Origin Theatrical

 

ONE TOUCH OF VENUS

A curator unearths a long-lost statue of Venus of Anatolia and is thrilled to display her in his New York museum. However, a naive young barber unwittingly brings the statue to life and the comic confusion runs rampant. Relishing her new existence, Venus immediately sets her cap for the barber and captivates him in the process. When a dream warns her of the humdrum life that would await her in bourgeois Ozone Heights should she land him, she realizes that once a goddess, always a goddess, and in a blinding flash is transformed back into marble, leaving the barber forlorn. But not for long, as who should arrive on the scene but a young woman who is not only the spitting image of the statue, but who simply adores Ozone Heights.
 

Cast Requirements: Principals: 4 Women; 4 Men Featured: 4 Women; 6 Men Ensemble: Singing and Dancing Ensemble - as desired.

Set Requirements: ONE TOUCH OF VENUS takes place in various locations in New York City.

Rehearsal / Orchestral Material: Rehearsal Set (22 Books,1 Logo) 20 Libretto-Vocal Books 2 PIANO CONDUCTOR SCORE 1 Logo Orchestration Package (16 Books) 1 PIANO CONDUCTOR SCORE 1 REED I (Clarinet, Alto Sax) 1 REED II (Clarinet, Bass Clarinet, Alto Sax) 1 REED III (Piccolo, Flute, Clarinet, Tenor Sax) 1 REED IV (Piccolo, Flute, Clarinet, Tenor Sax) 1 TRUMPET I-II 1 TRUMPET III 1 TROMBONE 1 Percussion 1 PIANO 1 VIOLIN A (Divisi) 1 VIOLIN B (Divisi) 1 VIOLIN C (Divisi) 1 VIOLA (Divisi) 1 CELLO 1 BASS

Music by Kurt Weill
Lyrics by Ogden Nash
Book by S. J. Perelman and Ogden Nash
Based on "The Tinted Venus" by F. J. Anstey

"When else does one get to see a show that combines the singular talents of Kurt Weill, Ogden Nash and S. J. Perelman? The old boys deliver some delicious goods."
The New York Times, 1996

"Beguiling!... Kurt Weill was the greatest composer ever to work on Broadway. The score is clever and lovely... S. J. Perelman, aided by Ogden Nash, contributed a sweetly sexy book... A Victorian novella here given a dry Manhattan twist."
New York Post, 1996