Bombay Dreams Study Guide

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STUDY GUIDE



Bombay Dreams Study Guide Theatre Under The Stars

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Copyright (C)2005 Theatre Under The Stars, Houston, Texas, USA. All Rights Reserved.

Permission is granted to teachers and to schools and other educational institutions to copy anddistribute this publication without profit for their student's personal, educational use. Teachers

are granted permission to quote and excerpt from this publication provided that the

quoted/excerpted material is appropriately attributed.

Study Guide developed by Peggy Tsai.




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Table of Contents

Section I: Introduction a. Brief History of TUTS……………………………………………………………1

b. Purpose of study guide…………………………………………………………....1

Section II: Musical Theatre 101a. What is musical theatre? ……………………………………………………..….2 b. Brief History…………………………………………………………………...2-3

c. Elements of Production………………………………………………………...3-5d. How is it different from other media?…………………………………………...5

e. Why is it important? ………………………………………………………….…5

f. Glossary…………………………………………………………………......…6-8g. How a Musical is Born……………..……………………………………………9

h. Theatre Etiquette …………………………………………………………….…10

i. Review Questions and Activities……………………………………………11-12

Section III: About the Show – Bombay Dreamsa. Background…………………………………………………………………..….13

b. Creative Team………………………………………………………………..….14

c. Characters and Song List……………………………………………….……….15d. Synopsis……………………………………………………………………...16-17

Section IV: Elementary Curriculuma. Discussion Questions/Written Assignments – Dig a Little Deeper …………..…18

i. Plot……………...………………………………….18

ii. Characters..………………………………………...18

b. Activities – Get Creative! ………………………………………………..….19-31

i. Bollywood, Here I Come!…………………….….….19ii. Can I Be Priya?……………………………...……...19

iii. The Price of Fame…………………………………..19

iv. Word Search and Key…………………………...20-21v. Crossword Puzzle and Key……………………...22-23

vi. Act it Out!…………………………………………...24

vii. Life Lessons………………………………………....24viii. Act it Out! Script………………………………...25-31

Section V: Junior High & High School Curriculum

a. Discussion Questions/Written Assignments – Dig a Little Deeper ………….32-33

i. Plot………………………………………………….32

ii. Historical Context……………………………....32-33iii. Theme………………………………………………33

iv. Symbolism………………………………………….33




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b. Mini Quiz………………………………………………………………………...34

c. Mini Quiz Key…………………………………………………………………...35d. Projects – Get Creative!………………………………………………….…..36-38

i. Two Thumbs Up!…………………………………....36

ii. Be a Star!……………………………………………36

iii. Write Your Own!…………………………………….36iv. A Whole New World ………………….……………..36

v. You’re the Expert!…………………………….…37-38

Section VI: Supplemental Materiala. “Bombay Dreams: Andrew Lloyd Webber’s Inspiration”....……….………..39-40

b. Song Lyrics…………………………………………………………………...41-44

i. Salaam Bombay……………………………………..41

ii. Love’s Never Easy…………………………...….…..42iii. How Many Stars?…………………………………...43

iv. The Journey Home……………………………….….44

c. References………………………………………………………………...……...45








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During the late 1950’s and early 1960’s, popular music began to change with rock ‘n roll

becoming more mainstream. This trend influenced musicals such as West Side Story (1957) and Bye Bye Birdie (1960) to feature more popular, contemporary music. Hair in 1968 continued this

movement by incorporating rock music and storylines based on the hearts of the younger

generation.

And setting a pattern that would redefine Broadway, Cats premiered in 1982, introducing

opulent sets, extravagant costumes and makeup, and over-the-top special effects. The visual

spectacle was unlike the painted backdrops and simple costumes seen in the past. Cats has now become the longest-running show in Broadway history.

Then came Rent in 1996, which revolutionized the very concept of musical theatre around theworld. Rent blended pop, dance, salsa, rhythm and blues, gospel, and rock music together to tell

its moving tale of hopes and dreams, while also addressing the serious and controversial issues of

homelessness, AIDS, and drug addiction. Rent not only challenged the mainstream, but

reinvented it. Shows following Rent such as Ragtime (1998) and Wicked (2003) also contained

intricate storylines and unique styles of music, while addressing social and political issues.

Elements of ProductionA musical is much more than the two and a half hour show the audience sees. The production process often takes many months, even years, to complete.

Creative Team No musical would be possible without the imagination or inspiration of its authors. Many times,the idea for a show grows from an existing book, play, article, or movie. Other times, authors

write musicals from an original idea or concept. Once an idea is developed, composers and

lyricists begin to write the songs. The music needs to not only fit the overall tone and pace of themusical, but also contain lyrics that help the audience understand the story and its characters.

The choreographer designs dance sequences for the performers. The dances are intricate

movements that allow the performers to express the meaning of each song. The director works

with all of them to help guide the overall artistic vision of the show.

CastThe director works with the casting agent to cast both the principal performers and the

ensemble or chorus members. Each performer must have a well-trained singing voice, actingskills, the ability to dance, and fit the look of his/her character. These elements are all evaluatedduring the audition process. Actors are asked to bring a headshot as well as perform two pieces,

one uptempo song and one ballad. Those who are not chosen for a principal role through theauditioning process sometimes become standbys or understudies, who take over the part when

the leading actor is unable to perform. There are also swings, who serve as backups for ensembleor chorus members.

RehearsalThe cast will do an initial read-through of the script, without singing or dancing, followed byadditional practices with the rehearsal pianist. The music director or conductor teaches and




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rehearses the music with the orchestra and is responsible for the musical aspect of the

production. The dance captain, sometimes together with the choreographer, teaches andrehearses the dance sequences with the performers. During rehearsals, the director coaches the

actors’ reading of the lines and emotions and also gives them their blocking, line by line, scene

by scene. Next, the cast does a sitzprobe, where they sit and sing with the orchestra before

incorporating any staging, scenery, costumes, or props. Eventually, the cast does awanderprobe, where they run through the show, including movements and dancing, while the

orchestra plays. The technical rehearsal is when the full cast and crew walk through the entire

show, ensuring every light cue, sound effect, microphone, etc. works as planned. This rehearsalis mainly for the tech staff. The cast and crew will also go through a dress rehearsal, many

times more than one, to bring all the different elements (costumes, music, dance, lights, sound)

together.

CrewThe set designer creates the locale and period in which the musical occurs. While some sets arevery simple and focuses the audience’s attention on the show itself, some are lavish and

extravagant, providing visual appeal. The head carpenter is responsible for building the actual

set. The lighting designer decides where the lighting instruments should go, how they should becolored, and which ones should be on any particular time. The electrician implements the

lighting designer’s work and makes sure the lights are set properly and safely. The property

(props) master is in charge of obtaining or making and maintaining all props used in the show.He or she also sets the props in their proper places before the show begins. There is also a

flyman, who operates the flying system (if necessary), and controls the raising and lowering of

backdrops, light set pieces, and the curtain itself. When young performers (18 and younger) need

extra guidance and direction, the child wrangler helps them through the rehearsals and production for a smooth and successful show. The stage manager is responsible for the overall

integrity of a production. He or she assists the director by calling out forgotten lines during

rehearsals, and “calls the show”, making sure each performance runs as smoothly as possible.

SoundThe sound designer plans the layout of all sound playback and equipment for the show and

adjusts the pitch, volume, duration, and overall quality of the music to meet each specific scene’sneeds. The sound operator executes the sound designer’s plans and handles the mixing

equipment for the show. Music and sound must fit the context in which they are used. The

adjustments are made using the soundboard. The sound effects designer is responsible forcreating or enhancing sounds distinct from music and dialogue, such as doorbells or running

water.

Costumes and Makeup

The costume designer first researches the setting of the musical. Costumes must be appropriatefor the time period and culture of the show, beautiful and elaborately designed, while also practical enough to all for movement and dance. He or she then decides which styles and fabrics

to use, and draws the costumes in renderings. Through costume fittings, the tailor adjusts the

outfits to fit each individual performer. During dress rehearsals and performances, actors havedressers to help put on his or her costume. The ensemble or chorus members also have dressers

to help them change during quick character or scene transitions. The makeup artist is

responsible for applying cosmetics to each performer’s face and body to increase visibility,




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enhance certain features, and modify the actor’s look to resemble his or her character. In addition

to makeup, certain roles call for a specific hairstyle. The wig master/mistress obtains the wigs,styles and shapes them, and helps the actors put them on.

AudienceAt the front of the theater, audience members will see a marquee displaying the name of theshow being performed that night. After purchasing tickets at the box office and entering the

theater, audience members will receive a program, which provides information about the show,

actors’ biographies, a song listing, characters, scenes, and possibly a synopsis. An usher escortsthem to their seats, which may be in the boxes, orchestra, mezzanine, or gallery sections. Each

show begins with the overture and is separated into two acts by a fifteen-minute intermission. Atthe end of intermission, the entr’acte plays, signaling the start of act two. The show ends with the

finale. Audience members will then give a standing ovation if they felt the show was

exceptionally good. The house manager oversees all aspects of the audience, including

supervising the ushers and contacting the stage manger about any audience delays for starting theshow or ending intermission.

How is Musical Theatre Different from Other Media?The live theatrical experience not only involves the actors on stage, it also involves the audience

in ways that film and television do not. In reality, although the audience is sitting in an

auditorium and the actors are on stage, there's very little separating the audience from the performers. How the audience reacts to the show deeply affects the actors. Something seemingly

trivial like whispering or unwrapping a piece of candy can distract the actors and alter the mood

and tone of their performance. Another difference of film, video or television is that the camera

and editing define what the audience sees. In the theater, however, each member of the audienceworks as a camera and editor, choosing his or her personal points of focus. The wonders of

movies and television are remarkable, but often provide an isolated experience. Being part of thecommunal magic when performer and audience connect at the theater cannot be duplicated.

Why is Musical Theatre Important?Musical theatre can help students grow academically, aesthetically and personally. Musical

theatre writers, lyricists, and composers have long looked to literature for their inspiration andsubject material. As a result, students have the opportunity to engage in literary analysis of both

the story and its inspiration. Elementary students can begin to explore plot and characters, while

junior high and high school students can delve into theme, symbolism, and historical context.

Students will also have the opportunity to discover how music, dance, lighting, backdrops, etc.

contribute to the show. Musical theatre allows young people to explore the elements of

production beyond television and film, and gain a greater appreciation for the arts.

Musical theatre can bring students together, build confidence and solidarity, and stimulate

discussion. Furthermore, with shows that address political or social issues, musical theatre








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Sound Operator – one who handles the sound playback and mixing equipment for the show;

works with the sound designer

Sound Board – a desk comprising a number of input channels where each sound source is

provided with its own control channel through which sound signals are routed into two or more

outputs; changes the quality of the sound

Sound Effects Designer – one who creates or enhances sounds that are not part of the music or

dialogue

Standby / Understudy – one who studies a role and is prepared to substitute the principal

performer when needed

Stage Left – the left side of the stage, when facing the audience (performer’s point of view)

Stage Manager – one who is responsible for the quality of the show’s production, assists the

director and oversees the show at each performance

Stage Right – the right side of the stage, when facing the audience (performer’s point of view)

Swings – one who is prepared to substitute for ensemble or chorus members who are unable to

perform

Tailor – one who alters garments to fit a person’s specific measurements

Technical Rehearsal - rehearsal incorporating the technical elements of a show, such as the

scene and property shifts, lighting, sound, and special effects

Uptempo song – a fast, upbeat song for actors to showcase dancing and acting ability

Usher – one who guides audience members to their seats

Wanderprobe – rehearsal in which the performers practice singing and dancing on stage while

the orchestra plays

Wig Master/Mistress – one who obtains and customizes wigs for performers to wear




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How a Musical is Born

For High School / Advanced Students

The inspiration for a musical comes from many different places. Authors may conceive an ideathemselves, or they might be commissioned by a producer to write a musical on a specific

subject. Many times, musical theatre draws on material from existing plays, books, movies, and

other sources for a new show.

Screen to StageScreen-to-stage musicals are based on existing movies. Authors adapt the material to fit musical

theatre, possibly adding songs and changing dialogue. Some examples of successful movie-

turned-musicals are Singin’ in the Rain in 1985 (movie 1952), Beauty and the Beast in 1994

(movie 1991), The Producers in 2001 (movie 1968), and Mary Poppins in 2004 (movie 1964).

Concept MusicalsConcept musicals are built around a single idea rather than a traditional plot. Once a concept is

raised (love, hate, friendships, relationships, etc.), characters can comment on or act out various

aspects of the subject. There is a storyline, but it exists in order to illustrate the central concept.Some well-known concept musicals include Company (1970), A Chorus Line (1975), and Assassins (2004).

Stage to ScreenStage-to-screen musicals are musical theatre shows that have been made into movies. Hollywood

filmmakers choose popular musicals to guarantee a hit movie. Though this is not always true,

some successes include Grease in 1972 (movie 1978), Chicago in 1975 (movie 2002), Phantom

of the Opera in 1988 (movie 2004), and Rent in 1996 (movie 2005).

RevisalsThis is the age of the "revisal", when old musicals are reinvented in new productions. The new

shows usually have the same basic storyline, with revisions to the music and artistic style. An

example of a revisal is Chicago (1996), which originally premiered in 1975. A revisal is differentfrom a revival in that revivals make no change to the old production. For example, Fiddler on the




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Roof premiered in 1964, and the same production has been revived in 1976, 1981, 1990, and

2004, usually unchanged from its original incarnation.

Workshop MusicalsUnlike traditional musicals, workshop musicals do not have a single author and the plot is not

completely established before the production process begins. These musicals are developed bymultiple members of the creative team through brainstorming sessions or “workshops”.

Workshop musicals are relatively new and are setting a new trend for future shows.

Review Questions1. Name the five types of musicals. Explain the advantages and disadvantages of each one.2. What are some examples of stage-to-screen musicals? Screen-to-stage musicals?

3. If you were making a screen-to-stage musical, which movie would you choose and why?

4. How are workshop musicals different from all the other types?

5. If you were writing a musical, which type would you prefer to make and why?

Theater Etiquette

Some basic theater etiquette tips:

1. Do not talk, whisper, sing, or hum during the performance. Singing and swaying

with the music or leaning forward in your seat blocks the view of those sitting

behind.

2. Do not eat and drink during the performance. It is distracting to both the

performers and your neighbors.

3. Keep feet on the floor, not on the seat or balcony in front of you.

4. Clap after the songs to show the performers that you are enjoying the show. Also

keep in mind that performers appreciate enthusiastic applause, but not whistling or

shouting.

5. Appropriate laughter, tears, and applause are the best ways to express your

feelings about the performance.

6. Stay until the end of the show and clap during the curtain call to say “thank you”to the performers.

7. No electronic devices should be brought into the theatre, and please silence all

cell phones, pagers and watches.




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Review QuestionsThe following questions are intended to help students learn the basics of musical theatre. Thesemay be used for class discussion or given as homework/written assignment.

Checking for Understanding1. What is the definition of musical theatre?

2. How have the ancient Greeks contributed to musical theatre?

3. How did George M. Cohan shape the American musical?

4. Which was the first show to not follow Cohan’s formula? How was it different?

5. What do West Side Story, Bye Bye Birdie, and Hair have in common?

6. How has Cats contributed to broadway?

7. What is the significance of Rent ?

8. What are the three differences between musical theatre and television or film?

9. How can musical theatre help people grow academically? Artistically? Personally?

10. Name the eight major elements of production and summarize each one.

11. What are four major theatre etiquette tips?

Critical Thinking1. What do you think are some major differences between ancient Greek theatre and

musical theatre as we know it today?

2. What do you think influenced George M. Cohan to write the musicals the way he did?

3. How did West Side Story, Bye Bye Birdie, and Hair reflect young people’s attitude in the

late 1950’s – 1960’s?




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4. Why do you think Jonathan Larson, the writer of Rent , hoped to accomplish by

addressing the issues seen in the musical?

5. The actors perform the same show each night, but how could you make the experience

unique and personal to you?

6. What do you hope to gain from experiencing musical theatre?

7. Is there one element of production that is more important than all the others? Explain

your answer.

8. The audience does not participate in the making of the show, so why are they important

to a musical production?

9. If you were to teach a child how to behave at the theater, what would you tell them?

ActivitiesThe following activities and projects are intended to encourage students in furthering theirunderstanding of musical theatre. They may be used as class assignments or take-home projects.

1st – 5

th Grade

A. EvolutionObjective: to learn the major shows throughout the history of musical theatre

Action: Have students create a timeline of the major musicals (Show Boat, Oklahoma,

West Side Story, Bye Bye Birdie, Hair, Cats, Rent, Ragtime, Wicked ) and draw pictures to

represent each one.

Materials: construction paper, crayons/markers/colored pencils

B. Everyone’s a Star! Objective: to learn the elements of production in musical theatre, stimulate imagination,

develop teamwork skills, build self-confidence

Action: As a class, choose a story and act it out, incorporating music with real orhomemade instruments.

Suggested Stories: Hansel and Gretel, Little Red Riding Hood, Three Little Pigs, Johnny

Appleseed, Rapunzel, Rumpelstiltskin

Materials: homemade or real instruments, props (optional)

6th

– 12th

Grade

A. Inspiration




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Objective: to learn how historical context affects and inspires musical theatre, develop

research and public speaking skills

Action: Have students choose a musical to research and present on how the show reflects

the times in which it was created, including historical figures and relevant social or

political issues. Encourage students to watch videos of the show, study song lyrics, andresearch the time period in which the musical was written.

Suggested Shows: Oklahoma, West Side Story, By Bye Birdie, Chicago, Annie, Rent

B. DebateObjective: to learn the differences between various media, develop public speaking andverbal expression skills, encourage self-expression

Action: Divide the class into three groups. Have each group choose a form of media –

television, movies, or theatre -- and debate one another on which medium is the best.

Make sure students support their claims with specific benefits and limitations of eachmedium.

Section III – About the Show

Bombay Dreams was developed and produced by Andrew Lloyd Webber, based on the

book by Meera Syal and Thomas Meehan. The show takes place in India, and tells the

story of a young slum dweller aspiring to be a Bollywood movie star.

The original London production premiered on June 16, 2002 and ran for two years. It

won the Best Play/Theatre Production Emma Award in 2003. A typical Bollywoodtheme, water, was featured prominently in the show. Bombay Dreams is the only West

End musical to feature a fully operational fountain, under which the cast performs

Shakalaka Baby.

Several numbers were dropped, and new songs and scenes were added to the Broadway

version. On April 29, 2004, Bombay Dreams made its Broadway debut and since has




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been nominated for three Tony Awards. It has played 31 previews and 284 regular

performances since its premiere in New York.

The Creative Team

Andrew Lloyd Webber (Producer)

Andrew Lloyd Webber is the composer of Jesus Christ Superstar , By

Jeeves, Evita, Cats, The Phantom of the Opera, and many other musicals.With his array of both commercially and artistically successful shows, he

has won seven Tonys, three Grammys, six Oliviers, a Golden Globe, an

Oscar, an International Emmy, and the Richard Rodgers award for

Excellence in Musical Theatre.

A. R. Rahman (Composer) A.R. Rahman began his career composing music for advertisements, popularIndian Television channels, and documentaries, among other projects. In

1991, he was approached by film director Mani Ratnam to compose music

for the film, Roja. Rahman accepted, and the movie's successful debut ledhim to win the Rajat Kamal award for Best Music Director at the Indian

National Film Awards, the first time ever by a debutant. Rahman has since

then gone on to win the award 3 more times, the most ever by any composer.

Don Black (Lyricist) Don Black made his debut as lyricist with the musical Billy. His work in

theatre includes Sunset Boulevard, Tell Me On A Sunday, and Aspects of Love. He has also written over 100 songs for films including The Italian Job,

The Pink Panther Strikes Again, Dances With Wolves, Out of Africa and

many “James Bond” movies. He has received an Oscar, five Academy award

nominations, three Tony nominations, two Tony awards, five Ivor Novelloawards, a Golden Globe and many platinum, gold, and silver discs.

Meera Syal (Book)




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Meera Syal is a British born actress and writer. Throughout her career, she has written many

novels, films, television shows, and theatre productions. Syal has won a British Comedy award,RTS award, a BAFTA for the film It’s Not Unusual, an MBE for Services to the Arts in 1997,

the 2001 RIMA and EMMA Media Personality of the Year, and the 2001 Asian Women of

Achievement Chairman’s award. Her first novel, Anita and Me, took the Betty Trask award and

was short-listed for The Guardian Fiction Prize.

Thomas Meehan (Book) Thomas Meehan won the 1997 Tony Award for the book of Annie, the 2001 Tony for the

book of The Producers, and the 2003 Tony for the book of Hairspray. His work includes I

Remember Mama, Ain't Broadway Grand and Annie Warbucks. In addition, he is an Emmy

Award-winning writer of television comedy and a collaborator on a number of screenplays,including Spaceballs and To Be or Not to Be. Meehan is a member of the Council of the

Dramatists Guild.

Characters

Akaash…

a young working class boy who lives in the slums,

but hopes to become a Bollywood movie star

Sweetie… Akaash’s best friend who helps him sneak into the

Miss India pageant

Shanti… Akaash’s grandmother

Vikram… a lawyer who offers to help Akaash save the slums;Priya’s fiancée

Madan… Bollywood’s greatest film director; Priya’s father

Priya… Madan’s daughter; engaged to Vikram, but falls in love

with Akaash

Rani… the leading Bollywood

actress who insists on having Akaash

in her new movie

Song List




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Act I Act II

Salaa’m Bombay Famous

Bollywood Love’s Never Easy (Reprise)

Love’s Never Easy Chaiyya Chaiyya Lovely, Lovely Ladies How Many Stars

Bhangra Hero

Shakalaka Baby Ganesh Procession

I Could Live Here The Journey Home

Is This Love? Wedding Qawali

Synopsis

Act I

As Salaa’m Bombay plays, we meet Akaash, a young working class boy, working as a tour guide

in Bombay. After the tour, he returns to his home in the slums, where he lives with his

grandmother, Shanti, and best friend Sweetie. Akaash has been giving part of his earnings to thecommunal collection in order to save their home. The land they live on has been bought. Akaash

promises he will provide all of the money once he achieves his dream of becoming a famous

movie star ( Bollywood ).

A lawyer, Vikram, arrives in the slum and offers his services for free. Shanti invites him into her

home, along with his fiancée, Priya (who also happens to be the daughter of Madan,

Bollywood’s greatest film director). Sweetie and Akaash are skeptical of Vikram’s offer, buteventually agree. When Akaash discovers that Priya is involved in the movie industry, he tries to

get her to cast him. She explains that she's directing the upcoming Miss India pageant, andSweetie thinks of a plan to sneak Akaash into the pageant to get him some exposure ( Love's

Never Easy).

At the pageant, Rani, the leading Bollywood actress, performs for the audience to Lovely, Lovely

Ladies. Just as the winner is being announced, feminist protestors, and Akaash, crash the

pageant. Akaash then begins to lead the contestants and Rani in the Bhangra dance. Akaash and

the other protestors are thrown in jail, but Rani convinces the police to free him. She also tellsMadan, Priya’s father, that she will only do his movie if Akaash stars opposite her.

Madan begins to film his new movie, “Diamond in the Rough”. However, Akaash is having

trouble staying in character (Shakalaka Baby). Fortunately, after Priya gives him someencouragement, he begins to improve ( I Could Live Here). Sending him off to rejoin the shoot,

Priya wonders about the feelings she has toward Akaash, asking Is This Love?

Act II

The film is finished, and it's time for the premiere. Shanti arrives at Akaash's apartment, but Raniturns her away. The high society guests arrive for the pre-show party, and warn Akaash of the




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pitfalls of being Famous. At the premiere, Sweetie, Shanti, and others from the slum come to

cheer Akaash on. The movie is a huge success, but when Sweetie and the others try to approachAkaash, he pretends not to know them. Shanti and Sweetie are devastated, and Priya tries to

comfort them while Akaash and Rani move on to another party ( Love's Never Easy-Reprise).

At the Indian Film Awards, the cast of “Diamond in the Rough” performs a song from their film,Chaiyya Chaiyya. Akaash wins the award for best actor, and the cast and crew celebrate their

success at Akaash's new mansion. Priya confronts Akaash about his treatment of his family and

friends, and he tries to explain to her why he can't go back. They both express their feelings foreach other in How Many Stars, just before Rani and Vikram find them together.

Sweetie arrives to ask for Akaash's help. Their final appeal to save the slum takes place in courtthe next day, and they need Akaash’s support. However, he is still unwilling to give up his new

life. Priya and Sweetie wonder why they love a man who could behave in such a way ( Hero).

At the slum, Sweetie brings the news that their appeal has failed. Shanti urges them all to forget

it for the moment, and celebrate the feast of Ganesh. The contractors show up and tell Sweetiethat they will be demolishing the area tonight. Sweetie begs them to speak to Vikram. In

response, the contractors reveal that Vikram was the one who ordered the demolition. Sweetierealizes they have been betrayed, and runs to tell Akaash and Priya (Ganesh Procession).

Sweetie sends a boy to tell Akaash, and goes to confront Vikram. Sweetie threatens to tell Priyathe truth before their marriage that evening. In fear of the threat, Vikram shoots Sweetie. Akaash

arrives just in time to see his best friend die. He realizes that he cannot continue with the lie he's

been living (The Journey Home).

Akaash arrives at the slum and stops the contractors from destroying their homes, but he is notfinished yet. He must tell Priya the truth about Vikram before they get married. Crashing the

wedding, Akaash tells Priya everything. Vikram tries to kill Akaash, but Priya saves him.

Vikram is taken away, and Akaash and Priya are married instead (Wedding Qawali).




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Section IV – Elementary Curriculum

Dig a little deeper…The following questions are intended for students to learn about the plot and characters of a

story. These may be used to prompt class discussions or given as a written assignment.

What is Going On? The plot is the action or events that make up the story. In order for a story to make sense, theevents within must be in logical order.

1. Describe the plot of Bombay Dreams in one or two sentences.2. Identify five important moments in the show and explain why you chose them. Draw a

picture illustrating each event in a timeline.3. What information did you need to know in order to understand the action in Bombay

Dreams? How did the show communicate this information?

4. Read the lyrics of Salaa’m Bombay in Section VI. What is the main message in thissong?

5. Below are some of the main events in the show. Place them in chronological order.

a. Priya confronts Akaash about his disregard for his family and friends.

b. Vikram arrives at the slums offering his legal services for free.c. Akaash crashes the Miss India pageant.

d. Akaash and Priya get married.

e. Vikram shoots Sweetie.

Optional Terminology

-Exposition: presentation of information that the audience needs to understand the story’s action

-Rising Action: central part of the story during which various problems and complications arisethat cause the characters to take action

-Climax: the highest point or turning point in the action

-Falling Action: contains the action or dialogue necessary to lead the story to a resolution

-Resolution: the end of the story in which the problems are solved




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Movie Stars vs. Slum Dwellers 1. Which character was your favorite? Least favorite? Explain.

2. If you could be any one of the characters in the show, which would you choose? Why?3. Why did Akaash crash the Miss India pageant? What was he trying to achieve?

4. Which character do you consider to be the villain? The hero or heroine? Explain.

5. Why did Akaash ignore his family and friends at the movie premiere? If you wereAkaash, how would you have handled your celebrity status?

6. Why was Akaash so desperate to become a movie star? Did his motive change as the

show progressed?

7. Why did Rani insist that Akaash star opposite her in the movie?8. How do you think Sweetie felt when Akaash refused to help save the slums?

Get Creative!The following activities are intended to enhance students’ understanding of the show and

provide lessons they can apply to their own lives.

Bollywood, Here I Come!Objective: to connect the events of the show with personalexperiences, stimulate imagination, encourage creative expression

Action: In the show, Akaash dreamed of becoming a Bollywoodmovie star. If you could be anything and do anything in the world,

what would you be and what would you do? Use your imagination.

Draw a picture of the scenario and present it to the class.

Can I be Priya?Objective: to review the characters in the show, stimulateimagination, encourage creative expression

Action: Choose your favorite character from Bombay Dreams.Pair up with someone who is a different character. With your

partner, act out a scene from the show without saying your

names or directly telling the rest of the class who you are. Have

the audience guess which two characters you are imitating.

*Principal Pairs: Akaash and Sweetie Akaash and Priya Akaash and Shanti

Akaash and Vikram Akaash and Rani Priya and Vikram

Priya and Madan Vikram and Sweetie Sweetie and Shanti




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The Price of Fame

Objective: to connect the events of the show with personal experiences,stimulate imagination, encourage self-expression

Action: As a class, discuss how Akaash felt when he finally achieved hisdream of being a movie star. Make two lists – one of the specific things he

has gained and one of the things he has lost since becoming a successful

actor. Also, discuss what you would have done differently if you were inAkaash’s position.

Word Search

Bombay Dreams Priya India

Akaash Rani Movie StarSweetie Bollywood Diamond in the RoughShanti Slums Shakalaka

Vikram Ganesh Bhangra

Madan Pageant Chaiyya Chaiyya

A R G N A H B H E F J W M N B D A E R K L

E W H J D F C W L G B N C S R T S L U M S

L R Y I N O Y A I D N I V C N M F G T R K

D M A D A N L E R S A J K D F N G C B R S

H I C D K A S D G H T E I T E E W S A O T

F S D N L C D V R E M J U P L Y F O T I Q

G T F B G S Z H I E P R H T Y U M J N K L

M H D W O M N B C K L P O E U P W F A D J

O E M A R M T K U A R K L D E R S A E W T

V Q W Y H J B S A T C A F R M I Y J G L P

I T E Y M B C A S G H J M L O Y R T A P W

E R S I H K G W Y E T B F H E A Y W P L Z

S J G A S R L Y T D M N C V W E H S A R T

T F J H K U Y R D S R D S J H E A D R K I

A H B C V E R O P S B E H D M O N O U T T

R D A A M J R W G H N D A T E W R O K L N

G S T Y D C V A F B L R K M G H I W F D A

B X V Y N J L I N C F D A E S U T Y N B H








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10

10 9 9 11

12 11

13

Crossword Puzzle Key

4 P1 G 2 V 3 D R

1 T O U R G U I D E I 2 W E D D I N G

A K A Y5 B N R 3 B O M B A Y I N D I A

E D A O 4 S L U M S 5 M A D A N 7 F

T O D I

F T 6 M I S S I N D I A P A G E 8 A N T

R H O N N KI E V T C A

E 7 R A N I 8 S H A N T I E A

N E E E S

D S R 10 S H

T 10 B O L L Y W O O D9 B H A N 9 G R A U E 11 A

A R G E C

N H T T

E 12 D I R E C T O R

11 B E S T A C T O R E E

H S 13 P R O T E S T O R S




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Act it Out! Objective: to understand the show, stimulate imagination,

encourage creative expression and teamwork, build self-

confidence

Action: Using the script on pages 25-31, act out your own

production of Bombay Dreams. Add or take out lines

according to your interpretation of the story. If desired,include costumes, props, and music.

Roles: 4 boys, 4 girls, ensemble members

Life LessonsObjective: to learn the ideas and lessons presented in the show

Try Try AgainIn Bombay Dreams, Sweetie and the rest of the slum

dwellers do not give up on saving their homes, even when

the contractors showed up to demolish their land. Form

groups of 3-4 people. Act out a scene showing someonewho is able to achieve something that is seemingly

impossible because of his or her perseverance anddetermination.

You’ve Got a Friend in MeThroughout the show, Sweetie remains a good friend to Akaash even

though he denies their friendship when Sweetie goes to cheer him on




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at his movie premiere. As a class, make a list of qualities that you think would make a good

friend. Also, draw a picture of the perfect friend or your best friend. Present to the class andexplain why those qualities are important to you.

Honesty is the Best PolicyVikram’s lies not only hurt the slum dwellers, but

also ruined his own life and relationship with Priya.Think about how the story would have changed if

Vikram had been honest about his intentions.

Write a short story that shows the importance of

honesty. Draw pictures illustrating your storyand present to the class.

Act It Out! Script

4 boys – Akaash 4 girls – Priya

Vikram ShantiMadan RaniSweetie Miss India Pageant Host

Ensemble members – police, fans, pageant contestants, feminist protestors, contractors

Act I

At Shanti, Sweetie, and Akaash’s home in the slums

Shanti: What are we going to do? Where are we going to live?

Sweetie: I don’t know Shanti… I don’t think there’s anything we can do. They’ve boughtour land, and unless we can come up with the money to buy it back, they’re going todestroy everything.

Akaash : Don’t worry, I’ll get us the money.

Shanti: How Akaash? We’re grateful for your contributions, but it just won’t be enough.

Akaash : It will. Once I become a famous movie star in Bollywood, I’ll have the money to

buy this land… and everything else we’ve ever dreamed of.

Knock on door

Sweetie: Who could that be? (Sweetie, Shanti, and Akaash all walk towards the door)

Vikram and Priya at the door






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Contestants : (screaming) What is going on?!

Host: Security! Security!

Akaash : (grabs microphone from host) My name is Akaash, and we’re here to say that

this pageant is degrading to women! This should not be going on anymore…

Protestors: (chanting) No more pageants! No more pageants!

Two policemen rush onto stage and carry Akaash offTurn lights off

Turn lights on At the police station – Akaash is sitting in jail when Rani walks in

Rani: (talking to police) Why is this young man still in here? (points to Akaash)

Police: He and some protestors crashed the Miss India Pageant.

Rani: Yes, I know that. But I need him out. He’s going to be in my new movie!

Akaash : Really?

Police: I’m sorry, but I can’t just let him out.

Rani: Please, for me? He’s a friend of mine, and I really need him right now.

Police: Alright, alright. Just this once. (opens the door)

Akaash : Wow, thanks for all your help. And did you really mean what you said aboutme being in your movie?

Rani: Yes, I think you’d be great for the part. The movie’s called “Diamond in theRough”, and it’s being directed by Madan!

Akaash : Wow, this is like a dream come true!

Turn off lights

Turn on lights At the movie set – Akaash is practicing reading his script

Madan: No, no, no! You’re doing it all wrong. You need more emotion, more passion!

Akaash : I’m sorry, I just can’t seem to get it right today. I’m going to take a break.(walks off set)




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Priya: What’s the matter with you Akaash?

Akaash : (looking down) I don’t know. Maybe I’m just not cut out to be an actor.

Priya: Don’t say that. You’re a great actor! You just need to focus and really try tounderstand the character. You’ll do fine.

Akaash : Thanks Priya. You’ve been such a big help. I really appreciate it. (hugs Priya)

Priya: No problem.

Akaash walks off

Priya: (talking to self) What am I doing? I can’t like Akaash…I’m engaged!

Turn off lights

Act II

Turn on lights At the movie premiere – Sweetie, Shanti, and the other fans are standing on one side Akaash enters, posing for pictures

Sweetie: Hey Akaash! Akaash! Over here!

Akaash sees them but looks away

Shanti: Maybe he didn’t see us. Hey Akaash! It’s me Shanti! Akaash!

Akaash looks at them and makes eye contact, but ignores them and walks offPriya arrives and sees Sweetie and Shanti

Priya: Hey Sweetie, hey Shanti. Did you get to talk to Akaash?

Sweetie: (looking down) No… actually, I think he was trying to ignore us.

Priya: What? You’re kidding. Why would he do that?

Shanti: (looking down) I don’t know… maybe he’s ashamed of us.

Priya: I’m so sorry. I can’t believe he would do that. I’ll go talk to him.

Turn off lights




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Turn on lights After the Indian Film Awards at Akaash’s mansionEnsemble members in background talking and cheering

Rani: Congratulations Akaash!

Akaash : Thank you! Oh I can’t believe this… I can’t believe I won!

Rani: I know! Akaash—best actor Wow! I’m so happy for you!

Priya walks up

Priya: Akaash, I need to talk to you…in private. Akaash : What’s the matter? Isn’t everything great?

Priya: (pulls Akaash aside) No, everything isn’t great. I want to talk to you about how

you’ve been treating Sweetie and Shanti and everyone else back in the slums…

Akaash : Shhhh! Keep your voice down…what’s this all about? Aren’t you happy for me,for my new found fame?

Priya: This is exactly what I’m talking about. You’re so caught up in your own fame thatyou’ve forgotten all about your family and friends. You’ve forgotten why you wanted tobe an actor in the first place.

Akaash : I haven’t forgotten about them.

Priya: Yes, you have. Sweetie and Shanti told me that you pretended not to know themwhen they came to see you at the premiere…is that true?

Akaash : (hesitates) Look Priya, you don’t understand. I can’t go back there. I can’t haveanything to do with the slums anymore. This is my new life now.

Priya: I thought you were a good person Akaash, I thought we could’ve had somethingtogether. (looks down)

Akaash : Priya, I like you too. And I wish…

Vikram and Rani walk in

Vikram: Hey, what are you two doing in here?

Rani: Yeah, why aren’t you celebrating?

Priya: We were just…just talking.






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Vikram: You wouldn’t.

Sweetie: She’s going to find out what kind of person you really are.

Vikram: No, she’s not. (shoots Sweetie)

Sweetie falls to the groundTurn off lights

Turn on lights At the slums

Akaash : (shouting at contractors) Wait! Stop!Contractor : Wow, it’s you Akaash! You’re such a big movie star! I’m so honored tomeet you…what are you doing here?

Akaash : (hesitates) This…this is my home.

Contractor : What? You live here?

Akaash : Yes, I do. And now I have the money to buy this land. So stop whatever you’redoing.

Contractor : Well, alright…but Vikram…

Akaash : (interrupting) Don’t worry about Vikram, I’ll take care of him. (runs off)

Turn off lights

Turn on lights At Priya and Vikram’s wedding – Priya and Vikram are standing face to faceEnsemble members are sitting on two sides of the performance area

Akaash : Priya! I have to tell you something!

Priya: (surprised) What are you doing here?

Akaash : Vikram…he’s the one that ordered the demolition. He tricked us. He had thisplanned all along.

Priya: What? Vikram, is this true?

Vikram: Of course not, he’s lying!

Akaash : No I’m not. You have to believe me Priya, I’m telling the truth.




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Vikram: (angry) No, you’re lying! (tries to shoot Akaash)

Priya sees Vikram’s gun and pushes Akaash out of the wayVikram tries to run, but the crowd grabs him and takes him away

Priya: Akaash, are you alright?

Akaash : Yes, yes I’m fine. You saved my life. (pause) Priya, I love you.

Priya: I love you too.

Turn off lights

Section V – Junior High & High School Curriculum

Dig a little deeper…The following questions are intended to encourage students to go

beyond just the surface of the play. With these questions, students will

be engaging in literary analysis and possible outside research. These

may be used to prompt class discussions or given as a written

assignment.

PlotThe plot is the action or events that make up the story. It can be broken down into five parts:

-Exposition: presentation of information that the audience needs to understand the story’s action

-Rising Action: central part of the story during which various problems and complications arise

that cause the characters to take action

-Climax: the highest point or turning point in the action

-Falling Action: contains the action or dialogue necessary to lead the story to a resolution

-Resolution: the end of the story in which the problems are solved

1. Describe the plot of Bombay Dreams in one or two sentences.

2. Identify the moments of exposition, rising action, climax, falling action, and resolution.






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1. Water is used throughout the show. What does it symbolize?

2. Read the lyrics for The Journey Home in Section VI. Explain the phrase “Some

yesterdays always remain; I'm going back to where my heart was light; When my pillow

was a ship I sailed through the night”. What is Akaash referring to?

3. Which events or characters represent the contrast between rich and poor?

4. Read the lyrics for How Many Stars in Section VI. Explain the phrase “precious gifts can

come from empty hands”. What gifts are Akaash and Priya referring to?

5. Why does Akaash deny his past? What does this reveal about his character?

Mini Quiz

1. When and where did the original productionof Bombay Dreams premiere?a. London, 2000

b. New York City, 2002c. Bombay, 2000

d. London, 2002e. New York City, 2000

2. Who is A.R. Rahman?a. Composer of Bombay Dreams

b. Main male character in the showc. Producer of Bombay Dreams

d. Lyricist of Bombay Dreams e. None of the above

3. Why does Akaash want to be an actor?

a. He wants to impress Priya b. He wants to impress Sweetie

c. He wants to earn enough money tosave his home

d. A and Ce. None of the above

4. How does Akaash sneak into the pageant?a. He poses as one of the contestants

b. Sweetie devises a plan for him tosneak in with the feminist protestors

c. Priya lets him host the show

d. He poses as one of the judgese. None of the above

5. Who and how does Akaash get out of jail?

a. Rani convinces police to let him go b. Madan tells the he needs Akaash forthe new movie

c. Priya promises police a part in themovie in exchange for Akaash’s

freedomd. Sweetie sneaks him out while the

police were handling something else

e. Shanti pays Akaash’s bail

6. Priya is ____________a. Madan’s daughter

b. Vikram’s fiancéec. Directing the Miss India Pageant

d. A, B, and Ce. None of the above

7. What is the name of Madan’s movie?

a. Bombay Dreams b. Diamond in the Rough

c. Love’s Never Easyd. Chaiyya Chaiyyae. None of the above

8. How does Sweetie find out that Vikram had

betrayed them?a. He overheard Vikram talking about

his plan with the contractors

b. Vikram confessed to himc. The contractors told him that Vikram

ordered the demolition




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d. Priya found the plans in Vikram’s

briefcase and told Sweetiee. None of the above

9. How does Sweetie die?

a. He gets hit by a car on his way tofind Akaash

b. He gets into a fight with thecontractors and they kill him

c. Vikram shoots himd. Akaash mistakenly shoots him

thinking he was Vikram

e. None of the above

10. Why is Akaash’s mission still incompleteafter he stopped the contractors?

a. He has to take Sweetie to the hospital

b. He has to tell Priya he loves herc. He has to buy the slum land back

d. He has to give up his movie career

e. He has to tell Priya about Vikram

11. Who gets married at the end of Bombay

Dreams?

a. Priya and Vikram b. Vikram and Rani

c. Akaash and Ranid. Priya and Akaash

e. None of the above

Mini Quiz Key

1. D

2. A

3. C

4. B

5. A

6. D

7. B

8. C

9. C10. E11. D




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Get creative!The following project ideas are intended to enhance students’ musical theatre experience

through the analysis and creation of art. They may be assigned as in-class written assignments,

take-home projects, or presentations.

Two Thumbs Up!Objective: to understand the elements of a theatre production

Action: After seeing Bombay Dreams, pretend you are a critic

and write a review of the production. Using specific examples,evaluate the music style, performance, scenery, lighting, and

costumes. Be sure to include how each contributes to the

show’s overall imagery and tone.

Be a Star!Objective: to develop character analysis skills through role-play, encourageartistic expression

Action: Choose your favorite or least favorite character and pretend you are

him/her. Using specific examples, explain what it is about his/her attitude,actions, and speech that you like or dislike. Create a collage, drawing, power

point presentation, song, or poem that exemplifies the character you choose.

Write Your Own!

Objective: to develop creative writing skills, stimulate imagination, buildself-confidence, encourage teamwork

Action: Get into groups of five. Write a scene based on an existing bookand act it out. Students may choose to write their own songs or find

existing songs that are fitting.

A Whole New WorldObjective: to relate the show to personal experiences, learn about

foreign cultures, develop creative expression and public speaking

skills

Action: Bombay Dreams reveals the rich and unique culture of India

through its story. Choose a foreign country and research its people,food, music, dance, fashion, entertainment, and traditions. Through a

skit, drawing, or collage, discuss and present these cultural elements to

the class. Also, compare and contrast the country’s culture to that ofyour own.




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You’re the Expert!Objective: to engage in literary analysis and organization ofideas, develop research and presentation skills

Action: Choose a question from the list below and present your

answers and ideas to the class. Your presentation should befour to five minutes long. Be sure to include a visual aid to help

your audience understand the information. This project may bedone independently or with a partner.

1. Bombay, India is a city of extremes – the rich and the poor, the famous and the forgotten,the bustling streets and the calm beaches. How do the characters and events in Bombay

Dreams parallel the show’s setting?

2. Describe the two settings in the story (the slums and Bollywood). Would Bombay

Dreams work in different settings? Why or why not?

3. A complication is a force, an obstacle, or an unexpected event that changes the course of

the play. What complications do each of the principal characters (Akaash, Priya, Sweetie)

face?

4. Foreshadowing is a device used to build suspense and to prepare the audience for action

that follows. Identify three elements of foreshadowing in Bombay Dreams.

5. Akaash is torn between his desire for fame and loyalty to his friends. How does he

resolve the conflict?

6. Why was Akaash ashamed about his past? Identify moments in the show when there was

temptation or pressure for him to fit in with the Bollywood society.

7. What do you think made the slum dwellers believe Vikram and accept his offer althoughthey had just met him? What was it about him that made everyone trust him?

8. Give examples of situations where an individual has been able to trick a large group of

people.

9. Which character do you consider to be the villain? The hero or heroine? Explain yourreasoning.

10. What does the title of Madan’s movie, “Diamond in the Rough” symbolize?






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Section VI – Supplemental Material

Bombay Dreams: Andrew Lloyd Webber’s Inspirationwww.reallyuseful.com

I have been fascinated by what Westerners call, to most Indian film-makers' indignation,Bollywood, for several years. It all began thus. About a decade ago on Saturday mornings,Channel 4 showed a selection of popular Hindi movies in a series which was called MovieMahal. On one such Saturday one of these films was playing on my kitchen TV. I was cookinglunch when a song lured me away from the stoves.

Three lines of gorgeous girls were dancing for a few seated blokes with turbans whilst one girlmoved demurely and sang in an abnormally high chest voice. Very good this song was too.Unfortunately I forgot to write down the name of the movie. To this day I haven't traced it.

Increasingly I became interested in contemporary popular Indian music and the direction it wastaking. Talvin Singh, in particular, struck me as introducing complex rhythms to a Westernaudience in a way that was accessible and totally couched in the sounds of today.

A couple of years later I was introduced at lunch to the film director Shekhar Kapur Shekhar isbest known for his Indian movie Bandit Queen and the drama Elizabeth starring Cate Blanchettas Good Queen Bess I. Partly out of small talk, partly out of genuine curiosity I asked him aboutBollywood. He told me that dozens of movie musicals were made in India in any one year.

I was fascinated. How could I not be when he told me that on any one night in Britain more Asians will see a musical on the screen than will a London audience see one on the stage. So Imentioned the unknown song. Shekhar volunteered to find it. He sent me a couple of videos

that he compiled of dozens of Bollywood's greatest hits. I took the videos on holiday andchucked them on in the background whilst the kids were playing in the garden.

I never found that song but I discovered something else. One in every five songs evinced amelody of pure gorgeousness or a rhythm so complex or a level of musical invention on a single"drone" note that had me realize that I could be listening to something that I had always hopedwould happen, the revitalization of popular melody from somewhere far removed from WesternEurope and America

Twenty years ago I predicted that this would come about through the inevitable collapse of theSoviet Union. I argued that the land that had produced Tchaikovsky, Rachmaninov, Prokofiev,Shostakovich et al would produce modern versions of these great melodists again the moment

the tin lid was removed from their society. I argued that once young people from Eastern Europecould freely produce their own music the West would get the musical shot in the arm that it sobadly needed as its pop atrophied in a lard of "grooves", high tech production and manufacturedboy and girl bands. I was wrong. What emerged as a consequence of the Soviet Union'scollapse succeeded in lowering the tone of the Eurovision Song Contents still further.

After a couple of days, the music of one in every five Bollywood songs was hitting not just mebuy anyone who heard the stuff. There had to be a common denominator. This was theircomposer, A R Rahman. One look on the net revealed that he was a phenomenon in Asia,






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Song Lyrics

Sa la a m B o m b a y

Salaam Bombay (4x)

Praise the god who smiles on Bombay

Give me a land free from the floodSaving the hovels made of mud

Lifting the heart

Cleansing the mindTesting the conscience of mankind

Salaam Bombay (4x)

Here's to everything in Bombay

Here's to the poorAnd the oppressed

Who have to die before they're blessed

Salaam Bombay (8x)

Here's to everything in BombayHere's to the poor

And the oppressedWho have to die before they're blessed

Salaam Bombay (4x)




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L o v e ’ s N e v e r Ea s y

Love's never easyTake it from a girl who knows

Love comes as quickly as it goes

Love's never easyAlways moments of despair

And we girls get more than our share

All we women want of life

Is to find a man who's kind and trueWe have seen life through men's eyes

So we know what pleases you

Love's never easy

You will learn this lesson tooI'll be here for you when you do

Love's never easyOne day soon the dream will start

Well, that is what I tell my heart

All we women want of lifeIs to find a man who's kind and true

We have seen life through men's eyesSo we know what pleases you

Love's never easyTake it from a girl who knows

Love comes as quickly as it goes

Love's never easyOne day soon the dream will startWell, that is what I tell my heart

Love's never easy






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T h e Jo u r n e y H o m e

The journey homeIs never too long

Your heart arrives before the train

The journey homeIs never too long

Some yesterdays always remain

I'm going back to where my heart was lightWhen my pillow was a ship I sailed through the night

The journey home

Is never too longWhen open arms are waiting there

The journey home

Is never too longThere's room to love and room to spare

I want to feel the way that I did thenI'll think my wishes through before I wish again

Not every road you come across

Is one you have to takeNo, sometimes standing still can be

The best move you ever make

The journey home

Is never too longOne helps to heal the deepest pain

The journey home

Is never too longYour heart arrives before the train



45

References

Theatre Under the Stars www.tuts.com

American Musical Theatre www.theatrehistory.com

Internet Broadway Database www.ibdb.com

Musicals.net www.musicals.net

Musicals101.com www.musicals101.com

Broadway: The American Musical www.pbs.org/wnet/broadway

Andrew Lloyd Webber’s Musicals www.reallyuseful.com

The Rodgers and Hammerstein Organization www.rnh.com

PBS TeacherSource www.pbs.org/teachersource

Playbill www.playbill.com

Talkin’ Broadway www.talkinbroadway.com

Soundtrack Lyrics Source www.stlyrics.com

Glossary of Technical Theatre Terms www.theatrecrafts.com

Wikipedia http://en.wikipedia.org

Theatre on a Shoestring http://upstagereview.org/Glossary.html

Arts Alive www.artsalive.ca/en/eth/design

Theater Glossary http://theater.about.com

Bombay Dreams www.theatre-musical.com/bombaydreams.html

Documents

Bombay Dreams Study Guide