Broadway's Leading Ladies

Join us for an unforgettable concert with Broadway's most iconic and award-winning performances, hosted by Bebe Neuwirth, featuring Kate Baldwin, Mandy Gonzalez, Adrianna Hicks, Jennifer Holliday, Amber Iman, Judy Kuhn, McKenzie Kurtz, LaChanze, Lindsay Mendez, Jessie Mueller, Solea Pfeiffer, Helen J. Shen, and Jennifer Simard.

Special appearances by Kelly Bishop, Baayork Lee, and Priscilla Lopez, with Luke Frazier and the American Pops Orchestra.

"Broadway's Leading Ladies: A Musical Celebration."

(audience cheering and applause).

HOLLIDAY: Hello, Dolly.

Well, hello Dolly.

It's so nice to have you back where you belong.

You looking swell, Dolly?

I can tell, Dolly, you're still glowing, you're still crowing, you're still going strong.

I feel the room swayin', 'cause now the band playin' one of your favorite songs from way back when.

So, take her rap, fellas.

Find her an empty lap, fellas.

Dolly will never go away, again.

Oh.

Hello, hello, Dolly.

Hello, Dolly.

It's so nice to see you back where you belong.

You're looking swell, Dolly.

I can tell Dolly, you're still glowin', you're still growin', you're still going strong.

I feel the room swayin', because the band is playin' one of my favorite songs from way back when.

Well, Golly G, fellas, find her a vacant knee, fellas.

Dolly will never go away again.

Yeah, oh.

I feel the room swayin', 'cause the band's playin' from way back when.

Golly G, fellas, find that leading lady a vacant knee, fellas.

Dolly, will never go away.

Dolly will never go away, Dolly will never go away, again.

Yeah-ah.

(vocalizing).

(audience cheering and applause).

(audience cheering and applause).

NEUWIRTH: Welcome to our celebration of Broadway's Leading Ladies.

To be a leading lady can mean more than just starring in a show.

It can also mean leading a company of colleagues on stage and off.

Tonight, some of the brightest stars of today's musical theater will salute the legends who came before them, and we hope inspire the stars to be who will follow in their footsteps.

HICKS: I am so grateful to be here, and it's an honor to be able to shine alongside of all of my people that I look up to.

SHEN: I've met in the Green Room, the Titans, and the examples of grace and generosity that I hope to in 40 years personally embody.

MUELLER: We all are here because of the people who came before us.

I wouldn't be here if it, if it weren't for all the, all the amazing women who have, who have done this before and have knocked down doors.

(audience cheering and applause).

MUELLER: If I loved you, time and again I would try to say, all I'd want you to know.

If I loved you, words wouldn't come in an easy way, round in circles I'd go!

Longin' to tell you, too afraid and shy, I'd let my golden chances pass me by!

Soon you'd leave me, off you would go in the mist of day, never, never to know how I loved you.

If I loved you.

Now I've lost you, soon you will go in the mist of day, And you never will know, how I loved you.

How I loved you.

(audience cheering and applause).

KUHN: Dear friend, I am so sorry about last night.

It was a nightmare in every way.

But together, you and I, will laugh at last night someday.

Ice cream, he brought me ice cream.

Vanilla ice cream, imagine that.

Ice cream, and for the first time, we were together without a spat.

Friendly, he was so friendly.

That isn't like him, I'm simply stunned.

Will wonders never cease?

Will wonders never cease?

It's been the most peculiar day.

Will wonders never cease?

Will wonders never cease?

(laughing).

Oh, where was I?

I am so sorry about last night, it was a nightmare in every way.

But together you and I will have a laugh at last night someday.

I sat there waiting in that cafe, never guessing that you were fat.

That you were near, you were outside looking bald.

Oh dear.

Dear friend, I am so sorry about last night.

Last night, I was so nasty.

Well, he deserved it.

But even so.

That George is not like this George, this is a new George that I don't know.

Somehow it all reminds me of Dr.

Jekyll and Mr.

Hyde.

But right before my eyes, a man that I despise has turned into a man I like.

It's almost like a dream, as strange as it may seem.

He came to offer me, vanilla ice cream.

(audience cheering and applause).

LaCHANZE: Oh, listen, sista I love my mista man.

And I can't tell you why.

There ain't no reason why I should love that man.

Mmm.

It must be something that the angels done planned.

Fish gotta swim, and birds gotta fly.

I've gotta love one man 'til I die.

Can't help loving that man of mine.

You tell me he's lazy, tell me he's slow.

Tell me I'm crazy, maybe, I know.

I can't help loving that man of mine.

Mm-mm.

When he goes away, that's a rainy day.

But when he comes back, that day is fine.

The sun will shine.

He can come home, as late as can be.

'Cause home without him ain't no home to me.

I can't help lovin' that man of mine.

Oh, yeah.

Should I do a little dance?

Oooh.

Yeah, yeah, yeah.

When he goes away-ah, that's a rainy day-ah.

But when he comes back, that day is fine.

The sun will shine.

He can come home, as late as can be.

'Cause home without him ain't no home to me.

I can't help lovin' that man of mine.

Yeah, woo-oo!

(audience cheering and applause).

LOPEZ: Our next leading lady is near and dear, dear, dear, dear to my heart.

Her beautiful, ever-present, genuine smile tells all you need to know of who she is.

She told me that when she saw the "z" at the end of my name, she knew she could make it.

And she definitely has.

Please welcome my, my, the love of my heart, the incomparable Mandy Gonzalez with a "z!"

(audience cheering and applause).

GONZALEZ: I don't know why I'm frightened.

I know my way around here.

The cardboard trees, the painted scenes, the sound here.

Yes, a world to rediscover.

But I'm not in any hurry.

And I need a moment.

The whispered conversations, in overcrowded hallways.

The atmosphere as thrilling here as always.

Feel the early morning madness.

Feel the magic in the making.

Why everything's as if we never said goodbye.

I've spent so many mornings.

Just trying to resist you.

I'm trembling now.

You can't know how I've missed you.

Missed the fairytale adventures.

In this ever-spinning playground.

We were young together.

I'm coming out of makeup.

The lights already burning.

Not long until the cameras will start turning.

And the early morning madness.

And the magic in the making.

Yes, everything's as if we never said goodbye.

I don't want to be alone, that's all in the past.

This world's waited long enough.

I've come home at last!

And this time will be bigger.

And brighter than we knew it.

So, watch me fly, we all know I can do it.

Could I stop my hand from shaking?

Has there ever been a moment with so much to live for?

The whispered conversations, in overcrowded hallways.

So much to say, not just today but always.

We'll have early morning madness.

We'll have magic in the making.

Yes, everything's as if we never said goodbye.

Yes, everything's as if we never said goodbye.

We taught the world new ways to dream.

(audience cheering and applause).

(audience cheering and applause).

PFEIFFER: Well, Jenny's afraid of water.

I mean, she swims so well, but still, she's afraid of water.

So, she won't go near the sea.

Not me.

And Katie's afraid of darkness.

I mean she sleeps and all but still she's afraid of darkness.

So, when the lights are out, she has to hold my hand.

I don't understand.

I'm not afraid of anything.

Be it dragon's, water, mountains, dark, or sky.

I'm not afraid of anything.

Tell me, where's the challenge if you never try?

So, watch me fly, I'm not afraid.

And daddy's afraid of babies, I mean, he got through me, but now he's afraid of babies.

Guess he's scared of what they'll be.

Not me.

And mama's afraid of crying, you know, she tries to hold it in.

She's afraid of crying.

And she can look at me with tears stuck in eye.

And I don't know why.

I'm not afraid of anything.

Be it growing old or going out of style.

I'm not afraid of anything.

Who would give up what they want without a trial?

Another mile?

I'm not afraid.

And I hear the calling of adventure.

And I hear the ringing in my ear.

The lights are glaring, trumpets blaring.

I'm right here.

And I hear the calling of tomorrow.

And I feel the stirring in my bones.

And David loves me.

He's afraid to hold me.

Listen to the calling of excitement.

Can you feel the pounding in my heart?

The lights are ready, pulse is steady, I can start!

Never stop the calling of a challenge.

Blessing on the water and the stones!

And David loves me.

He's afraid to tell me.

David loves me.

He's afraid to trust me.

He's afraid to hold me.

And he'll always be.

He's afraid of me.

And I'm not afraid of anyone!

I am sure to win with anyone at all!

I'm not afraid of anyone!

Not a soul alive who can get behind this wall!

So let them call.

And watch them fall.

'Cause after all, I'm not, afraid.

(audience cheering and applause).

BISHOP: I'm no singer.

(laughter).

And I've always made that perfectly clear.

(laughter).

But the performer who inspired me to go for it was the one and only Elaine Stritch.

(audience cheering and applause).

And 50 years later, I still turn to her for inspiration.

It is my pleasure to introduce another performer who has captivated audiences interpreting Sondheim.

Please welcome the extraordinary star of the Broadway revival of "Merrily We Roll Along," Tony winner, Lindsay Mendez.

MENDEZ: What was that?

Was that me?

Was that him?

Did a prince really kiss me and kiss me and kiss me?

And did I kiss him back?

Was it wrong?

Am I mad?

Is that all?

Does he miss me?

Was he suddenly getting bored with me?

Wake up, stop dreaming.

Stop prancing about the woods.

It's not beseeming, what is it about the woods?

Back to life.

Back to sense, back to child, back to husband.

You can't live in the woods.

There are vows, there are ties, there are needs, there are standards, there are shouldn'ts and shoulds.

Why not both instead?

There's the answer, if you're clever.

Have a child for warmth, and a baker for bread, and a prince for whatever.

Never, it's these woods.

Face the facts, find the boy.

Join the group.

Stop the giants.

Just get out of these woods.

Was that him?

Yes, it was.

Was that me?

No, it wasn't just a trick of the woods.

Just a moment, one peculiar passing moment.

Must it all be either less or more, either plain or grand?

Is it always or is it never?

And... that's what woods are for, for those moments in the woods.

Oh, if life were made of moments, even now and then a bad one.

But if life were only moments, then you never know you had one.

First a wish, then a child, then a prince, then a moment, who can live in the woods?

And to get what you wish, only just for a moment, these are dangerous woods.

Let the moment go.

Don't forget it for a moment more.

Just remembering you've had an "and" when you're back to "or," makes the "or" mean more than it did before.

Now I understand.

And it's time to leave the woods!

(audience cheering and applause).

SIMARD: When things go wrong and the day seems too long, and you can't find a song to sing to.

Friends disappear, and there's no one to hear, when we need someone's ear to bend.

Nowhere, to turn to, nowhere to run.

Life is all over before it's begun.

Wipe off that frown, there's an easy way down when you're tired of sounding blue.

Go out and hurt someone's feelings today.

Find someone weaker than you to stamp on.

Why don't you give it a try?

Just make someone cry, whenever the skies are gray.

Go out hurt someone's feelings today, dish out a little of what you've taken.

You'd feel much better if you'll be needlessly cruel.

So, hey, hurt someone's feelings today.

When you're in pain, there's no need to refrain, from some evil, insane behavior.

You've been through enough for one person to suffer.

It helps if you're not alone.

Why try to hide it?

No need to pretend.

Just take it out on a neighbor, a friend.

Scream at a lover, you know, he'll recover.

And what if they don't?

After you pounce, you're feeling better, and that's all that counts.

Just give it a shot and go out and be rotten, and kick a small dog in the face.

Go out and hurt someone's feelings today, go out and stomp on a perfect stranger.

Just poison somebody's tea, or give them VD, and you're gonna be okay.

Go out and hurt someone's feelings today, go find a petting zoo to set fire to.

Find some old nun to abuse, it'll chase all the blues away.

Hurt someone's feeling today.

And tell them, Jennifer sent you.

(audience cheering and applause).

GONZALEZ: I think people wanna see themselves reflected, uh, on the, on the stage.

And I think when they see themselves, it opens up something inside of them that they didn't know they needed.

MUELLER: There's something precious about, um, people coming together in a theater to experience something that might be difficult, but they can watch it through someone else's eyes.

BALDWIN: We as human beings are compulsive storytellers.

I think we can't help it.

I think we need to do it.

I think we are compelled to share with one another.

I think it draws us closer together and sharing a deeply human story makes me feel less alone in the world.

BALDWIN: There was a time our happiness seemed never-ending.

I was so sure that where we were heading was right.

Life was a road so certain and straight and unbending.

Our little road with never a crossroad in sight.

Back in the days when we spoke in civilized voices.

Women in white and sturdy young men at the oar.

Back in the days when I let you make all my choices.

We can never go back to before.

There was a time my feet were so solidly planted.

You'd sail away while I turned my back to the sea.

I was content, a princess asleep and enchanted.

If I had dreams then I let you dream them for me.

Back in the days when everything seemed so much clearer.

Women in white who knew what their lives held in store.

Where are they now, those women who stared from the mirror?

We can never go back to before.

There are people out there, unafraid of revealing.

That they might have a feeling.

Or they might have been wrong.

There are people out there, unafraid to feel sorrow.

Unafraid of tomorrow.

Unafraid to be weak.

Unafraid to be strong.

There was a time when you were the person in motion.

I was your wife, it never occurred to want more.

You were my sky, my moon and my stars, and my ocean.

We can never go back to before.

We can never go back to before.

(audience cheering and applause).

(audience cheering and applause).

FRAZIER: Tonight, I'm reminded of a great line from a very short-lived musical "The Grass Harp" based on the book that Truman Capote wrote, and Barbara Cook famously sang the line that "love is a chain of love."

And tonight, it's a love letter to the women that have gone before, the women that are on Broadway now and changing all of our lives, and so many great performances and all of the young women yet to be those next generation of leading ladies.

So now let's continue this long chain of love.

(audience cheering and applause).

HOLLIDAY: I'm going to love you, like nobody's loved you.

Come rain or come shine.

High as a mountain, deep as a river.

Come rain, or come shine.

I guess when you met me, it was just one of those things.

But don't you ever bet me, 'cause I'm gonna be true, if you let me.

Mmm, you're gonna love me, like nobody's loved me.

Come rain, come shine.

Happy together, unhappy together.

Oh, won't it be fine.

Days may be cloudy or sunny.

We're in or we're out of the money.

But I'm with you always, I'm with you rain or shine.

(vocalizing).

Oooh, you're gonna love me, like nobody's loved me.

Come rain, come rain or come shine.

Happy together, unhappy together.

Oh, won't it be fine?

Days may be cloudy, or sunny.

I tell ya we're in, we're in or we're out of the money.

But I'm with you always.

I'm with you rain or shine.

(vocalizing).

I'm with you, baby.

(vocalizing).

Rain or shine, hey.

Rain or shine, hey.

Oh, hey.

It doesn't matter if you got any money, honey.

I'm with you, baby.

I'm with you, baby.

I'm, I'm with you, baby.

I'm with you, baby.

(vocalizing).

Rain or shine, yeah.

Rain or shine.

Oh, shine.

Gonna shine.

(vocalizing).

Hey, rain or shine.

Rain or shine.

I'm with you always.

I'm with you.

I'm with you.

Rain... (vocalizing).

Rain or shine.

Yeah, yeah, yeah.

(vocalizing).

(audience cheering and applause).

KUHN: Oh, it's way past time when I be home in bed.

But I'm standing here on this moonlit street instead.

I want to drink the breeze in and bathe in lantern light.

All my reasons gone, and I blame it on the summer night.

I see couples pass, and their eyes are luminous.

And they smile at me as if to say, "You're one of us."

What's going on here?

The street is full of lunatics, sharing some pagan rite.

If we're here 'til dawn, can we blame it on the summer night?

I keep remembering his eyes, fiery pale in moonlight.

Spinning my heart into this endless flight.

But I'm not to blame, it's just the shameless summer night.

(clarinet solo).

I've gotta stop this.

I never felt so giddy.

Why are the stars so bright?

Through the streets I wonder and blame it on the summer night.

Maybe the sun will come soon, maybe the morning will save me.

Clearing my mind, giving me back my sight.

But for now, I'm stuck, in the sweet, seductive, summer night.

(vocalizing).

(vocalizing).

(audience cheering and applause).

HOLLIDAY: I don't think that Broadway's gonna have anything to worry about in terms of talent.

And I just think that they continue to be their authentic selves, and they have a, something that we didn't have when we did "Dreamgirls," uh, 44 years now, 44 years ago, is that they have more of an ability to really represent and be the kind of women that they wanna be.

We were very restricted and very, you know, not able to speak up.

GONZALEZ: I've worked so hard to be here and I think all of my, my struggle and my joy and my sadness and all of that just, um, just continues to be, uh, explored on the stage.

I want the new generation that's coming up to know that we, the ones that are here, we are continuing to open that door for them to come through.

MENDEZ: I mean, it's a huge responsibility, and if I could speak to them, I think I, I would just say follow your passion, follow your dream.

You know, do, do what you love to do.

Life is short and there are lots of ways to get to what you want to get to.

But if, if you have that fire in you to be an artist, then you have to chase it.

(audience cheering and applause).

MENDEZ: Take my hand.

Take my hand.

MUELLER: I got it.

I got it.

(sighs).

MENDEZ: Julie.

Julie, do you like him?

MUELLER: I don't know.

MENDEZ: Did you like it when he talked to you that way?

When he put you on the carousel today?

Did you like this?

MUELLER: I'd rather not say.

MENDEZ: You're a queer one, Julie Jordan.

You are quieter and deeper than a well.

And you never, tell me nothing.

MUELLER: There's nothing that I care to choose to tell.

(sighs).

MENDEZ: You've been acting, most peculiar, every morning you're awake ahead of me.

Always sitting by the window.

MUELLER: I like to watch the rhythm meet the sea.

MENDEZ: When we work in the mill, weaven at the loom, you gaze absent-minded at the roof.

And half the time your shuttle gets twisted in the threads 'til you can't tell the warp from the woof.

MUELLER: 'Taint so.

MENDEZ: You're a queer one, Julie Jordan.

You won't ever tell a body what you think.

You're as tight-lipped as a oyster.

And as silent as an old Sahara sphink.

MUELLER: Sphinx.

MENDEZ: Uh-uh, sphink.

MUELLER: You spell it with an "x."

MENDEZ: That's only when there's more than one.

(audience laughing).

Julie, I have been busting to tell you something lately.

MUELLER: Yeah?

MENDEZ: I mean, the reason I didn't care to tell you before was 'cause you didn't have a fella of your own, but now you got one, so I can tell you about mine.

(gasps).

MUELLER: Carrie, what's his name?

MENDEZ: His name is Mr.

Snow, and an upstanding man is he.

He comes home every night in his round-bottom boat with a net full of herring from the sea.

And an almost perfect beau, as refined as a girl could wish.

But he spends so much time, in his round-bottom boat, that he can't seem to lose the smell of fish.

(gagging).

The first time he kissed me, the whiff of his clothes knocked me flat on the floor of the room.

But now that I love him, my hearts in my nose, and fish, it's my favorite perfume.

Last night he spoke quite low, and a fair-spoken man is he.

And he said, "Miss Pipperidge, I'd like it fine if I could be wed with a wife.

And indeed, Miss Pipperidge, if you'll be mine, I'll be yours for the rest of my life."

Next moment we were promised, and now my mind's in a maze.

For all it can do is look forward to that wonderful day of days!

When I marry Mr.

Snow, the flowers'll be buzzin', with the hum of bees.

The birds'll make racket, in the churchyard trees.

When I marry Mr.

Snow.

Then it's off to home we'll go.

And both of us'll look, a little dreamy-eyed.

A driving to a cottage by the Oceanside.

Where the salty breezes blow.

He'll carry me 'cross the threshold, and I'll be as meek as a lamb.

Then he'll set me on my feet, and I'll say kinda sweet, "Well, Mr.

Snow, here I am."

Then I'll kiss him so he'll know, that evry'thin'll be as right as right can be.

A living in a cottage by the sea with me.

For I love that Mr.

Snow.

That young sea-faring, bold and daring, big bewhiskered, overbearing, darling Mr.

Snow.

(audience cheering and applause).

GONZALEZ: I had a dream.

A dream about you, baby!

It's gonna come true, baby!

They think that we're through, but, baby... You'll be swell, you'll be great.

Gonna have the whole world on a plate!

Starting here, starting now.

Honey, everything's coming up roses!

Clear the decks, clear the tracks.

You've got nothing to do but relax!

Blow a kiss, take a bow.

Honey, everything's coming up roses!

Now's your inning.

Stand the world on its ear!

Set it spinning.

That'll be just the beginning!

Curtain up, light the lights.

We've got nothing to hit but the heights!

You'll be swell.

You'll be great.

I can tell, just you wait!

That lucky star I talk about is due!

Honey, everything's coming up roses for me and for you!

You can do it.

All you need is a hand.

We can do it, Momma is gonna see to it!

Curtain up, light the lights.

We've got nothing to hit but the heights!

I can tell.

Wait and see.

There's the bell.

Follow me.

And nothing's gonna stop us till we're through!

Honey... Everything's coming up roses and daffodils.

Everything's coming up sunshine and Santa Claus.

Everything's gonna be bright lights and lollipops.

Everything's coming up roses for me and for you!

(audience cheering and applause).

Woo!

(audience cheering and applause).

PFEIFFER: Oh, my man, I love him so.

He'll never know.

All my life is just despair.

But I don't care.

When he takes me in his arms.

The world is bright, alright.

What's the difference if I say, I'll go away, when I know I'll come back on my knees someday?

For whatever my man is, I am his, forever, more.

It cost me a lot, but there's one thing that I've got, it's my man.

Cold and wet, tired, you bet, but all that I soon forget, with my man.

He's not much for looks, not a hero out of books, is my man.

Two or three girls has he, that he likes as well as me, but I love him.

Oh, my man, I love him so.

He'll never know.

All my life is just despair, but I don't care.

When he takes me in his arms, the world is bright, alright.

What's the difference if I say, I'll go away, when I know I'll come back on my knees someday?

For whatever my man is, I am his, forever... more... (audience cheering and applause).

(audience cheering and applause).

LEE: Oh, my goodness, thank you so much.

Speaking of ladies who lead, I'm honored to spotlight two incredible women who were instrumental in mentoring me as I turned from performing towards choreography and direction.

The first is Graciela Daniele.

(audience applause).

Mm-hmm.

The second is Molly Smith.

Molly, oh.

(audience applause).

Please welcome back the incandescent Kate Baldwin.

(audience cheering and applause).

(piano solo).

BALDWIN: What'll I do, when you are far away and I am blue?

What'll I do?

What'll I do, when I am wondering who is kissing you?

What'll I do?

What'll I do with just a photograph to tell my troubles to?

When I'm alone with only dreams of you, that won't come true... What'll I do?

Time heals everything, Tuesday, Thursday.

Time heals everything, April, August.

If I'm patient the break will mend.

And one fine morning the hurt will end.

So, make the moments fly, Autumn, winter.

I'll forget you by, next year, some year.

Though it's hell that I'm going through, some Tuesday, Thursday, April, August, autumn, winter, Next year, some year... Time heals everything.

Time heals everything, but loving you.

So, make the moments fly, Autumn, winter.

I'll forget you by, next year, some year.

Though it's hell that I'm going through, some Tuesday, Thursday, April, August, autumn, winter, next year, some year, time heals everything.

Time heals everything, but loving you.

(audience cheering and applause).

LaCHANZE: I'd like to dedicate this to all the women, all the mothers, the daughters, the aunties, the sisters, all the women who work so hard, this is for you.

There is a place we'll go, where there is mostly quiet.

Flowers and butterflies, a rainbow lives beside it.

And from a velvet sky, a summer storm.

You can feel the coolness in the air, but you're still warm.

And then a mighty roar, will start the sky to cryin'.

But not even lightnin', will be frightenin', my lion.

And with no fear inside, no need to run, no need to hide, you're standing strong and tall, you're the bravest of them all.

If on courage you must call, then just keep on tryin', and tryin', and tryin'.

You're a lion, in your own way, be a lion.

I'm standing strong and tall, oh, you're the bravest of them all.

If on courage you must call, then just keep on tryin', tryin', tryin'.

You're a lion, in your own way, be a lion.

Be a lion.

(audience cheering and applause).

HICKS: My hope for women on Broadway for the future is that we will no longer be contained inside a box of our voices, of the way we look, of the way that we express the story that we wanna tell.

All women are not the same.

Everybody's not the same.

And whatever we have to bring, that's what the world needs to see.

KUHN: One thing missing is the roles for women my age.

There are some, there are some, there could be more.

KURTZ: More women's stories.

More women creators and writers, and directors.

Um, just more women in, in the field in general.

IMAN: I wanna see us also, not just on stage.

I wanna see women working from the top down in the positions to green light.

MUELLER: We have a right to be here and take up space and have our voices heard because, um, what women have to say is extraordinary.

HICKS: Light the candles.

Get the ice out.

Roll the rug up, it's today.

Though it may not be anyone's birthday.

And though it's far from the first of the year.

I know that this very minute has history in it, we're here!

ALL: It's a time for, making merry.

And so, I'm for, making hay.

HICKS: Tune the grand up, dance your shoes off, strike the band up, it's today!

SHEN: I have confidence in sunshine.

I have confidence in rain.

I have confidence that spring will come again.

Besides, which you see, I have confidence in me.

Strength doesn't lie in numbers.

Strength doesn't lie in wealth.

Strength lies in nights of peaceful slumbers.

When you wake up, wake up!

It's healthy.

All I trust I leave my heart to.

All I trust becomes my own.

I have confidence in confidence alone.

Besides which you see I have confidence in me.

KURTZ: I've got rhythm, I've got music.

I've got my man, who could ask for anything more?

I've got daisies, in green pastures.

I've got my man, who could ask for anything more?

Old Man Trouble, I don't mind him, you won't find him 'round my door.

I've got starlight.

I've got sweet dreams.

I've got my man, who could ask for anything more?

Who could ask for anything more?

IMAN: Come on, babe, why don't we paint the town?

And all that jazz.

I'm gonna rouge my knees, and roll my stockings down.

And all that jazz.

Start the car, I know a whoopee spot, where the gin is cold, but the piano's hot.

It's just a noisy hall, where there's a nightly brawl.

For all that jazz.

No, I'm no one's wife.

But, oh, I love my life.

And all that jazz.

(audience laughter).

HICKS: If they could see me now, that little gang of mine.

I'm eating fancy food, and drinking fancy wine.

SHEN: I'd like those stumblebums, to see for a fact, the kind of top-drawer, first-rate chums I attract.

KURTZ: All I can say is "Wowee, look at where I am."

Tonight I landed, pow!

Right in a pot of jam.

IMAN: What a setup!

Holy cow!

They'd never believe it if my friends could see me now.

ALL: All I can say is "Wowee, look at where I am."

Tonight I landed, pow!

Right in a pot of jam.

What a setup!

Holy cow!

They'd never believe it if my friends could see us now.

(audience cheering and applause).

(music plays through credits).

(audience cheering and applause).