From My Hometown

From My Hometown is the rag to riches story of three Rhythm and Blues singers, portrayed by three twenty-something triple-threats (actors/singer/dancers). These three charismatic characters grew up in the urban centers of three different American cities. Despite the turbulence of the 1960’s and zany clothing of the 1970’s, their coming of age was in hometowns where hit records were created and mass-produced. Time will call those records: Classic Soul, Classic R&B or Classic Rhythm & Blues.
Circa1980. The title song “From My Hometown” frames a sequence of goodbyes with packed bags, to an arrival in New York City. They each have their first audition at the World Famous Apollo Theatre in Harlem, USA. Interspersed with “From My Hometown,” they audition with Classic R&B songs: “Cool Jerk,” “Sweet Soul Music” and the O’Jay’s, “I Love Music.” Each is rewarded with a call back, a second and final chance to win their first New York audition. An optimistic final chorus of “From My Hometown” modulates, ending the opening, while beginning their Harlem limbo.

As they await fated callbacks on the sidewalk under the Apollo Marquee, noise of city horns and police sirens fill the air. We see a homeless man; we can imagine the uniquely unpleasant city smells, a mix of gasoline fumes, urine and stale liquor mingling with human joy, rage, will and desire. A distant gun shot sends them colliding into one another for cover. We meet them, nick-naming one another for their Classic R&B producing hometowns: “Philly,” “Memphis” and “Detroit.”

We soon learn that Philly, smooth-voiced crooner, is the most optimistic, although his obsession with a Patti La Belle album cover is a substitute for the hometown girl who has broken his heart. Memphis, a soulful baritone, is southern and diplomatic, and the most promiscuous of the three, due to fearing he’ll never be good enough for the girl back home who is from the “other side of the tracks.” Detroit, a soulfully virtuosic tenor, is the most pessimistic. Although born in the Motorcity, after his parents’ divorce, he was raised by his single Mom in Chicago and hence, takes possession of the Classic R&B of both Detroit and Chicago.

Almost immediately they quarrel over whose hometown has made the most important contributions to Classic R&B. Their argument is a “musicalized” history lesson – and during “Confrontation,” they draw a sidewalk crowd (the audience). Detroit puts a hat down on the sidewalk and they put on an impromptu performance. Detroit sings Sam Cook’s “What A Wonderful World” while Memphis and Philly find dance moves and background harmonies. Next, Philly sings Blue Magic’s “Sideshow” backed by the other two, then Memphis struts Otis Redding’s, “(Sittin’ on the) Dock of the Bay” and they finish with a rousing, “Land of a Thousand Dances.”

All three are consumed by the music they hope will help them escape hometown poverty. “I’ve Come to Get It” expresses where they’ve been, where they’re going and what they want to leave behind. Determined to break the cycle of impoverished families, From My Hometown flashes back to the Jim Crow era; Lee Dorsey’s “Working in the Coalmine” and Sam Cooke’s, “Chain Gang” are repurposed as actionable musical theatre songs, binding, yet affirming these three brown souls in their collective ancestral shameful history in America. Flashing back to present, their immediate individual needs and desires are expressed.

Detroit is too broke to make a call on a nearby payphone (that’s right, no cell phones) so when his hometown sweetheart calls, he plans to pretend that he’s not homeless; Philly is content to write music and lyrics, but he suddenly panics remembering he must get to the apartment where he is lodging to retrieve a key – or he will be homeless.

During “I’m Your Puppet” Detroit’s call never comes; Memphis has a meaningless sexual encounter with a female stranger, then lies about it, while Philly loses all of his possessions, the album cover and his book of lyrics, in a gypsy cab. In “Hold On I’m Coming,” despite all of their personal adversities, time arrives for The Callbacks. These callback auditions are heightened and hilarious as all three encounter blatant racism and disrespect – and although each performs another Classic R&B hit; they are each guilty of abandoning their dignity to try to win the job.

In the end, all three are rejected.

Heartbroken, they soulfully bewail Donny Hathaway’s “Giving Up.” They walk from Harlem to the middle of Manhattan (midtown). On the way, they reminisce of the great three-man groups that came before them, they transform into fantasy and perform as “The Impressions,” “The Chi-Lites,” “The O’Jays,” and “The Isley Brothers.” When they arrive at New York City Port Authority on 42nd Street (among hookers, pimps and drug dealers), they contemplate giving up and going home. When the idea of forming a group is presented, a verbal insult creates more conflict – but this time it reaches a physical fight. They each go their separate ways (“Ooh Child”). A montage shows time passing; world events, U.S. Presidents changing, one of them has a death in a family, we see Philly and Memphis unsuccessfully team up as a duo – and Detroit succumbs to actual homelessness – finally we witness a chance reconnecting – and finally forgiveness. A decade later, having become the award winning three-man group, “Unity,” Philly, Memphis and Detroit perform their own hit anthem “I Want You To Stand By Me,” at the Apollo. In a full out concert, we learn they have finally attained success in the music business – and won the hearts of their sweethearts – as they take us on a trip-down-memory-lane live-at the-Apollo style.

• Cast Size: Three Young Men of Color
• Cast Type: Ensemble Cast
• Dancing, Acting, Singing, Harmonizing Requirements: Exceptional

Philly

A nerdy singer-songwriter of color from Philadelphia, who pretends his crush on Patti Labelle is sustains him, but actually his hometown sweetheart has broken his heart. He has a smooth soulful baritone and can riff if needed. 

Gender: Male

Age: 21 – 35

Vocal Range top: B4

Detroit

A street-tough tenor Chicago, by Way of Detroit tenor of color who appears the most confident but he too has been tragically heartbroken and must fall the greatest to be redeemed.

Gender: Male

Age: 21 – 35

Vocal Range top: C4

Memphis

A Country African American Bass-Baritone from Memphis, Tennessee who’s charisma makes him the ladies man, but there’s a special lady back home from across the tracks that he never felt he was good enough for.

Gender: Male

Age: 21 – 35

Vocal Range bottom: Low C

Featuring 24 Classic Soul Hits:

8 Original Songs and 24 Classic Soul Hits from Iconic Artists, such as:

Jackie Wilson, Otis Redding, James Brown,

Billy Paul, The Isley Brothers, Lou Rawls, The Impressions,

The Chilites, Sam and Dave, Lee Dorsey,

Rufus Thomas, Donny Hathaway, The O’Jays…and more!

Classic R&B Hit Songs Include:

“I Feel Good” “(Sitting On) The Dock of the Bay”

“What A Wonderful World” “Chain Gang”

“Working In The Coalmine” “Hold On I’m Coming”

“Me and Mrs. Jones” “I’m Your “Puppet” “Oh Girl”

“It’s Alright” “Giving Up” “Tobacco Road”

…And Other Soulful Songs

From The American Soundtrack

FROM MY HOMETOWN: FROM MY HOMETOWN
FROM MY HOMETOWN: I LOVE MUSIC
FROM MY HOMETOWN: COOL JERK
FROM MY HOMETOWN: SWEET SOUL MUSIC
FROM MY HOMETOWN: BONE DRY
FROM MY HOMETOWN: CONFRONTATION
FROM MY HOMETOWN: LAND OF A THOUSAND DANCES
FROM MY HOMETOWN: (WHAT) A WONDERFUL WORLD
FROM MY HOMETOWN: SIDESHOW
FROM MY HOMETOWN: SITTIN ON THE DOCK OF THE BAY
FROM MY HOMETOWN: WORKING ON A COAL MINE
FROM MY HOMETOWN: CHAIN GANG
FROM MY HOMETOWN: COME TO ME FOR LOVE
FROM MY HOMETOWN: GIVE ME JUST A LITTLE MORE TIME
FROM MY HOMETOWN: I’VE COME TO GET IT (WHAT IS “IT”)
FROM MY HOMETOWN: OH GIRL
FROM MY HOMETOWN: WALKING THE DOG
FROM MY HOMETOWN: I’M YOUR PUPPET
FROM MY HOMETOWN: HOLD ON, I’M COMING
FROM MY HOMETOWN: I FEEL GOOD (I GOT YOU)
FROM MY HOMETOWN: LONELY TEARDROPS
FROM MY HOMETOWN: SUNNY
FROM MY HOMETOWN: TRY A LITTLE TENDERNESS
FROM MY HOMETOWN: ME & MRS. JONES
FROM MY HOMETOWN: GIVING UP
FROM MY HOMETOWN: TOBACCO ROAD
FROM MY HOMETOWN: THREE MAN GROUPS
FROM MY HOMETOWN: IT’S ALRIGHT
FROM MY HOMETOWN: HAVE YOU SEEN HER?
FROM MY HOMETOWN: WHO’S THAT LADY?
FROM MY HOMETOWN: OOH CHILD
FROM MY HOMETOWN: I WANT YOU TO STAND BY ME

For publications archiving the historic R&B Musical, From My Hometown:

Theatre World: 2003-2004. Vol. 60 edited by John Willis

Off Broadway Musicals, 1910-2007: Casts, Credits, Songs, Critical Reception

Black Theatre in Texas By Jack and Doris Smothers Series in Texas History

From My Hometown creator Lee Summers (Dreamgirls) heard the sounds of three African American males singing glorious doo-wop in three-part harmony out side of his upper West Side apartment in 1995. He pondered on what those three men’s dreams might have been and/or what their struggles might be and had they left from their hometowns to pursue musical dreams as he himself had done. The idea was born. Summers would perform the role of “Memphis” (his hometown is Nashville); he penned the title song (“From My Hometown”) and crafted it to lure his co stars, Philadelphian Ty Stephens to play “Philly” (Sophisticated Ladies) and Detroits’ Herbert Rawlings, Jr. (Porgy and Bess) to play “Detroit” – along with other Broadway pals to create From My Hometown which began at LaPlace – a now defunct midtown cabaret room which boasted that Billie Holiday had graced its’ stagd in a bygone era. Kevin Ramsey (The Life and Five Guys Named Moe) would direct and co-choreograph with Leslie Dockery (Eubie) while Robert Fowler (The Producers) would serve as associate choreographer. Will Barrow was the first musical director, a role later fulfilled by Jo Lynn Burks (Smokey Joes Café), AMAS musical theatre partnered as a non-profit umbrella to produce From My Hometown at the Kirk Theatre on 42nd Street. Summers garnered support from his former Dreamgirls landlord, Gerald Schoenfeld of the Shubert organization so as first time producers, Summers and friend/associate Ben Blake set out to produce the developmental production. After a triumphant limited run, a year later with Summers as lead producer, with Broadway veteran producer Leonard Soloway and Steven Levy as associate producers, From My Hometown transferred commercially to the Gramercy Theatre and has had numerous regional productions since.

Requirements

The following acknowledgement shall appear on the table program flyers and on publicity materials distributed in connection with performances of the Play. Said billing shall be in a type size no less than 50% (fifty percent) of that of the title, and will appear on a single line right below title.  Billing shall be in substantially the following form: 

From My Hometown

(100%)

Conceived by Lee Summers

(60%)

Written by Lee Summers, Ty Stephens & Herbert Rawlings, Jr.

(50%)

Such billing shall also appear wherever and whenever the name of the Play appears in all advertising issued by, authorized by, or under the control of the Producer. It is understood that under no circumstances may the director, designers, the acting company, or other creative personnel receive any larger billing, except n the case of minimum single-column or directory-type ads, in which the above billing may or may not be used, at the discretion of the Producer.  Additionally, the individuals billed as set forth above shall be entitled to a bio in all programs whenever any other party is entitled to same, subject to space limitations no more onerous than to which any other party is subject.  No inadvertent failure to comply with the provisions of the above shall constitute a default under the terms of this Agreement, provided, however, that the Producer shall rectify the failure as soon as practicable upon receiving notice from the Author.

ADDITIONAL TITLE PAGE AND BILLING:

Furthermore, you agree to include clear and prominent credit on the title page of all programs and in all publicity wherever and whenever the full production credits are given, in a type size not less that 25% of the type size used for the non-logo title of the Play substantially as follows: 

Musical Arrangements and scoring by Will Barrow and Jo Lynn Burks

Song Arrangements by Jo Lynn Burks and Lee Summers

Vocal, Arrangements, Dance Arrangements and Piano/Vocal Score Arrangements 

by Jo Lynn Burks

Original Direction by Kevin Ramsey

Original Co-Choreography by Kevin Ramsey and Leslie Dockery

Associate Choreography by Robert H. Fowler

Originally Produced Off Broadway by

Ben Blake, Lee Summers, AMAS Musical Theatre

Leonard Soloway, Steven Levy

SHORTENED BILLING: 

In advertisements of ¼ page size or less where only the title of the play, performance dates and venue are provided, the following “shortened billing” is permissible.

From My Hometown

Music Publishing Credits:

In addition to the above billing, you agree t include the following musical compositions credits on or appurtenant to the “Staff Credit Page” of the program for all licensed productions of the Play.

“FROM MY HOMETOWN”

(LEE SUMMERS)

MARYTIME MUSIC PUBLISHING COMPANY

ALL RIGHTS RESERVED. USED BY PERMISSION.

I LOVE MUSIC (KENNETH GAMBLE AND LEON HUFF)

WARNER-TAMERLANE PUB. CORP.

UNDER LICENSE FROM WARNER-CHAPPELL MUSIC

“COOL JERK “

(DONALD STORBALL

T/Q MUSIC, INC. D/B/A TRIO MUSIC COMPANY (BMI)

“SWEET SOUL MUSIC”

WRITTEN BY SAM COOKE

WITH ADDITIONAL MATERIAL BY OTIS REDDING AND ARTHUR CONLEY

PUBLISHED BY ABKCO MUSIC, INC.

WWW.ABKCO.COM

“BONE DRY”

(LEE SUMMERS)

MARYTIME MUSIC PUBLISHING COMPANY

ALL RIGHTS RESERVED. USED BY PERMISSION.

“CONFRONTATION”

(LEE SUMMERS)

MARYTIME MUSIC PUBLISHING COMPANY

ALL RIGHTS RESERVED. USED BY PERMISSION.

“LAND OF THOUSAND DANCES”

(CHRIS KENNER)

ALL RIGHTS ON BEHALF OF EMI LONGITUDE MUSIC

“(WHAT A) WONDERFUL WORLD”

WRITTEN BY SAM COOKE HERB ALPERT, AND LOU ADLER

PUBLISHED BY ABKCO MUSIC, INC.

WWW.ABKCO.COM

“SIDESHOW”

(VINNIE BARRETT AND BOBBY ELI)

(POO POO MUSIC (BMI), WARNER-TAMERLANE PUBLISHING CORP.

(BMI), SIX STRINGS MUSIC (BMI) AND ZELLA MUSIC (BMI)

ALL RIGHTS ON BEHALF OF POO POO MUSIC AND ITSELF ADMINISTERED

BY WARNER-TAMERLANE PUBLISHING CORP.

ALL RIGHTS RESERVED. USED BY PERMISSION.

“(SITTIN’ ON) THE DOCK OF THE BAY”

WORDS AND MUSIC BY STEPHEN LEE CROPPER, OTIS REDDING

(C) IRVING MUSIC, INC. (BMI) / 100.000% INTEREST THROUGHOUT THE WORLD

“WORKING IN A COAL MINE”

(ALLEN TOUSSAINT)

ALL RIGHTS ON BEHALF OF SCREEN GEMS-EMI MUSIC

“CHAIN GANG”

WRITTEN BY SAM COOKE

PUBLISHED BY ABKCO MUSIC, INC.

WWW.ABKCO.COM

“COME TO ME FOR LOVE”

(LEE SUMMERS)

MARYTIME MUSIC PUBLISHING COMPANY

ALL RIGHTS RESERVED. USED BY PERMISSION.

“GIVE ME JUST A LITTLE MORE TIME”

WORDS AND MUSIC BY RONALD DUNBAR, EDYTHE WAYNE

(C) SONGS OF UNIVERSAL, INC. (BMI) / 100.000% INTEREST THROUGHOUT THE WORLD

“I’VE COME TO GET IT (WHAT IS “IT”)”

(TY STEPHENS)

COURTESY OF TYSONGS MUSIC PUB. CO.

“OH GIRL”

(EUGENE RECORD)

UNICHAPPELL MUSIC INC. (BMI)

ALL RIGHTS RESERVED. USED BY PERMISSION.

“WALKIN’ THE DOG”

WORDS AND MUSIC BY RUFUS THOMAS

(C) ALMO MUSIC CORP. (ASCAP) / 100.000% INTEREST THROUGHOUT THE WORLD

“I’M YOUR PUPPET”

(DAN PEEN AND SPOONER OLDHAM)

SCREEN GEMS-EMI MUSIC

ALL RIGHTS ON BEHALF OF EMI MUSIC PUBLISHING

“HOLD ON I’M COMIN’”

(ISAAC HAYES, DAVID PORTER)

WARNER/CHAPPELL MUSIC, INC (C) IRVING MUSIC, INC.

ALL RIGHTS RESERVED. USED BY PERMISSION.

“I FEEL GOOD (I GOT YOU)”

(JAMES BROWN)

USED UNDER PERMISSION OF FORT KNOX MUSIC INC.

“LONELY TEARDROPS”

BILLY DAVIS, BERRY GORDY, GWEN GORDY

ALL RIGHTS ON BEHALF OF EMI AND THIRD ABOVE MUSIC

SUNNY

(BOBBY HEBB)

COURTESY OF BMG MUSIC PUBLISHING

TRY A LITTLE TENDERNESS

(JIMMY CAMPBELL, REG CONNELLY AND HARRY M. WOODS)

COURTESY OF EMI MUSIC PUBLISHING

“ME AND MRS. JONES”

(KENNY GAMBLE, CARY GRANT GILBERT AND LEON HUFF)

WARNER-TAMERLANE PUBLISHING CORP. (BMI)

ALL RIGHTS RESERVED. USED BY PERMISSION.

“GIVING UP”

(VAN MCCOY)

MCCOY MUSIC AND BUG MUSIC

ALL RIGHTS RESERVED. USED BY PERMISSION.

“TOBACCO ROAD”

WORDS AND MUSIC BY JOHN D. LOUDERMILK

(C) UNIVERSAL – CEDARWOOD PUBLISHING (BMI) / 100.000% INTEREST THROUGHOUT THE WORLD

“THREE MAN GROUPS”

LEE SUMMERS, TY STEPHENS, & WILL BARROW

COURTESY OF
MARYTIME, TYSONGS & WILL BARROW MUSIC

“IT’S ALL RIGHT”

(CURTIS MAYFIELD)

WARNER-TAMERLANE PUBLISHING CORP. (BMI)

ALL RIGHTS RESERVED. USED BY PERMISSION.

THAT LADY PART ONE

(O’KELLY ISLEY, RONALD ISLEY, RUDOLPH ISLEY)

COURTESY OF EMI MUSIC PUBLISHING

“”HAVE YOU SEEN HER”

(EUGENE RECORD AND BARBARA ACKLIN)

UNICHAPPELL MUSIC INC.

ALL RIGHTS RESERVED. USED BY PERMISSION.

“OOH CHILD”

(STAN VINCENT)

ALL RIGHTS ON BEHALF OF EMI UNART CATALOG INC.

“I WANT YOU TO STAND BY ME (UNITY’S THEME)”

(LEE SUMMERS, TY STEPHENS)
COURTESY OF MARYTIME & TYSONGS PUBLISHING

Butterfly Theatricals Billing
In accordance with the Dramatic Performing Rights License, all publicity materials (posters, programs, etc.) MUST include the following credit: 

From My Hometown    

Is presented through special arrangement with Butterfly Theatricals (BT)

All authorized performance materials are also supplied by BT.

  www.Leesummersshows.com 

The videotaping or other video or audio recording of this production is strictly prohibited.

Included Materials

Item                                                                                                                         Quantity Included

KEYBOARD – CONDUCTOR SCORE                                                                      2

LIBRETTO/VOCAL BOOK                                                                                       10

Production Resources

REFERENCE RECORDINGS

STANDARD ORCHESTRATION

Instrumentation Doubling

BASS      ELECTRIC BASS

DRUMS COWBELL, DRUMKIT, SKAKER, WINDCHIMES, WOOD BLOCK

GUITAR  ACOUSTIC GUITAR, ELECTRIC GUITAR, NYLON ACOUSTIC ROCK GUITAR

KEYBOARD/SYNTH   ORGAN, HORN SECTION, STRINGS

Butterfly Theatricals LLC – Copyright 2020