Grand Hotel: The Musical
1920's extravagance and opulence sweep across the stage of Berlin's Grand Hotel.
Show Essentials
8
Roles
+ Ensemble
12
Rated
1
Act

Full Synopsis

The voices of telephone operators ring out in the dark. "Grand Hotel Berlin, at your service." The telephone operators promise prompt service for The Grand Hotel's illustrious clients. As the sound grows to a loud din, The Doctor, in a room of his own injects some morphine into his arm to ease the pain caused by wounds he suffered in the First World War. He smiles, knowing today, will be another exciting day, where people come and people go, and people's lives change, in The Grand Hotel. One by one, people enter the lobby of the hotel, during ("The Grand Parade").

Baron Felix Von Gaigern enters the lobby of the hotel, while being vigorously hounded by a gangster, who thinly veils himself as a chauffeur. The Baron avoids paying The Chauffeur the money he owes, by claiming to be very busy, "breathing". Meanwhile, Erik, the front desk operator, waits on news of his son's birth, while still attempting to attend to his duties as front desk operator. One of those duties includes dealing with the dancing diva who is Elizaveta Grushinskaya, who enters the lobby with a flourish, along with her company manager Witt, a theatre impresario Sandor, and Grushinskaya's dresser Raffaela. Grushinskaya has just come from a disappointing performance during which she stumbled. She swears, "I cannot dance any more! Grushinskaya retires!" Her bevy of assistants follow her off to her room to convince her otherwise, while Rafaela runs to the phones at the side of the lobby.

Rafaela tries to sell some of Grushinskaya's jewelry to pay for the shows that Grushinskaya wants to cancel. Next to her is a woman, Frieda Flamm, who has taken the stage name Flaemmchen. She is an aspiring actress, who is afraid that she might be pregnant. Next to her is Preysing, a general manager of a textile mill, who is waiting nervously to hear from Boston to see if his company is going to merge with a Boston company, or if his company is going to become bankrupt. The final man at the phones is Otto Kringelein, who is mortally ill, and has decided to spend his last days extravagantly at The Grand Hotel.

Erik discovers that his wife is in great pain while giving childbirth. The Doctor dismisses her pain as insignificant to that which he suffers everyday. He tells a bellhop that he may be checking out today, but the bellhop dismisses the claim, "Sir, you said that yesterday." Kringelein tries desperately to check into the overbooked, Grand Hotel, but the general manager, Rohna, can not find a room for him. Kringelein works himself into a fury, and passes out. The Baron comes to his aid, and uses his pull to make sure that Kringelein can spend his final days in style. Kringelein is overjoyed and sings of the pleasures he'll find ("At the Grand Hotel").

At the coffee bar, two black American entertainers, The Jimmys, sing to the crowd, ("Maybe My Baby"). Flaemmchen waits nervously for Preysing, as she has agreed to be his typist for the evening. The Jimmys tell Flaemmchen all about America, and she wonders if perhaps America is the place where she can find fame and fortune.

Witt and Sandor successfully convince Grushinskaya that she must dance, by quoting old reviews of her dancing, that glowingly referred to her as, ("Fire and Ice"). While Grushinskaya finds the strength in past glory to continue to practice, Raffaela sings of her passion for Grushinskaya, and how she wishes they could just retire to a ("Villa on a Hill").

The Baron and Flaemmchen cross paths near the coat room, and playfully flirt. She enjoys The Baron's interest in her, and it gives her the confidence to wonder if she could be a movie star in Hollywood, and be the ("Girl in the Mirror").

Preysing's attorney Zinnowitz, hounds him to tell his shareholders that the merger is on with the Boston company, and to restore calm to the shareholders. Preysing stands by his morals, saying that he can't tell his shareholders things that aren't true. Zinnowitz tries unsuccessfully to get Preysing to change his mind by claiming that ("Everybody's Doing It"). Preysing meets with Flaemmchen, and they head off to his room, so that she can type his notes for the meeting. Just then Preysing receives the devastating news that the Boston merger is off. Realizing that his company, and therefore his life, is in ruins, Preysing, considers lying to his shareholders, and walking down, ("The Crooked Path").

The Chauffeur catches up with The Baron again, and offers him a solution to his debt problems. The Chauffeur describes a necklace in Grushinskaya's room, that The Baron could steal. The Baron claims that he would never steal, only as a last resort. The Chauffeur jams a gun into The Baron's ribs, to remind him that his last resort is approaching very quickly.

The Baron heads off to The Yellow Pavilion to forget about his worries. There he runs into Flaemmchen, whom he courts. She is ecstatic that a Baron would take such an interest in her. She sings to The Baron, ("Who Couldn't Dance with You"). The Baron sees Kringelein alone off to the side of the dance hall, and asks Flaemmchen if she would dance with him. She obliges, and life returns to the fading Kringelein. Preysing interrupts, and demands that Flaemmchen help him type up his notes for the shareholders' meeting. Kringelein, who used to work for Preysing, tries to hold onto his dream dance with Flaemmchen, and is infuriated that Preysing would want to end the dance, and also that Preysing doesn't even seem to remember who Kringelein is.

Preysing heads off to the shareholders' meeting, and the shareholders excitedly sing, ("Music Is On"). The pressure becomes too much for Preysing, and he erroneously exclaims, "The Boston merger is definitely - on!"

The Baron approaches Kringelein in the lobby, and tries to convince him to buy stock because, "It's crazy not to own stocks today." As The Baron ushers Kringelein off to a broker's room, The Chauffeur corners The Baron again, and reminds him to steal Grushinskaya's necklace.

Meanwhile Grushinskaya dances in her concert, but the audience is hardly appreciative of her. Grushinskaya refuses to go back out on stage, and instead rushes back to the hotel for solace. However, upon entering her room, Grushinskaya finds The Baron, standing beside her precious necklace. The Baron quickly improvises that he is in her hotel room because he is her biggest fan, and has been following her all across Europe. The two jaded romantics, quickly fall for each other, while trying to convince themselves that ("Love Can't Happen"). They are overwhelmed by their emotions, while Raffaela sits alone in her room, singing of her love for Grushinskaya in ("What You Need").

Elsewhere in the hotel, Erik tries to sneak off the job to see his wife, but Rohna stops him, and threatens to fire Erik if he doesn't get back to work. Preysing, facing certain destruction once his lie is found out, decides to go to Boston, and force the Boston company to merge with his company. Preysing also manages to convince Flaemmchen to come along with him, "to take care of him."

The next morning, The Baron awakes next to Grushinskaya, and finds he is in love with her as he was the night before. He confesses to her that he was in her room to steal her necklace, but now he wants only to be with her. Grushinskaya offers The Baron money to travel with her to Vienna, but The Baron responds, "I am not a gigolo!" He leaves to find the money on his own, and Grushinskaya basks in her new found love and sings, ("Bonjour Amour").

While The Jimmy's sing ("The Grand Charleston") at the hotel bar, The Baron sees Flaemmchen, and tells her of his new love for Grushinskaya, thus ending their serial flirting. Kringelein bursts into the lobby and informs The Baron, that his advice on the stocks was correct! "I made more last night than I ever made in an entire year!" Kringelein buys drinks for he and The Baron, and they sing along with The Jimmys, ("We'll Take a Glass Together"). Kringelein gets so worked up, that he passes out, and drops his wallet. The Baron sees the wallet, bursting with money, and picks it up before helping Kringelein off to his room.

The Doctor, who has been observing all of the on goings at The Grand Hotel, sits in his room, alone. He injects himself with more morphine, and laments, ("I Waltz Alone"). During his singing, Preysing corners Flaemmchen in his room, and makes her undress for him. Down the hall in Kringelein's room The Baron helps Kringelein to his bed. Kringelein realizes that his wallet is missing, and The Baron is struck by his own conscience and returns the wallet to Kringelein. Kringelein, realizing what has transpired, gives his friend a wad of money, as a thank you for all of his help. The Baron is ecstatic, and runs off, as he now has enough money to go to Vienna with Grushinskaya. As soon as he runs into the hall however, he is confronted by The Chauffeur. The Chauffeur takes the wad of money, and tells The Baron to go to room 420, "a certain randy businessman will be next door playing with his little blonde secretary. I saw his wallet, stuffed with fifty-mark notes." The Chauffeur hands The Baron a gun, to make sure he gets the job done.

Back in Preysing's room, Preysing is pushing Flaemmchen further and further, until finally she changes her mind and wants to leave. Preysing tries to force her to stay. The Baron sneaks in next door, and is about to rob Preysing when he hears Flaemmchen's cries from the next room. He runs next door, and confronts Preysing, who in turn, accuses The Baron of being there to rob him. The fight escalates until The Baron takes out his gun, which Preysing grabs, and shoots The Baron dead.

The Ghost of The Baron moves to the railway station, where he was to meet Grushinskaya before going to Vienna. He sings what were his final thoughts, ("Roses at the Station").

News of The Baron's death spreads through the hotel, and all of Grushinskaya's friends agree not to tell her the news until they are in Vienna. Raffaela is tortured, wondering ("How Can I Tell Her").

The police take away Preysing to prison for killing a Baron. Kringelein asks Flaemmchen what she was doing with someone like Preysing. She tells him, that regretfully she was with him for the money, so she could start a new life for herself in America. Kringelein reminds her that he has money, and he will always take care of her.

Erik finds out that everything is okay with his son and wife. Witt, Sandor, and Raffaela usher Grushinskaya out the lobby of the hotel, hoping that she will not hear of The Baron's death. The Doctor, looks through the lobby of the hotel, and notes, "Grand Hotel, Berlin. Always the same - people come, people go - One life ends while another begins - one heart breaks while another beats faster - one man goes to jail while another goes to Paris - always the same." And while the Company sings ("Grand Waltz") The Doctor decides, "I'll stay - one more day."

Casting
← Back to Grand Hotel: The Musical
Cast Size: Flexible Cast Size
Cast Type: Ensemble Cast
Dance Requirements: Standard

Character Breakdown

Erik
The assistant concierge who is deeply in love with his wife. Eager to start a family. Intelligent, ambitious, devoted.
Gender: male
Age: 30 to 35
Vocal range top: F5
Vocal range bottom: C4
Zinnowitz
An attorney in Berlin. The secretary for the company under Preysing's direction. Encourages Preysing to lie. Ambitious, greedy, and willing to do whatever it takes.
Gender: male
Age: 35 to 45
Vocal range top: E5
Vocal range bottom: D4
Hermann Preysing
General Director of a large textile mill. A solid burgher blinded by riches and terrified of losing his life style. He uses lies and money to get what he wants.
Gender: male
Age: 40 to 50
Vocal range top: G5
Vocal range bottom: B3
Flaemmchen
A pretty girl who has theatrical ambitions, she wants to go to America and appear in movies. Constantly conflicted between her ambition and her morals.
Gender: female
Age: 18 to 21
Vocal range top: E5
Vocal range bottom: E2
Otto Kringelein
A mortally ill bookkeeper from the small town life looking for new excitement. He is a smart man wanting to live life to the fullest while he can. Humble, joyous, and grateful.
Gender: male
Age: 35 to 45
Vocal range top: A5
Vocal range bottom: C4
Baron Felix Von Gaigern
Athletic, charming, and optimistic but broke. Wishes to be immoral. A good guy who loves life in the fast lane and falls in love with Grushinskaya.
Gender: male
Age: 25 to 35
Vocal range top: A5
Vocal range bottom: B3
Raffaela
Confidante, secretary, and Elizaveta's dresser. Secretly loves Grushinskaya and wants to protect her always. Hardworking, dependable, and smart.
Gender: female
Age: 35 to 45
Vocal range top: B4
Vocal range bottom: F3
Elizaveta Grushinskaya
The still-beautiful, world famous, Prima Ballerina on the verge of retirement. Finds herself feeling old until she is revived by the young Baron's love. Demands only the best from herself and for her fans.
Gender: female
Age: 40 to 50
Vocal range top: C5
Vocal range bottom: G3
Two Jimmys
Array
Full Song List
Grand Hotel: The Musical: Grande Parade
Grand Hotel: The Musical: At the Grand Hotel
Grand Hotel: The Musical: Maybe My Baby
Grand Hotel: The Musical: Fire and Ice
Grand Hotel: The Musical: Twenty-Two Years
Grand Hotel: The Musical: Villa on a Hill
Grand Hotel: The Musical: (Girl In The Mirror) I Want To Go To Hollywood
Grand Hotel: The Musical: The Crooked Path
Grand Hotel: The Musical: Who Couldn't Dance With You?
Grand Hotel: The Musical: Love Can't Happen
Grand Hotel: The Musical: What She Needs
Grand Hotel: The Musical: Bonjour Amour
Grand Hotel: The Musical: The Grand Charleston
Grand Hotel: The Musical: We'll Take A Glass Together
Grand Hotel: The Musical: I Waltz Alone
Grand Hotel: The Musical: Roses At The Station
Grand Hotel: The Musical: Death/Bolero
Grand Hotel: The Musical: How Can I Tell Her?
Grand Hotel: The Musical: Grand Ending
Grand Hotel: The Musical: Grand Waltz

Critical Reaction

"There is so much to applaud in this tale of people on the make, on the take and in a dream, that it would seem almost churlish to do so. This Grand Hotel is top of the line." - Chicago Sun-Times

"The lush and the louche effortlessly intertwine in this invigorating musical adaptation." - The Guardian

"Robert Wright and George Forrest, with the aid of the reliable Maury Yeston, have provided a sparkling score of eminently serviceable songs." - Chicago Reader

"Thrilling theatre." - Talkin Broadway

"Very entertaining." -The Independent

Academy Award

1932 - Best Picture, Winner ()

Drama Desk Award

1990 - Outstanding Featured Actress in a Musical, Nominee (Jane Krakowski)
1990 - Outstanding Music, Nominee (Robert Wright, George Forrest & Maury Yeston)
1990 - Outstanding Lighting Design, Winner (Jules Fisher)
1990 - Outstanding Lyrics, Nominee (George Forrest)
1990 - Outstanding Lyrics, Nominee (Maury Yeston)
1990 - Outstanding Actor in a Musical, Nominee (David Carroll)
1990 - Outstanding Lyrics, Nominee (Robert Wright)
1990 - Outstanding Choreography, Winner (Tommy Tune)
1990 - Outstanding Music, Nominee (George Forrest)
1990 - Outstanding Costume Design, Winner (Santo Loquasto)
1990 - Outstanding Actor in a Musical, Nominee (David Carroll)
1990 - Outstanding Music, Nominee (Maury Yeston)
1990 - Outstanding Direction of a Musical, Winner (Tommy Tune)
1990 - Outstanding Choreography, Winner (Tommy Tune)
1990 - Outstanding Music, Nominee (Robert Wright)
1990 - Outstanding Featured Actor in a Musical, Winner (Michael Jeter)
1990 - Outstanding Costume Design, Winner (Santo Loquasto)
1990 - Outstanding Orchestration, Nominee (Peter Matz)
1990 - Outstanding Featured Actress in a Musical, Nominee (Jane Krakowski)
1990 - Outstanding Director Of A Musical, Winner (Tommy Tune)
1990 - Outstanding Set Design, Nominee (Tony Walton)
1990 - Outstanding Lighting Design, Winner (Jules Fisher)
1990 - Outstanding Featured Actor in a Musical, Winner (Michael Jeter)
1990 - Oustanding Lyrics, Nominee (Robert Wright, George Forrest & Maury Yeston)

Tony® Award

1990 - Best Lighting Design, Winner (Jules Fisher)
1990 - Choreography, Winner (Tommy Tune)
1990 - Best Choreography, Winner (Tommy Tune)
1990 - Costume Design, Winner (Santo Laquasto)
1990 - Best Musical, Nominee (Grand Hotel: The Musical)
1990 - Best Direction Of A Musical, Winner (Tommy Tune)
1990 - Direction Of A Musical, Winner (Tommy Tune)
1990 - Best Book Of A Musical, Nominee (Luther Davis)
1990 - Featured Actor In A Musical, Winner (Michael Jeter)
1990 - Best Original Score, Nominee (Robert Wright, George Forrest & Maury Yeston)
1990 - Featured Actress In A Musical, Nominee (Jane Krakowski)
1990 - Best Original Score, Nominee (Robert Wright, George Forrest & Maury Yeston)
1990 - Leading Actor In A Musical, Nominee (David Carroll)
1990 - Best Actor in a Musical, Nominee (David Carroll)
1990 - Leading Actress In A Musical, Nominee (Liliane Montevecchi)
1990 - Best Featured Actor in a Musical, Winner (Michael Jeter)
1990 - Lighting Design, Winner (Jules Fisher)
1990 - Best Featured Actress in a Musical, Nominee (Jane Krakowski)
1990 - Musical, Nominee (Martin Richards, Mary Lea Johnson, Sam Crothers, Sander Jacobs, Kenneth D. Greenblatt, Paramount Pictures, Jujamcyn Theaters, Patty Grubman, Marvin A. Krauss (producers))
1990 - Best Scenic Design, Nominee (Tony Walton)
1990 - Original Musical Score, Nominee (Robert Wright, George Forrest, and Maury Yetson)
1990 - Best Costume Design, Winner (Santo Loquasto)
1990 - Book Of A Musical, Nominee (Luther Davis)
1990 - Scenic Design, Nominee (Tony Walton)

Outer Critics Circle Award

1990 - Best Broadway Musical, Nominee (Grand Hotel: The Musical)
1990 - Best Director, Nominee (Tommy Tune)

Outer Critcs Circle Award

1990 - Best Actor in a Musical, Winner (Michael Jeter)

Connect

Billing

Based on Vicki Baum's Grand Hotel, by arrangement with Turner Broadcasting Co.

Requirements

Under the terms and conditions of your organisation’s Performance Agreement, the following credits must appear on all advertising (including websites) relating to the production. Credits must be reproduced faithfully in accordance with the following layout. No alterations or deletions can be permitted unless stated below.
Percentages listed indicate required type size in relation to title size.
GRAND HOTEL, THE MUSICAL 100%
Book by
LUTHER DAVIS 50%
Music and Lyrics by
 ROBERT WRIGHT AND GEORGE FORREST 50%

 

 

 
Based on VICKI BAUM's GRAND HOTEL (75% of the author's size type)
By arrangement with TURNER BROADCASTING CO. 35%
Owner of the motion picture "GRAND HOTEL"

 

Additional music and lyrics by
MAURY YESTON 35%

 

"The name of LUTHER DAVIS, ROBERT WRIGHT and GEORGE FORREST shall appear on a
seperate line on which no other matter appears, immediately following the
title of the work. The authors names shall be in the size of type at least
50% of the size of type used for the title of the work-as shown above."
 

 

The videotaping or other video or audio recording of this production is strictly prohibited.

Included Materials

ItemQuantity Included
ERRATA LIST1
LIBRETTO/VOCAL BOOK30
PIANO CONDUCTOR'S SCORE ACT 12
PIANO CONDUCTOR'S SCORE ACT 22

Production Resources

Resource
HOW DOES THE SHOW GO ON-10/CS
HOW DOES THE SHOW GO ON?
LOGO PACK
LOGO PACK DIGITAL
PRODUCTIONPRO-DIGITAL SCRIPT/SCORE
REFERENCE RECORDING
STAGE WRITE APPLICATION

STANDARD ORCHESTRATION

InstrumentationDoubling
ALTERNATE ORCH PART 1CLARINET , TENOR SAXOPHONE
BASS
CELLO
DRUMS
HORN
KEYBOARD 1
KEYBOARD 2
PERCUSSION
REED 1ALTO SAXOPHONE , CLARINET , FLUTE , SOPRANO SAX
REED 2ALTO SAXOPHONE , CLARINET , FLUTE
REED 3CLARINET , ENGLISH HORN , OBOE , TENOR SAXOPHONE
REED 4BARITONE SAXOPHONE , BASS CLARINET
TROMBONE
TROMBONE 2
TRUMPET
TRUMPET 3
VIOLA
VIOLIN

ALTERNATE ORCHESTRATION

InstrumentationDoubling
ALT: BASS
ALT: DRUMS
ALT: KEYBOARD 2 ACCORDION , CLAVINET , HARMONIUM , HARP , HARPSICHORD , MANDOLIN , MUTED STRINGS , PIANO , RHODES , STRINGS , TACK PIANO
ALT: PIANO CONDUCTOR PART 1
ALT: PIANO CONDUCTOR PART 2
ALT: REED 1 ALTO SAXOPHONE , FLUTE , SOPRANO SAX , TENOR SAXOPHONE
ALT: REED 2 BASS CLARINET , CLARINET , FLUTE , PICCOLO
ALT: TRUMPET