Billing

Requirements

You must give the authors/creators billing credits, as specified in the Production Contract, in a conspicuous manner on the first page of credits in all programs and on houseboards, displays and in all other advertising announcements of any kind.
Percentages listed indicate required type size in relation to title size.
I. Billing Requirements
Programs.
It is understood and agreed that for any subsequent production of the Play at any other theatre, the title page of the program shall include the following:
By special permission and based on
The All Night Strut!
 

Originally Conceived and Originally Directed and Choreographed by
FRAN CHARNAS
 
Original Musical Arrangements by
TOM FITT, GIL LIEB, and DICK SCHERMESSER
 
Original Additional Orchestrations by
COREY ALLEN
 

[YOUR ORGANIZATION NAME HERE]

present
A New Musical Version of

The All Night Strut!
"A Jumpin Jivin' Jam"
 
Conceived by
AARON THIELEN and MARC ROBIN
 


New Musical Arrangements by
Richard Carsey, J. Michael Duff, Ryan T. Nelson, Doug Peck and David Siegel
 

Orchestrations by
Dave Siegel
 


Originally produced at The Marriott Theatre
Terry James, Executive Producer
 
 

Ads and press releases. Whenever and wherever "Conceived by Aaron Thielen and Marc Robin" appears, "By Special Permission and based on The All Night Strut!" and "Originally Conceived and Originally Directed and Choreographed by Fran Charnas" must also appear. It is understood and agreed that the foregoing billing credit will appear in all forms of publicity and advertising under the control of the Producer wherever and whenever the title of the Play appears, except that such billing need not be accorded on marquees, in ABC or teaser ads, or in radio or television ads, or in print ads of less than one-half page in which only the title of the Play, the name of the theatre, and/or critics appear.
 
The All Night Strut!
"A Jumpin Jivin' Jam"
 
As an integral part of this license, licensee further agrees to insert in each program of the Play, the following credit line exactly as listed for each of the following compositions:


MUSICAL NUMBERS ACT I

"CHATTANOOGA CHOO CHOO" (1941)
by Mack Gordon and Harry Warren; used by permission of EMI Feist Catalog, Inc.
 

"MINNIE THE MOOCHER" (1931)
by Cab Calloway, Irving Mills and Clarence Gaskill; used by permission of EMI Mills Music, Inc., EMI Entertainment World O/B/O Hi-De-Ho Man Music
 

"BROTHER, CAN YOU SPARE A DIME?" (1932)
by E.Y. Harburg & Jay Gorney; used by permission of Gorney Music, Glocca Morra Music Corp.
 

"IN THE MOOD" (1938)
by Joe Garland; used by permission of Shapiro, Bernstein & Co,
 

"GIMME A PIGFOOT AND A BOTTLE OF BEER" (1939)
by Wesley "Socks" Wilson; used by permission of MCA Music Publishing, a Division of MCA, Inc.
 

"A NIGHTINGALE SANG IN BERKELEY SQUARE" (1940)
by E. Maschwitz & Manning Sherwin; used by permission of Shapiro, Bernstein & Co.
 

"JAVA JIVE" (1941)
by Ben Oakland & Milton Drake; used by permission of Warner Bros. Music, A Division of Warners Bros. Inc. Sony/ATV Tunes LLC
 

"WORLD WAR II MEDLEY" (1938 - 1943)
 

"GI JIVE" (1943)
by Johnny Mercer; used by permission of Warner Bros. Music Corp.
 

"SHOO SHOO BABY" (1943)
by Phil Moore; used by permission of MCA Music Publishing, A Division of MCA, Inc.
 
"WHITE CLIFFS OF DOVER" (1942)
by Walter Kent & Nat Burton; used by permission of Shapiro, Bernstein & Co., Inc., Walter Kent Music Co.
 

"ROSIE THE RIVETER" (1942)
by Redd Evans & John Jacob Loeb; used by permission of Famous Music Corp., Fred Ahlert Music Corp.
 

"YOU'RE A LUCKY FELLOW MR. SMITH" (1941)
by Sonny Burke, Hughie Prince & Don Raye; used by permission of MCA Music, A Division of MCA, Inc.
 

"PRAISE THE LORD AND PASS THE AMMUNITION" (1942)
by Frank Loesser; used by permission of Famous Music Corp.
 

"COMIN' IN ON A WING AND A PRAYER" (1943)
by Harold Adamson & Jimmy McHugh; used by permission of EMI Robbins Catalog, Inc., Jimmy McHugh Music, Inc.
 

"I'LL BE SEEING YOU" (1938)
by Irving Kahal, Sammy Fain, L. Lee Philips, Trustee, Sammy Fain Trust D/B/A; used by permission of Fain Music Co. & Fred Ahlert Music Corp. A/C The New Irving Kahal Music Co.
 

ACT II
 

"I GET IDEAS" (1951)
by Dorcas Cochran & Sanders; used by permission of Warner/Chappell Music, Inc.
 

"AIN'T MISBEHAVIN" (I'm Savin' My Love For You)(1929)
by Waller, Brooks, Razaf; used by permission of Razaf Music Company, EMI Mills, Inc., Anne-Rachel Music
 

"OPERATOR" (1959)
by William Spivery; used by permission of Conrad Music, A Division of Arc Music Corp.
 
"DREAM" (1944)
by Johnny Mercer, used by permission of Warner Brothers Music Corp.
 
"BEAT ME DADDY, EIGHT TO THE BAR" (1940)
by Don Raye, Hughie Prince & Eleanore Sheehy; used by permission of MCA Music, A Division of MCA, Inc.
 

"A FINE ROMANCE" (1936)
by Dorothy Fields & Jerome Kern; used by permission of Polygram International Publishing, Inc., ALDI Music Company
 

"TUXEDO JUNCTION" (1940)
by Erskine Hawkins, Buddy Feyne, William Johnson & Julian Dash; used by permission of Rytvoc, Inc., Lewis Music Publishing Co., Inc,
 
"JUKE BOX SATURDAY NIGHT" (1942)
by Al Stillman & Paul McGrane; used by permission of Chappell & Co.
 

"AS TIME GOES BY" (1931)
by Herman Hupfield; used by permission of Warner Bros. Music, A Division of Warner Bros., Inc
 

"HIT THAT JIVE, JACK" (1941)
by Skeets Tolbert & Johnny Alston; used by permission of MCA Music Publishing, A Division of MCA, Inc.
 

"BILLIE'S BOUNCE" (1945)
by Charlie Parker; Used by permission of Atlantic Music Corporation
 

"IT DOESN'T MEAN A THING" (If It Ain't Got That Swing) (1932)
by Duke Ellington & Irving Mills; used by permission of EMI Mills Music, Inc., Famous Music Corporation
 

"LULLABY OF BROADWAY" (1936)
by Al Dubin & Harry Warren; used by permission of Warner Bros. Music, Inc., a Division of Warner Bros., Inc.
The videotaping or other video or audio recording of this production is strictly prohibited
The All Night Strut! A Jumpin' Jivin' Jam

Included Materials

ItemQuantity Included
AUDIO GUIDE1
LIBRETTO/VOCAL BOOK22
PIANO CONDUCTOR'S SCORE2

Production Resources

Resource
HOW DOES THE SHOW GO ON-10/CS
HOW DOES THE SHOW GO ON?

STANDARD ORCHESTRATION

InstrumentationDoubling
BASS
DRUMS
KEYBOARD 2
REED 1ALTO SAXOPHONE , Bb CLARINET , FLUTE , PICCOLO
REED 2ALTO SAXOPHONE , Bb CLARINET , FLUTE
REED 3Bb CLARINET , BARITONE SAXOPHONE , BASS CLARINET
TROMBONE
TRUMPET
TRUMPET 2
A delightful romp through the dance and music of the 1930s and '40s.
Show Essentials
13
Roles
+ Ensemble
PG
Rated
2
Acts

Full Synopsis

The All Night Strut! A Jumpin' Jivin' Jam is based on the original The All Night Strut!, and features many of the same songs from the original show. The story hangs together on the character of Coda, a silent master of ceremonies clown, who guides the audience through different vignettes anchored in classic songs from The Great Depression era through the post-war boom. Coda brings to life an evening of music and dance spectacle, weaving together bits of patriotic celebration and emotional Americana. The songs appear in the show in the following order:

Act One

Prologue

"Billie's Bounce"

1940: In the Mood

"In the Mood"
"Chattanooga Choo Choo"
"Beat Me, Daddy, Eight to the Bar"
"1930: Minnie the Moocher"
"Minnie the Moocher"

World War II Suite

"You're a Lucky Fella, Mr. Smith"
"It Don't Mean a Thing If It Ain't Got That Swing"
"Dream"
"I'll Be Seeing You"
"Shoo Shoo Baby"
"Rosie the Riveter"
"Comin' in on a Wing and a Prayer"
"Praise the Lord and Pass the Ammunition"

Mini Musical

"I Get Ideas"
"A Fine Romance"
"Ain't Misbehavin'"
"Lullaby of Broadway"

Act Two

Coda's World

"White Cliffs of Dover"

Singer's Suite

"It Don't Mean a Thing If It Ain't Got That Swing"
"A Nightingale Sang in Berkeley Square"
"Dream / As Time Goes By"
"Operator"
"Java Jive"

Crazy Rhythm in Five Parts

"Crazy Rhythm"

Casting

Casting

Cast Size: Medium (11 to 20 performers)
Cast Type: Ensemble Cast
Dance Requirements: Heavy

Character Breakdown

Coda
Creates the world and leads the audience through the show. Magical, energetic, mischievous, innocent, and passionate. A skilled physical comic with agility, great personality, and powerful non-verbal communication skills.
Gender: male
Age: 25 to 50
Jim
Suave and debonair with a strong presence and opinion.
Gender: male
Age: 24 to 55
Stephen
A sweet and optimistic dreamer who is excitable at times.
Gender: male
Age: 22 to 35
Susan
Seductive and alluring, but with a bubbly and exciting quality.
Gender: female
Age: 18 to 30
Susie
Sultry and sexy. She's a "take-charge" kind of girl.
Gender: female
Age: 22 to 30
John Smith
Charming, romantic, and boyishly goofy.
Gender: male
Age: 22 to 30
Alan
A ham with a heart of gold. John's best friend. A soldier and a lover.
Gender: male
Age: 22 to 30
Mary Beth
Beautiful, sweet, lovelorn, and waifish.
Gender: female
Age: 18 to 26
Rosie
The classic image of "Rose the Riveter". Strong and tough but also flirty and playful.
Gender: female
Age: 24 to 34
Band Singer
Boy
Quiet, reserved and sweet until he can stand it no longer and has to tell the GIRL how he feels about her.
Gender: male
Age: 18 to 24
Girl
Shy and hesitant, but sweet and innocently beautiful.
Gender: female
Age: 18 to 24
Female Star
A diva in the vein of a classic movie star caricature. Beautiful, insecure, and demanding.
Gender: female
Age: 22 to 32
Male Star
A passionate but bored lover. Attractive with a large stage presence.
Gender: male
Age: 24 to 35
Ensemble
A company of 6-8 excellent male and female dancers well versed in a variety of genres such as swing, hip-hop, tango, tap, and ballet.

Show History

Productions

The All Night Strut! A Jumpin' Jivin' Jam premiered to tremendous success at the Marriott Theatre in Lincolnshire on December 6, 2006, and continued its scheduled run through February 11, 2007. It was conceived by the Marriott's Artistic Director, Aaron Thielen, and the acclaimed choreographer, Mark Robin.

Inspiration

The All Night Strut! A Jumpin' Jivin' Jam is based on its predecessor, The All Night Strut!, which was originally conceived by Fran Charnas and premiered at the State Theatre in Cleveland, Ohio, in 1976 before it went on to an Off-Broadway run in 1979 and then a PBS television special in 1988. The updated revision takes largely from the original, still capturing and celebrating the music of the 1930s and '40s with many of the most popular standards of that era.

Connect