Click HERE to view a scene from the 1978 tv special: The MAKING OF BEATLEMANIA

BELOW:  Text from the programs: (with some webmaster notes)


act 1

SCENE 1 / CAMELOT: Pre-Beatles

The early 1960's begin with an all-time optimism in America.  Youthful and elegant, John F. Kennedy charms the public and press while his First Family welcomes the public into the White House.  His assassination on November 22, 1963 shocks the country in a horrifying introduction to what was to become the most turbulent of decades.

Let's Twist Again*                 
Roll Over Beethoven*                 
Bye Bye Love*                 
Hound Dog*


Television viewers watch open-mouthed as a group of four Liverpudlians explode on national television. Shortly after their debut in February, 1964, the lighthearted, moptopped jesters begin to win recognition and attention never before given to rock and roll artists.

I Want to Hold Your Hand*                   
She Loves You*

The "Fab Four" establish themselves as style-setters, innovators, movie stars, recording artists and fashion-makers with a contagious sense of humor, newness and excitement.

If I Fell                 
Can't Buy Me Love (unknown to audience, an alternate cast performed to live recording of starring cast while starring cast changes into white tuxes)               
Day Tripper


As a group begins to mature musically, a sense of introspection is felt through their music.  Critics begin to give them more serious consideration, while an increasing number and diversity of fans await the changing sounds of each newly released recording.

Eleanor Rigby 
TAXMAN...was played instead of Eleanor Rigby when off stage orchestra was not available, especially in certain roadshow productions.         
We Can Work It Out                 
Nowhere Man


Becoming an accepted entity by the "establishment," the group takes on a whole new direction with musical experimentation and sensual, psychedelic perceptions.  Their music is becoming a directional for the increasing "counter-culture" and antiestablishment youth movement.

A Day In The Life                
Strawberry Fields Forever                 
Penny Lane                 
Magical Mystery Tour                 
Lucy In The Sky With Diamonds 


act 2


Their growing musical styles have connected with other cultures and lifestyles through a multi-dimensional sound which defies categorization.  The country's youth follows suit in more personal, individualized self-exploration and unconventional answers to an unresponsive and static society.

Lady Madonna                 
The Fool On the Hill                 
Got To Get You Into My Life                 
Get Back


Holding its own, the youth movement becomes an established force and reality, influencing all phases of society: as the "hippies" and "street-people" of Haight Ashbury and New York's Lower East Side reach for beyond their coastal boundaries into the homes of middle-America.

Come Together                 
With A Little Help From My Friends                 
All You Need Is Love


The assasination of Martin Luther King Jr. and Robert Kennedy traumatize the country.  The War in Vietnam rages on and the confusion, anger and violent confrontations in the streets of the U.S. splinter any hopeful ideals left from the early years of the decade. The group moves towards seperation.

Helter Skelter (unknown to audience, an alternate cast performed to live recording of starring cast while starring cast changed into long hair / beards and wardrobe.)
Hey Jude


The decade climaxes as the group itself splits apart. Their songs, now individual statements, are reflective of their own personal choices and lifestyles, while the wealth of collective material remains, painting a spectrum of images ranging from the innocent of the innovators, from the celebrities to the outlaws; always growing, creating and moving beyond their audiences.

I Am The Walrus                 
The Long And Winding Road                 
Let It Be

Encores were played in several road versions of the show.

*Let's Twist Again" 1961, Kalmann Music, Inc. Used by permission only. *"Roll Over Beethoven" by Chuck Berry, 1956 by Arc Music Corp.  Used by permission only.  *"Hound Dog" by Jerry Leiber and Mike Stoller, 1953, Lion Publishing Co., Inc. and Elvis Presley Music, Inc.  Used by permission only.  *"I Want To Hold Your Hand" by John Lennon and Paul McCartney, 1963 by Northern Songs, Ltd.; sole selling agent Duchess Music Corporation. Used by permission only.  *"She Loves You" by John Lennon and Paul McCartney, 1963 by Northern Songs, Ltd.  All rights for U.S.A. its territories, possessions and Canada assigned to and controlled by Gil Music Corporation.  Used by permission only.


Not the BEATLES,

...but an INCREDIBLE simulation!!!


  "BEATLEMANIA" has arrived!  A multi-media and live musical celebration for the sixties, the show
  has been conceived and produced by David Krebs and Steve Leber, and designed and executed
  by Jules Fisher, Robert Rabinowitz, Bob Gill and Lynda Obst.  In addition, a crew of over forty
  artists, designers, researchers, photographers, film editors, programmers and technicians
  worked to create the visual atmosphere, setting the tone for the excitement and color of that
  tumultuous decade.

  A new concept in Broadway entertainment, "BEATLEMANIA" has been referred to as one of the
  "most ambitious theatrical audio-visual productions to date", by critics, theatre buffs and
  audio-visual experts alike.  The production's 2 hour non-stop visual montage is produced by over
  10,000 separate slides, which are programmed through 28 channel computer-type
  programmers.  In turn the programmers feed into a 40 channel expander, which allows for cuts
  between images that dissolve at varying speeds.  In addition, the show uses 15 of the highest
  intensity xenon slide machines for the front scrims and rear screens, 4 highest intensity
  incandescent projectors for the side "flipper" screens, two 16 mm motion picture film projectors
  and 9 "effect" projectors.  Yet, all of the complex and elaborate machinery is controlled by 1
  person who must carefully follow each song cueing the visual effects on specific lyric cues - of
  which there are nearly 4,000.

  The collaged visual, spanning the era of JFK's last days as President, throughout the Chicago
  Democratic Convention, Flower-Power, Kent State and the raging war in Viet Nam, are the
  accompaniment for the live onstage performance of "BEATLEMANIA's" four-member cast.  The
  quartet's recreation of the sound of thirty Beatles' classic includes tunes that the Beatles,
  themselves, never performed in public concert.  It is the visual barrage and simultaneous
  performance combination that have made "BEATLEMANIA" truly innovative, merging together
  real and projected images and setting new standards for contemporary theatrical entertainment.
  (taken from program)