Urinetown: The Musical is a satirical comedy musical that premiered in 2001, with music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, book by Kotis. It satirizes the legal system, social irresponsibility, bureaucracy, corporate mismanagement, municipal politics; the show parodies musicals such as The Threepenny Opera, The Cradle Will Rock and Les Misérables, the Broadway musical itself as a form. Urinetown debuted at the New York International Fringe Festival, was produced Off-Broadway at the American Theatre for Actors, from May 6, 2001 to June 25, 2001; the musical opened on Broadway at Henry Miller's Theatre, running from September 20, 2001 through January 18, 2004, totaling 25 previews and 965 performances. It won three, it was directed by John Rando, featured music and lyrics by Mark Hollman and lyrics by Greg Kotis, choreography by John Carrafa. The original cast included Hunter Foster, Jeff McCarthy, Nancy Opel, John Cullum, Jennifer Laura Thompson, Spencer Kayden, John Deyle, Ken Jennings.
Principal cast changes included James Barbour as Officer Lockstock, Carolee Carmello and Victoria Clark as Penelope Pennywise and Charles Shaughnessy as Caldwell B. Cladwell as well as Amy Spanger as Hope Cladwell. A national tour starring Christiane Noll began in San Francisco, California on June 13, 2003. A production began performances at Chicago's Mercury Theater in March 2006 and closed in May 2006, followed by New Line Theatre in St. Louis, MO in 2007; the characters of Officer Lockstock and Little Sally are featured in what has become a yearly tradition at the Broadway Cares/Equity Fights AIDS annual Gypsy of the Year benefit concert, in which the characters – portrayed by actors Jennifer Cody and Don Richard, both of whom understudied the roles in the original cast – perform a short comedy sketch making fun of current Broadway shows. An Australian production directed by Simon Phillips for the Melbourne Theatre Company was staged at the Playhouse in April-May 2004; the cast featured Shane Bourne, Lisa McCune, Rhonda Burchmore and Gerry Connolly.
The production transferred to Sydney for the Sydney Theatre Company at the Sydney Theatre in June-July 2006. The Sydney season retained the principal cast from Melbourne, with the exception of David Campbell taking over the role of Bobby; the UK premiere directed by Jamie Lloyd opened at London's St. James Theatre in April 2014, transferred to the Apollo Theatre in September 2014, ended its run on 3 January 2015. In 2015, a production of the show opened in São Paulo, Brazil, at the Teatro do Nucleo Experimental. Greg Kotis had the idea for Urinetown while traveling in Europe. A traveling student on a budget, he encountered a pay toilet, began writing shortly thereafter, joining with Mark Hollmann for the journey to Broadway. No production companies were interested in optioning the musical, but the Neo-Futurists, an experimental theatre group from Chicago, agreed to produce Urinetown for their 1999–2000 season. Kotis, his wife, original cast member Spencer Kayden belonged to the group. Plans with the Neo-Futurists fell through, so John Clancy of the New York Fringe Festival accepted the show into the festival.
Playwright David Auburn, a friend of Kotis and Hollmann, came to see the show and called production company The Araca Group. The company optioned the musical and it opened Off Broadway at the American Theatre for Actors, transferring to Broadway in September 2001. Planned to open on September 13, the show contained several references which, after the September 11 attacks, would prove offensive. Only one line was removed from the script, the show opened September 20, 2001; the show opens with a grim welcome from Officer Lockstock, a policeman, assisted by the street urchin Little Sally. According to Lockstock and Little Sally, a twenty-year drought has caused a terrible water shortage, making private toilets unthinkable. All restroom activities are done in public toilets controlled by a megacorporation called "Urine Good Company". To control water consumption, people have to pay to use the amenities. There are harsh laws ensuring that people pay to urinate, if the laws are broken, the offender is sent to a penal colony called "Urinetown", never to return.
The oppressed masses huddle in line at the poorest, filthiest urinal in town, Public Amenity #9, run by the rigid, harshly authoritarian Penelope Pennywise and her assistant, dashing young everyman Bobby Strong. Trouble ensues when Bobby's father, Old Man Strong, cannot afford his urinal admission for the day and asks Pennywise to let him go free "just this once". After Old Man Strong's plea is dismissed, he urinates on the street and is soon arrested by Officers Lockstock and Barrel and escorted off to Urinetown.. That day, in the corporate offices of Urine Good Company, the CEO, Caldwell B. Cladwell, is discussing the new fee hikes with Senator Fipp, a politician in Cladwell's pocket, when Cladwell's beautiful daughter, Hope Cladwell, arrives on the scene as the UGC's new fax/copy girl. By way of introduction, the UGC staff sing a song in praise of their chief. Officers Lockstock and Barrel discuss the journey to Urinetown and how it reduces everyone the toughest, to screams. Hope encounters Bobby Strong.
Yuma is a city in and the county seat of Yuma County, United States. The city's population was 93,064 at the 2010 census, up from the 2000 census population of 77,515. Yuma is the principal city of the Yuma, Metropolitan Statistical Area, which consists of Yuma County. According to the United States Census Bureau, the 2014 estimated population of the Yuma MSA is 203,247. More than 85,000 retirees make Yuma their winter residence. Yuma is in the Sonoran Desert, Yuma Desert sub-region; the area's first settlers for thousands of years were historic tribes. Their descendants now occupy the Quechan reservations. In 1540, Spanish colonial expeditions under Hernando de Alarcon and Melchior Diaz visited the area and recognized the natural crossing of the Colorado River as an ideal spot for a city; the Colorado River narrows to under 1,000 feet wide in one area. Military expeditions that crossed the Colorado River at the Yuma Crossing include Juan Bautista de Anza, the Mormon Battalion and the California Column.
During and after the California Gold Rush to the late 1870s, the Yuma Crossing was known for its ferry crossings for the Southern Emigrant Trail. This was considered the gateway to California, as it was one of the few natural spots where travelers could cross the otherwise wide Colorado River. Following the United States establishing Fort Yuma, two towns developed one mile downriver; the one on the California side was called Jaeger City, named after the owner of Jaeger's Ferry, which crossed the river there. It was for a time the larger of the two, with the Butterfield Overland Mail office and station, two blacksmiths, a hotel, two stores, other dwellings; the other was called Colorado City. Developed on the south side of the river in what is now Arizona by speculator Charles Poston, it was the site of the custom house; when started, it was just north of the border between Mexican-ruled Sonora and California. After the Gadsden Purchase by the United States, the town bordered on the Territory of New Mexico.
This area was designated as the Territory of Arizona in 1863. The Colorado City site at the time was duly registered in San Diego; the county of San Diego collected taxes from there for many years. From 1853 a smaller settlement, Arizona City, grew up on the high ground across from the fort and was organized under the name of its post office in 1858, it had two stores and two saloons. Colorado City and Jaeger City were completely destroyed by the Great Flood of 1862 and had to be rebuilt on higher ground. At that time Colorado City became part of Arizona City, it took the name Yuma in 1873. From 1854, Colorado City was the major steamboat stop for traffic down the Colorado River. After the 1862 flood, it became part of Arizona City; the steamboats transported passengers and equipment for the various mines and military outposts along the Colorado. They offloaded the cargo from ships at the mouth of the Colorado River at Robinson's Landing and from 1864 at Port Isabel. From 1864, the Yuma Quartermaster Depot, today a state historic park, supplied all forts in present-day Arizona, as well as large parts of Colorado and New Mexico.
After Arizona became a separate territory, Yuma became the county seat for Yuma County in 1871, replacing La Paz, the first seat. The Southern Pacific Railroad bridged the river in 1877, acquired George Alonzo Johnson's Colorado Steam Navigation Company, the only steamboat company on the river. Yuma became the new base of navigation on the river, ending the need for Port Isabel, abandoned in 1879; the warehouses and shipyard there were moved to Yuma. The city of Yuma operates as a charter city under the Charter of the City of Yuma; the elected government of the city is the City Council which follows the mayor–council government system and whose members include: The Mayor of the City of Yuma acts as the chief executive officer of the city, is elected for a period of four years. The mayor is elected from the city at large; the mayor has the following powers and responsibilities: act as an ex officio chairman of the city council and preside over meetings, administer oaths and issue proclamations.
The mayor is recognized as the official head of the city by the courts and has the power to take command of the police and govern the city by proclamation during times of great danger. The City of Yuma City Council is the governing body of the City of Yuma and is vested with all powers of legislation in municipal affairs; the council is composed of six council members elected from the city at large for four-year terms, as well as the Mayor of Yuma. A deputy mayor is elected by the Council who shall act as Mayor during the temporary absence of the mayor; the current council members are Gary Knight, Leslie McClendon, Jacob Miller, Edward Thomas, Mike Shelton, Karen Watts. The next election is the August 2019 Primary for the three city council seats that are held by Miller and Shelton; the City Council appoints a city administrator who acts as the chief administrative officer of the city. The city administrator is directly responsible to the City Council for the administration of all city affairs placed in his charge by the City Charter, or by ordinances passed by the Council.
Some of the administrator's duties include: see that all laws and provisions of the City Charter are faithfully executed and submit the annual budget and capital
The Antoinette Perry Award for Excellence in Broadway Theatre, more known as the Tony Award, recognizes excellence in live Broadway theatre. The awards are presented by the American Theatre Wing and The Broadway League at an annual ceremony in Manhattan; the awards are given for Broadway productions and performances, an award is given for regional theatre. Several discretionary non-competitive awards are given, including a Special Tony Award, the Tony Honors for Excellence in Theatre, the Isabelle Stevenson Award; the awards are named after co-founder of the American Theatre Wing. The rules for the Tony Awards are set forth in the official document "Rules and Regulations of The American Theatre Wing's Tony Awards", which applies for that season only; the Tony Awards are considered the highest U. S. theatre honor, the New York theatre industry's equivalent to the Academy Awards for film, the Emmy Awards for television, the Grammy Awards for music. It forms the fourth spoke in the EGOT, that is, someone who has won all four awards.
The Tony Awards are considered the equivalent of the Laurence Olivier Awards in the United Kingdom and the Molière Awards in France. From 1997 to 2010, the Tony Awards ceremony was held at Radio City Music Hall in New York City in June and broadcast live on CBS television, except in 1999, when it was held at the Gershwin Theatre. In 2011 and 2012, the ceremony was held at the Beacon Theatre. From 2013 to 2015, the 67th, 68th, 69th ceremonies returned to Radio City Music Hall; the 70th Tony Awards was held on June 2016 at the Beacon Theatre. The 71st Tony Awards and 72nd Tony Awards were held at Radio City Music Hall in 2017 and 2018, respectively; as of 2014, there are 26 categories of awards, plus several special awards. Starting with 11 awards in 1947, the names and number of categories have changed over the years; some examples: the category Best Book of a Musical was called "Best Author". The category of Best Costume Design was one of the original awards. For two years, in 1960 and 1961, this category was split into Best Costume Designer and Best Costume Designer.
It went to a single category, but in 2005 it was divided again. For the category of Best Director of a Play, a single category was for directors of plays and musicals prior to 1960. A newly established non-competitive award, The Isabelle Stevenson Award, was given for the first time at the awards ceremony in 2009; the award is for an individual who has made a "substantial contribution of volunteered time and effort on behalf of one or more humanitarian, social service or charitable organizations". The category of Best Special Theatrical Event was retired as of the 2009–2010 season; the categories of Best Sound Design of a Play and Best Sound Design of a Musical were retired as of the 2014–2015 season. On April 24, 2017, the Tony Awards administration committee announced that the Sound Design Award would be reintroduced for the 2017–2018 season; the award was founded in 1947 by a committee of the American Theatre Wing headed by Brock Pemberton. The award is named after Antoinette Perry, nicknamed Tony, an actress, producer and co-founder of the American Theatre Wing, who died in 1946.
As her official biography at the Tony Awards website states, "At Jacob Wilk's suggestion, proposed an award in her honor for distinguished stage acting and technical achievement. At the initial event in 1947, as he handed out an award, he called it a Tony; the name stuck."The first awards ceremony was held on April 6, 1947, at the Waldorf Astoria hotel in New York City. The first prizes were "a scroll, cigarette lighter and articles of jewelry such as 14-carat gold compacts and bracelets for the women, money clips for the men", it was not until the third awards ceremony in 1949 that the first Tony medallion was given to award winners. Awarded by a panel of 868 voters from various areas of the entertainment industry and press. Since 1967, the award ceremony has been broadcast on U. S. national television and includes songs from the nominated musicals, has included video clips of, or presentations about, nominated plays. The American Theatre Wing and The Broadway League jointly administer the awards.
Audience size for the telecast is well below that of the Academy Awards shows, but the program reaches an affluent audience, prized by advertisers. According to a June 2003 article in The New York Times: "What the Tony broadcast does have, say CBS officials, is an all-important demographic: rich and smart. Jack Sussman, CBS's senior vice president in charge of specials, said the Tony show sold all its advertising slots shortly after CBS announced it would present the three hours.'It draws upscale premium viewers who are attractive to upscale premium advertisers,' Mr. Sussman said..." The viewership has declined from the early years of its broadcast history but has settled into between six and eight million viewers for most of the decade of the 2000s. In contrast, the 2009 Oscar telecast had 36.3 million viewers. The Tony Award medallion was designed by art director Herman Rosse and is a mix of brass and a little bronze, with a nickel plating on the outside; the face of the medallion portrays an adaptation of the tragedy masks.
The reverse side had a relief profile of Antoinette Perry. The medallion has been mounted on a black base since 1967. A larger base was introduced in time for the 2010 award ceremony; the n
La Cage aux Folles (musical)
La Cage aux Folles is a musical with a book by Harvey Fierstein and lyrics and music by Jerry Herman. Based on the 1973 French play of the same name by Jean Poiret, it focuses on a gay couple: Georges, the manager of a Saint-Tropez nightclub featuring drag entertainment, Albin, his romantic partner and star attraction, the farcical adventures that ensue when Georges's son, Jean-Michel, brings home his fiancée's ultra-conservative parents to meet them. La cage aux folles means "the cage of mad women". However, folles is a slang term for effeminate homosexuals; the original 1983 Broadway production received nine nominations for Tony Awards and won six, including Best Musical, Best Score and Best Book. The success of the musical spawned several international runs; the 2004 Broadway revival won the Tony Award for Best Revival, the 2008 London revival garnered the Laurence Olivier Award for Best Musical Revival. The 2010 Broadway revival was nominated for eleven Tony Awards, winning the Tony Award for Best Revival of a Musical.
La Cage aux Folles is the first musical which has won the Tony Award for Best Revival of a Musical twice and it has won a Best Musical Tony Award for each of its Broadway productions. The show has garnered five nominations for Tony Award for Best Actor in a Musical from its three Broadway productions, twice for portrayers of Georges and three times for portrayers of Albin, winning the award twice. Allan Carr, who had produced the successful film adaptation of Grease, was eager to work in theatre and thought a musical version of the hit 1978 film La Cage aux Folles would be an ideal vehicle for his Broadway debut. However, he was unable to secure the rights to the film and was forced to settle for the rights to the original play only. Carr hired Jay Presson Allen to write the book and Maury Yeston to compose the score for The Queen of Basin Street, an Americanized version set in New Orleans. With Mike Nichols set to direct and Tommy Tune on board as choreographer, Carr searched for executive producers and found them in Fritz Holt and Barry Brown, who fired the entire creative team that Carr had assembled.
All of them filed lawsuits, but Yeston alone won and collected a small royalty from La Cage. Holt and Brown had produced the 1974 revival of Gypsy directed by Arthur Laurents, they approached him with an offer to direct their new venture. Laurents was not a fan of drag or camp entertainment and thought Holt and Brown never would find enough investors to finance a gay-themed project at a time when, during the early years of the AIDS epidemic, homophobia was more intense than ever, he agreed only because Holt and Brown were close friends and he wanted them to remain on Carr's payroll as long as possible, but his interest grew when he learned Harvey Fierstein and Jerry Herman had committed to the project. According to Laurents, when he met with Fierstein and Herman for the first time, they had restored both the title and locale of the original play but had neither a script nor an outline for the plot. All they had was the Herman song "I Am What I Am," and Laurents envisioned it as an emotional outburst sung at the close of the first act.
Laurents further claims that when he explained his concept to Fierstein and Herman, he inspired the direction they took in writing the musical. Herman tells a different story in an interview included in the original cast CD, he claims that they were well into the collaboration when Fierstein arrived one day with an emotional fiery scene he had written for the end of Act I that included the words "I am what I am." Delighted, Herman asked to use the five words, boasting he would have a song by morning, which he did. With gay-activist Fierstein and the political Laurents on board, the show could have "become a polemic diatribe on gay rights." However, Herman was a moderating influence. Having suffered a series of disappointments with darker-themed shows since 1969, he was eager to score a hit with a mainstream, optimistic song-and-dance entertainment that middle-class audiences would enjoy; the team opted to create "a charming, great-looking musical comedy - an old-fashioned piece of entertainment," as Herman recalled in his memoir Showtune.
By "delivering their sentiments in a sweetly entertaining manner", the team was able to convey their gay-themed message with more impact than they could have with a more aggressive approach. Fierstein and Laurents met daily in Herman's Manhattan townhouse to work on the musical; because they were limited to using only the Poiret play as a source, they were unable to include the character of Jean-Michel's birth mother, created for the film. They focused the plot on the fact that the relationship of Georges and Albin seems so natural that the boy is able to accept a man as his "mother"; the three men agreed that Albin needed to be as glamorous an entertainer as possible, Theoni V. Aldredge was hired as costume designer to achieve their goal; the producers agreed to a Boston tryout, just before the second preview, Herman had a panic attack prompted by his fear that the city was too conservative to embrace a gay-themed musical, albeit one designed for a mainstream audience. The Boston crowds gave the show an enthusiastic reception.
Fierstein and Laurents were concerned that this was a love story in which the lovers touched each other. Fierstein suggested they kiss on the cheeks at the end, Laurents, citing the common custom of French men kissing each other on both cheeks, agreed. George Hearn as Albin had the showier ro
Broadway theatre known as Broadway, refers to the theatrical performances presented in the 41 professional theatres, each with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in Midtown Manhattan, New York City. Along with London's West End theatre, Broadway theatre is considered to represent the highest level of commercial theatre in the English-speaking world; the Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2017–2018 season total attendance was 13,792,614 and Broadway shows had US$1,697,458,795 in grosses, with attendance up 3.9%, grosses up 17.1%, playing weeks up 2.8%. The majority of Broadway shows are musicals. Historian Martin Shefter argues that "'Broadway musicals', culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture" and contributed to making New York City the cultural capital of the Western Hemisphere.
New York did not have a significant theatre presence until about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 people. They presented Shakespeare ballad operas such as The Beggar's Opera. In 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager, they established a theatre in Williamsburg and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad operas and ballad-farces like Damon and Phillida; the Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the year the 2,000-seat Park Theatre was built on Chatham Street. The Bowery Theatre opened followed by others. By the 1840s, P. T. Barnum was operating an entertainment complex in Lower Manhattan. In 1829, at Broadway and Prince Street, Niblo's Garden opened and soon became one of New York's premiere nightspots.
The 3,000-seat theatre presented all sorts of non-musical entertainments. In 1844, Palmo's Opera House opened and presented opera for only four seasons before bankruptcy led to its rebranding as a venue for plays under the name Burton's Theatre; the Astor Opera House opened in 1847. A riot broke out in 1849 when the lower-class patrons of the Bowery objected to what they perceived as snobbery by the upper class audiences at Astor Place: "After the Astor Place Riot of 1849, entertainment in New York City was divided along class lines: opera was chiefly for the upper middle and upper classes, minstrel shows and melodramas for the middle class, variety shows in concert saloons for men of the working class and the slumming middle class."The plays of William Shakespeare were performed on the Broadway stage during the period, most notably by American actor Edwin Booth, internationally known for his performance as Hamlet. Booth played the role for a famous 100 consecutive performances at the Winter Garden Theatre in 1865, would revive the role at his own Booth's Theatre.
Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, Charles Fechter. Theatre in New York moved from downtown to midtown beginning around 1850, seeking less expensive real estate. In the beginning of the 19th century, the area that now comprises the Theater District was owned by a handful of families and comprised a few farms. In 1836, Mayor Cornelius Lawrence opened 42nd Street and invited Manhattanites to "enjoy the pure clean air." Close to 60 years theatrical entrepreneur Oscar Hammerstein I built the iconic Victoria Theater on West 42nd Street. Broadway's first "long-run" musical was a 50-performance hit called The Elves in 1857. In 1870, the heart of Broadway was in Union Square, by the end of the century, many theatres were near Madison Square. Theatres did not arrive in the Times Square area until the early 1900s, the Broadway theatres did not consolidate there until a large number of theatres were built around the square in the 1920s and 1930s.
New York runs continued to lag far behind those in London, but Laura Keene's "musical burletta" The Seven Sisters shattered previous New York records with a run of 253 performances. It was at a performance by Keene's troupe of Our American Cousin in Washington, D. C. that Abraham Lincoln was shot. The first theatre piece that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is considered to be The Black Crook, which premiered in New York on September 12, 1866; the production was five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy". Tony Pastor opened the first vaudeville theatre one block east of Union Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 and 1890, with book and lyrics by Harrigan and music by his father-in-law David Braham.
These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant step forward from vaudeville and burlesque, towards a more literate form. They starred high quality singers, instead of the women of questionable repute who had starred in earlier m
Sweet Charity is a musical with music by Cy Coleman, lyrics by Dorothy Fields and book by Neil Simon. It was directed and choreographed for Broadway by Bob Fosse starring his wife and muse Gwen Verdon alongside John McMartin, it is based on the screenplay for the Italian film Nights of Cabiria. However, whereas Federico Fellini's black-and-white film concerns the romantic ups-and-downs of an ever-hopeful prostitute, in the musical the central character is a dancer-for-hire at a Times Square dance hall; the musical premiered on Broadway in 1966, where it was nominated for nine Tony Awards, ran in the West End as well as having revivals and international productions. The musical was adapted for the screen in 1969 with Shirley MacLaine as Charity and John McMartin recreating his Broadway role as Oscar Lindquist. Bob Fosse choreographed this film; the young woman Charity Hope Valentine is a taxi dancer at a dance hall called the Fandango Ballroom in New York City. With a shoulder bag and a heart tattooed on her left shoulder, Charity meets her boyfriend Charlie in Central Park.
While Charlie silently preens himself, Charity speaks the pick-up lines she imagines him saying, tells him how handsome he is. Charlie steals her handbag and pushes her into the lake before running off. Passers-by discuss the apparent drowning but do nothing, until a young Spaniard rescues her. In the Hostess Room of the Fandango Ballroom, Charity tries to convince both herself and the other skeptical taxi dancers that Charlie tried to save her. Nickie, a fellow dancer, tells Charity that her problem is "you run your heart like a hotel — you've always got people checking in and checking out"; the manager, arrives to tell them it is time for work. The hostess dancers proposition the audience in the front room of the Fandango Ballroom. Helene and Nickie try to comfort Charity about Charlie's absence. On the street, after work, Charity gives to every beggar who approaches her until she realizes she has no money. Just film star Vittorio Vidal rushes out of the smart Pompeii Club, in pursuit of his beautiful mistress, Ursula.
Ursula refuses to go back inside with Vittorio, who promptly takes the only-too-willing Charity instead. Inside the Pompeii Club, the dancers are dancing The Rich Man's Frug. To everyone's astonishment, the famous Vittorio is accompanied by the unknown Charity, she tries to steer him away from the subject of Ursula. He wants to dance. Not having eaten since breakfast, Charity faints. There is general agreement amongst the dancers that she needs to be "laid down". Vittorio asks "where?", Charity recovers enough to prompt Vittorio with "your apartment!". Lying down on Vittorio's bed, Charity claims, she admits she is a dance hall hostess, putting it down to "the fickle finger of fate". Vittorio is struck by her honesty. Starstruck, Charity asks for a signed photograph to prove to the girls she was in his apartment. While Vittorio fetches props from his old movies for further evidence, Charity remarks on her good fortune. Ursula arrives to apologize for her jealousy. While Charity watches from the closet and Ursula make love inside his four-poster bed.
The following morning, Charity is escorted from the room by a mortified Vittorio. In the Hostess Room, the girls are disappointed. Nickie announces she is not going to remain at this job for the rest of her life, prompting the girls to speculate on alternative careers, but Herman brings them back down to earth. Charity decides to seek some cultural enlightenment at the 92nd Street Y, where she gets stuck in a broken elevator with shy tax accountant Oscar Lindquist. While trying to calm him down, Charity learns, she declares, "Oh Oscar... You're gonna be all right." After helping Oscar overcome his claustrophobia, the pair are plunged into new panic when the lights stop working. After being trapped in a broken elevator and Charity are rescued when it starts working again. Oscar invites Charity to go to church with him; as they walk under the Manhattan Bridge to the church, the faint cries of the next person to be stuck in the elevator are heard. The Rhythm of Life Church turns out to be a thin veneer on hippie culture.
A police raid breaks up the meeting. Traveling home on the subway, Oscar proposes another date and tries to guess Charity's job, deciding that she works in a bank. Charity lies, saying she works for Williamsburg Branch; as they part, Oscar kisses her hand, dubs her Sweet Charity. After two weeks and Charity have continued dating, she still has not confessed what she does for a living. At Coney Island Amusement Park they become trapped again; this time, Oscar is the calm one while Charity is scared — scared that she is starting to depend on him. Once again, Charity loses her nerve about telling him; as the crowd looks on, the couple kisses. On a slow night at the Fandango, Charity loses the opportunity to snare one of the few customers to a new co-worker, Rosie. Disgusted by the whole business, she quits. However, in Times Square, she wonders. Sending a telegram to Oscar, she asks to meet him at Barney's Chile Hacienda, she admits that she is a dance hall hostess
Internet Broadway Database
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, a trade association for the North American commercial theatre community; the website has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today. Details include cast and creative lists for opening night and current day, song lists and other interesting facts about every Broadway production. Other features of IBDB include an extensive archive of photos from past and present Broadway productions, links to cast recordings on iTunes or Amazon and attendance information, its mission was to be an interactive, user-friendly, searchable database for League members, journalists and Broadway fans. The League added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country.
It is managed by Karen Hauser, Michael Abourizk, Mark Smith of the Broadway League. Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website