[EMP Logo] Etobicoke Musical
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Productions

Let us entertain you with a variety of major musicals! Once you see and hear us, you'll be back for more!

Upcoming Shows:

 

Oliver - Fall 2010

Music, Lyrics and Book by: Lionel Bart

Produced for the Broadway stage by David Merrick and Donald Albery

Brief History :

OLIVER! was first presented in London, where it played for 2,618 performances at the New Theatre. It played for 774 performances on Broadway at the Imperial and Shubert Theatres starring Georgia Brown and Clive Revill as Nancy and Fagin. It has been revived on Broadway several times, as in 1984 at the Mark Hellinger Theatre, and in London in 1994 at the Palladium starring Jonathan Pryce as Fagin.

Synopsis :

    The curtain opens on the sinister interior of the workhouse with a bare dining table, center stage, where the boys will sit. These pale-faced wretches can be seen peering through the bars of a door at the back. Looming above two curving stairways glows the legend "God Is Love" in rough letters. The door is opened and the boys file to the table and sing "Food, Glorious Food". At the end of the song, the Widow Corney, who runs the workhouse and Mr. Bumble, the parish beadle, enter and a thin gruel is served. Wolfing the meagre fare, the boys hopelessly stack their bowls, but the hapless Oliver approaches Bumble with the entreaty, "Please sir, I want some more." He is instantly subdued. Oliver is locked behind the barred door as the rest of the boys exit upstairs.

     Oliver is brought forward, bag and baggage, and is led off by Bumble who sings the haunting " Boy for Sale". Walking through the streets of London, they arrive at Mr. Sowerberry's, the undertaker. Oliver is "sold" to the undertaker. Alone and frightened and surrounded by coffins on stage, he sings the plaintive "Where Is Love?"

     Oliver runs away the very next morning, and is picked up hungry and tired in the streets by the Artful Dodger who cheers him up with " Consider Yourself". The Dodger leads him through crowded streets to Fagin's kitchen. The boys come in and Fagin himself appears and, with a mock solemn welcome to Oliver, sings the fantastic "You've Got to Pick a Pocket or Two". Nancy, Bill Sikes' girl and Bet arrive. The two of them, accompanied by the boys and Fagin, celebrate their way of life in "It's a Fine Life". The action moves to the next morning when Fagin sends the boys off on a pocket-picking expedition, Oliver among them. The stage now displays a city scene and we witness the capture of Oliver, not for picking pockets, but for simply looking guilty.

     In the second act the curtain rises on the "Three Cripples"-an underworld tavern-where Nancy is being encouraged to sing a music hall number, " Oom-Pah-Pah". Fagin's boys pour down the stairs telling of Oliver's apprehension by the police, at the same time revealing that his innocence has been established and that he is presently ensconced in the home of a rich old gentleman. Fearful lest he give away their set-up, Fagin and Sikes dispatch Nancy to get Oliver back.

     Meanwhile, at the home of his new-found benefactor, the erstwhile ragged Oliver has become a well-tailored, well-cared for little lad. Looking out of his bedroom window he observes some passing street vendors crying their wares; he sings "Who Will Buy?" A plea that his good luck and new situation in life will be permanent. However, the moment he sets foot outside his benefactor's house, Oliver is seized and dragged off by Nancy to Fagin's.

     In the next scene Fagin occupies the empty stage and considers going straight in "Reviewing the Situation". Subsequently, Bumble and Mrs. Corney, now uncomfortably married, discover that Oliver is the scion of a rich family. Their scheme to get him back fails and Nancy, regretting her part in the capture of Oliver, plans to return him to his benefactor at night on London Bridge. Fearful of Sikes, she reprises "As Long as He Needs Me". Sikes stalks her and kills her. He grabs Oliver and, after a chase, is himself shot dead. Oliver is restored to his benefactor and Fagin, now without boys, home and money, reprises "Reviewing the Situation"..

Urinetown - Spring 2011

Book by: Greg Kotis

Lyrics by: Greg Kotis and Mark Hollmann

Music by: Mark Hollmann

 

Brief History :

The success of URINETOWN seems as unlikely as the show’s title. The show first premiered at the Fringe Festival in 1999. Word of mouth spread quickly, and the show was picked up for an Off-Broadway run in 2001. The reviews were wildly enthusiastic, and the show was transferred to Broadway’s Henry Miller Theater where it opened on September 20, 2001. It was the first Fringe Festival show to achieve that feat. URINETOWN was nominated for an impressive 10 Tony Awards, winning for Best Book, Score, and direction. The show was still selling well, and had just recouped its $3.7 million dollar investment, when, in early 2004, the producers were suddenly notified that Henry Miller’s Theater would be torn down to make room for a new skyscraper, and the show was ordered to vacate the theater by February of that year. Plans for finding a new home for URINETOWN on Broadway never materialized, and the show was forced to close on January 18, 2004, after 965 performances.

The show premiered in Canada in May of 2006, and a sit-down production is scheduled to begin in Chicago in March of 2006. Also, writers Mark Hollman and Greg Kotis are reportedly developing both a prequel and a sequel to the show

Synopsis :

One of the most uproariously funny musicals in recent years, URINETOWN is a hilarious tale of greed, corruption, love, and revolution in a time when water is worth its weight in gold. In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity's most basic needs. Amid the people, a hero decides he's had enough, and plans a revolution to lead them all to freedom! Inspired by the works of Bertolt Brecht and Kurt Weill, URINETOWN is an irreverently humorous satire in which no one is safe from scrutiny. Praised for reinvigorating the very notion of what a musical could be, URINETOWN catapults the “comedic romp” into the new millennium with its outrageous perspective, wickedly modern wit, and sustained ability to produce gales of unbridled laughter.


Beauty And The Beast - Fall 2011

Music by: Alan Menken

Lyrics by: Howard Ashman and Tim Rice

Book by: Linda Woolverton

 

Brief History :

In 1991, the animated feature BEAUTY AND THE BEAST became the first "cartoon" to be nominated for the Academy Award for Best Picture. Prompted by the unprecedented success of the film, and by critcs likening the music to that of a Broadway score, Disney executives began to develop a stage version with an eye toward the Great White Way. Of course, award-winning composer Alan Menken would write the new songs needed for the expanded story, but with the untimely death of his writing partner Howard Ashman, a new lyricist was needed. Tim Rice, who had already worked with Menken on additional material for the Aladdin film, was asked to contribute. In all, the pair wrote seven new songs. In addition, the song "Human Again," with lyrics by Ashman but cut from the film, would be restored for the stage.

BEAUTY AND THE BEAST first premiered at Houston's Theater Under the Stars in December 1993. There were 40 performances in Texas before the show opened at Broadway's Palace Theater on April 18, 1994. The original cast included Susan Egan as Belle, Terrence Mann the Beast, and Tom Bosley of TV's Happy Days as Belle's father, Maurice. Disney's unmatched reputation for quality family entertainment was clearly in evidence, as the show broke box office records for single-day ticket sales. BEAUTY AND THE BEAST was nominated for nine 1994 Tony Awards, including Best Musical.

In 1999. Disney decided to move the show to the Lunt-Fontanne theater in order to make room for its production of AIDA at the Palace. BEAUTY was slightly scaled down, but lost none of its trademark Disney magic. In 2005, BEAUTY AND THE BEAST celebrated its 11th year on Broadway, and is currently the 6th longest running musical in Broadway history. Over the years, several prominent stars have assumed the role of Belle, including Andrea McArdle, Deborah Gibson, and Christy Carlson Romano. In 1998, when pop sensation Toni Braxton played the part, the song "A Change In Me" was added to the score and remains in the show.

To date, BEAUTY AND THE BEAST has been performed in 15 countries and 7 languages around the world.

Synopsis :

Beauty and the Beast is the stage adaptation of the animated Walt Disney 1991 film that tells the story of a strong-willed young woman, Belle, who breaks the spell that turned a handsome prince into a monstrous beast. Trying to save her beloved (but eccentric) father from the Beast's clutches, Belle agrees to become his prisoner forever. But once she is inside the Beast's enchanted castle, the members of his court -- who have been transformed into household objects like clocks and candlesticks -- decide to play matchmakers. As the Beast begins to fall in love with Belle, he becomes progressively less beastly. But the spell can be broken only if the Beast can get her to love him in return. And time is running out since the jealous Gaston, Belle's would-be suitor, leads a mob of villagers to attack the Beast's castle. Happily, the spell is broken and Belle and the Prince are united by play's end.


42nd Street - Spring 2012

Music by: HARRY WARREN

Lyrics by: AL DUBIN

Book by: MICHAEL STEWART & MARK BRAMBLE

Based on the Novel by BRADFORD ROPES

 

Brief History :

FORTY-SECOND STREET played for 3,486 performances on Broadway at the Winter Gardem, Majestic and St. James Theatres starring Tammy Grimes and Jerry Orbach. It was revived on Broadway in 2001 at the Ford Center for the Performing Arts starring Michael Cumpsty and Christine Ebersole and is still playing as of this writing (2004).

Synopsis :

42nd STREET is a big, bold musical set in 1933, that celebrates the stuff that dreams are made of. The curtain rises on Andy Lee, the dance director who is auditioning kids for the chorus of 'Pretty Lady'-Audition. The show's writers, Bert and Maggie, are pleased with what they see on stage, but they warn the dancers that at $4.40 per seat, the audience will demand some spectacular dancing. While she has gathered up her courage for an hour at the stage door, young Peggy Sawyer has missed the audition. Billy, the romantic lead, tries to help her see the producer-Young and Healthy.

The producer, Julian Marsh, has no patience for latecomers and Peggy rushes off the stage. Meanwhile, Bert and Maggie try to encourage Julian about the show's prospects of success. He is worried about some of the cast, especially Dorothy Brock, the leading lady. Her last hit was ten years earlier, but her sugar daddy, Abner Dillon, is backing the show.

Just then Dorothy and Abner arrive. Dorothy gushes to Julian that she has "dreamed of the day when I might work with the King of Broadway." Nevertheless, the "king" will not be pushed around, and Julian suggests that Dorothy audition. Abner defends Dorothy and reminds Julian that Dorothy does not have to try out for anyone-Shadow Waltz.

Realizing that she has forgotten her purse, Peggy returns to the stage. Maggie invites her to lunch with three of the girls. The five dance off stage. As they settle in at the Gypsy Tea Kettle, the girls are amused by Peggy's naļvete. They follow with an amusing account of the Broadway facts of life, and dance back to the theater-Go into Your Dance. This number evolves into an audition for Peggy. When Julian walks in he is angry to see Peggy disrupting things again, but he is struck by her remarkable talent. He orders everyone back to work and tells Andy to hire Peggy for the chorus.

Dorothy and Billy begin their rehearsals. The love scene they are rushing through comes under the scrutiny of Abner. He objects to it and handshakes are substituted for kisses-You're Getting to be a Habit With Me.

Peggy, weak and overcome by an exciting day, faints on stage. She is carried to Dorothy's dressing room where Pat Denning, Dorothy's real boyfriend, is waiting. Dorothy walks in, and misreading what she sees, thinks that Pat is two-timing her. Julian suggests that Pat leave town.

Word arrives that the Atlantic City run of the show has been cancelled and that Philadelphia has been substituted. The company packs up for the Arch Street Theatre-Getting Out of Town.

Dress rehearsals begin in Philadelphia-Dames. Julian congratulates the kids on a number well done and sends the cast off to relax.

The cast is throwing a party and Peggy asks Julian if he is coming. Captivated by her charm, Julian decides to go. Dorothy, who misses Pat, has drunk a bit too much, and tells Abner to take his money and leave. Abner is ready to close the show, but the kids are able to talk him out of it.

'Pretty Lady' opens spectacularly with We're In the Money. Then Dorothy rushes onstage to lead the Act I finale. She is accidentally knocked down by Peggy and can't get up. A furious Julian fires Peggy and cancels the rest of the performance.

Act II opens with a doctor telling Julian that Dorothy's ankle is broken. Fear and panic spread through the cast. Julian says he will close 'Pretty Lady' for good, but the cast won't give up-Sunny Side to Every Situation. The cast thinks that Peggy can save the day. Julian finally agrees that Peggy might be able to take over for Dorothy. Peggy has already left for the train station and Julian rushes after her. Julian convinces Peggy to return-Lullabye of Broadway.

Peggy has exactly 36 hours to learn 25 pages, 6 songs and 10 dance numbers. As Julian says, by the next evening, he'll have either a live leading lady or a dead chorus girl!

At long last the Broadway curtain opens on 'Pretty Lady'-Shuffle Off to Buffalo. The show is a fabulous hit and Peggy Sawyer is a sudden sensation. Julian reprises the glory of "42ND STREET."


Jesus Christ Superstar - Fall 2012

Music by: Andrew Lloyd Webber

Lyrics by: TIM RICE

 

Brief History :

JESUS CHRIST SUPERSTAR first emerged as a popular double record album in October 1970. It became Andrew Lloyd Webber and Tim Rice's first professionally staged show a year later at the Mark Hellinger Theatre on Broadway. The London production bowed on August 9th, 1972 and would run for eight years and 3,358 performances making it one of the longest running musicals in West End history.

The show has since been revived in New York twice, once in 1977, and again in 2000 for a limited engagement directed by Gale Edwards based on her 1996 London production. JESUS CHRIST SUPERSTAR has been staged in over 15 countries, from Israel to Kenya to Japan, and was banned in South Africa

Synopsis :

It seems especially fitting that the first rock opera, created as a concept album at the end of the turbulent '60s, should have at its center a social and political rebel. Jesus' meteor-like rise in renown provides, as the title suggests, a parallel to contemporary celebrity worship. As his radical teachings are evermore embraced, Judas increasingly questions the enlightened motives of this new prophet, resulting in betrayal. Christ's final days are dramatized with emotional intensity, thought-provoking edge and explosive theatricality. Propelled by a stirring score, by turns driving and majestic, satirical and tender, JESUS CHRIST SUPERSTAR illuminates the transcendent power of the human spirit with a passion that goes straight to the heart.


The Drowsy Chaperone - Spring 2013

Music and Lyrics by: Lisa Lambert and Greg Morrison

Book by: Bob Martin and Don McKellar

 

Brief History :

THE DROWSY CHAPERONE debuted in 1998 at The Rivoli in Toronto and opened on Broadway on 1 May 2006. The show won the Tony Award for Best Book and Best Score. It started as a spoof of old musicals written by friends for the wedding of Martin and his wife, Janet.

Synopsis :

Chaperone pays tribute to the Jazz-age shows of the 1920s and the power those shows held to transport us into a dazzling fantasy and to lift our spirits in times of sadness.

The audience is greeted by the narrator, Man in Chair, sitting on a darkened stage. He is a fan of vintage musicals who seems to be suffering from free-floating depression, and he quickly decides to cheer things up by playing a record of the original cast recording of a (fictional) Broadway musical entitled "The Drowsy Chaperone".

No sooner has the needle touched the record than we, together with the narrator, are transported to a 1928 Broadway theater and into "The Drowsy Chaperone", a play-within-a-play crammed full of every cliche, gag and gimmick from the golden age of musicals.

The estate of Mrs. Tottendale (a wealthy dowager) is the site of an imminent wedding between showgirl Janet Van De Graff to oil tycoon Robert Martin. We are introduced to a barrage of characters during an introductory opening number ("Fancy Dress"), including Mrs. Tottendale and her Underling (a proper butler), dashing bridegroom Robert Martin, harried and bumbling best man George, producer Feldzeig (a thinly-disguised homage to legendary Broadway producer Florenz Zeigfeld), ditsy would-be showgirl ingenue Kitty, a pair of Gangsters disguised as the pastry chefs, Latin Lothario Adolpho (a Rudolph Valentino-type), Janet's Drowsy (i.e. "tipsy") Chaperone (whom we understand is being played by a rather overbearing and potent grand dame of the theater), and Trix (a glamorous aviatrix a la Amelia Earhart). Throughout the show, Man in Chair will continue to comment and explain the action with asides to the audience.

Feldzeig is agonizing over the fact that his top meal ticket, Janet, is leaving showbiz to get married. The Gangsters, who are in the employ of one of Feldzeig's investors, pressure him to sabotage the wedding so that he can retain Janet's services as a performer.

Robert and George nervously prepare for the wedding ("Cold Feets"). George suggests that Robert blow off some steam by roller-skating. In order to prevent Robert from accidentally seeing the bride before the wedding, he also provides Robert with a blindfold.

Janet is lounging by a pool while fielding questions from reporters. Feldzeig arrives and attempts to convince her to reconsider the wedding, but she rebuffs him ("Show Off"). He enlists the help of latin lover Adolpho, convincing him to seduce Janet.

In her bedroom, Janet shares with her Chaperone her excitement about the upcoming nuptials. This prompts the Chaperone to perform a rousing anthem about alcoholism ("As We Stumble Along"), which is not particularly relevant to the plot. Man in Chair explains that this song was written into the show due to the demands of the actress playing the Drowsy Chaperone, who always insisted that a rousing anthem be included in every show in which she performed. After Janet departs to find Robert, Adolpho arrives and mistakes the Chaperone for Janet. The Chaperone quickly accepts his advances ("Adolpho").

Janet encounters Robert, who is roller-skating blind-folded in the garden. She puts on a bad French accent and he fails to recognize her. At her request, he tells this alleged "stranger" how he first fell in love with Janet and they relive the moment together ("Accident Waiting to Happen"). However, this results in a kiss, whereupon Janet gets angry and accuses Robert of having kissed "a strange French Girl on your wedding day!"

Meanwhile, Kitty fails to persuade Feldzeig that he doesn't need Janet anymore because he has her as a replacement. The Gangsters arrive, angry that Feldzeig has not yet ruined the wedding. He distracts them by convincing them that they have showbiz talent ("Toledo Surprise"). Aldolpho arrives to announce that the wedding is off because he has seduced the bride, but Feldzeig informs him that he has in fact seduced the Chaperone instead. However, Janet arrives to announce that the wedding is indeed off because Robert "kissed a French girl." Feldzeig is ecstatic, and leads the company in another rendition of "Toledo Surprise".

At this point, Man in Chair attempts to play the record of the Second Act of the show. However he mistakenly begins playing a song ("Message From a Nightingale") from a different musical entirely, causing the setting of the play to temporarily shift to an oriental palace, and all of the actors to assume new roles. Man in Chair hurriedly corrects his mistake and The Drowsy Chaperone resumes.

Janet laments the collapse of her romance with Robert ("Bride's Lament") and decides to continue her life as a star showgirl.

Mrs. Tottendale assures her Underling that the wedding preparations should continue regardless of the apparent disaster ("Love is Always Lovely"). She also makes it clear that she is in love with the Underling.

The Chaperone informs Janet that she intends to marry Adolpho. Mrs. Tottendale and the Underling announce that they plan to marry as well. Robert arrives and asks Janet to reconsider and marry him after all. She confesses that she was the French Girl he kissed and agrees that their wedding is back on. Feldzeig is saved from the Gangsters by virtue of his new leading lady, Kitty (who is also, he reveals, his fiance).

There is great rejoicing in anticipation of the multiple weddings ("Wedding Bells #2"). George has neglected to arrange for a Minister, but fortunately Trix the Aviatrix arrives and it is decided that since she is technically the "captain" of a "ship" of sorts, she can officiate the weddings ("I Do, I Do in the Sky") and fly the wedding party to Rio for the Honeymoon.

The show is abruptly cut short by a power failure in Man in Chair's apartment. As the Superintendent arrives to attend to the breakers, the Man explains his love for the show as an antidote to "the dreary horrors of the real world." The entire cast joins him onstage for the grand finale ("As We Stumble Along - Reprise").