Cast size: Medium (11-20), Flexible
Based upon a story developed with Susan Yankowitz
Book by Sybille Pearson
Music by David Shire
Lyrics by Richard Maltby, Jr.

BABY: Book Musical | Pop / Rock | Rated PG

  • About the show

    BABY, the musical from acclaimed duo Richard Maltby, Jr. and David Shire, examines how parents-to-be experience the emotional stresses and triumphs, as well as the desperate lows and the comic highs, that accompany the anticipation and arrival of a baby.

    BABY tells the story of three couples on a university campus as they deal with the painful, rewarding and agonizingly funny consequences of this universal experience. There are the college students, barely at the beginning of their adult lives; the thirty-somethings, having trouble conceiving but determined to try; and the middle aged parents, looking forward to seeing their last child graduate from college when a night of unexpected passion lands them back where they started.

    Synopsis

    ACT ONE

    "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.

    ACT TWO

    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.

    Casting Information

    ALAN MCNALLEY A college administrator fighting for the youth and for a second chance. Married to Arlene.
    Male, 45-55 yrs old
    Range: B2 - F4

    ARLENE MCNALLEY Alan's wife, a dedicated community volunteer, who is weighing the aspects of a patterned life with children or an empty nest. Female, 40-50 yrs old
    Range: B2 - Ab5

    DANNY HOOPER A composer and baseball player in his Junior year of college. Lizzie's loving and supportive boyfriend.
    Male, 18-25 yrs old
    Range: A2 - A4

    ENSEMBLE FRIENDS; TOWNSPEOPLE
    LIZZIE FIELDS A composer in her Junior year of college. Danny's bright-eyed, loving, sincere girlfriend.
    Female, 18-25 yrs old
    Range: G3 - F5

    NICK SAKARIAN Danny's collegiate baseball coach and Husband to Pam. Quirky and playful
    . Male, 30-40 yrs old
    Range: B2 - F#4

    PAM SAKARIAN A neurotic, eager, go-getting women's collegiate basketball coach desperately wanting a child. Married to Nick.
    Female, 30-35 yrs old
    Range: G2 - F5

    Production Material

    20 X LIBRETTO/VOCAL BOOK
    2 X PIANO CONDUCTOR'S SCORE


    Orchestra Size

    MEDIUM

    Instrumentation: Doublings:

    BASS ELECTRIC BASS
    CELLO (2 PLAYERS REQUIRED)
    DRUMS/PERCUSSION BELL TREE, BELLS, CROTALES, DRUM KIT, GLOCKENSPIEL, SHAKER, TAMBOURINE, TIMPANI, TRIANGLE, XYLOPHONE
    GUITAR ACOUSTIC GUITAR, ELECTRIC GUITAR, PEDAL STEEL GUITAR
    HORN
    KEYBOARD 1 ACOUSTIC PIANO, SYNTHESIZER
    KEYBOARD 2 ELECTRIC PIANO, FENDER RHODES, SYNTHESIZER
    KEYBOARD 3
    REED 1: FLUTE, PICC., RECORDER ALTO FLUTE, ALTO SAXOPHONE, CLARINET, FLUTE, PICCOLO
    REED 2: OBOE, ENG. HORN CLARINET, ENGLISH HORN, FLUTE, OBOE, TENOR SAXOPHONE
    REED3: CLAR., FLUTE, TEN.SAX BARITONE SAXOPHONE, BASS CLARINET, BASSOON, CLARINET, FLUTE
    TROMBONE
    TRUMPET 1 & 2 FLUGELHORN, TRUMPET
    TRUMPET 3 FLUGELHORN, TRUMPET
    VIOLIN (3 PLAYERS REQUIRED)

Partners & Associates

  • cipc
  • bsa
  • samro