ
Œ
2
[To 1]
23
Œ
‰ j œ œ œ œ
NICK:
I want to make
b & b b bb b œ . 24
mag
-
œ ú J
ic,
25
Œ
‰ jœ œ œ œ 3
and make ev - ery
26
œ œ œœœ ú 3
mo - ment a sur - prise,
— 141B —
FA M E
b b b (NICK:) j b & bb Œ ‰ œ œ œ œ 27
28
I'll cap- ture your
b bb b œ b & b
œ œ
Œ
30
œ j œ œ œ
œ
sen - ses in
œ
œ
b & b bb bb œ 33
‰ j œ œ œ œ
34
I want to make
b & b bb bb œ 36
œ œ œ J œ
real - ly think
j b & b bb bb n œ n œ 39
ro
b & b bb bb
42
nœ
dream
b & b bb bb Π45
-
it's
j œ ú
35
Œ
w ‰ j œ œ œ œ œ
ic.
I want to make you
37
real,
38
nœ nœ nœ œ nœ
I want to make you love
Œ ‰ n œj œ œ .
nœ
43
Œ
41
for Wil - ly
nœ
nœ nœ
of Blanche Du
‰ n Jœ œ œ œ n œ I
Œ
j œ œ
œ.
œ j j œ œ ‰ œ œ œ œ 40
w
spell,
32
weep
the dreams
29
eyes,
mag -
man,
œ œ ú
a
w
31
right be - fore your
œ J
want to make you
46
nœ laugh
44
-
the no
nœ nœ œ ú Lo
nœ.
-
man,
nœ œ nú
Bois
bœ bœ œ bœ. J and roar
I Want To Make Magic—Reprise
-
and
blest
— 141C —
FA M E
b b bœ. & b b bb 47
nœ œ œ œ œ J
(NICK:)
squeal,
48
I want to guil - lo - tine
b œ & b b b b b Œ b œ œ œJ ! œJ 50
take a shot at
œ
œ
œ
ride,
up
to
a
53
59
57
ic,
‰ œj œ œ œ "
62
63
the vil - lains neck
œ œ. J
ú
w
55
Œ ‰ jœ œ œ œ 3
60
œ œ Œ
it
a roll - er coast - er
jœ œ œ œ
‰
58
j œ œ œ œ œ œ ‰ Œ
Œ œœ œ
sto - ries
5
64
œ œ œœ
j œ ‰ Œ
Ó
68
œ Œ Ó
65
Ó
Œ
told,
œœ
now the
Œ œ œ œ œj œ Jœ ú
is still, 3
61
no - one knows,
‰ œj œ œ œ œ
Œ
67
cur - tain
œ œ œ œ œ œ
I want to make
b j & b b b b b œ œ œ œj œ œ œ œ œ Œ Ó 70
œ
Œ
ú
off,
make
that no - one's ev - er
b & b b bb b Ó
52
ov,
66
au - di - ence
œ bœ. J
49
I want to take chan - ces that are bold,
I want to tell
b & b b bb b
œ J
star!
b & b b bb b œ œ œ œ œ Œ b & b b bb b Œ
54
56
-
51
Chek
b & b b bb b œ
mag
œ nœ œ œ bœ J
69
Ó
and the house - lights are gone,
œ Œ ‰œœœ œ J 71
go - ing up,
72
w
and I'm on
I Want To Make Magic—Reprise
73
nœ Œ Ó
#
— 141D —
FA M E
74
&
#
10
74–83
Œ
84
‰
œ j œ œ œ œ
NICK:
I
# œ & 85
All
œ œ œ œ J
from A
# bœ bœ œ & &
#
91
86
to
Z
Ó
88
‰ œj œ œ œ œ
j œ œ
& & &
94
89
œ
Brecht
bœ œ œ ú.
92
and
Œ
‰ b Jœ
œ
œ
I
want
a
œ bœ chance
‰ œJ œ # œ œ œ
be,
an - oth - er Ja - son
#
99
Œ
œ œ œ
œ bœ
play a trag - ic
he
97
100
-
90
bœ bœ
bœ
to
O'
-
it
œ
on
in
-
œ
Œ
bœ œ bú
œ.
Neill
nœ nœ
see
what
œ #œ œ
Ro - bards
or
ro,
do
bœ œ J
j nœ bœ.
œ
95
to
Pin - ter,
93
œ #œ
œ œ ú.
li
Har - old
Eu - gene
# nœ 96
3 ‰ b œj œ œ œ
Œ
win - ter,
Œ
bœ.
I want to do the
Soph - o - cles,
#
87
want
De - nir
101
I
98
œ J
œ
œ
-
o,
œ. can
œ
Œ
œ
œ œ œ œ œ œ
go
for it
I Want To Make Magic—Reprise
all and real - ly
— 141E —
FA M E
# (NICK:) j & œ œ œ œ œ. 102
show
the way
# f & œ. 105
(NICK:)
# fœ . & œ.
-
CHOR: mag
-
mag
f ? # œœ .. &
#
œ
108
# úú .. &
103
I
w
104
106
ic,
‰ j œ œ œ œ
œ
œœ úú J
‰ j œ œ œ œ
109
I want to make
mag
œœ ..
Œ Œ
# (CHOR:) œ & œ œœ œœ œœJ œœ
j j œœ œœ œœ
?#
œœ
œœ ..
mag
œœ œœ œœ œœ J
thou - sand chan - ges
112
œœ J
we
œœ œœ J
can
-
-
œ ú J
ic,
mag
œœ ..
-
ic,
œ
Œ
œœ ..
110
ic,
œœ úú J
œœ úú J œœ úú J Ó
úú
œœ úú J j j œœ œœ ‰ œœ
113
œœ œœ œ J J ‰ œ
but
I Want To Make Magic—Reprise
‰ œœ J
Œ
úú
ic,
take,
œ ú J
-
Œ œ.
œ.
mag
Œ
úú ..
ic,
107
I want to make
úú ..
œœ úú J
j œ œ œ œ
I want to make
? # úú ..
NICK:
‰
feel,
œ ú J
111
Œ
Œ n œœ it's
n œœ
œœ ‰ J
A
NICK:
œœ # # œœ
œœ
œœ # # œœ
œœ
all
worth
it
— 141F —
FA M E
œœ œœ œ œ J
# (CHOR:) n œœœ ... & 114
?#
œœ œ
œœ œœ œ œ J
n œœœ ...
when NICK:
(To Pg 142)
œœ œ
we
# & œœ .. Jœœ úú 117
118
mag - ic!
? # œœ .. œœ úú J
NICK:
úú ..
Œ
# 1: & œ.
116
119
124
œœ .. œœ úú J
120
Œ
œœ .. œœ úú J
ú.
Œ
# 3: & œ. mag
&
#
-
úú ..
Œ
121
Ó Ó
œœ .. œœ úú J
122
mag - ic!
úú ..
Œ
œ.
œ ú J
2: 125
mag - ic!
127
œœ ‰ Œ œJ œœ œ ‰ Œ J
mag - ic!
úú ..
œ ú J
ww w ww w
make
Individual Solos
123
115
œœ .. œœ úú J
126
úú ..
Œ
úú ..
Œ
ú.
Œ
mag - ic!
œ ú J
128
ú.
Œ
129–130
2
ic!
œ . œJ ú
131
mag - ic!
Ritard
132
ú.
Œ
133
!
NICK:
U
¿ ¿ Œ Ó
134 whispered
mag - ic!
I Want To Make Magic—Reprise
135
!
— 142 —
FAME
11a O N L Y T I M E W I L L T E L L TACET
11b
PRACTICE ROOM TACET
11c
L O C K E R TA G 3 TACET
FAME
12
— 143 —
THINK OF MERYL STREEP
CUE: 'I could just die."
q » ªº # # 41 & 4
2
[Safety Vamp - Vocal Last X]
3
# # . SERENA & . œ œ
œ œ œ œ
Think of how to use
.. œ 4
Ó
it,
use
# # 46 & 4 œ œ œ œ œ
œœ œ œ œ
7
Think of
&
# # 10
œ
think of Ger - ry Page.
449 œ
w
all the feel - ings,
œ œ œ œ œ
œ
46
Œ
œ œ œ œ ˙
think of Kath - rine Hep - burn,
# # 68 & 4 œ œ œ œ œ
44
∑
it on the stage,
Ó
œ
245
Œ
wast
-
ed on this creep,
24 11 44 12 Œ Ó œ œ œ œ œ
˙
think how you could use them...
think of Mer - yl
Œ
œ œ œ œ œ
13
∑
Streep!
14
# & # œ
œ œ œ œ œ
Ó
Why should I be craz - y,
&
# # 17
œ œ œ œ œ go com - plete - ly nuts?
15
œ œ œ œ œ
16
Ó
œ œ œ œ œ œ
spil - ling out my guts;
Ó
Make a big ex - plo - sion,
6418 œ œ œ œ œ These are my
Ó
œ
e - mo - tions,
w
44
— 144 —
FAME
# # 419 & 4 œ
œ œ œ œ
mine
a - lone
# # 221 & 4 œ think
œ
to
œ
œ
of
Mer
œ
keep,
4422 œ
œ -
yl
42
20
Œ
œ œ œ œ œ
œ
I know I could use
them,
Œ
23
Ó
˙
Ó
Œ
j œ
‰
Streep!
In -
24
# & # n Jœ œ
3 œ œ œ œ œ œ œ
25
side me there's a world of col - or and
# 27 & # ˙.
j 28 ‰ œ bœ J
œ.
right,
in - side
me
# 30 & # nœ
œ
ac - tress - 's
&
# # 32
œ
job
to
is
œ
has to be wrong,
nœ
b œ œ3 œ
are
treas - ures that
3
œ
œ
know what she's
œ
œ
will - ing
29
31
hide all the rest,
so
j ‰ œ
glow.
An
œ
˙.
‰ œ nœ
to
show,
and then
33
no one's the
wi - ser,
36
Ó
œ
œ œ œ
Mi - ser.
Keep
# # 38œ œ3 œ œ &
poco a poco cresc.
in charge,
U Œ
save
œ
œ
ev - ery mo - ment
a
3
3
œ #œ œ œ œ
up all the best,
like Mi - das the
3
37 rit.
un - der
con - trol,
w
#œ œ œ
U U A Tempo p U 3 , 39 œ #œ œ w play - ing
noth - ing has to be
b˙.
3 34 j j b œ Œ ‰ œ œ œ nœ. œ œ œ #œ œ œ œ
œ œ œ œ
al - ways
26
noth - ing
œ
3
3
# # 35 j & #œ œ.
light,
3
œ nœ
3
3
3 œ Œ Œ ‰ œ œ bœ. œ œ œ ‰ œ œ œ œ œ
3
3
œ
3
role.
#12—Think of Meryl Streep
40
∑
FAME
41
&
##
œ
œ œ œ œ œ
Smile
&
# #43
œ œ œ œ œ with
# # 245 & 4
an
-
œ
œ
Though your
heart
is
break
&
œ
œ œ œ œ œ œ
œ
œ
you
can
œ
œ
some - day
you
can
# # 564 ƒ w & 4
some -day you can use
day
œ
Tempo I
œ
nœ
use
it...
w
57
œ -
4451 œ
˙.
use
it...
354 œ 4
2449
Œ
œ
Œ
w
ritard. . .
255 4 œ think
"Oh, I could just kill him!"
" 4258
∑
it...
52
Œ
44
˙
ing,
48
œ
Slower
# # 53
a wit - ty line.
œ
Ó
42
Œ
œ œ œ œ ˙
œ
nev - er start to weep,
œ
44
or
6446 œ
Ó
œ œ œ œ œ
make be - lieve it's fine,
swer,
∑
some
œ
Ó
œ
an -
# # 447 & 4 œ œ œ œ œ
&
42
Œ
and shrug your shoul - ders,
come up
# #50
— 145 —
U ∑
Streep!
#12—Think of Meryl Streep
4459
œ
U , 4 4 œ aœ
of
Mer - yl
∑
— 146 —
FAME
L O C K E R TA G 4
12a
TACET
M A B E L’ S P R AY E R
13 Cue: "...and get it over with." MABEL
U œ œ . ~~~~~~~~~~~
# & 68 Π. 1
2
Oh
Lord
#4 œ ‰ œ & J œ. œ call
on
‰
œ
œ
œ
give
me
a
3
line,
tell me,
œ
œ
œ
give
me
a
œ. œ œ
œ
œ
what
that
you
sign
œ œ 5 bœ. œ œ ‰ œ œ œ
your heav - en - ly
‰
nœ. œ œ
œ J
6
oh
‰
Lord,
it is
MABEL
&
#7 œ . want
&
œ œ of me.
#
‰
œ
bœ Keep
me
œ
8
from
œ
9 ‰ ≈ . rK œ œ œ b œ . œ œ ‰ œ. œ œ.
ea - tin'
what - ev - er's
∑
in
front of me.
Oh
Œ.
∑
Œ
GIRLS
j œ
Oh 10
# ˙ .(or ad. lib) &
11
‰
Lord
&
œ œ œ œ œœœ give
give her a
sign
‰ œ. œ œ
me a sign
# œ ‰ ‰ œ œ œ nœ. œ œ ‰ J Lord
12
call
œ
œ œ
œ J ‰
give
her
call
a
‰
me up
œ œ. œ on
œ. œ œ call
me up
œ
œ
your heav - en
-
ly
FAME
&
# 13
MABEL
— 147 —
3
14 œ œ bœ œ œ œ ‰ ‰ œ œ
‰
on
your heav -en - ly line
tell
15
œ.
˙ . ~~~~~~~~~~~~~~~~~~~~~~~
me
oh
œ. œ œ œ œ
œ. œ
what it is
want of her
GIRLS
&
œ. œ œ ‰
œ
œ œ
line
tell
her,
# 16 œ
œ œ œ
œ
oh
Lord,
‰ œ œ.
17
œ
~~
&
#
save
&
# œ
œ. œ
me
save me from
≈ . rK œ œ œ œ
eat - in'
what -ev - er's
# & œ. œ œ
rit.
&
-
œ œ #œ
eat - in' what's in front of me. Oh
Give me the
bœ. œ œ
in
‰
front of
swer
#
20
œ
œ
œ
save
me
from
nœ.
her
œœ ..
-
# œœœ ...
ooh
U, œ œ œ œ
be
Lord.
œœ .. œ.
in'
21 U j 43 œ œ
U œ
The
fat
world's
3 UΠ4
U ∑
# œœ .. œ.
keep her from
œ . œ œ œ b œ . œ œ œ 18 œj œ
(Long)
19
an
that you
œ œ ‰ bœ œ
U Œ
ah
&
#22b œ
Rall.
dan
# Uœœ & œ
œ
œ
-
cer.
U œœœ
U œ U œœ œ
23
U (ad lib riff) ~~~~~~ ~ ˙ . ~ ~~~~~ ~~ U ˙˙˙ ... ˙.
ooh
# 1 3 — M a b e l ’s P r a y e r
24
∑
∑
U œ -
test
U Œ
— 148 —
FAME
13a
SCENE CHANGE TACET
13b
THE KISS–OFF TACET
13c T Y R O N E ’ S R A P R E P R I S E TACET
FAME
— 149 —
14 D A N C I N ’ O N T H E S I D E W A L K CUE: TYRONE: "Yo! Ears up! You seen it"
q » ¡£§ # c .1 . &
VAMP
GO ON; TYRONE: "Let me break it down."
.. ..
4
..
2
9
VOCAL 11
&
# Œ
TYRONE
12 j j ‰ œ nœ œ œ œ nœ œ œ œ bœ
Ev - ery day
&
# 15
I'll
wake up
splash my face
œ
17
∑
Œ
keep my - self from yawn - in'
&
# 19
œ
‰ œj œ n œ œj œ
j 21 œ œ
o - pen the win - dow
to
my bones to - geth - er,
3 œ œ bœ œ. J
check out
to
œ œ 18œ œ œ œ b œ œ . J
get dressed and get
20
∑
Œ œ n œ œ ‰ œj
14
∑
in the morn - in'
16 j œ bœ ‰
œ nœ œ œ
13
‰
22
∑
the weath - er.
23
# & ‰ œj œ œ # œ œ œ Then like
&
&
# 27Œ
#31œ
I seen
a ghost,
28
just
-
Œ
the post
Ó
25
Œ
man,
Œ
œ and
œ Œ Ó
I'll be mov - in' my feet
œ œ œ œ œ
29
in the cold
32
26
œ œ œ œ œ œ
man,
nœ œ œ ‰ Jœ œ
œ œ #œ œ like
œ ‰ Jœ ‰ Ó J
24
or
œ
j œ œ.
I
go
the heat,
33
œ œ œ œ œ J‰
30
no
˙. danc
time
to talk,
œ -
œ in',
— 150 —
&
37
&
#34
FAME
TYRONE
Œ
œ
# Ó
‰
-
Danc
# 41Ó
Œ
?# Ó
-
œ
œ
-
walk.
Œ
TYRONE
& Œ œ
nœ ‰ n Jœœ
danc
œœ œœ œ œ Ó
in'
on
the side
œœ œœ œœœ œœ œœœ œ œ œ
-
in'
on
the side
œ nœ œ œ œ
is
mus - ic to my
bœ
j‰ Œ œ
# 53
∑
-
the num - ber
one
œœ œœ œ œ
on the side - walk
2
œœ œœ œ œ
2
walk
47
48
∑
‰ œ œ nœ œ
œ ‰ œj
I'm down on Wall Street
51
œ
œ
œ œ J
South Street Sea-port
‰ œj œ n œ œ
on the side - walk
walk
∑
54
in'
43
œœœ œœ œ
all them fin - an-ciers,
&
in'
œœ œœ œ œ
œœœ # œœœ # œœœ œœœ œœœ
danc
ears,
50
-
œ Œ ‰ # Jœœ
in' on the side - walk
-
∑
40 Œ ‰ # œj œ # œ œœ œ œœœ œœ œœ œœ # œ œœ
39
46 j j ‰ œ nœ œ nœ œ œ œ bœ.
Lunch time
36
Ó
œœ œœ Ó œ œ
42 ‰ n œœj œœ œœ œœ œœ œœœ nœ œ œ œ œ
danc
# 49
35
in' on the side - walk
danc
&
side
the
œœ œœ œœœ œœ œœœ œ œ œ
œ Œ ‰ Jœœ
?# Ó
#
on
38 Œ ‰ œj œ œ œœ œ œœœ œœ œœ œœ œ œœ
ALL
45
œ
ALL
Danc
&
j œ œ
‰ Jœ tour
œ 52œ œ œ b œ œ . J J I
œ
œ œ bœ œ. J
-
ist
55
at - trac - tion.
#14—Dancin’ on the Sidewalk
with
am the ac - tion,
56
∑
FAME
57
&
TYRONE
# Œ
j œ #œ ‰ œ œ Hip hop
&
# 61
&
# œ
#68 & œ
71
&
to the
# Ó
is
Œ
Ó
66
‰
Œ
-
?# Ó
Œ
nœ ‰ n Jœœ danc
-
in'
œ
j œ œ.
when
I
am
j œ œ
œ
on
side
the
draw
69
œ
˙
my - self proud,
the
œ J
œ
on
73
œœœ œœ Ó œ
in'
on
œ -
œ in'
∑
74 Œ ‰ # œœj œœ # œœ œœ œœ œœœ œ œ œ #œ œ
danc
œœ œœ œ œ Ó
the side
œœ œœ œœœ œœ œœœ œ œ œ
-
˙.
70
Ó
œ Œ ‰ # Jœœ
in' on the side - walk
in'
67
the cab - bies squawk
danc
in' on the side - walk
-
a crowd,
walk.
76 ‰ n œj œ œ œœ œ œœ n œœ œœ œœ œ œœ œ
danc
do
œ
Œ
œœ œœ œœœ œœ œœœ œ œ œ
œ Œ ‰ Jœœ
Danc
&
for
72 Œ ‰ œœj œœ œœ œœ œœ œœœ œ œ œ œ œ
-
I
Œ ‰ œj
60
œ œ œ œ œ nœ where
ALL
ALL
# 75Ó
Œ
œ 63n œ œ œ œ œ 64œ œ œ. Œ œ ‰ Jœ Jœ œ J side
Œ
59
west side
the best
Danc
?# Ó
œ œ Ó
62
œ œ #œ œ œ
west side
65
58
— 151 —
the side
danc
œœœ œœ œ
77
-
in'
on the side - walk
œœœ # œœœ # œœœ œœœ œœœ -
in'
walk
#14—Dancin’ on the Sidewalk
œœ œœ œ œ
on the side - walk
2
walk
œœ œ œ œœ
œœœ œœ œ
2
— 152 —
79
&
# Ó
FAME
80 Œ ‰ œj œ œ œœ œ œœœ œœ œœ œœ œ œœ
Danc
?# Ó
œ Œ ‰ Jœœ Danc
&
-
# 83Ó
-
œœ œœ œœ œœ œœœ œ œ œ œ
-
&
117
&
126
#
on
the side
-
in'
on
the side
in'
on the side - walk
œœœ # œœœ # œœœ œœœ œœœ
œ Œ ‰ # Jœœ danc
œœœ œœ œ
-
-
in'
œœ œœ œ œ œœ œ œ œœ
on the side - walk
2
85
walk
œœ œœ œ œ
2
walk
[Dance Break] 30
# [Drum Solo]
#
in'
œœ œœ œœœ œœ œœœ œ œ œ
nœ ‰ n Jœœ
Œ
danc
œœ œœ œ œ Ó
84 ‰ n œœj œœ œœ œœ œœ œœœ nœ œ œ œ œ
Œ
82 Œ ‰ # œj œ # œ œœ œ œœœ œœ œœ œœ # œ œœ
in' on the side - walk
danc
87
œœ œœ Ó œ œ
in' on the side - walk
danc
?# Ó
81
& Ó
121 [Bs. - ad lib slap solo]
4
∑ Œ
127
‰ œ [Guitar] J
w
∑
128
˙.
5
∑
129
‰
#14—Dancin’ on the Sidewalk
œ J
˙.
∑ nœ #œ nœ #œ nœ #œ
FAME
130
&
# Œ
— 153 —
TYRONE
131 j ‰ œ œ n œ œ n œ œ œ b œ Jœ ‰ Œ
Up - town
I
do
132
my Boog - a - loo,
# 134 & œ n œ œ œ b œ Jœ ‰ Œ
stop - pin' traf - fic
135
&
&
# 142Œ
Œ
night time
139
∑
Œ
œ #œ
143
For
fi - na
-
œ
Times
Sqaure
un
Œ
150
&
# œ
Shu - bert Al
Œ
-
Œ
&
˙
they're gon - na
œ œ
œ # œ 155œ
danc
# œ.
158
&
-
in'
œ œ J
Œ
in'
der
Œ
the
crown
j œ œ.
152
I'm
‹
do - in'
˙. -
Ó
Build Up
145
Ó
œ ‰œ œ œ J J
3
153
Œ œ œ
œ ˙ in'
danc - in'
b˙
157̇
-
j œ œ
œ
160
œ
œ
on
side
-
walk.
the
#14—Dancin’ on the Sidewalk
œ J
of all New York,
danc
‰
Ó
˙
149
b˙
156
∑
my thing
œ
woo!
159
141
me the king
danc
Œ
œ œ bœ œ. J
cor - ner to be on,
œ œ œ œ œ nœ be
on
ne - on,
œ œ 148 œ œ œ œ œ
be - cause
# 154Œ
Œ
-
I'll
ley,
151
Ó
144
le,
147 # 146 œ. ‰ œ Œ œ œ œ J & # œ œ J
in
the
3 140 ‰ Jœ œ œ œ b œ œ . J
œ
œ œ ˙
œ œ
my
œ œ ‰ j 137œ œ
136
∑
sev - enth av - e-nue,
# 138
Œ œ n œ œj œ œj
133
∑
Ó
— 154 —
161
&
# Ó
FAME
162 Œ ‰ œj œ œ œœ œ œœœ œœ œœ œœ œ œœ ALL
Danc
-
?# Ó
œ Œ ‰ Jœœ
Danc
&
# 165Ó
Œ
-
?# Ó
Œ
nœ ‰ n Jœœ danc
&
# 169Ó
?# Ó
&
Œ
-
in'
on the side
Œ
nœ ‰ n Jœœ danc
danc
œœœ œœ œ œœ œœ œ œ
-
walk
in'
on the side
171
œœœ œœ Ó œ
172 Œ ‰ # œœj œœ # œœ œœ œœ œœœ œ œ œ #œ œ
œ Œ ‰ # Jœœ danc
œœœ œœ œ œœ œœ œ œ
-
walk
on the side
175
-
œœœ # œœœ # œœœ œœœ œœœ -
#14—Dancin’ on the Sidewalk
œœœ œœ œ
in' on the side - walk
œœ œœ œ œ
in' on the side - walk
2
walk
œœ œœ œœ œœ œœœ œ œ œ œ in'
in' on the side - walk
2
danc
œœ œœ œ œ Ó
on the side
-
œœ œ œ œœ
2
in' on the side - walk
in'
in' on the side - walk
œœœ # œœœ # œœœ œœœ œœœ
167
in' on the side - walk
-
-
œœ œœ œ œ
walk
œœ œœ œœ œœ œœœ œ œ œ œ
174 ‰ n œj œ œ œœ œ œœ n œœ œœ œœ œ œœ œ
danc
?# Ó
-
œœ œœ œœœ œœ œœœ œ œ œ
œ Œ ‰ Jœœ Danc
# 173Ó
-
œ Œ ‰ # Jœœ
in' on the side - walk
170 Œ ‰ œœj œœ œœ œœ œœ œœœ œ œ œ œ œ
Danc
danc
œœ œ œ œœ Ó
166 ‰ n œj œ œ œœ œ œœœ n œœ œœ œœ œ œœ
danc
164 Œ ‰ # œj œ # œ œœ œ œœœ œœ œœ œœ # œ œœ
in' on the side - walk
œœ œœ œœœ œœ œœœ œ œ œ
ALL
163
œœ œœ Ó œ œ
2
FAME
177
&
# Ó
ALL
178 Œ ‰ œj œ œ œœ œ œœœ œœ œœ œœ œ œœ
Danc
?# Ó
-
&
-
danc
?# Ó
nœ ‰ n Jœœ
Œ
danc
&
#185Ó
?# Ó
œœ œœ Ó œ œ
in' on the side - walk
Œ
Œ
danc
œœ œœ œ œ Ó
-
in'
œœ œœ œ œ
-
walk
on the side
186 ‰ n œœj œœ nœ œ
danc
2
183
2
œœœ
œœœ
œœœ
œœœ
-
in'
on
the
side
nœ ‰ n Jœœ
œœ œ
œœ œ
œœ œ
œœ œ
œœ œ
danc
-
in'
on
the
side
œœœ -
187
∑
walk.
œœ œ -
œœœ
walk.
#14—Dancin’ on the Sidewalk
œœ œ
œœ œœ œ œ
in' on the side - walk
walk
œœ œœ œœœ œœ œœœ œ œ œ in'
-
œœ œœ œ œ
in' on the side - walk
œœœ # œœœ # œœœ œœœ œœœ
danc
œœœ œœ œ
on the side
-
œ Œ ‰ # Jœœ
in' on the side - walk
182 ‰ n œj œ œ œœ œ œœœ n œœ œœ œœ œ œœ
Œ
180 Œ ‰ # œj œ # œ œœ œ œœœ œœ œœ œœ # œ œœ
179
œœ œœ œœ œœ œœœ œ œ œ œ
œ Œ ‰ Jœœ Danc
# 181Ó
— 155 —
∑
— 156 —
FAME
THESE ARE MY CHILDREN
15
CUE: TYRONE: "Uh, uh. No way, I'm not going to no reading class for dummies." [Tyrone runs out]
Rubato
b & b bbb c
2
1
∑
n n n b 12 n 8
œ œ œ œ.
j œ œ
rit.
3
Tempo - Gospel Ballad Feel VAMP
& b 12 8 .. Ó . 4
MISS SHERMAN
Œ.
6
2nd X
..
œ œ œ
j œ œ œ.
In times of
8
& b bœ.
œ œj œ .
oh,
so dark,
Ó.
7
Œ.
‰
trou-ble
when all the world
Œ.
9
‰ ‰ j œ œ œ œ œ. and
4
‰
I can't find
10
4
bœ œ œ
œ.
a way to
cope,
seems,
Œ. Ó.
11
& b Ó.
Œ.
12
œ
œ œ
j œ œ
œ.
Ó.
Œ.
13
‰
when deep in - side me,
15
feel
&b
17
˙. lost.
the spark,
when
Œ.
‰ ‰
I can see
j œ What
j œ œ œ œ œ
œ.
I can no long - er
Œ. & b b œ . œ œj œ . ‰ ‰ œj œ œ bœ œ œ œ œ. 14
4
no ray of
18
œ
œ
œ
makes
it
all
j œ œ
16
œ œ œ œ.
Œ.
hope,
œ œ œ when I am
œ.
worth - while,
œ
œ
one
sim - ple
œ
FAME
Œ.
19
&b
˙.
‰ ‰
œ.
œ.
U œ.
make
me
smile.
rit.
20
j œ
thought
— 157 —
to
tenuto
œ
œ
œ
These
are
my
j ‰ bœ œ œ œ œ
Œ.
A Tempo 21
& b œ. chil
& b Œ. 24
Œ.
22
œ œj ˙ . -
‰.
Œ.
23
4
œ œ œ ˙.
dren,
4
my sav - ing grace,
œ. œ œ œ
œ œ œ
in ev - 'ry face,
these are my
Ó.
& b œ . œ . œ . ~~~Œ . 27
I
‰
28
25
j œ. œ œ ˙.
chil
‰‰ j j œ œ œ
thank God
I see my call - ing
for choos - ing
-
29
‰ ‰ œj œ œ œ œ . ‰ ‰ j œ
26
dren
my fam - i - ly tree,
Œ. ‰
˙.
me,
and
30
4
œ œ œ œ. œ bœ œ ˙. for choos -ing
me.
31
& b Ó.
Œ.
Œ.
32
œ œ œ
œ.
I was - n't
blessed
˙.
‰.
35
in
this life,
& b Ó.
Œ. œ œ Fœ
to
But I was
œ. ˙.
œ.
bœ œ œ œ œ
˙.
to be mo - ther and
wife.
have my own,
Œ. Œ. ‰ 39
4
œ œ blessed
j œ œ œœœ
36
37 38
‰.
œ.
as oth-er wo - men
& b b œ . œ œj œ . ‰ ‰ œj œ œ œ 34
Œ.
33
œ
Ó.
40 j œ œ œ . b œ . œ œj œ . Œ .
be - yond where wild - est
#15—These Are My Children
dreams
can reach,
— 158 —
FAME
42
& b ‰ ‰ j b œ œ œ œj œ œ For
œ.
("Teach" may be spoken for emphasis) 43
Gospel Riff
Œ.
41
‰ ‰ j bœ œ œ œ. œ
I have the priv - 'lege
yes
Œ. Œ. œ œ œ
œ.
the priv - 'lege to
teach!
These are my
44
& b œ . œ œj œ . Œ . chil
47
&b ‰
-
49
‰
dren
‰
œ œ œ œ.
each and
j œ œ my
ev - 'ry face.
œ
œ
œ.
fam - i - ly
tree,
‰
& b œ.
œ.
œ.
I
thank
God,
54
j œ œ. yes,
A Tempo
& b ˙. me,
I
œ. thank
Ritard
Œ.
j ‰ bœ Œ. œ œ œ œ 4
55
œ œ œ w. for choos- ing
me.
œ
These
are
I see my call - ing
œ
œ.
œ
j œ œ.
my
chil
-
dren,
48
j œ œf . 50
‰
I
œ.
œ.
thank
God,
53 U ˙ .~~~~~~~ ˙ ~~ .
U ‰ ‰
Gospel Riff
52
œ
œ
and
Ritard 51
Œ.
46
my sav - ing grace,
j œ. œ œ œ œ œ
‰
Œ.
4
4
in
&b ‰
Œ.
45
Ó.
56
Œ.
and
j j œ œ œ
God,
for choos - ing
Uj U U U , U j Œ . œ œ œj ˙ . ˙ . Gospel Riff
These are my
j œ
œ
chil - dren
#15—These Are My Children
j œ ‰ ‰ Œ. Ó.
58
"
FAME
15a
FA N FA R E & F L U T E TACET
15b
PAVA N E TACET
15c
PAVA N E 2 TACET
— 159 —
— 160 —
FAME
15d
FA N FA R E & F U N K TACET
16
PA S D E D E U X TACET
16a
CARMEN’S RETURN TACET
FAME
— 161 —
IN L.A.
17
CUE: LAMB. “Did you meet any movie stars?” CARMEN: “Sure.”
b &bb c
2
1
SAFETY 3X's - VOCAL LAST X
&
6
CARMEN
3 b b b .. ≈
œ œ
Out in
and broke
b &bb ≈ œ 7
L.
A.
œ œ
b &bb ‰ œ œ 9
11
in
that this
the suit - case that my girl
fel - low sent
me,
in his place,
3
-
friend
An - na lent me.
j ‰ 10 œ œ œ œ œ œ œ œ œ Ó
œœ œ œ
for a while
3
the tick - et
‰ Ó œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ
œ
œ œ œ œ
I stayed
on
8
One change of clothes,
b &bb Œ
.. Ó œ œ œ œ œ œ . œ œ œ œ œ œ
œ œ œ œ
run - ning' with this crowd of his,
12
‰
œ bœ bœ œ œ œ œ par - ty - in' day af - ter day,
œ œ œ œ Nœ œ œ œ œ meet - in'
ev - ery - bod - y
‰ œ
15
in
‰
the biz.
œ œ Oh, they
13
b & b b œ. know
14
œ œ œ œ. ‰ œ œ ˙. how to do it
in L.
A..
They
œ œ. know
œ œ œ œ œ how to make
it
seem
œ
œ
brand new,
— 162 —
b &bb
FAME
3
16
˙
though it's
b &bb
19
œ. dream
&
21 bbb
3
17
Œ ‰ œ œ Aœ
œ.
œ
œ bœ œ œ
true
œ œ œ nœ
what they say,
that it's
œ œ œ œ.
œ
is
you wish
you,
a
wish
œ
your dream
on
3
œ œ œ œ.
œ œ
ly a dream,
and a
-
20
œ œ œ
œ
A.
18
for
œ
œ
œ
may
come
true.
22
˙
œ.
‰
œ œ bœ
3
œ nœ in
VAMP 23
..
Ó
L.
..
∑
24
b &bb ≈ œ œ œ œ Af - ter
the booze
25
≈ œ œ œ œ œ
œ œ œ and the coke,
the
vi - sions of
œ œ œ œ œ
the
blue
Pa - cif
-
‰ Ó
ic,
27 b 26 ‰ Ó &bb ≈ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ
af - ter
the two hun - dreth time
I
told him he was
just ter - rif
29 b 28 r & b b ‰. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
I
b 30 &bb Œ
woke up one late
3
af - ter - noon
left - o - ver taste in
œ
my mouth,
i.c,
œ œ œ œ œj ‰ Œ
could - n't tell quite where I was,
31
3
œ bœ bœ œ œ œ
and
-
≈ œ œ œ œ
Nœ œ œ œ œ
and with a morn - in' - af
#17—In L.A.
-
ter buzz,
Œ
FAME
b &bb ≈œ œ 32
b &bb
œ œ for
b &bb ‰ 36
œ œ œ œ œ œ œ œ ‰ bœ œ œ œ œ
and found
œ
œ
tips
my - self a
j œ ‰
34
œ
33
œ œ œ œ ≈ œ œ
I packed my bag and split
œ
— 163 —
for
œ œ œ œ œ œ œ œ ‰
‰
ev - ery
b &bb ≈ œ œ œ œ
œ
ev - ery
as
in
bed
b &bb ≈ œ œ œ œ œ
the
œ œ œ.
œ œ œ œ œ
and cried
till there were no more
40
42
far
œ
‰
are
bœ
œ
that it
hours
went by,
39
j œ œ œ œ œ.
Œ
tears
44
one
nev - er ends,
43
œ œ.
from home
b &bb ≈ œ œ œ œ œ You get thru
œ œ ˙
to cry.
41
œ œ œ. you
œ
œ œ œ. œ œ œ Œ œ œ œ œ. œ œ œ œ œ
You try to stop the thought from com - in'
b & b b œ.
Ó
œ œ œ
37
38
then fell
the bar
lone - ly slob,
œ œ
sin - gle min - ute
worked
35
≈ bœ œ œ
and stripped
count - ed
danc - in' job,
and
œ œ.
you think a - bout how
Ó
œ
friends.
45
œ œ œ œ œ.
œ
œ œ œ œ œ œ
œ
day at
you
find a way of stay - in'
numb,
a time,
#17—In L.A.
œ
Œ
— 164 —
FAME
b 46‰ j b & b œ œ œ œ œ œ.
47 ‰ œj œ
don't look
to
in the mir-ror
see
œ œ œ
œ
œ
what you've
‰ œ3 œ
œ
be - come.
But
they
48
b & b b œ.
49
œ œ œ œ. ‰ œ œ ˙
know
how to do it
b &bb œ
in L.
œ œ œ œ
53
55
-
œ
ly
a dream
œ.
œ b œ ~~
~
you,
&
58 Some ad liff riffs bbb w
A.,
‰ œ3 n œ in
˙.
59
L.
56
œ bœ
true
54
‰
œ
a
dream
[Under Dialogue]
it
seem
so
œ
œ.
œ œ
what they
say
that it's
œ œ œ
œ œ œ œ.
is
you wish
w
a wish
˙.
for
œ 3œ n œ
57
A.,
in
œ œ nœ U œ 60
3
in L.
A...
61
b &bb
how to make
3
œ
‰ œ œ and
know
52
though it's
b &bb œ
b &bb œ
they
œ œ
new;
on
‰ œ œ œ.
A.,
œ œ œ œ œ.
51
œ œ œ œ œ œ
50
Œ
8
#17—In L.A.
Ritard
œ.
P œ œ
œ
the dreams
all
L.
U œ " come,
FAME
— 165 —
SCHLOMO: "I love you, don't forget that." Push A Little
b &bb
G.P.
69
70
∑
71
∑
Ó
Œ
72
b & b b œ. know
3
how to do it
b 75 &bb œ
œ
œ
sky
is
blue,
b &bb œ
œ
77
on
-
b . &bb œ 79
Some ad liff riffs
&
73
in L.
A.,
‰
œ J
œ
so
ad liff riff
smile
ly
and you'll
a dream,"
œ œ bœ
that some- where up
œ
œ3
œ
get
L.
˙.
86
the
"It's
œ
œ
to
˙.
œ 3œ n œ
A.,
in L.
there
say,
81
in
U 3 84 U œ œ nœ œ
83
j œ
what is com - in'
œ 3œ n œ 80 w in
they
j œ
œ œ œ œ.
‰
Yes,
œ bœ.
when they
78
œ
œ œj œ
œ œ œ
know
œ
76
œ œ
A.,
b 85 w b & b
they
œ œ œ.
you,
82 bbb w
74 ‰ œj œ
œ œ œ œ. ‰ Aœ œ ˙.
œ
œ.
A...
87
w
true.
#17—In L.A.
U w
L.
P œ œ
œ
U œ "
your dreams
all
come
— 166 —
FAME
17a
THE PROM TACET
17b
AFTER PROM TACET
FAME
18
— 167 —
L E T ’ S P L AY A LOVE SCENE—REPRISE
CUE: SERENA: "What's going to happen to us?"
Rubato
b & b b b b 44
SERENA: "And you'll probably meet..."
1
4
5
&
bbbb
NICK
6
b œ. You
b & b bbb ‰ 7
œ œ
œ œ œ
œ
‰
œ
œ œ œ
bœ œ œ œ.
I
was the great
pre - tend
were the hon - est friend,
j nœ
œ
œ
I
hid
my
b & b bbb n œ . 9
say
8
œ
œ
œ œ
feel - ings
to
the end.
nœ œ œ
œ œ œ
what it means
to me,
b & b bbb œ .
j nœ
same
with
11
œ
-
10
‰ nœ
out
you...
to
œ
œ
œ
I could nev - er
be
the
[They Kiss]
U Œ
œ.
want
nœ œ œ U Œ
12
er,
œ nœ œ œ Now
how
j nœ
Œ
œ
-
U Œ
U Œ
I
# nnnnn##
A Tempo 13
&
###
16
3
SERENA
‰ œ œ œ œ œ œ œ œ The way
&
# # # 17
I know I
∑
## œ œ & # ‰ œ œ œœ œ œ
feel
a - bout you.
‰ œj œ Ó œ
42
18
I know I'll al - ways
SERENA
Why can't we,
NICK
The way
real - ly
œ œ œ œ œ
œ œœ œ œ feel
a - bout you.
Ó
2 ‰ œj œ œ 4 Why can't we,
— 168 —
FAME
# # # 219 & 4‰
SERENA
j œ
œ
œ
why
can't
we
## 2 & # 4‰
NICK
j œ
œ
œ
why
can't
we
4420b w
21
try
nw
nnnbb
‰ n œj b œ œ
˙
to
˙
play
bœ œ
‰ n Jœ
? 4
4 try
a
to
play
nnnbb
a
22
b &b ˙
scene,
˙
˙
love
scene,
b &b ‰ 25
‰
the
œ œ œ
œ œ œ
where we see
how love
27
the part,
œ œ ? b œ œ œ œ œ b learn to play
o - lins
vi
-
o - lins
26
be - gins,
œ œ œ a per - fect
œ œ œ
love
scene,
to play
love
scene,
œ œ. J
˙
a
a way
œ
to start,
œ œ œ œ œ œ
be - gins,
find
28
a
˙
œ œ #œ œ œ œ
find
œ œ J ‰
3
to play
˙
œ œ œ œ œ
j œ œ ‰
œ œ œ œ
b & b nœ œ œ œ œ œ œ learn to play
the
œ œ œ œ how love
-
œ œ œ œ
we don't need
see
vi
24
œ œ œ œ œ
œ œ œ œ
we don't need
œ œ œ where we
? bb ‰
‰ œ œ œ
˙
love
? bb
23
a way
˙
scene
˙
from
a play
scene
from
a play
and
œ ‰ J
to start,
and
œ œ œ 29 ˙
nœ
œ
œ
œ œ
‰ b Jœ œ œ
un - known.
œ œ œ œ œ
Let's play a
˙
bœ œ œ ‰ J
3
the part,
a per - fect
un - known.
Let's play a
A Tempo
b 30‰ N œ œ œ ‰ œ œ œ 31 ˙ b & Let's play a
? bb ‰
Nœ œ œ Let's play a
Let's play a
‰
˙
œ œ œ
love
Let's play a
love
˙ ˙
scene,
scene,
˙
32
˙
Ritard
U 33 Œ " œ œj w J u U œU " Œ J Jœ
of our
own!
of our
own!
Ritard
˙
# 1 8 — L e t ’s P l a y a L o v e S c e n e — R e p r i s e
œ nœ
34
˙
Ó
˙ Ó
FAME
— 169 —
BRING ON TOMORROW— REPRISE
19
CUE: SCHLOMO: "Are you listening, Carmen? We'll always remember your name..."
Molto Rubato, mournfully [Schlomo - Violin Solo Onstage]
&
&
# c‰
Œ
œ
œ J
œ
#œ.
b œœ
4
œ
œ
∑
&b
n œœ
œ
œ œ
π
œ
œ
œ
œ œ
œ œ œ
œ œ N œœ
œ
œ œ nœ œ œ œ # œ œ œ œ œ œ J
œ
œ
œ œ œ œ
(Melody)
œ œ œ œ F
∑
œ
∑
œ œ
bœ œ
Tempo 2
œ œ œ œ
q » ¶§
w
3
∑
nb
œœ
˙
Ó
p
∑
SCHLOMO
&b œ
œ œ ˙
We
have arr - ived
6
&b ‰
œ œ
œ
œ
9
3
e - nough
pass - es
3
in - to
5
a
œ ‰ œ œ œ œ œ
œ œ œ œ œ real - ly strong
œ œ at
when the fu - ture
&b
œ œ œ œ œ œ
œ œ œ œ œ J F
œ œ
∑
#
∑
(an echo)
œ
œ J p
∑
our
œ
œ œ œ œ ˙
mo
-
ment in
3
7
8
Œ œ œ
b˙ hands,
we can
our lives,
j œ œ.
Œ
‰ 3œ œ
find out,
are we
SERENA
œœœ ‰
10
œ œ
˙
to ful - fill
‰
œ œ œ 3
œ œ
11
˙.
what the fu - ture de - mands?
‰
3
œ œ We can
— 170 —
FAME
SERENA
12
&b œ stand
on
14
&b ‰
œ œ
b bœ 17
whole
&b
˙
20
œ
œ œ
by the won - ders we
œ
3
18
œ œ
will be - come
ALL
j œœ œœ
‰
on
œœ œœ
21
to - mor
-
j œ œ œ œœ œœœ œœœ J
Bring
on
to - mor
œœ œœ .. J
-
sun
?
com - ing up
on a beau - ti*- ful day,
it's
œ œ œ œ œ œ œ 3œ œ œ œ b sun
com - ing up
* Pronounced with a soft “t” (beaudiful).
* on a beau - ti - ful day,
it's
24
œ yours
œ yours
all make a pledge,
, œ œ œ œ N œ3
œ
whatwewant
to
œœ œ
œ œ œ
16
it
19
be!
œœ
˙.
let it
shine,
‰ œœ
˙.
let it
shine,
œ
‰ b œœœ œœœ œœœ
œ œ and mine,
œ œ
we can make
œ
and mine,
# 1 9 — B r i n g o n To m o r r o w — R e p r i s e
that the
w
22
‰
row,
3
œ œ ˙ in - to space,
We can
œœ
j œœœ œœ .. J œ.
œ
œ œ œ œ œ ˙
row,
&b œ œ œ œ œ œ œ œ œ œ œ 23
NICK
see.
œ
œ out
œ œ œ b˙.
hu - man race,
‰
look
15
3
œ œ œ œ
13
œ
œ and
‰
Bring
? Ó b
3
the edge,
and be awed
&
‰
œ œ ˙
‰ œ œ like the
œ œ
‰
like the
œœ œœ bœ œ a
dif -
b œœ œœ œœ œœ œœ ‰ œ œ œ bœ œ we can make
a
dif -
FAME
— 171 —
ALL
25 j b & œœœ
œœ .. œ.
œ œ œ œ œ œ 26 ˙ œœ œœ œœ n œœ œœ œœ ˙˙
‰
ference,
it's
œœ .. œ.
œ ? b œœ J
ference,
mor
-
œœœ ... .
?b
mor
32
œœ œœ ..
Œ
it's
not
28
ww
row,
we can't
wait!
œœ œœ œœ œœ
œœ œœ .. œ œ. œ œ.
ww ww
we can't
wait!
-
Œ
row,
too
œœ œœ œœ œ œ œ œ œ œ œ œ œ
‰
27 b & œœ .. œœ œœ
not
too
œ b œœ
late,
˙˙ ˙œ
œœ
œœ
œœ
bring
on
to -
bring
on
to -
œœ b œœ j œœœ œœ œ œœ œœ œ œœ
œ
late,
3
29
3
LAMB
&b œ Long,
œ œ ˙
œ
33
œ œ
long a - go,
in
œ
3
a
œ
œ œ œ œ ˙
world
we nev - er made,
IRIS 34
&b ‰
œ œ we
j & b œœ œœ .. 36
our
eyes,
‰
œ
were chil
Œ
-
dren
35
3
œ
œ
œ
œ
œ
who
were
mak - ing
be
œ œ
œ œ
œœ œœ œœ œ œ œ œ
3
‰ œ œ œ œ we were
37
œ œ
trav - el - lers
in
b˙ -
air,
# 1 9 — B r i n g o n To m o r r o w — R e p r i s e
lieve,
3
Œ
œœ œœ
LAMB
clos - ing
‰
œ œ to
a
— 172 —
FAME
IRIS
3
38
& b ˙˙ LAMB
‰
land
40
œ œ œ œ
œœ
œ œ
we would not
want
to
JOE
3
39
œœ
œœ œœ œœ œœ
œœ
‰
leave.
3
œ œ But this
JOE
&b œ œ œ œ
œ
fair - y tale
land,
‰
œ
œ œ
‰ œ œ œ œ œ œ
œ
But this fair - y tale
land,
JOE & SCHLOMO
3
&b ‰
and we all
as
Œ
‰
we grow,
œ œ3 œ œ
œ œ
fades a - way as
MABEL
have to say our good - byes,
and we
œ œ
43
44
now un - der- stand,
‰ Jœ œ b œ . b œ Œ Bye,
3
œ #œ œ
we grow,
œ œ œ ˙
TYRONE
∑
&b
œ œ œ ˙
b ˙˙ ..
œ ‰ œ œ œ œ œ œ œ œ œ œ œ
42
œ
fades a - way
TYRONE (Gospel style ad lib) 3
&b Œ
41
3
œ œ œ that this
∑
bye bye
MABEL & GOODY
&b
45
bœ
world
&b
œ œ œ œ that we know,
∑
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3
3
3
46
can be
ours if we o - pen our
∑
47
w w
(ad lib riff)
˙ ˙
48
eyes...
ALL
‰ œœj œœ œœ œœ Bring on to - mor -
∑
? Ó
j œ œ œ œ ‰ Jœ œœ œœ œœ Bring on
# 1 9 — B r i n g o n To m o r r o w — R e p r i s e
to - mor -
FAME
49
ALL
& b Jœœ
œœ ..
j œ œ ? œ b J
row,
œœ
(unis.)
‰
œœ œ
‰
row,
shine,
œ œ
˙.
3
&b œ œ œ œ œ œ œ œ œ œ œ sun
com - ing up
on a beau - ti - ful day,
it's
it
52
œ yours
?b œ œ œ œ œ œ œ œ œ œ œ
œ
‰
˙.
it
let
51
50
œ œ let
œœ .. œ.
— 173 —
œ œ like
œ œ
‰
shine,
like
œ œ
the
œ
‰ b œœœ œœœ œœœ
œ
b œœ œœ œœ œœ œœ ‰ œ œ œ bœ œ
and mine,
œ œ
the
œ œ b œœ œœ
we can make
a
dif -
we can make
a
dif -
3
sun
j & b œœœ 53
com - ing up
on a beau - ti - ful day,
œœ .. œ.
it's
œœ .. œ.
‰
ference,
not
we can't
wait.
œœ œœ .. . œ œ ? b œœœ ... œœ œœ Œ œœ œœ .. œ œ
œœ .. œœ ..
?b
we can't
∑
too
54
˙˙ ˙
it's
late,
not
œ b œœ
late,
˙˙˙œ
œœ œœ .. 56 œœ .. œb œj ˙ b œ . œ œ œ . œœ œ ˙ & b œ. œ œ Œ
mor - row,
and mine,
œœœ œœœ œœœ œ œœ œ œ œ
55
mor - row,
yours
œ œ œ œ œœ œ œœ œœ œœ n œœ œ œœ
‰
ference,
? b œœœ J
it's
too
œ œœ bring
œ
œœ œœ
œœ bring
œœ b œœ œ œ on
to -
œœœ œœœ on
to -
[VOCAL BREAK - Accapella] WOMEN
œœ .. œ œ œ œœj œœ ≈ R
57
œœœ œœ œœ œœ œœ œ œ œ œ Bring on
to - mor -
Bring on
to - mor -
j b œœ œ˙ . œ œ œ œ œœ .. œ œ œ œœ œœr ≈ MEN œ ˙ J R & œœ œ œ œ œ J œ œœ œœ œœ œœ
wait.
∑
˙
œ ≈
œ œ œ œ œ
MEN
Bring on
# 1 9 — B r i n g o n To m o r r o w — R e p r i s e
to - mor -
— 174 —
FAME
(ALL Clap Hands on beats 2 & 4)
& b œœœ ... 58
W.
œœ œœ œ œ row,
& b œœ .. œ. M.
? œ. b
60
row,
row,
& b œœ .. œ. ? b œ.
œœœ œœœ
‰
62
œœ œœ œ œ
? b œ.
œœ œœ œ œ œ œ
œ œ
‰
Œ Œ
˙
61
Œ
œœ œ
œœ œ
‰
œœ œ
œœ œ
we can’t
wait!
œœ œ
œ œ
wait!
we can’t
wait!
œ
œ œ œ
j œœ œœ .. œ œ.
‰
˙
‰
63
˙œœ œœ
œ œ
‰
˙
œœ
œœ
‰ ‰
# 1 9 — B r i n g o n To m o r r o w — R e p r i s e
to - mor -
œœ œœœ œ to - mor -
œ œ
to - mor -
to - mor -
œœ œ œ œ œ œ œœ œœ œœ œœ Bring on
to - mor -
Bring on
to - mor -
œœœ œœ œœ œ œ
œœ œœ œ œ
œ œ œ œ œ
Bring on
˙œ œ
œœ œœ œ œ
œœœ œœ œœ œœ œœ œ œ œ œ Bring on
late!
œœ œœ œ œ
we can’t
‰
late!
too
œ œ œ œœ œœ œœ
Bring on
œ ≈ œ
œœœ œœœ
‰
œœ
late!
too
≈
it’s not
row,
row,
œ
too
it’s not
row,
& b œœ .. œ.
wait!
œœ
Bring on
œœ œœ ≈ œœ ≈ œ œ œ œ œœ
row,
& b œœœ ...
we can’t
it’s not
row,
œ œ
wait!
œœœ œœ œœ œ œ Bring on
œœ œœ ≈ œœ ≈ œœ œ œ œ œ
‰
‰
œ œ
œ œ
˙œœ
œ œ
Œ
˙œœ
wait!
œœœ
we can’t
œ œ
œœ œœ œ œ
œœœ œœœ
Œ
œœœ œœœ
59
œœ œ
we can’t
row,
& b œœœ ...
œœ œœ œ œ
Œ
œ œœ œœœ œœœ
to - mor -
œœ œœ œ œ œ œ
Bring on
to - mor -
Bring on
to - mor -
œ œ œ
FAME
& b œœœ ... 64
œœ œœ œ œ
œœ œœ .. œ œ.
Œ
row,
& b œœ .. œ. ? b œ.
œœ œœ œ œ œ œ
67
b www
wait!
œ œœœ œœ ...
b www
we can’t
wait!
œ œ.
Œ
row,
66
we can’t
Œ
row,
65
— 175 —
j ‰ œœ œœ œœ Bring on
to -
Bring on
to -
œ œ œ ? ‰ œ œœ œœ J
˙˙ ˙
w
we can’t
˙˙˙
Ritard
˙
Ó
&
wait!
Slightly Slower Tempo, Maestoso
œœ ˙˙
ALL
& b œœ .. mor
-
?b
mor
‰
row,
let it
œœ ˙˙ œ ˙
œœœ .. .
œœ œœ 68 œœ .
-
‰
row,
œœœ œœœ
œœ ˙.
let it
shine,
&b œ œ œ œ œ œ œ œ œ œ œ sun com -ing up
71 j . b & œœœ œœœ ..
ference,
œœ
œ ? œœ b J
œœ .. œ. ference,
yours
œ yours
‰
late,
and mine,
we can make
œœ
œ œ
œ œ
and mine,
we can make
r œœ b œœ j œœœ œœ œ . œœ œœ œœ ≈ œœ œ œœ œœ ... œ œ Œ œ œ R J bring on
œ
bring on
œœœ œœœ a
dif -
œœ b œœœ œœœ œœœ b œœœ œœœ R≈
r 73 œœ ≈ œj œœ œœ œœ .. œœ œœ Œ bœ œ
late,
œœœ œœœ œœœ œ œœ œ ˙˙ œ œ œ˙ ‰ too
(unis.)
r œœ œ b œœ ≈ b œœœ œœœ œœœ
œœ œœ
72 œ œ œ ‰ œ œ œ œœœ œœœ œœœ ˙˙˙ œ œ œ
it's not
œœ œœ œœ
œœ œœ
œ
on a beau - ti - ful day, it's
too
œœ ..
‰
like the
70
on a beau - ti - ful day, it's
it's not
Nœ œ œ
(unis.)
like the
3 ?b œ œ œ œ œ œ œ œ œ œ œ
sun com -ing up
.
shine,
3
69
œ œ ˙œ
to - mor
to - mor
# 1 9 — B r i n g o n To m o r r o w — R e p r i s e
-
-
row,
row,
a
dif -
œœ œœ .. we can't
œœœ œœœ .. . œ œ. we can't
— 176 —
FAME
j #œ
ALL
w. & b wœ 74
˙
75
j œ
n ˙˙œ .
œœ ‰ œœ œœ œœ œ œ œ œ J
wait!
Bring on
j #œ #œ J
wœ . ? b wœ .
j œ nœ J
n ˙˙œ . œ.
˙ ˙
j œœ ‰ œ œ J
wait!
r & b ‰. œ œ œ
[Or ad lib solos]
We
can't
SOLO 2
r j œ œ ≈ œ œ œ
wait!
We
œ
can't wait!
SOLO 3
We
Œ
mor - row,
œœ ? b Ab œœ
can't wait!
molto rit.
œœœ œœ œœœ
œœ œœ œœ œœœ œœ
mor - row,
œœœ œœœ .. . we can't
Œ
œœœ œœœ .. . œ œ. we can't
77
wœ . œ.
œœ ˙˙ J
to -
œ J ≈ Rœ œ œ b œ œ œ œ Œ
ALL
œœœ b A &
œœ œœ œ œ œ œ
Bring on
SOLO 1
76
œœ œ œ
to -
78
˙˙˙
U ˙˙ ˙
˙˙˙ ˙
U˙ ˙˙ ˙
79
œœ œ J ‰ Œ Ó
wait!
wœ b œœ ˙˙ œœ ... œ ˙ J wait!
# 1 9 — B r i n g o n To m o r r o w — R e p r i s e
œœ œ œ J ‰ Œ Ó [END ACT 2]
FAME
BOWS & EXIT
20
&
# c1 ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
&
44
&
∑
œ œ œ
œ
10
2
[Drums]
#4 œ & #œ
#
œ
30
20
œ #œ f
‰
∑
œ œ œ
‰ n œœ
&
w w
∑
˙. ˙.
48
œ
œ œ œ
j œ œ œœ œœ
∑
j œ Ó œœ
œ
˙
4
‰
7
œ œ œ #œ
43
œ nœ œ J nœ
46
‰
ALL 49
Œ
∑ ∑
∑
Œ
####
∑
aœ I'm
? ####
œ #œ œ ‰ œ #œ J
6
œ J
36
∑
3
˙.
6
45
∑
∑
[Tpt./Alto Sx./Tbn.]
# # # #47 w
œ œ œ
(quick fall off)
5
#œ œ œ #œ
#### Ó
— 177 —
aœ I'm
œ œ
∑œ œ œ
œ
œ œ œ J
‰
‰ œj œ œ a
-
‰ Jœ œ œ a
-
— 178 —
FAME
50
# # # # ALL & w
51
Œ
live
? #### w
&
Œ
Œ
nw
Œ
world
# # # # 58 œ . œœ .. & hit
the
œœ œœ œ œ J
? # # # # œœœ ... hit
&
####
that
œœ œœ œ œ J
the
will
I
will
j œ. œ œ œ œ œ œ. œ that I can . œ œ Jœ œ
55
? #### n w
&
sur
I
and
world
# # # # 62
and
œ œ œ œ
live
# # # # 54
œ œ œ
œœ
œœ œ
59
heights,
œœ œ
I
ww w
can
# www
52
œ œ
-
sur
-
vive,
w # ww
œœœ
Œ
œœ œ
Œ
vive,
˙˙ ˙
œœ œœ œ œ œ œ œœ œœ
take
˙˙˙
œœœ œœœ œœœ œœœ
take
it,
56 S. S. A.
T. T. B.
60
ww w
57
it,
ww w
61
ww w
œ
œ
show
the
œ
œ
show
the
‰ œœj œœ
˙˙ ˙
when I
˙˙˙
‰ Jœœ œœ when I
˙˙ ˙
3
Œ œ œ put
˙˙ ˙
my
3 œ Œ œ
heights,
put
my
CARMEN
(∑)
63
Œ œ œ #œ œ œ œ Yes, I'm gon - na put my
? ####
53
ALL
œ œ œ # œœœ ... œœ œœ œœ J name
in
lights,
name
in
lights,
œ œ œ # œœœ ... œœ œœ œœ J
ww w ww w
64
œ
œ3 œ Œ œ œ
name in lights,
ww w ww w
65
(∑ )
yeah!
œœ Œ œ œ œ show the
œœ œ Œ œ œ
show the
#20—Bows & Exit
FAME
ALL
œ
Œ
~~
&
# # # # 66
œ œ œ œ. J
67
Ó
Œ
world
that I
œ
? ####
~~
Œ
Ó
Œ
can
that I
71
68
can
do -in'...
do -in'...
&
œ by
œ œ œ œ ˙
Œ
it,
by do - in' hard
b 75 & b bb
83
it,
œ by
œ œ œ œ 74 >œ Œ ‰ Jœœ œœ œœ œœ œœ ‰ Œ Ó J ƒ by do - in' hard work! œœ œœ œœ œœ >œœ œ œ œ œ œ J ‰Œ Ó Œ ‰J ƒ
œ œ. ˙ a œœ œœ .. ˙˙ J
∑
Œ
73
do -in'...
? # # # # n n œœœ œœœ Œ Ó
69
make
œ œ. ˙ a œœ œœ .. ˙˙ J
do -in'...
œ œ œ œ ˙
˙
72
∑
˙
make
œ œ œ œ. J
world
# # 70 & # # n n œœœ œœœ Œ Ó
— 179 —
nnnnbb b b nnnnbb b b
work!
8
bbbb Ó
CARMEN
84
j œ œ.
Œ
œ œ œ
Ba - by
look
at
j œ œ œ œ
œ J
and tell
what
85
Œ
me
me
œ J œ
86
you
œ œ J
Œ
see
89 j 90 b b b 87 œ œ œ œ œ œj 88œ œ b Œ œ œ œ & œ œ œ J J œ œ œ œ œ œ œ
you
ain't seen
the
best
of me yet
give
me time
I'll make
you for - get the
91
bb & b b œj ‰ Œ rest.
j œ œ. I
got
92
œ
œ
œ
more
in
me
Œ
œ
j œ œ
œ J
you
can
set
93
#20—Bows & Exit
Œ
œ and
— 180 —
FAME
CARMEN
b b94 œ œ b & b J
œ œ J
it
b 97 & b bb ‰
Œ
œ
œ
œ
I
can
catch
95
free
œ J
œ
œ
Don't
you
know
œ
œ J
j 96 œ œ œ œ
œ the
moon
œ.
œ J
in
my
hand
œ
œ
œ
œ name.
œ
œ
œ
who
I
am
re - mem - ber
my
101
j œ œ.
Ó
98
CARMEN
99
b & b bb
100
∑ ˙˙
Œ
œ
œ
œ
œ
œ
I'm
gon - na
live
œ
œ
œ
for - ev
-
er,
ALL
b & b bb
Œ
Œ
∑
∑
Œ
∑
∑
Fame!
? bb b b
Œ
˙˙ ˙ -
Fame!
b 102 & b bb œ œ œ œ œ œ œ œ I'm
b & b bb
gon - na
learn
how
∑
to
j œ ‰ Œ Ó
103
fly,
Œ
> ˙
104
œ œ œ œ œ œ œ œ I
feel
it
com
-
Œ
∑
Œ
∑
High!
? bb b b
∑
& Œ
> ˙
High!
#20—Bows & Exit
in'
to - geth -
FAME
— 181 —
œ
œ
j œ œ œ ‰ ˙
me
and
cry,
CARMEN
&
b b b b œj 105
106
Ó
œ.
œ
er,
&
bbbb
œ
œ
œ
peo - ple
will
see
∑
œ
‰ œj
107
Fame!
∑
Œ
I'm
˙˙
ALL
Œ
Fame!
b & b bb
∑
˙˙ ˙ -
? Œ
∑
Œ
Fame!
CARMEN
b & b bb œ œ œ œ 108
œ œ œ œ
gon - na make
bb b b œj ‰ ˙ &
it
to
heav
109
110
œœ œ Ó -
en,
œ œ œ œ œ œ œ œ
light
up
the
sky
like
œ
œ
113
for - ev
-
a flame,
CARMEN
111
Œ
Fame!
b & b bb Œ
ALL
œœ
112
œ
I'm
œ
œ
gon - na
live
œ
œ
Ó
œ œ œ er,
œœ œœ œ œ
œœ œ œœ
˙˙
Œ
∑
œœ œœ œ œ
œœ œœ œœ
˙˙
Œ
∑
œ œ œ
œ œ œ
˙
Œ
∑
Fame!
? bb b Πb
œœ Fame!
? bb b Πb
œ Fame!
#20—Bows & Exit
— 182 —
FAME
b & b bb œ œ œ œ œ œ œ œ 114
Ba - by, re - mem
&
bbbb
-
ber my
∑
115
œ
Œ
∑
j > j > œ œ œ ‰ œ œœ œ ‰ œ œœ œœ J J re - mem - ber,
j > j > œ œ œ ‰ œœ œœœ œœ ‰ œœ œœœ œœœ J J > > Re - mem -ber,
b b b 117 œœj œœ . b & œ œ .. œœ œœ .. ? b b b Jœ œ . b mem - ber
re - mem - ber,
œœ .. n # œœj 118œœ .. n # œœj œœ œœ œœ b n œœ œ. n œ œ. n œ œ œ œ œ
mem - ber
re - mem - ber
œœ .. # n œœ œ. n œ J
∑
name.
Re - mem -ber,
? bb b b
116
Ó
my
my
re - mem - ber
re -
j > œ œœ ‰ œœ œœœ œœœ Œ ‰ Jœ J > re - mem - ber
119
www
120
˙˙˙
ww w
˙˙ ˙
re -
Ó
name.
œœœ ... # n n œœœ œœœ œœœ œœœ n b n œœœ J re - mem - ber
j > j œ ‰ œ œœ œœ Œ ‰ œœœ J
name.
#20—Bows & Exit
Ó Fine
FAME
— 183 —
Rock 'n' Roll
4A
Goody Solo
q=140-144 Gm
3
F
Gm
Gm
7
Bb
5
Gm
Eb
Cm
D
4A
Rock 'n' Roll Fm
Fm
5
ad lib
Fm
Schlomo Solo
Ab
Eb
Fm
Db
Bbm
C
— 184 —
FAME
The Music Room
4B
Trumpet q=130
3
5
7
9
Rit.
104
ff
108
110
118
3
D
D
Em6
3
3
3
121
C
A
106
102
6
There She Goes!/Fame
100
— 185 —
Goody Solo
q=144
98
FAME
— 186 —
FAME
6
There She Goes!/Fame 98
q=144
Goody Solo (Octave Down)
ff
102
104
100
110
118
3
D
C
108
D
A
106
3
Em6
121
3
3
FAME
— 187 —
11
The Junior Festival
alt.
Trumpet Solo
126
128
124
3
3
3
130
Fanfare & Flute
15A
Goody Solo q=86
3
Rit.
5
7