It is absolutely vital that scenes move fluidly from scene to scene.  There are a total of 19 scenes in this show and it cannot become a show about set changes.  All of the changes into dressing rooms have to happen so that the actor playing Jack can simply walk to one side of the stage or another and be ready to go.  In the world premiere production this was accomplished through spinning walls or a sliding palette.  Other scene changes can be solved in a variety of ways but always keep in mind that the pace of the show is paramount.  Less is more when it comes to changing scenes in ONE MORE FOR MY BABY.  It was conceived to be a highly theatrical show.

ights need to be very specific.  For scenes like the parking lot scene lights can be used to create it entirely.  Other scenes like the bar will need a simple set piece but keeping the playing area defined specifically by lights is a key in making fast changes that are effective.  

You will probably be using a cyc.  If you do, you may want to consider being able to make it disappear for some scenes to create a different look.  Whether you can fly it out or whether you simply pull a black curtain in front of it really doesn’t matter.  Since the band is onstage it is important for some of the scene work that the cyc goes completely away.  Otherwise the silhouettes of the band members will always be in view and will be distracting for the audience. 

In the world premiere production we used simple projections to identify the various theatres (Cadillac Lounge, VFW Post 1718, Theatre, MGM Grand and DeCarlo’s) that Jack DeCarlo played.  These projections were just the name of the theatre in a plain font.  The projections did nothing more but give the audience information.   The Decarlo’s projection was timed to come up just as the introduction for “One for My Baby” was finishing and it usually created a buzz in the audience.  They were happy for Jack that he finally got his dream.

One last thing: it is really a show in many ways about scene transitions.  And yes, we are being a bit facetious.  Obviously, it’s about Jack’s journey but the transitions from scene to scene can really add excitement to the show.  It’s very effective when Jack gets roughed up by Donny at the end of Act 1 and then the lights change and immediately he’s singing “That’s Life.’  Or, when at the end of the second Donny scene in the dressing room at the MGM Grand, he turns to the audience as Donny exits and a spot hits him and we’re back in the Main Event Concert.  And so on and so on.  Find these moments that will add interest and energy to help tell the compelling story of Jack DeCarlo.


David Grapes
John Fredo
Randall Kramer


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