Browse our archive of complete show scripts and show packages for your chorus, free to download and use. NOTE: While the scripts themselves are free to download and use, because of their age, many of these scripts are outdated and reference product numbers for sheet music and “learning tapes” (or complete music packages) that unfortunately no longer exist in our catalog. If a script references a specific song, we suggest searching our Harmony Marketplace Catalog of all sheet music and learning tracks, and you may find exactly what you need to complete these scripts.
We hope you find these useful! If anything, they can be a great way to help your chapter get the creative juices flowing for your next show and perhaps use your already existing repertoire in new and creative ways to create an exciting show experience for your audiences.
(Side note: If your chorus has assembled a show script of their own and would like to donate it to this growing archive for others to use, please contact email@example.com)
A lighthearted parody show in the style of the famous British secret agent, the main character Flames Pond (that’s right… “Flames Pond”) along with the chorus, and of course, Barbershop harmony, takes you on an action-packed adventure around the world.
This script is designed with no particular songs in mind, but rather action and dialog meant to be interwoven between any songs the chorus wishes to sing.
The character of Rose serves as narrator for the show. As scripted, her spirit has returned to visit her great-great-grandson. The woman the audience sees, however, is a vital and attractive young woman. The audience is actually overhearing her as she communicates to the boy. He does not physically see or hear her but because of their natural affinity he gains a new insight into her life and times.
All fourteen songs in the production were composed before 1900, giving the show authenticity. Most of the songs will be recognizable to a majority of your audience. This helps build subconscious participation and makes the show more “comfortable” for them. It is suggested in the script that the chorus underscore Rose’s dialogue with the show music. This means that they hum or sing on a neutral syllable such as “ooh” or “loo” audibly, but not overpoweringly, as she tells her story. Either the song which has just been completed or the song which will follow her remarks is the best choice for this underscoring.
Songs for this show include: Ta-Ra-Ra Boom-De-Ay & A Hot Time In The Old Town – Medley, Asleep In The Deep, Old-tyme, Gay-Nineties, Parlour-Piano Medley, Amazing Grace, There’s A Meetin’ Here Tonight, New York Medley In Three Quarter Time, Those Wedding Bells Shall Not Ring Out, and Who Threw The Overalls In Mrs. Murphy’s Chowder?
The script that follows these production notes is for a concert-style presentation of COLLEGE DAYS. The same music was used in a musical-comedy style production presented at the 1989 Harmony College. This script provides an alternative to that production. It may also serve as the basis for a sho1ter performance package. Many of the songs are paired so that a chorus has the option of omitting one of the songs or substituting another song currently in its repertoire. With a few exceptions, the introductions speak of concepts, not necessarily of specific songs. This allows for some freedom in exchanging, substituting or eliminating songs.
“Experiencing Technical Difficulties” is a madcap comedy where everything with the staging and props goes wrong. Lots of opportunity for physical comedy. This script works well with any collection of pieces, as the action takes place in between the songs.
GRANDPA’S ATTIC represents a cast/chorus style show which can be a challenging and potentially rewarding (for audience and performers), production. It is a one-act generic show with the opportunity for guest quartets and chorus to perform on the second half, independent of the story line. The show was designed so any chapter would be capable of adapting and performing it based on individual chapter abilities and music selection. Every chorus member can be involved and feel he is an integral part of the show and thus his enjoyment of his hobby will be heightened.
Concept: To help set the storyline for the show, the following premise was established. An older man, 70 to 75 years of age, is anxious to clear out his attic before moving away to retire. He has asked the local barbershop chapter to help with the packing and organization of the move. They are to separate items that will be donated to the chapter and those that the old man will take 2 with him. Despite the fact that he wishes for retirement and a warmer climate, he is reluctant to leave the memories inherent in his house of fifty-plus years.
“A Great Day For The Irish” is a show that stresses family ties and the importance of remaining in touch with one’s past. These are values that all Barbershoppers hold dear. They are also values that are once again gaining popularity with the general public. The show says that you can, indeed, go home again. The characters are meant to be genuine and warmm with a sense of humor and appreciation of life. Although there is a stereotype of the Irish that shows them as drinkers and carousers, there is none of·that here. In h·eland, St. Patrick’s Day is a religious holiday, not a time for drunken parties. This is a family show and should be approached that way. The humor is intended to be easily understood by all, the story line is straightforward and the music is classic barbershop.
Song selections include: Bye Bye Blues, Sweet Rosie O’Grady, That Tumble Down Shack In Athlone, Peggy O’neil, My Wild Irish Rose, It’s A Great Day For The Irish, MacNamara’s Band, There’s A Ring To The Name Of Rose, Harrigan, If There’d Never Been An Ireland, and Meet Me In Rosetime Rosie, Mother Machree.
Heritage of Harmony’ was written to serve as the official show for the SPEBSQSA., Inc. 50th anniversary. It may be presented long after then, however, since it is the story of barbershop harmony’s origins and growth. It is a show which any chapter can present proudly. As with any production, your chapter should use all the theatrical elements you have at your disposal to make ‘Heritage of Harmony’ the most exciting and interesting production possible for your audience. These elements include scenery, props, costuming, lighting, stage presence, supplemental choreography, vignettes, pantomimes, or any other entertainment device you can imagine.
The order of songs for “Look Out World” plus the audience sing-along and chapter quartet appearance have been designed to run in the following order:
Look Out, World!, Hello, My Baby, Moonlight Bay, When You And I Were Young, Maggie, Audience Sing-Along, Take Me Out To The Ballgame, Chapter Quartet (two songs), When Lindy Flew The Ocean, Goodbye, and My Lady Love
This show emulates a 1940s live radio broadcast, in a radio studio, with a live audience. It is written for one or two choruses, a few quartets and a few actors. It can use the music that is in your current repertoire or the music selection in this package. It has commercial spots with jingles and a complete episode of Bart Holiday, Private Eye, a Sam Spade type character. The radio station call letters are KORD at 1430 AM, and can be located in your home town. The best part of this show is that on live radio in 40s, all the scripts and lines were read from paper. That means no lines to memorize! All music of course must be memorized. The show duration at Harmony College was 65 minutes from start to curtain. This makes a perfect chapter show package with a short intermission and a headline quartet.
At the 1983 Harmony College, a new barbershop show entitled “BARBERSHOP EXTRAVAGANZA” was presented for the first time by the Saturday Night Live choruses. The purpose of “BARBERSHOP EXTRAVAGANZA” is two-fold. First, it provides the music and production ideas for a chapter’s annual show. Act I is entitled “Salute to Disney’s Favorite Songs”* and includes eleven songs or medleys from the beloved Walt Disney films and television presentations. All this wonderful and familiar music is arranged in the barbershop style and is available from the International Office.
Act II is filled by a quartet (either chapter or guest quartet) doing a normal twenty to twenty-five minute package.
Similarity, following an intermission, Act III would be provided by another quartet.
Act IV is entitled “Songs Of A Lifetime” and includes thirteen songs that are old favorites or new songs crafted in the barbershop style and, again, published by the International.
” … The Melody Lingers On” was written as a tribute to the life and music of Irving Berlin. It replaces the Society’s show Mr. Music. Irving Berlin lived for 101 years and wrote music that captured many phases of American life. From his beginnings as a young Russian immigrant on the Lower East Side of New York, he rose to become the master of the American musical art form. But his life was more complex than many people are aware. This show depicts Berlin as the consummate artist who knew that his music was special.
Song selections include: There’s No Business Like Show Business, Alexander’s Ragtime Band, When I Lost You, When The Midnight Choo-Choo Leaves For Alabam, Mandy, When It’s Night Time In Dixie Land, White Christmas, Always, God Bless America, Simple Melody, and The Song Has Ended
As produced at Harmony College, the show was a “show within a show” idea: the set was a television studio, with cameras (use real or fake), announcer, small cast of characters, and props. Chorus sang on risers center stage, quartets worked stage left, and the “time of your life” characters stage right. The cast consisted of Eddy Murray, popular TV host (use any name); Billy Broadway, stagehand and old vaudeville man; General Buddy Wing, old rumy pilot; Hemy Hytone, tenor of Billy’s old quartet; and “pops,” old stage door man at the Palace years ago. Studio announcer was placed at a podium downstage left, with mike. Also a mike for cast of characters stage right, plus any mikes for chorus and quartets. We used a low table and five chairs for TV host and characters.
The title of this holiday show seems to say it all, “What The Dickens!” or “A Partridge In A Parody.” The show is a parody of Charles Dickens’ “A Christmas Carol,” complete with the major characterizations of Scrooge, Marley, and the Spirits of the Past, Present and Future. The chorus plays a major supporting role by singing songs that project the action of the characters. The fact that this is a parody allowed the author some freedom in comedic writing. The characters often address the audience directly, in asides. The show is a crazy farce that should be played for all the possible laughs.
WHISTLE STOP BARBERSHOP represents a challenging and therefore a potentially rewarding (for audience and performers), production. It is a two-act theme show with two guest quartets worked into the story line. The show was designed so any chapter would be capable of performing it. Every chorus member can feel he is an integral part of the show and thus his enjoyment of his hobby will be heightened. As you read through the script you will see that WHISTLE STOP BARBERSHOP is a fun and lighthearted little story. While it has a touching moment or two, the general feel is one of broad humor and yes, even a little corniness- a style with which Barbershoppers are often associated. Audiences expect this from us and, if we do it well, we will fill an entertainment need most performers shy away from in this day and age.
YOU AIN’T HEARD NOTHIN’ YET is an excellent vehicle for your chapter in two respects. First, the musical selections are fantastic: most are songs well known to your audience, all are good solid barbershop (most are suitable for contest) and the arrangements are some of the finest to ever come from the pens of our talented Society arrangers.
Secondly, the fascinating career and life story of AI Jolson, one of the world’s truly great entertainers, is presented in an entertaining and unique fashion- through the eyes of six men who were touched by this show business legend.
The show is a complete two-act production with two guest quartets scripted in at appropriate points. Assuming each guest quartet performs for twenty minutes and a fifteen minute intermission is observed between acts, the total show should run between two hours and two hours and fifteen minutes.