Kiss me cat musical. Porter's musical "Kiss Me, Kat"

"Kiss me, Kat"(eng. Kiss Me, Kate) is a musical created by Col Porter. Built on the principle of “a story within a story”, and internal plot is William Shakespeare's play The Taming of the Shrew. The musical premiered on December 30, 1948. Kiss Me, Kat became one of Porter's most successful works and his only musical to last more than 1,000 performances on Broadway. In 1953, George Sidney’s film of the same name was released (dubbed into Russian under the title “Kiss Me, Kate.”

Porter's wife Linda introduced him to journalists Samuel and Bella Spevak. The couple had a fiery temperament, their married life constantly teetered on the brink of divorce, which inspired Bella to write modern version"The Taming of the Shrew" by Shakespeare. Porter had the idea to make a musical based on this script.

Fred Graham is directing a musical based on The Taming of the Shrew. The role of Petruchio is played by himself, the role of Katerina (“Kat”) is played by him ex-wife, movie star Lilli Vanessi. Fred and Lilly constantly quarrel, as only lovers can quarrel. The role of Bianca is played by new girl Freda, Lois Lane, but she is in love with the actor who plays Lucentio, Bill Calhoun. Calhoun is a player. It turns out that he signed a bill for 10 thousand dollars in Fred's name.

Fred's flowers sent by Lois are mistakenly delivered to Lilly, who realizes that she still loves Fred despite being engaged to a powerful senator. During the performance, Lilly finds out that a mistake has occurred, causes a scandal right on stage and puts the entire production in jeopardy. At the same time, two gangsters come to demand a debt from Fred, whose name is signed on the bill. Fred vitally needs a successful premiere of the play, because only commercial success will save him from the gangsters. He uses them to prevent Lilly from leaving the play.

The stage action develops: Petruchio marries Katerina and soon begins to miss his bachelor life. The gangsters receive news that their boss has been killed, so it makes no sense to demand a debt from Fred. Lilly leaves. On stage, Bianca and Calhoun get married. Before the end of the performance, Lilly unexpectedly appears and declares her love to Fred on behalf of Katerina. The lovers are reunited.

Characters and performers:

Fred Graham / Fred Graham - Brent Barrett

Lilli Vanessi / Lilli Vanessi - Rachel York

Lois Lane / Lois Lane - Nancy Anderson

Bill Calhoun - Michael Berresse

Harrison Howell - Nicholas Colicos

First gangster / First Man - Teddy Kempner

Second gangster / Second man - Jack Chissick

Hattie - Kaye E. Brown

Paul / Paul - Nolan Frederick

Harry Trevor - Colin Farrell

Gremio / Gremio - Nick Winston

Hortensio / Hortensio - Barry McNeill

Ralph / Ralph - Alan Vicary

Cab Driver & Nathaniel - Andrew Spillett

Pops - Duncan Smith

Phillip / Phillip - Phillip Sutton

"We honor Shakespeare,
He is a magician and a prophet.
In all libraries of the world
You won't find wiser lines
"Kiss me, Kat"

Before I forget, I still need to write at least a short review about the play “Kiss Me, Kat” at the St. Petersburg Theater musical comedy.

In general, “Kiss Me, Kat” is a self-playing musical. It’s so good in terms of plot and music that I don’t understand how it hasn’t been remade in Hollywood into some global super-hit (I have a movie with Katherine Grayson, but the musical deserves better).

Briefly about the plot for those who are not in the tank. America, post-war period. The troupe is staging “The Taming of the Shrew” with Hollywood “star” Lily Vanessi in the title role. Lily is the ex-wife of the director and leading actor of the troupe Fred, she is at knifepoint with ex-husband, although she still loves him. Fred, in turn, has a young girlfriend, to whom he promises to make her a “star” (and who - note - appreciates him precisely in this capacity). A friend has a gambler boyfriend, also an actor in the same troupe. He loses a decent amount of money and signs the bill with the director's name. His creditor sends two gangsters, big fans of Shakespeare (which they studied for N years in the prison library in Atlanta) to extract the money... It is clear that love and theatrical passions are in full swing, Fred spins between his ladies and gangsters, as if in a frying pan, the performance replaces life , life is a performance... Everything is very fun, charismatic, and ends well.

To the theater’s credit, the performance was, on the whole, a success. As far as I understand, the guys rewrote the second act somewhat, but it turned out to be even better. I watched the production with a younger cast – with Karina Chepurna as Lily and Yulia Moskalenko as “Bianca”, and they both made an impression. True, A. Byron - Fred suffered from the comparison - he seemed frankly too old for both, and it was quite difficult to understand why Lily was so killed because of him. The girls are beautiful, with a good figure and amazing legs (Yu. Moskalenko’s vertical split - a swing of a straight leg almost behind the head - even impressed me) vociferous - with one strength of voice they still managed to win the “battle” with the orchestra, with another - Lily - musicians still adjusted.

But there is nothing good to say about the orchestra. There was practically nothing audible except main character, and sometimes - a hero. The music almost completely drowned out the verses of all the secondary characters, and yet there is excellent text. Only “Bianca” managed to be heard in her solo number - the rest didn’t even try to do it. The worst thing happened with the gangsters. The two Shakespearean-loving gangsters are self-playing roles; they have no text, but pure aphorisms. This is probably why these roles were assigned to the weakest performers. The actors know how to SING, but no one even tried to play the verses of “We honor Shakespeare.” Moreover, because of the orchestra they simply could not be heard, but this is the most fun song of the musical!

However, not everything is so bad. Ivan Korytov in the role of "Lucenzo", an actor-gambler - this is a real sur! His role is so-so, but there are several solo dance numbers, and he dances really amazingly. It’s even strange that he is not involved in “Chicago”, because... His step is simply magnificent. My aunt (with whom I went to the play in St. Petersburg) generally thought that his number was the best thing in the play. ( good boy, very good. If I lived in St. Petersburg, I would definitely watch him in the role of Bonnie in “Silva”).

Summary. It's worth watching. Perhaps even twice - with a younger and more “deserved” composition (it would be good for young staff and Fred was found younger...) To the orchestra - a desire to turn up the sound and give the opportunity to hear the songs. And so – very bright, colorful and enchanting.

PS I watched “Kiss Me, Kat” for the first time many years ago at the Kharkov Russian Drama Theater. The performance was memorable, and, of course, I involuntarily made comparisons. St. Petersburg's Lily and "Bianca", of course, are beyond competition (Youth! Beauty! Voice! Legs!), I liked the Kharkov Fred better, but this is a matter of personal sympathies. But the gangsters... Compared to the impression of ten years ago, this is still a failure. “Kill” with the performance of SUCH colorful characters!!!

program "Music Hall" leads Mikhail Predtechensky.

In the 30s Cole Porter called "King of Broadway" And "Hollywood's darling". His musicals are like "Fifty Million Frenchmen" , "Anything Goes" , "Gay Divorce" , were theatrical hits, his hits "Night And Day" , "True Love" , "Love For Sale" and many others were featured in the highest-grossing Hollywood films.

The brightest stars of that time from Fred Astaire And Ginger Rogers before Gene Kelly, Bob Hope And Judy Garland They considered it an honor to perform any of his songs.

Not only did music bring him a lot of money, he was also the heir to the gigantic fortune of his father and grandfather - the kings of pharmaceuticals. He was married to the most beautiful woman of that time Linda Lee Thomas, and also a millionaire. Talented, famous, rich. If there is in the world happy man, then this is, of course, Cole Porter. This is what friends and acquaintances said about him.

1. K. Porter's song is playing " From This"Moment On".

It all ended on October 24, 1937. Porter, 46, falls from his horse. Both legs were broken, the spine was damaged... He underwent 33 operations. But everything is useless! Famous composer, a cheerful, charming person, a lover of travel and social pleasures, in the prime of his strength and talent, becomes disabled and finds himself chained to wheelchair for life. Friends feel sorry for him, envious people gloat. However, both are unanimous in one thing: the star of the great Cole Porter rolled up.

But this seemingly pampered, frivolous person does not give up. He later admitted that the love of his wife Linda, as well as music, helped him survive. Writhing in pain, he works on a new musical, which was destined to become his most famous work. 70 years ago, or rather December 30, 1948, on Broadway in the theater New Century Cole Porter's musical premiered "Kiss Me, Kate" .

2. The song "So In Love" from the musical "Kiss Me, Kate" is playing.

This is how the most famous melody from the musical sounded "Kiss Me, Kate" in the famous 1953 musical film. Well, it all started with the fact that Porter's wife Linda, which, seeking to entertain Paula, often invited into the house those who seemed to her interesting people, introduced him to Spewack spouses- journalists Samuel And Bella. Cute and witty, Cole immediately liked them. Both spoke English with barely perceptible accents. Sam was originally from Ukraine, and Linda- from Romania, from Bucharest. They were extraordinary interesting interlocutors. Traveled all over the world as journalists - Paris, London, Belgrade, Warsaw, four years as reporters news agency worked in Moscow. As she confessed Bella, their married life constantly teetered on the brink of divorce. Both had a fiery temperament, and quarrels often broke out between the spouses. Not easy family life and inspired Bella the idea of writing a new modern version Shakespearean play "The Taming of the Shrew". Bella once told me about it Cole. "It is perfectly, - answered the composer. - Moreover, it seems to me that you can even try to make a musical". As a result Bella, calling for help from her husband, who had already written several plays for Broadway, she got to work.

3. The song "We Open In Venice" from the musical "Kiss Me, Kate" is playing.

Bella And Sam Spevak they wrote, as they themselves said, a play within a play. Broadway actor and director Fred Graham is going to stage a musical based on "The Taming of the Shrew" . And he plays the role himself Petruchio, and for the role Katharine invites his ex-wife Lilli. "You'll do great"- Fred assures Lilly, hinting at her difficult character.

As for her sister - Bianca, then Fred offers this role to his current girlfriend Louis, who is simultaneously having an affair with a young actor Bill. And he, in turn, plays the role of... the groom in the play Bianchi. This is the love quadrangle. Pending further developments let's remember the song Bianchi and her three, so to speak, potential suitors.

4. The song "Tom, Dick or Harry" from the musical "Kiss Me, Kate" is playing.

There are only a few minutes left until the premiere. But here in the dressing room Freda two gangsters burst in and demand that he pay $2,000 to their boss, to whom he allegedly lost this amount at cards. It turns out that he lost this money Bill, however, he gave a receipt addressed to... Freda.

And here's another Lilly after learning about her husband's affair with Louis, decided to run away in the middle of the performance. However Fred persuades gangsters to keep his ex-wife by force. After various plot twists and turns, everything naturally ends with a happy ending. On the stage Katarina marries Petruchio, but in life Lilly returns to Fred.

I liked this funny, twisted story. Cole Porter, and he, asking the Spevaks to make small changes to the play, got to work.

5. The song "Were Thine That Special Face" from the musical "Kiss Me, Kate" is playing.

According to the composer, while working on the musical "Kiss Me, Kate" , he often even forgot about his illness. Everything worked out easily and as if by itself, as in best years. As a result, the premiere was played on the eve of the new year, 1949, at the New Century Theater in New York. This happened on December 30, 1948. The main roles were played by Broadway stars of that time - Harry Clark And Annabelle Hill. The performance was liked by both the public and critics. For almost three years it was shown daily at the New Century Theater. The musical was awarded America's most prestigious theater award - "Tony" (Tony Award).

6. The song "Always True To You (In My Fashion)" is playing.

For several years since the Broadway premiere, the musical "Kiss me Kat" walked the stage in many countries around the world. And only then Porter allowed the studio Metro-Goldwyn-Mayer postpone "Kiss Me, Kate" to the screen. I installed the tape myself George Sidney, author of such musical films as "Floating Theater" ("Show Boat") And "Ziegfeld Follies" , and for the main roles he called the famous at that time Kathryn Grayson And Howard Keel. By the way, in a small role as one of the suitors Bianchi - Hortensio- noted a young dancer named Bob Fosse. In the 60s he would become a Broadway and Hollywood legend. And then in 1953 he only flashed on the screen. And also a director George Sidney introduced a new character into the film - a composer named... Cole Porter. By the way, the master himself was against this, but he was persuaded.

7. The final song “Kiss Me, Kate” (Finale) plays.

December 30 will mark exactly 70 years since the premiere of the musical. "Kiss me Kat" . But it still remains one of the main performances of the world repertoire. Every year it is staged in dozens of theaters in the USA and Canada, England and Russia, Australia and Japan.

A few years ago there was an excellent film directed by Irwin Winkler "De-Lovely" O Cole Porter. In this tape his hits were performed modern stars popular music Robbie Williams ( Robbie Williams) , Sheryl Crow, Alanis Morissette, Mick Hucknall, Diana Krall. Well, the famous duet from the musical "Kiss Me, Kate" entitled "So In Love" performed by a Belgian star Lara Fabian and Greek tenor Mario Frangoulis.

Music Cole Porter- like wine, it only gets better with time. It has successfully survived the tests of time and sounds as modern in the 21st century as it did in the 20th.

8. The song "So In Love" from the movie "De-Lovely" about Cole Porter is performed by Belgian star Lara Fabian and Greek tenor Mario Frangoulis.

Before next week and the next musical!

Productions Awards

History of creation

Porter's wife Linda introduced him to journalists Samuel and Bella Spevak. The couple had a fiery temperament, their married life constantly teetering on the brink of divorce, which inspired Bella to write a modern version of Shakespeare's The Taming of the Shrew. Porter had the idea to make a musical based on this script.

Plot

Act I

Act II

Links

(English) in the Internet Broadway Database encyclopedia



1950s

1960s

1970s

1980s

1990s

2000s

2010s	Memphis (2010) · Book of Mormon (2011) · Once Upon a Time (2012) · Freaky Bots (2013) · "A Gentleman's Guide to Love and Murder" (2014) · "Fun Home" (2015) · "Hamilton" (2016)



1990s

2000s

2010s

Excerpt characterizing Kiss Me, Kat

His thin, emaciated, yellowish face was all covered with large wrinkles, which always seemed as cleanly and diligently washed, like fingertips after a bath. The movements of these wrinkles amounted to main game his face. Now his forehead wrinkled in wide folds, his eyebrows rose upward, now his eyebrows went down, and large wrinkles formed on his cheeks. The deep-set, small eyes always looked straight and cheerful.
“Well, now tell us your exploits,” he said.
Bolkonsky, in the most modest way, without ever mentioning himself, told the story and the reception of the Minister of War.
“Ils m"ont recu avec ma nouvelle, comme un chien dans un jeu de quilles, [They accepted me with this news, as they accept a dog when it interferes with a game of skittles,] he concluded.
Bilibin grinned and loosened the folds of his skin.
“Cependant, mon cher,” he said, examining his nail from afar and picking up the skin above his left eye, “malgre la haute estime que je professe pour le Orthodox Russian army, j"avoue que votre victoire n"est pas des plus victorieuses. [However, my dear, with all due respect to the Orthodox Russian army, I believe that your victory is not the most brilliant.]
He continued the same way French, pronouncing in Russian only those words that he contemptuously wanted to emphasize.
- How? You with all your weight fell upon the unfortunate Mortier with one division, and this Mortier leaves between your hands? Where is the victory?
“However, seriously speaking,” answered Prince Andrei, “we can still say without boasting that this is a little better than Ulm...
- Why didn’t you take us one, at least one marshal?
– Because not everything is done as expected, and not as regularly as at the parade. We expected, as I told you, to reach the rear by seven o'clock in the morning, but did not arrive at five in the evening.
- Why didn’t you come at seven o’clock in the morning? “You should have come at seven o’clock in the morning,” Bilibin said smiling, “you should have come at seven o’clock in the morning.”
– Why didn’t you convince Bonaparte through diplomatic means that it was better for him to leave Genoa? – Prince Andrei said in the same tone.
“I know,” Bilibin interrupted, “you think it’s very easy to take marshals while sitting on the sofa in front of the fireplace.” This is true, but still, why didn’t you take it? And do not be surprised that not only the Minister of War, but also the August Emperor and King Franz will not be very happy with your victory; and I, the unfortunate secretary of the Russian embassy, do not feel any need to give my Franz a thaler as a sign of joy and let him go with his Liebchen [sweetheart] to the Prater... True, there is no Prater here.
He looked straight at Prince Andrei and suddenly pulled the collected skin off his forehead.
“Now it’s my turn to ask you why, my dear,” said Bolkonsky. “I confess to you that I don’t understand, maybe there are diplomatic subtleties here that are beyond my weak mind, but I don’t understand: Mack is losing an entire army, Archduke Ferdinand and Archduke Charles do not show any signs of life and make mistakes after mistakes, finally, alone Kutuzov wins a real victory, destroys the charme [charm] of the French, and the Minister of War is not even interested in knowing the details.
“That’s exactly why, my dear.” Voyez vous, mon cher: [You see, my dear:] hurray! for the Tsar, for Rus', for the faith! Tout ca est bel et bon, [all this is fine and good,] but what do we, I say, the Austrian court, care about your victories? Bring us your good news about the victory of Archduke Charles or Ferdinand - un archiduc vaut l "autre, [one Archduke is worth another,] as you know - even over a company of Bonaparte’s fire brigade, that’s another matter, we’ll thunder into the cannons. Otherwise this , as if on purpose, can only tease us. Archduke Charles does nothing, Archduke Ferdinand is covered in shame. You abandon Vienna, you no longer defend, comme si vous nous disiez: [as if you told us:] God is with us, and God is with you, with your capital. One general, whom we all loved, Shmit: you bring him under the bullet and congratulate us on the victory!... Agree that it is impossible to think of anything more irritating than the news you bring. C "est comme un fait expres, Comme un fait expres. [It’s as if on purpose, as if on purpose.] Besides, well, if you had definitely won a brilliant victory, even if Archduke Charles had won, what would it have changed in the general course of affairs? It is too late now that Vienna is occupied by French troops.
-How busy are you? Is Vienna busy?
“Not only is she busy, but Bonaparte is in Schönbrunn, and the count, our dear Count Vrbna, goes to him for orders.”
Bolkonsky, after the fatigue and impressions of the journey, the reception, and especially after dinner, felt that he did not understand the full meaning of the words he heard.

In two acts, thirteen scenes.
Libretto by M. and B. Spivak.

Characters:

Fred Graham - Petruchio (tenor or baritone); Lilly Vanessi - Katarina (soprano); Louis (Lou) Lane - Bianca (mezzo-soprano); Harry Trevor - Baptista; Bill Calhoun - Lucentio; Jack Hooper - Hortensio; Michael Lemon - Gremio; Anthony Farnham - Gregory; Henry Swinbsrn - Philip; Laurence Blake - Nathaniel; McQueen - Grumio; Ralph, assistant director; Hetty, a black dresser; Paul, a black costume designer; Harrison Howell; bartender; first gangster; second gangster; taxi driver; servants, ballet, choir - in the play “The Taming of the Shrew”.

The action takes place in Baltimore.

A performance based on immortal comedy Shakespeare's "The Taming of the Shrew" is designed as a "theater within a theatre". Librettists Porter's play is a kind of modern commentary on Shakespeare. The events behind the scenes echo what happens on stage, adding a distinctly modern American twist to Shakespeare's comedy.

The music of the performance is distinguished by melodic brightness and a generous variety of rhythms. Waltz, pavane, tarantella coexist here with syncopated jazz harmonies, small vocal numbers- with an expanded musical finale of the first act.

First action

First scene. A rehearsal is underway on the theater stage musical version"The Taming of the Shrew." The chorus sounds “We are actors, cheerful people" Fred calls a break while awaiting the arrival of Miss Vanessi, the movie star who is to play Katarina. Lilly appears. Fred quickly ends the rehearsal, constantly arguing with Lilly. The fact is that Lilly Vanessi is his ex-wife. A year ago she left Fred, unable to bear the poverty of her life. Fred is comforted by someone else - Lou Lane. And now he talks tenderly to Lou and kisses her goodbye.

Second scene. Behind the scenes. Lou kisses Bill Calhoun. She loves him, and accepts Fred's advances insofar as he is the director on whom the actress depends. Bill admits to Lou that he just lost ten thousand dollars. Of course, he had never seen such money in his dreams, but he signed the bill, and in Graham’s name. Now Fred faces prison. Lou is outraged: until Graham makes her a Broadway star, Bill shouldn't touch him! Lou's Arioso "You Must Know How to Live" with its syncopated jazz melody reveals her simple, cynical philosophy.

Third scene. Fred and Lilly's actors' restrooms. She has an elegantly furnished room with a carpet and a screen, he has a shabby kennel. Both sing and exchange barbs. Lilly is going to marry Harrison, the millionaire who paid for the production of The Taming of the Shrew. To Fred's indignation, she replies that she is free. By the way, today is the anniversary of their divorce! Both reminisce. The duet “Vienna Woods, Peace” sounds mysterious miracles" - lyrical waltz.

A second call interrupts them. Both are putting on makeup. Gangsters break into Fred's place. They demand payment of the bill. Fred's objections fall on deaf ears. They leave, warning that they will return soon.

Hetty brings a wonderful bouquet into Lilly's dressing room. It was brought from the store by order of Mr. Graham, and the black woman is sure that it is intended for Lilly Vanessi. Graham couldn't stop loving her! Thoughtfully, with a wide chant of Lilly’s arioso “Strange, perhaps, but the soul is disturbed by past dreams.” Meanwhile, Fred finds out whether the bouquet has been given to Miss Lane. Having learned that the bouquet has reached Lilly, he runs to her: after all, there is a note from which Lilly, obstinate no less than Shakespeare’s Katarina, will understand the truth! Lilly hasn't read it yet - it's time to go on stage. She hugs Fred tenderly and hurries out!

Scene four. Curtain of the play "The Taming of the Shrew". The actors sing their opening song (“We are actors, cheerful people”).

Fifth scene. The beginning of the performance. In Padua in front of Baptista's house. His scene with Biancne's suitors is played out. A cheerful ensemble of grooms with Bianca sounds like “I handle big things.” Petruchio appears. His song with the choir “I must marry profitably in Padua” sounds decisive and even comically militant.

He wooes Katarina and, having secured Baptista’s consent, sings the shrew a gentle serenade, “Is this really the one I’ve been secretly dreaming about?” Forgetting about the role she is playing, an admiring Lilly on the balcony takes Fred's note from her bodice... and runs away in a rage. Now she has already appeared downstairs, at the door of the house. Everyone is confused because now is not the time for her to come out. She throws herself at Fred, and he, improvising the text, tries to save the performance. Loudly speaking the text of the role, he at the same time quietly admonishes the angry woman. The musical finale of the act is an ensemble in which Petruchio asks Kat to kiss him, Kat scolds him with the last words, and the chorus animatedly comments on what is happening. Finally, Fred hits Lilly for real. She screams, the actors are in a panic, the audience is delighted.

Second act

First scene. Behind the scenes. Fred and Lilly continue to sort things out. Having thrown her offender a heavy slap in the face, Miss Vanessi leaves. Fred is most concerned about the fate of the performance. After all, without Katarina, he will fall apart, and the public will demand the money back. Graham seeks Lou's sympathy and support, but the actress cynically explains her position to him: she will squeeze out of the director everything she is owed under the contract, even if he has to sell his last pants! The accompaniment to this scene is Paul’s song with the ensemble “Heat, heat, pitch hell!” - unpretentious, in the spirit of Negro songs.

Second scene. Fred and Lilly's restrooms. An actress dressed as Katarina tells her millionaire friend on the phone that she is ready to marry him today. But he must arrive by ambulance, and right away, since she is all beaten up and cannot even sit. She does not intend to end the performance. Fred is desperate. The gangsters appear and again demand payment of the debt. In support, they quote The Merchant of Venice.

Graham suddenly gets an idea: he says that he remembered the bill, but he can only pay at the end of the week if the performance will go on. Shakespeare connoisseurs who studied him in the prison library are confident that the performance will be a success - it contains an abyss of invention, liveliness, delicate taste...But, the sly man continues, Miss Vanessi refuses to play! Gangsters undertake to help the director. Threatening Lilly with revolvers, they bring her onto the stage.

Third scene. Before the curtain on The Taming of the Shrew. Fred, dressed as Petruchio, announces to the audience that they are forced to skip the scene in which Petruchio takes Catarina home, since Miss Vanessi is unable to sit astride the mule. Therefore, the scene in Petruchio’s house will now begin.

Scene four. Petruchio's room. The servants sing the song “What a nonsense! The wife is our master.” Petruchio and a disheveled, torn-up Katarina appear on the stage, followed by gangsters. The whole scene is accompanied by remarks from the gangsters urging Katarina on. Petruchio’s song “I was once a cheerful youth” - in the rhythm of a fiery tarantella. Having finished it, Petruchio bows, winks at the audience and goes into the bedroom, where the gangsters have already dragged Katarina away.

Fifth scene. Corridor leading to the artistic restrooms. Harrison arrived in an ambulance to pick up Miss Vanessi. A doctor and nurses are with him. Fred assures him that everything is fine and calling Lilly is just a woman's whim. Lou rushes to Harrison. She recognizes the respectable millionaire as the boss of a gangster gang, with whom she once had an affair... Singing the verse “Forget the past, forget forever,” Harrison buys her silence for a decent sum. Bill sees the kiss they exchange goodbye. Lou, in the couplets “If an athlete or a prominent businessman is captivated by me,” once again expresses to his lover his life philosophy. In response, Bill’s cheerful, slightly rustic song “Oh, Bianca! I adore Bianca both on stage and seriously!”

Sixth scene. Lilly's restroom. Harrison gives orders regarding the wedding over the phone, forgetting everything every minute. Lilly complains that the gangsters force her to play, and Fred goes for broke: he invites the actress to leave, since happiness, peace, and wealth await her. He sarcastically paints a picture of life with the elderly, sick Harrison. A life consisting of food and sleep... To the sound of his voice, Harrison falls asleep, deafening snoring is heard.

Seventh scene. Gangsters in Shakespearean costumes call the boss to report on the situation. A surprise awaits them: the boss has changed. The unidentified remains of whoever sent them to the theater will be found in the river tomorrow. The gangsters, quickly changing clothes, run away to the new owner for instructions. Fred is at a loss: what will happen to the performance now? After all, Lilly is leaving! Hetty reveals the truth to Graham: Miss Vanessi sacrificed herself for him. She begged Harrison to finance Graham's play, and the millionaire gave the money on the condition that Lilly would become his wife. And Lilly did it for Fred’s sake! The black woman leaves, hurrying to catch up with her mistress. Graham’s aria “Strange, perhaps, but the soul is disturbed by past dreams” (a reminiscence of Lilly’s arioso from the first act) sounds stern and sad.

Eighth scene. Continuation of the performance. Luxurious hall in Baptista's house. Bianca and Lucenzo come down the steps in dazzling white suits of the bride and groom. Petruchio enters. He is alone, at a loss. In an intermittent voice, he tries to announce that the performance cannot continue... But Katarina appears with her line from the middle of the act (“Senor, you called me”). Petruchio rushes to her, forgetting about Shakespeare, but she firmly leads the role. Her aria “I am ashamed of your feminine stupidity” sounds sincere. The performance ends with a joyful ensemble.

L. Mikheeva, A. Orelovich