Rodgers & Hammerstein's State Fair

Full-Length Musical, Comedy  /  7w, 9m, 1girl(s)

Based on the screenplay by Oscar Hammerstein II and the Novel by Phil Stong

In the summer of 1946, the Frake family leaves their farm for an adventure at the Iowa State Fair. Mom and Pop have their hearts set on blue ribbons, while their children Margy and Wayne find romance and heartbreak on the midway.

Rodgers & Hammerstein's State Fair

  • Cast Size
    Cast Size
    7w, 9m, 1girl(s)
  • Duration
    120 minutes (2 hours)
  • SubGenre
    Adaptations (Literature), Period
  • Audience
    Target Audience
    Appropriate for all audiences
  • Nominee: Two 1996 Tony Awards, including Best Original Score


Rodgers & Hammerstein's only musical written directly for the screen is now a stage musical that's had critics raving from coast to coast. Set against the colorful backdrop of an American heartland tradition, State Fair travels with the Frake family as they leave behind the routine of the farm for three days of adventure at the annual Iowa State Fair. Mom and Pop have their hearts set on blue ribbons, while their children Margy and Wayne find romance and heartbreak on the midway. Set to the magical strains of an Academy Award-winning score and augmented by other titles from the Rodgers & Hammerstein songbook, State Fair is the kind of warm-hearted family entertainment only Rodgers & Hammerstein could deliver!

The Making of the Stage Musical

Fifty years after it was introduced, State Fair, Rodgers & Hammerstein’s only musical written for the screen, finally made it to the stage. The book for the stage version was written by Louis Mattioli and Tom Briggs, a Director of the R&H Theatre Library who also had the idea to adapt State Fair to the stage in the first place. Here, Briggs explains how the newest Rodgers & Hammerstein musical came to be:


Phil Stong’s novel State Fair was published in 1932 and a non-musical motion picture version was released the following year starring Will Rogers, Janet Gaynor and Lew Ayres. Twelve years later, fresh on the heels of their success with Oklahoma!, Rodgers & Hammerstein were persuaded by Hollywood mogul Darryl F. Zanuck, head of 20th Century Fox studios, to adapt State Fair as a movie musical. Their version, released in August of 1945, starred Charles Winninger, Fay Bainter, Jeanne Crain, Dick Haymes, Dana Andrews and Vivian Blaine, winning R&H the Academy Award for their song “It Might As Well Be Spring.” A 1962 remake overseen by Rodgers (Hammerstein had died two years earlier) updated the story and transplanted it from its original Iowa setting to Texas; Rodgers augmented the score with several songs he wrote on his own. So it was with the combined resources of one novel and three film versions that my late collaborator, Louis Mattioli and I began our work in bringing State Fair to the stage.

We were facing two major challenges, the first of which was the story. While the movies were a brief evocation of the fair itself, the story, characters and relationships would clearly require deeper exploration and development for the stage. The second challenge was the score. R&H had written only six songs for the original picture, so it was clear the theatrical score would need to include other songs. But where to find them?

Whatever songs we needed would have to blend stylistically with those from the movie, illuminate the various characters and situations and, above all (as R&H taught us), propel the story forward. They could also not be indelibly associated with other R&H musicals. (No “Climb Ev’ry Mountain” or “Some Enchanted Evening.”)

Unlike many writers, R&H did not leave behind a plethora of undiscovered songs, or “trunk material.” Seldom was a song replaced, and if so, it often found a home in a subsequent musical. (For instance, “Getting To Know You” from The King and I began life as the melody of “Suddenly Lovely,” written for South Pacific.) Also, R&H were theatre writers and rarely wrote outside the context of the musicals they created.

We began our musical search with the 1962 remake of State Fair. There was a terrific comic number Rodgers wrote for it that seemed to fit perfectly, so “More Than Just A Friend” became the seventh song in the score. I was familiar with a lovely song that had been cut out-of-town from Oklahoma! when that show was still called Away We Go!. It was just right for the parents of our young protagonists and so “Boys And Girls Like You And Me” became the eighth song in our State Fair. We also discovered one of the earliest song written for Oklahoma! which had never even made it into rehearsal—”When I Go Out Walking With My Baby.”

Because we were setting the show in the postwar 40’s, we wanted the score to reflect the Big Band flavor of that era. We also had in Emily, a band singer, a character who could afford to surprise us with some arrangements that would jump a bit. Swing music is not exactly what you think of when the names Rodgers & Hammerstein pop up, but we wanted to try. Two songs written for 1953’s Me and Juliet fit the bill—”You Never Had It So Good” (which had been cut prior to Broadway) and “That’s The Way It Happens.”

We rounded out the score with two songs from Pipe Dream—”The Man I Used To Be” and “The Next Time It Happens”—and one from Allegro—”So Far.” 14 songs in all—now that’s a theatrical score!

The story of the Frake Family of Iowa and their outing to the State Fair, Rodgers & Hammerstein’s “newest” musical began its national tour, naturally, in Des Moines during the opening of the ‘95 Iowa State Fair in August. The Theatre Guild, Rodgers & Hammerstein’s first producers of Oklahoma!, Carousel and Allegro, revived that tradition as producers of this State Fair, with Philip Langner and Robert Franz at the helm.

Governor Terry E. Branstad hosted the opening night performance in Des Moines, Iowa, where stars John Davidson, Kathryn Crosby, Andrea McArdle, Donna McKechnie, Scott Wise and Ben Wright were hailed as adopted hometown heroes and even made honorary Iowans. Also on hand were Rodgers & Hammerstein—Mary Rodgers and her family, and Hammerstein’s son James, who not only carried the family name but also its theatrical pedigree—in this case, as co-director of State Fair with Randy Skinner.

To the Des Moines crowd, every line in State Fair that mentioned blue ribbon-winning hogs, tractor pulls, or corn dogs on the midway hit home with gusto. Songs like “It Might as Well Be Spring” and “It’s a Grand Night for Singing” were greeted as good old-fashioned showstoppers, while lesser-known numbers like “So Far” and “The Man I Used to Be” were warmly welcomed. As for “All I Owe Ioway,” it was received by the hometown crowd as nothing short of a standing-O, rip-roaring love-anthem to their Hawkeye State, earning State Fair a front-page rave review in the Des Moines Register.

In the months and cities that followed, this State Fair, to quote Hammerstein’s opening lyric, proved to be “a great State Fair” that triumphed far beyond local pride.

In Chicago, Sun-Times critic Hedy Weiss declared, “The show is perfection... Just pin that blue ribbon on the theater marquee,” while her colleague Richard Christiansen of the Tribune wrote, “This is a smart, sharp and refreshing show, bursting with wonderful songs and beautiful voices, staged with savvy and snap, and performed with gusto, good humor and charm.” Milwaukee Journal-Sentinel critic Damien Jacques called it “a pure delight... sweeter and more fun than cotton candy.”

Typical of many reviewers, Pamela Sommers of the Washington Post felt that State Fair is “corny and quaint, straight as an arrow and sentimental as all get out... But gosh darn it, [this] newly minted production... is surprisingly hard to resist.” Philadelphia Inquirer critic Clifford Ridley, after telling his readers that he “fell for” State Fair the first time he saw it on screen, confessed that, having now seen it on stage, “I tumbled for it all over again.” Robert Hurwitt of the San Francisco Examiner saluted State Fair for having “more glorious melodies than Broadway has seen in a very long time, [sung by] the kinds of gloriously bright voices... that remind you of Broadway’s heyday.” And in the trade paper Variety, Chris Jones decreed that “the crowd- pleasing charms of [this] ‘new’ musical are considerable and compelling—a witty book, lush R&H songs and a barrelful of strong performances are what provoked the lengthy and much-deserved standing ovation.”

After an eight-month tour, State Fair came to Broadway, where it racked up more than 100 performances. In early June, shortly before the show closed, DRG released the original Broadway cast album of State Fair—billed as Rodgers & Hammerstein’s first in 36 years. Produced for records by Hugh Fordin, it has proven to be a welcome souvenir for fans of the show, and a consolation prize for those who didn’t catch its Broadway incarnation.

“The cast recording is a melodic delight,” reported Show Music. “The cast sparkles [and] the chorus is exemplary, bringing even more zest to the proceedings via Kay Cameron’s vocal arrangements. Bruce Pomahac’s vivid orchestrations make Rodgers’ melodies sound new, but stay true to their intent. It adds up to a State Fair that makes return visits a joy.” Billboard cheered, “This State Fair is a great State Fair... It all fits beautifully.” In his original stage review, Ken Mandelbaum of TheatreWeek predicted that State Fair “would make a delightful cast album,” and in his follow-up review for the album, confirmed it: “State Fair makes an expectedly smooth translation to disc... It makes for pleasant listening, and it’s one that should stick around, as this stage version of State Fair... becomes, as it is bound to, a stock and community theater staple.”

Indeed, State Fair is a beloved show in the R&H catalogue and a popular choice in community theaters across the country. And thanks to the recent release of the film’s 60th-anniversary double-disc DVD, an even wider fanbase is sure to emerge for this American treasure.

Act I

On a Tuesday afternoon on their farm in late August 1946, the members of Frake family work around the house in excited preparation for the Iowa State Fair (“Opening: Our State Fair”). Their father, Abel, is eager to show off his prize boar, Blue Boy, but his neighbor, Dave Miller, isn’t so confident. Dave makes a five-dollar bet that something will go awry, and Abel accepts. Mrs. Frake, Abel’s wife, thinks her mincemeat pie has a shot at winning the blue ribbon. Wayne, their son, is disappointed that his girlfriend Eleanor can no longer attend the fair and his sister Margy is feeling down without understanding exactly why (“It Might as Well Be Spring”). When Harry arrives, asking for an answer regarding his long-standing proposal of marriage, Margy promises to give him an answer when she returns home.

With their boar in tow and car packed, the Frakes hit the road to make their overnight journey to the state fair (“Driving at Night”). The next morning, they arrive to find the fairgrounds bustling with the customary annual excitement (“Our State Fair”). Wayne is eager to try the ring toss, having won a pearl-handled revolver the year before. Despite doing very well at the game, he’s hustled by the attraction’s barker. Just as the conflict escalates, a glamorous woman interjects, defending Wayne. Introducing herself as Emily, the daughter of the head of police, she gets Wayne’s money back for him. Wayne offers to buy her a beer, but she refuses because she’s working at the fair. Still, she lets him walk her to her shift.

Near the Temple of Wonder, a young, worldly reporter, Pat Gilbert, has arrived to cover the State Fair. To impress a photographer lacking confidence, he shows off his way with women by making a pass at Margy, who declines his advance. Wayne takes Emily to her destination and says goodbye, completely overtaken by the woman he’s just met (“That’s for Me”).

Abel is drinking beer with two of his fellow farmers, Lem and Clay, as they all look at photos together, adoringly. At first, their cooing and sweet-hearted affections would make you think the photos were of their baby children, but they are actually of each farmer’s prized hogs. All three men agree that Iowa raises better swine than any state in the Union because their pigs are treated with dignity and respect (“More Than Just A Friend”).

Pat and Margy make their way to the Dairy Pavilion after a ride on the roller coaster. It’s not as good as a few of the other ones Pat’s been on across the country. Margy remarks on all the places he’s been, and Pat describes his time writing as a war correspondent. He thought his past work would lead to something more exciting, but now he’s stuck writing about a State Fair. Margy doesn’t see it that way, though – the State Fair is how all of Iowa takes pride in what they do with their lives, and Pat marvels at her perspective. Though they don’t really know each other, they enjoy a unique chemistry (“Isn’t It Kinda Fun?”). After agreeing to meet the next day, they wish each other good night (“Isn’t It Kinda Fun?” Reprise).

Looking for Emily, Wayne makes his way to the Police Chief, who is overseeing the Starlight Dance Pavilion, where couples dance together in an open-air arena. Wayne asks the Chief where he could find his daughter, but is surprised when his daughter is not Emily, but Violet, an eleven-year-old girl in pigtails. Just then, the emcee on the dance floor’s stage introduces Emily Arden and The Fairtones (“You Never Had It So Good”). When Wayne spots Emily, he grins ear to ear, and her number finishes with a rousing dance. After her set, Emily tells him being the Chief’s daughter was just a joke, and they laugh about his confusion. Though she’s been on the road with the Fair for some time, her sights are set on the bright lights of Broadway in New York City. With Wayne heading back to Brunswick that Saturday morning, they agree to share a dance, and not to leave things complicated.

At their pitched tent overlooking the fairgrounds, Mrs. Frake asks Margy why she’s taking so long making Harry wait to get married. Margy says that there’s nothing wrong with Harry; she’s just not sure she wants the life Harry’s planned out for them. Having sworn to answer Harry by the time they return from the fair, she has three days to decide (“It Might As Well Be Spring” Reprise). Abel and Wayne arrive, ready to head out to the fairgrounds. Abel, confident his Blue Boy is the best hog in the Hawkeye state, is excited to take his wife out dancing (“When I Go Out Walking with My Baby”).

At the Exhibition Hall that afternoon, an announcer lists the contest schedule while the pickle judging gets underway. Pat joins Charlie in the audience, and Charlie hands him a telegram saying that the Managing Editor of the Chicago Tribune wants to see him Monday for an interview. Meanwhile, Mrs. Metcalf, longtime blue-ribbon winner for pickles and mincemeat, boasts of her past wins. Though she wins two blue ribbons for her pickles, Margy wins second for sweet pickle. Mrs. Frake is discouraged, assuming her mincemeat doesn’t stand a chance, but she wins the blue ribbon, ending Mrs. Metcalf’s reign. Charlie and Pat help the Frake family take a triumphant photo, and Mrs. Frake notices Pat and Margy’s chemistry.

On a nearby hillside in the early evening, Wayne mentions to Emily that tomorrow is the last day of the fair, and this is the first time they’ve had two minutes alone together. Again, Emily warns that they can’t get too serious – she’s Broadway-bound and he’s going back to Iowa. She’s started too many things that she can’t finish. Wayne, unquestioningly, knows that you can never look back – only forward (“So Far”), and the two share a kiss.

Later that night, at the Starlight Dance Meadow, couples dance with romance in the air (“It’s A Grand Night for Singing”). Mr. and Mrs. Frake dance together while Mrs. Frake waves hello to one of the judges, and Pat approaches Margy. When he asks her to dance, Mrs. Frake tells her daughter to “live a little,” and she obliges. The whole fair has erupted with singing and dancing. Mr. and Mrs. Frake share a kiss. Margy and Pat share a kiss, and as they turn to leave, Margy recognizes a man watching from across the dance floor. It’s her Harry, at the State Fair, all the way from home.

Act II

The next day, it’s time for the Grand Sweepstakes at the Livestock Pavilion. Abel is frustrated because Blue Boy is taking an inconveniently timed mud bath just as his moment of glory approaches. Mrs. Frake urges Wayne to go wrangle Blue Boy, and he brings Harry to help. Margy goes to lend a hand but is interrupted by Pat, who asks about Harry. With a sigh, Margy explains that everyone’s always paired her and Harry together. Stunning even himself, Pat says he knows what he wants, and it’s to stay with Margy. Just as he goes in to kiss her, Abel bursts in, worried about his fate in the sweepstakes. Together, he and Hank realize the reason Blue Boy has been acting up is because Hank took his “beauteous girl pig,” Esmerelda, out of their shared pen. They go to reunite the two just in time for Blue Boy’s contest and Margy and Pat decide to meet at the Dairy Pavilion that evening. As he leaves, two girls invite Pat for a night out that evening, but he declines, to their shock (“The Man I Used to Be”).

Back at the livestock pavilion, Abel and Blue Boy have won the Blue Ribbon! As the crowd chants “Blue Boy” in his honor, Abel is joined in a triumphant celebration by his family and friends in the spirit of state pride (“All I Owe Ioway”). Charlie finds Pat to inform him that his interview in Chicago has been moved up to first thing tomorrow. If he wants to make it, he must get to the train immediately. With less than a moment to consider, he decides to try and make the train, and leaves (“The Man I Used to Be” Reprise). That night, Margy sits at the Dairy Pavilion waiting alone for Pat (“Isn’t It Kinda Fun?” Reprise). At the Starlight Dance Meadow, the emcee introduces Emily Arden and The Fairtones one last time (“That’s the Way It Happens”). When her set finishes, Emily reminds Wayne that she’s taking the 11:30 bus to Milwaukee. After she leaves to change, Violet rushes him on the stage shares a dance with Wayne that ends with her promising to find him at the fair next year (“Violet & Wayne’s Jitterbug”).

On the hillside later that night, Emily and Wayne spend their final hours together. She starts to leave for her bus, but Wayne tries one last time to convince her to stay and give it a shot with him. When his urgency grows, Emily admits that she’s still in a failed marriage with a man who couldn’t take her constant absence. Before leaving, she tries lifting his spirits by counting their trip to the moon as something to be grateful for and reminds him to “always leave ‘em laughing.”

On Camper’s Hill, Mr. and Mrs. Frake look at the stars on the last night of the fair. Abel points out the north star they’ll follow to get home the following morning. Though Mrs. Frake is worried about the decision weighing on Margy’s shoulders, Abel is confident in their children, especially when it comes to love. After all, they eventually found their own way (“Boys and Girls Like You and Me”). Harry arrives, looking for Margy, and Mrs. Frake walks with him to the other side of the Midway. Wayne stumbles over to the hill holding a bottle of liquor, trying to forget Emily, and Abel offers to walk him until he feels better.

Margy, left alone at the Pavilion waiting for Pat, remembers when he once said that anytime he wanted to call it quits, he simply wouldn’t be around. She decides to not trust her sight the next time her eyes begin to glow (“The Next Time It Happens”). As she watches workers take down the fair, Harry appears. Sadly, but with certainty, she tells him that she’s not in love with him and says goodbye.

Back home at the Frake Farm, Abel yells to Mrs. Frake, who’s busy in the kitchen. He’s reading a two-page article about the Frake Family at the Iowa State Fair in the morning paper, with photos of them winning their prizes. When Margy hears a particular quote mentioning her, she knows who wrote the article. Dave Miller arrives, ready to settle his bet with Abel. In a big surprise, Wayne announces that when Eleanor gets home from college next summer, they’re going to get engaged. Just as Margy explains to Dave Miller that she has, perhaps, outgrown the State Fair, Pat arrives and explains everything about the interview and getting the job. When he gets down on one knee in front of Margy, she says “Yes!” before he can even ask the question (“Finale Ultimo”).

3 Women
3 Men

4 Women
1 Girl (age 11)
6 Men

Singing-dancing ensemble consisting of Barkers, Vendors, Judges, and Fairgoers

Abel Frake – A farmer
Gus – The Frake's hired man
Margy Frake – The Frake's daughter
Melissa Frake – Abel's wife
Wayne Frake – The Frake's son
Dave Miller – The local storekeeper
Eleanor – Wayne's girlfriend
Harry – Margy's boyfriend
The Fair Announcer
The Hoop-La Barker
Emily Arden
The Astounding Stralenko
Vivian – A cooch dancer
Jeanne – A cooch dancer
Pat Gilbert – A newspaper reporter
Charlie – A newspaper photographer
Lem – A farmer
Clay – A farmer
Hank Munson – A farmer
The Chief of Police
Violet – His daughter
The Fairtones
Judge Heppenstahl
Mrs. Edwin Metcalf of Pottsville
2 Roustabouts
Barkers, Vendors, Judges and Fairgoers

Note: In this show, the race of the characters is not pivotal to the plot. We encourage you to consider diversity and inclusion in your casting choices.

In this show, the race of the characters is not pivotal to the plot. We encourage you to consider diversity and inclusion in your casting choices.

  • Time Period 1940s / WWII
  • Setting The Frake farm and the Iowa State Fair. Late August, 1946.
  • Features Period Costumes
  • Duration 120 minutes (2 hours)
  • Cautions
    • No Special Cautions


“The stage State Fair is a grand night for singing; funny, melodious, rousing entertainment!” – David Finkle, The Huffington Post

“A sparklingly witty book and lush R&H songs – the crowd-pleasing charms of [State Fair] are considerable and compelling.” – Variety

“A toe-tappable, knee-slappable package that carries a wealth of charm!” – Hollywood Reporter

“Perfection... Just pin that blue ribbon on the theater marquee.” – Chicago Sun Times

“This may be what the golden age of Broadway was really about.” – USA Today

“A pure delight... Sweeter and more fun than cotton candy.” – Milwaukee Journal-Sentinel


  • Jeanne Crain sings "It Might As Well Be Spring" youtube thumbnail

    Jeanne Crain sings "It Might As Well Be Spring"


Music Samples

Act I

1. Overture – Orchestra
2. Opening, Act I: “Our State Fair” – Abel, Melissa and Wayne
3. “It Might As Well Be Spring” – Margy
3a. Blue Boy Enters – Orchestra
4. End of Scene /“Our State Fair (Reprise)” – Margy
5. “Driving At Night”/“Our State Fair” – The Frakes/Ensemble
6. Underscore: Midway Calliope – Orchestra
6a. Scene Change into I-4 – Orchestra
7. “That’s For Me” – Wayne
7a. Scene Change into I-5 – Orchestra
8. “More Than Just A Friend” – Abel, Lem, Clay and Hank
8a. Scene Change into I-6 – Orchestra
9. “Isn’t It Kinda Fun?” – Pat and Margy
10. End of Scene 6: “Isn’t It Kinda Fun? (Reprise)” – Margy
11. “You Never Had It So Good” – Emily Arden and the Fairtones
11a. That’s For Dancing – Orchestra
11b. Scene Change into I-8 – Orchestra
12. “It Might As Well Be Spring (Reprise)” – Margy
13. “When I Go Out Walking With My Baby” – Abel and Melissa
13a. Playoff Into Pickles – Orchestra
13b. Scene Change into I-10 – Orchestra
14. “So Far” – Wayne and Emily
15. Finale, Act I: “It’s A Grand Night For Singing” – The Company

Act II

16. Entr’acte – Orchestra
16b. Underscore: More Than Just A Friend – Orchestra
17. “The Man I Used To Be” – Pat, Vivian and Jeanne
17a. Into Ioway – Orchestra
18. “All I Owe Ioway” – Abel and Ensemble
18a. Scene Change into II-2 – Orchestra
19. “The Man I Used To Be (Reprise)” – Pat
20. “Isn’t It Kinda Fun? (Reprise)” – Margy
21. “That’s The Way It Happens” – Emily Arden and the Fairtones
21a. Underscore – After It Happens – Orchestra
21b. Violet & Wayne’s jitterbug – Orchestra
21c. Scene Change Into II-4 – Orchestra
21d. Underscore / Scene Change Into II-5 – Orchestra
22. “Boys And Girls Like You And Me” – Abel and Melissa
23. Scene Change Into II-4 / “The Next Time It Happens” – Margy
23a. Good-bye Harry – Orchestra
23b. Scene Change Into II-7 – Orchestra
23c. Underscore: Proud Ioway – Orchestra
23d. Underscore: Isn’t It Kinda Sad? – Orchestra
24. Finale Ultimo – Orchestra
25. Bows: “Our State Fair” – Company
26. Exit Music – Orchestra

Full Orchestration

Reed 1 (Flute, Piccolo, Alto Sax)
Reed 2 (Oboe, English Horn, Alto Sax)
Reed 3 (Clarinet, Tenor Sax)
Reed 4 (Bassoon, Bass Clarinet, Tenor Sax)
French Horn 1
French Horn 2
Trumpet 1
Trumpet 2
Trumpet 3
Trombone 1
Trombone 2
Violin 1
Violin 2
String Synth Supplement - An optional book intended to augment your live string section

2 Timpani
Orchestra Bells
Chinese Bell Tree (Sounding down)
Mark Tree
Fight Bell
Sandpaper Blocks
Temple Blocks (4 pitches)
Gran Casa
Suspended Cymbal and Crash Cymbal

  • Musical Style Classic Broadway
  • Dance Requirements Difficult
  • Vocal DemandsModerate
  • Orchestra Size Large
  • Chorus Size Medium

Licensing & Materials

  • Licensing fees and rental materials quoted upon application.

    PLEASE BE ADVISED: There are multiple versions of this title. Before you proceed, please double-check to ensure that you are applying for the version you want. We will not be able to refund rental or shipping fees if you pay for the wrong version. If you’re not sure which version best suits your needs, you may purchase a perusal for each available version.

Music Rentals

Concord offers a full suite of resources to help you put on the show of a lifetime!
State Fair takes place over five days in late August of 1946 on the Frake farm in Brunswick, Iowa and at the Iowa State Fair in Des Moines.

Specific Locations 
The Frake Farm On the Road to Des Moines
The Midway at the Hoop-La Booth
The Midway at the Temple of Wonder
The Beer Tent Outside the Dairy Pavilion
The Starlight Dance Meadow
Camper's Hill Exhibition Hall
A Nearby Hillside Outside the Livestock Pavilion

Full Package:
20 Vocal Book
1 Piano-Conductor
1 Reed 1
1 Reed 2
1 Reed 3
1 Reed 4
1 French Horn 1
1 French Horn 2
1 Trumpet 1
1 Trumpet 2
1 Trumpet 3
1 Trombone 1
1 Trombobe 2
1 Tuba
1 Drums
1 Percussion
1 Harp
1 Keyboard
1 Violin 1
1 Violin 2
1 Viola
1 Cello
1 Bass
1 Optional String Synth
1 Logo Pack

A full score is available for this title for an additional fee. Please contact your licensing representative for additional information.

20 Vocal Book
1 Piano-Conductor
1 Logo Pack


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