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Baby

book by Sybille Pearson

busic by David Shire

lyrics by Richard Maltby Jr.

 

 

March 13, 14, 20, 21, 22, 1987

Plank Road School

"We Start Today" introduces the youngest couple, Danny and Lizzie, college students, unmarried, moving into their basement apartment off-campus. The song expresses their bright-eyed, bushy-tailed optimism. Danny is a music major; before the song begins he's at his electric piano keyboard.

The oldest of the three couples, Alan and Arlene, both in their 40s, are recovering from too much champagne the night before when they were celebrating their wedding anniversary. Reflecting on their middle age and grown children, they too can now look forward to the future as they sing a stanza of "We Start Today."

The third couple, both age 30, both gym coaches, Nick and Pam, are in bed. Their lyrics for "We Start Today" are preoccupied with their urge and need to procreate and they end their rendition crawling under the covers.

In the midst of the song ending the first scene, lights dim and we hear the sound of an embryo's heartbeat. All three women are astonished. Each moves to her mate. The young college couple is stunned. The oldest pair is dubious. The jocks are joyous.

Danny and Lizzie discuss taking the step of getting married. He reasons they should. Her reasoning: if they never marry, they'll never divorce. Consider-ing what having the baby would do for them, they sing "What Could Be Better?" Self-congratulating themselves, they contemplate what musical talents, what looks, what brains the little one might inherit from two perfect specimens like themselves. Lizzie concludes the sequence singing of the miraculous journey of the sperm to the egg as the two youngsters end with an embrace.

The older of the three couples, Alan and Arlene, dressed in jogging outfits, are exercising. We hear the voice-over instructing "one and two" and "left, right, left, right." They sing against each other "The Plaza Song" (he ruminating, she speculating on how the conception occurred) recalling the night they celebrated their anniversary with champagne (a whole bottle?) Well, she remembers, bottles number "one and two/I do recall/Three and four I don't recall at all." Alan is joyful and finds the prospect of a new family exciting. Arlene is concerned, perhaps a bit horrified, because of her age.

The 30-year-old couple, Nick and Pam, are pleased and giddy about their conception success and express it with "Baby, Baby, Baby." They are bolstered by the news for she thought her athletic prowess made her unfeminine, unmotherly. Lights come up on Alan and Arlene dancing the cha-cha. As they are dancing, lights shift back to Nick and Pam as she sings of her childhood, being teased as a tomboy, but now she can prove she's a woman and a mother. All three couples in their separate spaces join in for the song's conclusion.

A student ensemble injects commentary on Lizzie's condition, considering maybe she's just lonely or flunking or crazy or Catholic... while she is speaking with her anxious mother on a pay phone. The scene shifts to the doctor's office where all three expectant mothers meet. Pam is eagerly enjoying her pregnancy. They exchange details on themselves and their mates. Lizzie has every practical step of the way mapped out: an extension for her classwork, a postponement on assignments when she's to give birth, the advantages of nursing the baby ("free food"), and after three weeks, back to class with the kid, if need be, in a back pack.

Pam sings joyously "I Want It All" (i. e. "the whole female experience in a ball" including "the morning sickness and the elation"). She prances about while bouncing a basketball and then realizes she's not on the court but in the pediatrician's waiting room. Lizzie follows up with her rendition of the number, and Arlene chimes in for the finale--each urging each on to victory. All three, so different, but so much alike.

As dads-to-be, Nick consoles Danny who wants to marry Lizzie and advises him to "Give her air, give her space" in his song "At Night She Comes Home To Me."

Danny itemizes his "history" of playing punk rock, dying his hair, wearing a nose ring, but now when he expresses his desire to marry Lizzie for the child's sake, he's considered peculiar and out of step. The scene ends with a quick cut to an angry Pam slamming her basketball down after being told her condition is not what she had hoped. She's not pregnant after all. Files got mixed. Crushed, she melts into her husband's arms.

Danny pleads with Lizzie for them to marry. When she refuses, he realizes he must take the job he was offered with a punk rock group (which he hates) in order to support them and their child out of wedlock.

Once again the student chorus chimes in and comments on the passage of time. Now it's May.

Pam, now determined to find out what's wrong with her, why she cannot conceive, has decided to see a specialist. Cut to the doctor's office. The physician is adjusting to his new contact lenses and acts more like a patient than his patient. But the real patient, it seems, is not Pam, is not the eyesore doctor, but Nick who (after the doctor analyses the sperm count) is "shooting duds." The physician suggests a strict regimen for their sex life as the scene fades.

The following scene is a baseball field during a warm-up among faculty members before the game. Danny bursts upon the scene in a punk costume announcing he has joined a band for a summer-long gig allowing him to make "big bucks" for his kid. He expresses his joy in a rock-and-roll "Fatherhood Blues" as others join in with their views on fatherhood, about running out of money, about no more uninterrupted late-snoozing on Sunday morning, about orthodonture bills, but all admit to feeling giddy and happy with their fatherhood blues.

Off on his own before passing out bats to his teammates, Nick looks them over singing that if this one who's 48 and that one who's bald and if "Fools can do it, freaks can do it" then he can do it too, concluding his rendition of the "Fatherhood Blues."

Despite his happiness at the prospect of being a father again, Alan understands Arlene's hesitancy of going through with the birth at their age. After raising three daughters, she wants a chance now to be just a couple again, to sell their house, to have a small apartment for two. He decides to seek a doctor for an abortion.

Danny at the bus station saying good-bye to Lizzie for his summer tour with the band... Mr. Hart, a real estate broker, evaluating Alan and Arlene's home... Nick and Pam following the rules ("No foreplay, no lubrication, one quick ejaculation and out") and singing "Romance." With his good-bye, Danny slips a ring on Lizzie's finger and he sings "I Chose Right." Arlene announces to the realtor the place is not for sale after all and that they'll need the extra space for the baby.

The ensemble, off-stage, reprises "We Start Today" as we see Lizzie in her room at the mirror observing herself--obviously "in the family way." She stops. Amazed as she feels... "It moved!" Alone now, she sees she has to face this on her own. She sings "The Story Goes On," exploring the things she's feeling now, what her mother felt, what all mothers feel, the chain of life that will go on and on after her.

Mid-August. Lizzie, six months pregnant and showing every moment of it, is confronted by women she meets on the street and sings "The Ladies Singing Their Song." The women she encounters feel obligated to tell about their own pregnancies, deliveries, and children--all in graphic detail that is rather off-putting for Lizzie.

Arlene, also six-months heavy with child, seriously looking inside herself, contemplates her life while seated on a park bench singing "Patterns," expressing her fears, having her doubts, losing her nerve, but saying she's fine.

Pam and Nick in their bedroom follow the doctor's instructions to the letter of the law and reprise "Romance" in between Nick reading passages from Moby Dick and Pam quoting rules and regulations from the fertility manual. The scene fades and comes up again on the pair. Now he's reading The Wizard of Oz. The regimentation is more than the pair can stand. They decide to abandon the procedures and both are relieved.

Alan at the dinner table on their porch alone sings "Easier To Love," expressing how much simpler it is to love children than to love one's spouse. The demands between husbands and wives are so much more complicated because they see each other so clearly whereas the children look upon their parents with admiration and a sense of awe.

The ensemble reflects on the season at hand, autumn.

The scene shifts to Lizzie and Danny's apartment. He has just returned from his tour with the band. He empties his pockets, tossing bills and coins on the bed. She places his hand to her belly to allow him to feel the baby kick. "Two People In Love" follows and the ensemble joins in as Danny and Lizzie ceremoniously pledge each other to one another and fall into an embrace.

Pam and Nick sing "With You" and as the song ends Nick asks his wife to hold him close. They embrace tenderly.

Alan and Arlene sing "And What If We Had Loved Like That," reassessing their marriage, admitting their shortcomings--that they never indulged in extravagant expressions of love and emotion. Their love was always tempered with restraint. They are both astonished by their honesty and passion.

Lights come up on Danny and Lizzie. He is reading from a baby manual. Suddenly she feels she is going into labor. The birth. The nurses and doctor urging Lizzie to "push." The sound of a baby crying. Danny has witnessed the miracle and is overcome with emotion. He's in tears. Blackout as a new generation begins.

 

 

 

Show Program

 

 

 

 

 

 

 

 

 

Production Staff

Producer

Marianne Kolar

Director

Robert Gee

Musical Director

Robert Gee

Technical Director

Anne Rice

Set Designer

Anne Rice

Lighting Designer

Anne Rice

Prop Crew

Judy Schoenfeld

Lighting Crew Mary Kallas
 

Set Construction

Mary Kallas

Stage Crew

Mark Holzbauer,

Lisa Meister

Publicity

Dick Katschke

Advertising

Jeff Hussinger

Graphic Designer

Deb Pipkorn

House Manager

Marianne Kolar

Photographer

Color Photo by Jon

 

Cast

Alan

Dick Katschke

 

Arlene

Carol Dolphin

 

Nick

Tom Stajmiger

 

Pam

Maggie Ley

 

Danny

David Ladd

 

Lizzie

Tamara Stajmiger

 

 

Ensemble

Robin Fowle

Jeff Hussinger

Margie Kaczmarek

Vickie Katschke

F. John Kessler

Rosie Peterson

Carole Stanosek

Paul Trotter

 

 

Orchestra

Pianist

Robert Gee

 

Percussion

Wayne Barczynski

Copyright 2008 - 2014  Village Playhouse of Wauwatosa