Summary
Act 1, Scene 1
The curtain rises on the bustling sidewalks of Broadway. It is a warm June evening in 1959, and the air is filled with the buzz surrounding Max Bialystock’s latest production, Funny Boy!, at the Schubert Theater. This ambitious musical adaptation of Shakespeare’s Hamlet is closing on its opening night, having been scorned by critics who couldn’t endure until the final act. Amid the chaos, Bialystock belts out a lament, reminiscing about the glory days of his once-great fame and fortune.
Act 1, Scene 2
Leo Bloom, a timid and unassuming accountant, arrives at Bialystock's office to sort out the finances. Their meeting is interrupted by one of Bialystock’s investors, a flirtatious elderly woman, prompting Bloom to take refuge from her advances. Once the coast is clear, Bloom discovers a financial inconsistency but dismisses it, rationalizing that the show’s premature closure leaves little expectation from investors. In a moment of idle speculation, Bloom muses that a producer might earn more from a flop by overselling shares and pocketing the excess. Sensing an opportunity, Bialystock tries to persuade Bloom to join him in this dubious venture, but Bloom’s cautious nature resists the lure of illegality.
Act 1, Scene 3
In the dreary confines of Whitehall and Marks, Bloom’s workplace, the accountants lament their monotonous existence through song. Bloom arrives a mere six minutes late, inciting a scolding from Mr. Marks. This reprimand sends Bloom spiraling into a daydream of life as a producer, basking in the adoration of glamorous chorus girls. Snapped back to reality, he makes a bold decision—he resigns from his job.
Act 1, Scene 4
Bloom returns to Bialystock with newfound resolve, ready to embrace the scheme and embark on their zany escapade.
Act 1, Scene 5
With fervor, Bialystock and Bloom sift through towers of scripts, seeking the perfect play destined to fail. They stumble upon Springtime for Hitler, an absurdly lighthearted take on the tyrant behind the Holocaust. Bialystock dons one of his ‘producer’ hats, teasing Bloom by withholding the other. He quips that Bloom isn't a true producer until the curtain lifts on their production.
Act 1, Scene 6
High atop a Greenwich Village building, Franz Liebkind, clad in lederhosen and a Nazi helmet, croons a melancholic tune about his lonely life in America, his audience the cooing pigeons he keeps. Bialystock and Bloom ascend to his rooftop to secure the rights to Springtime for Hitler. Enthusiastic but principled, Liebkind demands they swear the ‘Siegfried Oath,’ pledging fealty to Hitler. Though Bloom balks at such an oath, Bialystock cajoles him into agreement, even donning the swastika armband offered by Liebkind.
Act 1, Scene 7
They navigate into the flamboyant abode of Roger De Bris, a director infamous for his lack of talent, assisted by the eccentric Carmen Ghia. Draped in a gown for the upcoming Choreographers’ Ball, De Bris hesitates to direct Springtime for Hitler, deeming it too grave. Seeking counsel from his ‘production team,’ an ensemble of outrageously flamboyant characters, Bialystock convinces him that such a daring drama might snag a Tony Award. Tempted by the prospect of acclaim, De Bris agrees to direct.
Act 1, Scene 8
Into Bialystock’s office strides Ulla, a statuesque Swedish beauty whose alluring accent turns heads. Both Bloom and Bialystock are instantly bewitched by her charm, and despite the absence of rehearsals, they hire her as a secretary, captivated by her presence. Meanwhile, Bialystock plots to procure funds from his ‘investors,’ elderly women who finance his plays in exchange for romantic favors.
Act 1, Scene 9
The stage transforms into ‘Little...
(This entire section contains 1244 words.)
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Old Lady Land,’ a whimsical realm where Bialystock serenades a chorus line of elderly women, each equipped with walkers and canes. Having charmed two million dollars from their purses, he triumphantly returns to Bloom, declaring their readiness to launch the play. The act concludes with a jubilant ensemble featuring Ulla, Roger De Bris, Carmen Ghia, and Franz Liebkind, all singing boisterously to herald the end of Act 1.
Act 2, Scene 1
Back in their office, Bialystock and Bloom find the space transformed, thanks to Ulla’s artistic touch. She has scrubbed it clean and painted it a pristine white, dispelling its previous gloom. Alone together, Ulla and Bloom share a romantic duet, their affection for each other blossoming in song and dance.
Act 2, Scene 2
The theater buzzes with the chaos of auditions for Springtime for Hitler. A parade of unsuitable actors struts in, each dressed in Hitler garb, performing outlandish acts. It is only when Franz Liebkind bursts in to demonstrate his interpretation that Bialystock sees in him the earnestness required for the role, making him the ideal candidate.
Act 2, Scene 3
Outside the familiar Schubert Theatre on West 44th Street, the crowd gathers for the grand opening of Springtime for Hitler. Bloom, in a moment of innocent optimism, wishes everyone good luck, much to the dismay of seasoned theater-goers. They inform him that such a wish brings misfortune, and instead, he should say, ‘Break a leg.’ As if on cue, Liebkind stumbles, injuring himself. Panic ensues as the show faces cancellation, but Bialystock persuades Roger De Bris to step into the role of Hitler.
Act 2, Scene 4
The stage explodes into a riot of color and absurdity as Springtime for Hitler unfolds. The production is a garish spectacle, replete with glamorous dancers and exuberant musical numbers that incongruously celebrate the dictator.
Twists of Fate
Within the bustling office, Bialystock and Bloom are struck by an unexpected blow: the critics adore their play, dashing their cleverly hatched scheme. Faced with the end of their plot, Bloom contemplates redemption by surrendering the two sets of hidden accounting ledgers to the authorities. A struggle ensues over the damning documents. Suddenly, De Bris and Carmen Ghia burst onto the scene, quickly followed by an enraged Liebkind, wielding a pistol. Infuriated by De Bris's flamboyant portrayal of Hitler, Liebkind fires shots wildly. Just as chaos peaks, the police arrive. They notice the incriminating dual ledgers and cart Bialystock off to jail. Yet, Bloom, concealed ingeniously behind a door, slips away unnoticed, fleeing to Rio de Janeiro with Ulla and the fortune.
Act 2, Scene 6: Songs of Betrayal
Locked within the cold confines of a cell, Bialystock clutches a postcard from far-off Rio, feeling the sting of Bloom's desertion. He pours his heart into a lament, a melody woven with tales of his unfortunate escapades.
Act 2, Scene 7: Courtroom Revelations
Just as the gavel is poised to deliver Bialystock's fate, a twist of fortune enters the courtroom. Bloom and Ulla return, bringing back the illicit money. The elderly ladies, happy in their deception, testify to their indifference. In a grand chorus, Bialystock and Bloom celebrate their newfound, unbreakable bond of friendship through song.
Act 2, Scene 8: Prison Revelry
Inside the prison walls, an unexpected spectacle unfolds as Bialystock, Bloom, Liebkind, and fellow inmates launch into a vibrant performance of Prisoners of Love. The infectious joy sweeping through the prison is so profound that a guard delivers joyous news: the governor has granted a pardon to Bialystock and Bloom, in gratitude for the mirth they've sown among the prisoners.
Act 2, Scene 9: A Grand Return
The Schubert Theatre's marquee proudly announces, "Bialystock and Bloom present ‘Prisoners of Love.’” The scene bursts into life with a dazzling production, featuring rows of spirited chorus dancers clad in jaunty prison stripes.
Act 2, Scene 10: A Triumphant Finale
Stepping into the spotlight in their elegant tuxedos and iconic producer hats, Bialystock and Bloom serenade the audience with melodies celebrating their triumphant success, unwavering friendship, and enduring partnership.
