Overview
Synopsis
Song and dance, comedy and heartbreak, a little historical documentary thrown in for good measure… A Day in Hollywood, a Night in the Ukraine is the perfect double feature, encompassing real pathos and perfectly ridiculous entertainment in its wide scope. In the first act, an intrepid team of ushers and usherettes at the historic Grauman’s Chinese Theatre act as hosts and narrators, leading the audience through origin stories, song history, backstage gossip, and stern warnings set to militant tap-dance. In the second act, the audience enters the Theatre itself, and enjoys a deliciously absurd Marx Brothers comedy, complete with piano solos, screaming blondes, an obligatory love plot, patter songs, and the “gookie” face. This clever, heart-felt pastiche of 1930s Hollywood glory is a fantastic showcase for a small, triple-threat ensemble. The clever reworking of Chekhov’s The Bear which results in the “Marx Brothers” movie “A Night in the Ukraine” is by Dick Vosburgh, and the score by Frank Lazarus, Dick Vosburgh, and Jerry Herman features Jeanette MacDonald mocking “Nelson,” the terrific Groucho number “Samovar, the Lawyer,” and the tarnished gold of broken Hollywood dreams in “The Best in the World.”
Show Information
Context
A Day in Hollywood, a Night in the Ukraine opened at the Mayfair Theatre in the West End on March 28, 1979, and ran for 168 performances before transferring to Broadway. It opened at the John Golden Theatre on May 1, 1980, and moved to the Royale on June 17. The show ran for 588 performances, closing on September 27, 1981. Directed and choreographed by Tommy Tune, A Day in Hollywood, a Night in the Ukraine was nominated for nine Tony Awards in 1980, and won two: Best Featured Actress for
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Note:
This show consists of two stand-alone acts, the first a musical revue performed by an unnamed ensemble of ushers, the second a short comedy with traditional plot and characters. The authors suggest that for performance purposes, the ushers should be called by the real names of the ensemble members. However, in the 1984 Samuel French edition of the script, the first act ushers are called, for convenience, by the names of the characters they play in the second act (one usher is
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Character Portrayals
See StageAgent members who have performed roles in A Day in Hollywood, A Night in the Ukraine.
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Songs
Act One
- Just Go to the Movies - Company
- *Famous Feet - Constantine, Samovar, Company
- Nelson - Mrs. Pavlenko
- The Best in the World - Gino
- The Story Behind the Song Medley:
- Cocktails for Two
- Two Sleepy People
- Over the Rainbow
- *It All Comes Out of the Piano (Richard Whiting Medley):
- Ain’t We Got Fun
- Too Marvelous For Words
- Japanese Sandman
- On the Good Ship Lollipop
- Double Trouble
- Louise
- Sleepy Time Gal
- Beyond the Blue Horizon - Carlo, Company
- Thanks for the Memory - Nina, Constantine, *Sascha, *Masha,
- *Doing the Production Code - Company
- A Night in the Ukraine - Company
Act Two
- A Night in the Ukraine - Mrs. Pavlenko
- Piano Solo (Melody in F) - Carlo
- Samovar, the Lawyer - Samovar
- Just Like That - Nina, Constantine
- A Night in the Ukraine (Reprise) - Mrs. Pavlenko
- Again - Nina
- Harp Solo - Gino
- A Duel! A Duel! - Mrs. Pavlenko, Samovar
- *Natasha - Samovar
- A Night in the Ukraine (Finale) - Company
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Key Terms
Farce is a comedic style that emphasizes exaggerated situations, improbable coincidences, mistaken identities, and rapid pacing. It often includes physical humor such as slamming doors, frantic chases, or characters hiding in plain sight. Farce is designed to generate nonstop laughter, often prioritizing chaos and absurdity over realistic storytelling.
A form of theatre with a series of short sketches, songs, and dances, often satirical and lacking a unified narrative.
Slapstick is a type of physical comedy that relies on exaggerated actions, pratfalls, and humorous accidents to provoke laughter. It often includes broad movements, funny sound effects, and comic violence, such as someone slipping on a banana peel or being hit with a harmless object. The style originated in commedia dell’arte and became popular in vaudeville, silent film, and stage comedy.
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