VIDEO: ESMERALDA RUFFILLI "GIMME GIMME" (from Thoroughly Modern Millie)

ESMERALDA RUFFILLI "GIMME GIMME" (from Thoroughly Modern Millie)

THOROUGHLY MODERN MILLIE (1967 STUDIO CAST)

THOROUGHLY MODERN MILLIE (1967 STUDIO CAST) 
https://www.sendspace.com/file/jr97gx

or

https://www.sendspace.com/file/b4pfpp

Show: Thoroughly Modern Millie

Music: Jimmy Van Heusen 

Lyrics: Sammy Cahn 

Book: Richard Morris 

Date: 1967

Performers: Diana Dors, David Kernan, Millicent Martin, Valerie Masters

Tracks:

1. Overture -- Orchestra

2. Thoroughly Modern Millie -- Millicent Martin

3. The Tapioca -- David Kernan

4. Do It Again -- Diana Dors (from The French Doll)

5. Jewish Wedding Song -- Millicent Martin

6. Jimmy -- Millicent Martin

7. Poor Butterfly -- Millicent Martin

8. Jazz Baby -- Diana Dors

9. Rose of Washington Square -- Valerie Masters (from Ziegfield Midnight Frolic)

10. Baby Face -- Millicent Martin

11. Finale -- Orchestra

Muchísimas Gracias por este Musical, TIA ANTONIA!!!

KARAOKE: THOROUGHLY MODERN MILLIE (2002)

THOROUGHLY MODERN MILLIE (2002 ORCHESTRAL CD)

https://www.sendspace.com/file/80yt1w

Book: Richard Morris, Dick Scanlan

Lyrics: Dick Scanlan

Music: Jeanine Tesori

Additional Lyrics: Walter Donaldson, Sam M. Lewis, Dick Scanlan, Joe Young

Additional Music: Walter Donaldson, Sam M. Lewis, Arthur Sullivan, Joe Young

THOROUGHLY MODERN MILLIE (UK TOUR SOUNDBOARD)

THOROUGHLY MODERN MILLIE (UK TOUR SOUNDBOARD)
https://www.sendspace.com/file/1sbgrn

Show: Thoroughly Modern Millie

Music: Jeanine Tesori

Lyrics: Dick Scanlan

Book: Richard Morris,  Dick Scanlan

Type: Noncommercial Audio 

Method: Live / Soundboard

Location:  UK tour of the show

Cast:

Millie Dillmount: Donna Steele

Jimmy Smith: Richard Reynard

Mrs Meers: Leslie Joseph

Miss Dorothy Brown: Robyn North

Trevor Graydon: Andrew Kennedy

Muzzy van Hossmere: Grace Kenned

Miss Flannery: Nicola Blackman

THOROUGHLY MODERN MILLIE (2002 OBC)

THOROUGHLY MODERN MILLIE (2002 OBC)

https://www.sendspace.com/file/pbxztp

Music: Jeanine Tesori
Lyrics: Dick Scanlan
Book: Richard Morris,  Dick Scanlan

Date: 2002

Performers: Kate Baldwin,  Catherine Brunell,  Angela Christian,  Gavin Creel,  Sutton Foster,  Jessica Grové,  Harriet Harris,  JoAnn M. Hunter,  Francis Jue,  Alisa Klein,  Marc Kudisch,  Ken Leung,  Anne L. Nathan,  Sheryl Lee Ralph,  Megan Sikora

Tracks:
1. Overture Orchestra
2. Not for the Life of Me Sutton Foster
3. Thoroughly Modern Millie Sutton Foster and Ensemble
4. Not for the Life of Me Sutton Foster, JoAnn M. Hunter, Alisa Klein, Jessica Grove, Megan Sikora, Catherine Brunell and Kate Baldwin
5. How the Other Half Lives Angela Christian and Sutton Foster
6. Not for the Life of Me reprise)
7. The Speed Test Marc Kudisch, Sutton Foster, Anne L. Nathan and Ensemble
8. They Don't Know Harriet Harris
9. The Nuttycracker Suite Orchestra
10. What Do I Need with Love? Gavin Creel
11. Only in New York Sheryl Lee Ralph
12. Jimmy Sutton Foster
13. Back at Work Sutton Foster, Anne L. Nathan and Ensemble
14. Forget About the Boy Sutton Foster, Anne L. Nathan and Ensemble
15. Ah, Sweet Mystery Of Life
        I'm Falling In Love With Someone Marc Kudisch and Angela Christian
16. I Turned the Corner
        I'm Falling in Love with Someone (Reprise) Gavin Creel, Sutton Foster, Marc Kudisch and Angela Christian
17. Muqin Harriet Harris, Francis Jue and Ken Leung
18. Long As I'm Here With You Sheryl Lee Ralph and Male Ensemble
19. Gimme Gimme Sutton Foster
20. Finale (Thoroughly Modern Millie) Gavin Creel, Sutton Foster, Angela Christian, Sheryl Lee Ralph and Ensemble
21. Final Bows Entire Company

THOROUGHLY MODERN MILLIE (CHINESE PRONUNCIATION KIT)

THOROUGHLY MODERN MILLIE (CHINESE PRONUNCIATION KIT)
https://www.sendspace.com/file/zg7hli

Our friends from Musicales Peru wrote:

This is not the Chinese cast recording but a guide for the actors to correctly pronounce the Mandarin and Cantonese words used in the musical. There hasn't been a Chinese production.

Esta no es la grabación del elenco chino, sino una guía para que los actores pronuncien correctamente las palabras en mandarín y cantonés utilizadas en el musical. No ha habido una producción china.

THOROUGHLY MODERN MILLIE (1999 WORKSHOP CAST)

THOROUGHLY MODERN MILLIE (1999 WORKSHOP CAST)
https://www.sendspace.com/file/c48suw

Music: Jeanine Tesori
Lyrics: Dick Scanlan
Book: Richard Morris,  Dick Scanlan

Date: October 15, 1999

Type: Noncommercial Audio / Workshop Cast

Method: Live

Language: English

Location: US / NY / New York

Performers: Bea Arthur,  David Campbell,  Yvette Cason,  Kristin Chenoweth,  Francis Jue,  Marc Kudisch,  Ken Leung,  Amanda Serkasevich,  Ruth Williamson


Tracks:
1. They'll Be Some Changes Made
2. Thoroughly Modern Millie
3. Stumbling
4. Operator Lingo
5. You Can Count on Me
6. The Speed Test
7. Jazz Baby
8. I Want to Be An Actor Lady
9. Jimmy
10. Forget About The Boy
11. S'posin
12. I'm Falling in Love with Someone
13. Muqin
14. I'm Sorry, Dear
15. Chuck it, John

THOROUGHLY MODERN MILLIE (LA JOLLA TRYOUT CAST)

THOROUGHLY MODERN MILLIE (LA JOLLA TRYOUT CAST) 

https://www.sendspace.com/file/rsxy9r

(Not Real Cover)

1. THERE’LL BE SOME CHANGES MADE - Millie, Miss Dorothy, Ching Ho, Bun Foo  

2. THOROUGHLY MODERN MILLIE  - Millie, Ching, Bun Foo, Ensemble  

3. STUMBLING  Millie - Miss Dorothy  

4. THE SPEED TEST - Trevor Graydon, Millie, Miss Flannery, Ensemble   

5. ONE MANHATTAN, STRAIGHT UP - Jimmy, Millie, Miss Dorothy, Ensemble 

6. YOU CAN COUNT ON ME  Jimmy, Millie  

7. THEN WHAT, BABY - Muzzy  

8. JIMMY - Millie  

9. FORGET ABOUT THE BOY - Millie, Miss Flannery, Female Ensemble

10. I’M FALLING IN LOVE WITH SOMEONE - Trevor Graydon, Miss Dorothy

11. SAY THAT - Jimmy  

12. MUQIN - Mrs. Meers, Bun Foo, Ching Ho  

13. JAZZ BABY - Muzzy  

14. GIMME GIMME - Millie  

Musical Credits

There’ll Be Some Changes Made  

by Billy Higgins and W. Boston Overstreet *

Thoroughly Modern Millie 

Music by James Van Heusen, Lyrics by Sammy Cahn *

Stumbling by Zez Confrey *

One Manhattan, Straight Up 

Music by Jeanine Tesori, Lyrics by Dick Scanlan

You Can Count On Me 

Music by Jeanine Tesori, Lyrics by Dick Scanlan

The Speed Test (My Eyes Are Fully Open To My Awful Situation) Music by Arthur Sullivan, Lyrics by W. S. Gilbert *

Then What, Baby?  Music by Jeanine Tesori, Lyrics by Dick Scanlan

Jimmy by Jay Thompson * †

Forget About The Boy

 Music by Jeanine Tesori, Lyrics by Dick Scanlan

Ah! Sweet Mystery Of Life / I’m Falling In Love With Someone 

Music by Victor Herbert, Lyrics by Rida Johnson Young

Say That  Music by Jeanine Tesori, Lyrics by Dick Scanlan

Muquin  by Sam Lewis, Joe Young and Walter Donaldson * †

Jazz Baby by M. K. Jerome and Blanche Merrill

Gimme Gimme  Music by Jeanine Tesori Lyrics by Dick Scanlan

*Additional Lyrics by Dick Scanlon

† Additional Music by Jeanine Tesori

La Jolla Playhouse presents the World Premiere of

Thoroughly Modern Millie

Book by Richard Morris and Dick Scanlan

New Music by Jeanine Tesori

New Lyrics by Dick Scanlan

Inspired by Richard Morris’ Original Story and Screenplay

Directed by Michael Mayer

Choreography by Rob Ashford

Music Direction by Michael Rafter

Orchestrations Ralph Burns

Associate Music Director Lawrence Goldberg

Vocal Arrangements and Incidental Music Jeanine Tesori

Dance Music Arrangements David Krane

Associate Choreographer Becky Timms

Set Design David Gallo

Costume Design Robert Perdziola

Lighting Design Donald Holder

Sound Design Otts Munderloh

Production Stage Manager Bonnie L. Becker

Assistant Stage Manager J. Philip Bassett

Casting Jim Carnahan

The Cast (in order of appearance)

Millie Dillmount - Sutton Foster

Miss Dorothy Brown - Sarah Uriarte Berry

Ching Ho - Stephen Sable

Bun Foo - Francis Jue

Jimmy Smith - Jim Stanek

Mrs. Meers - Pat Carroll

Taxi Driver - Randi Ask

Miss Flannery - Anne L. Nathan

Trevor Graydon - Marc Kudisch

Muzzy - Tonya Pinkins

Dorothy Parker - Julie Connors

Maitre D’ - Yusef Miller

Anniversary Couple - Chane’t Johnson, Randi Ask

Ladies’ Lounge Attendant - Zina Camblin

Moderns: Randi Ask, Kate Baldwin, Joshua Bergasse, Zina Camblin, Julie Connors, David Eggers, Nicole Foret, Matthew Gasper, Gregg Goodbrod, Susan Haefner, Chane’t Johnson, Matt Lashey, Michael Malone, Yusef Miller, Anne L. Nathan, Tina Ou, Noah Racey, Megan Sikora, Leigh-Anne Wencker.

THOROUGHLY MODERN MILLIE: 

RED, WHITE AND BLUE

By Dick Scanlan

If I were to make a list of the areas in which America excels, from the sublime to the ridiculous -  political freedom to fast food - musical theatre would top the sublime column.  Not only did we invent musicals, we have re-framed and re-created them to suit the needs of the times in which they are being presented from Oklahoma! to A Chorus Line, Show Boat to Rent.

Imagine my excitement, then, at the prospect of adapting Thoroughly Modern Millie, a 1967 movie with music, into a bona fide stage musical,.  After all, the title character is in a quest for self-reinvention, leaving the farm on which she was raised and heading to New York City to become the person she’s always wanted to be.  The same drive to find a better life is at the core of what the settlers were doing when they landed at Plymouth Rock.  Millie’s clothes may be more fabulous than the Puritan look, but her desires are the desires on which this country was founded, and on which it still thrives.  To explore those desires in a musical comedy is the perfect fusion of form and theme: 100 % American.

That’s not to be confused with Americans e.g. apple pie and baseball.  In researching Millie, I was surprised to discover how hard-edged the 1920s were, particularly in Manhattan.  Imagine living in a stop-action film, where every day the buildings around you grew taller as construction boomed all over town, the famed New York skyline constantly changing in those pre-Empire State Building days.  Neon was new, and suddenly the Great White Way exploded in rainbow colours, like Dorothy leaving black-and-white Kansas for Technicolor Oz.

The unparalleled economic prosperity, not to mention job opportunities available for the first time to women, made for disposable dollars pouring out of wallets and purses and into nightclubs, speakeasies and cabarets.  Even the wristwatch was a recent phenomenon, so everyone was in a hurry, as if their easy access to checking time made them realize what a precious commodity time is.  They may have been dancing the Charleston, but they were dancing as fast as they could.  The sepia-toned nostalgia with which the 1920s are often portrayed bears little resemblance to the tick-tocking, fast-talking, head-spinning years that F Scott Fitzgerald termed “The Jazz Age.”

Throughout the development of Millie, “thoroughly modern” has been my buzz phrase: it’s essential to me that the show earns its title.  Hence its world premiere at La Jolla Playhouse, a regional theatre with a reputation for theatricality and innovation.  A more commercial venue might have applied pressure on me to play it safe, and the ‘20s were anything but safe.

That isn’t to say that Millie doesn’t have an element of sweetness.  But sweet can mean a gooey ice cream sundae topped with Redi-Whip and a maraschino cherry, or it can mean Veuve Cliquot champagne - sweet, yes, but bubbly, dry and served in celebration!

That’s my Millie, as sophisticated as the Big Apple.  She’s part pilgrim, part Dorothy Parker.  Whether you yearn to play city mouse or country mouse, it’s hard for any American not to identify with Millie’s creed that everyone has the right to go out into the world and make a life for themselves.  And that’s something to sing and dance about. -— Dick Scanlan

Review: San Diego Union-Tribune October 24, 2000

"Thoroughly Modern Millie," which premiered Sunday at La Jolla Playhouse, celebrates old-school American musical comedy with new- school polish. Singing, dancing fools and the steno pool still tap right out at you.

But in the show's comedic high point, writer Dick Scanlan creates a breathless, world-of-business rewrite of Gilbert and Sullivan patter: "Unless you can convince me you've improved the floor-wax batter, we will take our business elsewhere, so I hope you'll solve the matter."

The 1967 Ross Hunter movie tried to spoof movie musicals, though its lead feet and forced smiles meant even Julie Andrews couldn't make the bubble float. This is one movie that hasn't been sitting around in the vaults waiting to take to the stage: A spoof of a spoof?

But the stage "Millie" does float on a strong current of smart, shared inspiration. First credits go to writer-lyricist Scanlan, a real find for musical theater, and to Sutton Foster, who plays the high-voltage Millie. Scanlan's book is knowing, but has none of the brittle, insistent humor that sank the movie. He's retained four songs, and some of Richard Morris' original screenplay, including the Chinese thugs and their white slaver subplot cleverly reinvented for a multicultural age.

Scanlan, composer Jeanine Tesori and the gifted director Michael Mayer give a warmly postmod spin to the material, infusing it with a madcap vitality that pulls you right in: "No, No, Nanette" turned "Yes, Yes, Millie."

As the titular heroine, young Foster tears into the part with earthy gusto. She's got toughness and charm, and singing seven of the eight songs in the first act, she shows a rangy voice that won't quit. Add a perfect stage smile, a confident stride, and you've got a performer making the most of a big, brash role with Broadway potential.

"Millie" has nothing much on its mind, but its couple of core ideas do play. All roads lead to New York right there on David Gallo's hand-drawn front curtain and in his art-deco Salute to Manhattan set. There's also that liberation-vs.-love conflict, wonderfully presented in Mayer's yin-yang staging and Tesori's spliced-together arrangements of jazzy "moderns" tunes ("Thoroughly Modern" or "Forget About the Boy") with romantic ballads (the lovelorn "Jimmy" or kitsch romance of "I'm Falling in Love With Someone.")

Act I takes a while to get cooking. A production number at Ma Bell's speakeasy feels conventional, the kind of dance cut that needs more edge. And the first change of tone to the nefarious scheme of slave trader Mrs. Meers (veteran Pat Carroll, nicely understated) is a real clunker. Carroll builds her character slowly, peaking in a vaudevillian give-and-take with the Muzzy of Tonya Pinkins.

When the show gets hot, it stays there. As in "Speed Test." Millie takes dictation from the stalwart, square-jawed Trevor Graydon (Marc Kudisch, terrific), then types said letter in under two minutes. Scanlan's new words to "My eyes are fully open to my awful situation," the G&S patter song from "Ruddigore," get noted, repeated, typed, tapped, accelerated.

Kudisch is just as good in his Nelson Eddy mode, falling in love with Miss Dorothy (Sarah Uriarte Berry) to the strains of the "Indian Love Call" from Victor Herbert's 1935 "Naughty Marietta." The scene is way beyond camp, yet, like so much else in the show, has a crazy rightness. Not to put too fine a point upon the matter, but Kudisch's Trevor comes to represent the operetta hero who can't lighten up for musical comedy; he wears his serious suits -- bright blue and geeky green, then John Barleycorn brown -- with Boy Scout seriousness.

Berry's Miss Dorothy gets the Jeanette McDonald naivete and soaring vocal lines right, and as Millie's love Jimmy, Jim Stanek quickly rises above the Roaring '20s "lingo du jour" with which he begins.

Other strong turns come from Anne L. Nathan as the humorless steno supervisor Miss Flannery, and Pinkins as the warmhearted diva Muzzy in a blues number first off, and a tongue-in-cheek scat song with a male backup quartet dressed as an instrumental combo.

Tesori's new songs are utterly of a piece with the songs she inherited from the movie, with the period music and with the show's devil-may-care spirit. Her earlier, darker musical "Violet" showed she can write convincingly in gospel, blues and rock idioms. Here, except for the rising, blues-tinged "Gimme, Gimme" (beautiful phrased by Foster), Tesori's work is self-effacing, not the place to hear a distinctive compositional voice. If anything, the signature sound comes from Ralph Burns' just right orchestrations, banjos and all.

Scanlan, Tesori, the versatile Mayer and company have remade a musical in the spirit choreographer Mark Morris brought to his version of "The Nutcracker" as "The Hard Nut." They frame the piece with irony to expose its race and gender politics, yet treat the beloved source with knowing affection and sweet exuberance.

You'd have to be half-dead not to enjoy this show. It's got the sophistication and lack of pretense that mark an earlier era of musical theater. Yet in its energy, it feels a lot like today.

Premiere production: October 10th - December 10th, 2000 at the La Jolla Playhouse (Mandell Weiss Theatre), California. 

THOROUGHLY MODERN MILLIE (OST)

THOROUGHLY MODERN MILLIE (OST)

https://www.sendspace.com/file/3jue3p    (22 tracks)

https://www.sendspace.com/file/2hse0f    (13 tracks)

Book: Richard Morris
Lyrics: various

Cast: Julie Andrews, Carol Channing, Ann Dee, James Fox

LYRICS: THOROUGHLY MODERN MILLIE

THOROUGHLY MODERN MILLIE
LIBRETTO
https://www.sendspace.com/file/uw7088