Romeo & Bernadette

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Overview

 

Perhaps you think Romeo died at the climax of ROMEO AND JULIET? Nope. He just took a sleeping potion, and when he awakes a few centuries later, he suddenly finds himself in Brooklyn, surrounded by dames, dons, and some of the world's most recognizable Italian melodies.

Synopsis

You just thought he was dead! Romeo, that is. No, he didn't die when he drank that poison at the end of ROMEO AND JULIET. Because it wasn't poison at all; just a sleeping potion that put him out for a few centuries.

And when Romeo awakens, he finds himself in 1960 Brooklyn, chasing a girl he believes is his beloved Juliet. But no, it's not Juliet—it's Bernadette, the beautiful, sassy daughter of a local mobster.

Romeo finds himself aligned with the rival crime family and... poor Romeo! It seems he's got what the therapists would call, "a pattern."

But unlike Shakespeare's account of the tale, ROMEO AND BERNADETTE barrels along with dames, dons and dizzy comedy to a happy ending, accompanied by some of the world's most recognizable Italian melodies, famous from movies, television and many, many pizzerias.

Author Info

Mark Saltzman(Book and Lyrics)

Mark Saltzman began his career in N.Y. with Jim Henson, writing for the Muppets. His Sesame Street sketches and songs (including Caribbean Amphibian) earned him seven Emmy Awards. But behind Kermit's back, Mark was writing cabaret shows and musicals that played at The Ballroom, Soho Rep, 13th Street Theater, and the Village Gate, where he co-wrote the long-running revue A, MY NAME IS ALICE.For network television, Mark WROTE MRS. SANTA CLAUS, the holiday musical starring Angela Lansbury with songs by Jerry Herman. For the movies, he wrote THE ADVENTURES OF MILO AND OTIS and THREE NINJAS KICK BACK and has written screenplays for Sony, Universal, and Disney. His TV movie, THE RED SNEAKERS, directed by and starring Gregory Hines, aired on Showtime in 2004 and was nominated for a Writers Guild Award.Mark's musical play, THE TIN PAN ALLEY RAG opened at the Pasadena Playhouse in 1997 and was nominated for five Los Angeles Ovation Awards, including Best Musical. The show continued on to The Coconut Grove Playhouse, Goodspeed, and The Cleveland Playhouse. In July of 2004, it was presented at Fullerton (CA) Civic Light Opera – the try-out of a Rodger Hess-produced New York version planned for 2005. Mark's stage musical, ROMEO AND BERNADETTE, played at the Coconut Grove Playhouse in Miami and New Jersey's Paper Mill Playhouse. His play, MR. SHAW GOES TO HOLLYWOOD, based on the 1933 visit of George Bernard Shaw to the MGM studio, premiered at the Laguna Playhouse in April 2003. His play CLUTTER, had its world premier at the Colony Theater in Burbank on February 7 of 2004. Saltzman's play Rocket City[1] had its world premiere in April 2008 as part of the Alabama Shakespeare Festival's Southern Writers' Project, which has a mandate to encourage "plays that delve into Southern issues and the African American experience" and to contribute "nationally significant works to the American theater canon. In 2002 he adapted the musical classic SHOW BOAT for a Hollywood Bowl performance.Mark is proud of his ongoing role as a mentor in the Blank Theatre Company's Young Playwrights' Festival, held annually in Los Angeles. He is an artistic associate of the Colony Theatre Company and president of the Arnold Glassman Fund, a charitable foundation that provides grants for film and theater projects. Mark is a graduate of Cornell University's English and Theater Departments.

Billing Credits

ROMEO AND BERNADETTE
Book and Lyrics by MARK SALTZMAN
Music Adapted, Arranged and Orchestrated by BRUCE W. COYLE

Originally produced by Coconut Grove Playhouse and Paper Mill Playhouse, The State Theatre of New Jersey

Casting Information

ROMEO (21-30; tenor, strong high A, falsetto or strong B): the Shakespearean character himself! Dashing, passionate, courtly, irresistibly handsome, swashbuckling, innocent, in pursuit of Bernadette. ("A World Away")

BERNADETTE PENZA (21-25; strong singer, New York street accent, good comic skills. High Belt with strong mix. Strong belt to E, the money note at the end of her solo, "One Tender Word."): Mafia Princess. Sexy, tough, vulgar, funny, spoiled, temperamental, with more tenderness in her heart than she realizes.

TITO TITONE (21-30; tenor, strong high B-flat): a studly thug, and Bernadette's cold, domineering fiancee. Good singer, good comedian. New York street accent..

DINO DEL CANTO/BROOKLYN GUY (21-30; lyric baritone. Basically to F with a couple of growled jazz high A-flats at the end of his solo "Boom! In Love"): slick, smug, charming young mob upstart, streety and sexy. Romeo's friend in New York.

DONNA DUBACEK / BROOKLYN GIRL (21-25; belt and mix, belt to C above middle C): Bernadette's friend and maid of honor. Tough talking, blunt, pretty, earthy, with a superior attitude.

SAL PENZA (40-55; baritone to F, with optional A in unison with Tito in "Non La Famiglia"): Bernadette's father. Funny, lovable, a down-to-earth, up-from-the-streets Tony Soprano style mob chief.

CAMILLE PENZA (40-50; mezzo, to C above middle C but with an operatic voice to high G): Bernadette's mother. A stylish Brooklyn mob wife with high class aspirations and affectations. Good singer, good comedian.

CHARACTER MAN (30-45; lyric baritone): strong singer and an exceptional character comedian to play both male and female characters. He plays:
ENZO ALIRIA: a self-loving Pavarotti-style opera singer, sings to high F.
LOUIE: a nervous airport immigration agent, to G.
ARDEN THE FLORIST: flamboyant and warm-hearted to G.
FATHER KENEELY: well-meaning Irish priest to F-sharp.
VIOLA DUKE: a cruel tyrant of a dance instructor. Non-singing.
ROZ: a gravelly-voiced dressmaker. Non-singing.
(Another option is to have these roles played by ensemble/chorus members

"LIPS" (35-50; character baritone to F-sharp): gruff, all-business, (but surprisingly heartfelt) tough-guy bodyguard. New York accent.

DON DEL CANTO/AIRPORT SUPERVISOR (baritone to high G): Don Del Canto is Dino's elegant, aristocratic old country mob father. Refined Italian accent.

Orchestral Info


Keyboard 1: Piano/Conductor (Synthesizer)
Keyboard 2 (Synthesizer)
Reed (Alto Saxophone, Clarinet, Flute)
Guitar (Acoustic with pick-up/Hollow Body Jazz Electric Guitar)
Mandolin with pick-up
Bass (Acoustic Upright Bass, Electric Jazz Bass)

Acts

2

Resources