Sam S. Shubert Theatre, New York Drama Critics' Circle Award-Best Musical 1973, Tony Award-Best Musical 1973, Harold Prince in association with Ruth Mitchell presents "A Little Night Music," a new musical starring Glynis Johns, Len Cariou, Hermione Gingold, with Victoria Mallory, Laurence Guittard, Patricia Elliott, Mark Lambert, Judy Kahan, D. Jamin-Bartlett, George Lee Andrews, Despo, Barbara Lang, Benjamin Rayson, Teri Ralson, Beth Fowler, Gene Varrone, music and lyrics by Stephen Sondheim, book by Hugh Wheeler, suggested by a film by Ingmar Bergman, choreography by Patricia Birch, scenic production designed by Boris Aronson, costumes designed by Florence Klotz, lighting designed by Tharon Musser, musical direction by Paul Gemignani, orchestrations by Jonathan Tunick, production directed by Harold Prince.

Titles are: A Little Night Music * The Miller's Son * The Glamorous Life * Remember? * You Must Meet My Wife * Send in the Clowns * A Weekend in the Country.

THE STORY: The esteemed and retired Dr. Conrad Bering has selected, out of countless applicants, several individuals for private as well as Group therapy. It seems this Pulitzer Prize- winning doctor might be writing another book and it further see

The much-beloved musical by Stephen Sondheim and George Furth, available again in print for the first time in 20 years. Written over forty years ago, Sondheim and Furth's spirited and affecting Merrily We Roll Along boasts an innovative structure that begins in the present and moves backwards in time over 20 years, tracing the personal and professional lives of a successful producer and composer and his two (now estranged) friends. With wit, irony, and a crackling score by Sondheim, Merrily poignantly captures the ways success can corrupt youthful ideals, and crumble the foundations of friendship in its wake.

When Elise Wolf leaves her failing indie rock band for home, she discovers famous rock star Tristan Morgan has purchased her family's violin shop. But Elise has secretly hocked her family's heirloom violin, needs a job pronto, and violins are all she knows. Sidelined at home with a vocal cord issue and not knowing if he'll ever sing again, Tristan bought the local music shop complete with upstairs apartment as a backup plan. He just never imagined the previous owner's daughter would keep popping up begging for job. While Tristan finds Elise persistent and annoying, he admits he knows very little about the music shop business. He hires her to help him sell off the inventory and prove he is the antithesis of the rock star she believes he is. When she leaves her laptop open on a dating app, he uses an anonymous name and befriends her. His plan is to set her straight on a few things and never meet face to face. Surprisingly, through their messages, he discovers they have a connection and working side by side, he feels a spark. Elise's perception of Tristan is that he's just another reckless, egotistical rock star. But when they have to work together on a daily basis, she discovers the rocker has a real talent for classical music and his kindness and sincerity begins to knock down the hardened walls around her heart. Maybe even enough to meet the person she's been talking to on a dating app. While Elise is blissfully unaware that he is the one on the other side of the screen, Tristan knows he's screwed. He needs to come clean with his real identity, but he's afraid there's a good chance someone's heart will be broken. And it will probably be his. Workplace romantic comedy with a You've Got Mail vibe. Slow burn to high heat. No cliffhanger.

Libretto of a musical.

The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project. This book addresses a variety of specific themes in musicals that serve this general function: fairy tale and fantasy, idealism and inspiration, gender and sexuality, and relationships, among others. It also considers three overlapping genres that are central, in quite different ways, to the projection of personal identity: operetta, movie musicals, and operatic musicals. Among the musicals discussed are Camelot, Candide; Chicago; Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd; and The Wizard of Oz. Complementing the author's earlier work, The American Musical and the Formation of National Identity, this book completes a two-volume thematic history of the genre, designed for general audiences and specialists alike.