"After the Ball"
- Music and Lyrics by Noel Coward
- Opened June 10, 1954 at the Globe Theatre, (London).
- Performed at the Music Circus August 2 thru August 7, 1955 (American Premiere)
Donald Pippin, Assistant Conductor and Choral Director at the Music Circus in 1955 writes: "I recall that Noel Coward did attend our performance of "After the Ball." I had met Noel in London and he was so very warm and friendly to me. It raised a lot of eyebrows. Coward's show was quite a difficult event for the music department. We worked from the original London manuscripts. They were a mess. I had forgotten that we ran for a week. I saw the production in NY years later. Believe me, Lambertville was better. We had energy and so excited to do the musical. Our love of the event made it enjoyable."
"Allegro"
- Music by Richard Rodgers - Lyrics by Oscar Hammerstein II
- Director/Choreographer - Agnes de Mille
- Opened at the Majestic Theatre in New York on October 10, 1947.
- Performed at the Music Circus September 16 thru September 21, 1952
He chose to make his Everyman a doctor, Dr. Joe Taylor. In addition to its presiding message, "Allegro" tackles very real concerns about the medical profession: dilemmas that doctors face when a patient's needs conflict with a hospital's agenda, the role of big business in medicine, and a doctor's responsibility to his own community. Rodgers, whose brother and father both practiced medicine, shared his partner's interest in these issues.
"Annie Get Your Gun"
- Music and Lyrics by Irving Berlin
- Book by Herbert and Dorothy Fields
- Produced by Richard Rodgers and Oscar Hammerstein II
- Opened May 16, 1946 at the Imperial Theatre, (New York) and ran for 1147 performances.
- Performed at the Music Circus in 1951
- Performed at the Music Circus August 7 thru August 19, 1956
"Anything Goes"
- Music and Lyrics by Cole Porter
- Book By Guy Bolton, P.G. Wodehouse, Howard Lindsay and Russel Crouse
- Opened November 21, 1934 at the Alvin Theatre, (New York) and ran for 420 performances.
- Performed at the Music Circus July 25 thru July 30, 1950
- Performed at the Music Circus July 5 thru July 10, 1955
Public Enemy Number Thirteen, with his moll Bonnie, is also along for the ride and he passes on to Billy the passport and ticket of a gangster friend of his who didn't catch the boat. This leads to unwelcome complications for Billy as he and the Public Enemy have to keep changing disguises to avoid arrest.
Keeping the steam at boiling point in the ship's engine room and working the stabilizers overtime is sexy, incandescent Reno Sweeney, ex-evangelist and currently night club singer. With her help all the shipboard disasters are averted and all the romances sorted out - including her own.
This show, widely regarded as the very best of Cole Porter, shows off all the consummate skills of a master, right at the very pinnacle of his powers.
"Auntie Mame"
- "Auntie Mame" began as a novel by Patrick Dennis (aka Ed Fitzgerald).
- Adapted into the Broadway play by Jerome Lawrence and Robert E. Lee (1956).
- Performed at the Music Circus July 15 thru August 3, 1958
"Bells Are Ringing"
- Music by Jule Styne - Book and Lyrics by Betty Comden and Adolph Green
- Opened November 29, 1956 at the Shubert Theatre, (New York) and ran for 924 performances.
- Performed at the Music Circus May 30 thru June 28, 1959
Meanwhile Sue falls in love with Sandor, the owner of Titanic Records. He sets up an outlet in her office space, which he uses to mask his criminal dealings. The police think that 'Susanswerphone' is merely a front for Sandor's book-making ring of deception. Ella decides to meet Jeff and creates an alter ego for herself, going to his home and convincing him to rework his latest play. They go out for dinner and sparks begin to fly as they learn how to Cha-Cha. In Central Park, he tells her that he loves her, but after taking her to a party she is made to feel below his social station and is lost for conversation. She runs away and Jeff still hasn't worked out who he really is.
Sandor is suffering with racing debts and has to borrow money. He plans a trip abroad with Sue as the Police begin to close in. Ella encounters three other men who her meddling has helped. She decides to run away but Jeff finally realizes who she is as the show ends happily for all.
"Ben Franklin in Paris"
- Music by Mark Sandrich, Jr. - Book and Lyrics by Sidney Michaels
- Opened October 27, 1964 at the Lunt-Fontanne Theatre, (New York) and ran for 215 performances.
- Performed at the Music Circus May 30 thru June 28, 1959
But the British have countered by winning over Ben's son William, the governor of New Jersey. The traitorous act pulls the rug from under Ben's plan. To regain the upper hand he offers to marry Diane, but is rejected. As a final effort Ben prepares to go to England where he knows he will be hanged—an act of martyrdom he feels sure the French could not overlook. However, Diane learns of the plan and intercedes with the King. Soon thereafter the King summons Benjamin Franklin, not the Philadelphian, but the Ambassador of the United States of America.
"Bittersweet"
- Music, Lyrics and Book by Noel Coward
- Produced by Florenz Ziegfeld & Arch Selwyn
- Opened November 5, 1929 at the Ziegfeld Theatre, New York and ran for 159 performances.
- Performed at the Music Circus 1949
In Vienna, five poverty-stricken years later, her adored Carl is killed in a duel. But his music lives on as the self-reliant Sarah earns fame throughout Europe with her singing.
Finally returning to England, she marries the elderly Marquis of Shayne who has waited so patiently for her. Years later, at a madly bright party in the late 1920s, she tells her story, winning the grudging admiration of the smart young set. The Marchioness, they decide, must have been a gay old bird.
"Bloomer Girl"
- Music by Harold Arlen - Lyrics by E. Y. Harburg - Book by Sig Herzig Fred Saidy
- Based on the play by Lilith and Dan James
- Opened October 5, 1944 at the Shubert Theatre and ran for 654 performances.
- Performed at the Music Circus July 11 thru July 16, 1950
This actually gets Jeff into trouble but the trouble is compounded when Evelina. modeling a new super skirt at a garden party organized by her father, lifts her skirt to show that she is clad in bloomers. This she does in support of her Aunt and her causes. Jeff's brother, a committed slave owner, causes trouble and Evelina, Dolly and the slaves are all thrown into jail.
On release the group organizes a performance of Uncle Tom's Cabin. Whilst this is taking place news comes that there has been firing of rifles on Fort Sumpter. The American Civil War has begun! This puts on hold the romance between Jeff and Evelina. Jeff enlists in the Confederate Army. Meanwhile, Evelina's brothers-in-law have enlisted in the Zuoave regiment of the Union Army - the regiment that wears trousers that look like bloomers!
The Applegate factory, under the joint direction of Horace and Dolly is turned over to the manufacture of bloomers. After Jeff hears Lincoln speak he changes allegiance. He returns to Evelina as the curtain falls.
"Blossom Time"
- Music by Sigmund Romberg based on the music of Franz Shubert
- Based on a Vienesse operetta Das Dreidmaederlhaus
- Opened September 29, 1921 at the Ambassador Theatre and ran for 516 Performances.
- Performed at the Music Circus June 7 thru June 15, 1952
"The Boys from Syracuse"
- Music by Richard Rodgers - Lyrics by Lorenz Hart - Book by George Abbott
- Based on William Shakespeare's The Comedy of Errors
- Opened November 23, 1938 at the Alvin Theatre (New York) and ran for 235 Performances.
- Performed at the Music Circus August 10 thru August 15, 1954
"Brigadoon"
- Music by Frederick Loewe - Book and Lyrics by Alan Jay Lerner
- Opened March 13, 1947 at the Ziegfeld Theatre, (New York) and ran for 581 performances.
- Performed at the Music Circus August 15 thru August 20, 1950
- Performed at the Music Circus 1951
- Performed at the Music Circus 1954
- Performed at the Music Circus September 1 thru September 6, 1959
- Performed at the Music Circus June 18 thru June 23, 1963
The strained and strange greetings of the villagers bedecked in 18th century costumes, who have gathered in the market square to sell their wares and to discuss the final wedding preparations of Jeannie MacLaren and the boyish Charlie Dalrymple, are softened for Tommy by his encounter with Jeannie's lovely sister, Fiona, and enlivened for Jeff by his reluctant entanglement with the maid, Meg Brockie.
The blissful occasion is momentarily tinged with gloom when the fate of Brigadoon is threatened by Harry Beaton, Jeannie's rejected suitor. And Tommy, now burdened with the knowledge of Brigadoon's secret and enraptured by the gentle charms of the beautiful Fiona, is confronted with the choice of remaining forever at the side of the Scottish lass or returning to the unsatisfying world familiar to him. At the close of the day he is still unable to commit himself without doubt or regret to Fiona and to Brigadoon, and leaves with Jeff for America.
Restless and unhappy in New York, Tommy finally yields to the haunting memory of Fiona and, guided by the faith and strength of his love, finds his way back to Brigadoon.
The misty mood of this Highland setting is strikingly complemented by bright 18th century costuming, contrasting the idyllic Brigadoon villagers with the malcontent young hunters. The fanciful flavor is augmented by superb choreography by Agnes de Mille which gracefully mingles the regional with the modern. An outstanding band orchestration by Philip J. Lang, as well as the standard orchestral accompaniment, offer a memorable resonance to the production.
Like Tommy, the audience delights in the whimsical loveliness of the Highlands, and it is with similar reluctance that they exit Brigadoon.
"By the Beautiful Sea"
- Music by Arthur Schwartz - Lyrics by Dorothy Fields
- Opened April 8, 1954 at the Majestic Theatre, (New York) and ran for 268 performances.
- Performed at the Music Circus July 12 thru July 17, 1955
"Bye, Bye Birdie"
- Music by Charles Strouse - Book by Michael Stewart
- Opened April 14, 1960 at the Martin Beck Theatre (New York) and ran for 607 performances.
- Performed at the Music Circus August 21 thru September 2, 1962
- Performed at the Music Circus July 6 thru July 11, 1965
Conrad will bid a typical American teen-age girl goodbye with an all-American kiss. Kim MacAfee in Sweet Apple, Ohio wins the honor. All of the phones in her town are already busy during The Telephone Hour as Kim has just been pinned to Hugo, a local boy. She is a pretty girl of fifteen and sings with spring-like ardor How Lovely to Be a Woman, as she pulls on the plaid woolen socks and the baggy mustard colored sweater considered stylish and popular among young ladies.
The arrival of Birdie in Sweet Apple causes people of all ages to swoon. Birdie says that his success is due to the fact that he is Honestly Sincere when he sings, and the quiet little town goes into a spin. The MacAfee household is completely upset by the visiting celebrity. It is decided that Birdie will give his One Last Kiss on the Ed Sullivan show. Kim's father who laments the whole uproar, tries to break into the act and behaves like a ham on the TV show. Hymn for a Sunday Evening is a salute to the greater glory of Ed Sullivan.
Birdie becomes disgusted with his life and goes out on the town with the teenagers. He feels tense with Albert and is tired of being supervised. The parents of Sweet Apple cannot understand the new generation and express this in Kids. Rosie, still waiting for that band of gold from Albert after eight years, invades a Shriners' meeting. An extremely hilarious ballet ensues. She then decides to become the Latin American spitfire that she is painted as, by Albert's lead-footed catastrophe-ridden mother. She is determined to become Spanish Rose. Kim is reunited with Hugo, and Rose with Albert in the lovely number Rosie. Other hit numbers include A Lot of Livin' to Do and Put on a Happy Face.
"Bye, Bye Birdie" is a satire done with the fondest affection. It gives an insight into the everyday life that is very much part of us all. It is the tops in imagination and frivolity; a show that will be enjoyed by the cast as much as the audience.
"Cabin in the Sky"
- Music by Vernon Duke - Book by Lynn Root - Lyrics by John Latouche
- Based on the story Little Joe by Lynn Root
- Opened October 25, 1940 at the Martin Beck Theater (New York) and ran for 156 Performances.
- Performed at the Music Circus 1959
"Call Me Madam"
- Music and Lyrics by Irving Berlin - Book Howard Lindsay and Russell Crouse
- Opened October 12, 1950 at the Imperial Theater (New York) and ran for 644 Performances.
- Performed at the Music Circus September 1 thru September 13, 1953
When the loan is all but consummated, Cosmo finds out about it and resigns. This ruins all possibilities for another coalition, and the country must hold its first general election in twenty years. Sally openly campaigns for Cosmo, forcing her recall to Washington for becoming involved in another government's internal affairs. Kenneth, too, commits a grave diplomatic error by falling in love with the Princess Maria and arranging secret meetings with her. However, a spirit of democracy is over Lichtenburg. The princess is granted permission to ask Kenneth to marry her. Elected Prime Minister, Cosmo visits Sally in Washington to grant her the royal order of Dame and revive their "acquaintance."
"Camelot"
- Music by Frederick Loewe - Lyrics and Book by Alan Jay Learner
- Opened December 3, 1960 at the Majestic Theater (New York) and ran for 873 Performances.
- Performed at the Music Circus May 30 thru June 14, 1964
King Arthur suddenly meets his future wife, with whom he has appointed wedding, in the woods. They fall in love at first sight and in the course of conversation they almost kiss, but are interrupted by one of the servants of the King. His wife until this moment did not know that he is the king and now he admits how he has become one—he drew the sword Excalibur out of the stone. Then we see Merlin, who, turns out, loses his power to foresee the future and refers the matter to one of his acquaintances, water nymphs. She lures Merlin to eternal sleep in her cave and now his memory fades, and all fades...
After 10 years, King creates a new institution, the Round Table, which should unite under its wings not only knights who fight constantly, but which are useful for the society and defend the honor. When the Order was created, a lot of knights have been adopted in it all over England, and the glory of it comes to France. From France to Camelot goes ambitious young Lancelot, who became friends with the king, but will be an enemy for a variety of knights of the Table.
Arthur's wife arranges a tournament between the best knights. Arthur easily defeats all the knights and Lancelot is named a member of the Table, while the wife of Arthur falls in love with Lancelot. He loves her unconsciously, but is torn between loyalty to Arthur and temptation. This continues for several years, but the woman remains faithful to her husband, even though he guessed about her affair with Lance.
Illegitimate son of Arthur arrives at Camelot, to destroy the Kingdom and drop the King, in revenge for the fact that he was thrown away when born. During the departure of Arthur hunting, Lancelot and Arthur's wife cannot stand and kiss, but the son sees it, who, along with other knights, who do not like Lancelot, grabs him and her, but Lancelot manages to break free and escape. Arthur's wife is sentenced to death in the burning fire for the governmental treason, but in the last minute, Lancelot arrives with reinforcements and rescues her, taking her with him to France.
They war each other, during which killed a bigger part of Round Table. Meeting with Lancelot and Guenevere before the big final battle, Arthur learns that their relationship fell apart because of the feelings of betrayal of Arthur. He forgives them, and they both depart separately, and the war ends.
"Can-Can"
- Music and Lyrics by Cole Porter - Book/Libretto by Abe Burrows
- Directed by: Abe Burrows - Choreography by: Michael Kidd
- Opened May 7, 1953 at the Schubert Theater (New York) and ran for 892 Performances.
- Performed at the Music Circus August 21 thru September 9, 1956
- Performed at the Music Circus July 30 thru August 4, 1963
"Carmen Jones"
- Music by Georges Bizet - Book/Libretto by Oscar Hammerstein II
- Music Orchestrated for Broadway by Robert Russell Bennett
- Opened December 2, 1943 at the Broadway Theater (New York) and ran for 503 Performances.
- Performed at the Music Circus 1951
Joe's pass is canceled in order for him to drive her to the next town to be handed over to the non-military police. Instead, Carmen charms him and escapes, and he is put in the stockade for not delivering her to the authorities.
While Carmen waits for Joe to be released from military prison, she hangs around Billy Pastor's jive cafe where she encounters boxer Husky Miller, who is instantly besotted with Carmen, calling her "heatwave."
Carmen is initially uninterested. But her friends Frankie and Mert know that their invitation from Husky's manager to see him fight in Chicago depends on Carmen's being there, too.
Joe, having been released from the stockade, turns up at the cafe the same evening. At first, his prospects seem to be looking up, as his connections have put Joe back on track for aviator school. Carmen lays down a guilt trip, however, protesting that a long-distance relationship, with Joe 400 miles (640 km) away at school, just isn't what she had in mind. He immediately gets into a fight with his sergeant, who is making a move on Carmen, as well as laying down some heavy shade on Joe. Starting the fight alone would have been enough to put Joe back in military prison for years, but the fight goes badly, and the sergeant ends up apparently dead. Carmen makes Joe hide the body, since desertion sounds better than a lengthy sentence.
The train ticket to Chicago originally given to Carmen offers them a way of avoiding the MPs. After a few days hiding out in a seedy hotel with no money and no future with Joe, Carmen pays a visit to her two friends, now covered in diamonds and furs, at Husky's training camp. She is only looking for a loan, but they try to draw her to give up Joe and "go with the money" by staying with Husky.
Later, at Husky's apartment, Frankie reads Carmen's "cards", and reveals the Nine of Spades - the card of Death. In the belief that her days are numbered, Carmen gives in to Husky's advances, abandoning Joe for the luxurious life Husky can offer her.
Cindy Lou comes to look for Joe, but he is still in love with Carmen and spurns Cindy Lou. The night of Husky's title fight, Joe turns up to try to convince Carmen to come back to him, but when she rejects him, he kills her, thus making the card's prophecy a reality.
"Carnival"
- Music and Lyrics by Bob Merrill - Book/Libretto by Michael Stewart
- Based on the film "Lili" and material by Helen Deutsch
- Opened April 13, 1961 at the Imperial Theater (New York) and ran for 719 Performances.
- Performed at the Music Circus July 16 thru July 28, 1963
Lili is unsuccessful at several jobs with the troupe. The troupe, touring the small cities of France about a generation ago, is raffish and run down. We can see that at one time they were very successful. Touches of this former splendor come forth in the jubilant production number Grand Imperial Cirque de Paris. The jugglers, animal acts, aerialists, clowns and dancers perform before Lili's eyes. She is dazzled by their spirited and colorful excitement. One scene segues into the next without need of curtain or scenery change, except for a few pieces which are pushed off and on by the roustabouts. Scenes are created by banners dropping from the sky and by imaginative highlighting of sections of the stage.
Lili becomes the pawn in a fierce rivalry for her affection between Marco the Magnificent, the troupe's magician and Paul Berthalet, a puppeteer with an injured leg. She is fascinated with Marco's fabulous magic. Paul becomes very jealous of Marco, who seems to be winning Lili with his suave and gallant ways. Marco's dance Sword, Rose and Cape highlights his personality. His partner in his magic act is billed as The Incomparable Rosalie. She is a comic who threatens to leave him, to marry a doctor who turns out to be a veterinarian. They argue continuously and do a hilarious number Always Always You in which Marco pierces (with swords) a basket in which Rosalie is enclosed.
Paul communicates through his charming puppets. They include the sentimental walrus who is afraid of "antiwalrus" remarks; the sophisticated fox who observes, "You've never fox-trotted until you've done it with a fox"; a lively redheaded boy and a society lady who the years have somehow passed by. Still searching for her place in the carnival, Lili finally joins the puppet act.
The spirit of the show is brought to the audience with rousing circus parades, hawkers throwing souvenirs into audience members' laps, and performers marching down the aisles. At last the conflict between Marco, the lover who is beguiling, and Paul the lover who is true, is resolved. In a brilliant dramatic moment Lili rejects Marco and exits with Paul.
The hauntingly wonderful musical theme Love Makes the World Go Round runs through the story. The mood of the carnival people is captured perfectly in a simple, touching, light-handed way. Comedy is blended perfectly with pathos. The effect is "America's Magical Musical" with enchanting appeal for matinee audiences and Saturday night sophisticates.
"Carousel"
- Music By Richard Rodgers - Lyrics By Oscar Hammerstein II - Book/Libretto by: Oscar Hammerstein II
- Based on the play "Liliom" By Ferenc Molnar as adapted By Benjamin F. Glazer
- Opened April 19, 1945 at the Majestic Theater (New York) and ran for 890 Performances.
- Performed at the Music Circus July 1 thru July 13, 1952
- Performed at the Music Circus 1954
- Performed at the Music Circus July 12 thru July 24, 1960
- Performed at the Music Circus June 1 thru June 9, 1963
Two months later, Julie and Billy are married and living with Julie's cousin Nettie. Preparing for that evening's clambake, the girls and boys indulge in a bit of gender scuffling, then, with Nettie presiding, celebrate the erotic liberation of spring (Give it to 'em good, Carrie... / June Is Bustin' Out All Over). Julie confides to Carrie her marital problems: Billy is out of work and angry. He has even hit Julie. Carrie's news is happier - Mister Snow and she are engaged. The eavesdropping girls are thrilled, not least when Snow himself shows up (Mister Snow (Reprise)). Snow and Carrie look forward to married life: a big family and a thriving business in canned sardines (When the Children Are Asleep).
Whalers on shore leave pile into a waterfront dive (Blow High, Blow Low) and get into a brawl. One whaler, the infinitely sleazy Jigger, tries to interest Billy in a robbery, which they can pull off during the clambake. Billy is leery - but the Julie tells him she is pregnant. Overjoyed at the thought of fatherhood as he walks along the beach (Soliloquy), Billy decides to turn thief with Jigger after all. Nettie, Billy and Julie, Carrie and Mister Snow, Jigger and the rest of the gang sail off to the clambake.
That evening, resting up after the cookout (A Real Nice Clambake), everyone prepares for the annual treasure hunt. Jigger, pretending to show Carrie self-defense maneuvers, gets her into a compromising position just as Mister Snow appears. Now the gender scuffling turns serious, as Snow walks out on Carrie, Billy heads off with Jigger for their robbery despite Julie's protests, and the women lament their lack of power (Geraniums in the Winder / Stonecutters Cut It On Stone / What's the Use of Wond'rin').
Back on the mainland, Billy and Jigger await the arrival of their intended victim by playing twenty-one. Jigger, dealing, cheats Billy out of virtually all his share of the coming boodle. But the robbery is foiled, Jigger escapes, and Billy, seeing his whole life as a failure, kills himself crying, "Julie!" The clambaker's arrive, Julie only just in time to trade a few words with Billy before he dies. "I love you," she tells him, for the first time in her life, after he has died. Nettie comforts her (You'll Never Walk Alone).
It's not over yet. A Heavenly Friend shows up to take Billy "Up There," where, in a scene suggestive of some advanced Protestant sect's open-air meeting house, an austere Star keeper allows Billy to go back and resolve problems he left "Down Here" - for instance, his daughter, Louise, who is now fifteen and as wild and resentful as Billy was. The Star keeper gives Billy a star to take to her as a present. A ballet reveals Louise to us: as a tomboy cut-up, then as a young woman tasting love with a boy she meets in the ruins of her father's carousel (Ballet: Pas de Deux). She is, in effect, recreating her mother's experience, breaking out of a drab life in a dangerous yet wonderful relationship. But the boy wanders off, leaving Louise heartbroken and destructively defiant. Back on earth with the Heavenly Friend, Billy tries to give Louise the star, she suspiciously resists, and he slaps her face - once again, in his inarticulate rage, failing to express his true feelings to those he loves (If I Loved You (Reprise)).
"Common sense may tell you that the endin' will be sad" - but, at Louise's high-school graduation, Billy heartens his daughter and tells Julie, "I loved you." As the congregation clusters in socio-religious community, Billy, in the distance, climbs a great stairway to heaven (You'll Never Walk Alone (Reprise).
"The Cat and the Fiddle"
- Music by Jerome Kern and Otto Harbach - Lyrics by Otto Harbach and Jerome Kern - Book by Otto Harbach and Jerome Kern
- Opened October 15, 1931 at The Globe Theater (New York) and ran for 395 performances.
- Performed at the Music Circus June 13 thru June 18, 1950
"The Chocolate Soldier"
- Music by Oscar Straus - Book and Lyrics by Stanislaus Stange
- Based on the play "Arms and the Man" by George Bernard Shaw
- Opened September 13, 1909 at the Lyric Theater (New York) and ran for 296 Performances.
- Performed at the Music Circus 1949
- Performed at the Music Circus August 29 thru September 3, 1950
- Performed at the Music Circus 1954
- Performed at the Music Circus July 24 thru July 29, 1962
"Countess Maritza"
- Music by Emmerich Kalman - Book and Lyrics by Nigel Douglas
- Opened September 18, 1926 at the Shubert Theater (New York) and ran for 321 Performances.
- Performed at the Music Circus August 24 thru August 29, 1954
"Damn Yankees"
- Music By Richard Adler - Lyrics By Jerry Ross and Richard Adler - Book/Libretto by George Abbott, Douglass Wallop
- Based on: Douglass Wallop's play "The Day the Yankees Lost the Pennant"
- Opened May 5, 1955 at the 46th Street Theater (New York) and ran for 1019 Performances.
- Performed at the Music Circus August 26 thru September 14, 1958
- Performed at the Music Circus August 6 thru August 11, 1963
At the ballpark, the hapless Senators vow to play their best despite their failings ("Heart"). Then Joe Hardy is suddenly discovered and joins the team. Gloria, a reporter, praises him ("Shoeless Joe from Hannibal, Mo"). His hitting prowess enables the team to move up in the standings.
Though Joe is increasingly successful, he truly misses Meg and moves into her house as a boarder in his persona as Joe Hardy. They begin to bond, especially over her "lost" husband ("A Man Doesn't Know"). Fearful of losing his deal, Applegate calls Lola, "the best home-wrecker on [his] staff", to seduce Joe and ensure his loss of the bet. She promises to deliver ("A Little Brains, A Little Talent"), and Applegate introduces her as a sultry South American dancer named "Señorita Lolita Banana." She sings a seductive song ("Whatever Lola Wants"), but Joe's devotion to Meg proves too strong, even for her. Applegate punishes her by firing her, where she performs with other past workers for Applegate ("Who's Got the Pain").
Applegate decides to switch tactics to ensure Joe's failure. He releases false information about Joe's true identity being "Shifty McCoy", an escaped criminal and con artist. When Gloria discovers this information, she presses charges, and he is forced into court.
The Senators prepare for the final game against the Yankees for the pennant and worry about Joe, but they vow to think of nothing but winning ("The Game"). Meanwhile, angry fans are seeking him out, so he decides to leave home. As he does so, he tells Meg indirectly that he is her old husband ("Near to You"). Meanwhile, Applegate is exhausted by the work he has put into winning one bet and thinks about the "simpler" times in his long history ("Those Were the Good Old Days").
Joe's day in court is on September 24, the last day of his deal. As he technically does not exist, he can't produce any kind of identification. The owner of the Senators, their coach, and even Lola (disguised as "Señora McCoy") testify; unfortunately, their opinions are invalid. Gloria suggests that Applegate take the stand, but he is unable to take the oath due to its provision against lying. "Don't you have another version of that thing?" he asks. Joe realizes that Applegate is simply stalling to keep him from meeting his 9:00 deadline. Applegate claims that Joe "just needs time to think" and sends him to where Lola is, where history's most famous lovers wait. Lola meets him there and realizes that he truly loves Meg. She helps him by sending him into the final game and delays Applegate by coercing him into a duet ("Two Lost Souls").
When Applegate finally arrives at the game, it is 8:55, and Joe is at bat. As time runs out, Meg, her friends, and even Lola begin cheering for him. Applegate uses his powers to give Joe two strikes. The clock strikes nine, and Applegate claims victory, but at the last second, Joe cries, "Let me go!" The deal is broken, and he is transformed back into his old self. Amazingly, he is still able to hit a home run and win the Senators the pennant.
Back at home, Joe rushes into Meg's arms. Applegate appears on the scene, claiming that Joe owes him his prize. He begs Meg to hold him and not let go, and she begins to sing ("Finale (A Man Doesn't Know)"). Applegate promises to make him young again and even ensure a World Series victory. But his powers are useless against their true love, which Lola points out. He shouts that such a thing can't exist, but he is wrong. He and Lola vanish back to where they came from, defeated, with Joe and Meg united.
"The Desert Song"
- Music by Sigmund Romberg - Book and Lyrics by Otto Harbach, Oscar Hammerstein II and Frank Mandel
- Opened November 30, 1926 at the Casino Theater (New York) and ran for 465 Performances.
- Performed at the Music Circus 1949
- Performed at the Music Circus 1951
- Performed at the Music Circus August 15 thru August 20, 1961
- Performed at the Music Circus July 20 thru July 25, 1965
"Destry Rides Again"
- Music and Lyrics by Harold Rome - Book by Leonard Gershe
- Based on the play "Arms and the Man" by George Bernard Shaw
- Opened April 23, 1959 at the Imperial Theater (New York) and ran for 472 Performances.
- Performed at the Music Circus July 25 thru August 6, 1961
"DuBarry Was a Lady"
- Music and Lyrics by Cole Porter - Book by Herbert Fields and Buddy G. DeSylva
- Opened December 6, 1939 at the 46th Street Theater (New York) and ran for 408 Performances.
- Performed at the Music Circus 1959
In his dream, Charley becomes the Dauphin (later Louis XVI) and Harry becomes the captain of the guard, with Ann as Du Barry's lady-in-waiting, and Alex as a peasant who wrote a rude song about The King and Du Barry (the title song: Du Barry Was a Lady). Eventually after various entanglements (including the Dauphin's shooting the King in the posterior with a bow and arrow), Louis wakes up and realizes that Alex is the man for May. He uses the last of his winnings to pay for Alex's divorce from Ann, and (with Charley having just quit his job) goes back to being a washroom attendant.