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Chapters (49)
  1. Cover
  2. Title Page
  3. Copyright
  4. Chapter 1 - New York City 2008
  5. Chapter 2 - New York City 2008
  6. Chapter 3 - New York City 2008
  7. Chapter 4 - New York City 2008
  8. Chapter 5 - New York City 2008
  9. Chapter 6 - Connecticut 2008
  10. Chapter 7 - New Haven Connecticut 1936
  11. Chapter 8 - New Haven 2008
  12. Chapter 9 - New Haven 1943
  13. Chapter 10 - New Haven 1943
  14. Chapter 11 - New Haven 1943
  15. Chapter 12 - New Haven 2008
  16. Chapter 13 - New Haven 1943
  17. Chapter 14 - New Haven 2008
  18. Chapter 15 - New York 2008
  19. Chapter 16 - New York 1957
  20. Chapter 17 - New York 2008
  21. Chapter 18 - New York 1962
  22. Chapter 19 - New York 1962
  23. Chapter 20 - New York City 1962
  24. Chapter 21 - New York 2008
  25. Chapter 22 - New York 1962
  26. Chapter 23 - New York 1962
  27. Chapter 24 - New York 1962
  28. Chapter 25 - New York 2008
  29. Chapter 26 - New York 1962
  30. Chapter 27 - New York 2008
  31. Chapter 28 - New York 2008
  32. Chapter 29 - New York 1974
  33. Chapter 30 - New York 2008
  34. Chapter 31 - New York 1974
  35. Chapter 32 - New York 2008
  36. Chapter 33 - New York 1974
  37. Chapter 34 - New York 2008
  38. Chapter 35 - New York City 1974
  39. Chapter 36 - New York 2008
  40. Chapter 37 - New York 2009
  41. Epilogue
  42. Dedication
  43. Acknowledgments
  44. Reading Group Guide
  45. ALSO BY LOUISE SHAFFER
  46. ABOUT THE AUTHOR
  47. What’s next onyour reading list?

And in spite of his theatrics, she did. If the song “Spanish Nights” was an example of the score for The Maiden Ship, he was right—that operetta was an old warhorse. And she was happy to believe that the men in the house were over the hill and hadn't had a hit in twenty years. For a moment she felt sorry for Ricky, who had put so much faith in his grandpop's old pals, but Ricky would figure out that they were the Three Stooges for himself. Ricky was tough. She grinned at the accompanist. “So I haven't ruined my chances in show business?”

“You might have, if you'd gotten a part in The Maiden Ship,” he said. “But this is your lucky day.” He pulled a piece of paper out of his pocket. “I've written down the name of an agent for you—Max Lieberman. I've sent him other people who were good, and he trusts me. He'll see you if you use my name.” He held out the piece of paper to Lu. “He's legit; you can check with Actors’ Equity.”

Lu looked at the paper, but she didn't take it. “Why are you doing this?” she asked.

He grinned. “Because you're the funniest thing I've seen on two feet. And I want to be able to say I knew you when.”

Things were moving too fast—the sick feeling came back—and for a moment Lu had to close her eyes. Five minutes before she'd been trying to figure out how she was going to tell Ricky that she'd failed. Now this total stranger was offering her a second chance. She opened her eyes. The accompanist was standing in front of her, still holding out the piece of paper. “Max is going to be out of town for three weeks,” he said. “Call him when he gets back and ask if you can sing for him. I gave you my number too. There'll be someone in Max's office who will play for you, but I can rehearse you first.” He wasn't kidding around; he really wanted to help her. She took the piece of paper with the phone numbers from him and held out her hand. “Hi,” she said. “I'm Lu Leporello.”

He shook her hand and said, “George. George Standish.” He frowned. “You're going to have to change the Leporello to something more American. Something that'll look good on a marquee.” He thought for a second, and then he said, “How about Lawson? It's always good to keep it close to your own name. I used to be Gregory Stantonkovsky”