Ann Morrison, Lonny Price & Jim Walton headlined the original Broadway cast of Merrily We Roll Along, each bringing their own fresh energy and vocal talent to Sondheim’s score.
Jim Walton replaced James Weissenbach, making his Broadway debut as Franklin Shepard, and impressed audiences with his clear tenor and genuine expressiveness, launching a steady career in musical theatre.
Ann Morrison charmed critics and fans as Mary Flynn, earning praise for her passionate and heartfelt singing and her ability to convey both wit and vulnerability.
Lonny Price, as Charley Kringas, delivered comedic and emotional songs with energetic clarity, later becoming a respected director but first building acclaim for his sincere and vibrant vocal work on stage.
About the Musical
Merrily We Roll Along is a Broadway musical by Stephen Sondheim that tells the story of friendship, dreams, and the bittersweet passage of time.
It follows the lives of three friends backwards in time, from adulthood to youthful hope, highlighting ambition, choices, and lasting bonds.
Known for its moving songs and clever storytelling, the show displays how time shapes us and the value of chasing our dreams, even as life takes unexpected turns.
| Detail | Information |
|---|---|
| Released | March 1, 1982 |
| Album | Merrily We Roll Along (New Broadway Cast Recording) |
| Writers | Stephen Sondheim (music, lyrics) & George Furth (Book) |
| Producers | Jay David Saks & Thomas Z. Shepard |
1. Hills of Tomorrow
A hopeful and optimistic opening number reflecting the youthful ambition and limitless possibilities of the main characters. It sets an energetic tone, emphasizing the bright future that the friends envision for themselves.
The song introduces the main themes of dreams and the passage of time that run throughout the show.
Performed by: The Company (ensemble cast)
Hills of Tomorrow Lyrics
STUDENTS
Behold the hills of tomorrow!
Behold the limitless sky!
Fling wide the gates
To a world that waits!
As our journey starts,
Behold! Our hearts
Are high!
Beyond the hills of tomorrow
Are skies more beautiful still!
Behold! Begin!
There are worlds to win!
May we come to trust
The dreams we must
Fulfill!
VALEDICTORIAN
Now, it is my privilege to introduce our distinguished alumnus who wrote that song here 25 years ago, the great songwriter and film producer, Mr. Franklin Shepard.
(Applause as the speaker enters.)
FRANK (Older)
I am Franklin Shepard, and I also was my class valedictorian here 25 long years ago.
Are these kids swell?
We don’t have to wonder what happened to the world’s ideals any more.
This gang behind me has taken them all.
So, would I be hanged if I told you young innocents a few realities?
I can save you guys so much pain and hurt if I can make you understand today that life isn’t about doing the best; it’s about doing the best you can.
FRANK (Younger)
No, it isn’t. It’s doing the best.
FRANK (Older)
A goal is something you aim for more than something you achieve.
A STUDENT
It’s the old “tell it like it is” speech.
FRANK (Older)
I’m thinking you better start by hearing the word “practical,” right here, right now, today.
A STUDENT
Where’s the exit?
FRANK (Older)
Some day I guarantee you’ll know the word “practical” very well.
A STUDENT
Wow.
FRANK (Older)
Fate has a way of introducing us to “practical” eventually.
A STUDENT
Give us a break, Mr. Shepard.
FRANK (Older)
And it’s the same with the word “compromise.”
A STUDENT
Compromise? I haven’t even started.
2. Merrily We Roll Along (1980)
The title song captures the bittersweet tone of looking back on the past as the story unfolds in reverse chronology.
It gives a sense of nostalgia and irony, reminding the audience that time moves forward even as the narrative moves backward.
Performed by: The Company (ensemble cast)
Merrily We Roll Along (1980) Lyrics
CLAUDIA
Yesterday is done
See the pretty countryside
JEROME
Merrily we roll along, roll along
Bursting with dreams
KT
Traveling’s the fun
BUNKER
Flashing by the countryside
MEG
Everybody merrily
BUNKER
Merrily
GROUP I
Catching at dreams
Rolling along…
Rolling along…
Rolling along…
GROUP II
And before you know where you are
There you are
GROUP I
Time goes by
And hopes go dry
But you still can try
For your dream
MEG
Tend your dream…
GROUP II
How does it happen?
TYLER
Dreams take time…
GROUP II
Once it was all so clear
BUNKER
Time goes by…
GROUP II
How can you get so far off the track?
Why don’t you turn around and go back?
SCOTTY
Bend your dream…
GROUP II
How does it happen?
Where is the moment?
GROUP I
With the road…
GROUP II
How can you miss it?
Isn’t it clear?
How can you let it slip out of gear?
How did you ever get there from here?
GROUP I
You roll
GROUP II
How does it happen?
GROUP I
You just roll
GROUP II
Once it was all so clear
GROUP III
Isn’t it always clear?
GROUP I
Everybody roll…
GROUP II
How does it start to go?
GROUPS II & III
Does it slip away slow
ENSEMBLE
So you never even notice it’s happening?
CHARLEY
How did you get to be here?
ENSEMBLE
What was the moment?
MARY
How did you get to be here?
MARY & CHARLEY
Pick yourself a road
Get to know the countryside
Soon enough you’re merrily
ALL
Merrily
Practicing dreams
Dreams that will explode
Waking up the countryside
Making you feel merrily, merrily
What can go wrong
Rolling along?
GROUP I
Some roads are soft
And some are bumpy
Some roads you really fly
ENSEMBLE
Some rides are rough
And leave you jumpy
Why make it tough
By getting grumpy?
Plenty of roads to try
GROUP I, GROUP II
One trip (Some roads are soft)
All you get (And some are bumpy)
Is one quick ride (Some roads you really fly)
Look around a bit
One quick ride (Some roads are rough and leave you jumpy)
Through the countryside (Why make it tough by getting grumpy?)
Stay on the track (Plenty of roads to try)
Never look back (Some roads you really fly)
ALL
Never look back
Never look back
Never look back!
Never look back!
Never look—
How did you get to be here?
What was the moment?
How did you get to be here?
Bending with the road
Gliding through the countryside
Merrily we roll along
Roll along
Catching at dreams
Dreams that will explode
Waking up the countryside
Everybody merrily, merrily
Sing ’em your song
Rolling along!
Rolling along!
Rolling along!
3. Rich and Happy
Sung by Franklin & the guests, this upbeat song expresses their aspirations for fame and personal success, despite underlying tensions.
It highlights their youthful optimism and the contrasting realities they will later face.
Performed by: Jim Walton (Franklin Shepard) and Guests
Rich and Happy Lyrics
TERRY
So we bought this little condominium?
KATE
So we found this little Chinese gardener?
JEROME
It’s a clear case of studio politics?
PHOTOGRAPHER
We were stuck on the freeway till half past six?
FOUR GUESTS (individually)
Great?
Smog?
Points?
(A hefty snort of cocaine.)
ALL
Party!
FRANK
Life is swinging,
Skies are blue and bells are ringing.
Every day I wake up singing,
“Look at me, I’m rich and happy!”
Days are sunny,
Working hard for lots of money,
Filled with people smart and funny,
Filled with people rich and happy.
Who says, “Lonely at the top”?
I say, “Let it never stop!”
It’s my time coming through,
All my dreams are coming true:
Gorgeous house, gorgeous wife,
Who wants any more from life?
Skies are beaming,
Future bright and prospects gleaming.
Best of all, I don’t stop dreaming
Just because I’m rich
And famous
And therefore
Happy, too!
ALL
Party!
GUEST
Well, you must admit the movie’s terrible?
ANOTHER GUEST
I imagine Frank is feeling terrible?
MARY
These are the movers,
These are the shapers,
These are the people
That fill the papers.
ALL
Terrible?
MARY
These are the friends of Frank?
ALL
Wasn’t it just terrible?
MARY
They all have Frank to thank.
ALL
When you see a movie that bad,
What on earth can you say?
(to Frank)
Congratulations!
FRANK
Thanks.
MARY
These are the movers,
These are the shapers,
These are the people
That give you vapors?
FRANK
Twenty years ago who’d have guessed,
Who’d have guessed
I’d be standing here,
Playing host to the very best,
All the powers that be?
ALL
Terrible?
FRANK
Everybody I see?
ALL
Wasn’t it just?
FRANK
And look who’s one of them — me!
GROUP I
Terrible?
GROUP II
Beautiful, Frank!
(to each other)
Wasn’t it just terrible?
GROUP I
Beautiful, Frank!
ALL
When a movie’s that bad,
What on earth can anyone say?
ALL (except Mary)
Party!
Life is swinging,
Skies are blue and bells are ringing.
Every day I wake up singing,
“Look at me, I’m rich and happy!”
Days go zipping,
Sitting by the pool and tripping.
MARY
Everybody’s flip or flipping.
Everybody’s rich—
ALL
And happy!
FRANK
Who says all our dreams get burned?
Every bit of this was earned.
It’s our time coming through?
All our dreams coming true!
All our days full of beans,
ALL
This must be what happy means!
Skies are beaming,
Future bright and prospects gleaming!
Best of all, we don’t stop dreaming
Just because we’re rich
FRANK
And famous
ALL
And suntanned
FRANK
And influential
ALL
And on the covers of magazines
And in the columns and on the screens
And giving interviews,
Being photographed,
Making all the important sense,
And—
At the parties cutting capers,
And on the talk shows and in the papers
And unbelievably
Happy, too!
4. Old Friends/Like It Was
A poignant duet reflecting the nostalgia and complexity of adult relationships between Franklin and Charley.
It captures moments of tension, regret, and longing for simpler times, showing the cracks in their friendship.
Performed by: Ann Morrison (Mary Flynn) and Lonny Price (Charley Kringas)
Old Friends/Like It Was Lyrics
COMPANY
Yesterday is gone
See the pretty countryside
Merrily we roll along, roll along
Following dreams
Traveling’s the fun
Flashing by the countryside
Everybody merrily, merrily…
1975…
MARY
Hey, old friend
What do you say, old friend?
Make it okay, old friend
Give an old friendship a break
Why so grim?
We’re going on forever
You, me, him
Too many lives are at stake
Friends this long
Has to mean something’s strong
So if your old friend’s wrong
Shouldn’t an old friend come through?
It’s us, old friend—
What’s to discuss, old friend?
Here’s to us
Who’s like us—?
CHARLEY
Damn few
MARY
Charley
Why can’t it be like it was?
I liked it the way that it was
Charley
You and me, we were nicer then
We were nice
Kids and cities and trees were nice
Everything…
I don’t know who we are anymore
And I’m starting not to care
Look at us, Charley
Nothing’s the way that it was
I want it the way that it was
Help me stop remembering then
Don’t you remember?
It was good, it was really good
Help me out, Charley
Make it like it was
MARY (spoken)
It was better, Charley
We both know it
CHARLEY (spoken)
But we’re not the three of us anymore
Now we’re one and one and one
MARY
Charley
Nothing’s the way that it was
I want it the way that it was
God knows, things were easier then
Trouble is, Charley
That’s what everyone does:
Blames the way it is
On the way it was
On the way it never ever was…
5. Franklin Shepard, Inc.
This song showcases Franklin’s venture into the business of producing and the tension between artistic integrity and commercial success.
It juxtaposes ambition with the sacrifices made for fame and financial gain. The use of a corporate-sounding motif highlights the commodification of art and friendship.
Performed by: Jim Walton (Franklin Shepard) and Company
Franklin Shepard, Inc. Lyrics
FIRST SOLOIST
How did you get here from there, Mr. Shepard?
SECOND SOLOIST
If you look back, you can see
THIRD SOLOIST
Which is the moment and where, Mr. Shepard?
ALL THREE SOLOISTS
1973…
TALK SHOW HOST (spoken)
I know our audience would love to hear how you two work together
CHARLEY (spoken)
Sure
He goes—
Mimes playing an arpeggio.
CHARLEY
And I go—
Mimes typing.
CHARLEY
And soon we’re humming along—
Hmm-hmm-hmm
And that’s called writing a song—
Hmm-hmm-hmm
Then he goes—
Mimes another arpeggio.
CHARLEY
And I go—
Types.
And the phone goes—
Drrrring!
And he goes—
“Mutter mutter mutter mutter yes, Jerome
Mutter no, Jerome
Mutter mutter mutter mutter—”
That’s his lawyer, Jerome—
“Mutter mutter mutter mutter mutter do it, Jerome”
Click
“Sorry, Charley…”
So I go—
Types.
And he goes—
Arpeggio.
And I go—
Types.
And soon we’re tapping away—
Hmm-hmm-hmm
Bzzz!
“Sorry, Charley…”
Bzzz!
It’s the secretary—
Bzzz!
On the intercom—
“Yes, Miss Bzzz…”
“It’s a messenger”
“Thanks, Miss Bzzz
Will you tell him to wait?
Will you order the car?
Will you call up the bank?
Will you wire the coast?
Will you—”
Drrrrrring!
“Sorry, Charley…
Mutter mutter mutter mutter
Sell the stock
Mutter buy the rights
Mutter mutter mutter mutter mutter—”… “Let me put you on hold…”
“Yes, Miss Bzzz…”
“It’s the interview…”
“Thanks, Miss Bizz
Will you tell him to wait?
Will you wire the car?
Will you order the coast?
Will you send up the bank?”
And the telephones blink
And the stocks get sold
And the rest of us, he keeps on “hold”
And he’s gonna start producing
And he’s now a corporation
Right?
And I play at home
With my wife and kids
And I wait to hear the movie bids
And I’ve got a little sailboat
And I’m into meditation
Right?
He flies off to California
I discuss him with my shrink
That’s the story of the way we work
Me and Franklin Shepard, Inc.
TALK SHOW HOST (spoken)
Oh
Well, when you do work together, which comes first generally—
The words or the music?
CHARLEY (spoken)
Generally, the contract
TALK SHOW HOST (spoken)
It sounds like you think making money is a bad thing for an artist
CHARLEY (spoken)
Money?
Did I say money?
CHARLEY
No, I like money a lot—
Hmm-hmm-hmm
I mean it’s better than not—
Hmm-hmm-hmm
CHARLEY
But when it’s—
Money—
Money—
When you’re into—
Money!
And you should be—
Arpeggio.
CHARLEY (spoken)
Listen, he does the money thing very well, but you know what?
Other people do it better
And he does the music thing very well
And you know what?
No one does it better
CHARLEY
Still the telephones blink
And the buzzers buzz
And I really don’t know what he does
But he makes a ton of money
And a lot of it for me—
Right?
So I think “Okay”
And I start a play
And he somehow knows
‘Cause right away
It’s drrrring!
“Hiya, buddy
Wanna write a show?
Got a great idea
We’ll own all the rights
With a two-week out
And a turnaround
On the guarantee
Plus a gross percent
Of the billing clause—”
And there I am in California
Talking deals and turning pink
Back in business and I mean just that
Back with Franklin Shepard, Inc.
Very sneaky how it happens
Much more sneaky than you think
Start with nothing but a song to sing
Next you’re Franklin Shepard—
CHARLEY (spoken)
Wait, could we wait a minute here ’cause I’m getting in too deep
The thing is, see, we’re not that kind of close anymore
The way we used to be
And a friendship’s like a garden
You have to water it, and tend it, and care about it
And you know what?
I want it back
Look—
CHARLEY
Nothing permanent has happened
Just a temporary kink
Friendship’s something you don’t really lose…
…Very sneaky how it happens
Every day you’re on the brink
First the prizes, then the interviews—
Looks around, realizing where he is.
Oh, my God, I think it’s happened!
Stop me quick before I sink
One more triumph that I can’t refuse—
CHARLEY (spoken)
In case you didn’t notice, this is my first time on TV—and my last
CHARLEY
No, here’s the point, whatever happens
Then we’ll all go get a drink
That’s the guy I love, the fella who’s
Inside
“Mutter mutter mutter mutter quick, Jerome
Get the President
There’s a crazy man
On my TV screen!”
Inside—
Bzzz! Bzzz! Drrring!
Inside
Franklin Shepard—
Just write him care of Any Bank, U.S.A.—
Inc.
6. Old Friends
Revisited later in the show, this reprise reflects on the changes and distance between the friends, underscoring themes of lost camaraderie.
It marks a turning point where nostalgia becomes tinged with bitterness and disappointment.
Performed by: Jim Walton (Franklin Shepard), Lonny Price (Charley Kringas), and Ann Morrison (Mary Flynn)
Old Friends Lyrics
MARY
Here’s to us—
FRANK
Who’s like us?
CHARLEY
Damn few
FRANK
Hey, old friend
Are you okay, old friend?
Whaddaya say, old friend?
Are we or are we unique?
Time goes by
Everything else keeps changing
You and I
We get continued next week
Most friends fade
Or they don’t make the grade
New ones are quickly made
And in a pinch, sure, they’ll do
But us, old friend
What’s to discuss, old friend?
Here’s to us—
Who’s like us?
Damn few!
CHARLEY
So, old friends
Fill me in slow, old friend—
Start from hello, old friend
I want the when, where, and how
Old friends
Do tend to become old habit—
Never knew
How much I missed you till now
FRANK, CHARLEY & MARY
Most friends fade
Or they don’t make the grade
New ones are quickly made
Some of them worth something, too
But us, old friends—
What’s to discuss, old friends?
FRANK
Tell you somethin’:
Good friends point out your lies
Whereas old friends live and let live
MARY
Good friends like and advise
Whereas old friends love and forgive
FRANK
And old friends let you go your own way—
CHARLEY
Help you find your own way—
MARY
Let you off when you’re wrong—
FRANK
If you’re wrong—
CHARLEY
When you’re wrong—
MARY
Right or wrong, the point is:
Old friends shouldn’t care if you’re wrong
FRANK
Should, but not for too long
CHARLEY
What’s too long?
FRANK
If you’re wrong!
CHARLEY
When you’re wrong!
MARY
The thing is:
Old friends do leave their brands on you
But old friends shouldn’t compete
FRANK
Old friends don’t make demands on you—
CHARLEY
Should make demands on you—
FRANK
Well, don’t make demands you can’t meet
CHARLEY
Well, what’s the
Point of demands you can meet?
MARY
Well, there’s a time for demands
Whether you meet them or not—
They squabble.
FRANK, CHARLEY & MARY
Hey, old friends
How do we stay old friends?
Who is to say, old friends
How an old friendship survives?
One day chums
Having a laugh a minute
One day comes
And they’re a part of your lives
New friends pour
Through the revolving door
Maybe there’s one that’s more
If you find one, that’ll do
But us, old friends
What’s to discuss, old friends?
Here’s to us
Who’s like us?
Two old friends—
Fewer won’t do, old friends—
Gotta have two old friends
Helping you balance along
One upbraids you
For your faults and fancies
One persuades you
That the other one’s wrong
Most friends fade
Or they don’t make the grade
New ones are quickly made
Perfect as long as they’re new
But us, old friends
What’s to discuss, old friends?
Here’s to us!
Who’s like us?
Damn few!
7. Now You Know
Franklin’s energetic declaration about the realities of his choices and the consequences they bring. The song confronts the challenges of adulthood and the tension between ideals and reality.
Its pace and attitude convey both defiance and a sense of resignation to the harsh truths of life.
Performed by: Ann Morrison (Mary Flynn) and Company
Now You Know Lyrics
JOE
So we’ll do a new show
So you’ll meet a new dame
So you’ll take some time for personal pleasure
CHARLEY
There gotta be endings
Or there wouldn’t be beginnings—
Right?
LES
You got talent to blow
And you’re making a name
And that song you wrote’s a national treasure
TED & JEROME
You’re looking at losses
When you should be counting winnings
JOE, LES, CHARLEY & TED
Right!
CHARLEY
Best thing that ever could have happened—
FRANK (spoken)
Right.
ALEX
So you’ll get a new flat
And you’ll have a few flings
Start a whole new life and learn to adore it
KATE
If you want to have weddings
Then you gotta have divorces—
No?
TERRY
Though it’s sad and all that
You get over these things
And you come out somehow better for it
JEROME
Just because you change horses
Doesn’t mean you’re changing courses
MARY
Right!
JEROME
Best thing that ever could have happened—
I say best thing that ever could have happened—
TERRY
Best thing that ever could have happened—
ALEX
One more thing not to think about—
TED
It was all getting much too complicated—
FRANK (spoken)
Right!
MARY
All right, now you know
Life is crummy
Well, now you know
Okay, big surprise
People love you and tell you lies
Bricks can fall out of clear blue skies
Put your dimple down
Now you know
Okay, there you go—
Learn to live with it
Now you know… It’s called flowers wilt
It’s called apples rot
It’s called thieves get rich and saints get shot
It’s called God don’t answer prayers a lot
Okay, now you know
Okay, now you know
Now forget it
Don’t fall apart at the seams
It’s called letting go your illusions
And don’t confuse them with dreams
Yes sir, quite a blow
Don’t regret it
And don’t let’s go to extremes
It’s called what’s your choice?
It’s called count to ten
It’s called burn your bridges, start again
You should burn them every now and then
Or you’ll never grow!
Because now you grow
That’s the killer is
Now you grow
You’re right, nothing’s fair
And it’s all a plot
And tomorrow doesn’t look so hot—
Right, you better look at what you’ve got
Over here, hello?
Okay, now you know
Right?
TERRY
It’s a month at the most—
LES
Sure, you’ll spin a few wheels—
ALEX
But you don’t look back—
KATE
Just leave all the pieces
GROUP I
When you haven’t got one choice
Might as well enjoy the other
GROUP II
Right!
TERRY
You’ll come out to the coast—
JEROME
We can set a few deals
And I’m talking strictly major releases
GROUP II
An exit from one place
Is an entrance to another
GROUP I
Right!
CHARLEY
Best thing that ever could have—
MARY
I mean, socks have holes
I mean, roads have bumps
They make meatheads champs and nice guys chumps
CHARLEY
—Happened!
MARY
I mean, even Cream of Wheat has lumps!
COMPANY
Best thing that ever could have happened—
It was all getting much too complicated anyhow–
Best thing that ever could have happened!
FRANK
Right, we’ll do a new show—!
No, we’ll do a whole batch!
When it’s over with, I’ll cut the connection—
You gotta have endings
Or there wouldn’t be beginnings!
COMPANY
Right!
CHARLEY
When you’re flattened this low
And you’re starting from scratch
You can only go in one direction!
MARY & CHARLEY
‘Cause the side’s retired
But there still are lots of innings
Right?
GROUP I
Best thing that ever could have happened—
Best thing that ever could have happened—
I say, best thing that ever could have happened—!
I say, best thing that ever could have happened—!
It’s your time
Your time
GROUP II
Yesterday is done
See the pretty countryside
Soon enough you’re merrily, merrily
Rolling along
Rolling along
GROUP III
You’re beginning again, got another clean slate
Got a whole new life, you’ll learn to adore it
It’s your time
It’s your time
COMPANY
What’s your choice?
Count to ten
Burn your bridges, start again
You should burn them every now and then
Or you’ll never grow
Because now you grow
That’s the killer is
Now you grow
MARY
You’re right, nothing’s fair
And it’s all a plot
And tomorrow doesn’t look so hot—
COMPANY
Right, you better look at what you’ve got!
Over here, hello?
Over here, hello?
MARY, CHARLEY & JOE
Over here, hello?
COMPANY
Now you know! Right!
Now you know! Right!
Now you know! Right!
Now you know! Right!
Now you know! Right!
Now you know! Right!
Now you know! Right!
Now you know! Right!
Right! Right! Right! Right!
Right! Right! Right! Right!
Now you know!
8. It’s a Hit!
This is a fast and lively song about how stressful and unfair show business can be after you become successful.
It shows how fame can be unpredictable and sometimes fake, with lots of excitement on the surface but some hidden problems underneath.
Performed by: Jim Walton (Franklin Shepard), Ann Morrison (Mary Flynn), Lonny Price (Charley Kringas), and Jason Alexander (Joe)
It’s a Hit! Lyrics
JOE opens the stage door and an enormous ovation sounds from inside the theater.
JOE
Listen to that!
Did you listen to that?
Do you know what that means?
Let me tell you what that means—
Wait, no—
Anyone who even thinks it
Don’t say it
You’ll jinx it…
FRANK
Listen to that!
Will you listen to that?
Does that make you feel proud?
Well, feel more than just proud—
Okay, wait, I’ll tempt fate
And I’ll state it out loud:
That, unless
I miss my guess
Is—I can’t stand it!
Listen—! Yes
That’s the sound of
A hit!
It’s a hit!
Gang, I think this is it!
No more writing clever little shows
For those basement saloons
No more proclamations from the pros
That you “can’t hum the tunes”—
MARY
No more sneaking in at intermission
To the plays you wish you could afford—
FRANK
Or producers having you audition
Whenever they’re bored—
CHARLEY
And who’ll say right away
As you play the first chord:
CHARLEY (spoken)
“Boys, that’s just great
But next time, don’t be so clever”
JOE, FRANK, CHARLEY & MARY
It’s a hit!
It’s a hit!
JOE
You’re ahead
You should quit
FRANK
No more coaching those sopranos
With voices like bees—
CHARLEY
No more secondhand pianos
With six broken keys—
MARY
No more agents giving you opinions
While they turn you over to their minions—
JOE, FRANK, CHARLEY & MARY
Just for these
Guarantees
We should please
Thank the Lord!
It’s a hit!
It’s a hit!
MARY
Will your in-laws just spit!
After all of that baloney
They’ve made you go through
All that muttering that you’re a phony
‘Cause what do you do?
Will their faces be stony
When they see on their Sony
Someone handing the phony
The Tony Award!…
FRANK (spoken)
I would like to begin
By thanking everyone who turned down everything I have written
So I could win this
JOE, FRANK, CHARLEY & MARY
It’s a hit!
JOE
Hold it
Folks, there’s still the reviews left
Both the Trib and the News left
Early
Surly—
Not a good sign
Also, even if there’s a chance, folks
Let’s not forget the advance, folks
Not a
Lotta
Cash, folks
CHARLEY
Also, even if it’s a smash, folks
Doesn’t that mean we sell out?
JOE
Well, I hope we sell out!
CHARLEY
What I mean is “sell out”—
Well, you know
Success is like failure
It’s how you perceive it
It’s what you do with it
Not how you achieve it
And I can’t believe it’s a hit!
It’s a hit!
It’s a hit!
It’s a—
JOE opens the door to the biggest ovation yet.
FRANK
Listen to that!
Will you listen to that?
Tell me
Is that a noise
Or is that a noise?
That is the noise
We’ve been waiting
The whole of our lives to hear!
CHARLEY
Listen to that!
Would you listen to that?
Buddy
Is that a noise
Or is that a noise?
Where’s the machine?
Gotta get it on tape for our wives to hear!
FRANK
Listen to that!
Will you listen to that?
I—can’t—stand—it!
MARY
Listen to that!
That’s obscene!
JOE
Listen to that!
Fellas, that is a noise that is really a noise!
I can’t stand it!
Will you
Listen to that?
CHARLEY
Listen to that!
Did you listen to that?
I can’t stand it!
Did you listen to that?
Listen to that!
MARY
That’s a noise that is really a—
Listen to that!
Will you listen to that?
Golly, I can’t
Stand it!
FRANK
Listen to that!
That is the noise I’ve been waiting my life to hear!
Listen to that!
Listen to that!
Will you
Listen to that!
JOE, FRANK, CHARLEY & MARY
Will you listen to that?
That’s the sound of an audience
Losing its mind!
It’s the Pope on his balcony
Blessing mankind!
JOE
Folks, it’s Funny Girl, Fiddler
And Dolly combined!
JOE, FRANK, CHARLEY & MARY
It’s a hit!
It’s a hit!
It’s a palpable hit!
FRANK & CHARLEY
If it only even runs a minute
At least it’s a wedge
It’s the theater and we’re really in it
Not just on the edge!
JOE
If your spirits ever need improving
You can drop in any night for free!
FRANK
But the thing that’s positively moving—
CHARLEY
You could have fooled me—
FRANK & CHARLEY
—Is we’re still good friends!
Nothing can kill good friends!
Where there’s a will, good friends
Don’t need success to survive!
JOE, FRANK, CHARLEY & MARY
And us, good friends
What’s to discuss, good friends!
We’ve got a surefire genuine
Walk-away blockbuster
Lines down to Broadway
Boffola sensational
Box office lalapalooza gargantuan—
Hit!
It’s a hit!
It’s a hit! It’s a hit! It’s a hit! It’s a hit!
It’s a hit! It’s a hit! It’s a hit! It’s a hit!
9. Good Thing Going
This song is a bittersweet moment filled with regret and the wistful longing for their past friendship. It highlights missed chances and the slow erosion of personal connections amidst ambition.
The gentle melody underscores the poignant human elements amid the story’s broader themes.
Performed by: Lonny Price (Charley Kringas) and Jim Walton (Franklin Shepard)
Good Thing Going Lyrics
TERRY
Dreams don’t die
So keep an eye on your dream—
FIRST BOY
‘Cause before you know where you are
There you are
SECOND BOY
Time goes by
And dreams go dry
BOTH BOYS
But you can’t give up
On your dream…
TERRY
Tend your dream
Dreams take time
Time goes by
BOTH BOYS
Some roads are easy
Some roads are all uphill
Some roads you plod along with a will
Some roads you travel just for the thrill
TERRY
Bend your dream
With the road
BOYS
Some rides are breezy
Some roads are full of jiggles and bumps
Can’t let it get you down in the dumps
TERRY & BOYS
Don’t let it get you down in the dumps!
FIRST BOY
1964…
TERRY
1963…
SECOND BOY
1962…
GIRLS
Just roll
Always roll
BOYS
Some roads are easy
Some rides are breezy
Some roads are all uphill
GIRLS
Everybody roll
BOYS
Some roads are full of bumps
Know what you want to do
Where you’re willing to go
GIRLS
Keep an eye on your dream
While you’re traveling!
BOYS
What you really want to see
While you’re traveling!
(1962. A cocktail party at JOE and GUSSIE’s apartment.)
GUESTS (GROUP I), variously
Have you seen—?
How was it—?
You’re not serious!
Do you mean—?
That does it!
You’re not serious!
Have you seen—?
How was it—?
You’re not serious!
Do you mean—?
That does it!
You’re not serious!
Have you seen—?
How was it—?
You’re not serious!
Do you mean—?
That does it!
You’re not serious!…
GROUP II, overlapping
Darling!
We saw the most—!
Darling!
We had the best—!
Darling!
We saw the most—
Darling!
See, it’s the—
GROUP III, overlapping
Did you read—?
It’ll never—!
We saw the first—!
What they need—!
Did you ever—!
Was that the worst—?
ALL GUESTS
Best—!
It’s the first—!
It’s the finest—!
It’s the latest—!
It’s the least—!
It’s the worst—!
It’s the absolutely lowest—!
It’s the greatest—!
It’s the single—!
It’s the only—!
It’s the perfect—!
It’s the—!
GROUP I
Hi!
GROUP II
Dreadful!
GROUP III
Fabulous!
(GUSSIE bangs on the piano.)
GUSSIE, spoken
All right, now quiet, everybody
Fermez all those bouches
Because someday you are going to be able to say, “I was there when”
The most exciting composer ever
Is going to play a song we hope will be in our new show
And when he finishes
You’re all going to want to swallow poison
Because there’ll be nothing more to live for
CHARLEY, spoken
Frank, what is she talking about?
FRANK, spoken
Later, Charley
(FRANK starts to play the intro on the piano.)
CHARLEY
It started out like a song
We started quiet and slow
With no surprise
And then one morning I woke
To realize
We had a good thing going
It’s not that nothing went wrong:
Some angry moments, of course
But just a few
And only moments, no more
Because we knew
We had this good thing going
And if I wanted too much
Was that such
A mistake
At the time?
You never wanted enough—
All right, tough
I don’t make
That a crime
And while it’s going along
You take for granted some love
Will wear away
We took for granted a lot
And still I say:
It could have kept on growing
Instead of just kept on
We had a good thing going
Going
Gone
(Much applause and oohing and ahhing follows.)
GUSSIE, spoken
Keep them right there
We want to hear it again
Tell them!
One mo’ time!
CHARLEY, spoken
Frank, say “No”
FRANK, spoken
Charley, they loved it
They thought we were great
CHARLEY, spoken
You wanna know what true greatness is?
It’s knowing when to get off
FRANK, spoken
I’ll sing with you
CHARLEY, spoken
No, no—
FRANK, spoken
Come on
CHARLEY, spoken
No, that’s not the point
I really—
CHARLEY & FRANK
It started out like a song
We started quiet and slow
With no surprise
And then one morning I woke
To realize—
TERRY
So we bought this little condominium—
CHARLEY & FRANK
We had a good thing going
GUSSIE, spoken
Shh!
CHARLEY
It’s not that nothing went wrong:
Some angry moments—
A GUEST
Did you hear—?
JEROME
No kidding—!
GWEN
You’re not serious!
CHARLEY
Of course
But just a few
KATE, spoken
Shh!
CHARLEY
And only moments, no more
JOE
Dadadadada—
GUSSIE, spoken
Shh!
GWEN
It’s a clear case of Tammany politics
A GUEST
We were stuck in the tunnel till half past six!
GUEST
Darling!
They’re perfectly darling!
CHARLEY
Because we knew
We had this good thing going
(GUESTS’ babbling overtakes the singing.)
GUESTS
It’s only the best—
It’s the first—
It’s the finest—
It’s the latest—
It’s the least—
It’s the worst—
It’s the absolutely lowest—
It’s the greatest—
It’s the single—
It’s the only—
It’s the perfect—
It’s the—
CHARLEY
And if I wanted too much
Was that such
A mistake
At the—
10. Bobby and Jackie, and Jack
A lively number portraying the struggles and shifting relationships in show business and personal life.
Its witty lyrics give insight into the characters’ complicated love lives and professional ambitions. The song reflects the chaotic, intertwined nature of their lives and careers.
Performed by: Lonny Price (Charley Kringas), Sally Klein (Beth), Jim Walton (Franklin Shepard), and David Loud (Ted)
Bobby and Jackie, and Jack Lyrics
COMPANY
Traveling’s the fun
Flashing by the countryside
Merrily we roll along, roll along
Catching at dreams
Yesterday is done
See the pretty countryside
Everybody merrily, merrily
1961…
Some roads are easy
Some rides are breezy
Some roads the ride goes out of control
Grinds to a halt and ends in a hole
Some roads you stall before you can roll…
CHARLEY
1960…
BETH
It’s 1960…
FRANK
And gosh, what a swell year it’s been!
BETH, CHARLEY & FRANK
So many blessings
Such wonders it has brought
You hardly know where to begin:
There’s Xerox
And lasers
The twist and the “pill”
A city in Brazil—
BETH
That no one wants to fill
BETH, CHARLEY & FRANK
Khrushchev stopped screaming
And Librium came in
CHARLEY
And Nixon didn’t win
BETH, CHARLEY & FRANK
Goodbye then to Ike and the brass
To years that were cozy but crass
It’s true Ike was icky
But better him than Dicky—
Now meet the first first family with class
En masse
CHARLEY
There’s Bobby—
BETH
And Jackie—
FRANK
And Jack—
BETH, CHARLEY & FRANK
And myriads more in the back:
There’s Ethel and Teddy and Pat alone—
CHARLEY
Plus Eunice—
BETH
And Peter—
FRANK
And Jean—
PIANIST
And Joan—
CHARLEY
And what’s-his-name—?…
BETH
Stephen—
FRANK
And hold the phone—
The one in the army—
BETH & CHARLEY
One in the army?
FRANK
Captain… Major…
CHARLEY
Sargent!
FRANK
That’s it!
BETH, CHARLEY & FRANK
So many cards in the pack
You want to know how to keep track?
Well, one is good looking and young and rich
While one is good looking and young and rich
The rest are good looking and young and rich—
There isn’t a lot that they lack
Not Bobby and Jackie and Jack
And Ethel and Ted and Eunice and Pat and Joan
And Steve and Peter and Jean and Sarge—
There’s probably dozens of others at large
God knows—
And Joe and Rose
(They put on Kennedy wigs.)
BETH, CHARLEY & FRANK
We’re bringing back style to the White House
BETH
I’m painting it cream for a start
BETH, CHARLEY & FRANK
We’re making it into a cultural lighthouse
For glamour and beauty and art
BETH
Evenings of the Budapest playing Vivaldi
And Munch doing bits of Ravel
I’ll get Leontyne Price to sing her
Medley from “Meistersinger”
And Margot Fonteyn to dance “Giselle”
CHARLEY, spoken
Together?
BETH
Won’t it be perfectly swell?
FRANK
We’ll have Bernstein play next on
The Bechstein piano—
CHARLEY
And Auden read poems and stuff
BETH
And Galina Vishnevskaya
The Russian soprano—
Just pronouncing her name is refreshing enough
BETH, CHARLEY & FRANK
We’re bringing back style to the White House
With casual culture the rule
FRANK
Let’s have Tebaldi—
CHARLEY
She makes a guy feel good
BETH
And Oleg Cassini—
Well, I think he’s real good
CHARLEY
And how about Heifetz?
BETH
And Callas!
FRANK
And Gielgud!
BETH, CHARLEY & FRANK
And later, when everything’s cool
We’ll push them all into the pool!
CHARLEY
With Bobby—
BETH
And Jackie—
FRANK
And Jack
BETH, CHARLEY & FRANK
The White House is under attack
FRANK
Eight years is the limit, but eight will do
CHARLEY
By then there’ll be Bobby—
PIANIST
—And Teddy, too
BETH
Or Peter or Stephen—
FRANK, CHARLEY & PIANIST, to BETH
—Or even you
BETH
Ooh!
And then there’s the Colonel—
FRANK & CHARLEY
Colonel?
BETH
Major—?
FRANK & CHARLEY
Major?
BETH
You know—!
FRANK
Sargent
BETH
Yeah!
BETH, CHARLEY & FRANK
Dozens to take up the slack
If anything goes out of whack
FRANK
And some day elections will be unknown—
BETH
‘Cause each of our kids will ascend the throne—
CHARLEY
And their kids have more kids with kids of their own—
FRANK
It’s sort of a family knack—
BETH, CHARLEY & FRANK
Till most of the nation’s
Made up of relations
Of Bobby and Jackie and Jack
And Ethel and Ted and Eunice and Pat and Joan
And Steve and Peter and Jean and Sarge
And Joe and Rose and rows and rows
And rows and rows and rows and rows
The decade is starting anew
(Crossing their fingers.)
And maybe the country is, too
11. Opening Doors
A hopeful song, highlighting the dreams of achieving success in theater despite setbacks. It captures the resilience and determination in a competitive industry.
The tone combines vulnerability with optimism, emphasizing the struggle to break through barriers.
Performed by: Jim Walton (Franklin Shepard), Lonny Price (Charley Kringas), Ann Morrison (Mary Flynn), Jason Alexander (Joe), and Sally Klein (Beth)
Opening Doors Lyrics
FRANK, spoken
How’s it going?
CHARLEY, spoken
Good. You?
FRANK, spoken
Fair
CHARLEY, spoken
Yeah, tell me
(The phone rings; FRANK answers.)
FRANK, spoken
Chinese laundry
MARY, spoken
Hi
FRANK, spoken
Mary
CHARLEY, spoken
Say hello
MARY
I think I got a job
FRANK, spoken
Where?
MARY, spoken
True Romances
FRANK, spoken
Posing?
MARY, spoken
Thank you
Writing captions
FRANK, spoken
What about the book?
MARY, spoken
What about the book?
FRANK, spoken
Nothing, are you working on your book?
MARY, spoken
Yes…
FRANK, spoken
Good
MARY, spoken
No…
FRANK, spoken
Mary—
MARY, spoken
Right, I know, yes, me and Balzac…
CHARLEY
I finished the one-act
FRANK
I got an audition—
MARY
I started the story
FRANK
Rehearsal pianist
CHARLEY
So where are we eating?…
MARY
I’m moving to Playboy
FRANK
The publisher called me
CHARLEY
I’m doing a rewrite
MARY
My parents are coming
FRANK
I saw My Fair Lady
CHARLEY
I rewrote the rewrite
FRANK
I sort of enjoyed it
MARY
I threw out the story
CHARLEY
I’m meeting an agent
FRANK, CHARLEY & MARY
We’ll all get together on Sunday
We’re opening doors
Singing, “Here we are!”
We’re filling up days on a dime
That faraway shore’s
Looking not too far
We’re following every star—
There’s not enough time!
FRANK
I called a producer
CHARLEY
I sent off the one-act
MARY
I started the story
FRANK
He said to come see him
CHARLEY
I dropped out of college
MARY
I met this musician
FRANK
I’m playing a nightclub
CHARLEY
They’re doing my one-act!
MARY
I’m moving to Redbook
FRANK
I rewrote the ballad
MARY
I finished the story
CHARLEY
We started rehearsals
MARY
I threw out the story
And then the musician
I’m moving to Popular Science
FRANK, CHARLEY & MARY
We’re opening doors
Singing, “Look who’s here!”
Beginning to sail on a dime
That faraway shore’s
Getting very near!
We haven’t a thing to fear—
We haven’t got time!
FRANK
Bum-bum-bum-da-da da-da
Bum-bum-bum-bum-bum bum-ba
FRANK, spoken
How’s it coming?
CHARLEY, spoken
Good. You?
FRANK, spoken
Done!
CHARLEY, spoken
One minute…
(The phone rings; FRANK answers.)
FRANK, spoken
Hamburg Heaven
MARY, spoken
Hi
FRANK, spoken
Mary
CHARLEY, spoken
Say hello
MARY
I got another job
FRANK, spoken
Where?
MARY, spoken
“Chic”
FRANK, spoken
What’s that?
MARY, spoken
A brand-new concept:
Pop-up pictures
FRANK, spoken
What about the book?
MARY, spoken
What about the book?
FRANK, spoken
Did you give the publisher the book?
MARY, spoken
Yes…
FRANK, spoken
Good
MARY, spoken
No…
FRANK, spoken
Mary—
MARY, spoken
Look, I never—
CHARLEY, spoken
Finished!
FRANK, spoken
Let me call you back
MARY, spoken
Right
CHARLEY, spoken
This is just a draft
FRANK, spoken
Right
CHARLEY, spoken
Probably it stinks
FRANK, spoken
Right
CHARLEY, spoken
I haven’t had the time to do a polish—
FRANK, spoken
Will you sing!
CHARLEY, spoken
Right!
CHARLEY
Who wants to live in New York?
Who wants the worry, the noise, the dirt, the heat?
Who wants the garbage cans clanging in the street?
Suddenly I do…
(During the above, JOE JOSEPHSON has appeared and starts to listen judiciously: FRANK and CHARLEY are auditioning for him.)
CHARLEY
They’re always popping their cork—
CHARLEY, spoken
I hate that line—
CHARLEY
The cops, the cabbies, the salesgirls up at Saks
You gotta have a real taste for maniacs—
Suddenly I do!
JOE
That’s great! That’s swell!
The other stuff as well
It isn’t every day I hear a score this strong
But fellas, if I may
There’s only one thing wrong:
There’s not a tune you can hum
There’s not a tune you go bum-bum-bum-di-dum—
You need a tune to go bum-bum-bum-di-dum—
Give me a melody!
Why can’t you throw ’em a crumb?
What’s wrong with letting ’em tap their toes a bit?
I’ll let you know when Stravinsky has a hit
Give me some melody!
Ah sure, I know
It’s not that kind of show
But can’t you have a score
That’s sort of in between?
Look, play a little more
I’ll show you what I mean!
CHARLEY
Who wants to live in New York?
I always hated the dirt, the heat, the noise
But ever since I met you, I—
JOE
Listen, boys
Maybe it’s me
But that’s just not a
Hum-mm-mm-mm-mm-mm-mm-mable melody!
Write more, work hard—
Leave your name with the girl
Less avant-garde—
Leave your name with the girl
Just write a plain old melodee-dee-dee-dee-dee-dee
Dee-dee-dee-dee-dee-dee
CHARLEY
They’re stopping rehearsals
They ran out of money
MARY
We lasted one issue
My book was rejected
FRANK
The nightclub was raided
I have to start coaching
MARY
My parents are coming
CHARLEY
They screwed up the laundry
FRANK
My wallet was stolen
MARY
I saw the musician
CHARLEY
We’re being evicted
MARY
I’m having a breakdown
FRANK, CHARLEY & MARY
We’ll all get together on Sunday
They’re slamming the doors
Singing, “Go away!”
It’s less of a sail than a climb
That faraway shore’s
Farther every day
We’re learning to ricochet
We still have a lot to say…
FRANK
You know what we’ll do?
CHARLEY, spoken
What?
FRANK
We’ll do a revue
CHARLEY, spoken
What?
MARY, spoken
What?
FRANK
We’ll do a revue of our own!
MARY, spoken
What?
CHARLEY, spoken
Where?
MARY, spoken
Why?
CHARLEY, spoken
When?
FRANK, spoken
Not just songs, but stories, scenes
Piano pieces, mime—
CHARLEY, spoken
Yeah!
MARY, spoken
“Frankly Frank!”
FRANK
A showcase of our own!
CHARLEY, spoken
Where?
FRANK, spoken
The club’s reopening.
MARY, spoken
We’ll write a lot of new stuff—
CHARLEY, spoken
Rewrite old stuff—
FRANK, spoken
What about the girl?
CHARLEY, spoken
What about the girl?
FRANK, spoken
Only that we’re gonna need a girl
CHARLEY, spoken
Well, Mary—
MARY, spoken
Thanks, I don’t perform except at dinner
(TWO GIRLS hold rehearsal copies of music, ready to audition. The FIRST GIRL starts, singing shrilly and off-key as FRANK plays.)
FIRST GIRL
Who wants to live in New York?
Who wants the worry, the noise, the dirt, the heat?
Who wants the garbage cans clanging in the street?
FRANK, spoken
Thank you for coming
Next eight, please
BETH
They’re always popping their cork—
FRANK, spoken
Up a tone
BETH
The cops, the cabbies, the salesgirls up at Saks—
FRANK, spoken
Up a tone
BETH
You gotta have a real taste for maniacs—
FRANK, spoken
Thank you
You’re hired
BETH, spoken
Oh!
BETH
I’m Beth
FRANK
I’m Frank
BETH
I really thought I stank
MARY
I’m Mary
CHARLEY
Charley
FRANK
By the way
I’m told we open Saturday
CHARLEY, MARY & BETH
What?!
MARY
You’re not serious!
CHARLEY
Nobody’s ready!
FRANK
Apparently somebody cancelled a booking
CHARLEY
The songs aren’t finished
MARY
And what about costumes?
BETH
And how do I learn all these numbers?
FRANK
I’ll bring you the copies of everything later this evening
CHARLEY
Not to mention I still haven’t
Finished the Synanon song or the Kennedy number…
BETH
Okay, but I’ll have to have all the music
And Saturday I’ve got to sing at a wedding
Oh God, is there dancing, ’cause I’m not a dancer
FRANK
You don’t have to, we’ll segue the
End of it into the dance we cut out…
MARY
And have we decided or not on the restaurant sketch?
I need two or three days at the least to replace it…
CHARLEY
And what’ll we do about getting publicity
Run around town putting stickers on windows?
FRANK
No, we’ll use it but not with the long introduction…
FRANK, CHARLEY, MARY & BETH
We’ll worry about it on Sunday!
We’re opening doors
Singing, “Here we are!”
We’re filling up days on a dime
That faraway shore’s looking not too far
We’re following every star—
There’s not enough time!
We’re banging on doors
Shouting, “Here again!”
We’re risking it all on a dime
That faraway shore’s looking near again
The only thing left is when
We know we should count to ten—
We haven’t got time!
We haven’t got time!
12. Our Time
The final number in the original sequence expresses youthful optimism before the characters face the realities of their adult lives.
It closes the show’s forward-looking segment with a spirited, collective hopefulness.
Performed by: Jim Walton (Franklin Shepard), Lonny Price (Charley Kringas), Ann Morrison (Mary Flynn), and Company
Our Time Lyrics
FRANK
Something is stirring
Shifting ground
It’s just begun
Edges are blurring
All around
And yesterday is done
Feel the flow
Hear what’s happening:
We’re what’s happening
Don’t you know?
We’re the movers and we’re the shapers
We’re the names in tomorrow’s papers
Up to us, man, to show ’em
It’s our time, breathe it in:
Worlds to change and worlds to win
Our turn coming through
Me and you, man
Me and you!
Feel how it quivers
On the brink…
CHARLEY, spoken
What?
FRANK
Everything!
Gives you the shivers
Makes you think
There’s so much stuff to sing!
And you and me
We’ll be singing it like the birds
Me with music and you the words
Tell ’em things they don’t know!
FRANK & CHARLEY
Up to us, pal, to show ’em
It’s our time, breathe it in:
Worlds to change and worlds to win
Our turn, we’re what’s new
Me and you, pal, me and you!
Feel the flow
Hear what’s happening:
We’re what’s happening!
Long ago
All we had was that funny feeling
Saying some day we’d send ’em reeling
Now it looks like we can!
CHARLEY
Some day just began…
MARY, CHARLEY & FRANK
Something is stirring
Shifting ground
It’s just begun
Edges are blurring
All around
And yesterday is done
COMPANY
Feel the flow
Hear what’s happening:
We’re what’s happening
Don’t you know?
We’re the movers and we’re the shapers
We’re the names in tomorrow’s papers
Up to us now to show ’em
It’s our time, breathe it in:
Worlds to change and worlds to win
Our turn coming through
Me and you, pal
Me and you!
MARY, CHARLEY & FRANK
Years from now
We’ll remember and we’ll come back
Buy the rooftop and hang a plaque:
“This is where we began
Being what we can”
ALL
It’s our heads on the block
Give us room and start the clock
Our dreams coming true
Me and you, pal
Me and you!
Me and you!
Me and you!
Me and you!
Me and you!
Me and you!
Me and you!
Me and you!
13. Hills of Tomorrow (Finale)
A reprise of the opening song, a reflective farewell capturing the full circle of ambition, friendship, and the passage of time.
It ties back the theme of hope tempered by experience and the bittersweet nature of life’s journey.
Performed by: The Company (ensemble cast)
Hills of Tomorrow (Finale) Lyrics
OLDER FRANK, spoken
And so, as valedictorian of the Class of 1955
I choose now to acknowledge the debt I owe all of you
OLDER & YOUNGER FRANK, spoken
And most important
The debt I owe my generously talented friend and classmate
Charles Kringas…
YOUNGER FRANK, spoken
…With whom I wrote the commencement song you are about to hear
My final thought is a simple but mighty thought
It is the obligation we have been given
It is to not turn out the same
It is to grow, to accomplish, to change the world
STUDENTS
Behold the hills of tomorrow!
Behold the limitless sky!
Fling wide the gates
To a world that waits!
As our journey starts
Behold! Our hearts
Are high!
Beyond the hills of tomorrow
Are skies more beautiful still!
Behold! Begin!
There are worlds to win!
May we come to trust
The dreams we must
Fulfill!
14. Not a Day Goes By
A powerful ballad of ongoing love and regret sung by Mary, expressing the pain of lost chances and enduring feelings.
It reveals the emotional core of the story, dealing with themes of forgiveness, sorrow, and unfulfilled desires. Its haunting melody leaves a lasting emotional impact on the audience.
Performed by: Jim Walton (Franklin Shepard) and Ann Morrison (Mary Flynn)
Not a Day Goes By Lyrics
MARY
Not a day goes by
Not a single day
But you’re somewhere a part of my life
And it looks like you’ll stay
As the days go by
I keep thinking, when will it end?
Where’s the day I’ll have started forgetting?
But I just go on
Thinking and sweating
And cursing and crying
And turning and reaching
And waking and dying
And no
Not a day goes by
Not a blessed day
But you’re still somehow part of my life
And you won’t go away
So there’s hell to pay
And until I die
I’ll die day after day
After day after day
After day after day
After day!
So there’s hell to pay
And until I die
I’ll die day after day
After day after day
After day after day
After day
Till the days go by!
Till the days go by!
Till the days go by!
Till the days go by…
Frequently Asked Questions
When did Merrily We Roll Along Premiere?
The Original Broadway production premiered in 1981. It was later revived with significant acclaim, including a notable 2023 revival.
How Is Merrily We Roll Along Structured?
The story is told backwards, starting with the characters as adults and moving to their younger years. This unique format reveals how their relationships and dreams unravel over time.
