How to Succeed in Business Without Really Trying- 2011 BRC- Digital Booklet

BROADWAY ACROSS AMERICA CRAIG ZADAN NEIL MERON JOSEPH SMITH MICHAEL McCABE CANDY SPELLING TAKONKIET VIRAVAN / SCENARIO THAILAND HILARY A. WILLIAMS JEN NAMOFF / FAKSTON PRODUCTIONS TWO LEFT FEET PRODUCTIONS / POWER ARTS HOP THEATRICALS, LLC / PAUL CHAU / DANIEL FRISHWASSER / MICHAEL JACKOWITZ MICHAEL SPEYER - BERNIE ABRAMS / JACKI BARLIA FLORIN - ADAM BLANSHAY / ARLENE SCANLAN / TBS SERVICE

DANIEL RADCLIFFE

JOHN LARROQUETTE

Muic & Lyic by

Bok by 

FRANK LOESSER

ABE BURROWS, JACK WEINSTOCK  & WILLIE GILBERT   Bad n h bok by  SHEPHERD

MEAD

TAMMY BLANCHARD CHRISTOPHER J. HANKE ROB BARTLETT MARY FABER ELLEN HARVEY MICHAEL PARK  CAMERON ADAMS CLEVE ASBURY TANYA BIRL KEVIN COVERT DAVID HULL JUSTIN KEYES MARTY LAWSON ERICA MANSFIELD NICK MAYO SARAH O’GLEBY STEPHANIE ROTHENBERG MEGAN SIKORA JOEY SORGE MATT WALL RYAN WATKINSON CHARLIE WILLIAMS

PAIGE FAURE BARRETT MARTIN MICHAELJON SLINGER SAMANTHA ZACK 

and inducin 

ROSE HEMINGWAY  auin 

ANDERSON COOPER

a h Vic  h Nara Scnic Din by

Cum Din by

Lihin Din by

Sund Din by 

DEREK MCLANE

CATHERINE ZUBER

HOWELL BINKLEY

JON WESTON

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Muic Codina

TOM WATSON

DOUG BESTERMAN

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SARAH O’GLEBY CHARLIE WILLIAMS

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Makin 

TARA RUBIN CASTING

JUNIPER STREET PRODUCTIONS

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Gna Manamn

Ascia Pduc

Excuiv Pduc

ALAN WASSER - ALLAN WILLIAMS MARK SHACKET

STAGE VENTURES 2010 LIMITED PARTNERSHIP

BETH WILLIAMS

Muic Dicin & Aranmn by 

DAVID CHASE Dicd & Chahd by 

ROB ASHFORD

Daniel Radclie

John Larroquette

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.

Overture (Ocha) Dear Reader... (C and Radc i) How to Succeed (Radci and Cmany) Happy to Keep His Dinner Warm (Hminway a nd Fab) Coee Break (Hank, Fab and Oic Wk) The Company Way (Radci and Ba) The Company Way (Reprise) (Hank, Ba and Oic Wk) Rosemary’s Philosophy (Hminway, Radci and C) Entrance o Hedy La Rue (Laqu, Havy, Banchad and Excuiv) A Secretary Is Not a Toy (Pak, Fab, Excuiv and Scai) Been a Long Day (Fab, Hminway and Radci) Been a Long Day (Reprise) (Hank, Laqu and Bachad) Grand Old Ivy (Laqu and Radci) Paris Original (Hminway, Sika, Fab, Havy, Banchad and Scai) Martini Time (Ocha) Finch Is In Love (Banchad and Radci) Rosemary (Radci and Hminway) Act One Finale (Radci, Hminway and Han k) Entr’acte (Ocha) Cinderella, Darling (Fab and Scai) Happy To Keep His Dinner Warm (Reprise) (Hminway) Love From a Heart o Gold (Laqu and Banchad) The Executive Washroom (Pak and Excuiv) I Believe In You (Radci and Excuiv) Pirate Dance (Ocha) I Believe In You (Reprise) (Hank, Radci and Hminway) Brotherhood o Man (Radci, Ba, Laqu, Havy and Excuiv) Finale - The Company Way (Cmany) Bows (Ocha and Cmany) Exit Music (Ocha) Pirate Dance (Extended Version) (Ocha) I Have Returned (Hank)  Abum Pducd by 

All Songs Published by Frank Music Corp. (ASCAP)

ROBERT SHER

We approached Daniel Radclie one night in New York, ater an early preview o “Equus”, about doing a musical on Broadway. We had heard he was taking some preliminary singing lessons with the desire to one day perorm on stage in a musical. Ater several get-togethers, we landed on the idea o a revival o “How To Succeed,” and scheduled a table read and singthrough o the score in December 2009, during a week when he was on hiatus rom shooting the  nal Harry Potter lm. We had re-teamed our “Promises, Promises” group o Broadway Across America’s John Gore, Thomas B. McGrath and Beth Williams and director-choreographer Rob Ashord. (Joining us this time were producers Michael McCabe and Joseph Smith.) The reading showed everyone that Daniel was a resh voice or Finch, and the script elt wonderully contemporary. With Daniel’s enthusiasm and the producing and directing team committed, we immediately planned a ull Broadway production aimed or early 2011. Daniel began working every available hour, every week, on his singing and dancing lessons while  nishing two lms. What intrigued us was that Robert Morse was 30 when he did the original production and Matthew Broderick was 33 or the 1995 revival. They were both superb in the role, but it was un to imagine a new production with a Finch who was 21. Although the show would be set in the same world o big business o 1961, there would now be new contemporary touchstones or audiences in 2011, who were intrigued by the rise o Facebook’s young mogul Mark Zuckerberg and a set and costume design concept that acknowledged the now-popular world o Mad Men. We next cast ve time Emmy winner John Larroquette, who would also be making his Broadway musical debut, as Biggley. Broadway would now have two new musical leading men. And we even persuaded Anderson Cooper to read the Voice o the Narrator. In the Broderick revival, that role was recorded by Walter Cronkite, so Anderson was ollowing in a great tradition. The next challenge was deciding on the proper approach or the score. Music director David Chase and orchestrator Doug Besterman explored ways to honor the contributions o the original music team (music director Elliot Lawrence and orchestrator Robert “Red” Ginzler) Tammy Blanchard

while capitalizing on the assets o a streamlined 14-member orchestra. They decided to not use strings (other than a harp) and to think in terms o a muscular jazz ensemble rather than a symphonic sound. Jo Sullivan Loesser (Frank Loesser’s widow and a renowned perormer in her own right) was very excited to go down this new path with the s core. Inspiration came rom the work o 1950’s arranger Marty Paich, whose Dek-Tette recordings (most  amously with Mel Tormé) ound resh and versatile sounds rom a 10-member ensemble (5 brass, 3 saxes, bass and drums). Added to our mix were guitar (muted guitar vamp gures were a avorite o Ginzler’s, as in “Gotta Stop That Man”), percussion (or the Latin sounds so popular at the time as exemplied by “Coee Break”), piano (you can’t do this show without a nod to Grieg), and harp (or over-the-top romanticism in “Rosemary”). Another source o musical favor came rom World Wide Wickets’ uturistic cousin, Spacely Sprockets, workplace o quintessential company man George Jetson. Hoyt Curtin, who composed nearly all the Hanna-Barbera themes (“The Jetsons,” “The Flintstones,” “Jonny Quest”) perectly captured the manic energy and optimism o space-age modernism. Chances are that in 1961, J Pierrepont Finch would have owned a high delity stereo system and would have enjoyed listening to records by Esquivel, king o “Space Age Bachelor Pad Music” (note that guitar slide in our Overture and the Boo-Bams in “How to Succeed”), Henry Mancini (we use his signature sound o alto futes in “Gotta Stop That Man”) and Martin Denny, whose aux-Polynesian “Exotica” sound gave listeners a whi o the South Seas (which appears here in “Pirate D ance”). So with the glory o Frank Loesser’s score -- a model o s wagger, sophistication, and wit -- and wIth an aectionate nod to these other past composers and arrangers, we hope you nd resh delight in this new Broadway Cast Recording. On a personal note: Not knowing one another during childhood, it turns out that “How To Succeed in Business” was, coincidentally, the very rst show we each saw growing up in New York as kids. To have witnessed the abundance o so many enthusiastic young people in the audiences o this new production, we can only hope that this show will be an inspiration or a whole new generation o uture theatergoers. And we thank Daniel Radclie or that as well.

- Cai Zadan and Ni Mn 

Christopher J. Hanke

Rose Hemingway Mary Faber Daniel Radclie

It’s 1961, and America is ull o optimism and ambition, exploring New Frontiers, and reaching or the stars. We discover our hero dangling rom window washer’s ropes outside the headquarters o the World Wide Wicket Company, the largest single producer o wickets in the world. Our young hero’s name? It’s Finch! F-I-N-C-H. Young Finch is determined to rise quickly to the top o the corporate ladder armed with little more than his wits, a healthy dose o pluck, and that dandy guidebook to corporate climbing, “How to Succeed in Business Without Really Trying.” “Dear Reader… ” exhorts our Narrator rom the pages o the book. “I can!” exclaims Finch, and so his journey begins amidst the swirling executives and secretaries o World Wide Wickets (“ How  To Succeed ”). Daniel Radclie

Finch, now stripped o his window washer’s coveralls and dressed nattily in a seersucker suit, bumps (literally) into that bombastic blowhard and President o World Wide Wickets, J. B. Biggley. “Damn damn coal-burning dithering ding ding ding,” shouts Biggley, taking no heed o our jobseeking hero. But Finch is not discouraged; he is prepared or exactly this sort o thing. O he goes to nd Bert Bratt, Director o Personnel. Based on Finch’s careully truthul yet incomplete retelling o his encounter with Biggley, Bratt oers Finch a starting position in the World Wide Wicket mailroom. Bratt’s secretary, Smitty, is suspicious o Finch’s bold ambition, but her riend and ellow secretary Rosemary Pilkington sees only his noble courage and deep-down helplessness. Plus, he is a perect t or her own plan! (“ Happy to Keep His Dinner Warm ”) “Coffee Break! ” Bud Frump, spoiled brat nephew to J.B. Biggley and Finch’s soon-to-be nemesis, manages to get the very last cup rom the oce coee machine. Smitty and the other oce workers desperately attempt to wrestle it rom him. Meanwhile, our hero, J. Pierrepont Finch -- call him Ponty -- has traded in his seersucker suit or a mailroom apron. He seems to have an inborn git or mail-roomery. He catches the eye o Mr. Twimble, head o the mailroom, who shares with Finch his secret to long employment (“ The Company  Way ”). In act, today is the day that Twimble is being promoted to the Shipping Department, and

Rose Hemingway

he selects Finch as his successor. But Finch declines and turns the job over to Bud, who reassures Twimble that he, too, will play it “ The Company Way - Reprise ”. Finch’s generosity, thoughtulness and ethical behavior pay o and he is promoted to junior executive under Mr. Gatch, Head o Plans and Systems, Interdepartmental Evaluation, Pre-promotional Promotion, Post-Administrative Research, and Multiple Development on a Multi-level Level. Rosemary is thrilled at Finch’s quick climb up the corporate ladder, and even though Finch reneges on their lunch date, she conrms that Finch is the right man or her plan (“ Rosemary’s Philosophy ”).

Rob Bartlett

Daniel Radclie

Meanwhile J.B. has prevailed upon Mr. Bratt to hire Miss Hedy La Rue. She used to be head cigarette girl at the Copa, but then Mr. Biggley got her interested in Wickets and, well, here she is! (“ Entrance  of Hedy La Rue ”). Every executive begs to have Miss La Rue assigned to him but Mr. Bratt reminds them that “A Secretary Is Not a Toy ”. 5 p.m. and everyone is heading home. Finch nds himsel sharing an increasingly crowded elevator with Rosemary and Smitty (“ Been a Long Day ”).While waiting or the elevator with Biggley, Hedy expresses rustration with her new job. Bud, overhearing the conversation, realizes that he’s ound the perect way to get a promotion: blackmail! (“Been a Long Day - Reprise ”)

Christopher J. Hanke Tammy Blanchard

By this point, the eager and ast-rising Finch has even charmed Miss Jones, Mr. Biggley’s notoriously steely secretary. Their little talks have proven valuable. The next morning, Biggley enters to nd Finch ast asleep on a desk. It appears that Finch was there working all night. And what is Finch humming? Is it the Old Ivy college ght song? Did Finch go there? Is he a Groundhog, too? Never mind… today’s the big game and the Groundhogs are playing their arch-rivals, the Chipmunks. Biggley leads Finch in the school song, replete with a reverie o ootball days o yore (“Grand Old Ivy ”). Finch then pulls out knitting needles and Biggley is dumbstruck: Finch knits? “I knit too!” exclaims Biggley. Biggley sees to it that Finch gets his own oce. A secretary has been ordered to be assigned to him…none other than the stenographically-challenged Hedy La Rue. Finch asks Hedy to deliver a letter to Mr. Gatch. Personally. Gatch is rather taken with Hedy’s assets and as a result, nds himsel transerred to one o World Wide Wickets’ out-o-town oces… Venezuela. And Finch? Why, he’s running Plans and Systems now! John Larroquette

There’s a new Vice President o Advertising by the name o Ovington. They’re giving him a reception tonight and inviting some o the executive secretaries to act as hostesses. Ponty will be there, too, and Rosemary has the answer to how to succeed with Finch: a new dress (“ Paris Original ”). It seems Hedy’s had one martini too many at the party, so Biggley asks Bud to escort her home. Instead, she convinces Bud to allow her to go to Biggley’s oce -- he has a private shower. Bud seizes his chance! He sends her o to the shower, then, under alse pretenses, also sends Finch o to Biggley’s oce in hopes o catching Finch and Hedy together. Rose Hemingway

Alone in Biggley’s oce, Hedy indeed has her eye on Finch. He’s going places! With irreutable logic, she tells Finch “I you don’t kiss me, I’ll tell J.B. you did.” He complies and as soon as their lips meet, Finch hears the most beautiul sound he’s ever heard: “ Rosemary.” Finch is in love! Rosemary has overheard at the party that Finch and Hedy are alone together and she runs in, expecting the worst. Instead, Finch proposes to her and she hears music, too. But when the reshly-showered Hedy emerges, dressed only in a towel, Rosemary becomes angry and conused. Daniel Radclie

Tammy Blanchard

Biggley enters in a dither with a near-triumphant Frump to nd Finch in a clinch…with Rosemary. Where’s Hedy? Now, Bud is conused. Biggley is apologetic but still insists in regard to the kiss, “I don’t approve o that sort o thing between executives and their secretaries.” “But Miss Pilkington is not my secretary,” retorts Finch. “Good point!” exclaims a relieved Biggley. Bratt and Ovington enter. Finch lets on that Ovington is, in act, a Chipmunk. Biggley demands Ovington’s resignation and subsequently oers the position to Finch. “Me, a Vice President!” exalts Finch. Frump aints. That means that Rosemary is now Finch’s secretary, so kissing is strictly orbidden. Ater all, when a man wants to rise in the world o business, an emotional involvement can only lead to… becoming involved emotionally. Thereore, Finch’s attention turns to more pressing matters, such as having his name painted on his oce door. The curtain alls wit h Finch dreaming, Frump scheming, and Rosemary trying to make sense o it all (“ Act One Finale ”).

Daniel Radclie Rose Hemingway

Act Two: Big Meeting today. Hopeully Ponty will have come up with something or his advertising presentation. But Rosemary is quitting. She’s let a letter o resignation on Finch’s desk. She’s

humiliated, ignored, upset; Finch hasn’t said ten words to her all week! Still, Smitty and the secretaries appeal to her to stay and give him one more chance (“ Cinderella, Darling ”). So Finch is now Vice President in ull charge o Advertising. He has a presentation in a ew little while -- I mean, it’s soon -- and he needs a brilliant idea. Enter that no-good, back-biting nk, Bud Frump, who oers Ponty an idea or a TV give-away show: The World Wide Wicket Treasure Hunt.

Rose Hemingway Mary Faber

Rosemary returns, and Finch reassures her that s he will in act be Mrs. Finch. Now, can they discuss more serious matters, such as the Treasure Hunt? What shall they give away? They’ll give away the company -- I don’t mean the whole company -- I mean stock in the company. What a prize! Finch rushes o to tell Biggley, and Rosemary basks in Ponty’s glow, her plan intact (“ Happy To Keep His Dinner Warm - Reprise” ). Hedy enters Biggley’s oce to tender her resignation. She’s leaving or Los Angeles. She’s been oered a very suitable position in a big cosmetic rm out there. Biggley implores her to be patient (“ Love From a  Heart of Gold ”). She agrees to give him 24 hours, and then it’s Goodbye, Wickets, Hello Dermoblast! There sure is a lot o whispering going on around here. That’s the sound o the executives gathering in the executive washroom to plot Finch’s downall. But Finch is already there -- it’s a close shave -- and he’s singing a hymn o adoration and encouragement to the person who needs it most: himsel (“ I Believe in  You ”).

John Larroquette Tammy Blanchard

Biggley and the executives assemble in the Boardroom to hear Finch’s new approach to Wicket advertising. It’s a television show that will give penetration and peak reaction. But what’s the idea or the show? A Treasure Hunt! And there’s a new twist: the World Wide Wicket Treasure GIrl, who is none other than our very own Miss La Rue hersel. “I like it!” exclaims Biggley, “I like it!” exclaims Bratt. “We like it!” exclaim the executives. The World Wide Wicket Treasure Hunt: coming to you on live television, and starting with a traditional “Pirate Dance ”. Next, Hedy will present the rst clue. Will she swear on a Bible that she doesn’t know where the treasure is hidden? Not to worry, only Finch and J.B. know where it’s hidden. Right, J.B.…? But Hedy will not “swear alse witness to perjury.” She does know where the treasure is hidden. J.B. told her last night. There’s treasure hidden in all the World Wide Wicket Buildings right now! Disaster. Ten buildings wrecked. Their stock is down ve points. They’re the laughing stock o the

Daniel Radclie

industry. Someone’s head has to roll. Rosemary nds Ponty among the wreckage o the World Wide Wicket headquarters and expresses her aith in him (“I Believe in You - Reprise ”). In the Boardroom, Biggley and the executives are explaining to Wally Womper, The Chairman o the Board, where the responsibility or the whole thing lies. Finch agrees to take the blame or what’s happened and go back to what he was beore he came here: a window washer. “No kiddin’,” says Womper, “I started as a window washer mysel.” Wally and Ponty become ast riends. Nonetheless, Wally is intent on  guring out where the real blame or this mess lies and starts looking or somebody to pin it on. The ever-resourceul Finch comes to the deense o his ellows, and everyone, even dour Miss Jones, is swept up as Finch leads a jubilant celebration o the “ Brotherhood of Man. ” Now World Wide Wickets is stronger then ever, and credit should go to a certain bright and very loyal young man: Finch. Bratt is now Vice President in charge o Employee Morale and Psychological Adjustment. Biggley is still President, but it seems that Wally Womper is retiring as Chairman o the Board to take a long honeymoon trip around the the world with his new wie -- the ormer Miss Hedy La Rue. Who’s going to be the new Chairman o the Board? Finch will have to consult with Mrs. Finch beore he accepts. Rosemary enters and tells him “Darling, I don’t care i you’re head o the mailroom or you’re Chairman o the Board or you’re President o the United States, I love you.” The everambitious Finch smiles: “Say that again.” “I love you.” “No, beore that.” Biggley turns to his secretary: “Miss Jones, take a wire to the White House: Watch out!” Everyone celebrates (“Finale - The Company Way ”) as the curtain alls -- oh, and isn’t that Bud Frump up there, dangling rom window washer’s ropes…?

- David Cha (wih an ab asi m Ab Burw) “Pirate Dance”

“Brotherhood o Man”

Daniel Radclie

Ca (in d  apaanc):  M. Twimb/Waly Wm: Th Vic  h Nara: Anderson Cooper

J. Pirn Finch: Daniel Radclie

 M. Gach: Nick Mayo

 M. Jnkin: Charlie Williams

 M. Jhnn/TV Annunc: Kevin Covert

 M. Mathw: Ryan Watkinson

 M. Pn: Marty Lawson

 M. Tackabry: Joey Sorge

 M. Tynbe: David Hull

 M. Andw: Barrett Martin

J.B. Bigy: John Larroquette

 Rmay Pi kin n: Rose Hemingway

 M. Bat: Michael Park

Smity: Mary Faber

 Mis Jn: Ellen Harvey

 Mis Kumhz: Megan Sikora

 Bud Fum: Christopher J. Hanke

Christopher J. Hanke, Mary Faber & Company

Rob Bartlett

 Hdy La Ru: Tammy Blanchard

 M. Davi: Justin Keyes

 Mdih: Stephanie Rothenberg

 Kahy/Scub Wman: Cameron Adams

 Mis Gabwki/Scub Wman: Paige Faure

 Nancy: Tanya Birl

 Liy: Samantha Zack

 M. Ovinn: Cleve Asbury

Swin: Erica Manseld Sarah O’Gleby MichaelJon Slinger Matt Wall

Tum:

 Pcusin:

Nicholas Marchione Scott Wendholt

Erik Charlston

Ocha:

 Ha:

Tmbn:

Grace Paradise

Cnduc:

John Allred George Flynn

 Pian / Synh:

David Chase

 Ascia Cnduc: Matt Perri

 Hn: David Peel

 Dum:

 Red:

Paul Pizzuti

Steve Kenyon Lawrence Feldman Mark Thrasher

 Bas: Neal Caine

Guia: Scott Kuney

Matt Perri

Ochain: Doug Besterman

 Kybad Pamm: Randy Cohen

 Muic Paain: Anixter Rice Music Service

 Muic Codina: Howard Joines

Ellen Harvey

 Pducin Sa Mana:

 Makin:

Gna Mana:

Michael J. Passaro

Type A Marketing

Alan Wasser Associates

Sa Mana: Pat Sosnow

Anne Rippey, Michael Porto, Elyce Henkin & Sarah Ziering

Alan Wasser, Allan Williams, Mark Shacket & Aaron Lustbader

 Asian Sa Mana:

 Adviin:

Cmany Mana:

Jim Athens

 Ps: The Hartman Group Michael Hartman, Wayne Wole, Matt Ross & Nicole Capatasto

Serino Coyne

Penelope Daulton

Nancy Coyne, Sandy Block Greg Corradetti, Robert Jones & Danielle Boyle

 Asian Cmany Mana: Cathy Kwon

Rose Hemingway

Christopher J. Hanke, Michael Park & Company

 Abum Pducd By:

 Pducin Ascia:

 Mad by:

Robert Sher

Brandon Wardell

Brad Sarno, Blue Jade Mastering, St. Louis, MO

 Ascia Abum Pduc/Abum Codina:

 Asian  Rb Sh: Dug Feltch  Ascia Rcdin Enine:

 F Thaand Pducin:

Jason Buell

 Abum Excuiv Pduc:

Chi Rcdin Enine:

Barry L. Miller & Kenny Howard Van Dean

Adam Long

 Abum Ascia Pduc: Adam Blanshay, Gregory Rae & Scott Kirschenbaum

Jason Strangeld

 Pducin Asian:  Rcdd a Manhatan Cn in Nw Yk Ciy n Ai 10 - 12, 2011  Donald Oliver, Mario X. Soto & Ginno Murphy  La Rnain  Thaand Pducin:  Mixd and d id in S. Lui, MO, by: Robert Sher & Adam Long

A. Chandler Warren, Jr.

Codina  Fank Ls Eni: Joseph Weiss

 A Thaand Pducin Pnain 

Suviin Pduc: David Chase, Doug Besterman & Jon Weston

CD and Diia Bok Packain Din & Layu: Van Dean

 Pducin Phahy: Ari Mintz

  Pubiciy Phahy: Matthias Clamer & Chris Callis

 F Manhatan Cn:  Asian Rcdin Enine: Johnny Lindamood, Darren Moore, Halsey Quemere & Sheldon Yellowhair

Chi Tchnica Advi: Joel Scheuneman

 Dic  Audi & Vid Pducin  Manhatan Cn: OBie O’Brien

 F Dcca Badway:  A & R Dicin: Brian Drutman

 Packa Codinain: Raaela Hernandez

 A&R Adminiain: Evelyn Morgan

 Buins Afai: Sheryl Gold

Scia Thank: Jo Sullivan Loesser, Neil Meron, Darrell McClanahan, Tom Murray, Beth Williams, Craig Zadan

opened at the Al Hirscheld Theatre

Daniel Radclie, Rob Bartlett and Company

John Larroquette A UNIVERSAL MUSIC COMPANY

℗ © 2011 DECCA LABEL GROUP, A DIVISION OF

Tammy Blanchard Daniel Radclie, Rose Hemingway and Company

UMG RECORDINGS, INC. 825 EIGHTH AVENUE, NEW YORK, NY 10019. FBI ANTI-PIRACY WARNING: UNAUTHORIZED COPYING IS PUNISHABLE UNDER FEDERAL LAW.

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