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BOOK BY KAREY KIRKPATRICK AND JOHN O’FARRELL
MUSIC & LYRICS BY WAYNE KIRKPATRICK & KAREY KIRKPATRICK
DIRECTED & CHOREOGRAPHED BY CASEY NICHOLAW
With 10 Tony® nominations including Best Musical, Something Rotten! is a “big, fat hit!” (New York Post) Set in the ‘90s–the 1590s–this hilarious smash tells the story of Nick and Nigel Bottom (Tony® nominee Rob McClure and Broadway’s Josh Grisetti), two brothers who are desperate to write their own hit play while the “rock star” Shakespeare (Tony® nominee Adam Pascal) keeps getting all the hits. When a local soothsayer foretells that the future of theatre involves singing, dancing and acting at the same time, Nick and Nigel set out to write the world’s very first MUSICAL!
“With its heart on its ruffled sleeve and sequins in its soul, Something Rotten! is The Producers + Spamalot + The Book of Mormon. Squared!” -New York Magazine.
BOOK BY TERRENCE MCNALLY
MUSIC BY STEPHEN FLAHERTY
LYRICS BY LYNN AHRENS
BASED ON THE NOVEL RAGTIME BY E. L. DOCTOROW
DIRECTED BY PETER ROTHSTEIN
PRODUCED IN COLLABORATION WITH THE ASOLO REPERTORY THEATRE
With scintillating music and an intensely compelling story of love at its core, Ragtime is a musical theater masterpiece that will inspire and touch your soul. It’s the turn of the century; everything is changing. Set in the volatile melting pot of New York City, three distinct American stories are woven together: an upper-class wife, a determined Jewish immigrant and a daring young Harlem musician, all three united by their desire and belief in a brighter tomorrow. Featuring the richest and most glorious Tony Award®-winning score.
“This is big-brain, bold strokes musical theatre storytelling at its most vibrant” -Variety
“A triumph for the stage” -TIME Magazine
MUSIC & LYRICS BY IRVING BERLIN
BOOK BY GORDON GREENBURG & CHAD HODGE
DIRECTED BY DAVID ARMSTRONG
CHOREOGRAPHED BY TBD
The West Coast Premiere of this recent Broadway hit! Holiday Inn is a wonderful new musical inspired by the Oscar-winning film featuring lavish sets and costumes, spectacular choreography and 20 Irving Berlin songs. Jim leaves the bright lights of show business to settle down on a farm in Connecticut—but he finds the simple life is not as simple as he thought. This is a heartwarming treat, sure to put your whole family in the best of holiday spirits.
“Heartfelt musical eggnog!” -NY Observer
BOOK BY JERRY ZUCKER
MUSIC & LYRICS BY ALAN ZACHARY AND MICHAEL WEINER
DIRECTED BY JERRY ZUCKER
CHOREOGRAPHY & STAGING BY ANTHONY VAN LAAST
A world premiere musical from the master of wacky comedies including cinematic sensations Airplane! and The Naked Gun. INTERMISSION! THE MUSICAL! is the story of two dim-witted brothers who come to Potku-Potku (a tiny monarchy located… somewhere…) after receiving an email from someone they have never heard of, claiming that money has been left to them by a relative they never knew they had. They each fall in love, get caught up in a military coup, join a band of revolutionaries and have to save the country—of course. Don’t try to make sense of it. Just tuck your brains under your seat and enjoy the show!
From the creator of Airplane! and The Naked Gun movies!
BOOK, MUSIC & LYRICS BY BROOKE MAXWELL & JACOB RICHMOND
DIRECTED & CHOREOGRAPHED BY RACHEL ROCKWELL
A CO-PRODUCTION WITH AND PRESENTED AT ACT - A CONTEMPORARY THEATRE
At 8:17 PM, the Saint Cassian High School Chamber Choir will board the Cyclone roller coaster. At 8:19, the front axle will break, sending them to their tragic demise. Trapped in fantastical carnival-like purgatory, the recently deceased teens discover a mechanical fortune teller, who invites them to tell their stories of life interrupted, with the promise of a prize like no other. Welcome to the West Coast premiere of Ride the Cyclone, a wildly original new musical. Part comedy, part tragedy and completely unexpected, this wonderfully weird story is at every turn satirical, macabre, creepy, campy and hilarious.
“A delightfully weird and just plain delightful show… knocked out of the park” -The New York Times
MUSIC & LYRICS BY COLE PORTER
BOOK BY SAMUEL & BELLA SPEWACK
DIRECTED BY ALAN PAUL
Celebrating its 70th Anniversary! Kiss Me, Kate is the multi-Tony Award®-winning Cole Porter masterpiece that set the standard for great musicals and then broke the mold. A play-within-a-play inspired by William Shakespeare’s The Taming of the Shrew, this sparkly sensation is, at its core, a true battle of the sexes. A charming leading man and his superstar ex-wife are starring in a production of the Bard’s famous play. Both on stage and off, they revel in combat and romance. Who comes out on top? We’re thinking you’d better “brush up your Shakespeare…”
Produced as a part of the 2018 city-wide festival, Seattle Celebrates Shakespeare.
MUSIC BY ALAN MENKEN
LYRICS BY STEPHEN SCHWARTZ
BOOK BY PETER PARNELL
BASED ON THE NOVEL BY VICTOR HUGO
DIRECTED BY GLENN CASALE
A glorious retelling of Victor Hugo’s epic masterpiece, this powerful tale of love, faith and prejudice will leave you utterly spellbound. Its lush, beautiful score is unlike anything in musical theater today, featuring songs from the Disney animated feature and new music from legendary composers Alan Menken (The Little Mermaid, Aladdin and Newsies) and Stephen Schwartz (Wicked, Godspell and Pippin). Immerse yourself in the power and glory of rapturous music; melt with the passion of a magnificent story.
“Menken’s uncommonly complex, classically-influenced score soars” -The Hollywood Report
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Murder for Two is an uproarious comedy/murder mystery with two performers, one of whom portrays aspiring detective Marcus Moscowicz, while the other plays all ten suspects.
The language is very mild. A couple of “hells” are heard.
A married couple (Barb and Murray, both played by the same actor) fight: she yells at him, “At least I don’t have a small penis!” Barrette, the ballerina, confesses that she had an affair with the victim, infuriating his wife Dahlia (“I thought so, especially those nights when she joined us in bed! But this confirms it!”).
A gunshot is heard at the opening, and the victim, novelist Arthur Whitney, is dead, shot in the forehead (the body cannot be seen, though the players refer to it). Officer Moscowicz tells a story about his former lover, Vanessa, who turned out to be a serial killer (she is caught carrying a briefcase of body parts); one character is poisoned onstage (these moments are played for laughs rather than horror).
Romy and Michele’s High School Reunion
Romy and Michele’s High School Reunion is a new musical based on the 1997 film. Please note that because this is a new script, there will be some changes made throughout the show’s run.
Romy and Michele, who graduated from high school in 1987, planned to attend their reunion until they realized that in ten years they have accomplished very little – how can they impress the popular girls? And how will Romy finally attract the man of her dreams – Billy, the captain of the high school football team?
A couple of “damns” are heard and one exclamation of “Jesus!” “Screw” is heard a couple of times, but never in a sexual sense (“Screw these people!”). One character is called a “dickhead” and another a “credit whore” (for stealing someone else’s idea). Heather, who is thoroughly disillusioned with relationships, sings “Love is . . . ,” which uses the word “bullshit” twelve times. A few vulgar expressions are also used (examples: “Stop jerking off,” “He is such a douchebag,” “You’re shittin’ me,” “asshole”).
When Romy and Michele dance together (since no one else asked), Romy observes, “Sometimes I wish I was a lesbian.” When Michele jokingly asks if they should try it, she says the idea “creeps me out,” but “if we’re not married by the time we’re thirty, ask me again.” Later the two of them will discuss who lost her virginity first.
In a flashback at Sagebrush High School, the popular girls/cheerleaders dance while singing their inner thoughts: “I’m the best, the luckiest / You wish that you could touch my breast / But all you get to do is watch me,” while the boys voice their own longings: “How I wish I could see them naked!”
In a dream sequence, Michele sees Romy sitting on a (shirtless) Billy’s lap; they are making out.
In an interview at a department store, Michele uses the “jerk off” hand motion to describe how she can convince customers they look good in anything.
Two characters who have fallen in love disappear together into the dressing room of a boutique. We do not see them emerge.
Heather, Romy and Michele’s high school classmate, is seen smoking both in flashbacks set in “Sagebrush High School” and at the reunion ten years later.
Attendees at the reunion are seen drinking beer; a few are seen smoking marijuana. One character is revealed to be “sloppy drunk.”
Fun Home, the winner of the 2015 Tony Award for Best Musical, is based on the graphic novel of the same name by Alison Bechdel ; she subtitled her book – a memoir about her very unusual childhood and her relationship with her parents – “a family tragicomic.” The author is played by three actresses who portray Small Alison (around nine years old), Medium Alison (19 and a college freshman), and Alison (43 and a cartoonist). Both funny and very moving (Variety observed, “This show could be staged on the back of a truck and still break your heart”), Fun Home contains adult content which is described below.
The “f” word is heard six times, always from Alison’s father Bruce during his unpredictable explosions of anger (“Don’t f—g tell me what to do!” “No one f—g helps around here!”); he also calls his wife a “crazy bitch.” Also heard are a couple of “damnits!,” one “Goddammit!” and one “Christ! Chrissakes!” A few vulgar expressions are used (“bullshit,” “shitload”).
Medium Alison discovers she is a lesbian from reading a book (Word is Out, interviews with 26 lesbians and gay men, a companion to the 1978 film). When she claims to be nonetheless asexual, her friend Joan kisses her; they tumble into bed together and the lights go down. Joan is then seen sleeping while Alison sings “Changing my Major” (“I’m changing my major to sex with Joan / With a minor in kissing Joan / Foreign study to Joan’s inner thighs / A seminar on Joan’s ass in her levis / And Joan’s crazy brown eyes”).
Bruce is seen asking Roy, a former student assisting him, to unbutton his shirt; Roy does so, singing, “I know this type / This type of married guy / I could just give him the slip but why / It’s not a big deal.” Later we see Bruce talking with Mark, a 16-year-old student: “I just like getting the chance to know you a little better. You got yourself a girl?” The relationships in these scenes are implied onstage, not explicit.
When Medium Alison comes out to her parents (in a letter), Helen responds by informing her daughter about Bruce (“Days and days and days / made of posing and bragging and fits of rage / and boys, my god, some of them underage / And oh how did it all happen here?”).
Bruce offers sherry to Roy; later he offers a beer to Mark, a high school junior. Joan offers a joint to Medium Alison when she has heard upsetting news. Helen pours wine for herself and Medium Alison before they discuss the truth about Bruce.
Bruce (high school teacher, amateur historic home restorer, funeral director) calls Small Alison into the room where he is working on a cadaver and asks her to hand him some scissors. (Alison at 43 wonders: “Is this the way your father showed you your first dead body? Was it a Bechdel rite of passage? Or am I reading too much into this? Maybe you just wanted the scissors.”) The three small Bechdel children devise a mock commercial (“Come to the Fun Home”) for the family business; they dance on the caskets in the showroom and hide inside one when their father interrupts them.
Small Alison hears her parents, Bruce and Helen, fighting; they shout at each other and sometimes throw objects. At one point, Bruce begins tearing pages out of books.
Something Rotten, a recent hit on Broadway, is set in Elizabethan London; it tells the story of two down-and-out playwrights (Nick and Nigel Bottom) who prematurely invent the musical in order to compete with William Shakespeare. The show’s comedy is Monty Python-like in being outrageous and irreverent, including plenty of anachronistic modern references. Parents and concerned theatergoers should peruse the following guidelines carefully.
The adult language is mild, but does contain quite a few “vulgar” expressions. The jealous Nick has a few choice words about Shakespeare (“that little turd,” “the bastard”). A couple of words for body parts are used (“Don’t be a penis/The man is a genius”) (“I’d give my left nad to be Shakespeare”). The word “shit” appear (“You’re a shit actor”) as does “piss.” Shakespeare himself asserts that writing is “still friggin’ hard.” A couple of “damns” are heard and one “Godammit.”
Most of these are implied rather than explicit; for instance, the Puritan preacher, Brother Jeremiah, declares that theater “promotes lustful desires” and therefore all theaters “must be pulled down, for we cannot abide such ungodly erections.”
It is suggested that Robin, a player who specializes in female roles, is gay (“If I was to wear dresses and hang about in taverns and flirt with men . . . You know? For research.”)
A song lyric describes “a play from Greek mythology” (Oedipus Rex) as “See a mother have sex with her son? Eww.”
Nick and his true love, the puritan Portia, who are both inexperienced, become very aroused (without touching) when Nick reads his poetry to her (“Yes! Don’t stop!”).
When Nick is acquitted in court and kisses Bea (who is in male dress), Jeremiah the Puritan preacher calls out, “Look! Homosexuals! Charge them!”
At a party for Shakespeare, the Puritan girl Portia tastes wine for the first time and drinks too much.
Set in the early twentieth century before World War I, Ragtime deals with the promises of the American dream and how they were fulfilled or denied for those already established in the United States, for those newly arrived as immigrants, and for those who were descendants of slaves. It follows the stories of three groups in New York: an African-American musician and the mother of his child in Harlem, an affluent upper-class family living in New Rochelle, and a Jewish father and daughter who have recently emigrated from Russia and settled in the Lower East Side.
The show’s language is very mild; “son of a bitch” is heard twice. There are a couple of “damns” two “goddamns,” and one “shit.”
Racial slurs are heard on several occasions, particularly when bigots confront Coalhouse Walker, calling him “some high-falutin n----r and his whore and whore’s baby.” A crowd at a baseball game calls out, “Take your head out of your ass!” or “Kill the kike!” or “Run, you polack!”
The word “bastard” is several times applied to the child of Sarah and the musician, Coalhouse Walker.
Tateh, the Russian immigrant father, attacks a man who offers him money in exchange for his daughter.
A character is blocked from driving his car down a street; when he goes for help, his car is destroyed.
When workers organize a strike, mill owners call out the militia; a woman is struck down and Tateh, who tried to help her, is knocked down by a man with a nightstick.
A woman approaches the vice president, who is campaigning for the presidency, to ask for his help, and is mistakenly thought to have a gun (President McKinley had been assassinated not long before); she is clubbed down and killed.
A character who fails to get justice from the police or the courts resorts to vigilantism; fire stations are torched, and three people are shot. Later a character is shot as he attempts to surrender (all of this takes place offstage: the shots are heard, but the action is not seen).
Ragtime deals with the hope, poverty, and despair of the immigrant experience, including the fetid, unhealthy tenements, the backbreaking work, the bad food, and the minuscule pay experienced by factory workers. The story also shows the consequences of racist violence resulting in both loss of property and life, and the refusal of legal authorities to help the victims find justice.
Holiday Inn is a classic musical with a score by the legendary Irving Berlin. Ted, Lila, and Jim are a trio performing in a nightclub in Yonkers when Jim proposes to Lila, suggesting they give up show business and move to a farm he has bought in Connecticut. When Lila breaks their engagement, Jim worries about his mortgage; he gets the idea to put on a show and convert the farmhouse into a hotel. Holiday Inn is a family show suitable for audience members of all ages.
Linda, the former owner of the farm, tells Jim about how her mother ran off with a Fuller Brush salesman, leaving her and her father alone.
Some of the songs, such as “Heat Wave,” contain double entendres: “Her anatomy / Made the mercury / Jump to ninety-three.”
After being knocked out by Jim, Ted wakes up the next morning in Louise’s bedroom; he asks, “Did we –” and she responds, “Not on your life, kid.”
Ted, who is drunk, kisses Linda; Jim punches him.
Jim and Louise, the “handywoman” helping him run the farm, drink brandy while listening to Ted and Lila being interviewed on the radio.
A drunken Ted intrudes on the Holiday Inn’s first performance.
Intermission is a play-within-a-play: we see stagehands and audience members enjoying the story of wandering American orphans Jesse and Butch, who parachute into the mythical kingdom of Potku-Potku and experience hilarious and unlikely adventures.
Intermission is a brand-new musical comedy and is still being developed; changes are likely to be made to its script during the rehearsal and preview process.
The characters often use vulgar language; variations on “shit” are used frequently, as are “piss” and “ass” or “asshole.” “Jesus!” and “Goddamit!” are heard a couple of times. The “f” word is used a few times as an expletive (“Ow, f—k!”), as is the word “screw.” A song which warns Jesse and Butch about the consequences of heading into the Potku-Potku desert wasteland is called, “The Wasteland will F—k You in the Ass.”
All of the show’s many sexual references are played for comic effect, although many of these jokes are implied: for instance, Safia, the princess of Potku-Potku, sings to Jesse: “If only I could kiss you / Oh the wonders we would know / All the feelings blooming in our heads / And something bigger blooming down below.” Oona, a farmer’s daughter, begs Jesse and Butch to take her with them and her entire song (“I wanna come”) is a double entendre (“Please take me fast / Please take me now”). Jesse and Butch, who have just left their orphanage, are both virgins who constantly moon over Safia and Oona; one visual gag involves them, disguised in voluminous monk’s robes, becoming aroused as they watch and listen to Oona. In a daydream sequence, Safia and Butch are seen dancing suggestively as they fantasize about each other.
Jesse and Butch are tied to a rack by the evil Major Bedd; they are not actually tortured, only threatened. Jesse and Butch attack and beat two monks to get their robes (the monks are revealed to be only dummies). Safia slaps Butch. None of the violence is threatening or scary; it is played for humor.
The residents of Potku-Potku boast that “marijuana’s grown en masse” there; in a fantasy sequence, the mother who abandoned Jesse and Butch tells them she could not keep them because she was “doing blow;” audience members watching and commenting on the play are seen drinking wine.
Ride the Cyclone is set in a warehouse that holds the detritus of Wonderville, once an amusement park, including the remains of The Cyclone, a huge roller coaster. The Amazing Karnack, a magical fortune-telling machine, narrates the show. The cast: the teenage members of the “former Saint Cassian Choir,” whose fortunes Karnack told before they boarded the Cyclone for its final ride. Now one of these six will be given a chance to come back. As Karnack tells us, this is their chance to express not what they were perceived to be (“Our Six Saints”) but what they dreamt to be.
At one point, all the teenage choir members agree on one thing: “Why’d I even go to class? / Algebra 12, kiss my ass!” Ricky addresses Ocean as “badass.” Also heard one or two times: “bitches,” “son of a bitch,”“shit,” “goddam” and “dick” (as in “Don’t be a dick”).
Ocean, campaigning to be the one chosen, sings of her friends, “Add ‘em all up and you still get zero / What you really need is a futher-muckin’ hero.” However, the actual “F” word is used when Noel says of his female drag alter ego (about whom he also uses the word “whore”), “I want to be that f—d-up girl.”
One of the teens, Mischa, looks back on his fate and berates himself: “Sex? Oh, God, why did I wait?”
Another, Noel, notes that “being the only gay man in a small rural high school is a bit like having a laptop in the Stone Age. I mean, you can have one, but there’s no place to plug it in.” Noel reminisces about his ad libbing a line from Waiting for Godot during a 7th grade Christmas pageant: “There’s no room at the inn, for it is Christmas. Shall we hang ourselves? I hear it gives you an erection. Then we should hang ourselves immediately.” He was, he says, “a sexual provocateur and novelist who never wrote a novel or had sex.” Noel sings a song in drag as his alter ego, a French “hooker with a heart of charcoal;” he and Mischa dance a tango and kiss.
Ricky, who suffered from a degenerative disease that affected his mobility and took his voice, sings of his fantasy of a race of cat-like aliens (“the sexy Cat Women from Zolar”) whom he saved by fathering their next generation.
One of the teens tells a story of how, tired of being dismissed as “nice,” she had sex for the first and only time with a carnie in a port-o-potty just before riding the Cyclone. She is the only one of the six who did not die a virgin.
The show’s cast are the six children who took a last ride on the doomed roller coaster, which derailed at the apex of its loop-the-loop. The accident is implied through a series of projected images.
Constance becomes annoyed with Ocean’s self-centeredness and punches her “in the friggin’ boob,” as ocean puts it.
As the children reminisce about their fall from the coaster, one asserts that the “carnie” operating it was drunk.
Noel’s alter ego, Monique Gibeau (based on Marlene Dietrich in The Blue Angel), sings of “a whirl of boozy, floozy light;” she is a chain smoker and sells herself for opium.
Mischa, the rap singer, says of his “homies:” “We pass around the chronic / We party all night.” “Chronic” is high-quality marijuana.
Mischa and Noel are seen chugging vodka.
Kiss Me, Kate a classic musical with a score by the great Cole Porter, tells the story of the backstage romances, quarrels, and rivalries of a theatre troupe performing a revised version of Shakespeare’s The Taming of the Shrew.
The language is quite mild; Lilli, the leading lady, calls her leading man Fred (from whom she is divorced) a “bastard” a couple of times. There are a couple of “hells” and one “Goddamned” and the word “whoreson” is used as part of the Shakespeare play within the play.
The city of Parma is referred to as a “heartless, tartless menace” in the song “We Open in Venice.”
Almost all of the sexual references are implied rather than explicit; Lois, in her song, “Always True to You (In my Fashion),” admits that she occasionally strays in her relationship with Bill (“I could never curl my lip / To a dazzlin’ diamond clip / Though the clip meant ‘Let ‘er rip,’ I’d not say nay”). The gangsters’ song, “Brush Up Your Shakespeare,” and the backstage song, “Too Darn Hot” (“I’d like to fool with my baby tonight / Break ev’ry rule with my baby tonight / But, pillow, you’ll be my baby tonight / ’Cause it’s too darn hot”) are full of such double entendres.
Several of the songs make references to alcohol. Bill has furs, a hat, champagne, and beer delivered to Lois’s dressing room.
Lilli and Fred quarrel onstage while playing Katharine and Petruchio: she hits him, bites him, and slaps him several times; he spanks her; later she slaps him again. Both Katharine and Petruchio throw objects at each other.
The gangsters are carrying guns and quietly threaten both Lilli and Fred. They leave without carrying out any of these threats when they learn that their boss’s “unidentified remains will be found floating in the bay tomorrow morning.”
The Hunchback of Notre Dame is adapted from the classic novel by Victor Hugo; the music is by Alan Menken, the lyrics by Stephen Schwartz. It tells the story of Quasimodo, the son of an archdeacon’s brother and a gypsy girl, who grows up in Notre Dame cathedral. He is told by Claude Frollo, his uncle and keeper, that he is deformed and ugly and must stay hidden.
A couple of “hells” are heard and one “damnation.” The townspeople call Esmerelda a “gypsy whore.”
Jehan brings his pious brother, Claude, a gypsy girl as a birthday gift, which is refused. Jehan and the girl leave together; their illegitimate son, who has a hump on his back, will later be given to Claude, who has risen to the position of archdeacon.
Esmerelda, the gypsy girl, dances before the crowd: Claude Frollo, Phoebus, and Quasimodo are all entranced by her as she sings: “Before we get old / Come feel the heat / Come taste the desire / Feel them within you.”
Frollo offers to teach Esmerelda and save her soul; she is frightened, as she can see his attraction to her. When she resists, he threatens her with arrest if she enters the cathedral again. Frollo then confesses his lust to God, but blames it on the “gypsy witch.”
We see Phoebus seek Esmerelda out and then see them awaken together in the morning, indicating they have become lovers.
Soldiers searching for Esmerelda, who has been accused of witchcraft, seek her out in a brothel that is known to provide help for gypsies.
Claude Frollo considers throwing a child (who has been left in his keeping) into the abyss, but changes his mind.
Phoebus, a soldier back from the front, arrives to join the Cathedral Guard; he sings of the deaths he has witnessed: “I’m far away from battle / the clotting blood and rotting wounds / Of dead and dying men.”
When Quasimodo is named king of the day, the crowd begins to throw objects at him, then to beat him; Frollo refuses to stop them right away, but Esmerelda calls it a halt.
Frollo decides that the gypsy girl he is infatuated with “will be mine or she will burn.” When she is captured, he embraces her and she claws at his cheek to get away.
Frollo slaps Quasimodo after Esmerelda visits, accusing him of “impure thoughts.”
Esmerelda puts a knife to Phoebus’s throat when she thinks he will arrest her; he disarms her, but she elbows him and retrieves her knife.
A character is stabbed in the back (but not killed) when soldiers attempt to arrest Esmerelda.
Claude Frollo’s pleasure-loving brother Jehan is seen drinking in the cathedral.
The archdeacon, Frollo, objects to the annual “Feast of the Fools,” the only time “foreigners, gypsies, and criminals” are allowed to wander the city freely without fear of arrest.
Esmerelda prays when she enters the cathedral for the first time: “Please help my people / The poor and down-trod / I thought we were all / The children of God.”
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