Information

Show Credits: Written and Originally Directed and Choreographed by Stuart Ross
Music by Various
Lyrics by Various
Musical Continuity Supervision and Arrangements by James Raitt

Description: FOREVER PLAID is one of the most popular and successful musicals in recent memory. This deliciously goofy revue centers on four young, eager male singers killed in a car crash in the 1950's on the way to their first big concert, and now miraculously revived for the posthumous chance to fulfill their dreams and perform the show that never was.

Singing in the closest of harmony, squabbling boyishly over the smallest intonations and executing their charmingly outlandish choreography with over-zealous precision, the "Plaids" are a guaranteed smash, with a program of beloved songs and delightful patter that keeps audiences rolling in the aisles when they're not humming along to some of the great nostalgic pop hits of the 1950's.

Insight from the experts Casting Tip: Predominantly men Although there is a great deal of humor in FOREVER PLAID, the show must be performed "straight." The characters should never be aware of the humor, except where noted.

Staging Tip: NOTES FROM THE DIRECTOR

The essence of the show, the subtext, the background and the environment from which the show developed is incorporated in the dedication and the "Playwright's notes". Therefore, they should be included in the program or be available to the audience, either in the lobby or in an insert to the program. The reason is simple. A great deal of time and thought went into assembling this show. A great deal of effort goes into each production. I have found that when the audience and the press read the Playwright's notes, they seem to realize that we are serious about this period. We are not trying to capitalize on the nostalgia aspect of the show. If anything we fight wat the sterotype of the show is. Yes, the guys in Plaid are nerdy, awkard and socially unskilled. Yes, they sing corny songs. Yes, the audience thinks they know them. But, as the show progresses, the guys should become sexier, more passionate and more confident till the audience is hooked and we have taken them to another time, or I should say, another mind set. The audience must see THE PLAIDS as more than "nerds."

THE ACTING STYLE should be simple and sincere. they should always look to each other. Play the subtext very simply. The show works best and the laughs come the strongest when the actors are the most serious and most sad. Remember, these guys never thought they were any good. They just loved singing together. They were not "successful". They each have physical disabilities they feel prevented them from achieving stardom. They are underconfident and had miserable lives - or so they think. They all had dreams which were never realized. Tonight, they realize those dreams. The characters should never appear to expect applause, when they get it, they are amazed and thrilled and very grateful. NEVER PLAY the corny "white guy" thing. It is crucial to make the audience look beyond the stereotype of a nerd and realize that there is a handsome, sexy, powerful man inside each Plaid waiting to come out. The costumes and the hairdos take care of the "nerd thing". If the actor plays a nerd, the humanity and truth of the characters goes away. This show is more powerful when THE PLAIDS are portrayed with reality. Stage whisper dialogue that the audience is not supposed to hear.

Also, it is important for the actors to remember that THE PLAIDS are playing this show for the first time and the last time simultaneously. therefore, our characters experience the thrill of the first time and the melacholy of the last time simultaneously.

We rarely mention anything about the 1950s in the show. The show is set today.

SINGING-The singing should be powerful and passionate. Crescendo at the ends of phrases control your vibratos. Blend and power are important. Save your voices. Sing correctly. Make a parts tape. Make available to all casts an original artists tape. i.e. The Four Aces, The Ames Brothers, The Crew Cuts, Perry Comom, Harry Belafonte, Eddie Fisher, Johnny Ray, Tennessee Ernie Ford. the audience must see how emotionally commited THE PLAIDS are to the music, especially as each number concludes.

THE CHOREOGRAPHY - This is where the majority of the laughs come from. THE PLAIDS had no one there to say what they were doing was funny or wrong. They believe in their choreographic work. They truly believe they are fitting the moves to the feel of the music and the sense of the lyric. They often put a move with each note. But the moves should never get in the way of the music. I always thought SMUDGE to be the choreographer. He's dyslexic, like me.

Keep THE PLAIDS as close as possible. This helps the singing. Let the steps be inadvertently funny. Let the moves come together because of the need to make the music tighter. i.e. "No Not Much" - swoop heads together on the swell in the music, to make the sound better - not because it is funny. Consequently, it is very funny.

The staging is precise, to the point of seeming ritualistic. Even from the top FOREVER PLAID has a formal, ritualized look because of the choir boy candles and the folding of the dust cloths. And there are many rituals: the passing out of the tartans, the delivery of Perry Como's cardigan on a red velvet pillow; the introduction of each Plaid and the band - to name but a few. The period of FOREVER PLAID was also a period of rituals and formulas.

THE PARADOX- The guys ust sing brilliantly, as if they were stars, but they don't realize how really good they are. There is a universal feeling for "the need to fit in and be liked" FOREVER PLAID depends on and thrives on this need and it succeeds because of this.

THE PURPOSE OF THE SHOW is to demonstrate to these characters that hey had a wonderful life even without stardom. It is all summed up in the final speech. That is what separates this show from being just a nostalgic jukebox revue. The more seriously the characters take the show, the more successful the production and the greater is the audience's appreciation.

PITFALLS - Playing for laughs - Don't! Have I said this yet? Don't play this show for laughs. the show is filled with hundreds of jokes - musical and otherwise. The audience doesn't have to laugh every minute. Don't worry if not every line or bit of business gets a laugh. Let the audience understand the show. It is far better that they take the show, or the dreams of the characters, seriously.

I DIDN'T INTEND FOR THE SHOW TO BE A TRIP DOWN MEMORY LANE. It is supposed to be more like the reverse of BACK TO THE FUTURE. We are showing what would happen if people with a 1950s sensibility came to the 1990s.

SUGGESTED RESEARCH:

BOOKS:
POPULUXE - Thomas Hine
AMERICAN SINGING GROUPS - Billboard Publishing

VIDEOS:
ED SULLIVAN SHOWS
PERRY COMO SHOWS

In addition, LIFE magazine is an invaluable resource as are album covers of the period.