Grand Hotel, The Musical

Book by Luther Davis
Music and Lyrics by Robert Wright and George Forrest
Based on Vicki Baum's Grand Hotel

By arrangement with Turner Broadcasting Co.
Owner of the motion picture "Grand Hotel"
Additional music and lyrics by Maury Yeston

Grand Hotel, The Musical

Musical Director
Set Design
Lighting Design
Costume Design
Sound Design
Properties Design
Production Stage Manager
Assistant Director
Wig and Hair Design
Assistant Stage Manager
Artwork & Artwork Title
Production Stage Manager
Assistant Stage Manager
Assistant Director
Assistant to the Choreographer
Assistant Sound Designer
Casting Assistant
Costume Assistants

House Managers

Lighting Operator
Follow Spot Operators

Sound Engineer
Assistant Sound Engineer
Back Stage Crew
Rehearsal Pianist
Technical Dir./Master Electrician
Assistant Technical Director
Set Construction
Production Crew

Production Photography

Barbara Beckley
Peter Schneider
Michael Reno
Cate Caplin
David Potts
Don Guy
Garry D. Lennon
Drew Dalzell
Michael Donovan, C.S.A.
David Elzer/DEMAND PR
Vernon Willet
Simone Nelson
Diane Martinous
Cindy Fulchino
2004 Shoolery Design, Inc.
Vernon Willet
Cindy Fulchino
Simone Nelson
Lisanna Jeffries
Cricket Myers
Cara DiBlasio
Blanca Guiterrez
Elizabeth Cox
Abbie Bundy
Sara T. Painter
Elizabeth Saryan
Nora Frankovich
Janeé Hoffman
Marja Harmon
Ryan Babroff
Karen Jordan
Brian Cordoba
Cricket Myers
Rhyan Soto
Spencer Howard
M.E. McElveney
Andrea Dean
Eleanor Wood
Ted Hamer
Red Colegrove
Robert T. Kyle
Pro Sets West, Inc.
Jeremy Bryden
Joe Bowman
Lou Albruzzese
David King
Michael Lamont

(in order of apperance)

Reflections of the Grand Hotel

The Doctor
The Jimmys

Otto Kringelein
Erik Litnauer
Zinnowitz / Ensemble
Rohna / Ensemble
General Director Preysing
Telephone Operators/Ensemble

Elizaveta Grushinskaya
Victor Witt / Ensemble
The Baron
The Chauffeur
Understudy for Flaemmchen

Cate Caplin
Gary Franco
Michael McCarty
Chris Payne Dupré
Mike Irizarry
Jason Graae
Alex Miller
Natalia Lind
Bob Wood
Samuel B. Kivi
Dink O'Neal
Rachel Strutt
Virginia Weber
Cynthia Beckert
Dana Reynolds
Michael Parillo
Robert J. Townsend
Beth Malone
Larry Lederman
Virginia Weber


  • Piano/Conductor
  • Keyboard
  • Bass
  • Percussion
  • Reeds
  • Jeff Rizzo
  • Ted Hamer
  • Dana Decker
  • Tom Bowe
  • Jeff Driskill
  • Jon Kip

Scenes and Musical Numbers

I - The Entrance

  • The Grande Parade

  • The Doctor
  • The Baron
  • Company

II - The Lobby

  • At the Grand Hotel
  • Table With a View

  • Kringelein
  • Kringelein
  • III - The Lobby Bar
  • Maybe My Baby Loves Me

  • The Jimmys
  • IV - Elizaveta Grushinskaya's Suite, Raffaela's Room

Fire and Ice
Twenty-Two Years
What She Needs

Grushinskaya, Female Ensemble

V - The Lobby and the Ladies Powder Room

  • Girl in the Mirror

  • Flaemmchen

VI - A Meeting Room, the Men's Washroom, and The Lobby

  • Everybody's Doing It
  • The Crooked Path

  • Zinnowitz
  • Preysing

VII - The Yellow Pavilion

  • Who Couldn't Dance With You

  • Flaemmchen, Kringelein, Ensemble

VIII -  Hotel Meeting Room

  • The Merger Is On

  • Preysing, Zinnowitz, Ensemble

IX - Backstage at the Ballet, the Hotel Roof

  • Fire and Ice reprise

  • Ensemble

X - Elizaveta Grushinskaya's Suite

  • Love Can't Happen
  • Dance Dance Dance

  • The Baron, Grushinskaya
  • Grushinskaya

XI - The Lobby Bar

  • The Grand Charleston
  • We'll Take a Glass Together

  • The Jimmys, Ensemble
  • The Baron, Kringelein, The Jimmys, Ensemble

XII - The Doctor's Room, Kringelein's Room, and Preysing's Room

  • I Waltz Alone
  • Happy Charleston

  • The Doctor
  • Ensemble

XIII - The Railway Station

  • Roses at the Station

  • The Baron

XIV - Raffaela's Room and other Places

  • What She Needs reprise

  • Raffaela

XV - The Lobby

  • The Grande Closing

    • Erik,Telephone Operators, Company


"This is das vie, the life for me"

Lyric from "Grand Hotel"

I've recently been asked why I would devote eighteen months of my life to a ninety-minute musical that is scheduled to run for only twenty-five performances. Chances are I wouldn't have if, on September 11th, I hadn't found myself sitting with my wife, Hope, watching the Twin Towers burn through the window of a jet that had suddenly aborted its takeoff at Kennedy Airport. Among the lessons we all learned on that tragic day is that life indeed is fragile, that we owe it to ourselves to live each day fully, and that acquitting oneself with love and honor may be the most precious legacy of all. These are the themes that attracted me to "Grand Hotel." It is a stirring piece about a desperate group of characters who must choose whether to embrace life or death, honor or disgrace, love or loss.

Stories about seizing the day have been told since time immemorial but to my mind, never as theatrically as in this adaptation of Vicki Baum's classic novel. For one, it's set in the Berlin of 1928, a year on the cusp of great historical change; for another, it's in a grand hotel, a venue in which the possibilities for romance and conflict are glamorously heightened. This grand hotel is a microcosm of dreams and desires, filled with people dashing from one distraction to another, dancing blithely on the lip of a volcano.

What really grabbed me, though, was the play's unlikely hero: Otto Kringelein, the terminally-ill, provincial bookkeeper who comes to the Grand Hotel in order, as he puts it, "to know that I once was here." On his journey he meets an impoverished, opportunistic baron, an aging ballerina, a corrupt businessman, a cynical doctor, and a young ingénue dreaming of Hollywood stardom (ah yes, Hollywood, the seductive siren even back then).

Why is Otto my hero? Because he dares to believe in life, even as it slips away.  Otto's hope is a reproach to the cynic in us, all too ready to dismiss our existence as meaningless. Cynicism is easy.  It asks very little, least of all change. Hope and faith, particularly in the face of formidable odds, are much harder to muster. They demand a certain courage and heart. In our lifetime, those two traits will long be measured against the standards set on September 11th. But as we ask ourselves how we might have behaved on that day faced with the same challenges, Otto and his friends offer another answer: Sometimes the simplest act of heroism we can perform is to wake up in the morning and embrace life in all its blessed possibilities.

--Peter Schneider

Special Thanks

Russell Adcock, LA Dance Experience, Bardwell's on the Boulevard,Derek Bjornsen, A Noise Within, Brad Brown, Michael Cabler, California State University Northridge,Department of Theater, Mortimer and Ruth Caplin, The City of Burbank, The Colony Board of Trustees, Luther Davis, Laura Dwan, Stephanie Ferrell, Chris Garr, Dan Gates, Harold Huttus, Stacie Iverson, Demetrio James, Shelby Jiggetts-Tivony, Paul Marius, Robert E. Moore III, Amy V. Morse, George and LeAnne Neilson, Helaine and Ira Nelson, Todd Nielsen, Patrick Pacheco, Salvador Palacios, Bill Shaw, San Gabriel Civic Auditorium. Shoolery Design, Inc. (Mark Shoolery, Judy Kemper, Jason Lindeman, Ricky Gae, Chris Bartolini,Sergio Grisanti, Ethan Archer, Rita Valencia, Marco Blanco, Anna Hudson, Laurie Bloom, Jill Green, Abbi Russal), Clayton Stang, Ali Tavakoli, Elegance Shoes, Wadler Data Systems, Tonni Williams, Lee Wochner, CounterIntuity