can't pick a particular snippet but any commentary you have on the musical itself from Stars & Stripes would be awesome!
Who is Captain America? – Sarah Rogers, Peggy Carter, Dr. Erskine, Howard Stark, Bucky Barnes, Rebecca Barnes, USO Girls, Howling Commandos
So this big opening number I imagine to be fairly similar to “Alexander Hamilton.” Everyone but Steve is on stage and talking about who he was to them (in the vein of “We fought with him, I died for him, We loved him, etc”). It also introduces the gulf between the myth of Captain America and the person they all knew.
My Darling Boy - Sarah Rogers
I like to imagine that this number carries us all the way through Steve’s childhood. So it opens with a spotlight on Sarah standing over a crib, and then when the first verse ends, the spotlight goes out and the crib is wheeled off and Sarah is singing out the window to where the audience is meant to understand that Steve is playing on the street. Then the second verse ends, the spot dims again, and Sarah’s at Steve’s bedside when he’s sick. I imagine the song itself to sound something like “Dear Theodosia”–sweet and positive, but with an undercurrent of worry, first about Steve’s father, then about their financial situation, and then about Steve’s health.
The 107th (Rejected/Drafted) - Bucky, Steve, Rebecca
Bucky enters first, singing about getting drafted, and putting on a brave face whenever an ensemble member crosses his path as he makes his way down the street in search of Steve. He breaks up Steve’s alley brawl (as in CA: TFA) and tells him the news (I imagine this part to be spoken instead of sung) and then the scenery fades into the background and the boys are lit alternately by spotlights as they each sing a verse. Bucky about being afraid but determined, and worried about Steve and his sister, then Steve about being jealous and determined to find his own way to join the fight. Then I imagine a final verse where the boys’ voices intertwine and overlap as the walk off-stage (Bucky to war and Steve to the recruitment office) and Rebecca takes their place, functioning like a Greek Chorus and telling the audience about Bucky’s last night at home.
Welcome to the USO - USO Girls, Steve
Star Spangled Man (The Army’s Dancing Monkey) - the USO Girls, Steve
These two numbers rely heavily on Classic musicals and old school Hollywood films: the fixed smiles and hair on all the USO Girls, the tap shoes, the over-bright lights. “Welcome to the USO” is Steve’s introduction to all the girls and the script and the dancing. For an idea, listen to “Knights of the Roundtable” from Spamalot, which also has an instrumental dance break where I imagine a few of the girls trying to teach Steve the tap steps–he’s clumsy and blushing and his rhythm is off, they’re amused and fake-frustrated and teasing him mercilessly. “Star Spangled Man” would take cues from the original song (although given copyright issues, would have to be quite different) and the girls take the Official Propaganda lines and perform them as if in a show to the troops while Steve sings over them (The Army’s Dancing Monkey) about how frustrated he is and how wasteful it seems to keep him performing, thus setting the stage for Act 2.
The End of the Line - Steve
Honestly, just go listen to “Empty Chairs at Empty Tables” and picture Steve spotlit at the center of a busy army camp, utterly alone and isolated until Peggy comes along and ushers him off stage. This never fails to make me cry like a baby.
You Were Meant for More (Reprise) - Peggy
“Burn” from Hamilton is a good sub for this (or “Lament” from Into the Woods). I want it to be kind of nostalgic and sad, but with moments of anger too. I think Darcy would be very hesitant to make Peggy seem too delicate, in a way. There’s an obvious pain and vulnerability needed for something like this, but I just can’t imagine there not being a moment or two where Peggy is just angry–at Steve, and the world, and fate.
His Story (Where is Steve Rogers?) - Peggy, Rebecca, USO Girls, Sarah Rogers, Howling Commandos, Howard Stark
So this is really the moment where “Who Lives, Who Dies, Who Tells Your Story” comes into play. Every one of the people who actually provide the documentation that make up the historical record for Steve Rogers take their turn. Sarah sings lines from her journals, and the rest of them sing lines from their interviews. But then Sarah, Peggy, and Rebecca start reacting to ensemble members singing lines from the later propaganda campaigns and bios that they disagree with (the “Where is Steve Rogers?” component). Almost like, where is Steve Rogers in all of this? Who will remember the man behind the shield?
So that was…a lot. And I hope it helps the show come to life a bit!
And if anyone else wants in on this or has questions about this rambling mess, pop into my inbox!