Enter the Guardsman

Enter the Guardsman

Only six months into the marriage of two world-renowned actors, alas, the bloom is off the rose, and what was thrilling has already become routine. But invention is the actor’s stock-in-trade, so cue the anonymous roses, the amorous letters and…enter the Guardsman!


After six months of marriage the bloom is off the rose for the famous newlyweds. “She gazes out the window and she plays Chopin,” agonizes the Actor.” But then—cue the anonymous roses, the amorous letters and enter the Guardsman—her secret fantasy, his greatest fear. Enter the Guardsman is an intimate musical about sex, marriage, adultery, role playing, truth-telling and keeping your performance fresh in the long run. As seen through the eyes of a theatre ghost, the action takes place in the timeless world of “back stage”. The score is evocative of turn of the century Vienna; tuneful, romantic and waltz filled, recalling a theater of wit, style, sophistication and romance. But beneath the facade the play is an exploration of marriage and the very modern dilemma of maintaining the erotic within the monogamous. Click here to go to the Authors’ Enter the Guardsman website.


A Musical Fantasy


Based on “The Guardsman” by Ferenc Molnar Enter the Guarsdman was presented at the National Alliance for Musical Theatre’s Festival of New Musicals in 1995

THE ACTOR (low A to F-sharp above middle C): leading man. Neurotic, flamboyant, mercurial…effeminate? Should be a real Broadway baritone, not a tenor with low notes as his “Guardsman” impersonation lies lower and darker musically.

THE GUARDSMAN: leading Man. Romantic. Adventurous. Passionate—but manly.

THE ACTRESS (low B below middle C to high A-flat an octave and a 6th above middle C): leading lady. Romantic, neurotic, flamboyant, adventurous, mercurial, passionate; she wants it all. She should be primarily legit with a nice mix or chest in the lower voice.

THE PLAYWRIGHT (low A to D-sharp above middle C): older than the Actor. Former leading man. Ironic, sardonic, a trouble maker. N.B. This is more of a speak/singing role, but singing is crucial nonetheless. It does not have to be as legit as the leading lady and man; more Rex Harrison.

THE DRESSER (a real mezzo, legit; low A below middle C to D-flat): older than the Actress. Former leading lady. Straight talker. No nonsense. Lives vicariously through the actress.

WIGS (low B to high A; a tenor with low note. Like Wardrobe, he is rangy, but tends to lie high in the ensemble numbers. Much of his high work can be done in a supported falsetto.): character actor. Worldly. The only romantically satisfied character in the play.

WARDROBE (middle C to high B-flat; she is a soprano and is responsible for the high notes in the ensemble numbers-she is the most rangy of the roles): naive, innocent. In love with the theatre.

ASM (low B to high E; a baritone comfortable with a reasonably high tessitura): Slightly anal. Slightly finicky. Slight.

6 Musicians

Piano/Conductor (Piano)

Reed (Flute, Piccolo)



Bass (Upright)

Percussion: (Bells, Suspended Cymbal, xylophone, snare, bass drum, Toms, mark tree, castanets, wood block, military snare)