Costume Design of Don’t Stop the Carnival!
A Historical Investigation, Playscript Analysis & Visual Rendering

Annotated Website

by Kaedra Lynn Herink

School of Dance, Theatre & Arts Administration
Submitted to The Honors College at The University of Akron
Honors Faculty Advisor: Adel Migid
Readers: Irene Mack-Shafer & Aubrey Caldwell

Inception:  September 2013 – Completion: April 2014

The album can also be purchased on Amazon.com here or in the iTunes store here.

Introduction to Don’t Stop the Carnival

The Novel

Don’t Stop the Carnival is a fast-paced, comedic, and adventurous novel written by Herman Wouk in 1965.  This 1950’s-era story follows Norman Paperman, a middle-aged Broadway public relations agent eager to escape his current life and career.  After a heart attack caused by a rapid and high-stress environment, he decides to fly to the fictional island of Kinja to scope out a new business venture.  He falls in love with the Caribbean, and makes the decision with his wife Henny to purchase the Gull Reef Club.  But the façade of an island paradise crumbles quickly, as one gigantic problem after another occurs at Norman’s establishment.  Falling in love with a faded movie star named Iris, battling the machete-bearing brute Hippolyte, facing countless water shortages, and making the passage from tourist to local are just some of the events Norman encounters.  After it all becomes too much for Norman, he and Henny decide to return to their life in New York City and sell the Gull Reef Club to another owner.

The novel is written in the 3rd person omniscient narrator form.  Yet Norman is in almost every scene and chapter – giving the reader the feeling of misunderstanding and being an outsider.  The reader, like Norman, views the Caribbean through the eyes of an American.  Events unfold as they are happening in the story; there are no flashbacks or flash-forwards.

A few major themes are present in Don’t Stop the Carnival.  These include fantasy vs. reality, outsiders vs. insiders, morality vs. immorality, and sanity vs. insanity.  Tourists often see the Caribbean as a tropical paradise or fantasy, but Norman learns through experience that reality is much different.  Culture and morals on the island differ greatly from what Norman is used to.  Through a rollercoaster ride of sanity and insanity, he makes the transition from outsider to insider by the end of the novel.

While the novel is lesser-known in America, it has made its impact in the Caribbean. “Every sailor, hotelier and bartender seemed to have a copy of Herman Wouk’s novel sitting around.  The moment [Buffett] read it, he understood why Don’t Stop the Carnival was, and still is, the sailors’ bible to understanding life in the islands.”  (Coconut Telegraph, 1997).  Buffett explains, “Herman went away and didn’t realize the impact he’d left on the Caribbean culture.  Hotel owners that I run into, anybody that lives and exists in the Caribbean knows Don’t Stop the Carnival.  It’s like a bible.  But he had no idea this was going on.”  (Buffett, Coconut Telegraph, 1997).  The book inspired Buffett to contact Herman Wouk with his ideas to turn the tale into a musical.  And he alone succeeded in overcoming Wouk’s “steadfast resistance of nearly thirty years to proposed Broadway, film, and television adaptations of Don’t Stop the Carnival.”  (Humphrey & Lewine, 1996).

Development of Novel into Musical

After much collaboration, rehearsals began for Don’t Stop the Carnival! at the Coconut Grove Playhouse in Miami, FL  (Humphrey & Lewine, 1996).  While Wouk outlined the libretto, Buffett wrote the lyrics and music, drawing on his skills of storytelling and melody (Buffett, Coconut Telegraph, 1998).  When asked about his process, Buffett said:

I approached it as a show. I love Calypso – I can listen to a great Calypso band, I can have two or three glasses of wine, and I can dance the merengue all night, but that’s me. You have to disassociate your own personal thoughts about things because you’ve got paying customers out there. Again it comes back to my close personal attachment to the audience. Who’s the audience going to be for this? How much of this can they take? Calypso music, yeah, I can listen to it all night, but I know an audience can’t. …. You’ve got to know what you’re doing. So Calypso is going to be the backbone of the music, but I wanted to go off in tangents. I wanted to go to reggae, I wanted to go to soca, to zouk, and a little bit of merengue, so you could break up the pace. I’m not a great singer, I’m certainly not a good musician – I’m passable. I’m a fair writer, but my strongest suit is I can read an audience and pace a show. I’ve been doing theatrical things in my show for the past five years. (Buffett, Coconut Telegraph, 1997)

Carnival! opened on April 19, 1997 with mixed reviews. Most of the reviews wrote positively about the musical, but many agreed that it needed more work to be a true hit. The music, lyrics, cast, band, and visual elements were praised; the editing and directing were most heavily criticized (Dolen, 1997). The show closed on May 18th, 1997 and received a total of 14 Carbonell award nominations in the 1996-1997 regional theatre season (Sommers, 1997).

Lack of Archival Material

Due to the short life of the musical and copyright restrictions, there are no public copies of the libretto to view or purchase.  Jimmy Buffett purchased the rights to Wouk’s novel  (Beckwith, 2009) and the libretto has not been released in any format.  Short commentary by Wouk and a book of song lyrics accompany the CD (Buffett, Don’t Stop the Carnival!, 1998).  An adapted libretto was formed for this project through the lyrics, the music, the original source material of the novel, and extensive research of theatrical reviews and commentary.

Only a few black and white photographs of the production are known to exist; four of which are published in the Coconut Telegraph periodical.  A few additional photos were found in various Florida newspapers.  Only one photo was found online, which was scanned in from a  a newspaper.  While this makes analyzing the original production very difficult, it provides an opportunity for a fresh design not influenced by the original team of designers.  This project focuses on new costume designs for the musical.

Gallery of photos retrieved while doing extensive research. Credits to publicity photographers and artists at The Floridian, The Miami Herald, The Sun-Sentinel, The Palm Beach Post, & The Coconut Telegraph.

Author’s Note

I owe a great deal of thanks to my father, John Herink; as well as Steve Hersh at the University of Miami Libraries (Special Collections).  Without the help of these two, I wouldn’t have any access to rare archival material.

The only way I was able to retrieve any of the black and white photos shown in the gallery above (except for one!) is from their help.

Mr. Hersh scanned countless numbers of articles and archival data from the Coconut Grove archive.  The Coconut Grove theatre does not exist any more; so I was unable to contact them directly.  A number of the newspaper records had photos and other promotional information.  I also received a detailed list of everyone who was involved in the production.

My father John surprised me in January (2014) when he said he might have an article or two – maybe a coconut telegraph that might mention Carnival! – and returned with a stack of Coconut Telegraphs dating back to the 1980’s!  I had a whole archive of information in my basement and I didn’t even know it.  There is a lot of information in this project that references these Coconut Telegraphs.

This is all very exciting to a researcher when there is minimal information about a topic – and nearly nothing useful on the Internet!  I learned a lot about digging for research without using the great resource of the WWW that I was accustomed to.

Historical Research

Time Period

The time period of the novel is set in the late 1950’s.  World War II was just over a decade in the past.  While more women joined the work force in America, progress was much slower in the Caribbean (Gilmore, 2000, p.155).  Female teachers were required to resign upon getting married until the 1960’s  (Gilmore, 2000, pp.146-147).  “The assumption that married women had no place in the world of employment because they would be provided for by their husbands was widespread and continued to receive official sanction in parts of the Caribbean until very recently,”  (Gilmore, 2000, pp. 146-147).

Tourism to the Caribbean began to boom in the 1950’s, a few years before the setting of Don’t Stop the Carnival (Padilla, 2003).  The characters in the novel are immersed in the height of the tourist boom (Wouk, 1965).  Gilmore (2000) explains that this was due to cheap and reliable air transport that came about in this decade (p.42).  Still, this travel was a luxury for the middle to upper class.

The environmental and social issues that Norman Paperman has to deal with in the novel are a very accurate representation of what life was like at this time.  Tourism in the Caribbean put stress on already problematic water resources and waste disposal (Gilmore, 2000, p.79).  This tourist boom created many hotels and jobs, but growth was so rapid that there was little planning in terms of the environment and the culture clash (Gilmore, 2000, p.12).

This mix of cultures had a direct impact on fashion: “The growth of the tourist industry throughout the Caribbean region has attracted many visitors to the island nations.  This has led to further commingling of various dress customs, creating more diversity in fashions and the emergence of a vibrant local clothing business for the tourist market,” writes Buckridge (Overview of the Caribbean, 2010).

Locales

The two location settings for Don’t Stop the Carnival are New York City and the fictional Caribbean island of Amerigo, or “Kinja”.  These physical environments are direct opposites at certain times of the year, and fashion varies immensely.

In New York, a wide range of clothing is needed due to temperature extremes.  Average temperatures range from 23°F to 83°F; record temperatures range from -4°F to 102°F (Cornell University).  There is consistent rain year-round, and winds bring cold, dry air as well as warm, humid air to the city (Cornell University).

In the Caribbean, a wide range of clothing is not needed, as the climate stays the same year round.  The weather is warm, with a wet season; droughts often occur near the end of summer (Gamble & Curtis, 2008, pp.265-267).  “Temperatures along Caribbean island shores are remarkably steady year round.  Over the year, the daytime high on a beach varies by only a few degrees,” Osborn (2009) says.  Average year round highs range from 80°F to 90°F , while lows range from 70°F  to 80°F.  Precipitation varies from island to island, and even in different elevations on the same island (Osborn, 2009). There are much fewer storms in this locale, so water shortages are a major issue (Gamble, 2008, p.267; Osborn, 2009).  Due to this climate, there is an emphasis on function and comfort among the lower classes, rather than fashion as a top priority.

Caribbean Culture

There are many customs and traditions in the Caribbean that make it a rich and interesting culture.  Caribbean culture is a culmination of many different cultures, due to imperialism.  Spanish, English, French, and Dutch cultures are very prevalent (Gilmore, 2000).  “The many islands in the Caribbean Sea, with their white beaches, tropical vegetation, and marine life have attracted foreigners over many centuries, including gold-seeking Spanish conquistadors; British, French, and Dutch traders searching for lands and resources that would enrich their European aristocratic sponsors and themselves; and modern tourists, most of whom arrive on cruise ships,” states Chico (2010).  There are also Asian, Indian, and African influences present (Gilmore, 2000).  This diversity and vibrancy can be seen in how people dress (Buckridge, Overview of the Caribbean, 2010).

In the Caribbean, clothing can indicate class, status, group associations, or conceal identities (Buckridge, Overview of the Caribbean, 2010).  Body decoration served these same purposes (Craik, 1994, p.154).  Clothing was also important in recreational activities, like dance – a past time that all social classes enjoyed (Gilmore, 2000, pp.164-165).  Skirts were made to aid movement or move in a certain way (Buckridge, Overview of the Caribbean, 2010).

One of the most notable cultural traditions in this area of the world is Caribbean Carnaval.  Its roots lie in both African and European masquerades.  Dress and costume during this celebration allow the islanders to be festive and freer in their individuality (Buckridge, Overview of the Caribbean, 2010).  Buckridge also explains “Masquerade and masking, for some people, is a way to reconnect to their ancestral and African roots, or to establish a connection between the spiritual and supernatural world and the present.” (Overview of the Caribbean, 2010).  The celebrations include lavish costumes and masks, bands, performers, parades and floats (Chico, 2010; Buckridge, Overview of the Caribbean, 2010).  The battle between good and evil is a frequent theme in Carnaval costumes, as well as folktale characters and animals (Mack, 1994, p.100).

Buckridge describes the opulent costumes, rich materials and creation techniques very well in the Overview of the Caribbean:

Rara costumes are diverse and often consist of sleeveless silk tunics of bright colors embellished with sequins, pieces of glass and mirrors, pearls, and colorful scarves over matching sequined pants. Costumes of the mojo jonks who perform ritual maneuvers with batons are usually short pants and tunics made of cotton, silk, or synthetic fabric decorated with beads and sequins. Religious and cultural symbols in Haitian Vodou, such as a bird in flight, are often fashioned into the sequin designs. Some rara processions include characters dressed as royalty wearing tinsel-covered crowns or tiaras. The chausable-like rara tunics reflect French court and ecclesiastical influences, while the elaborate Vodou ritual flags were adapted from the French military standards as part of rara processions. Rara tunics and capes with rounded collars suggest the influence of Catholic capes and bishop’s copes, while the short fringed pants worn by the mojo jonk convey Amerindian dress influence and the spiritual alliance between the indigenous Taínos and African slaves . . . . Costumes in the Dominican Republic, as in Cuba and Puerto Rico, are often made from bright fabrics like satin and taffeta. Costumes are decorated with pieces of glass or mirror, bells, ribbons, whistles, miniature dolls, and strips of paper and fabric (2010).

In celebrations like these, masks can be just as important as the costumes.  Masks symbolically transform a person into a different entity; in the scope of Carnaval, they often represent religious figures, folklore characters, historical figures, mythological creatures and spiritual beings (Mack, 1994).

American Fashion and Design Elements

The decade of the 1950’s was heavily researched in this project.  This section focuses on American fashion, with an occasional worldly view of fashion.

Dresses.  Shirtwaist and other dresses with simple fitted bodices were popular for daytime wear (Cunningham, 1994, p.338).  “Daytime styles of 1957 followed an uncluttered, relaxed simplicity with hems of variable lengths, evening dress going all out for the exotic . . . . After sundown the skirt ranged from short, puffed harem hems to the newest fishtail trains, while the showing of an occasional knee-length by Dior,” (Wilcox, 2008, p.418).  “Sack” or chemise dresses were also popular (Wilcox, 2008, p.417), and skirts were either “pencil-thin” or bouffant (Cunningham, 1994, pp.336-337).  At the beginning of the decade, empire-waisted dresses regained popularity – “slim, high-waisted, full length gowns of elegant silks, chiffons and laces in long-line draperies with bead embroidery,” (Wilcox, 2008, p.417).  Film stars (like the fictional Iris Tramm in Don’t Stop the Carnival) also influenced the 1950’s woman, “who wanted her every outfit to be suffused with elegance, sophistication and sex appeal,” (Peacock, 2005, p.173).

Blouses and Shirts.  For men, dress shirts had narrow collars with pointed or rounded ends, and the button-down collar became a part of business wear (Cunningham, 1994, p.337).  Pastel colors and small patterns were in fashion, as well as the versatile white nylon shirt (Wilcox, 2008, p.430; Cunningham, 1994, p.337).  The bloused top with a larger collar was popular for women (Wilcox, 2008, p.417).

Shorts and Sportswear.  Bermuda shorts were adapted from the breeches that Englishmen wore in the tropics and gained popularity in the 1950’s (Wilcox, 2008, p.430).  These, as well as deck pants, jeans, sport slacks, pedal-pushers, capris, toreadors, golf shorts and ankle-length shorts and pants were worn by women and men (Cunningham, 1994, p.337-229).  In the beginning of the decade pants were cut straight and less full, but began to taper and widen in the mid-1950s (Cunningham, 1994, p.337).  Pleats, creases, and cuffs were seen on trousers – as well as plain colors, stripes, and plaids (Wilcox, 2008, p.426; Cunningham, 1994, p.337).

Suits.  The neck-hugging collar was replaced with a cut-away neckline style for men (Wilcox, 2008, p.417-418), and a slimmer, straighter silhouette of men’s clothing developed (Cunningham, 1994, p.336).  “The introduction of ready-to-wear, the development of mass-production techniques and the new man-made fabrics gave it new life, bringing to the man-in-the-street smart suits and sports jackets, and stylish trousers with permanent creases,” (Peacock, 2005, p.173).  Female suits had straight or circular skirts and jackets that could match or contrast their skirt fabric (Cunningham, 1994, p.338).

Accessories.  Most notably, women wore hats in all shapes and sizes – and more frequently than in past decades.  Materials used to accompany the hats included ribbons, flowers, velvets, feathers, tulle, jewels, felts, buckles, and straws (Wilcox, 2008, p.421).  Long, slim, pointy pumps were in style, as well as other slip-on types (Wilcox, 2008, p.432).  Shorter gloves that accompanied short-sleeve coats, dresses, and suits were popular (Wilcox, 2008, p.422).  Seamless nylon hose and wide belts were also common (Cunningham, 1994, pp.338-339).  Male hats had lower crowns and narrower brims (Cunningham, 1994, p.338).  Jeweled hair combs and hairpins graced up-do hairstyles for women, and men wore their hair in crew cuts or English hairstyles (Wilcox, 2008, pp. 422-432).  Many women preferred shorter haircuts that were styled closer to the head; longer hair was curled and shoulder-length (Cunningham, 1994, p.337).  “Wide picture necklines have influenced the flair for costume jewelry, a particular note being the chandelier earrings.  Fabulous brooches, clips, tiaras and long necklaces are modish,” says Wilcox (2008, p.425).

Caribbean Fashion and Design Elements

Style and Function.  In addition to American design elements, the Caribbean had its own aspects of dress.  Light fabrics were used due to the tropical climate and vibrant colors were common (Buckridge, 2010).  Caribbean fashion is a culmination of dress from many other ethnicities, explains Buckridge:

Some ethnic dress brought to the region has been adapted, nurtured, and maintained over the centuries, such as the Indian sari that is worn by women of Indian descent in Trinidad and Guyana, or the brightly colored batik prints of Indonesian origin in Paramaribo, Suriname, and the African woman’s headwrap, which is popular among many black women . . . . Jamaican dress at first was influenced by two dominant aesthetics, African and European, but other groups, those of non-African and non-European ancestry, also brought their customs in dress to Jamaica in the late nineteenth century and onward (2010).

Purpose and function are also important.  Clothing may be chosen on flattering or protecting the body, communicating status, or representing a social group (Buckridge, 2010).  Dresses worn by women at dance halls eroticized the body and moved well, while Bermuda shorts for men were favored in this tropical climate (Buckridge, 2010, Overview).

Fabric.  Madras cloth was the primary fabric used in Caribbean clothing – especially for long skirts, headwraps, blouses, aprons, and pants (Buckridge, 2010, Overview).  Headwraps were also made from silk and satin (Chico, 2010).  Many fabrics from around the world were imported to the Caribbean (Chico, 2010).  Cotton and linen were other lightweight fabrics seen in many clothes (Buckridge, 2010).  While colors of all shades were popular, some had deeper meanings as well – red was associated with blood and slavery, yellow for gold and wealth, green for the lush environment, and black for the beauty of African people (Chico, 2010).

Headwraps and Hats.  Headwraps have a wide variety of meaning, function, and purpose.  They can indicate ethnicity, legal status, religious affiliation, and social position (Chico, 2010, Buckridge, 2010).  Depending on the island, people of all socioeconomic statuses wore turbans and other headwraps, but the materials varied (Chico, 2010).  For men, the panama straw hats and boaters were in fashion (Chico, 2010).  Dazzling, tall headpieces were used in Carnaval celebrations and included large feathers, exotic flowers and sequins (Chico, 2010).  Berets were associated with Rastafarians and knitted with red, yellow, green, and black designs (Chico, 2010).  Pieces of fabric were used by outside workers in a makeshift headwrap that would cover and protect the ears, neck, and shoulders (Chico, 2010).

Swimwear.  With the discovery of nylon, swimwear in the 1950’s became much more slimmed-down and form fitting (Craik, 1994, p.141).  Bikinis were popular in this time period and replaced many one-piece female bathing suits (Craik, 1994, p.149).  Latex, jersey, and cotton were all used in men’s swimwear, which became skimpier as the decade progressed (Wilcox, 2008, pp.424-425).  Many swimsuits came with wrap-around skirts for modesty when beachgoers went from the beach to club restaurants (Wilcox, 2008, p. 424).  One-piece and strapless swimsuits for women had foundational support built into them (Craik, 1994; Wilcox, 2008).

Show Analysis

Original CD Track Listing

1. Intro: The Legend of Norman Paperman/Kinja — 7:01

2. Public Relations — 3:57

3. Calaloo — 3:15

4. Island Fever — 4:34

5. Sheila Says — 3:55

6. Just an Old Truth Teller — 3:34

7. Henry’s Song: The Key to My Man — 3:10

8. Kinja Rules — 3:48

9. A Thousand Steps to Nowhere — 5:24

10. It’s All About the Water — 2:21

11. Champagne Si, Agua No — 1:44

12. Public Relations (Reprise) — 1:25

13. The Handiest Frenchmen in the Caribbean — :50

14. Hippolyte’s Habitat (Qui Moun’ Qui) — 3:10

15. Who are we Trying to Fool? — 4:35

16. Fat Person Man — 3:28

17. Up on the Hill — 4:10

18. Domicile — :37

19. Funeral Dance — :51

20. Time To Go Home — 6:03

Adapted Scene Breakdown

Due to the lack of a libretto, scenes between the musical numbers were added in based on research, commentary, and the original novel.  Small changes were made in the order, addition, and subtraction of musical numbers.  For example, “Green Flash at Sunset” was a short song in the original production that never made it onto the soundtrack, much to the dismay of Wouk (Buffett, Don’t Stop the Carnival!, 1998).  “Steel Drum Panic” is based on an instrumental from another Buffett CD.  These changes were made to improve clarity and order of the story, substitute unobtainable information about the original script, and are also suggestions of ways to improve the production.  This adapted list of scenes is for the purpose of this project only.

ACT ONE

1. Intro: The Legend of Norman Paperman – (Carnival A) – Carnival is in full go; song signifies that the story will begin in the past.

2. Scene – Lester & Norman arrive in Kinja.

3. Island Fever – Norman is enchanted by the island, and describes the magic of what he is seeing and feeling. (Originally Song #4).

4. Scene – Lester & Norman discuss plans with others to buy the Gull Reef Club.

5. Scene – Norman meets Iris.

6. Public Relations – Norman speaks of his past; and realizes what he wants his future to be. Iris tries to warn him that things are not as they seem in the Caribbean.

7. Scene – Atlas leaves and tells Norman not to worry about finances.

8. Scene – Iris shows Norman around the Island.

9. Calaloo– Norman learns more about the island culture and the employees of the Gull Reef Club; introduction to Sheila; foreshadowing future problems that could arise

10. Scene – Norman leaves for NYC. Sheila talks to Iris.

11. Sheila Says – After Norman leaves, Iris realizes she has feelings for him. She reflects on her past, present and future.

12. Scene – Sardi’s – Norman and Henny agree to move forward with buying the club.

13. Scene – Norman realizes what Lester has done (swindled him out of using any money from Lester). Norman must sell all his contacts/information.

14. Just an Old Truth Teller – Lester explains the kind of man he is / as they fly to Kinja to close the deal.

15. Scene – Lester and Norman close the deal. Lester leaves Kinja.

16. Henny’s Song: The Key to My Man – Henny is reluctant to move forward with Norman’s plans, but wants to make her husband happy.

17. Scene: Water running low; Norman misses the barge.

18. Kinja Rules – Senator Pullman arrives to discuss the water shortage and other issues going on with Norman & the club, while explaining how things work differently in Kinja.

19. Scene – Loud noises interrupt Norman and he sees that Tex Akers & his crew have torn a huge hole in the club.

20. Scene – Thunderstorm / Party – but no rain for the Gull Reef Club.

21. Scene – The Gull Reef club runs out of water.

22. A Thousand Steps to Nowhere – Norman and Iris climb the thousand steps to find Gilbert, who knows how to prime the cistern pump; while Henny sings that she is finally ready to come down to Kinja and leave NYC.

23. Scene – Gilbert primes the pump with Norman.

24. It’s All About the Water – Celebration of water returning (via the emergency tank)

25. Scene – Maids quitting; Lorna left; Norman buys water and the trucks arrive; guests begin to leave the resort because of multiple problems; Tex Akers stops remodeling the club and leaves a hole in the wall.

26. Scene – Earthquake / Cistern breaks / Tom Tilson asks Norman to host his party

27. Champagne Si, Agua No – Norman hosts a free champagne party in the lobby for his guests because of all the trouble and the water shortage. Meanwhile, a huge thunderstorm is occurring.

28. Scene – Debate Over Hippolyte w/ Sheila

29. Public Relations – Reprise – The Governor suggests that Norman should give up his investment and go home – that nothing good can come of it. Norman declines, and “gets his second wind” – he is now more determined than ever to fix the club. He ends with ordering someone to find Hippolyte.

  ACT TWO

1. The Handiest Frenchman in the Caribbean – Some time has passed and Hippolyte has fixed the cistern, patched the hole in the wall, and repaired a number of other things at the club. Everyone is rejoicing, especially Norman, with having things go right for a change.

2. Scene – Paperman talks to Hippolyte; he is impassive and heads off. Norman learns more about Hippolyte from others (his mental institution days, attempted rapes, and how he cut off the head of a cop in the past).

3. Hippolyte’s Habitat – The dispassionate and unresponsive Hippolyte sings this solo alone, with no one else on stage. Perhaps it is a look into his mind rather than him actually speaking to another person/audience. He lays out exactly what he thinks and what he intends to do – take over the club.

4. Scene – Party w/ Amy & Tom Tilson on a boat; she agrees to lower what Norman owes her.

5. Scene – Iris & Norman have a date.

6. Green Flash at Sunset – Norman is content yet reflective about love and his past. He sings this to Iris as they both reminisce about days gone by.

7. Who Are We Trying to Fool? – Iris and Norman head back to her house and give into temptation. Sheila explains how dangerous the situation has now become.

8. Scene – Next day…. preparations for Tilson party are underway; Norman’s family arrives; and just as things are all falling into place nicely, Paperman finds out Atlas fired Hippolyte.

9. Fat Person Man– Sheila warns Norman about the consequences of Lester and Hippolyte being in the same place at the same time – Hippolyte is enraged and will behead Lester if he comes across him. Norman frets and tries to plan how he can keep them apart, and manage the two parties that will be going on that night (the Tilson party and the beach barbeque).

10. Scene – The Tilson Party begins / Norman searches for Hippolyte / Iris causes a huge scene at the party.

11. Up on the Hill– The upper class of Kinja and other notables, attending the Tilson party, sing about themselves. It’s a slight parody as they muse about “owning the breezes”, managing their blenders, avoiding high taxes, and what their lives are like. It’s a stark contrast to the lives that the native Kinjans lead.

12. Steel Drum Panic [New Song] – The group tries to catch Hippolyte; Sanders and Norman bring a passed-out Iris back to her house; Hippolyte appears and slashes at Meadows; Meadows is sent to the vet; Esme is sent to the Hospital.

13. Funeral Dance (Carnival B); Extended Dance Scene; Don’t Stop the Carnival reprise Day after– Carnival is now in full swing, and amidst the joy and partying – there is still trouble for Norman. Someone is shot in the Gull Reef club bar, and Iris rushes to her dog, getting in a fatal car accident along the way.

14. Scene – Norman learns the news of Iris; Henny & Norman talk about the affair he had with Iris, and they discuss selling the club to Lionel so that they can return to their lives in NYC.

15. Time to Go Home (Intertwined with Carnival C Scene)

Below is the track “Green Flash at Sunset”, a song so special to Wouk, Jimmy added it onto a media portion of his CD
after the other songs were recorded (Don’t Stop the Carnival CD). This song has been included in this project.