Festival Production

January 2017 Dragon Slayer Production

Dragon Slayer in New York January 2017

Dragon Slayer was selected for the 2017 Winterfest Theater Festival in New York City. We gave five performances four of which were sold out. The show was well received; Theater in the Now wrote, “This original musical is funny, ridiculous, and entirely clever…The casting is absolutely fabulous…a good time had by all.”

Creative Team

To bring Dragon Slayer to life, we had an incredible creative team, including:

  • Director and Choreographer Andrea Andresakis (website)
  • Associate Director and Choreographer Liz Piccoli (website)
  • Musical Director Ken McQueen III

The cast was an important part of the creative process, each actor bringing to the show his or her personal talent for performance and improvisation.

Take a Listen

You can hear our amazing cast performing the songs from the festival version using our streaming player here. While some of the Dragon Slayer songs were shortened or removed to meet the time requirements of the festival, this recording contains the original, unabridged versions.

Take a Look

View a trailer for the musical from our January 2017 performances here:

If you missed our performances in New York, or if you simply would like to see it again, you can request a full length video from us by emailing ascialli@scialliconsulting.com.


We’d love to hear what you think of the performance and the show; please send us an email at ascialli@scialliconsulting.com or leave a comment on our Facebook page.

So What’s Next?

To meet the festival’s requirements, Dragon Slayer was reduced from its full length 2-1/4 hours to 90 minutes without an intermission. We are now putting it back together, restoring some of the edgy parts and some of the missing songs and revising the show based on what we learned from our festival performances. We will keep an updated version of the book on this site as we move forward.

The Dragon Slayer

Synopsis (Song titles in italics)

The curtain rises on Times Square where passersby tell us that New York is the center of the universe for would-be artists. Lenny, who is making his living as a waiter in a seedy diner, tells us that he is A Writer in New York. His Boss, on the other hand, is less enthusiastic about Lenny’s prospects. Lenore, working as a waitress in the diner while she tries to get a job as a dancer, is in love with Lenny for no good reason. She and Lenny describe the show he is writing, called Dragon Slayer. A knight named Florestan is frightened of dragons, but a magician gives Florestan a magic word that makes him invincible. Lenore asks Lenny to let her play Genevieve, Florestan’s love interest, but Lenny says she is not good enough. The customers in the diner reproach Lenny for being cold. He explains that he was tasked by his Granddad with being a Broadway star and is only fulfilling his destiny. Lenore, alone, sings I Love A Jerk. Genevieve visits and tells her she needs to consider other men. She parades out imaginary candidates, who suggest Dance With Me. Lenore rejects them all. She likes Genevieve better. Genevieve is not prepared to be Lenore’s lover, but she will be her friend.

Lenny has written a Love Song to be sung by Genevieve. Genevieve appears in Lenny’s imagination singing the song and Lenny falls in love with her. She reproaches him for falling in love with an imaginary woman and says that Lenny doesn’t know anything at all about real love. In Somebody Likes You, she tells Lenny not to ignore Lenore. Lenny is impressed and asks Lenore out for pizza. At the pizza place, a sinister figure appears from the shadows and pulls Lenny away to talk about an offer. He is the Boss disguised as Sparafucile, the villain from Rigoletto. Sparafucile can get Lenny’s show before his brother-in-law the famous producer Max Bialystock for a price. The price is his life savings and that of Lenore. Lenny returns to the table and asks Lenore for the money. Lenore turns Lenny down; she has no money. Lenny insults her, and she sings of how Shabbily he has treated her. She is through with him. Lenny declares that he doesn’t need Lenore, because It’s Enough to be a famous writer. The next day, Lenore is cold to Lenny, who is still preoccupied with his show. The Boss nags him about his absent work ethic. Lenny complains that he wants more Appreciation and the Boss fires him as the act ends.

Act Two opens with the Boss explaining that in Every Story Written, the villain is the most important character, because it is the villain who moves the plot. Sure enough, when Lenny has his appointment with Max Bialystock, the producer is played by the all-purpose villain, the Boss. Bialystock tells Lenny, Your Work Is Junk. Lenny is crushed. Lenny and Lenore, in different places, sing how Alone they are. Lenny encounters Genevieve, who tells him in Magic Word that he bet everything on the magical attraction of fame while throwing away the real magic, Lenore’s love. Lenny muses that he has no job, no dream, no girlfriend. Genevieve helps him with a plan to win Lenore back; Lenny will write a Ballet for her, because she is a dancer. Lenny meets Lenore and apologizes for having treated her Shabbily (Reprise). He gives her the ballet, and Lenore runs off crying, which perplexes Lenny. Now unemployed and hopeless, he joins other street people and they reprise Writer in New York. Lenore comes back with news. She has gotten a part using Lenny’s ballet, and the producer wants to talk to Lenny about a job. Lenore is willing to give Lenny another chance. They reprise It’s Enough, but this time it’s enough to find love in this crazy world. Lenore, Lenny, and the company reprise Love Song.

The Book

The full book contains all lines, spoken and sung, as well as character summaries and stage cues.

Download Book

Dramatis Personae

The Players


A young man who is writing a Broadway show and waiting tables in New York. He thinks too much of himself.



An aspiring Broadway dancer. She loves Lenny for no reason we can discern. She thinks too little of herself.


The Boss

The owner of the diner where Lenny and Lenore work. He doubles/triples as all the villains in the show.



The imaginary heroine in the show Lenny is writing. She is the smartest one in the bunch.



Chorus of customers, New Yorkers, and other imaginary folk.



Use the music player below to stream selected songs from a studio recording of Dragon Slayer: The Musical

About Anthony Scialli

Writer of Dragon Slayer: The Musical

Tony Scialli grew up in Passaic, New Jersey, about 8 miles from the Lincoln Tunnel. In those days, there was nothing to do in Passaic, so Tony spent lots of time standing on Route 3, waiting for the bus to Manhattan. He went with his brother John or his friend Howard, or sometimes just by himself. Favorite entertainments were walking in Central Park, getting an Orange Julius in Times Square, riding the Staten Island Ferry for a nickel, or eating just about anything at the Hip Bagel in the Village. In other words, he was a typical suburban kid bumming around the city. Musical theatre was huge in those days, as it is today only without Disney. Tony didn’t have enough money to see everything, but he saw everything he could afford. The lines for half-price seats were shorter then, and many shows sold cheap standing room tickets. Off-Broadway was then, as now, a treasure trove of great shows at reasonable prices.

The musicals Tony couldn’t see, he heard. Records (yes, vinyl) cost about $3, and the Passaic Public Library had a decent collection of original cast recordings that circulated for 5 cents. Tony learned early that some pretty weak books could provide the scaffolding for some luscious scores.

Tony wrote his first musical when he was 16, then got side-tracked by a career as a physician and medical school professor. The first musical, titled The Dragon Slayer, was an adaptation of The Fifty-First Dragon, a short story by Heywood Broun. Although the show was not very good, it served as the basis for a new Dragon Slayer some decades later. The new show was about a writer who has done an adaptation of the Broun story and is obsessed with getting it produced. The lead character is not the writer, but a fictional heroine of the writer’s story, a woman invented by the writer himself. She disapproves of the writer’s single-minded purpose and his lack of basic decency in the way he treats other people.

The Dragon Slayer was cute, perhaps too cute, and Tony turned for his next musical to a more serious and perhaps darker subject. DORA! was written during and about the Bush era in the US, although the infamous 43rd president is never mentioned in the play, and the action takes place 30 years before he was born. The show is timeless: Just as the errors of George W. Bush have been made before, so they are likely to be made again and again, unless someone in charge figures out how to learn from history. His third show, Magic the Musical, avoided politics and focused on a family of magicians with some awkward secrets. Finally, Tony came back to Dragon Slayer, reworking it to exorcise the cuteness.

Tony’s musical education consisted of 8 years of piano lessons. A more upscale bio might say, “He studied with Macy Gordon beginning at the age of 8,” but in fact, Tony spent more time trying not to practice than he did studying. After quitting formal lessons, Tony got the rest of his musical education from the Beatles, Joni Mitchell, Burt Bacharach, Meredith Wilson, and dozens of contemporary composers. Bach, Mozart, Beethoven, and Brahms also lent a hand. Tony won a play-writing contest in college, but that win probably doesn’t count: it was at an engineering school not much given to nurturing the arts. It’s possible that Tony’s entry was the only one in the contest.

Other Musicals

Dora! The Musical (2006)

DORA! was written because I can’t bicycle to work without listening to something. It happened one day that I was listening to a recorded course on World War I. There are many interesting things to say about World War I, but what impressed me the most about World War I was how similar this patently unnecessary war of the past was to the wars of my own experience, Vietnam and Iraq/Afghanistan. Maybe people would stop coming up with new modern wars if they understood that they were simply replaying the calls to arms of all the unnecessary wars of history. And so I invented Victoria, a gypsy fortune teller who can see the past and the future as a continuous flow, where the same events play themselves out over and over. (Visit the website)

Magic: The Musical (2012)

Laura is a skillful magician, daughter of the late Jack, better known as the Amazing Jack. She can’t figure out why Jack left his magic equipment to Charlie, a student without much talent. And why is Merlin, Jack’s old friend, so interested in helping Laura avoid the scheming of Danielle and Armando? In a family full of secrets, things are not what they seem as the characters compete to get control of a magic box and its secrets of the universe. (Visit the website)


Contact Tony Scialli with all inquiries at ascialli@scialliconsulting.com