We did Grease in 2016 - so I was able to grab my file to see what we did to use these songs - here's some info:


Samuel French only holds the stage rights to GREASE - so to license the additional songs, you need to contact Warner/Chapell - and that contact information was in the licensing contract. Warner/Chapell, however, does not send you the sheet music. Samuel French can send copies of You're The One That I Want, and Hopelessly Devoted - for us it was an extra $200.


I received a questionnaire prior to our licensing application being fully accepted -and I had to submit a seating chart of our space (because they charge by the seat, not average sales history). One of the questions was: Will you be requesting permission to perform the movie songs - They are "Grease", "Sandy", "Hopelessly Devoted to You", and "You're the One That I Want"


One of the other documents in th efolder isa "Theatrical License Request Form" for the movie songs - and it says to allow 3-4 weeks for clearance of requests.


Hope this helps a bit! I will say that Grease was the most expensive show we ever produced for licensing costs and rental materials, etc (not production costs like costumes, lumber). Contract costs were over $9000 - we did 5 performances, and we have an 1100 seat house, tickets were $6-9. But we had to rent additional chorus books for $10 per person. Buy the script books for dialogue from SF. License additional songs through Warner/Chapell. It felt like a lot of nickel-and-diming because there are so many factors to take into consideration.


For years, I said that we'd never to do Grease - and that if we ever did, it would be because we either needed more community support for our program, or more money. At the time, we needed both. When everyone asks WHY? - I bring up the themes of the storyline - smoking, drinking, Rizzo's situation, Sandy changing to please a guy... it has toe-tapping music, but the messages are mixed at best. We did cover our costs - but we didn't sell out the place. 


But if your audience members are like mine - they will want what they see on stage to closely resemble the movie - so we felt we needed to add those songs.

We did Grease in 2016 - so I was able to grab my file to see what we did to use these songs - here's some info:


Samuel French only holds the stage rights to GREASE - so to license the additional songs, you need to contact Warner/Chapell - and that contact information was in the licensing contract. Warner/Chapell, however, does not send you the sheet music. Samuel French can send copies of You're The One That I Want, and Hopelessly Devoted - for us it was an extra $200.


I received a questionnaire prior to our licensing application being fully accepted -and I had to submit a seating chart of our space (because they charge by the seat, not average sales history). One of the questions was: Will you be requesting permission to perform the movie songs - They are "Grease", "Sandy", "Hopelessly Devoted to You", and "You're the One That I Want"


One of the other documents in th efolder isa "Theatrical License Request Form" for the movie songs - and it says to allow 3-4 weeks for clearance of requests.


Hope this helps a bit! I will say that Grease was the most expensive show we ever produced for licensing costs and rental materials, etc (not production costs like costumes, lumber). Contract costs were over $9000 - we did 5 performances, and we have an 1100 seat house, tickets were $6-9. But we had to rent additional chorus books for $10 per person. Buy the script books for dialogue from SF. License additional songs through Warner/Chapell. It felt like a lot of nickel-and-diming because there are so many factors to take into consideration.


For years, I said that we'd never to do Grease - and that if we ever did, it would be because we either needed more community support for our program, or more money. At the time, we needed both. When everyone asks WHY? - I bring up the themes of the storyline - smoking, drinking, Rizzo's situation, Sandy changing to please a guy... it has toe-tapping music, but the messages are mixed at best. We did cover our costs - but we didn't sell out the place.


But if your audience members are like mine - they will want what they see on stage to closely resemble the movie - so we felt we needed to add those songs.


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Holiday Inn is a 1942 American musical film starring Bing Crosby and Fred Astaire, with Marjorie Reynolds, Virginia Dale, and Walter Abel.[2] It was directed by Mark Sandrich with music by Irving Berlin. The composer wrote twelve songs specifically for the film, the best known being "White Christmas". The film features a complete reuse of the song "Easter Parade", written by Berlin for the 1933 Broadway revue As Thousands Cheer and used as a highlight of the 1948 film Easter Parade, starring Astaire and Judy Garland. The film's choreography was by Danny Dare.[3]

The film received a 1943 Academy Award for Best Original Song (Berlin's "White Christmas"), as well as Academy Award nominations for Best Score (Robert Emmett Dolan) and Best Original Story (Irving Berlin).[4]

At the inn, Ted is forced to improvise a solo, a fireworks-studded tap dance routine. Linda arrives, irritated that Jim did not trust her to make her own decision. She joins Ted, Hollywood-bound. Jim reluctantly agrees to let the eager producers make a film about Holiday Inn, but vows not to leave the Inn.

In May 1940, Irving Berlin signed an exclusive contract with Paramount Pictures to write songs for a musical film based on his idea of an inn that opened only on public holidays. Bing Crosby and Fred Astaire were the stars of Holiday Inn with support from Marjorie Reynolds and Virginia Dale. Filming took place between November 18, 1941, and January 30, 1942. Produced and directed by Mark Sandrich, Holiday Inn had its premiere at the New York City Paramount Theatre August 4, 1942.[6] It was a success in the US and the UK, the highest-grossing film musical to that time. It was expected that "Be Careful, It's My Heart" would be the hit song. While it did very well, "White Christmas" topped the charts in October 1942 instead, and stayed there for eleven weeks. Another Berlin song, "Happy Holiday", is featured over the opening credits and within the film storyline.[citation needed]

Many segments of the film are preceded by shots of a calendar with a visual symbol of the given holiday. For November, an animated turkey is shown running back and forth between the third and fourth Thursdays, finally shrugging its shoulders in confusion. This is a satirical reference to the "Franksgiving" controversy created when President Franklin D. Roosevelt tried to expand the Christmas shopping season by declaring Thanksgiving a week earlier than before, leading to Congress setting Thanksgiving as the fourth Thursday in November by law.[citation needed]

The Japanese attack on Pearl Harbor in Hawaii occurred halfway through filming. As a result, the Fourth of July segment was expanded beyond Fred Astaire's firecracker dance to include the patriotic number that highlights the strength of the US military.[8]

The song that would become "White Christmas" was conceived by Berlin on the set of the film Top Hat in 1935. He hummed the melody to Astaire and the film's director Mark Sandrich as a song possibility for a future Astaire-Ginger Rogers vehicle. Astaire loved the tune, but Sandrich passed on it. Berlin's assignment for Paramount was to write a song about each of the major holidays of the year. He found that writing a song about Christmas was the most challenging, due to his Jewish upbringing.[9] When Crosby first heard Berlin play "White Christmas" in 1941 at the first rehearsals, he did not immediately recognize its full potential. Crosby simply said: "I don't think we have any problems with that one, Irving."

Although "White Christmas" has become iconic, this was not the original intention. The song "Be Careful, It's My Heart", played during the Valentine's Day section of the film, was originally intended to be a bigger hit when production of Holiday Inn commenced.

Full-length studio recordings of the film's songs, differing slightly from those in the movie, were made for commercial release. Initially issued on 78rpm records, they were later collected on LP, cassette and CD.

Soundtrack from Holiday Inn is a soundtrack album of Bing Crosby and Fred Astaire singing Irving Berlin songs that were taken directly from Holiday Inn. This soundtrack was first released on vinyl LP. These songs differ slightly and are often faster to save time than the ones released to the public on 78 rpm phonograph records.

In 2004, the Soundtrack Factory label released a soundtrack of the original recordings taken directly from the movie.[12] Martha Mears performed Marjorie Reynolds's singing in the movie, so it is she who is performing on this recording as well. All songs sung by Bing Crosby unless stated. The track list is:

It was first released on DVD paired with another Crosby vehicle, Going My Way (1944). It added a trailer for each film and some text-based extras. This version is also available in many boxed set collections of holiday-themed or Crosby-themed movies.

In 2008, it was released as a three-disc "Collector's Edition" containing the previous DVD and a second disc with a newly computer-colorized version and Coloring a Classic, a featurette on the colorization. Also included was a CD of the 12-track Song Hits from Holiday Inn album, featuring original full-length studio recordings of the film's songs.

The success of the song "White Christmas" eventually led to another film based on the song, White Christmas (1954), which starred Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen. It was an extremely loose remake of Holiday Inn, with a plot again involving an inn, but otherwise different from the earlier film. Fred Astaire was offered the second lead in the new film, but after reading the script, he declined. The role was then offered to Donald O'Connor, but he was injured before filming began. Danny Kaye ultimately took the role.[citation needed] ff782bc1db

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