HEAD FOLD C M Y B C M C M 119.5MM Y B Y B (4.71”) SAFETY TRIM BLEED PHOTOS BY JOAN MARCUS AND ANGIE VASQUEZ PAGE 28 PAGE 1 C M Y B 120.5MM 120.5MM (4.74”) 241MM (4.74”) (9.49”) CD BOOK SADDLE STITCH SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER ARTIST: Various JOB #: PMS PMS OF COLORS BACK FRONT TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB BOOK, MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth BASED ON AN ORIGINAL CONCEPT BY Kristen Anderson-Lopez, Gregory T. Christopher, James-Allen Ford, Russ Kaplan, Karla Lant, Sara Wordsworth FEATURING David Abeles, Moya Angela, Steven “HeaveN” Cantor, Justin Guarini, Telly Leung, Erin Mackey, Gerianne Perez, Margo Seibert, Chesney Snow, James Snyder, Mariand Torres, Nicholas Ward, Adam Bashian, Laurel Harris, Arbender Robinson, and Aurelia Williams SCENIC DESIGN BY Donyale Werle COSTUME DESIGN BY Clint Ramos LIGHTING DESIGN BY Donald Holder SOUND DESIGN BY Ken Travis PROJECTION DESIGN BY Caite Hevner HAIR AND WIG DESIGN BY Cookie Jordan CASTING BY Binder Casting – Jay Binder/Mark Brandon ASSOCIATE DIRECTOR/ASSOCIATE CHOREOGRAPHER: David Eggers PRESS REPRESENTATION: Polk & Co. ADVERTISING AND MARKETING BY AKA SOCIAL MEDIA MARKETING BY Marathon Live Entertainment GENERAL MANAGEMENT: Alchemy Production Group PRODUCTION MANAGEMENT: Juniper Street Productions, Inc. PRODUCTION STAGE MANAGER: Kim Vernace A CAPPELLA ARRANGEMENTS BY Deke Sharon MUSIC SUPERVISION BY Rick Hip-Flores DIRECTED AND CHOREOGRAPHED BY Kathleen Marshall COMPANY MANAGER: Jim Brady PRODUCTION PHOTOS BY Joan Marcus MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth PUBLISHED BY Only For Now, Inc. (BMI), Crooked Ear Music (ASCAP), James-Allen Ford Publishing (BMI), Sara Wordsworth Publishing (BMI) all administered by Seven Summits Music (BMI) 119.5MM C MM EXCEPT: C MM 119.5MM C C Y BB “THE MOVING SONG” Y Y BB (4.71”) Y (4.71”) MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth, Karla Lant, Gregory T. Christopher PUBLISHED BY Only For Now, Inc. (BMI), Crooked Ear Music (ASCAP), James-Allen Ford Publishing (BMI), Sara Wordsworth Publishing (BMI), Karla Lant (BMI), Gregory T. Christopher (BMI) all administered by Seven Summits Music (BMI) “WINGMAN” MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth, Gregory T. Christopher PUBLISHED BY Only For Now, Inc. (BMI), Crooked Ear Music (ASCAP), James-Allen Ford Publishing (BMI), Sara Wordsworth Publishing (BMI), Gregory T. Christopher (BMI) all administered by Seven Summits Music (BMI) PRODUCED ON BROADWAY BY Janet B. Rosen, Marvin S. Rosen, Robert F. Smith, Jeff Hecktman, Ed Rendell/Kenneth Jarin, Manny Medina, Frankel/Viertel/Baruch/Routh Group, Hello Entertainment/David Garfinkle, Michael S. Falk/Annie Falk, Karen Mehiel, Robert Sher/Sharon Azrieli, Steven M. Goldman/ Arlene L. Goldman, Edgar Bronfman, Jr./Benjamin Bronfman, Deke Sharon and Sleep Tite Productions PRESENTED AT CIRCLE IN THE SQUARE THEATRE PRESIDENT: Paul Libin GENERAL MANAGER: Susan Frankel ARTISTIC DIRECTOR: Theodore Mann (1924–2012) SAFETY SAFETY TRIM TRIM BLEED BLEED ORIGINAL CAST RECORDING PRODUCED BY Deke Sharon CO-PRODUCED BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth EXECUTIVE IN CHARGE OF MUSIC FOR THE DISNEY MUSIC GROUP: Dani Markman RECORDED AND ENGINEERED BY Alejandro Venguer at Avatar Studios, NY, NY ADDITIONAL ENGINEERING BY Ted Trembinski PRESHOW AND EXIT TRACKS ENGINEERING BY Alex Green MIXED BY Ed Boyer PHOTO BY JOAN MARCUS MASTERED BY Bill Hare PAGE 3 PAGE XX PAGE XX PAGE 2 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH TECH: MAGENTA CYAN SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL L/S: SEL#: DATE: TOTAL NUMBER BLACK YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER LABEL: Hollywood Records FILE NAME: FRONT OF JOB #: PMS ARTIST: PMS ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: TEMPLATE: TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB BOOK, MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth BASED ON AN ORIGINAL CONCEPT BY Kristen Anderson-Lopez, Gregory T. Christopher, James-Allen Ford, Russ Kaplan, Karla Lant, Sara Wordsworth FEATURING David Abeles, Moya Angela, Steven “HeaveN” Cantor, Justin Guarini, Telly Leung, Erin Mackey, Gerianne Perez, Margo Seibert, Chesney Snow, James Snyder, Mariand Torres, Nicholas Ward, Adam Bashian, Laurel Harris, Arbender Robinson, and Aurelia Williams SCENIC DESIGN BY Donyale Werle COSTUME DESIGN BY Clint Ramos LIGHTING DESIGN BY Donald Holder SOUND DESIGN BY Ken Travis PROJECTION DESIGN BY Caite Hevner HAIR AND WIG DESIGN BY Cookie Jordan CASTING BY Binder Casting – Jay Binder/Mark Brandon ASSOCIATE DIRECTOR/ASSOCIATE CHOREOGRAPHER: David Eggers PRESS REPRESENTATION: Polk & Co. ADVERTISING AND MARKETING BY AKA SOCIAL MEDIA MARKETING BY Marathon Live Entertainment GENERAL MANAGEMENT: Alchemy Production Group PRODUCTION MANAGEMENT: Juniper Street Productions, Inc. PRODUCTION STAGE MANAGER: Kim Vernace A CAPPELLA ARRANGEMENTS BY Deke Sharon MUSIC SUPERVISION BY Rick Hip-Flores DIRECTED AND CHOREOGRAPHED BY Kathleen Marshall COMPANY MANAGER: Jim Brady PRODUCTION PHOTOS BY Joan Marcus MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth PUBLISHED BY Only For Now, Inc. (BMI), Crooked Ear Music (ASCAP), James-Allen Ford Publishing (BMI), Sara Wordsworth Publishing (BMI) all administered by Seven Summits Music (BMI) 119.5MM C MM EXCEPT: C MM 119.5MM C C Y BB “THE MOVING SONG” Y Y BB (4.71”) Y (4.71”) MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth, Karla Lant, Gregory T. Christopher PUBLISHED BY Only For Now, Inc. (BMI), Crooked Ear Music (ASCAP), James-Allen Ford Publishing (BMI), Sara Wordsworth Publishing (BMI), Karla Lant (BMI), Gregory T. Christopher (BMI) all administered by Seven Summits Music (BMI) “WINGMAN” MUSIC AND LYRICS BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth, Gregory T. Christopher PUBLISHED BY Only For Now, Inc. (BMI), Crooked Ear Music (ASCAP), James-Allen Ford Publishing (BMI), Sara Wordsworth Publishing (BMI), Gregory T. Christopher (BMI) all administered by Seven Summits Music (BMI) PRODUCED ON BROADWAY BY Janet B. Rosen, Marvin S. Rosen, Robert F. Smith, Jeff Hecktman, Ed Rendell/Kenneth Jarin, Manny Medina, Frankel/Viertel/Baruch/Routh Group, Hello Entertainment/David Garfinkle, Michael S. Falk/Annie Falk, Karen Mehiel, Robert Sher/Sharon Azrieli, Steven M. Goldman/ Arlene L. Goldman, Edgar Bronfman, Jr./Benjamin Bronfman, Deke Sharon and Sleep Tite Productions PRESENTED AT CIRCLE IN THE SQUARE THEATRE PRESIDENT: Paul Libin GENERAL MANAGER: Susan Frankel ARTISTIC DIRECTOR: Theodore Mann (1924–2012) SAFETY SAFETY TRIM TRIM BLEED BLEED ORIGINAL CAST RECORDING PRODUCED BY Deke Sharon CO-PRODUCED BY Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth EXECUTIVE IN CHARGE OF MUSIC FOR THE DISNEY MUSIC GROUP: Dani Markman RECORDED AND ENGINEERED BY Alejandro Venguer at Avatar Studios, NY, NY ADDITIONAL ENGINEERING BY Ted Trembinski PRESHOW AND EXIT TRACKS ENGINEERING BY Alex Green MIXED BY Ed Boyer PHOTO BY JOAN MARCUS MASTERED BY Bill Hare PAGE 3 PAGE XX PAGE XX PAGE 2 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH TECH: MAGENTA CYAN SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL L/S: SEL#: DATE: TOTAL NUMBER BLACK YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER LABEL: Hollywood Records FILE NAME: FRONT OF JOB #: PMS ARTIST: PMS ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: TEMPLATE: TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB MUSICAL NUMBERS A NOTE FROM THE AUTHORS DEEP BENEATH THE CITY/NOT THERE YET ……..…...................………………………….………………..…….............................….. ALL DO WHAT I DO …………………………….....................…………………………………………………..……….............................…. JANE The New York City subway system is a perfect metaphor for human struggle. It’s dirty, unpredictable, slow, uncomfortable, FOUR DAYS HOME ……………………………......................………………………………….…………............... TRENT, STEVEN AND ALL BROKE ………………………....…………………..................…………………………………………............................................. NATE and full of strangers standing in our way as we try to get somewhere. We do our best to tune out all these obstacles, SATURDAY NIGHT OBSESSION ……………..................……………………………………….……………………….........................….. ALI but if we stop for a moment to take them in, we find that there’s beauty in the life that’s lived between stations. In Transit WINGMAN ………………………………………................……………………………………….………………................... CHRIS AND ALL celebrates the dissonance, and yes, the harmony of all of us riding through life in this city together. BUT, YA KNOW ………………………...............…………………………………………………………………..……….....…. NATE AND JANE NOT THERE YET (REPRISE) ……………...............………………………………..……………..........… ALI, TRENT, JANE, NATE AND ALTHEA As the writers of Broadway’s first a cappella musical, we’re often asked: How did you come up with the idea for the KEEP IT GOIN’ ……………………….................………………………………………..…………………….…..…….………. ALTHEA AND ALL show and how did the four of you write book, music and lyrics all together? The answers to these two questions are A LITTLE FRIENDLY ADVICE …………................………………………………………………………….…….……..….……..... MS. WILLIAMS actually one and the same, and the story begins way back in the year 2000… CHOOSING NOT TO KNOW ……………..............…………………………………………..……………….…………….…………….….. TRENT THE MOVING SONG …………………….................……………………………………………………………...……...……..………..……… ALI James-Allen Ford, Sara Wordsworth, Karla Lant and Gregory Christopher were members of a Columbia University WE ARE HOME ……………………...............…………………………………………………………..….…….…......….… STEVEN AND TRENT post-graduate a cappella group, Redline. James-Allen suggested we break off and form our own NYC semi-pro group GETTING THERE ………………...............…………………………………………………………………………………………………..….. JANE FINALE …………………………...............………………………………………………………………..…………………………………..…. ALL (emphasis on the “semi” part). Around that time, he met first-year songwriting classmate, Kristen Anderson-Lopez in the BMI Lehman Engel Musical Theatre Workshop, and pulled her into his plans for a cappella world domination. A few BONUS TRACKS months in, we placed an ad in Backstage for a Bass who was funny, could help write arrangements, and maybe do a 119.5MM C C MM C MM 119.5MM C Y Y BB PRESHOW MESSAGE ……................................ KRISTEN ANDERSON-LOPEZ, JAMES-ALLEN FORD, RUSS KAPLAN, SARA WORDSWORTH little vocal percussion. Lucky for us, Russ Kaplan showed up. To try to capture our group’s wit and whimsy, we wanted to Y Y BB (4.71”) (4.71”) A MATH QUESTION ………………................………………………………………….............…………………….………………….. BOXMAN come up with a name that reflected things we all remembered fondly from our childhoods. So around a table in a WE ARE HOME EXIT MUSIC …………………….............…………………………………………..............…………….…………………. ALL smoky bar uptown (uniformly approved due to the fact that the domain name was available), Bob Ross Juice Box was born. CAST (In alphabetical order) We six friends spent a while gigging around town, doing what most a cappella groups do: singing covers of popular DAVE ....................................................................................................................................................... DAVID ABELES songs. Though we rocked decent arrangements of “In Your Eyes” and “Big Yellow Taxi,” something was missing. MS. WILLIAMS, MOMMA, ALTHEA ………..................................……................................................................ MOYA ANGELA Serendipitously, some months before, James-Allen and Kristen had had the idea to create an a cappella/theatre TRENT ................................................................................................................................................... JUSTIN GUARINI mash-up using our group for their BMI Workshop’s first-year final project. The result was an original, 10-minute STEVEN ....................................................................................................................................................... TELLY LEUNG ALI ........................................................................................................................................................... ERIN MACKEY musical comedy, Oedipus A Cappella. The genre-mixing experiment had gone over so well at BMI, we decided to pen KATHY .................................................................................................................................................... GERIANNE PÉREZ some original theatrical a cappella songs (or “theatricappella” as we dubbed it) to pepper into BRJB’s set. To our JANE ...................................................................................................................................................... MARGO SEIBERT surprise and delight, audiences connected with that material. SAFETY SAFETY BLEED BLEED BOXMAN ................................................................................................................................................. CHESNEY SNOW TRIM TRIM BOXMAN …………………………………………….......….................……………………………………………… STEVEN “HEAVEN” CANTOR So, we kept writing. The songs were about us, our lives, and our experiences being young in New York City and NATE ........................................................................................................................................................ JAMES SNYDER struggling to get somewhere. We met all the time, mostly in James-Allen’s 6th floor walkup on West 108th Street. NINA .................................................................................................................................................... MARIAND TORRES CHRIS ................................................................................................................................................... NICHOLAS WARD We sang a lot and laughed even more. Separating the group from our friendship had become impossible. We were ORIGINAL STANDBYS …………………....................……… ADAM BASHIAN, LAUREL HARRIS, ARBENDER ROBINSON, AURELIA WILLIAMS each other’s New York family, getting through our late twenties one “dit” or “doot” at a time. PAGE 5 PAGE 4 PAGE XX PAGE XX C MM C Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL MAGENTA CYAN DATE: L/S: TECH: TOTAL BLACK NUMBER LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER LABEL: FILE NAME: YELLOW FRONT OF COLORS COLORS ARTIST: Various JOB #: ARTIST: JOB #: PMS PMS OF BACK FRONT PMS PMS BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB MUSICAL NUMBERS A NOTE FROM THE AUTHORS DEEP BENEATH THE CITY/NOT THERE YET ……..…...................………………………….………………..…….............................….. ALL DO WHAT I DO …………………………….....................…………………………………………………..……….............................…. JANE The New York City subway system is a perfect metaphor for human struggle. It’s dirty, unpredictable, slow, uncomfortable, FOUR DAYS HOME ……………………………......................………………………………….…………............... TRENT, STEVEN AND ALL BROKE ………………………....…………………..................…………………………………………............................................. NATE and full of strangers standing in our way as we try to get somewhere. We do our best to tune out all these obstacles, SATURDAY NIGHT OBSESSION ……………..................……………………………………….……………………….........................….. ALI but if we stop for a moment to take them in, we find that there’s beauty in the life that’s lived between stations. In Transit WINGMAN ………………………………………................……………………………………….………………................... CHRIS AND ALL celebrates the dissonance, and yes, the harmony of all of us riding through life in this city together. BUT, YA KNOW ………………………...............…………………………………………………………………..……….....…. NATE AND JANE NOT THERE YET (REPRISE) ……………...............………………………………..……………..........… ALI, TRENT, JANE, NATE AND ALTHEA As the writers of Broadway’s first a cappella musical, we’re often asked: How did you come up with the idea for the KEEP IT GOIN’ ……………………….................………………………………………..…………………….…..…….………. ALTHEA AND ALL show and how did the four of you write book, music and lyrics all together? The answers to these two questions are A LITTLE FRIENDLY ADVICE …………................………………………………………………………….…….……..….……..... MS. WILLIAMS actually one and the same, and the story begins way back in the year 2000… CHOOSING NOT TO KNOW ……………..............…………………………………………..……………….…………….…………….….. TRENT THE MOVING SONG …………………….................……………………………………………………………...……...……..………..……… ALI James-Allen Ford, Sara Wordsworth, Karla Lant and Gregory Christopher were members of a Columbia University WE ARE HOME ……………………...............…………………………………………………………..….…….…......….… STEVEN AND TRENT post-graduate a cappella group, Redline. James-Allen suggested we break off and form our own NYC semi-pro group GETTING THERE ………………...............…………………………………………………………………………………………………..….. JANE FINALE …………………………...............………………………………………………………………..…………………………………..…. ALL (emphasis on the “semi” part). Around that time, he met first-year songwriting classmate, Kristen Anderson-Lopez in the BMI Lehman Engel Musical Theatre Workshop, and pulled her into his plans for a cappella world domination. A few BONUS TRACKS months in, we placed an ad in Backstage for a Bass who was funny, could help write arrangements, and maybe do a 119.5MM C C MM C MM 119.5MM C Y Y BB PRESHOW MESSAGE ……................................ KRISTEN ANDERSON-LOPEZ, JAMES-ALLEN FORD, RUSS KAPLAN, SARA WORDSWORTH little vocal percussion. Lucky for us, Russ Kaplan showed up. To try to capture our group’s wit and whimsy, we wanted to Y Y BB (4.71”) (4.71”) A MATH QUESTION ………………................………………………………………….............…………………….………………….. BOXMAN come up with a name that reflected things we all remembered fondly from our childhoods. So around a table in a WE ARE HOME EXIT MUSIC …………………….............…………………………………………..............…………….…………………. ALL smoky bar uptown (uniformly approved due to the fact that the domain name was available), Bob Ross Juice Box was born. CAST (In alphabetical order) We six friends spent a while gigging around town, doing what most a cappella groups do: singing covers of popular DAVE ....................................................................................................................................................... DAVID ABELES songs. Though we rocked decent arrangements of “In Your Eyes” and “Big Yellow Taxi,” something was missing. MS. WILLIAMS, MOMMA, ALTHEA ………..................................……................................................................ MOYA ANGELA Serendipitously, some months before, James-Allen and Kristen had had the idea to create an a cappella/theatre TRENT ................................................................................................................................................... JUSTIN GUARINI mash-up using our group for their BMI Workshop’s first-year final project. The result was an original, 10-minute STEVEN ....................................................................................................................................................... TELLY LEUNG ALI ........................................................................................................................................................... ERIN MACKEY musical comedy, Oedipus A Cappella. The genre-mixing experiment had gone over so well at BMI, we decided to pen KATHY .................................................................................................................................................... GERIANNE PÉREZ some original theatrical a cappella songs (or “theatricappella” as we dubbed it) to pepper into BRJB’s set. To our JANE ...................................................................................................................................................... MARGO SEIBERT surprise and delight, audiences connected with that material. SAFETY SAFETY BLEED BLEED BOXMAN ................................................................................................................................................. CHESNEY SNOW TRIM TRIM BOXMAN …………………………………………….......….................……………………………………………… STEVEN “HEAVEN” CANTOR So, we kept writing. The songs were about us, our lives, and our experiences being young in New York City and NATE ........................................................................................................................................................ JAMES SNYDER struggling to get somewhere. We met all the time, mostly in James-Allen’s 6th floor walkup on West 108th Street. NINA .................................................................................................................................................... MARIAND TORRES CHRIS ................................................................................................................................................... NICHOLAS WARD We sang a lot and laughed even more. Separating the group from our friendship had become impossible. We were ORIGINAL STANDBYS …………………....................……… ADAM BASHIAN, LAUREL HARRIS, ARBENDER ROBINSON, AURELIA WILLIAMS each other’s New York family, getting through our late twenties one “dit” or “doot” at a time. PAGE 5 PAGE 4 PAGE XX PAGE XX C MM C Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL MAGENTA CYAN DATE: L/S: TECH: TOTAL BLACK NUMBER LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER LABEL: FILE NAME: YELLOW FRONT OF COLORS COLORS ARTIST: Various JOB #: ARTIST: JOB #: PMS PMS OF BACK FRONT PMS PMS BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB After 9/11, once the subway was running again, we all gathered at James-Allen’s. We talked about the New York we were Two years later, on October 5, 2010, In Transit opened Off Broadway at Primary Stages (59E59 St Theatre A). The following experiencing – suddenly everyone was seeing each other. We decided to compile our original songs and create a cabaret: spring, we picked up eleven award nominations, more than any other Off-Broadway musical that year (including Drama Desk, part tribute to the city we love, part positive artistic action to get through a really tough time. Drama League, Outer Critics Circle, and Lucille Lortel), and won an Edgerton Foundation New American Play Award and a Along the Way opened in February 2002 at the Duplex Cabaret Theatre. We played to sold out audiences and re-opened the special Drama Desk Award for Outstanding Ensemble Cast. Just when we thought that was the satisfying end to our already show for another run later that spring. On a simple set consisting of six folding chairs, the show included eleven original long journey, we were approached by one of our co-producers, Janet Rosen (aka our fairy godmother), who was determined songs interspersed with vignettes set on the NYC Subway. Audiences loved it and told us to keep going. to bring In Transit to Broadway! When she asked who we wanted on our team, our first reply was, “Deke Sharon, the best a cappella arranger in the world.” Our next stop was the 2003 NYC Fringe Festival. Having lost Karla to another state and professional calling, we re-cast her role with a Broadway actress and began to see the show as something other than an autobiographical song cycle. We fleshed It would take five more years of artistic and financial development before we finally opened on Broadway, December out our characters and gave them bigger obstacles. Songs were rewritten and replaced, book material expanded and 11, 2016. Those years, just like all the others, were full of laughter, frustration, juggling other projects, self-doubt, hope, developed. Arrangements were made more intricate, and Along the Way became a true book musical. New York Magazine disagreements, fun, and hours and hours of time spent simply writing together. On opening night, as we put our arms called our self-produced show, “The sleeper hit of the Fringe,” and in spite of our venue, an un-air-conditioned walk-up around one another and joyfully walked the press line, we couldn’t help but smile and marvel at how the hell a group theatre in August, we sold out our entire run. of kids with six folding chairs and a pitch pipe ended up having a beautiful Broadway production with a stellar cast, Tony®-award-winning director Kathleen Marshall, and groundbreaking audio & visual design beyond our wildest dreams. We then took all of our Fringe profits and made a demo recording of the show in a basement studio in New Jersey. For the next several years, we played clubs, theatre festivals, concerts, and participated in many industry readings. We made ourselves as On March 13, 2017, the four of us walked side by side into Avatar Studios to record this original Broadway cast album— visible as possible, rewriting and honing our piece all the while. But time and self-producing were taking a toll. What we needed fourteen years from that basement studio in NJ, but with just as much good will and heart. This album is not only the aural was an experienced producer to take us to the next level, yet none had materialized. We worried we had maximized the 119.5MM C C MM record of the fact that we made Broadway history as its first a cappella musical, but the tangible evidence of an enduring C C MM 119.5MM Y Y BB script’s potential and wondered if theatricappella would ever find its commercial audience. Meanwhile, our individual friendship and collaboration that stood the tests of growing up and time. Some dreams take the express train; ours took the Y Y BB (4.71”) (4.71”) careers and growing families had begun pulling us in different directions. Shortly before Greg was due to leave New York for local. We wouldn’t have had it any other way. other pursuits, we gathered at one of our favorite writing haunts, the Flame Diner, to perhaps call it quits. As we talked and talked, Kristen absentmindedly doodled a box with arms and legs onto a diner napkin and scribbled the word “Boxman.” —Kristen, James-Allen, Russ & Sara Somehow this simple cartoon quickly exploded into an exciting new concept: Of course! Someone who hears the music that our other characters can’t…and he’s the literal and figurative rhythm of the city! The character of Boxman was born. We four remaining writers realized that this new character, like NYC itself, had something vital to teach us. He saved our collaboration—and our show—that night. SPECIAL THANKS TO Robert Lopez, Elisa Spencer Kaplan, James Wordsworth, our kids, families, friends, and all of the performers and theatrical Buoyed by this idea, it then became a game of write, meet, revise, repeat. We wrote songs separately, we wrote in groups of two, three, four. We composed new melodies, we jammed arrangements. We worked on book material all collaborators who were a part of our story along the way (notably Gregory Christopher, Karla Lant, Shawn Churchman, Graham together like a Hollywood writers’ room: best joke wins. Oh, and life happened. There were marriages, kids, new Stevens, Scott Embler, Joe Calarco, Tom Viertel, Mary-Mitchell Campbell, Chris Gattelli, John Buzzetti, Mark Sendroff, Pat Cook SAFETY SAFETY TRIM TRIM BLEED BLEED jobs—but somehow, we always returned to one another and our piece. and the BMI Workshop, Kathleen Marshall, Scott Landis, Marvin Rosen, Ed Boyer, Kim Vernace, Deke Sharon, and Rick Hip-Flores). In the summer of 2008, we got a huge break when the newly-titled In Transit was accepted to the Eugene O’Neill For Janet, who always believed we would get there. National Music Theatre Conference. It was during that magical week in the Connecticut woods that the show grew Tony® is a registered trademark of The American Theatre Wing immensely, as we were given our first professional cast, freeing us up to concentrate solely on the writing. We didn’t sleep for a week and penned notable rewrites, including “Getting There.” And then something unexpected happened. On the night of our first public reading at the O’Neill, our show was optioned by a veteran New York producer. PAGE 7 PAGE XX PAGE XX PAGE 6 C MM C Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 MAGENTA CYAN SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL TECH: DATE: L/S: TOTAL YELLOW BLACK LABEL: FILE NAME: LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER NUMBER FRONT OF PMS ARTIST: Various JOB #: PMS ARTIST: JOB #: PMS PMS OF COLORS COLORS BACK FRONT BACK TEMPLATE: TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB After 9/11, once the subway was running again, we all gathered at James-Allen’s. We talked about the New York we were Two years later, on October 5, 2010, In Transit opened Off Broadway at Primary Stages (59E59 St Theatre A). The following experiencing – suddenly everyone was seeing each other. We decided to compile our original songs and create a cabaret: spring, we picked up eleven award nominations, more than any other Off-Broadway musical that year (including Drama Desk, part tribute to the city we love, part positive artistic action to get through a really tough time. Drama League, Outer Critics Circle, and Lucille Lortel), and won an Edgerton Foundation New American Play Award and a Along the Way opened in February 2002 at the Duplex Cabaret Theatre. We played to sold out audiences and re-opened the special Drama Desk Award for Outstanding Ensemble Cast. Just when we thought that was the satisfying end to our already show for another run later that spring. On a simple set consisting of six folding chairs, the show included eleven original long journey, we were approached by one of our co-producers, Janet Rosen (aka our fairy godmother), who was determined songs interspersed with vignettes set on the NYC Subway. Audiences loved it and told us to keep going. to bring In Transit to Broadway! When she asked who we wanted on our team, our first reply was, “Deke Sharon, the best a cappella arranger in the world.” Our next stop was the 2003 NYC Fringe Festival. Having lost Karla to another state and professional calling, we re-cast her role with a Broadway actress and began to see the show as something other than an autobiographical song cycle. We fleshed It would take five more years of artistic and financial development before we finally opened on Broadway, December out our characters and gave them bigger obstacles. Songs were rewritten and replaced, book material expanded and 11, 2016. Those years, just like all the others, were full of laughter, frustration, juggling other projects, self-doubt, hope, developed. Arrangements were made more intricate, and Along the Way became a true book musical. New York Magazine disagreements, fun, and hours and hours of time spent simply writing together. On opening night, as we put our arms called our self-produced show, “The sleeper hit of the Fringe,” and in spite of our venue, an un-air-conditioned walk-up around one another and joyfully walked the press line, we couldn’t help but smile and marvel at how the hell a group theatre in August, we sold out our entire run. of kids with six folding chairs and a pitch pipe ended up having a beautiful Broadway production with a stellar cast, Tony®-award-winning director Kathleen Marshall, and groundbreaking audio & visual design beyond our wildest dreams. We then took all of our Fringe profits and made a demo recording of the show in a basement studio in New Jersey. For the next several years, we played clubs, theatre festivals, concerts, and participated in many industry readings. We made ourselves as On March 13, 2017, the four of us walked side by side into Avatar Studios to record this original Broadway cast album— visible as possible, rewriting and honing our piece all the while. But time and self-producing were taking a toll. What we needed fourteen years from that basement studio in NJ, but with just as much good will and heart. This album is not only the aural was an experienced producer to take us to the next level, yet none had materialized. We worried we had maximized the 119.5MM C C MM record of the fact that we made Broadway history as its first a cappella musical, but the tangible evidence of an enduring C C MM 119.5MM Y Y BB script’s potential and wondered if theatricappella would ever find its commercial audience. Meanwhile, our individual friendship and collaboration that stood the tests of growing up and time. Some dreams take the express train; ours took the Y Y BB (4.71”) (4.71”) careers and growing families had begun pulling us in different directions. Shortly before Greg was due to leave New York for local. We wouldn’t have had it any other way. other pursuits, we gathered at one of our favorite writing haunts, the Flame Diner, to perhaps call it quits. As we talked and talked, Kristen absentmindedly doodled a box with arms and legs onto a diner napkin and scribbled the word “Boxman.” —Kristen, James-Allen, Russ & Sara Somehow this simple cartoon quickly exploded into an exciting new concept: Of course! Someone who hears the music that our other characters can’t…and he’s the literal and figurative rhythm of the city! The character of Boxman was born. We four remaining writers realized that this new character, like NYC itself, had something vital to teach us. He saved our collaboration—and our show—that night. SPECIAL THANKS TO Robert Lopez, Elisa Spencer Kaplan, James Wordsworth, our kids, families, friends, and all of the performers and theatrical Buoyed by this idea, it then became a game of write, meet, revise, repeat. We wrote songs separately, we wrote in groups of two, three, four. We composed new melodies, we jammed arrangements. We worked on book material all collaborators who were a part of our story along the way (notably Gregory Christopher, Karla Lant, Shawn Churchman, Graham together like a Hollywood writers’ room: best joke wins. Oh, and life happened. There were marriages, kids, new Stevens, Scott Embler, Joe Calarco, Tom Viertel, Mary-Mitchell Campbell, Chris Gattelli, John Buzzetti, Mark Sendroff, Pat Cook SAFETY SAFETY TRIM TRIM BLEED BLEED jobs—but somehow, we always returned to one another and our piece. and the BMI Workshop, Kathleen Marshall, Scott Landis, Marvin Rosen, Ed Boyer, Kim Vernace, Deke Sharon, and Rick Hip-Flores). In the summer of 2008, we got a huge break when the newly-titled In Transit was accepted to the Eugene O’Neill For Janet, who always believed we would get there. National Music Theatre Conference. It was during that magical week in the Connecticut woods that the show grew Tony® is a registered trademark of The American Theatre Wing immensely, as we were given our first professional cast, freeing us up to concentrate solely on the writing. We didn’t sleep for a week and penned notable rewrites, including “Getting There.” And then something unexpected happened. On the night of our first public reading at the O’Neill, our show was optioned by a veteran New York producer. PAGE 7 PAGE XX PAGE XX PAGE 6 C MM C Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 MAGENTA CYAN SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL TECH: DATE: L/S: TOTAL YELLOW BLACK LABEL: FILE NAME: LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER NUMBER FRONT OF PMS ARTIST: Various JOB #: PMS ARTIST: JOB #: PMS PMS OF COLORS COLORS BACK FRONT BACK TEMPLATE: TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB IN TRANSIT SYNOPSIS Boxman, a New York City subway performer, wows the crowd on the train platform with his virtuosic beatboxing skills, and The next day, Trent crosses paths with Ali (fresh from running a half marathon) and tells her she can bring whomever she wants poses a question: “How you gonna get where you’re going, if you don’t know how to be where you are?” His query is lost on to the wedding. In a private moment, Ali confesses she’s not quite ready to move on yet and makes a call. On the other end of the harried commuters as they lament the misery of their morning commutes, their lack of control, and the fact that the MTA the line, Nate is revealed as Ali’s brother, and agrees to be her plus one at the wedding. Elsewhere, Trent, Jane and Althea is forever keeping them from getting where they want to be (“Deep Beneath the City/Not There Yet”). also separately wonder if they’ll ever get where they want to be in life (“Not There Yet (Reprise)”). The riders disperse, and Jane, thinking she is now alone on the platform, begins a vocal warm up in preparation for an A few days later, Jane and Boxman greet one another in the station and Jane tells him that the final round of the audition important audition she has later that day. Boxman surprises her by adding a beat to her vocalization. She tries to stay focused went really well and it’s now down to her and one other person. But waiting for this life-changing news is driving her and keep to herself, but quickly warms to Boxman’s charm. He asks if she does stage or screen…she admits that at the absolutely crazy. Boxman tells her when he feels that way, he calms himself by tuning into the rhythm of the city. This pulls us moment she mostly just does her day job (“Do What I Do”). The train arrives and Jane is off to her office temping gig. into a fantasy sequence where we hear the city as Boxman hears it – full of the multilayered rhythms and music of the people Ms. Williams, her boss, asks Jane to work through lunch, which means she’ll miss her big audition. Determined to finally who “Keep It Goin’.” By the end of the song, Jane lands her big Broadway part. break out of office life and do what she came to New York to do, she boldly drags the office intern along to help her proof the annual report while she’s at her audition. While rushing for the train, she calls her agent, Trent, to let him know she’s Trent and Steven have a fight when Trent finds out Steven sent a card to Trent’s momma, pretending to be Trent, and bought running a tad late but is on her way. her a plane ticket to come visit. Trent is furious but Steven makes an ultimatum: if Trent can’t come clean with his family, they can’t get married. Trent reluctantly agrees to finally come out to his momma during this visit. Trent hangs up and returns his attention to his fiancé Steven. They’re en route to the airport to visit Trent’s widowed Momma for “Four Days Home,” in Trent’s hometown of Big Creek, Texas, where no one knows he is gay or that he and Steven are Meanwhile, Jane is at the last day of her office job and gets the news that the producers of her show decided they need a engaged to be married. They make it through the trip posing as roommates, but are relieved to finally get back to New York star to sell tickets. Jane has been recast. Seeing Jane devastated, Ms. Williams gives her “A Little Friendly Advice” and where they can be themselves. offers her a full-time position. Needing time to process it all, Jane agrees to give Ms. Williams an answer after she returns 119.5MM C C C MM C MM 119.5MM Y Y Y BB from her upcoming weekend trip to her high school reunion in Virginia. Y BB (4.71”) (4.71”) As Trent and Steven exit the subway platform, Nate, a down-on-his-luck banker, struggles to get to a vital job interview despite a malfunctioning MetroCard He explains that he’s “Broke” to the booth attendant Althea, but she’s unsympathetic to his plea. Back in the subway system, Boxman beatboxes for the crowd. He suddenly drops his usual routine and performs a spoken Boxman comes to Nate’s rescue and swipes him through the turnstile so he can make it to his interview. word poem about his journey to discover the beat within him. Jane also passes through the station, having just survived a second audition for the big part. While waiting for her train, she Trent and his momma have now spent a few days together in NYC and he’s finally summoned up the courage to tell her that and Boxman have a brief exchange as fellow struggling artists. After she leaves to get to work, from the opposite platform he’s gay, but she won’t let him get the words out. He realizes she’s “Choosing Not to Know” what she actually knows. Trent and Steven spot their friend Ali across the tracks and learn she’s been dumped by Dave, the guy for whom she moved In the wake of his father’s recent passing, Trent chooses, just for now, not to challenge her faith. He can’t lose the one across the country. She assures them she’s fine and keeping herself busy with her latest obsession—running. They try to parent he still has. make plans to get together but Trent and Steven are busy on Saturday, the one night of the week she’s woefully free. Left to spend the evening alone in her apartment, Ali can’t stop herself from reaching out to her ex (“Saturday Night Obsession”). Having just crossed the finish line of the New York City Marathon, Ali enters a subway car and runs right into Dave, whom she hasn’t seen in almost a year. To add to the awkwardness, Dave’s new girlfriend, Kathy, joins him at a later stop, and Ali is Nate, who has taken stopgap work at Staples, meets Chris and some other guys from his old finance job at a sports bar. not only face to face with the past she’s still trying to shake, but also Dave’s promising new future without her. Ali learns that SAFETY SAFETY TRIM TRIM BLEED BLEED Nate is forced to reveal that he’s low on cash and not doing well with the ladies lately. To cheer him up, Chris offers his Kathy is moving in with Dave, and upon hearing this, she makes an excuse to leave and quickly exits the train. Alone on the services as Nate’s “Wingman.” The plan is successful and Nate meets Jane (also at the bar with co-workers). Nate and Jane platform, the last three years all come flooding back (“The Moving Song”). hit it off and break from the group to grab hotdogs at Papaya King. After talking about work and life and laughing at shared subway ad absurdities, Nate steals a quick kiss as Jane transfers trains. Jane says she’ll call. On their separate ways home Nate has a final confrontation with Althea, as his MetroCard once again threatens his ability to get to an important job interview they allow themselves to get carried away and dream that this could be the love of their life…before catching themselves and on time. As their tension comes to a head, Althea and Nate finally see one another not as obstacles in a power struggle but as sensibly shrugging off the idea (“But Ya Know”). Throwing caution to the wind, Jane dials the number Nate gave her, but is fellow travelers on a journey. She implores him to go make himself useful, as she grants him access to his train. disappointed to hear the number is out of service. PAGE 8 PAGE 9 PAGE XX PAGE XX C MM C Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN SEL#: TECH: L/S: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL DATE: TOTAL LABEL: FILE NAME: YELLOW BLACK NUMBER NUMBER BLACK FILE NAME: YELLOW LABEL: Hollywood Records FRONT OF ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT ARTIST: JOB #: PMS PMS BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB IN TRANSIT SYNOPSIS Boxman, a New York City subway performer, wows the crowd on the train platform with his virtuosic beatboxing skills, and The next day, Trent crosses paths with Ali (fresh from running a half marathon) and tells her she can bring whomever she wants poses a question: “How you gonna get where you’re going, if you don’t know how to be where you are?” His query is lost on to the wedding. In a private moment, Ali confesses she’s not quite ready to move on yet and makes a call. On the other end of the harried commuters as they lament the misery of their morning commutes, their lack of control, and the fact that the MTA the line, Nate is revealed as Ali’s brother, and agrees to be her plus one at the wedding. Elsewhere, Trent, Jane and Althea is forever keeping them from getting where they want to be (“Deep Beneath the City/Not There Yet”). also separately wonder if they’ll ever get where they want to be in life (“Not There Yet (Reprise)”). The riders disperse, and Jane, thinking she is now alone on the platform, begins a vocal warm up in preparation for an A few days later, Jane and Boxman greet one another in the station and Jane tells him that the final round of the audition important audition she has later that day. Boxman surprises her by adding a beat to her vocalization. She tries to stay focused went really well and it’s now down to her and one other person. But waiting for this life-changing news is driving her and keep to herself, but quickly warms to Boxman’s charm. He asks if she does stage or screen…she admits that at the absolutely crazy. Boxman tells her when he feels that way, he calms himself by tuning into the rhythm of the city. This pulls us moment she mostly just does her day job (“Do What I Do”). The train arrives and Jane is off to her office temping gig. into a fantasy sequence where we hear the city as Boxman hears it – full of the multilayered rhythms and music of the people Ms. Williams, her boss, asks Jane to work through lunch, which means she’ll miss her big audition. Determined to finally who “Keep It Goin’.” By the end of the song, Jane lands her big Broadway part. break out of office life and do what she came to New York to do, she boldly drags the office intern along to help her proof the annual report while she’s at her audition. While rushing for the train, she calls her agent, Trent, to let him know she’s Trent and Steven have a fight when Trent finds out Steven sent a card to Trent’s momma, pretending to be Trent, and bought running a tad late but is on her way. her a plane ticket to come visit. Trent is furious but Steven makes an ultimatum: if Trent can’t come clean with his family, they can’t get married. Trent reluctantly agrees to finally come out to his momma during this visit. Trent hangs up and returns his attention to his fiancé Steven. They’re en route to the airport to visit Trent’s widowed Momma for “Four Days Home,” in Trent’s hometown of Big Creek, Texas, where no one knows he is gay or that he and Steven are Meanwhile, Jane is at the last day of her office job and gets the news that the producers of her show decided they need a engaged to be married. They make it through the trip posing as roommates, but are relieved to finally get back to New York star to sell tickets. Jane has been recast. Seeing Jane devastated, Ms. Williams gives her “A Little Friendly Advice” and where they can be themselves. offers her a full-time position. Needing time to process it all, Jane agrees to give Ms. Williams an answer after she returns 119.5MM C C C MM C MM 119.5MM Y Y Y BB from her upcoming weekend trip to her high school reunion in Virginia. Y BB (4.71”) (4.71”) As Trent and Steven exit the subway platform, Nate, a down-on-his-luck banker, struggles to get to a vital job interview despite a malfunctioning MetroCard He explains that he’s “Broke” to the booth attendant Althea, but she’s unsympathetic to his plea. Back in the subway system, Boxman beatboxes for the crowd. He suddenly drops his usual routine and performs a spoken Boxman comes to Nate’s rescue and swipes him through the turnstile so he can make it to his interview. word poem about his journey to discover the beat within him. Jane also passes through the station, having just survived a second audition for the big part. While waiting for her train, she Trent and his momma have now spent a few days together in NYC and he’s finally summoned up the courage to tell her that and Boxman have a brief exchange as fellow struggling artists. After she leaves to get to work, from the opposite platform he’s gay, but she won’t let him get the words out. He realizes she’s “Choosing Not to Know” what she actually knows. Trent and Steven spot their friend Ali across the tracks and learn she’s been dumped by Dave, the guy for whom she moved In the wake of his father’s recent passing, Trent chooses, just for now, not to challenge her faith. He can’t lose the one across the country. She assures them she’s fine and keeping herself busy with her latest obsession—running. They try to parent he still has. make plans to get together but Trent and Steven are busy on Saturday, the one night of the week she’s woefully free. Left to spend the evening alone in her apartment, Ali can’t stop herself from reaching out to her ex (“Saturday Night Obsession”). Having just crossed the finish line of the New York City Marathon, Ali enters a subway car and runs right into Dave, whom she hasn’t seen in almost a year. To add to the awkwardness, Dave’s new girlfriend, Kathy, joins him at a later stop, and Ali is Nate, who has taken stopgap work at Staples, meets Chris and some other guys from his old finance job at a sports bar. not only face to face with the past she’s still trying to shake, but also Dave’s promising new future without her. Ali learns that SAFETY SAFETY TRIM TRIM BLEED BLEED Nate is forced to reveal that he’s low on cash and not doing well with the ladies lately. To cheer him up, Chris offers his Kathy is moving in with Dave, and upon hearing this, she makes an excuse to leave and quickly exits the train. Alone on the services as Nate’s “Wingman.” The plan is successful and Nate meets Jane (also at the bar with co-workers). Nate and Jane platform, the last three years all come flooding back (“The Moving Song”). hit it off and break from the group to grab hotdogs at Papaya King. After talking about work and life and laughing at shared subway ad absurdities, Nate steals a quick kiss as Jane transfers trains. Jane says she’ll call. On their separate ways home Nate has a final confrontation with Althea, as his MetroCard once again threatens his ability to get to an important job interview they allow themselves to get carried away and dream that this could be the love of their life…before catching themselves and on time. As their tension comes to a head, Althea and Nate finally see one another not as obstacles in a power struggle but as sensibly shrugging off the idea (“But Ya Know”). Throwing caution to the wind, Jane dials the number Nate gave her, but is fellow travelers on a journey. She implores him to go make himself useful, as she grants him access to his train. disappointed to hear the number is out of service. PAGE 8 PAGE 9 PAGE XX PAGE XX C MM C Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN SEL#: TECH: L/S: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL DATE: TOTAL LABEL: FILE NAME: YELLOW BLACK NUMBER NUMBER BLACK FILE NAME: YELLOW LABEL: Hollywood Records FRONT OF ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT ARTIST: JOB #: PMS PMS BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y BB Y Trent ruefully tells Steven he couldn’t come out to his momma and gives his engagement ring back. Steven sees what Trent is DEEP BENEATH THE CITY MS. WILLIAMS JANE up against and promises Trent he won’t have to face this struggle alone. Getting down on one knee right there on the floor ALL WHY DID I WEAR THESE HEELS? HAVE TO GET WHERE I of the dirty subway car, Steven proposes (again). Elated, they decide not to wait one more minute to be married, and hop DEEP BENEATH THE CITY CHRIS ALL HAVE TO GET GOTTA MAKE MY QUOTA THIS WEEK the train directly to City Hall—the big reception will come later when Momma can be a part of it. Meanwhile, Nate learns WITH A THOUSAND OTHER STRANGERS JANE BUT I’M NOT THERE YET! PACKED LIKE DRIVEN CATTLE that Ali is planning to move home to Seattle to save money to finish her graduate degree. He makes her an offer that allows SPEEDING THROUGH A MAZE WHERE IN THE HELL’S THE TRAIN? DAVE Ali to go back to school but also stay in the city she’s finally starting to love. All four are momentarily connected with the RATTLING AND LURCHING NATE EXCUSE ME – realization, “We Are Home.” READING POETRY IN MOTION THIS AROMA’S UNIQUE SOPHIA A MUFFLED SPEAKER TELLS US TO EXPECT DELAYS ALI OUCH! Boxman happens upon a weary Jane, sitting alone on a subway car with a rolling suitcase. She’s been riding the train all I’M SO LATE STEVEN night. Twice she’s gone to the end of the line and looped back around, unable to bring herself to get out at JFK and go to her NOT THERE YET TRENT A SEAT! reunion. She confesses that despite years and years of desperately trying to get somewhere, she’s gotten nowhere in her ALL TEN OF EIGHT NINA life romantically, financially and professionally. She doesn’t know what to do, and Boxman suggests simply trying to be DAH DAT DAT DAH DAT DAT (Etc.) JANE IS THAT LADY PREGNANT OR FAT? where she is, right here on the A. He leaves, and she allows herself to tune into the world around her. For once, she is happy JANE/NATE HATE THE WAIT STEVEN SHIT just taking in the moment and content with the knowledge that she is “Getting There.” As she quickly exits the station, Jane ALI JANE/TRENT I THINK – unexpectedly bumps into Nate. He explains that his phone service suffered a brief interruption, he’s landed a great job as a SORRY DON’T THEY KNOW DAVE New York City teaching fellow, and he’s excited to see her. Jane, equally pleased with this second chance encounter (courtesy TRENT JANE/TRENT/NATE ANOTHER ROUTE? THAT I GOT PLACES THAT of the MTA), invites him to live in the moment and go for a walk above ground. EXCUSE ME ALL SOPHIA HEY! DON’T EYE ME LIKE THAT! CHRIS I NEED TO GO The action jumps forward in time, revealing the fate of each of our main characters. Ali enters in a lab coat, and we see HOLD THE DOOR WHAT A SLEEZE... 119.5MM C C MM JANE NINA C MM 119.5MM C Y Y Y BB images of her graduation day from her sports medicine degree program. Trent and Steven appear in tuxes and toss a NATE BUT I’M NOT THERE YET C’MON, PLEASE Y BB (4.71”) (4.71”) bouquet, as we see pictures of their wedding reception (with Momma). Jane and Nate enter, Nate wearing a baby carrier WAIT! I’M NOT THERE YET STEVEN with their newborn and Jane bidding her family farewell, en route to another audition. And finally, Althea, the booth lady, MS. WILLIAMS ALL IF I SQUEEZE enters as a candidate for NYC Mayor, sporting a red pantsuit, smiling, shaking hands and passing out fliers (“Finale”). I SHOULD’VE HAILED A CAB STILL NINA/STEVEN/SOPHIA TRENT ALI HOLY CRAP! Passengers come and passengers go, and the rhythm of the city keeps moving it along... EDITS TO THE CONTRACT ARE DUE FIVE JANE JANE DAVE DID I FORGET MY PHONE? NINE CRAP, WHY IS THE SEAT ALL WET ALI WHERE I JUST SAT? THAT CONSTRUCTION IS NEW TRENT NATE TRENT TWELVE I WISH I KNEW THE TIME MONTHLY PASS MS. WILLIAMS JANE ALI TEN WHERE IS THIS AUDITION? SAFETY SAFETY LATE FOR CLASS NATE STEVEN TRIM TRIM BLEED BLEED MS. WILLIAMS FORTY-SIX A-CHOO! KISS MY ASS MINUTES AWAY TRENT ALI/MS. WILLIAMS/TRENT ON THE F DID I JUST MISS MY STOP? OH, MY GOD JANE ALI NATE ON THE R THANKS, I DON’T WANT THE FLU GOD, I HOPE MY UNEMPLOYMENT ALI/TRENT NINA CLAIM GOES THROUGH ON THE FRIGGIN’ A MEET THE GOAL PAGE 10 PAGE 11 PAGE XX PAGE XX C C MM Y BB Y 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH TECH: MAGENTA CYAN L/S: DATE: SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL TOTAL LABEL: LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER NUMBER YELLOW FILE NAME: BLACK FRONT OF PMS JOB #: PMS ARTIST: ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y BB Y Trent ruefully tells Steven he couldn’t come out to his momma and gives his engagement ring back. Steven sees what Trent is DEEP BENEATH THE CITY MS. WILLIAMS JANE up against and promises Trent he won’t have to face this struggle alone. Getting down on one knee right there on the floor ALL WHY DID I WEAR THESE HEELS? HAVE TO GET WHERE I of the dirty subway car, Steven proposes (again). Elated, they decide not to wait one more minute to be married, and hop DEEP BENEATH THE CITY CHRIS ALL HAVE TO GET GOTTA MAKE MY QUOTA THIS WEEK the train directly to City Hall—the big reception will come later when Momma can be a part of it. Meanwhile, Nate learns WITH A THOUSAND OTHER STRANGERS JANE BUT I’M NOT THERE YET! PACKED LIKE DRIVEN CATTLE that Ali is planning to move home to Seattle to save money to finish her graduate degree. He makes her an offer that allows SPEEDING THROUGH A MAZE WHERE IN THE HELL’S THE TRAIN? DAVE Ali to go back to school but also stay in the city she’s finally starting to love. All four are momentarily connected with the RATTLING AND LURCHING NATE EXCUSE ME – realization, “We Are Home.” READING POETRY IN MOTION THIS AROMA’S UNIQUE SOPHIA A MUFFLED SPEAKER TELLS US TO EXPECT DELAYS ALI OUCH! Boxman happens upon a weary Jane, sitting alone on a subway car with a rolling suitcase. She’s been riding the train all I’M SO LATE STEVEN night. Twice she’s gone to the end of the line and looped back around, unable to bring herself to get out at JFK and go to her NOT THERE YET TRENT A SEAT! reunion. She confesses that despite years and years of desperately trying to get somewhere, she’s gotten nowhere in her ALL TEN OF EIGHT NINA life romantically, financially and professionally. She doesn’t know what to do, and Boxman suggests simply trying to be DAH DAT DAT DAH DAT DAT (Etc.) JANE IS THAT LADY PREGNANT OR FAT? where she is, right here on the A. He leaves, and she allows herself to tune into the world around her. For once, she is happy JANE/NATE HATE THE WAIT STEVEN SHIT just taking in the moment and content with the knowledge that she is “Getting There.” As she quickly exits the station, Jane ALI JANE/TRENT I THINK – unexpectedly bumps into Nate. He explains that his phone service suffered a brief interruption, he’s landed a great job as a SORRY DON’T THEY KNOW DAVE New York City teaching fellow, and he’s excited to see her. Jane, equally pleased with this second chance encounter (courtesy TRENT JANE/TRENT/NATE ANOTHER ROUTE? THAT I GOT PLACES THAT of the MTA), invites him to live in the moment and go for a walk above ground. EXCUSE ME ALL SOPHIA HEY! DON’T EYE ME LIKE THAT! CHRIS I NEED TO GO The action jumps forward in time, revealing the fate of each of our main characters. Ali enters in a lab coat, and we see HOLD THE DOOR WHAT A SLEEZE... 119.5MM C C MM JANE NINA C MM 119.5MM C Y Y Y BB images of her graduation day from her sports medicine degree program. Trent and Steven appear in tuxes and toss a NATE BUT I’M NOT THERE YET C’MON, PLEASE Y BB (4.71”) (4.71”) bouquet, as we see pictures of their wedding reception (with Momma). Jane and Nate enter, Nate wearing a baby carrier WAIT! I’M NOT THERE YET STEVEN with their newborn and Jane bidding her family farewell, en route to another audition. And finally, Althea, the booth lady, MS. WILLIAMS ALL IF I SQUEEZE enters as a candidate for NYC Mayor, sporting a red pantsuit, smiling, shaking hands and passing out fliers (“Finale”). I SHOULD’VE HAILED A CAB STILL NINA/STEVEN/SOPHIA TRENT ALI HOLY CRAP! Passengers come and passengers go, and the rhythm of the city keeps moving it along... EDITS TO THE CONTRACT ARE DUE FIVE JANE JANE DAVE DID I FORGET MY PHONE? NINE CRAP, WHY IS THE SEAT ALL WET ALI WHERE I JUST SAT? THAT CONSTRUCTION IS NEW TRENT NATE TRENT TWELVE I WISH I KNEW THE TIME MONTHLY PASS MS. WILLIAMS JANE ALI TEN WHERE IS THIS AUDITION? SAFETY SAFETY LATE FOR CLASS NATE STEVEN TRIM TRIM BLEED BLEED MS. WILLIAMS FORTY-SIX A-CHOO! KISS MY ASS MINUTES AWAY TRENT ALI/MS. WILLIAMS/TRENT ON THE F DID I JUST MISS MY STOP? OH, MY GOD JANE ALI NATE ON THE R THANKS, I DON’T WANT THE FLU GOD, I HOPE MY UNEMPLOYMENT ALI/TRENT NINA CLAIM GOES THROUGH ON THE FRIGGIN’ A MEET THE GOAL PAGE 10 PAGE 11 PAGE XX PAGE XX C C MM Y BB Y 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH TECH: MAGENTA CYAN L/S: DATE: SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL TOTAL LABEL: LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER NUMBER YELLOW FILE NAME: BLACK FRONT OF PMS JOB #: PMS ARTIST: ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB SOPHIA TRENT IN A TINY METAL ROOM AS WE ZOOM TOWARD DO WHAT I DO JANE GRAB THE POLE I CAN LOVE WHO I LOVE OUR FATE JANE BUT HARRISON FORD AND JESUS CHRIST TRENT AND MY WORLD IS FORGIVING? AND WE STRESS ON THE EXPRESS, I AM AN ACTOR...OR AN ‘‘ACTRESS’’...OR ‘‘WHATEVER’’ BOTH SURVIVED ON CARPENTRY NO CONTROL ALL AND WE BITCH AND WE MOAN GOT A FANCY COLLEGE THEATRE DEGREE THEY PAID THEIR DUES ON THE ROAD JANE/TRENT/ALTHEA/ALI I THOUGHT BY NOW IN AN UNNATURAL PROXIMITY, I TOLD MYSELF I’D BE ON BROADWAY BY THIRTY TO GREATNESS JUST LIKE ME! TOGETHER BUT ALONE MTA NATE/ALI EIGHT MILLION SOULS RACE BUT I BLINKED, AND POOF! I TURNED THIRTY-THREE MS. WILLIAMS JANE/TRENT/ALI I’D BE BACK ON MY FEET TO THEIR DESTINATIONS IT’S A GAME OF SURVIVAL, BUT HEY, THAT’S THE BIZ Morning Jane! AND I’D BE WHERE I NEED TO BE I’M GOIN’ SOMEWHERE IN THIS LIMBO LIFE WE LIVE BETWEEN STATIONS AND NEW YORK IS MAD EXPENSIVE, BUT THE GOOD NEWS IS JANE AND YOU’RE JANE/NATE/ALI/TRENT ALL I GOT TEMPING SKILLS Morning, Ms. Williams. JANE/TRENT/ALTHEA/ALI/NATE/TRENT INSTEAD I’M PACKED WITH STRANGERS NO, I’M NOT THERE! TO PAY MY BILLS MS. WILLIAMS IN MY WAY, ’CAUSE ALL WHY AM I NOT THERE YET? THAT’S MY SCHEME TIL MY DREAM COMES TRUE I need you to channel your powers, and proof the entire annual report by 1pm. SO I DO WHAT I DON’T REALLY DO RIDING THE UPTOWN ALL JUST SO I CAN DO WHAT I DO DO JANE I’M NOT THERE YET ALI/JANE ALI THAT’S WHAT I DO I got it. I’ll work through lunch. I’M NOT THERE YET THREE TWO UH HUH MS. WILLIAMS STILL TRENT/NINA JANE DOOBIE DOOBIE DO Gettin’ it done, Jane. ALI DOWNTOWN D ONE IT’S NOT SO BAD, I ANSWER CALLS, I PRINT REPORTS JANE THREE ALTHEA/SOPHIA NATE WHEN NO ONE’S LOOKING, USE AN OFFICE SUPPLY You bet! That’s what I do. I’m gonna miss my audition. JANE CROSSTOWN E FOUR Booya! WHAT AM I DOING?...I’M AN ‘‘ACTOR’’...OR ‘‘WHATEVER’’ FIVE NATE/CHRIS/DAVE/STEVEN MS. WILLIAMS I TYPE AND FILE WHILE I HUM STEPHEN SCHWARTZ BUT I’M MAKING SELF DELUSION AN ART TRENT LOCAL G SIX CRAMMED IN MY CORNER OF THE CORPORATE SKY AND I’LL GO CRAZY IN AN OFFICE ONE MORE SECOND 119.5MM C C MM BOXMAN EV’RY JOB’S GOT SOMETHIN’, MAKES IT EASY TO BEAR I’LL BUST OUT OF HERE BY GETTING THIS PART! C C MM 119.5MM Y Y Y BB NINE TRENT LIKE THIS SWANKY MIDTOWN OFFICE I SEE PEOPLE WHO GIVE UP AND Y BB (4.71”) (4.71”) MS. WILLIAMS Due to train traffic ahead we are being momentarily held. SEVENTEEN OVERLOOKING TIMES SQUARE LEAVE THE BIZ EV’RY YEAR EIGHT ALL MINUTES FROM HERE OUT MY WINDOW I SEE AND YEAH, I’M THIRTY-THREE, NATE Fuuuuuuuuuuuck. ALI/JANE/TRENT A BROADWAY MARQUEE BUT BABY – I’M STILL HERE! THIRTEEN GOTTA DEAL WITH THE FACT THAT BUT THE TRACK AND THE MAP AND TO ME, THAT’S A HELL OF A VIEW THOUGH I’M NOT THERE YET MINUTES SO FAR I’M NOT THE ONE DRIVIN’ AND MY ROUTE’S NOT CLEAR REMINDING ME I DO WHAT I DON’T REALLY DO I CAN’T FORGET THAT I BET GOTTA TUNE OUT THE WORLD NATE/ALI/JANE AS A MEANS OF SURVIVIN’ ALL BOXMAN ON MYSELF COMING THROUGH UNDERGROUND ON A TRACK IN A CROWDED CAR NOT AT HOME, NOT AT PLAY, NOT AT WORK, NOT IN BED WILL I GET WHERE I HAVE TO GET? (TICKS A CLOCK) TIL I GET WHERE I NOT ASLEEP, NOT AWAKE, NOT ALIVE AND NOT DEAD ALI JANE I’M NOT GONNA DO WHAT I DON’T REALLY DO ALL NOT IN PLACE BUT STILL NOT MOVING AHEAD I’M NOT THERE... ...SO I CAN DO WHAT I DO DO I GOTTA DO WHAT I DO...DO HAVE TO GET BOXMAN MS. WILLIAMS A SURVIVAL JOB IS A STEPPING STONE OH YEAH, BUT I’M NOT THERE YET EIGHT MILLION SOULS BUSY RUSHING AROUND NOT THERE... BEFORE YOU BECOME WHO YOU ARE I GOTTA DO WHAT I DO…DO HOW LONG UNTIL... BLIND TO THE BEAUTY OF THE MOMENT JANE/TRENT/NATE/CHRIS/ALI/MS. WILLIAMS I MEAN, MADONNA WAS A COAT CHECK GIRL WHOA…WHOA SAFETY SAFETY JANE AND DEAF TO THE SOUND – NOT THERE... BEFORE SHE BECAME A GLOBAL STAR I GOTTA DO WHAT I DO TRIM TRIM BLEED BLEED I CAN DO OF THE POLYRHYTHMIC MELODY I’M MERYL STREEP WAITED TABLES DOO N DOO DOO N DOO DOO N DOO WHAT I DREAMED THE MULTILAYERED HARMONY ALL MARLON BRANDO – HE DUG DITCHES DO WHAT I DO DO DO I WOULD DO FOR A LIVING? THE EVERCHANGING SYMPHONY DEEP BENEATH THE CITY LIZA AND BARBRA AND PATTI LUPONE I GOTTA DO WHAT I ALL OF LIFE UNDERGROUND WITH A THOUSAND OTHER STRANGERS!!! NEVER HAD A DAY JOB... ALL AND HOW LONG TIL WHERE TOGETHER WE RIDE, AND TOGETHER WE WAIT ALL DO! BITCHES! PAGE 12 PAGE XX PAGE XX PAGE 13 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN DATE: SEL#: TECH: L/S: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL TOTAL NUMBER BLACK YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER LABEL: Hollywood Records FILE NAME: FRONT OF COLORS COLORS PMS ARTIST: ARTIST: Various JOB #: PMS PMS OF BACK FRONT PMS JOB #: BACK TEMPLATE: TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB SOPHIA TRENT IN A TINY METAL ROOM AS WE ZOOM TOWARD DO WHAT I DO JANE GRAB THE POLE I CAN LOVE WHO I LOVE OUR FATE JANE BUT HARRISON FORD AND JESUS CHRIST TRENT AND MY WORLD IS FORGIVING? AND WE STRESS ON THE EXPRESS, I AM AN ACTOR...OR AN ‘‘ACTRESS’’...OR ‘‘WHATEVER’’ BOTH SURVIVED ON CARPENTRY NO CONTROL ALL AND WE BITCH AND WE MOAN GOT A FANCY COLLEGE THEATRE DEGREE THEY PAID THEIR DUES ON THE ROAD JANE/TRENT/ALTHEA/ALI I THOUGHT BY NOW IN AN UNNATURAL PROXIMITY, I TOLD MYSELF I’D BE ON BROADWAY BY THIRTY TO GREATNESS JUST LIKE ME! TOGETHER BUT ALONE MTA NATE/ALI EIGHT MILLION SOULS RACE BUT I BLINKED, AND POOF! I TURNED THIRTY-THREE MS. WILLIAMS JANE/TRENT/ALI I’D BE BACK ON MY FEET TO THEIR DESTINATIONS IT’S A GAME OF SURVIVAL, BUT HEY, THAT’S THE BIZ Morning Jane! AND I’D BE WHERE I NEED TO BE I’M GOIN’ SOMEWHERE IN THIS LIMBO LIFE WE LIVE BETWEEN STATIONS AND NEW YORK IS MAD EXPENSIVE, BUT THE GOOD NEWS IS JANE AND YOU’RE JANE/NATE/ALI/TRENT ALL I GOT TEMPING SKILLS Morning, Ms. Williams. JANE/TRENT/ALTHEA/ALI/NATE/TRENT INSTEAD I’M PACKED WITH STRANGERS NO, I’M NOT THERE! TO PAY MY BILLS MS. WILLIAMS IN MY WAY, ’CAUSE ALL WHY AM I NOT THERE YET? THAT’S MY SCHEME TIL MY DREAM COMES TRUE I need you to channel your powers, and proof the entire annual report by 1pm. SO I DO WHAT I DON’T REALLY DO RIDING THE UPTOWN ALL JUST SO I CAN DO WHAT I DO DO JANE I’M NOT THERE YET ALI/JANE ALI THAT’S WHAT I DO I got it. I’ll work through lunch. I’M NOT THERE YET THREE TWO UH HUH MS. WILLIAMS STILL TRENT/NINA JANE DOOBIE DOOBIE DO Gettin’ it done, Jane. ALI DOWNTOWN D ONE IT’S NOT SO BAD, I ANSWER CALLS, I PRINT REPORTS JANE THREE ALTHEA/SOPHIA NATE WHEN NO ONE’S LOOKING, USE AN OFFICE SUPPLY You bet! That’s what I do. I’m gonna miss my audition. JANE CROSSTOWN E FOUR Booya! WHAT AM I DOING?...I’M AN ‘‘ACTOR’’...OR ‘‘WHATEVER’’ FIVE NATE/CHRIS/DAVE/STEVEN MS. WILLIAMS I TYPE AND FILE WHILE I HUM STEPHEN SCHWARTZ BUT I’M MAKING SELF DELUSION AN ART TRENT LOCAL G SIX CRAMMED IN MY CORNER OF THE CORPORATE SKY AND I’LL GO CRAZY IN AN OFFICE ONE MORE SECOND 119.5MM C C MM BOXMAN EV’RY JOB’S GOT SOMETHIN’, MAKES IT EASY TO BEAR I’LL BUST OUT OF HERE BY GETTING THIS PART! C C MM 119.5MM Y Y Y BB NINE TRENT LIKE THIS SWANKY MIDTOWN OFFICE I SEE PEOPLE WHO GIVE UP AND Y BB (4.71”) (4.71”) MS. WILLIAMS Due to train traffic ahead we are being momentarily held. SEVENTEEN OVERLOOKING TIMES SQUARE LEAVE THE BIZ EV’RY YEAR EIGHT ALL MINUTES FROM HERE OUT MY WINDOW I SEE AND YEAH, I’M THIRTY-THREE, NATE Fuuuuuuuuuuuck. ALI/JANE/TRENT A BROADWAY MARQUEE BUT BABY – I’M STILL HERE! THIRTEEN GOTTA DEAL WITH THE FACT THAT BUT THE TRACK AND THE MAP AND TO ME, THAT’S A HELL OF A VIEW THOUGH I’M NOT THERE YET MINUTES SO FAR I’M NOT THE ONE DRIVIN’ AND MY ROUTE’S NOT CLEAR REMINDING ME I DO WHAT I DON’T REALLY DO I CAN’T FORGET THAT I BET GOTTA TUNE OUT THE WORLD NATE/ALI/JANE AS A MEANS OF SURVIVIN’ ALL BOXMAN ON MYSELF COMING THROUGH UNDERGROUND ON A TRACK IN A CROWDED CAR NOT AT HOME, NOT AT PLAY, NOT AT WORK, NOT IN BED WILL I GET WHERE I HAVE TO GET? (TICKS A CLOCK) TIL I GET WHERE I NOT ASLEEP, NOT AWAKE, NOT ALIVE AND NOT DEAD ALI JANE I’M NOT GONNA DO WHAT I DON’T REALLY DO ALL NOT IN PLACE BUT STILL NOT MOVING AHEAD I’M NOT THERE... ...SO I CAN DO WHAT I DO DO I GOTTA DO WHAT I DO...DO HAVE TO GET BOXMAN MS. WILLIAMS A SURVIVAL JOB IS A STEPPING STONE OH YEAH, BUT I’M NOT THERE YET EIGHT MILLION SOULS BUSY RUSHING AROUND NOT THERE... BEFORE YOU BECOME WHO YOU ARE I GOTTA DO WHAT I DO…DO HOW LONG UNTIL... BLIND TO THE BEAUTY OF THE MOMENT JANE/TRENT/NATE/CHRIS/ALI/MS. WILLIAMS I MEAN, MADONNA WAS A COAT CHECK GIRL WHOA…WHOA SAFETY SAFETY JANE AND DEAF TO THE SOUND – NOT THERE... BEFORE SHE BECAME A GLOBAL STAR I GOTTA DO WHAT I DO TRIM TRIM BLEED BLEED I CAN DO OF THE POLYRHYTHMIC MELODY I’M MERYL STREEP WAITED TABLES DOO N DOO DOO N DOO DOO N DOO WHAT I DREAMED THE MULTILAYERED HARMONY ALL MARLON BRANDO – HE DUG DITCHES DO WHAT I DO DO DO I WOULD DO FOR A LIVING? THE EVERCHANGING SYMPHONY DEEP BENEATH THE CITY LIZA AND BARBRA AND PATTI LUPONE I GOTTA DO WHAT I ALL OF LIFE UNDERGROUND WITH A THOUSAND OTHER STRANGERS!!! NEVER HAD A DAY JOB... ALL AND HOW LONG TIL WHERE TOGETHER WE RIDE, AND TOGETHER WE WAIT ALL DO! BITCHES! PAGE 12 PAGE XX PAGE XX PAGE 13 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN DATE: SEL#: TECH: L/S: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL TOTAL NUMBER BLACK YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER LABEL: Hollywood Records FILE NAME: FRONT OF COLORS COLORS PMS ARTIST: ARTIST: Various JOB #: PMS PMS OF BACK FRONT PMS JOB #: BACK TEMPLATE: TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB FOUR DAYS HOME STEVEN TRENT/STEVEN PASTOR And as good Christians, we believe in fellowship through acts of kindness, STEVEN Everything? FOUR DAYS HOME understanding, forgiveness, and love. I GOT A GOOD DEAL ON THESE RESERVATIONS TRENT STEVEN CHURCHGOERS TRENT Engagement rings off! Momma! LOTSA EATIN’ WE BELIEVE! LET’S TAKE A STEP BACK AND LOWER EXPECTATIONS MOMMA TRENT PASTOR STEVEN I got the whole town over for potluck – everyone’s excited to see you. LOTSA PRAYIN’ And as good Christians, we believe the Word when it tells us to cast out LOTSA LEARNIN’ I’M PSYCHED I’M GONNA MEET YOUR FAMILY TRENT those who have chosen the path of sin and will not repent, namely the Finally! Brace yourself. ’BOUT THE VIEWS ON THE FOX NEWS lesbians and the sodomites! THAT’S ALWAYS TRENT TEXANS PLAYIN’ STEVEN GOIN’ BACK HOME... Trent! What?!! YOU KNOW IT’S COMPLICATED MOMMA TRENT/STEVEN TRENT FOUR DAYS HOME STEVEN HAVE A BISCUIT OR TWO AND WE’RE STARTIN’ TO GET NERVOUS Steven, sit down. BUT WE’RE GONNA HAVE FUN STEVEN ’CAUSE WE’RE IN THE STICKS AND STEVEN TRENT THEY’RE BEYOND BELIEVIN’ OUR CELLPHONES CAN’T GET SERVICE Did you hear that? AS LONG AS I’M SEDATED TRENT FOUR DAYS FLAT, THEN BACK TO NYC UNCLE TRENT Yes. I heard it. We’ll talk about it later. WE’RE IN SEP’RATE ROOMS! STEVEN HOW’S YOUR LIFE? WHO’S YOUR FRIEND? THE FRUSTRATION STARTS TO PILE UP CHURCHGOERS WE BELIEVE IT’S JUST FOUR DAYS HOME STEVEN THE WORD IS TRUE TRENT I’M HIS ROOMMATE, STEVEN. STEVEN AMEN... ALL OUR PORN IS ON THE CLOUD! THAT’S ABOUT ALL I CAN TAKE TRENT FOUR DAYS HOME I ONCE STAYED A WEEK, AND WHAT A BIG MISTAKE Yes. TRENT/STEVEN PASTOR 119.5MM C MM ONLY FOUR DAYS HOME AND IT WON’T COME THROUGH ON DIAL-UP! C MM 119.5MM C C Y Y BB TEXANS Trent-Michael. Well now, you’re lookin’ fine. Your Daddy would be so proud. Y Y BB (4.71”) (4.71”) STEVEN WE’RE FRYIN’ A TURDUCKIN ON THE LAWN MOMMA We sure do miss him. STOP PLAYING UP THE DRAMA STEVEN Trent honey – rise and shine. Oh Steven, you’re up too. TRENT TRENT Yum. TRENT I miss him too. THAT’S HOW I GET IN CHARACTER TRENT We’ve been up. We’re gonna mow the lawn and fix that back porch PASTOR TO HANG OUT WITH MY MOMMA! SPENDIN’ OUR DAYS screen door today. Trent! You seein’ anyone these days? STEVEN STEVEN STEVEN MOMMA Calm down – I got this. Your mom is going to love me. AROUND THE PING PONG TABLE Yes, ma’am. For years, he’s been mentioning this girl at work. Another talent agent, like him. TRENT TRENT MOMMA PASTOR Are you sure you’re okay going there as my roommate? SPENDIN’ OUR NIGHTS Don’t be silly. It’s Sunday morning, boys! Is that so? Hearin’ those wedding bells? You know, the last Sunday STEVEN STEVEN STEVEN in June is free on the church calendar. We’ve talked about this. We have to start somewhere. ENJOYIN’ CHRISTIAN CABLE! Ooh – brunch? TRENT TRENT Little House! MOMMA Yeah, I think we’re in a parade that day. SAFETY SAFETY BLEED BLEED Okay. But remember our mantra– TRENT No, sir...church! TRENT/STEVEN TRIM TRIM BOTH FORTY-EIGHT MORE HOURS AND THEN WE’RE GONE ALL FOUR DAYS HOME No politics. IT’S JUST, FOUR DAYS HOME AMEN! AND WE’RE IN AN AWFUL STATE NOW ’CAUSE WE’VE HAD ENOUGH OF STEVEN STEVEN PASTOR PRETENDING THAT WE’RE STRAIGHT NOW Got it. GOD! I LOVE THIS SCENE’RY And as good Christians, we believe The Bible is God’s Holy Word, FOUR DAYS HOME STEWARDESS AND THOSE BIG BLUE SKIES without error, and the sole authority for life. TRENT We’re now landin’ in historic Big Creek, Texas! Enjoy your stay, and remember: TRENT CHURCHGOERS I’M A CRANKY ADOLESCENT Everything’s bigger in Texas! BUT I’VE GOT ALLERGIES TO GREEN’RY WE BELIEVE! I EXPECTED MORE FROM MY NEW ANTI-DEPRESSANT PAGE XX PAGE 15 PAGE 14 PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL L/S: TECH: DATE: SEL#: TOTAL LABEL: Hollywood Records NUMBER BLACK YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER FILE NAME: FRONT OF COLORS COLORS ARTIST: Various JOB #: PMS PMS OF BACK FRONT ARTIST: PMS PMS JOB #: BACK TEMPLATE: TITLE: In Transit Original Broadway Cast Recording TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB FOUR DAYS HOME STEVEN TRENT/STEVEN PASTOR And as good Christians, we believe in fellowship through acts of kindness, STEVEN Everything? FOUR DAYS HOME understanding, forgiveness, and love. I GOT A GOOD DEAL ON THESE RESERVATIONS TRENT STEVEN CHURCHGOERS TRENT Engagement rings off! Momma! LOTSA EATIN’ WE BELIEVE! LET’S TAKE A STEP BACK AND LOWER EXPECTATIONS MOMMA TRENT PASTOR STEVEN I got the whole town over for potluck – everyone’s excited to see you. LOTSA PRAYIN’ And as good Christians, we believe the Word when it tells us to cast out LOTSA LEARNIN’ I’M PSYCHED I’M GONNA MEET YOUR FAMILY TRENT those who have chosen the path of sin and will not repent, namely the Finally! Brace yourself. ’BOUT THE VIEWS ON THE FOX NEWS lesbians and the sodomites! THAT’S ALWAYS TRENT TEXANS PLAYIN’ STEVEN GOIN’ BACK HOME... Trent! What?!! YOU KNOW IT’S COMPLICATED MOMMA TRENT/STEVEN TRENT FOUR DAYS HOME STEVEN HAVE A BISCUIT OR TWO AND WE’RE STARTIN’ TO GET NERVOUS Steven, sit down. BUT WE’RE GONNA HAVE FUN STEVEN ’CAUSE WE’RE IN THE STICKS AND STEVEN TRENT THEY’RE BEYOND BELIEVIN’ OUR CELLPHONES CAN’T GET SERVICE Did you hear that? AS LONG AS I’M SEDATED TRENT FOUR DAYS FLAT, THEN BACK TO NYC UNCLE TRENT Yes. I heard it. We’ll talk about it later. WE’RE IN SEP’RATE ROOMS! STEVEN HOW’S YOUR LIFE? WHO’S YOUR FRIEND? THE FRUSTRATION STARTS TO PILE UP CHURCHGOERS WE BELIEVE IT’S JUST FOUR DAYS HOME STEVEN THE WORD IS TRUE TRENT I’M HIS ROOMMATE, STEVEN. STEVEN AMEN... ALL OUR PORN IS ON THE CLOUD! THAT’S ABOUT ALL I CAN TAKE TRENT FOUR DAYS HOME I ONCE STAYED A WEEK, AND WHAT A BIG MISTAKE Yes. TRENT/STEVEN PASTOR 119.5MM C MM ONLY FOUR DAYS HOME AND IT WON’T COME THROUGH ON DIAL-UP! C MM 119.5MM C C Y Y BB TEXANS Trent-Michael. Well now, you’re lookin’ fine. Your Daddy would be so proud. Y Y BB (4.71”) (4.71”) STEVEN WE’RE FRYIN’ A TURDUCKIN ON THE LAWN MOMMA We sure do miss him. STOP PLAYING UP THE DRAMA STEVEN Trent honey – rise and shine. Oh Steven, you’re up too. TRENT TRENT Yum. TRENT I miss him too. THAT’S HOW I GET IN CHARACTER TRENT We’ve been up. We’re gonna mow the lawn and fix that back porch PASTOR TO HANG OUT WITH MY MOMMA! SPENDIN’ OUR DAYS screen door today. Trent! You seein’ anyone these days? STEVEN STEVEN STEVEN MOMMA Calm down – I got this. Your mom is going to love me. AROUND THE PING PONG TABLE Yes, ma’am. For years, he’s been mentioning this girl at work. Another talent agent, like him. TRENT TRENT MOMMA PASTOR Are you sure you’re okay going there as my roommate? SPENDIN’ OUR NIGHTS Don’t be silly. It’s Sunday morning, boys! Is that so? Hearin’ those wedding bells? You know, the last Sunday STEVEN STEVEN STEVEN in June is free on the church calendar. We’ve talked about this. We have to start somewhere. ENJOYIN’ CHRISTIAN CABLE! Ooh – brunch? TRENT TRENT Little House! MOMMA Yeah, I think we’re in a parade that day. SAFETY SAFETY BLEED BLEED Okay. But remember our mantra– TRENT No, sir...church! TRENT/STEVEN TRIM TRIM BOTH FORTY-EIGHT MORE HOURS AND THEN WE’RE GONE ALL FOUR DAYS HOME No politics. IT’S JUST, FOUR DAYS HOME AMEN! AND WE’RE IN AN AWFUL STATE NOW ’CAUSE WE’VE HAD ENOUGH OF STEVEN STEVEN PASTOR PRETENDING THAT WE’RE STRAIGHT NOW Got it. GOD! I LOVE THIS SCENE’RY And as good Christians, we believe The Bible is God’s Holy Word, FOUR DAYS HOME STEWARDESS AND THOSE BIG BLUE SKIES without error, and the sole authority for life. TRENT We’re now landin’ in historic Big Creek, Texas! Enjoy your stay, and remember: TRENT CHURCHGOERS I’M A CRANKY ADOLESCENT Everything’s bigger in Texas! BUT I’VE GOT ALLERGIES TO GREEN’RY WE BELIEVE! I EXPECTED MORE FROM MY NEW ANTI-DEPRESSANT PAGE XX PAGE 15 PAGE 14 PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL L/S: TECH: DATE: SEL#: TOTAL LABEL: Hollywood Records NUMBER BLACK YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER FILE NAME: FRONT OF COLORS COLORS ARTIST: Various JOB #: PMS PMS OF BACK FRONT ARTIST: PMS PMS JOB #: BACK TEMPLATE: TITLE: In Transit Original Broadway Cast Recording TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB STEVEN AND IT’S NOT LIKE IT USED TO BE NATE/BACK-UPS DAVE ALI Me too. I HAD REGULAR HOURS MAXED Hey, you’ve reached Dave! Hi! I’m droppin’ you a line cause TRENT/STEVEN AND MAGICAL POWERS NATE If you get this message it means I’m busy – I’m doin’ just fine! That rhymes! AND CUFFLINKS AND CLOUT! FOUR DAYS HOME NOW I’M BROKE! MY MASTERCARD – ’Cause it’s Saturday! Leave a message. Smiley face! Anyway, I’d love to get STEVEN (AND I’M KINDA FREAKIN’ OUT) NATE/BACK-UPS SOUND-FX-GUY together and talk about everything I’M PERMANENTLY SCARRED NOW ALTHEA MAXED Beep! that happened so – TRENT/STEVEN You are not singing the blues to me, sir. NATE ALI SIRI FOUR DAYS HOME MY BLOOMINGDALES, BENDELS AND BARNEYS Hey, it’s me! Just thought I’d call and say ‘‘Hi.’’ Hi! I’m sorry, I can’t let you do that, Ali. TRENT NATE BACK-UPS Well anyway, I’ve been thinking about you and I was My... ummm... servers are down? I WAS A MASTER OF THE UNIVERSE thinking we should grab coffee and catch up it’s– DO YOU SEE WHY THIS IS HARD NOW?!? A GOLDEN BOY WITH A GOLDEN PURSE ALL MAXED Please try again later. TRENT/STEVEN BUT NOT ONE OF THOSE WALL STREET JERKS! NATE SOUND-FX-GUY ALI Beeeep! AFTER FOUR DAYS HOME THOUGH I WILL ADMIT, I LIKED THE PERKS... OH MY T.J. To send your message, say ‘‘one.’’ I hate you Siri. STEVEN LIKE THAT PRIVATE JET WE FLEW TO FRANCE BACK-UPS To delete, say ‘‘two.’’ SIRI THAT SERMON WAS APPALLING AND THESE HUNDRED DOLLAR UNDERPANTS MAXXED! Para Español, oprima ‘‘tres.’’ That’s not nice, Ali. TRENT AND THE LEXUS NATE ALI ALI AND IT’S TIME TO GO, ’CAUSE AND THE RIVER VIEW... FOOT LOCKER Delete! Two! IT’S A SATURDAY NIGHT I HEAR OUR LIFE A-CALLING! YOU KNOW FEED THE CHILDREN? I FED TWO! SOUND-FX GUY AND ON A SATURDAY NIGHT STEWARDESS BUT MY RENT’S THREE MONTHS LATE BACK-UPS Message sent. Goodbye. PEOPLE ARE S’POSED TO LET LOOSE THAT TOO AND I’M LIVING ON RAMEN AND BEANS We’re now making our final descent into LaGuardia International Airport. BACK-UPS On behalf of our crew, we’d like to welcome you to New York. SHOULDA PUT IT AWAY NATE ALI SO LET LOOSE! FOR SOME RAINY DAY TRENT NOW I KNOW WHAT A RAINY DAY MEANS! I’M DROWNIN’ IN DEBT AND DON’T KNOW WHAT TO DO! I said delete! ALI I KNOW IT SEEMS SQUALID 119.5MM C C MM LOOKING OUT I START TO SEE THE CITY I’M FLAT BROKE! BUT DO ME THIS SOLID ALI BUT ONCE AGAIN C C MM 119.5MM IT’S A SATURDAY NIGHT Y Y Y BB STEVEN FROM A DECADE LONG SPENDING SPREE I KNOW (I KNOW!) THAT YOU CAN AND ON A SATURDAY NIGHT Y BB (4.71”) (4.71”) ALL THE LIGHTS, WELL THEY SURE ARE PRETTY UNBELIEVABLY BROKE! This MetroCard was my only card that still worked. PEOPLE ARE S’POSED TO HAVE FUN I’M WATCHIN’ OXYGEN TRENT/STEVEN FACEBOOK FRIENDS ARE UNFRIENDING ME! OH, PLEASE BACK-UPS BACK-UPS BRIDGET JONES! AFTER FOUR DAYS HOME, WE’RE BACK WHERE WE BELONG IF I COULD GO BACK IN TIME PLEASE SWEET LADY SO HAVE FUN! BACK WHERE WE BELONG! I’D GO BACK AND TELL HELP A ALI MYSELF TO PAY ATTENTION BAFFLED ALI MAYBE I’LL FIND YOU ON FACEBOOK BROKE I WOULD NOT WRITE THAT JOKE BROKEN BUT I’M TOTALLY FINE BACK-UPS JUST SIPPIN’ MY WINE NATE DESCRIBING MY BOSS BROKE-ASS BACK-UPS HERE WE GO AGAIN... WITH WORDS I SHOULD (MAYBE NOT) MENTION MAN CAN I JUST TAKE A SECOND HERE JUST DELETE IT, NATE! NOT WORTH IT, MAN! FROM A BOX! ALI TO CLEAR THE AIR, AND BEND YOUR EAR? THE PAYOFF’S REALLY SMALL SATURDAY NIGHT OBSESSION COMMUNICATION IS A SIGN OF MATURITY I’M NOT SURE YOU QUITE UNDERSTAND ALI STAYING IN TOUCH IS ALWAYS THE KEY WHY YOU SHOULD LEND THIS FRIEND A HAND? BUT THE CONSEQUENCES WILL BE HUGE ALI PERHAPS I SHOULD WRITE YOU AN E-MAIL COMMUNICATION CONVEYS MY SECURITY I’M AN EDUCATED, STAND UP GUY WHEN YOU HIT IT’S A SATURDAY NIGHT BACK-UPS WHO IS MORE THAN JUST A SUIT AND TIE REPLY AND ON A SATURDAY NIGHT USE DICTATION! BUT PLEASE, OH PLEASE, OH PLEASE JUST A DECENT AND HARDWORKING MAN ALL PEOPLE ARE S’POSED TO GO OUT ALI DON’T BE OUT WITH SOME SLUT! SAFETY SAFETY TRIM TRIM BLEED BLEED WHO ALWAYS HAD A FIVE-YEAR PLAN ALTHEA BACK-UPS Siri, send an email. OUT WITH SOME SLUT!! SO, JEEZ! Dumbass. ON A SATURDAY NIIIIIIIIIII I MEAN, PLEASE? SO, GO OUT! SIRI IIIIIIIIIIIIGHT! Hello Ali, I can help you with that. I’M NO SCAMMY, SLIMY SLOB NATE ALI AND ON A SATURDAY NIGHT I’VE JUST VEERED OFF MY TRACK A BIT I’M BROKER THAN BROKE! BUT NO, NOT ME! To whom would you like to send this message? PEOPLE ARE S’POSED TO GET CLOSE CAUSE MA’AM, I’VE LOST MY JOB! AND NOT JUST FINANCIALLY YEP, I SEEM TO BE FREE! ALI I’M TOTALLY BROKE! THIS WHOLE THING HAS BROKEN I THINK I’LL JUST SEE WHAT YOU’RE DOIN’ Dave. BACK-UPS SO GET CLOSE AND THIS FEELING IS NEW TO ME MY SENSE OF WHO I SHOULD BE BACK-UPS SIRI I’M SUDDENLY BROKE CAUSE MY AMEX IS – CALL HIS IPHONE! Oh...kay. What do you want to say? PAGE XX PAGE 16 PAGE XX PAGE 17 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL CYAN MAGENTA SEL#: DATE: TECH: L/S: TOTAL NUMBER YELLOW FILE NAME: BLACK LABEL: Hollywood Records LABEL: FILE NAME: YELLOW BLACK NUMBER FRONT OF COLORS COLORS ARTIST: JOB #: PMS PMS OF BACK FRONT PMS JOB #: PMS ARTIST: Various BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB STEVEN AND IT’S NOT LIKE IT USED TO BE NATE/BACK-UPS DAVE ALI Me too. I HAD REGULAR HOURS MAXED Hey, you’ve reached Dave! Hi! I’m droppin’ you a line cause TRENT/STEVEN AND MAGICAL POWERS NATE If you get this message it means I’m busy – I’m doin’ just fine! That rhymes! AND CUFFLINKS AND CLOUT! FOUR DAYS HOME NOW I’M BROKE! MY MASTERCARD – ’Cause it’s Saturday! Leave a message. Smiley face! Anyway, I’d love to get STEVEN (AND I’M KINDA FREAKIN’ OUT) NATE/BACK-UPS SOUND-FX-GUY together and talk about everything I’M PERMANENTLY SCARRED NOW ALTHEA MAXED Beep! that happened so – TRENT/STEVEN You are not singing the blues to me, sir. NATE ALI SIRI FOUR DAYS HOME MY BLOOMINGDALES, BENDELS AND BARNEYS Hey, it’s me! Just thought I’d call and say ‘‘Hi.’’ Hi! I’m sorry, I can’t let you do that, Ali. TRENT NATE BACK-UPS Well anyway, I’ve been thinking about you and I was My... ummm... servers are down? I WAS A MASTER OF THE UNIVERSE thinking we should grab coffee and catch up it’s– DO YOU SEE WHY THIS IS HARD NOW?!? A GOLDEN BOY WITH A GOLDEN PURSE ALL MAXED Please try again later. TRENT/STEVEN BUT NOT ONE OF THOSE WALL STREET JERKS! NATE SOUND-FX-GUY ALI Beeeep! AFTER FOUR DAYS HOME THOUGH I WILL ADMIT, I LIKED THE PERKS... OH MY T.J. To send your message, say ‘‘one.’’ I hate you Siri. STEVEN LIKE THAT PRIVATE JET WE FLEW TO FRANCE BACK-UPS To delete, say ‘‘two.’’ SIRI THAT SERMON WAS APPALLING AND THESE HUNDRED DOLLAR UNDERPANTS MAXXED! Para Español, oprima ‘‘tres.’’ That’s not nice, Ali. TRENT AND THE LEXUS NATE ALI ALI AND IT’S TIME TO GO, ’CAUSE AND THE RIVER VIEW... FOOT LOCKER Delete! Two! IT’S A SATURDAY NIGHT I HEAR OUR LIFE A-CALLING! YOU KNOW FEED THE CHILDREN? I FED TWO! SOUND-FX GUY AND ON A SATURDAY NIGHT STEWARDESS BUT MY RENT’S THREE MONTHS LATE BACK-UPS Message sent. Goodbye. PEOPLE ARE S’POSED TO LET LOOSE THAT TOO AND I’M LIVING ON RAMEN AND BEANS We’re now making our final descent into LaGuardia International Airport. BACK-UPS On behalf of our crew, we’d like to welcome you to New York. SHOULDA PUT IT AWAY NATE ALI SO LET LOOSE! FOR SOME RAINY DAY TRENT NOW I KNOW WHAT A RAINY DAY MEANS! I’M DROWNIN’ IN DEBT AND DON’T KNOW WHAT TO DO! I said delete! ALI I KNOW IT SEEMS SQUALID 119.5MM C C MM LOOKING OUT I START TO SEE THE CITY I’M FLAT BROKE! BUT DO ME THIS SOLID ALI BUT ONCE AGAIN C C MM 119.5MM IT’S A SATURDAY NIGHT Y Y Y BB STEVEN FROM A DECADE LONG SPENDING SPREE I KNOW (I KNOW!) THAT YOU CAN AND ON A SATURDAY NIGHT Y BB (4.71”) (4.71”) ALL THE LIGHTS, WELL THEY SURE ARE PRETTY UNBELIEVABLY BROKE! This MetroCard was my only card that still worked. PEOPLE ARE S’POSED TO HAVE FUN I’M WATCHIN’ OXYGEN TRENT/STEVEN FACEBOOK FRIENDS ARE UNFRIENDING ME! OH, PLEASE BACK-UPS BACK-UPS BRIDGET JONES! AFTER FOUR DAYS HOME, WE’RE BACK WHERE WE BELONG IF I COULD GO BACK IN TIME PLEASE SWEET LADY SO HAVE FUN! BACK WHERE WE BELONG! I’D GO BACK AND TELL HELP A ALI MYSELF TO PAY ATTENTION BAFFLED ALI MAYBE I’LL FIND YOU ON FACEBOOK BROKE I WOULD NOT WRITE THAT JOKE BROKEN BUT I’M TOTALLY FINE BACK-UPS JUST SIPPIN’ MY WINE NATE DESCRIBING MY BOSS BROKE-ASS BACK-UPS HERE WE GO AGAIN... WITH WORDS I SHOULD (MAYBE NOT) MENTION MAN CAN I JUST TAKE A SECOND HERE JUST DELETE IT, NATE! NOT WORTH IT, MAN! FROM A BOX! ALI TO CLEAR THE AIR, AND BEND YOUR EAR? THE PAYOFF’S REALLY SMALL SATURDAY NIGHT OBSESSION COMMUNICATION IS A SIGN OF MATURITY I’M NOT SURE YOU QUITE UNDERSTAND ALI STAYING IN TOUCH IS ALWAYS THE KEY WHY YOU SHOULD LEND THIS FRIEND A HAND? BUT THE CONSEQUENCES WILL BE HUGE ALI PERHAPS I SHOULD WRITE YOU AN E-MAIL COMMUNICATION CONVEYS MY SECURITY I’M AN EDUCATED, STAND UP GUY WHEN YOU HIT IT’S A SATURDAY NIGHT BACK-UPS WHO IS MORE THAN JUST A SUIT AND TIE REPLY AND ON A SATURDAY NIGHT USE DICTATION! BUT PLEASE, OH PLEASE, OH PLEASE JUST A DECENT AND HARDWORKING MAN ALL PEOPLE ARE S’POSED TO GO OUT ALI DON’T BE OUT WITH SOME SLUT! SAFETY SAFETY TRIM TRIM BLEED BLEED WHO ALWAYS HAD A FIVE-YEAR PLAN ALTHEA BACK-UPS Siri, send an email. OUT WITH SOME SLUT!! SO, JEEZ! Dumbass. ON A SATURDAY NIIIIIIIIIII I MEAN, PLEASE? SO, GO OUT! SIRI IIIIIIIIIIIIGHT! Hello Ali, I can help you with that. I’M NO SCAMMY, SLIMY SLOB NATE ALI AND ON A SATURDAY NIGHT I’VE JUST VEERED OFF MY TRACK A BIT I’M BROKER THAN BROKE! BUT NO, NOT ME! To whom would you like to send this message? PEOPLE ARE S’POSED TO GET CLOSE CAUSE MA’AM, I’VE LOST MY JOB! AND NOT JUST FINANCIALLY YEP, I SEEM TO BE FREE! ALI I’M TOTALLY BROKE! THIS WHOLE THING HAS BROKEN I THINK I’LL JUST SEE WHAT YOU’RE DOIN’ Dave. BACK-UPS SO GET CLOSE AND THIS FEELING IS NEW TO ME MY SENSE OF WHO I SHOULD BE BACK-UPS SIRI I’M SUDDENLY BROKE CAUSE MY AMEX IS – CALL HIS IPHONE! Oh...kay. What do you want to say? PAGE XX PAGE 16 PAGE XX PAGE 17 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL CYAN MAGENTA SEL#: DATE: TECH: L/S: TOTAL NUMBER YELLOW FILE NAME: BLACK LABEL: Hollywood Records LABEL: FILE NAME: YELLOW BLACK NUMBER FRONT OF COLORS COLORS ARTIST: JOB #: PMS PMS OF BACK FRONT PMS JOB #: PMS ARTIST: Various BACK TEMPLATE: TITLE: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C MM C Y Y BB ALI BACK-UPS CHRIS CHRIS I COULD READ...OR EAT... SATURDAY NIGHT! I’LL MAKE THE PASS It’s last call here so we’re all moving on... you guys coming? OR GO SOAK MY FEET! AND YOU’LL SCORE! NATE BACK-UPS WINGMAN SOPHIA Papaya King is just around the corner – they’ve got a great CALLUSES! CHRIS Jane, so glad you finally came out with us! recession special... ALI NOW, ONE MAPLE LEAF ALONE WON’T WIN THE STANLEY CUP JANE JANE Maybe I’ll send you a text! NO HE NEEDS SOME OTHER MAPLE LEAFS Oh, I can only stay for one. Early voice lesson. Are we still in a recession? BACK-UPS NATE SOPHIA NATE LEAVES? DESPERATION! You are so focused. I am. SOUND-FX-GUY CHRIS HUNTER JANE LEAFS OUT THERE TO BACK HIM UP CLICK CLICK CLICK. Dudes, those ladies over there are lookin’ over here. Why not? I’ll get my coat. ALI NATE NATE CHRIS This metaphor is very specific Hey you. Please call me? Send. CHRIS The one in pink is cute. YOU NEEDED A WINGMAN SOUND-FX-GUY SO, BEFORE YOU SKATE, NATE CHRIS NINA/SOPHIA (Makes sent message sound.) ALTER YOUR FATE, NATE Say no more. HE’S OUR WINGMAN! ALI TAKE THIS HAPPILY MARRIED, HOCKEY-LOVING, AFRICAN-CANADIAN’S NINA CHRIS I know he sees this. ADVICE... THEY’RE SENDING IN THE ALPHA WITH THE RING OVER THERE BUDDY, I’M STILL IN MY PRIME I know you see this. You self-absorbed, shallow jerk. NATE SOPHIA YOU CALLED FOR A WINGMAN May I remind you, that I am a strong, beautiful, I FEAR WHAT IS COMING YEAH! LAVENDER SCENTED woman who WOULD have a graduate degree if CHRIS OH, LOOK, HE’S MARRIED BUT HE SEEMS SORTA COOL! CHAD/HUNTER she hadn’t moved across the country to follow a heartless man-boy YOU NEED A WINGMAN! YOU’RE THE KING, MAN! who dumped her and now won’t even text her back. NINA CHRIS Thanks for nothin’...MOTHERFUCKER! SEND!! NATE HE’S THEIR WINGMAN, IT’S A BASIC APPROACH 119.5MM C C MM No. SOPHIA I HIT IT HARD TIL IT’S C MM 119.5MM C Y Y BB SOUND-FX-GUY BOXMAN Y BB (4.71”) Y (4.71”) (Makes sent message sound again.) CHAD RIGHT! (HOCKEY BUZZER) HE’S OUR WINGMAN! I’M SO GLAD YOU WENT TO GRADUATE SCHOOL! ALI CHRIS ALL Oh, fudge! I KNOW HOW TO TALK TO THE CHICKS! NINA/SOPHIA OVERTIME! WELL, HI! YOU SEEM FUN SIRI NATE There are three fudge shops near your current location. See that term right there is... Oh, okay. CHRIS CHRIS I TRY TO PLAY FAIR WELL, HELLO! AND THE GAME HAS BEGUN! ALI CHRIS IT’S A SATURDAY NIGHT YOU NEED A WINGMAN SPORTS ANNOUNCER CHAD/HUNTER/NINA/SOPHIA AND ON A SATURDAY NIGHT Welcome sports-fans, we’ve got ourselves a classic match-up tonight! WITH OUR WINGMAN RIGHT THERE IT’S FOR SURE PEOPLE ARE S’POSED TO BE SANE! CHAD The players line up at center ice for the drop of the puck, and the game is underway. ALL DO YOUR THING, MAN! The wingman takes control and sets up the play. He sizes up the BACK-UPS CHRIS opponents, moves in, and whips a pass to the corner. HE’S OUR WINGMAN SO BE SANE! I SHOOT FROM THE HIP The rookie pushes in, leaving the wingman behind. CHRIS ALI WHILE YOU SHOOT WITH YOUR The defense steps up, and WHAM! IT’S THE THUNDER I BRING, MAN! BUT ALL THIS LOVE...AND HATE...AND FRUSTRATION!! HUNTER/CHAD What a hit! He’s gonna feel that one in the morning. CHRIS/ALL SAFETY SAFETY WAIT HOCKEY STICKS! The wingman picks up the loose puck and signals to his forwards. I MAKE/HE MAKES THE PASS... TRIM TRIM BLEED BLEED I NEED SOME SPACE, BETTER RUN BY YOUR PLACE CHRIS The forwards draw the attention of the defense by charging into the BACK-UPS I LISTEN, I CARE opponent’s zone. The wingman makes a pass behind the back! CHRIS No!!! CHAD/HUNTER The rookie’s all alone in front of the net...he winds up for the shot... AND THEY ALI WITH YOUR WINGMAN RIGHT THERE, IT’S FOR SURE he shoots...he scooooores! ALL AND WAIT TIL YOU TURN ON THE LIGHT CHRIS NATE AND I... AND I THEN I’LL CHECK JUST TO SEE YOU’RE ALL RIGHT I’M YOUR WINGMAN Great game huh? I’m Nate. AND I... AND IF YOU ASKED ME TO STAY, I JUST MIGHT CHAD/HUNTER JANE SCORE! N’ WE COULD BLAME IT ON A SATURDAY NIGHT! HE’S GOT A RING, MAN! Jane. Nice to meet you. PAGE XX PAGE XX PAGE 18 PAGE 19 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) 241MM (4.74”) (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN TECH: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL SEL#: L/S: DATE: TOTAL LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK NUMBER YELLOW LABEL: Hollywood Records FILE NAME: FRONT OF ARTIST: Various ARTIST: JOB #: PMS PMS OF COLORS COLORS BACK FRONT PMS PMS JOB #: BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TITLE: TEMPLATE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C MM C Y Y BB ALI BACK-UPS CHRIS CHRIS I COULD READ...OR EAT... SATURDAY NIGHT! I’LL MAKE THE PASS It’s last call here so we’re all moving on... you guys coming? OR GO SOAK MY FEET! AND YOU’LL SCORE! NATE BACK-UPS WINGMAN SOPHIA Papaya King is just around the corner – they’ve got a great CALLUSES! CHRIS Jane, so glad you finally came out with us! recession special... ALI NOW, ONE MAPLE LEAF ALONE WON’T WIN THE STANLEY CUP JANE JANE Maybe I’ll send you a text! NO HE NEEDS SOME OTHER MAPLE LEAFS Oh, I can only stay for one. Early voice lesson. Are we still in a recession? BACK-UPS NATE SOPHIA NATE LEAVES? DESPERATION! You are so focused. I am. SOUND-FX-GUY CHRIS HUNTER JANE LEAFS OUT THERE TO BACK HIM UP CLICK CLICK CLICK. Dudes, those ladies over there are lookin’ over here. Why not? I’ll get my coat. ALI NATE NATE CHRIS This metaphor is very specific Hey you. Please call me? Send. CHRIS The one in pink is cute. YOU NEEDED A WINGMAN SOUND-FX-GUY SO, BEFORE YOU SKATE, NATE CHRIS NINA/SOPHIA (Makes sent message sound.) ALTER YOUR FATE, NATE Say no more. HE’S OUR WINGMAN! ALI TAKE THIS HAPPILY MARRIED, HOCKEY-LOVING, AFRICAN-CANADIAN’S NINA CHRIS I know he sees this. ADVICE... THEY’RE SENDING IN THE ALPHA WITH THE RING OVER THERE BUDDY, I’M STILL IN MY PRIME I know you see this. You self-absorbed, shallow jerk. NATE SOPHIA YOU CALLED FOR A WINGMAN May I remind you, that I am a strong, beautiful, I FEAR WHAT IS COMING YEAH! LAVENDER SCENTED woman who WOULD have a graduate degree if CHRIS OH, LOOK, HE’S MARRIED BUT HE SEEMS SORTA COOL! CHAD/HUNTER she hadn’t moved across the country to follow a heartless man-boy YOU NEED A WINGMAN! YOU’RE THE KING, MAN! who dumped her and now won’t even text her back. NINA CHRIS Thanks for nothin’...MOTHERFUCKER! SEND!! NATE HE’S THEIR WINGMAN, IT’S A BASIC APPROACH 119.5MM C C MM No. SOPHIA I HIT IT HARD TIL IT’S C MM 119.5MM C Y Y BB SOUND-FX-GUY BOXMAN Y BB (4.71”) Y (4.71”) (Makes sent message sound again.) CHAD RIGHT! (HOCKEY BUZZER) HE’S OUR WINGMAN! I’M SO GLAD YOU WENT TO GRADUATE SCHOOL! ALI CHRIS ALL Oh, fudge! I KNOW HOW TO TALK TO THE CHICKS! NINA/SOPHIA OVERTIME! WELL, HI! YOU SEEM FUN SIRI NATE There are three fudge shops near your current location. See that term right there is... Oh, okay. CHRIS CHRIS I TRY TO PLAY FAIR WELL, HELLO! AND THE GAME HAS BEGUN! ALI CHRIS IT’S A SATURDAY NIGHT YOU NEED A WINGMAN SPORTS ANNOUNCER CHAD/HUNTER/NINA/SOPHIA AND ON A SATURDAY NIGHT Welcome sports-fans, we’ve got ourselves a classic match-up tonight! WITH OUR WINGMAN RIGHT THERE IT’S FOR SURE PEOPLE ARE S’POSED TO BE SANE! CHAD The players line up at center ice for the drop of the puck, and the game is underway. ALL DO YOUR THING, MAN! The wingman takes control and sets up the play. He sizes up the BACK-UPS CHRIS opponents, moves in, and whips a pass to the corner. HE’S OUR WINGMAN SO BE SANE! I SHOOT FROM THE HIP The rookie pushes in, leaving the wingman behind. CHRIS ALI WHILE YOU SHOOT WITH YOUR The defense steps up, and WHAM! IT’S THE THUNDER I BRING, MAN! BUT ALL THIS LOVE...AND HATE...AND FRUSTRATION!! HUNTER/CHAD What a hit! He’s gonna feel that one in the morning. CHRIS/ALL SAFETY SAFETY WAIT HOCKEY STICKS! The wingman picks up the loose puck and signals to his forwards. I MAKE/HE MAKES THE PASS... TRIM TRIM BLEED BLEED I NEED SOME SPACE, BETTER RUN BY YOUR PLACE CHRIS The forwards draw the attention of the defense by charging into the BACK-UPS I LISTEN, I CARE opponent’s zone. The wingman makes a pass behind the back! CHRIS No!!! CHAD/HUNTER The rookie’s all alone in front of the net...he winds up for the shot... AND THEY ALI WITH YOUR WINGMAN RIGHT THERE, IT’S FOR SURE he shoots...he scooooores! ALL AND WAIT TIL YOU TURN ON THE LIGHT CHRIS NATE AND I... AND I THEN I’LL CHECK JUST TO SEE YOU’RE ALL RIGHT I’M YOUR WINGMAN Great game huh? I’m Nate. AND I... AND IF YOU ASKED ME TO STAY, I JUST MIGHT CHAD/HUNTER JANE SCORE! N’ WE COULD BLAME IT ON A SATURDAY NIGHT! HE’S GOT A RING, MAN! Jane. Nice to meet you. PAGE XX PAGE XX PAGE 18 PAGE 19 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) 241MM (4.74”) (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA CYAN TECH: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL SEL#: L/S: DATE: TOTAL LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK NUMBER YELLOW LABEL: Hollywood Records FILE NAME: FRONT OF ARTIST: Various ARTIST: JOB #: PMS PMS OF COLORS COLORS BACK FRONT PMS PMS JOB #: BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TITLE: TEMPLATE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y BB Y BUT, YA KNOW JANE/NATE KEEP IT GOIN’ CAB DRIVER YO YO IT’S RAININ’ IN THE VILLAGE AT TEN PM NATE AND THEN NEXT WEEK, NEXT MONTH, NEXT YEAR COFFEE CART GUY HOW YOU GONNA GET ALL THE WAY TO – AND EVER AFTER! I’M NOT REALLY SURE IT’S REALLY NO BIG DEAL I GOT A CART AND AT THE START OF EV’RY DAY IT’S A SCENE ALL BUT I THINK THAT WENT WELL IT DEPENDS HOW I FEEL I GOT THE FIX YOU NEED, I GOT THE PURE CAFFEINE BROOKLYN?! SUGAR FOR YOUR BRAIN, CARBOHYDRATES FOR YOUR BELLY I’M NOT REALLY SURE I MEAN, IT’S NOT A CASE OF NOW OR NEVER I’M CHEAPER THAN YOUR STARBUCKS AND I’M CAB DRIVER STILL TOO EARLY TO TELL. AND YEAH, I THINK I LIKE QUICKER THAN YOUR DELI (WHUT!) YOU’RE SOAKED TO THE BONE, YOUR UMBRELLA IS FAILING BUT SHE LISTENED TO ME OKAY, IT’S MORE THAN LIKE THE POWER BROKER NEED HER EARLY MORNING BREW THE SUBWAY? FUCK IT! IT’S MY CAB YOU’RE HAILING. I THINK SHE’S SMARTER THAN ME YES, I COULD LOVE THIS GUY/GIRL FOREVER! BOXMAN TRAIN CONDUCTOR YOU KNOW HOW SOMETIMES YOU JUST KNOW IT? BUT, YA KNOW... BREW! YO! WHO CAN AFFORD YOUR METERS AND YOUR FARES? WITH A METROCARD, I CAN GET YOU ANYWHERES AND I HAD THIS THOUGHT OH, GOD, I HOPE THIS WORKS! COFFEE CART GUY RUSH HOUR SURCHARGE? SON, WHAT’S THE DEAL? JUST A MOMENTARY THOUGHT TRENT THE OFFICE TEMP, SHE NEED A BAGEL, MAYBE TWO DOWN IN THE TUNNELS, WE KEEPIN’ IT REAL THIS COULD BE THE ONE...DON’T BLOW IT (As ‘‘out of service’’ tone) Doo Doo Doo. BOXMAN CAB DRIVER/TRAIN CONDUCTOR/SANITATION WORKER TWO! JANE NINA COFFEE CART GUY WE KEEP IT GOING NOW I’M NOT REALLY SURE (As operator voice) We’re sorry. You have reached a number that has been THEY NEED A JOLT, OR THEY REVOLT WHEN THEY’RE MAKIN’ THE BLING WE KEEP IT GOING NOW THE WORLD KEEPS TURNIN AND WE’RE MOVING IT ALONG NOW BUT HE SEEMED KINDA SWEET disconnected or is no longer in service. FOR SERVICE ON THE GO... I’M THE KING! WE KEEP IT GOING NOW WE KEEP IT GOING NOW THOUGH YOU CAN’T ALWAYS TRUST JANE ALTHEA THE CITY HAS AN ENGINE EVERY GUY OFF THE STREET BUT, YA KNOW...WHATEVER WHO IS THE MAN AND WE’RE HERE TO TURN IT ON NOW BUT HE SEEMED KINDA COOL WHO KEEPS THE CITY MOVIN’? TRENT AND I STAYED KINDA COOL NOT THERE YET (REPRISE) WHO IS THE GUY Stacey, get me Jane on the line? The producers just called! WHO HELPS YOU FIND YOUR GROOVE, AND THEN LIKE, SUDDENLY, WE’RE KISSING ALI WHO IS THE ONE? JANE AND HE SMELLED SO GOOD NO, I’M NOT THERE YET TRY DOIN’ WHAT HE DOES Hi Trent! Sorry, it’s kinda loud here! I MEAN REALLY, REALLY GOOD CAN’T SURVIVE WITHOUT YOUR BUZZ... YEAH TRENT 119.5MM C C MM TRENT Jane? Hey! C C MM 119.5MM Y Y BB COULD HE BE THE THING NO, I’M NOT THERE YET SANITATION WORKER JANE Y Y BB (4.71”) (4.71”) I’M MISSING? SEE THE TRASH ON THE TRACKS What? I can’t hear you! IT’S REALLY NO BIG DEAL JANE ’N GARBAGE IN THE STATION IT DEPENDS HOW I FEEL NO, I’M NOT THERE YET I’M THE WARRIOR OF WASTE TRENT You got the part! THE QUEEN OF SANITATION I MEAN, IT’S NOT A CASE OF NOW OR NEVER NATE I KNOW YOU GOT PROBLEMS JANE AND YEAH, I THINK I LIKE I’M NOT THERE YET AND I KNOW YOU GOT STRESS What?! OKAY, IT’S MORE THAN LIKE ALI BUT SOMEONE’S GOTTA CLEAN UP ALL YOUR NASTY ASS MESS TRENT I COULD PASSIONATELY LOVE THIS GUY FOREVER! Hey, it’s me. I know we haven’t spoken in a while. PIZZA GREASE DRIPPIN’ OUT OF A BAG They called and they said – BUT, YA KNOW...WHATEVER But I have this wedding coming up. And yes, it’s weird, RAT FECES, AN’ I’M ’BOUT TO GAG JANE but any chance you could be my plus one? KIDS DROPPIN’ CHURROS IN THE BURROUGHS, NATE BUT NOBODY KNOWS WHERE IT GOES, IT’S ME, YO WOAH OH OH Oh wait, hold on. I’M NOT REALLY SURE, IT’S BEEN A LONG NIGHT NATE ALTHEA SHUT THE HELL UP! Of course, Ali. What are brothers for? JANE ALI WHO IS THE QUEEN JANE So? I’M NOT REALLY SURE IF THE TIMING IS RIGHT Nate, you’re amazing. OF ALL THE NITTY GRITTY AND WHO IS THE LADY I SHOULD GIVE A CALL NATE WHO KEEPS THINGS LOOKIN’ PRETTY TRENT SAFETY SAFETY BLEED BLEED There’s an offer, we have to negotiate, of course, NATE I don’t have to buy a gift though, right? AND WHO IS THE ONE but you finally got your first Broadway show. TRIM TRIM WISH I COULD GIVE A CALL ALI ALL ALONG THE BROADWAY LINE JANE SHE’S THE GIRL WHO MAKES IT SHINE YEAH JANE/NATE I got it. COFFEE CART GUY/SANITATION I got the part. JUST TO HEAR HIS/HER VOICE AND LAUGHTER ALL KEEP IT GOIN’ NOW TRENT You got it. Congratulations, babe. NATE OH, I’M NOT THERE YET KEEP IT GOIN’ NOW JANE OH, I’M NOT THERE YET WE COULD MAKE A DATE ETC. THE WORLD KEEPS TURNIN’ AND WE’RE MOVIN’ IT ALONG NOW! YES!!! I LOVE THIS CITY!! KEEP IT GOIN’ NOW JANE ALTHEA KEEP IT GOIN’ NOW ALL PERHAPS ANOTHER DATE I’M NOT THERE YET… THE CITY’S GOT A RHYTHM, BETTER TUNE INTO THE SONG NOW! AAAAAAAAAAAAAAAH! PAGE 20 PAGE 21 PAGE XX PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH DATE: MAGENTA CYAN SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL TECH: L/S: TOTAL LABEL: Hollywood Records NUMBER FILE NAME: YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK FRONT OF ARTIST: JOB #: PMS PMS OF COLORS COLORS BACK FRONT PMS JOB #: PMS ARTIST: Various BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TEMPLATE: TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y BB Y BUT, YA KNOW JANE/NATE KEEP IT GOIN’ CAB DRIVER YO YO IT’S RAININ’ IN THE VILLAGE AT TEN PM NATE AND THEN NEXT WEEK, NEXT MONTH, NEXT YEAR COFFEE CART GUY HOW YOU GONNA GET ALL THE WAY TO – AND EVER AFTER! I’M NOT REALLY SURE IT’S REALLY NO BIG DEAL I GOT A CART AND AT THE START OF EV’RY DAY IT’S A SCENE ALL BUT I THINK THAT WENT WELL IT DEPENDS HOW I FEEL I GOT THE FIX YOU NEED, I GOT THE PURE CAFFEINE BROOKLYN?! SUGAR FOR YOUR BRAIN, CARBOHYDRATES FOR YOUR BELLY I’M NOT REALLY SURE I MEAN, IT’S NOT A CASE OF NOW OR NEVER I’M CHEAPER THAN YOUR STARBUCKS AND I’M CAB DRIVER STILL TOO EARLY TO TELL. AND YEAH, I THINK I LIKE QUICKER THAN YOUR DELI (WHUT!) YOU’RE SOAKED TO THE BONE, YOUR UMBRELLA IS FAILING BUT SHE LISTENED TO ME OKAY, IT’S MORE THAN LIKE THE POWER BROKER NEED HER EARLY MORNING BREW THE SUBWAY? FUCK IT! IT’S MY CAB YOU’RE HAILING. I THINK SHE’S SMARTER THAN ME YES, I COULD LOVE THIS GUY/GIRL FOREVER! BOXMAN TRAIN CONDUCTOR YOU KNOW HOW SOMETIMES YOU JUST KNOW IT? BUT, YA KNOW... BREW! YO! WHO CAN AFFORD YOUR METERS AND YOUR FARES? WITH A METROCARD, I CAN GET YOU ANYWHERES AND I HAD THIS THOUGHT OH, GOD, I HOPE THIS WORKS! COFFEE CART GUY RUSH HOUR SURCHARGE? SON, WHAT’S THE DEAL? JUST A MOMENTARY THOUGHT TRENT THE OFFICE TEMP, SHE NEED A BAGEL, MAYBE TWO DOWN IN THE TUNNELS, WE KEEPIN’ IT REAL THIS COULD BE THE ONE...DON’T BLOW IT (As ‘‘out of service’’ tone) Doo Doo Doo. BOXMAN CAB DRIVER/TRAIN CONDUCTOR/SANITATION WORKER TWO! JANE NINA COFFEE CART GUY WE KEEP IT GOING NOW I’M NOT REALLY SURE (As operator voice) We’re sorry. You have reached a number that has been THEY NEED A JOLT, OR THEY REVOLT WHEN THEY’RE MAKIN’ THE BLING WE KEEP IT GOING NOW THE WORLD KEEPS TURNIN AND WE’RE MOVING IT ALONG NOW BUT HE SEEMED KINDA SWEET disconnected or is no longer in service. FOR SERVICE ON THE GO... I’M THE KING! WE KEEP IT GOING NOW WE KEEP IT GOING NOW THOUGH YOU CAN’T ALWAYS TRUST JANE ALTHEA THE CITY HAS AN ENGINE EVERY GUY OFF THE STREET BUT, YA KNOW...WHATEVER WHO IS THE MAN AND WE’RE HERE TO TURN IT ON NOW BUT HE SEEMED KINDA COOL WHO KEEPS THE CITY MOVIN’? TRENT AND I STAYED KINDA COOL NOT THERE YET (REPRISE) WHO IS THE GUY Stacey, get me Jane on the line? The producers just called! WHO HELPS YOU FIND YOUR GROOVE, AND THEN LIKE, SUDDENLY, WE’RE KISSING ALI WHO IS THE ONE? JANE AND HE SMELLED SO GOOD NO, I’M NOT THERE YET TRY DOIN’ WHAT HE DOES Hi Trent! Sorry, it’s kinda loud here! I MEAN REALLY, REALLY GOOD CAN’T SURVIVE WITHOUT YOUR BUZZ... YEAH TRENT 119.5MM C C MM TRENT Jane? Hey! C C MM 119.5MM Y Y BB COULD HE BE THE THING NO, I’M NOT THERE YET SANITATION WORKER JANE Y Y BB (4.71”) (4.71”) I’M MISSING? SEE THE TRASH ON THE TRACKS What? I can’t hear you! IT’S REALLY NO BIG DEAL JANE ’N GARBAGE IN THE STATION IT DEPENDS HOW I FEEL NO, I’M NOT THERE YET I’M THE WARRIOR OF WASTE TRENT You got the part! THE QUEEN OF SANITATION I MEAN, IT’S NOT A CASE OF NOW OR NEVER NATE I KNOW YOU GOT PROBLEMS JANE AND YEAH, I THINK I LIKE I’M NOT THERE YET AND I KNOW YOU GOT STRESS What?! OKAY, IT’S MORE THAN LIKE ALI BUT SOMEONE’S GOTTA CLEAN UP ALL YOUR NASTY ASS MESS TRENT I COULD PASSIONATELY LOVE THIS GUY FOREVER! Hey, it’s me. I know we haven’t spoken in a while. PIZZA GREASE DRIPPIN’ OUT OF A BAG They called and they said – BUT, YA KNOW...WHATEVER But I have this wedding coming up. And yes, it’s weird, RAT FECES, AN’ I’M ’BOUT TO GAG JANE but any chance you could be my plus one? KIDS DROPPIN’ CHURROS IN THE BURROUGHS, NATE BUT NOBODY KNOWS WHERE IT GOES, IT’S ME, YO WOAH OH OH Oh wait, hold on. I’M NOT REALLY SURE, IT’S BEEN A LONG NIGHT NATE ALTHEA SHUT THE HELL UP! Of course, Ali. What are brothers for? JANE ALI WHO IS THE QUEEN JANE So? I’M NOT REALLY SURE IF THE TIMING IS RIGHT Nate, you’re amazing. OF ALL THE NITTY GRITTY AND WHO IS THE LADY I SHOULD GIVE A CALL NATE WHO KEEPS THINGS LOOKIN’ PRETTY TRENT SAFETY SAFETY BLEED BLEED There’s an offer, we have to negotiate, of course, NATE I don’t have to buy a gift though, right? AND WHO IS THE ONE but you finally got your first Broadway show. TRIM TRIM WISH I COULD GIVE A CALL ALI ALL ALONG THE BROADWAY LINE JANE SHE’S THE GIRL WHO MAKES IT SHINE YEAH JANE/NATE I got it. COFFEE CART GUY/SANITATION I got the part. JUST TO HEAR HIS/HER VOICE AND LAUGHTER ALL KEEP IT GOIN’ NOW TRENT You got it. Congratulations, babe. NATE OH, I’M NOT THERE YET KEEP IT GOIN’ NOW JANE OH, I’M NOT THERE YET WE COULD MAKE A DATE ETC. THE WORLD KEEPS TURNIN’ AND WE’RE MOVIN’ IT ALONG NOW! YES!!! I LOVE THIS CITY!! KEEP IT GOIN’ NOW JANE ALTHEA KEEP IT GOIN’ NOW ALL PERHAPS ANOTHER DATE I’M NOT THERE YET… THE CITY’S GOT A RHYTHM, BETTER TUNE INTO THE SONG NOW! AAAAAAAAAAAAAAAH! PAGE 20 PAGE 21 PAGE XX PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) (4.74”) 241MM (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH DATE: MAGENTA CYAN SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL TECH: L/S: TOTAL LABEL: Hollywood Records NUMBER FILE NAME: YELLOW LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK FRONT OF ARTIST: JOB #: PMS PMS OF COLORS COLORS BACK FRONT PMS JOB #: PMS ARTIST: Various BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TEMPLATE: TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB ALTHEA ALL JANE MS. WILLIAMS JANE CHOOSING NOT TO KNOW WHO IS THE MAN WHO KEEP IT GOIN’ NOW (Scats) GIVE UP ON YOUR DREAM Oh, I really don’t know – KEEPS THE CITY KEEP IT GOIN’ NOW YOU’LL BE AWFUL GLAD YA DID! MS. WILLIAMS TRENT MOVIN’? THE WORLD KEEPS IT JUST AIN’T GONNA HAPPEN OKAY, 61.5?! I’m glad you came to visit, Momma. TURNIN’ AND WE’RE SO, LET THAT SHIP SET SAIL COME ON N’ STEP UP! This has been a really nice couple of days. Listen...there’s something MOVIN’ IT ALONG NOW! LISTEN TO ME CHILD OH, CHILD! I’ve been meaning to tell you – WHO IS THE QUEEN OF KEEP IT GOIN’ NOW JUST BAIL STEP UP WHILE YOU CAN! MOMMA ALL THE NITTY KEEP IT GOIN’ NOW WHEN YOU GRADUATE CUM LAUDE I’LL THROW IN THE CORNER CUBICLE Oh, Trent – do you think we’ll have time GRITTY? THE CITY’S GOT A RHYTHM BUT YOU’RE GETTIN’ BOSS’S MEALS AND THE OXFORD INSURANCE PLAN! tomorrow to see Grant’s Tomb? BETTER TUNE INTO THE WHEN YOU’VE POUNDED ALL THE PAVEMENT JANE ’Member how Daddy used to ask us who’s SONG NOW! IN THOSE BARGAIN PAYLESS HEELS With dental? buried there... WHO ARE THE ONES KEEP IT GOIN’ NOW WHO? I AM THE ONE JANE MS. WILLIAMS TRENT WHO KEEP THE KEEP IT GOIN’ NOW WHO GOT THAT They’re from Target. Let’s not get crazy. YOU CUT ME OFF, YOU CLOSE YOUR EARS TRAFFIC FLOWIN’? THE WORLD KEEPS MUTHA-FUCKIN’ PART, YEAH! MS. WILLIAMS DON’T LOOK AT IT AS SELLIN’ OUT YOU TURN ASIDE TURNIN’ AND WHEN DEEP INSIDE YOU KNOW IT’S MORE LIKE SELLIN’ HIGH! JUST LIKE YOU’VE DONE FOR YEARS WE’RE MOVIN’ IT ALONG NOW! YOU’VE GOT A GOOD HEAD ON YOUR SHOULDERS YOUR STOCK IS GOOD N’ FOLKS WILL BUY! YOU’RE HAPPY WITH THE STATUS QUO WHO ARE THE ONES? KEEP IT GOIN’ NOW I GOT IT AND YET YOU’RE ONLY USING IT CHILD, I WANT TO BUY! WHY ARE YOU CHOOSING NOT TO KNOW? Momma, you know I’ve lived with Steven, HEY, HEY, HEY, HEY! LET’S KEEP IT GOIN’ NOW HEY, HEY, HEY, TO FILE MANILA FOLDERS SO, LET THOSE OTHER DREAMS JUST DIE! my roommate, for 3 years now... HEY, HEY, HEY, ETC. HEY, HEY THAT’S WHEN YOU LET THOSE OLD DREAMS DIIIIIIE! THE CITY DON’T SLEEP GIVE UP! MS. WILLIAMS BACK-UPS MOMMA YAY...OW! ’CAUSE WE YAY...OW! OH YOU GIVE UP, HON! CUT THEM DOWN! CUT ’EM DOWN! It says here that the Cloisters is a division of the Metropolitan. ALL KEEP IT GOIN’ NOW! ALL KEEP IT GOIN’ NOW! ALL KEEP IT GOIN’ NOW! YOU GAVE IT YOUR BEST SHOT, GIRL, 119.5MM C C MM NOW IT’S TIME FOR THAT PHASE TO BE DONE! BURN ’EM UP! BURN ’EM UP! TRENT C C MM 119.5MM Y Y BB KEEP IT GOIN’ NOW! RIP ’EM OUT! RIP ’EM OUT! Y Y BB (4.71”) (4.71”) WHY STRUGGLE TOWARDS A GOAL KILL ’EM OFF! KILL ’EM OFF! Yes, but, about Steven – A LITTLE FRIENDLY ADVICE THAT MAKES YOU FEEL LIKE SHIT? DROWN THOSE SUCKERS! DROWN ’EM OUT! MOMMA That’s craaaaazy baby! MS. WILLIAMS WOAH JUST QUIT SLICE ’EM LIKE SALAMI! SLICE ’EM UP! Trent, dear. I am reading my guidebook. WHEN YOU’RE CHASIN’ DOWN A DREAM THEN YOU’LL EXPERIENCE WHAT OPRAH CALLS FLUSH ’EM DOWN THE TOILET! FLUSH ‘EM DOWN! TRENT BUT YOUR WILL TO RUN IS GONE A SPIRITUAL REBIRTH LEAD PIPE IN THE STUDY! LEAD PIPE! IT’S TAKEN TIME WHEN IT GETS TO BE TOO MUCH YOU CAN FOCUS ON FINDING JOBS MS. WILLIAMS/BACK-UPS CHURCHGOERS AND YA FEEL YA CAN’T GO ON THAT PAY YOU WHAT YOU’RE WORTH! JUST PUT ’EM IN A BAG AND GO WE BELIEVE... DON’TCHA LET YOURSELF GIVE OVER THEN THE UNIVERSE WILL HUM STOMP-STOMP-STOMP-NOW/STOMP DIE! TRENT TO SELF PITY AND CONFUSION BACK-UPS MS. WILIAMS TO GATHER NERVE LIFT YOUR HEAD, TAKE A BREATH HUMMMMMMMMMM LET CHURCHGOERS AND COME TO THIS CONCLUSION... WE BELIEVE... IT’S TIME TO GIIIIIVE UP! MS. WILLIAMS BACK-UPS TRENT OOH, JUST GIVE UP, KID! AS THE OPPORTUNITIES COME LET I THINK THE TRUTH IS WHAT SAFETY SAFETY TRIM TRIM BLEED BLEED JANE BACK-UPS MS. WILIAMS WE BOTH DESERVE What?! COMMMMMMEEEEEE THEM CHURCHGOERS MS. WILLIAMS BACK-UPS WE BELIEVE... FOR INSTANCE! THEM HOW’D YA LIKE TO BE MY JUNIOR ASSOCIATE ALL TRENT I’M TRYIN’ TO SAY SOMETHING LOUD AND CLEAR FOR 60K A YEAR?! DIE WHY ARE YOU CHOOSING NOT TO HEAR? LET ’EM DIE!! CHURCHGOERS THE WORD IS TRUE PHOTOS BY JOAN MARCUS PAGE 22 PAGE 23 PAGE XX PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL CYAN MAGENTA TECH: L/S: DATE: TOTAL LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER LABEL: NUMBER FILE NAME: YELLOW BLACK FRONT OF COLORS COLORS ARTIST: Various JOB #: PMS PMS OF BACK FRONT JOB #: PMS ARTIST: PMS BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TEMPLATE: TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB ALTHEA ALL JANE MS. WILLIAMS JANE CHOOSING NOT TO KNOW WHO IS THE MAN WHO KEEP IT GOIN’ NOW (Scats) GIVE UP ON YOUR DREAM Oh, I really don’t know – KEEPS THE CITY KEEP IT GOIN’ NOW YOU’LL BE AWFUL GLAD YA DID! MS. WILLIAMS TRENT MOVIN’? THE WORLD KEEPS IT JUST AIN’T GONNA HAPPEN OKAY, 61.5?! I’m glad you came to visit, Momma. TURNIN’ AND WE’RE SO, LET THAT SHIP SET SAIL COME ON N’ STEP UP! This has been a really nice couple of days. Listen...there’s something MOVIN’ IT ALONG NOW! LISTEN TO ME CHILD OH, CHILD! I’ve been meaning to tell you – WHO IS THE QUEEN OF KEEP IT GOIN’ NOW JUST BAIL STEP UP WHILE YOU CAN! MOMMA ALL THE NITTY KEEP IT GOIN’ NOW WHEN YOU GRADUATE CUM LAUDE I’LL THROW IN THE CORNER CUBICLE Oh, Trent – do you think we’ll have time GRITTY? THE CITY’S GOT A RHYTHM BUT YOU’RE GETTIN’ BOSS’S MEALS AND THE OXFORD INSURANCE PLAN! tomorrow to see Grant’s Tomb? BETTER TUNE INTO THE WHEN YOU’VE POUNDED ALL THE PAVEMENT JANE ’Member how Daddy used to ask us who’s SONG NOW! IN THOSE BARGAIN PAYLESS HEELS With dental? buried there... WHO ARE THE ONES KEEP IT GOIN’ NOW WHO? I AM THE ONE JANE MS. WILLIAMS TRENT WHO KEEP THE KEEP IT GOIN’ NOW WHO GOT THAT They’re from Target. Let’s not get crazy. YOU CUT ME OFF, YOU CLOSE YOUR EARS TRAFFIC FLOWIN’? THE WORLD KEEPS MUTHA-FUCKIN’ PART, YEAH! MS. WILLIAMS DON’T LOOK AT IT AS SELLIN’ OUT YOU TURN ASIDE TURNIN’ AND WHEN DEEP INSIDE YOU KNOW IT’S MORE LIKE SELLIN’ HIGH! JUST LIKE YOU’VE DONE FOR YEARS WE’RE MOVIN’ IT ALONG NOW! YOU’VE GOT A GOOD HEAD ON YOUR SHOULDERS YOUR STOCK IS GOOD N’ FOLKS WILL BUY! YOU’RE HAPPY WITH THE STATUS QUO WHO ARE THE ONES? KEEP IT GOIN’ NOW I GOT IT AND YET YOU’RE ONLY USING IT CHILD, I WANT TO BUY! WHY ARE YOU CHOOSING NOT TO KNOW? Momma, you know I’ve lived with Steven, HEY, HEY, HEY, HEY! LET’S KEEP IT GOIN’ NOW HEY, HEY, HEY, TO FILE MANILA FOLDERS SO, LET THOSE OTHER DREAMS JUST DIE! my roommate, for 3 years now... HEY, HEY, HEY, ETC. HEY, HEY THAT’S WHEN YOU LET THOSE OLD DREAMS DIIIIIIE! THE CITY DON’T SLEEP GIVE UP! MS. WILLIAMS BACK-UPS MOMMA YAY...OW! ’CAUSE WE YAY...OW! OH YOU GIVE UP, HON! CUT THEM DOWN! CUT ’EM DOWN! It says here that the Cloisters is a division of the Metropolitan. ALL KEEP IT GOIN’ NOW! ALL KEEP IT GOIN’ NOW! ALL KEEP IT GOIN’ NOW! YOU GAVE IT YOUR BEST SHOT, GIRL, 119.5MM C C MM NOW IT’S TIME FOR THAT PHASE TO BE DONE! BURN ’EM UP! BURN ’EM UP! TRENT C C MM 119.5MM Y Y BB KEEP IT GOIN’ NOW! RIP ’EM OUT! RIP ’EM OUT! Y Y BB (4.71”) (4.71”) WHY STRUGGLE TOWARDS A GOAL KILL ’EM OFF! KILL ’EM OFF! Yes, but, about Steven – A LITTLE FRIENDLY ADVICE THAT MAKES YOU FEEL LIKE SHIT? DROWN THOSE SUCKERS! DROWN ’EM OUT! MOMMA That’s craaaaazy baby! MS. WILLIAMS WOAH JUST QUIT SLICE ’EM LIKE SALAMI! SLICE ’EM UP! Trent, dear. I am reading my guidebook. WHEN YOU’RE CHASIN’ DOWN A DREAM THEN YOU’LL EXPERIENCE WHAT OPRAH CALLS FLUSH ’EM DOWN THE TOILET! FLUSH ‘EM DOWN! TRENT BUT YOUR WILL TO RUN IS GONE A SPIRITUAL REBIRTH LEAD PIPE IN THE STUDY! LEAD PIPE! IT’S TAKEN TIME WHEN IT GETS TO BE TOO MUCH YOU CAN FOCUS ON FINDING JOBS MS. WILLIAMS/BACK-UPS CHURCHGOERS AND YA FEEL YA CAN’T GO ON THAT PAY YOU WHAT YOU’RE WORTH! JUST PUT ’EM IN A BAG AND GO WE BELIEVE... DON’TCHA LET YOURSELF GIVE OVER THEN THE UNIVERSE WILL HUM STOMP-STOMP-STOMP-NOW/STOMP DIE! TRENT TO SELF PITY AND CONFUSION BACK-UPS MS. WILIAMS TO GATHER NERVE LIFT YOUR HEAD, TAKE A BREATH HUMMMMMMMMMM LET CHURCHGOERS AND COME TO THIS CONCLUSION... WE BELIEVE... IT’S TIME TO GIIIIIVE UP! MS. WILLIAMS BACK-UPS TRENT OOH, JUST GIVE UP, KID! AS THE OPPORTUNITIES COME LET I THINK THE TRUTH IS WHAT SAFETY SAFETY TRIM TRIM BLEED BLEED JANE BACK-UPS MS. WILIAMS WE BOTH DESERVE What?! COMMMMMMEEEEEE THEM CHURCHGOERS MS. WILLIAMS BACK-UPS WE BELIEVE... FOR INSTANCE! THEM HOW’D YA LIKE TO BE MY JUNIOR ASSOCIATE ALL TRENT I’M TRYIN’ TO SAY SOMETHING LOUD AND CLEAR FOR 60K A YEAR?! DIE WHY ARE YOU CHOOSING NOT TO HEAR? LET ’EM DIE!! CHURCHGOERS THE WORD IS TRUE PHOTOS BY JOAN MARCUS PAGE 22 PAGE 23 PAGE XX PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) (4.74”) 241MM (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: D002632002 SEL#: DATE: L/S: TECH: CYAN MAGENTA TOTAL CYAN MAGENTA TECH: L/S: DATE: TOTAL LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER LABEL: NUMBER FILE NAME: YELLOW BLACK FRONT OF COLORS COLORS ARTIST: Various JOB #: PMS PMS OF BACK FRONT JOB #: PMS ARTIST: PMS BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TEMPLATE: TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB TRENT THE MOVING SONG ALL THE THEORIES, ALL THE TRYING NATE Momma, listen to me. There’s something I have to tell you. ALI ALL THE CHASING AND DEVOTION Second job interview. This one looks promising. MOMMA I RAN 26 MILES WHAT’S THE POINT OF ALL THIS MOTION? What’s this I hear about you moving back in with Mom and Dad? Oh, now hush, honey. 26 MILES! I’M STILL STUCK HERE STANDING STILL ALI I’m gonna go back to grad school and finish my sports medicine degree. TRENT MAKE THAT 26 POINT 2 AND YOU’RE STILL GONE IT’S TIME TO MOVE ON Momma – AND FINALLY FORGOT ABOUT THE PAST THREE YEARS AND YOU TIME TO MOVE ON... NATE Wow. New York will miss you. MOMMA BUT THE C TRAIN GOT THE BEST OF ME IT’S TIME TO MOVE ON Shhh! AT 26 POINT 3... ALI Don’t look now, but I was starting to like it here. TRENT IT WAS SUMMER IN SEATTLE; YOU WERE A TOURIST AT THE PIER WE ARE HOME You already know. You know – YOU ASKED ME FOR DIRECTIONS, I ASKED YOU OUT FOR A BEER STEVEN NATE I’D NEVER LAUGHED SO MUCH BEFORE Hey, you know what New York has a lot of? Grad schools. Move in with me. MOMMA THAT DATE TURNED INTO EIGHTEEN MORE WE DON’T CHOOSE ALI Trent-Michael, please don’t! YOU AND I WERE STARTING TO GROOVE WHO BRINGS US IN TO THIS WORLD You’d do that? All I’ve got is the Word of God. It’s the one thing I can hold onto WE DON’T CHOOSE while the world keeps changing around me. Why did I quit school and move across the country for a guy I just met? HOW WE’RE RAISED OR WHERE WE LIVE NATE It’s New York! My brother’s there. I’ll get my own place. I wish your father were here. It’ll be an adventure. YES, IT’S EASIER FOR SOME It’s not glamorous, but I’ll cut you a deal. TRENT BUT THE DAY DOES COME TRENT OH, IT SAYS IN YOUR BIBLE MY LIFE IS A SIN IT’S TIME TO MOVE WHEN WE CHOOSE HOW TO SPEND THE LOVE WE HAVE TO GIVE I promise we’ll bring Momma around in time. ONE AUTUMN NIGHT IN PROSPECT PARK, OUT OF THE BLUE AND A FIGHT AGAINST GOD IS A FIGHT I CAN’T WIN YOU HAD A BRILLIANT THOUGHT, LET’S PAY ONE RENT INSTEAD OF TWO You’re not in this alone. STEVEN ONCE I SAY IT OUT LOUD, THEN IT CAN’T BE UNDONE SO, I DECIDED THERE AND THEN I CHOOSE YOU In time for our wedding next month? YOU ALREADY LOST DADDY, YOU CAN’T LOSE YOUR SON TO PACK MY BAGS ONCE AGAIN FOR WHO YOU ARE AND WHO’LL YOU’LL BE TRENT YOU NEED TO FACE EVEN THOUGH MY MOM DID NOT APPROVE I CHOOSE YOU You know what? Forget next month! We already have the license. I don’t 119.5MM C C C MM CHURCHGOERS I mean, I know we haven’t been together that long...but it feels so right. AND, YES, I CHOOSE YOUR FAMILY want to wait one more second to marry you. C MM 119.5MM Y Y BB LET ME BE THERE BY YOUR SIDE STEVEN Y Y BB (4.71”) WE BELIEVE... I swear – I know what I’m doing. LOVING YOU WITH PRIDE What are you suggesting? We go to City Hall right now? (4.71”) TRENT IT’S TIME TO MOVE WILL YOU SPEND EVERY DAY OF YOUR LIFE WITH ME THE TRUTH SOMEDAY I HAD FALLEN INTO LOVE, THINGS HAD FALLEN INTO PLACE AND WE’LL BE HOME TRENT We’re four stops away. CHURCHGOERS TWO WINTERS PASSED AND SUDDENLY, YOU SAID YOU NEEDED SPACE YOU AND ME, IN THIS CITY OF LOVE WE BELIEVE... SAID YOU COULDN’T SEE YOUR LIFE WITH ME YOU AND ME, WE’LL BE HOME STEVEN Okay! Let’s go get married! TRENT NO MATTER HOW YOU TRIED FOR BETTER OR WORSE BUT JUST FOR NOW I’LL LET YOU HAVE YOUR WAY SO I PACKED MY THINGS PLEASE SAY I DO TRENT Yeah. CRASHED WITH A FRIEND CHURCHGOERS FOR WEEKS ON END I CRIED Trent, will you marry me, still? WE BELIEVE... TRENT STEVEN Right now. TRENT FOUND MY OWN PLACE IN HARLEM THROUGH A CRAIGSLIST AD Yes. Yes, I will! I do! STEVEN/TRENT ALL/NATE DARK AND SMALL AND LONELY, BUT THE ONLY CHOICE I HAD I KNOW YOU LOVE ME, BUT EVEN SO THE SEASONS CAME, THE SEASONS WENT STEVEN WE ARE HOME AH...WE ARE HOME IT’S CLEAR YOU’D HAVE TO LET ME GO I WORKED, I SLEPT, I PAID MY RENT CAUSE YOU’RE HOME TO ME YOU AND ME IN THIS CITY OF LOVE AH... TRENT CHURCHGOERS AND THOUGHT OF ALL THE WAYS I COULD IMPROVE AND I’LL ALWAYS BE HOME TO YOU. YOU AND ME IT’S TIME TO SAFETY SAFETY TRIM TRIM BLEED BLEED THAT’S WHY YOU’RE CHOOSING NOT TO KNOW THE WORD IS TRUE I’m keeping busy like everyone says to do. I’m reading, I’m trying new TRENT WE ARE HOME MOVE ON...WE ARE HOME THAT’S WHY YOU’RE CHOOSING NOT TO KNOW THE WORD IS TRUE activities, I’m running...and running...and running...Toward what? Now please. Get up – that floor is filthy!! STEVEN/TRENT YOU’RE CHOOSING NOT TO KNOW THE WORD IS TRUE STEVEN FOR BETTER OR WORSE MOMMA SO NOW I GET THE NEWS THAT SOMEONE ELSE IS MOVING TOO Yes, I think I kneeled in ketchup. I LOVE YOU I DO YOU MET A GIRL, AND LOOK AT THAT, SHE’S MOVING IN WITH YOU YOU ARE HOME TO ME You said you needed a winter coat. How ’bout we go to Macy’s AND HERE AND NOW, IT’S CLEAR TO SEE NATE AND I PROMISE and find a nice warm one? YOU’RE HEADING FORWARD – WITHOUT ME Ali-gator! I’LL ALWAYS BE HOME TO YOU TRENT THERE’S NOTHING I CAN DO OR SAY OR PROVE ALI Sure, Momma. That’d be nice. ALL THE ENDLESS NIGHTS OF CRYING Hey, you. What are you doing uptown? PAGE 24 PAGE 25 PAGE XX PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) 241MM (4.74”) (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA L/S: TECH: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL DATE: SEL#: CYAN TOTAL FILE NAME: YELLOW LABEL: Hollywood Records LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK NUMBER FRONT OF ARTIST: ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT PMS PMS JOB #: BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C C MM Y Y BB TRENT THE MOVING SONG ALL THE THEORIES, ALL THE TRYING NATE Momma, listen to me. There’s something I have to tell you. ALI ALL THE CHASING AND DEVOTION Second job interview. This one looks promising. MOMMA I RAN 26 MILES WHAT’S THE POINT OF ALL THIS MOTION? What’s this I hear about you moving back in with Mom and Dad? Oh, now hush, honey. 26 MILES! I’M STILL STUCK HERE STANDING STILL ALI I’m gonna go back to grad school and finish my sports medicine degree. TRENT MAKE THAT 26 POINT 2 AND YOU’RE STILL GONE IT’S TIME TO MOVE ON Momma – AND FINALLY FORGOT ABOUT THE PAST THREE YEARS AND YOU TIME TO MOVE ON... NATE Wow. New York will miss you. MOMMA BUT THE C TRAIN GOT THE BEST OF ME IT’S TIME TO MOVE ON Shhh! AT 26 POINT 3... ALI Don’t look now, but I was starting to like it here. TRENT IT WAS SUMMER IN SEATTLE; YOU WERE A TOURIST AT THE PIER WE ARE HOME You already know. You know – YOU ASKED ME FOR DIRECTIONS, I ASKED YOU OUT FOR A BEER STEVEN NATE I’D NEVER LAUGHED SO MUCH BEFORE Hey, you know what New York has a lot of? Grad schools. Move in with me. MOMMA THAT DATE TURNED INTO EIGHTEEN MORE WE DON’T CHOOSE ALI Trent-Michael, please don’t! YOU AND I WERE STARTING TO GROOVE WHO BRINGS US IN TO THIS WORLD You’d do that? All I’ve got is the Word of God. It’s the one thing I can hold onto WE DON’T CHOOSE while the world keeps changing around me. Why did I quit school and move across the country for a guy I just met? HOW WE’RE RAISED OR WHERE WE LIVE NATE It’s New York! My brother’s there. I’ll get my own place. I wish your father were here. It’ll be an adventure. YES, IT’S EASIER FOR SOME It’s not glamorous, but I’ll cut you a deal. TRENT BUT THE DAY DOES COME TRENT OH, IT SAYS IN YOUR BIBLE MY LIFE IS A SIN IT’S TIME TO MOVE WHEN WE CHOOSE HOW TO SPEND THE LOVE WE HAVE TO GIVE I promise we’ll bring Momma around in time. ONE AUTUMN NIGHT IN PROSPECT PARK, OUT OF THE BLUE AND A FIGHT AGAINST GOD IS A FIGHT I CAN’T WIN YOU HAD A BRILLIANT THOUGHT, LET’S PAY ONE RENT INSTEAD OF TWO You’re not in this alone. STEVEN ONCE I SAY IT OUT LOUD, THEN IT CAN’T BE UNDONE SO, I DECIDED THERE AND THEN I CHOOSE YOU In time for our wedding next month? YOU ALREADY LOST DADDY, YOU CAN’T LOSE YOUR SON TO PACK MY BAGS ONCE AGAIN FOR WHO YOU ARE AND WHO’LL YOU’LL BE TRENT YOU NEED TO FACE EVEN THOUGH MY MOM DID NOT APPROVE I CHOOSE YOU You know what? Forget next month! We already have the license. I don’t 119.5MM C C C MM CHURCHGOERS I mean, I know we haven’t been together that long...but it feels so right. AND, YES, I CHOOSE YOUR FAMILY want to wait one more second to marry you. C MM 119.5MM Y Y BB LET ME BE THERE BY YOUR SIDE STEVEN Y Y BB (4.71”) WE BELIEVE... I swear – I know what I’m doing. LOVING YOU WITH PRIDE What are you suggesting? We go to City Hall right now? (4.71”) TRENT IT’S TIME TO MOVE WILL YOU SPEND EVERY DAY OF YOUR LIFE WITH ME THE TRUTH SOMEDAY I HAD FALLEN INTO LOVE, THINGS HAD FALLEN INTO PLACE AND WE’LL BE HOME TRENT We’re four stops away. CHURCHGOERS TWO WINTERS PASSED AND SUDDENLY, YOU SAID YOU NEEDED SPACE YOU AND ME, IN THIS CITY OF LOVE WE BELIEVE... SAID YOU COULDN’T SEE YOUR LIFE WITH ME YOU AND ME, WE’LL BE HOME STEVEN Okay! Let’s go get married! TRENT NO MATTER HOW YOU TRIED FOR BETTER OR WORSE BUT JUST FOR NOW I’LL LET YOU HAVE YOUR WAY SO I PACKED MY THINGS PLEASE SAY I DO TRENT Yeah. CRASHED WITH A FRIEND CHURCHGOERS FOR WEEKS ON END I CRIED Trent, will you marry me, still? WE BELIEVE... TRENT STEVEN Right now. TRENT FOUND MY OWN PLACE IN HARLEM THROUGH A CRAIGSLIST AD Yes. Yes, I will! I do! STEVEN/TRENT ALL/NATE DARK AND SMALL AND LONELY, BUT THE ONLY CHOICE I HAD I KNOW YOU LOVE ME, BUT EVEN SO THE SEASONS CAME, THE SEASONS WENT STEVEN WE ARE HOME AH...WE ARE HOME IT’S CLEAR YOU’D HAVE TO LET ME GO I WORKED, I SLEPT, I PAID MY RENT CAUSE YOU’RE HOME TO ME YOU AND ME IN THIS CITY OF LOVE AH... TRENT CHURCHGOERS AND THOUGHT OF ALL THE WAYS I COULD IMPROVE AND I’LL ALWAYS BE HOME TO YOU. YOU AND ME IT’S TIME TO SAFETY SAFETY TRIM TRIM BLEED BLEED THAT’S WHY YOU’RE CHOOSING NOT TO KNOW THE WORD IS TRUE I’m keeping busy like everyone says to do. I’m reading, I’m trying new TRENT WE ARE HOME MOVE ON...WE ARE HOME THAT’S WHY YOU’RE CHOOSING NOT TO KNOW THE WORD IS TRUE activities, I’m running...and running...and running...Toward what? Now please. Get up – that floor is filthy!! STEVEN/TRENT YOU’RE CHOOSING NOT TO KNOW THE WORD IS TRUE STEVEN FOR BETTER OR WORSE MOMMA SO NOW I GET THE NEWS THAT SOMEONE ELSE IS MOVING TOO Yes, I think I kneeled in ketchup. I LOVE YOU I DO YOU MET A GIRL, AND LOOK AT THAT, SHE’S MOVING IN WITH YOU YOU ARE HOME TO ME You said you needed a winter coat. How ’bout we go to Macy’s AND HERE AND NOW, IT’S CLEAR TO SEE NATE AND I PROMISE and find a nice warm one? YOU’RE HEADING FORWARD – WITHOUT ME Ali-gator! I’LL ALWAYS BE HOME TO YOU TRENT THERE’S NOTHING I CAN DO OR SAY OR PROVE ALI Sure, Momma. That’d be nice. ALL THE ENDLESS NIGHTS OF CRYING Hey, you. What are you doing uptown? PAGE 24 PAGE 25 PAGE XX PAGE XX C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) 241MM (4.74”) (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH MAGENTA L/S: TECH: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL DATE: SEL#: CYAN TOTAL FILE NAME: YELLOW LABEL: Hollywood Records LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK NUMBER FRONT OF ARTIST: ARTIST: Various JOB #: PMS PMS OF COLORS COLORS BACK FRONT PMS PMS JOB #: BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C MM C Y Y BB GETTING THERE FINALE I’M NOT THERE YET/GETTING THERE ALL NOW STAND CLEAR OF THE CLOSING DOOR I’M NOT THERE YET/GETTING THERE JANE JANE THROUGH SIGNALS THAT MIGHT FAIL BING-BONG! SO THIS IS WHAT IT SOUNDS LIKE You know what I feel like? Walkin’ the Highline. You wanna come? THROUGH DREAMS THAT MIGHT DERAIL TO BE LIST’NING FOR A MOMENT NATE BUT I’LL GET WHERE I HAVE TO GET... A MATH QUESTION TO TUNE OUT CHATTER IN MY HEAD Sure. You really don’t have anywhere to be? AND TUNE INTO THE WORLD INSTEAD JANE ALL BOXMAN AND THIS IS WHAT IT LOOKS LIKE Nate, I don’t have anywhere to be but here. DEEP BENEATH THE CITY My lovely platform people! My name is Boxman – as in think outside the box, man. WITH EYES OPEN FOR A MOMENT WITH A THOUSAND OTHER STRANGERS And I have a math question: TO NOTICE WHAT’S OUTSIDE OF ME ALL BONUS TRACKS TO LOOK AROUND AND REALLY SEE OH, GETTING THERE, GETTING THERE According to The Transit Riders Association, the average metropolitan commute takes one hour AND THERE’S A STRANGE KIND OF CLARITY BOXMAN PRESHOW MESSAGE door to door. You go to work. You come home. That’s two hours. Factor in weekends and that’s one A STRANGE KIND OF HARMONY EIGHT MILLION SOULS SO BUSY RUSHING AROUND ALL twelfth of each and every day – one whole month a year – you spend getting from There to There. AND I STOP AND BREATHE THE LIFE THAT’S IN THE AIR ALI PRESHOW MESSAGE OOH-AH But if you’re not THERE and you’re not THERE...where the hell ARE you that whole month? SO THIS IS WHAT IT FEELS LIKE TO BE HERE... EIGHT MILLION SOULS INSTEAD OF GETTING THERE! RUSS But really, how you gonna get where you’re going, if you don’t know how to be where you are? JUST LOOK AT ALL THESE PEOPLE BOXMAN WELCOME TO THE SHOW WE ARE HOME EXIT MUSIC BLIND TO THE BEAUTY OF THE MOMENT COLLIDING FOR A MOMENT AND DEAF TO THE SOUND ALL I’VE TRAINED MYSELF TO JUST IGNORE PRESHOW MESSAGE OOH-AH CAST AND SHUT THE CHAOS OUT BEFORE STEVEN/TRENT WE’RE THE WRITERS WE DON’T CHOOSE WHO BRINGS US INTO THIS WORLD BUT THIS IS HOW IT FEELS THE SOUND OF THIS A CAPPELLA SHOW WE DON’T CHOOSE HOW WE’RE RAISED OR WHERE WE LIVE AND HERE’S A FEW THINGS SOUND TO BE ALIVE IN NEW YORK CITY WE WANT YOU TO KNOW YES, IT’S EASIER FOR SOME TO STOP AND LIVE INSIDE MY SKIN SOUND THERE’S NO INTERMISSION BUT THE DAY DOES COME TO BREATHE AND LET THE MADNESS IN... BOXMAN IT’S ONE ACT STRAIGHT WHEN WE CHOOSE WHERE TO SPEND THE LOVE WE HAVE TO GIVE TO LET IN THE HEAT OF ALL THE BODIES OF THE POLYRHYTHMIC MELODY SO IF YOU DIDN’T PEE... I CAME HERE ’CAUSE THE CITY CALLED TO ME 119.5MM C C MM THE VIBRATION OF THE CAR JANE RUSS I CAME HERE BECAUSE IT’S WHERE I HAD TO BE C C MM 119.5MM Y Y Y BB TO SEE ALL THESE DIFFERENT FACES MELODY THOUGH SOME DAYS CAN BE A GRIND Y BB (4.71”) (4.71”) AND THE CLUES TO WHO THEY ARE BOXMAN SORRY, TOO LATE IN THE CHAOS I CAN FIND AND THERE’S GUM ON THE SEATS THE MULTILAYERED HARMONY ALL THE CONNECTIONS THAT LEAD ME TO HARMONY AND GRAFFITI ON THE WALL PRESHOW MESSAGE OOH-AH BUT IT’S REAL JANE/NATE KRISTEN AND WE ARE HOME YOU AND ME, IN THIS CITY OF LOVE AND IT’S HERE HARMONY THEN THERE’S THE USUAL STUFF YOU AND ME, WE ARE HOME AND I’M PART OF IT ALL! BOXMAN TURN OFF YOUR DEVICES FOR BETTER OR WORSE, I LOVE IT I DO SO THIS IS WHAT IT FEELS LIKE THE EVERCHANGING SYMPHONY OF LIFE UNDERGROUND JAMES-ALLEN ’CAUSE IT’S HOME TO ME TO BE HAPPY IN THE MOMENT NATE NO TAKING OF PICTURES AND IT’S HOME TO YOU TO REALIZE IT’S OKAY Have a great audition, hon! WE ALL GET STUCK ALONG THE WAY BOXMAN SARA EIGHT MILLION SOULS SO BUSY RUSHING AROUND AND WHAT ELSE WOULD BE NICE IS ALL WHERE TOGETHER WE DREAM ALL CROSSING, COLLIDING AND CREATING THE SOUND OF THE POLYRHYTHMIC MELODY AND THERE’S A STRANGE KIND OF FAMILY AND TOGETHER WE SWEAT UNWRAP CANDY NOW! THE MULTILAYERED HARMONY A STRANGE KIND OF HARMONY AND TOGETHER WONDER WHETHER WE’RE EVER GONNA GET AND JUST ONE THING MORE... THE EVER-CHANGING SYMPHONY OF LIFE UNDERGROUND YOU CAN FEEL IF YOU’RE OPEN AND AWARE TO THE FUTURE EVERY SOUND IN THIS SHOW AND THIS IS WHAT IT FEELS LIKE TO BE HERE... TO THE STATUS IS MADE BY AN ACTUAL HUMAN AND WE ARE HOME SAFETY SAFETY TRIM TRIM BLEED BLEED JANE TO THE MONEY RUSS YOU AND ME IN THIS CITY OF LOVE YOU AND ME, WE ARE HOME TO THE GOAL AND HAPPY IN THE MOMENT... VOICE FOR BETTER OR WORSE, I LOVE IT I DO AND GETTING THERE!! WHEN THERE’S NOT A WHOLE LOT THAT’S IN OUR CONTROL JAMES-ALLEN ’CAUSE IT’S HOME TO ME ALL EIGHT MILLION SOULS RACE TO THEIR DESTINATIONS VOICE AND IT’S HOME TO YOU BUT LIFE IS HERE AND NOW!! GETTING THERE! BETWEEN STATIONS GETTING THERE! SARA GETTING THERE! ALL VOICE GETTING THERE! I’M NOT THERE YET/GETTING THERE KRISTEN GETTING THERE! I’M NOT THERE YET/GETTING THERE VOICE P C 2017 Hollywood Records, Inc. All rights reserved. Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited. D002632002 PAGE XX PAGE XX PAGE 26 PAGE 27 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) 241MM (4.74”) (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL MAGENTA CYAN TECH: DATE: L/S: TOTAL FILE NAME: NUMBER LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK LABEL: Hollywood Records YELLOW FRONT OF COLORS COLORS ARTIST: JOB #: ARTIST: Various JOB #: PMS PMS OF BACK FRONT PMS PMS BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TEMPLATE: TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD HEAD FOLD FOLD C MM C Y Y BB GETTING THERE FINALE I’M NOT THERE YET/GETTING THERE ALL NOW STAND CLEAR OF THE CLOSING DOOR I’M NOT THERE YET/GETTING THERE JANE JANE THROUGH SIGNALS THAT MIGHT FAIL BING-BONG! SO THIS IS WHAT IT SOUNDS LIKE You know what I feel like? Walkin’ the Highline. You wanna come? THROUGH DREAMS THAT MIGHT DERAIL TO BE LIST’NING FOR A MOMENT NATE BUT I’LL GET WHERE I HAVE TO GET... A MATH QUESTION TO TUNE OUT CHATTER IN MY HEAD Sure. You really don’t have anywhere to be? AND TUNE INTO THE WORLD INSTEAD JANE ALL BOXMAN AND THIS IS WHAT IT LOOKS LIKE Nate, I don’t have anywhere to be but here. DEEP BENEATH THE CITY My lovely platform people! My name is Boxman – as in think outside the box, man. WITH EYES OPEN FOR A MOMENT WITH A THOUSAND OTHER STRANGERS And I have a math question: TO NOTICE WHAT’S OUTSIDE OF ME ALL BONUS TRACKS TO LOOK AROUND AND REALLY SEE OH, GETTING THERE, GETTING THERE According to The Transit Riders Association, the average metropolitan commute takes one hour AND THERE’S A STRANGE KIND OF CLARITY BOXMAN PRESHOW MESSAGE door to door. You go to work. You come home. That’s two hours. Factor in weekends and that’s one A STRANGE KIND OF HARMONY EIGHT MILLION SOULS SO BUSY RUSHING AROUND ALL twelfth of each and every day – one whole month a year – you spend getting from There to There. AND I STOP AND BREATHE THE LIFE THAT’S IN THE AIR ALI PRESHOW MESSAGE OOH-AH But if you’re not THERE and you’re not THERE...where the hell ARE you that whole month? SO THIS IS WHAT IT FEELS LIKE TO BE HERE... EIGHT MILLION SOULS INSTEAD OF GETTING THERE! RUSS But really, how you gonna get where you’re going, if you don’t know how to be where you are? JUST LOOK AT ALL THESE PEOPLE BOXMAN WELCOME TO THE SHOW WE ARE HOME EXIT MUSIC BLIND TO THE BEAUTY OF THE MOMENT COLLIDING FOR A MOMENT AND DEAF TO THE SOUND ALL I’VE TRAINED MYSELF TO JUST IGNORE PRESHOW MESSAGE OOH-AH CAST AND SHUT THE CHAOS OUT BEFORE STEVEN/TRENT WE’RE THE WRITERS WE DON’T CHOOSE WHO BRINGS US INTO THIS WORLD BUT THIS IS HOW IT FEELS THE SOUND OF THIS A CAPPELLA SHOW WE DON’T CHOOSE HOW WE’RE RAISED OR WHERE WE LIVE AND HERE’S A FEW THINGS SOUND TO BE ALIVE IN NEW YORK CITY WE WANT YOU TO KNOW YES, IT’S EASIER FOR SOME TO STOP AND LIVE INSIDE MY SKIN SOUND THERE’S NO INTERMISSION BUT THE DAY DOES COME TO BREATHE AND LET THE MADNESS IN... BOXMAN IT’S ONE ACT STRAIGHT WHEN WE CHOOSE WHERE TO SPEND THE LOVE WE HAVE TO GIVE TO LET IN THE HEAT OF ALL THE BODIES OF THE POLYRHYTHMIC MELODY SO IF YOU DIDN’T PEE... I CAME HERE ’CAUSE THE CITY CALLED TO ME 119.5MM C C MM THE VIBRATION OF THE CAR JANE RUSS I CAME HERE BECAUSE IT’S WHERE I HAD TO BE C C MM 119.5MM Y Y Y BB TO SEE ALL THESE DIFFERENT FACES MELODY THOUGH SOME DAYS CAN BE A GRIND Y BB (4.71”) (4.71”) AND THE CLUES TO WHO THEY ARE BOXMAN SORRY, TOO LATE IN THE CHAOS I CAN FIND AND THERE’S GUM ON THE SEATS THE MULTILAYERED HARMONY ALL THE CONNECTIONS THAT LEAD ME TO HARMONY AND GRAFFITI ON THE WALL PRESHOW MESSAGE OOH-AH BUT IT’S REAL JANE/NATE KRISTEN AND WE ARE HOME YOU AND ME, IN THIS CITY OF LOVE AND IT’S HERE HARMONY THEN THERE’S THE USUAL STUFF YOU AND ME, WE ARE HOME AND I’M PART OF IT ALL! BOXMAN TURN OFF YOUR DEVICES FOR BETTER OR WORSE, I LOVE IT I DO SO THIS IS WHAT IT FEELS LIKE THE EVERCHANGING SYMPHONY OF LIFE UNDERGROUND JAMES-ALLEN ’CAUSE IT’S HOME TO ME TO BE HAPPY IN THE MOMENT NATE NO TAKING OF PICTURES AND IT’S HOME TO YOU TO REALIZE IT’S OKAY Have a great audition, hon! WE ALL GET STUCK ALONG THE WAY BOXMAN SARA EIGHT MILLION SOULS SO BUSY RUSHING AROUND AND WHAT ELSE WOULD BE NICE IS ALL WHERE TOGETHER WE DREAM ALL CROSSING, COLLIDING AND CREATING THE SOUND OF THE POLYRHYTHMIC MELODY AND THERE’S A STRANGE KIND OF FAMILY AND TOGETHER WE SWEAT UNWRAP CANDY NOW! THE MULTILAYERED HARMONY A STRANGE KIND OF HARMONY AND TOGETHER WONDER WHETHER WE’RE EVER GONNA GET AND JUST ONE THING MORE... THE EVER-CHANGING SYMPHONY OF LIFE UNDERGROUND YOU CAN FEEL IF YOU’RE OPEN AND AWARE TO THE FUTURE EVERY SOUND IN THIS SHOW AND THIS IS WHAT IT FEELS LIKE TO BE HERE... TO THE STATUS IS MADE BY AN ACTUAL HUMAN AND WE ARE HOME SAFETY SAFETY TRIM TRIM BLEED BLEED JANE TO THE MONEY RUSS YOU AND ME IN THIS CITY OF LOVE YOU AND ME, WE ARE HOME TO THE GOAL AND HAPPY IN THE MOMENT... VOICE FOR BETTER OR WORSE, I LOVE IT I DO AND GETTING THERE!! WHEN THERE’S NOT A WHOLE LOT THAT’S IN OUR CONTROL JAMES-ALLEN ’CAUSE IT’S HOME TO ME ALL EIGHT MILLION SOULS RACE TO THEIR DESTINATIONS VOICE AND IT’S HOME TO YOU BUT LIFE IS HERE AND NOW!! GETTING THERE! BETWEEN STATIONS GETTING THERE! SARA GETTING THERE! ALL VOICE GETTING THERE! I’M NOT THERE YET/GETTING THERE KRISTEN GETTING THERE! I’M NOT THERE YET/GETTING THERE VOICE P C 2017 Hollywood Records, Inc. All rights reserved. Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited. D002632002 PAGE XX PAGE XX PAGE 26 PAGE 27 C C MM Y Y BB 120.5MM 120.5MM 120.5MM 120.5MM (4.74”) 241MM (4.74”) (4.74”) (4.74”) 241MM (9.49”) (9.49”) CD BOOK SADDLE STITCH CD BOOK SADDLE STITCH SEL#: SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL MAGENTA CYAN TECH: DATE: L/S: TOTAL FILE NAME: NUMBER LABEL: FILE NAME: YELLOW BLACK NUMBER BLACK LABEL: Hollywood Records YELLOW FRONT OF COLORS COLORS ARTIST: JOB #: ARTIST: Various JOB #: PMS PMS OF BACK FRONT PMS PMS BACK TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indtUMG_CD_BOOK_SADDLE_JUL00.indt TITLE: In Transit Original Broadway Cast Recording TEMPLATE: TITLE: UMGI_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR: SEPARATOR:
HEAD FOLD C M Y B C M C M 119.5MM Y B Y B (4.71”) SAFETY TRIM BLEED PHOTOS BY JOAN MARCUS AND ANGIE VASQUEZ PAGE 28 PAGE 1 C M Y B 120.5MM 120.5MM (4.74”) 241MM (4.74”) (9.49”) CD BOOK SADDLE STITCH SEL#: D002632002 DATE: L/S: TECH: CYAN MAGENTA TOTAL LABEL: Hollywood Records FILE NAME: YELLOW BLACK NUMBER ARTIST: Various JOB #: PMS PMS OF COLORS BACK FRONT TITLE: In Transit Original Broadway Cast Recording TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.indt UMGI_CD_BOOK_SADDLE_JUL00.indt SEPARATOR:
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