The Roar of the Greasepaint — The Smell of the Crowd

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The Roar of the Greasepaint – The Smell of the Crowd is a music-hall allegory that examines the British class structure of the 1960s. Sir and Cocky, who represent the upper and lower classes, play a game with ever-changing rules advantageous to Sir.

  • Synopsis
  • Credits
  • Orchestration
  • Rehearsal Materials
  • Cast List
  • Brief History
  • Upcoming
  • Few get out of life everything they desire, yet true contentment lies in the heart. One who “gets” is Sir, and one who’s always bested is his foil, Cocky, of the “have-nots.” They meet to play “The Game.” Sir insists that the “haves” must retain their position even if the rules of the game must be constantly changed to accommodate them. Thus Cocky contends with new rules at every turn. Cocky tries again and again, unsuccessfully, to play the game, and with every defeat his rules become more restrictive. Cocky tires of Sir’s commanding role revolts and declares that only in dreams do hopes come true. Sir reminds Cocky that it is the courage, wisdom and foresight of the “haves” that improves the lot of the “have-nots.” Crowned “King” in a mock ceremony Cocky seems to be winning the game of life, but Sir steps in to remind him that wealth is the trump card. Desperate as Act One ends, Cocky pleads to heaven with the great number Who Can I Turn To. Someone even more downtrodden than Cocky enters to play the game. Cocky becomes as overbearing as Sir. Cocky asserts himself with Sir, and with new confidence plays the game and wins. He challenges Sir’s mastery and proposes his new rules. But neither Cocky nor Sir can make the grade alone. Finally they share the load and head for a future of mutual understanding.

  • THE ROAR OF THE GREASEPAINT — THE SMELL OF THE CROWD
    Book, Music and Lyrics by
    Leslie Bricusse and Anthony Newley
    Produced for the Broadway Stage by David Merrick

    Such credits to the authors for all purposes shall be in type size equal to or greater than that of any other credits except for that of the star(s) above the title. In the programs, the credits shall appear on the title page thereof.

    The title page of the program shall contain the following announcement in type size at least one-half the size of the authors’ credits:

    THE ROAR OF THE GREASEPAINT — THE SMELL OF THE CROWD
    is presented by arrangement with
    TAMS-WITMARK MUSIC LIBRARY, INC.
    560 Lexington Avenue, New York, New York 10022

  • Full Orchestration:

    2 Violin A
    1 Violin B
    1 Cello I & II
    1 Bass

    1 Reed I: Flute, Piccolo, Clarinet & Alto Flute (or Clarinet)
    1 Reed II: Flute (or Clarinet) & Clarinet
    1 Reed III: Oboe, English Horn (or Clarinet), Clarinet, Bass Clarinet (or Tenor Sax.) & Tenor Saxophone
    1 Reed IV: Clarinet, Bassoon (or Baritone Sax.) & Baritone Saxophone

    1 Horn I & II
    1 Trumpet I & II
    1 Trombone (optionally doubling Euphonium)

    2 Percussion I & II:

    Timpani (2 drums)
    Snare Drum
    Bass Drum
    Tom Toms (2)
    Toy Drums (3)
    Bongo Drums
    Cymbals (large & small suspended)
    Hi-Hat Cymbals
    Anvil
    Tam Tam
    Temple Blocks (4)
    Ratchet
    Siren
    Castanets
    Wood Blocks (2)
    Celeste
    Bells
    Xylophone
    Chimes
    Tambourine
    Triangle
    Cowbell
    Sistrum (small metal Rattle)
    Train Whistle
    Slide Whistle
    Slapstick
    Glass Tree
    Raspberry

    1 Harp
    1 Guitar & Banjo

    (Piano-Conductor’s Score sent with rehearsal material. There is no Piano in the orchestration.)

  • 1       Piano Conductor’s Score (Two volume set)
    1       Prompt Book for Director
    6       Prompt Books for Cast
    2       Piano-Conductor’s Scores for Principal Characters
    18     Chorus-Vocal Books

  • Sir
    Cocky
    The Kid
    The Girl
    The Negro
    The Bully
    The Urchins

  • THE ROAR OF THE GREASEPAINT—THE SMELL OF THE CROWD played for 231 performances on Broadway at the Shubert Theatre Theatre starring Anthony Newley, Cyril Ritchard, Sally Smith and Joyce Jillson.

    AWARDS (1964-65)

    The Theatre World Award for debut performance by Joyce Jillson.

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