. all rights belong to Tanis Harms –
. refer to www.church-skits.com
EVERYTHING HOLLYWOOD - NOTES - written by Tanis Harms
(Ideal for dinner theater. Actors can be the waiters,
and create bios to stay in character the entire time.
EXAMPLE PROGRAM: main course, ACT 1, dessert, ACT 2)
PREMISE:
BETTY leaves home to make it big in Hollywood.
Being star-struck, she is in for a rude awakening.
GLEN the director discovers her, but also discovers that
she cannot sing. Knowing that MARIE can sing but cannot
act, he builds up BETTY using MARIE’S singing voice.
A shallow relationship develops between BETTY and BARRY,
Who’s a sucker for a mellow voice. Meanwhile,
it is MARIE who likes BARRY. TODD – just loves himself.
And BETTY finally realizes that love in Tinsel Town
is shallow and fickle! GLEN, the rude director,
has a difficult time knowing what his movie is about.
DALE is the adept writer who has a difficult time
keeping up, as the real-life soap opera keeps changing
and influencing the direction of the entire script.
STYLE: comedy, spoof on old Hollywood films
TOPIC: true love
SCRIPTURE: 1 Corinthians 13
Cast: BETTY (aspiring actress who cannot sing)
. MARIE (sensitive singer who cannot act)
. DIANE DiMARCO (washed-up bitter actress)
. BARRY (smitten second rate actor)
. TODD (arrogant leading man)
. SCOTT HARRISON (distinguished famous actor
. who was never that good)
. GLEN (harsh but fickle director)
. DALE (frustrated but intuitive writer)
. SHEREE (world-renowned retired dancer,
. choreographer, very out of shape)
. MAKEUP (intent only on her job)
. EXTRAS (singers/dancers)
CENTER SET: standing backdrop of New York City with
. Marquise saying “BROADWAY – starring...”,
. park bench at upper stage left
STAGE RIGHT: suitcase
STAGE LEFT: desk, chair, paper, typewriter
NOTES ON MUSIC: 2
- I have taken old praise songs that most churches
. should have the rights to use. It is up to you
. to make sure you have proper permission (if needed).
- I have re-written the words to these songs,
. which are found in the script as you go.
. Sing each syllable where there is a word found
. in the original. If I have written some words
. that need to be sung all on one note/word/syllable
. of the original, it’ll be in [parenthesis].
- Also, to match with the scene, change the style
. of how the song is played, also disguising the song
. if you are worried that it will be recognized.
- If you choose, I give you permission to write
. original music to my words.
SONG LIST:
SONG #1: “HOLLYWOOD-BROADWAY” (big band style)
. Sung to: “WE WORSHIP YOU”
. - by Dan Marks & Bruce Muller, 1981.
. - 1983 Maranatha! Music.
SONG #2: “WHAT SHALL I DO? (old Hollywood strings)
. Sung to: “AS FOR ME”
. - by Dan Marks, 1981.
. - 1983 Maranatha! Music and Coomesietunes.
SONG #3: “IT’S LOVE AGAIN” (old Hollywood strings)
. Sung to: “SHEPHERD’S SONG” - by Sandy
. Hauxhurst, 1978, 1983 Maranatha! Music
Song #4: “Forgive” or “Hey Cats” (swing dance big band)
. Recommended music by: THE BUNTERS
. - from the CD “Millenial Swing”
SONG #5: “THE FLUFF SONG” (old Hollywood strings)
. Sung to: “PRAISE THE LORD”
. - by Tom Coomes and Fred Field, 1972
. - 1983 Maranatha! Music, or 1972 Dunamis Music.
SONG #6: “I CHOOSE” (plucky, leads into tap-dancing)
. Sung to “JOHN 16:33” (or “These Things I Have
. Spoken unto You”), by Deborah Y. Chew, 1973
. - 1983 Maranatha! Music.
SONG #7: “Thank you” (soft and lilting)
. Sung to: “I WILL BLESS THEE, O LORD”
. - by Esther Watanabe, 1983 Maranatha! Music.