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Book Copyright © 2003 by Dan Owens
Lyrics Copyright © 2003 by Richard Engquist and Judd Woldin
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(NAME OF PRODUCER)
presents
Langston Hughes’s
LITTLE HAM
A Harlem Jazzical
Book by Dan Owens
Music by Judd Woldin
Lyrics by Richard Engquist and Judd Woldin
From a concept by Eric Krebs
Based on the play LITTLE HAM by Langston Hughes
In addition, the following credit must appear in all programs:
Originally produced Off Broadway by Eric Krebs in association with
Ted Snowdon, Mart Hummel, entitled entertainment and Amas Musical Theatre
OPENING NIGHT: SEPTEMBER 26, 2002
THE CAST
Clarence
Lucille
Opal
Larchmont
Leroy
Mrs. Dobson
Amanda
Hamlet Hitchcock Jones
Tiny Lee
Louie “The Nail” Mahoney
Rushmore
Jimmy
Sugar Lou Bird
Policeman, Bradford
Christopher L. Morgan
Cheryl Alexander
Joy Styles
D’Ambrose Boyd
Lee Summers
Venida Evans
Julia Lema
André Garner
Monica L. Patton
Richard Vida
Jerry Gallagher
Joe Wilson, Jr.
Brenda Braxton
Howard Kaye
Langston Hughes’s
LITTLE HAM
was originally produced in New York City by Amas Musical Theatre
Rosetta LeNoire, Founder
Donna Trinkoff, Producing Director
SYNOPSIS OF SCENES AND MUSICAL NUMBERS
ACT I
Prologue: A Harlem Street
Scene 1: Lucille’s Shoeshine Parlor
“I’m Gonna Hit Today”
Lucille, Leroy, Clarence, Opal,
Larchmont, Mrs. Dobson, Amanda
“It’s All in the Point of View” Ham, Tiny, Lucille, Opal, Clarence,
Larchmont, Mrs. Dobson
Scene 2: The Street
“Stick with Me, Kid”
Louie the Nail, Rushmore, Ham
Scene 3: Tiny Lee’s Beauty Salon
“No”
Tiny, Sugar Lou, Jimmy
“Get Yourself Some Lovin’” Ham and Tiny
Scene 4: Lucille’s Shoeshine Parlor
“That Ain’t Right”
Cop, Rushmore, Lucille, Mrs. Dobson,
Ham, Clarence, Larchmont, Jimmy,
Sugar Lou, Amanda, Opal, Leroy
Scene 5: Louie’s Office/Sugar Lou’s Dressing Room
“Cuttin’ Out!”
Sugar Lou, Jimmy
“Cuttin’ Out!” (Reprise)
Jimmy
Scene 6: The Street
“Room for Improvement”
Lucille and Leroy
Scene 7: Around Harlem
“Get Back”
Company
SYNOPSIS OF SCENES AND MUSICAL NUMBERS
ACT II
Entr’acte: The Street
“Harlem, You’re My Girl”
Ham
Scene 1: Lucille’s Shoeshine Parlor
“Angels”
Ham, Lucille, Leroy, Sugar Lou,
Jimmy, Opal, Clarence, Larchmont,
Mrs. Dobson
Scene 2. Tiny Lee’s Beauty Salon
“Big Ideas”
Tiny
Scene 3: Louie’s Office and Around Harlem
“It’s a Helluva Big Job”
Ham, Lucille, Leroy, Sugar Lou,
Jimmy, Opal, Clarence, Larchmont,
Mrs. Dobson, Louie, Rushmore,
Amanda, Bradford
Scene 4: Tiny Lee’s Beauty Salon
“Wasting Time”
Ham and Tiny
Scene 5: Hello Club Ball
“Say Hello to Your Feet”
Ham, Tiny, Lucille, Leroy, Sugar Lou,
Jimmy, Opal, Clarence, Larchmont,
Mrs. Dobson, Amanda
CAST OF CHARACTERS
(in order of appearance)
Clarence: A janitor
Madame Lucille Bell: Proprietress of the Paradise Shine Parlor
Opal: Tiny Lee’s manicurist
Larchmont: A chauffeur
Leroy: Lucille’s main man
Mrs. Dobson: A feisty grandmother
Hamlet Hitchcock Jones: A shoe-shiner with ambition
Tiny Lee: A hairdresser and businesswoman
Louie “The Nail” Mahoney: A gangster
Rushmore: Louie’s “accountant”
Sugar Lou Bird: A showgirl
Jimmy: Sugar Lou’s dresser and manager
Amanda: A pretentious matron
White Policeman: (Played by the actor playing Bradford)
Bradford: Louie’s Wall Street contact
PROLOGUE
It is essential that the following have a Dance/Mime quality about it.
Music under … Rhythmic jazz.
Harlem: Early fall, 1936. A Harlem Street. Night.
(POLICEMAN enters down right.
MRS. DOBSON enters down left, crosses to center.
OPAL enters down right.
LEROY enters up left with a handful of cash, crosses to downstage.
LUCILLE enters up right – crosses down left.
Scream offstage.
POLICEMAN runs off up left brushing past MRS. DOBSON and
LEROY, spinning MRS. DOBSON around as he runs past.
MRS. DOBSON circles upstage of LEROY to cross down right.
LEROY turns his back to the audience.
CLARENCE enters down left.
HAM enters upstage right, TINY enters upstage left.
HAM crosses upstage of TINY, tips his hat; SHE ignores him.
TINY exits upstage right, HAM turns exits upstage left.
MRS. DOBSON exits stage right.
OPAL crosses downstage.
LUCILLE crosses up left to LEROY.
CLARENCE crosses downstage of LEROY and crosses upstage of
LUCILLE to OPAL down right.
AMANDA enters down right, crosses past OPAL and CLARENCE.
POLICEMAN enters down left followed by LARCHMONT with dream
book.
LUCILLE takes LEROY upstage.
CLARENCE exits down right.
POLICEMAN crosses upstage of AMANDA, pauses near OPAL to
check her out, exits down right.
SUGAR LOU and JIMMY enter upstage, cross, exit.
LUCILLE and LEROY cross straight down center.
OPAL crosses to right of LEROY.
AMANDA crosses to left of LUCILLE, starts to eavesdrop.
9
10
Langston Hughes’s LITTLE HAM
LARCHMONT crosses to left of AMANDA.
On drum hit: LEROY peels off right – downstage of OPAL.
LUCILLE peels off left – downstage of AMANDA and LARCHMONT,
then exits stage left, exposing SUGAR LOU at center with JIMMY
in tow.
AMANDA crosses downstage of LARCHMONT, exits down left.
OPAL crosses to greet SUGAR LOU – they air-kiss both cheeks.
LARCHMONT follows LEROY – they circle stage right to up center.
OPAL exits down right.
AMANDA enters down left.
CLARENCE enters down right, crosses down left, exits.
TINY and HAM enter down left, HAM following hat in hand. THEY
cross down right, exit.
LEROY notices SUGAR LOU – SUGAR LOU crosses down left to
LEROY, drops her hankie.
LEROY picks up hankie to return it, tips his hat.
JIMMY drops his shopping bag to see if LEROY will it pick up – he
doesn’t.
LEROY and JIMMY look out at audience.
JIMMY and SUGAR LOU cross upstage right.
LEROY crosses down left.
LARCHMONT crosses up left.
MRS. DOBSON enters down left, crosses upstage to right of
LARCHMONT.
CLARENCE enters stage left, crosses to right of LEROY.
OPAL, LUCILLE and AMANDA enter stage left, cross down right.
POLICEMAN enters down right.
LOUIE and RUSHMORE enter, cross to center.
All freeze – except LEROY and CLARENCE, who are transacting a
payoff of CLARENCE’s bet. LEROY takes CLARENCE’s winning
number slip and pays out CLARENCE’s winnings. LOUIE and
RUSHMORE observe at center.
Break freeze for strange music — freeze again.
LOUIE and RUSHMORE cross down left .
CLARENCE and LEROY shake hands as they conclude their business.
CLARENCE does a little happy dance as they part.
LOUIE and RUSHMORE cross to upstage of them and exit down left.
POLICEMAN crosses stage left, weaving through OPAL, CLARENCE
and LEROY.
LUCILLE exits up right.
CLARENCE crosses to center. OPAL rushes to him. He offers his
Langston Hughes’s LITTLE HAM
11
arm, thinking he is pleased to have the money to take her
someplace nice. They exit down right, happily.
AMANDA crosses left and exits.
LARCHMONT and MRS. DOBSON cross down right and exit,
LARCHMONT crossing upstage of SUGAR LOU.
LOUIE and RUSHMORE enter upstage.
SUGAR LOU and JIMMY cross up center – greet LOUIE and exit
down left.
LEROY crosses down center.
LOUIE crosses down left and RUSHMORE crosses down left to
intercept LEROY. They bookend LEROY.
RUSHMORE holds gun up to LEROY’s head.
LOUIE takes money from LEROY.
POLICEMAN crosses to LOUIE, gets payoff.
POLICEMAN takes out his nightstick and forcibly propels LEROY off
stage left.)
END OF PROLOGUE
12
Langston Hughes’s LITTLE HAM
ACT ONE
Scene 1
(Following the Prologue, Lucille’s shop appears. It is Monday
morning.
LUCILLE enters from upstairs with dance trophy and begins to set up
shop. She looks through the window and sees LOUIE and
RUSHMORE. LOUIE and RUSHMORE exit.)
CLARENCE. (Entering.) Six-oh-five in a box. I dreamt it as
sure as I’m standing here.
LUCILLE. Six-oh-five?
CLARENCE. In a box.
LUCILLE. (Sings.)
THAT’S A VERY GOOD NUMBER
GONNA PLAY IT, TOO
WHEN YOU GOT A GOOD NUMBER
MONEY COMES TO YOU
CLARENCE.
I ONLY GOT SIX BITS UNTIL I GET MY PAY
BUT I KNOW THAT NUMBER’S GONNA HIT TODAY
LUCILLE.
THEN PLAY A RUNDOWN, CATCH IT EITHER WAY
CLARENCE.
WHAT I’M GONNA DO
CLARENCE and LUCILLE.
I’M GONNA HIT TODAY
SURE AS I’M ALIVE
CLARENCE.
SURE AS I’VE BEEN DREAMIN’ OF A SIX-OH-FIVE
(CLARENCE picks up the dream book.)
13
Langston Hughes’s LITTLE HAM
14
LUCILLE. Clarence, them two white men still out front?
CLARENCE. The ones that look like bulls?
LUCILLE. Honey, they ain’t no police.
(OPAL enters.)
OPAL. Let me get my number in ’fore I go to work. Last night I
dreamt a dream….
LUCILLE. You, too!
OPAL. Saw a yellow woman washin’ a green dress in a white
lady’s back yard.
CLARENCE. (With dream book.) Yellow’s a seven. It’s in the
dream book.
LUCILLE. And green’s a double four.
OPAL. 744’ll get me that red satin dress for the Hello Club Ball!
LUCILLE.
HONEY, THAT’S A NUMBER
SEVEN-FORTY-FOUR
CLARENCE.
BUT YOU BETTER BOX IT
THAT’LL GET YOU MORE
OPAL.
WHEN THE ODDS ARE RIGHT I LIKE TO PLAY ’EM STRAIGHT
WHEN THEY’RE OUTTA SIGHT IS WHEN I COMBINATE
BUT I DON’T SIT AROUND AND WAIT
THAT’S NO WAY TO SCORE
OPAL, CLARENCE and LUCILLE.
THAT’S RIGHT, THAT’S RIGHT!
I’M GONNA HIT TODAY
IT’S A FEELING LIKE AN ITCH
OPAL.
SEVEN-FORTY-FOUR IS GONNA MAKE ME RICH!
(The phone rings and LUCILLE picks it up.)
LUCILLE. Madame Bell’s Paradise Shine Parlor, Madame Bell
speaking. (Listening.) No, honey, Ham ain’t here, never was here,
never gonna be here.… That’s right. Mm-hmm. (Hanging up.)
Langston Hughes’s LITTLE HAM
15
Another one of Ham’s women.
(LARCHMONT enters in a chauffeur’s uniform.)
OPAL. Larchmont, how come you ain’t at work?
LARCHMONT. The man say business so bad he’s stayin’ home
from the office. So, I get a day off.…
CLARENCE. That’s good.
LARCHMONT. Without pay!
ALL OTHERS. That’s bad!
LARCHMONT.
GOT ONE DAY IN SEPTEMBER
LEFT TO PAY MY RENT
AND IN CASE YOU DON’T REMEMBER
THAT AIN’T HEAVEN-SENT
I GOT TO HIT TODAY
MY JOB IS ON THE LINE
COME ON, MAKE ME LUCKY
WITH A NINE-TWO-NINE
OTHERS.
YOU’RE GONNA HIT TODAY
AND YOU’LL SOON BE FEELIN’ FINE
ALL YOU NEED’S A NUMBER
LARCHMONT.
AND I NEEDS A SHINE
(LARCHMONT gets on the stand.) Where is Ham?
(LEROY enters from upstairs.)
LUCILLE. Leroy, Honey, I almost came up to get you.
LEROY. What’s the problem?
LUCILLE. Them two white men are still chasin’ us.
LEROY. Nothin’ to fear … Leroy’s here!
(MRS. DOBSON, an old lady, enters the shop.)
MRS. DOBSON. Lucille! Lucille!
Langston Hughes’s LITTLE HAM
16
LUCILLE. Mrs. Dobson, where’s your cane?
MRS. DOBSON. This mornin’ four fifteen, my fourth daughter
gave birth to my fifteenth grandchild. (All ad lib their congratulations.)
Glory! If Jesus ain’t showin’ me a sign, I don’t know signs ...
OTHERS.
HUMN
MRS. DOBSON. …’n I don’t know Jesus.
OTHERS.
DOO DOO DOO
DOO DOO DOO
DOO DOO DOO
DOO DOO DOO
MRS. DOBSON.
OTHERS.
IT’S FOR SURE I GOT A WINNER DOO DOO DOO
ONE I CAN AFFORD
SURE AS I’M A SINNER
DOO DOO DOO
TRUSTIN’ IN THE LORD
TIMES AIN’T EASY WHEN THE
TIMES IS LEAN
FEELIN’ POORLY AND I’M
DOO DOO DOO
FEELIN’ MEAN
BUT WHEN THE LORD STARTS
SHOWIN’ ME
THE GREEN
I CAN BE RESTORED
DOO DOO DOO
I AIN’T HURTIN’ ONE BIT TODAY
LUCILLE.
YES, I KNOW JUST WHAT YOU MEAN
OTHERS.
JESUS, BLESS OUR SISTER WITH A FOUR-FIFTEEN.
HALLELU!
(AMANDA, a staid, well-dressed woman, has entered and picked up a
newspaper. She surveys the group with disdain.)
AMANDA.
WHEN I’M NEAR THE NUMBERS THERE’S A CERTAIN SMELL
Langston Hughes’s LITTLE HAM
17
TELLIN’ ME THAT HARLEM IS HEADIN’ STRAIGHT FOR HELL
(LEROY hustles AMANDA out the door.)
MEN.
LOOKIN’ AT A SEVEN
LOOKIN’ AT A FIVE
NOT LOOKIN’ UP TO HEAVEN
JUST LOOKIN’ TO SURVIVE
WOMEN.
SWEET SEVEN
LUCKY FIVE
NO, NO
OH, YEAH
ALL.
DON’T NEED LIQUOR AND I DON’T NEED DOPE
GOT MY NUMBERS SO I CAN COPE
WHEN I’M RUNNIN’ OUTTA ROPE
MY NUMBERS REVIVE!
I’M GONNA HIT TODAY
IT’S LIKE MONEY IN THE BANK
OH YEAH
OPAL.
GOT MY SEVEN-FORTY-FOUR
LARCHMONT.
NINE-TWO-NINE
MRS. DOBSON.
FOUR-FIFTEEN
CLARENCE.
SIX-OH-FIVE
COMPANY.
AND I THANK MY LUCKY NUMBERS I’M ALIVE!
I’M ALIVE!!
OPAL. What time is it? Miss Tiny’s gonna have my hide.…
LEROY. Where’s Little Ham? He late again?
LUCILLE. Is Roosevelt in the White House? (The phone rings.
LEROY reaches for it.) Leroy, we ain’t takin’ no more messages for
Ham!
(LEROY hangs up the phone.
HAMLET HITCHCOCK JONES rushes in right past everyone. He is
young and personable, and wears a rakish derby.)
18
Langston Hughes’s LITTLE HAM
HAM. Hey! What you all doin’ here so late at night?
OPAL. Mornin’, Ham.
HAM. Mornin’! Can’t be mornin’ yet! Sun don’t rise without me
to greet it.
CLARENCE. Man, you crazy!
LEROY. Man, you late!
HAM. Women always tell me “better late than early.”
CLARENCE. Will you check out Ham’s derby!
HAM. This old thing? Won it in a Georgia skin game last night.
This, too! (He produces a ten dollar bill and flourishes it grandly.)
First big bet of the day.
OPAL. You bettin’ the whole ten?
(LEROY grabs the bill from HAM.)
LEROY. Not in here, he ain’t.
(LUCILLE grabs the bill from LEROY.)
LUCILLE. (Examining bill.) It’s a phony.
(She hands it back to LEROY who hands it back to HAM.)
HAM. (Shrugging.) Harlem night, looked all right … Harlem
day, fades away. I get any calls?
LUCILLE. What do we look like, your secretarial pool?
HAM. Madame Bell, you look so lovely this mornin’.
LEROY. Ham, get to work.
LUCILLE. (Giving HAM the silver trophy.) Shine up this here
dance trophy so it’s ready for the contest Friday.
LARCHMONT. That’s right.
LUCILLE. Can’t believe it’s been a year since I won it.
LEROY. We won it, don’t you mean?
LUCILLE. Who was leadin’?
HAM. Mrs. Dobson, you gonna save me a dance at the Hello
Club Ball? We could win that trophy and the hundred dollar prize.
MRS. DOBSON. Ham, you a killer diller.
HAM. When I’m dancin’ I feel like I’m makin’ love to a million
women all at once.
LEROY. Yeah, ’n you can dance right out onto that “relief line”
if you late again.
Langston Hughes’s LITTLE HAM
19
LUCILLE. Leroy.…
LEROY. Get on them shoes. Don’t let me have to get on you.
HAM. Ain’t goin’ to be shinin’ shoes all my life. Some day I’m
goin’ to have me a business of my own … a big apartment up on “The
Hill” ... ’n a “Sunday Woman” too!
LEROY. ’Fore you find you a Sunday Woman, pigs will fly.
HAM. I will. I do. I have. ’N I’ll stroll right in the Hello Club
Ball with her on Friday night.
LEROY. (Crossing to exit.) Hogs are sproutin’ wings! My ears
can’t take no more! (Enter MISS TINY LEE.) Mornin’, Miss Tiny!
TINY. Mornin’.
HAM. Good mornin’, Miss Tiny!
TINY. Mornin’, everyone. Opal, might have known I’d find you here.
HAM. Lord, Lord, Lord, don’t you made the Harlem mornin’ sing!
TINY. Ham, if there’s a woman in Harlem who ain’t heard one
of your lines, she must be deaf.
LUCILLE. Deaf, dead, or she looks like the back end of a mule!
TINY. Madame Bell, my shoes ready?
HAM. Almost.
LUCILLE. Almost ain’t good enough. Miss Tiny here now.
HAM. (With a pair of women’s shoes.) Ooooooowwweeee!
These shoes feel lucky. Bet they could win the dance contest
theyselves. Look at ’em Lindy.
TINY. Ham, you crazy.
HAM. Crazy’ bout your smile. Miss Tiny, with you wearin’ these
shoes, we a winner for sure. The trophy is ours!
TINY. We? Ours?
HAM. You ’n me at the Hello Club Ball.
TINY. You must know somethin’ I don’t know.
HAM. You right about that.
(During the following song, he dances with the shoes, polishing them
as he goes. He then teases her with them, offering them, pulling
them back, and finally putting them beyond her reach before he
goes into the dance break.)
HAM. (Sings.)
TELL ME THAT I’M LATE, I DON’T AGREE
LATE FOR YOU’S ON TIME FOR ME
I GOT BETTER THINGS TO DO
IT’S ALL IN THE POINT OF VIEW
20
Langston Hughes’s LITTLE HAM
TELL ME I DON’T RATE WELL DON'T BE SURE
I MAY BE BROKE BUT I AIN’T POOR
EVEN WHEN THE RENT’S PAST DUE
IT’S ALL IN THE POINT OF VIEW
’CAUSE LIFE IS REALLY NIFTY, THAT’S MY THEME
FIVE’LL GET YOU FIFTY, THAT’S NO DREAM
IF YOU DOUBT THEN YOU’RE OUT
’CAUSE YOU'RE OFF THE BEAM
THAT’S WHAT GETS YOU IN A JAM — NOT HAM
TELL ME HOW YOU HATE THE HARLEM HEAT
HURTS YOUR EYES AND FRIES YOUR FEET
ME I SEE A SKY OF BLUE BUT I COULD DIG A BLIZZARD TOO
SPRING OR FALL, COLD OR HOT
LATE OR EARLY, BROKE OR NOT
I’M TELLIN’ YOU IT’S ALL IN THE POINT OF VIEW.
(Music out. Dance break to percussive sounds of the COMPANY,
making noise and rhythm with objects in Lucille’s shop.
HAM crosses to LARCHMONT who is rubbing together two shoe
shine brushes with sandpaper.)
HAM. Yeah, Larchmont!
(LUCILLE hits the bell with metal tweezers.
HAM crosses to CLARENCE who is hitting two brushes together –
they circle.
OPAL hits one brush on a shoe polish tin.)
HAM. I like that, Opal!
(MRS. DOBSON bangs the baby taps together.
LARCHMONT crosses to LUCILLE – LUCILLE crosses to downstage
of counter.
HAM crosses up the stairs between CLARENCE and OPAL.
HAM jumps over stair railing onto shoeshine stand and begins
“conducting” the percussion orchestra.)
HAM. Citizens of Harlem, you’re sounding glorious this
morning! You don’t want to play with us, Miss Tiny?
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