Book by Sybille Pearson | Music and Lyrics by Michael John LaChiusa | Based on the novel by Edna Ferber
Based on the classic novel by Pulitzer Prize-winning author Edna Ferber, GIANT is a new American musical that spans generations in an epic chronicle of the state that’s like no place else on earth: Texas. Amid a turbulent culture of greed, bigotry and money, a powerful cattleman, his new East Coast bride, their family and friends – not to mention their enemies – embrace and confront the joys and sorrows that loom as large as the state they call home. With a book by Tony-nominated bookwriter Sybille Pearson music and lyrics by Michael John LaChiusa (the five-time Tony-nominated composer of THE WILD PARTY and MARIE CHRISTINE), GIANT received rave reviews for its off-Broadway production at the Public Theatre and 9 Drama Desk Award nominations including Outstanding Musical, Music, Lyrics, Book and Orchestrations. (Running time: 3 hours 15 minutes including one intermission)
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“Giant is the most important new musical to come along since The Light in the Piazza. It's a show of immense and fully realized promise. Michael John LaChiusa is one of the most prodigiously gifted musical-theater songwriters since Stephen Sondheim." — Terry Teachout, Wall Street Journal, January 01, 1970
“Already one of the best musicals of the year! Wonderfully intimate and complex, Giant reaches peaks of genuine greatness.” — Huffington Post, January 01, 1970
“Breathtaking!” — The New York Times, January 01, 1970
“GRADE: A! Michael John LaChiusa has crafted one of the finest new american musicals in recent memory. He and book writer Sybille Pearson establish surprising depths – it is the story and its epic but human sweep that will draw you in.” — Entertainment Weekly, January 01, 1970
“Four stars! Michael John LaChiusa’s score spills over with emotion and yearning.” — New York Daily News, January 01, 1970
“It’s big! There is much to sing about in this highly ambitious new musical.” — NY1, January 01, 1970
A Texas-Size Achievement, Wall Street Journal
Written By: Terry Teachout , November 15, 2012

The Broadway musical has never been more popular, or less interesting. No other genre remains so essential to the American stage, yet no more than a half-dozen new musicals of indisputable quality have made it to Broadway since the turn of the 21st century, and the creative torpor that afflicts the genre continues to grow deeper. If you want to see a first-rate new musical nowadays, you've got to look to off-Broadway or regional theater. Michael John LaChiusa's "Giant," for instance, was premiered at Signature Theatre of Arlington, Va., three years ago and has now reached the Public Theater after an intermediate stop in Dallas. About time, too, for "Giant" is the most important new musical to come along since "The Light in the Piazza." It's a show of immense and fully realized promise—and it deserves to move uptown.

"Giant" is based on Edna Ferber's sprawling 1952 saga of life and love on a Texas cattle ranch, which George Stevens later turned into a widescreen extravaganza starring James Dean, Rock Hudson and Elizabeth Taylor. Mr. LaChiusa and Sybille Pearson, who wrote the book for "Giant," have wisely chosen to return to the original source, in the process improving it decisively. Ms. Ferber, best remembered for the 1926 novel on which "Show Boat" is based, was a good storyteller but a stiff stylist, and Ms. Pearson's adaptation retains her page-turning plot while jettisoning virtually all of her leaden prose, leaving plenty of room for Mr. LaChiusa to do his stuff.

It's no slight to Ms. Pearson to say that her collaborator is the senior partner in "Giant." Mr. LaChiusa, after all, is one of the two most prodigiously gifted musical-theater songwriters to come along since Stephen Sondheim. Like Adam Guettel, who wrote the score for "The Light in the Piazza," he uses the language of popular music to serve expressive ends that are fundamentally operatic, exploding the simple chorus-based forms of traditional pop song and expanding them into large-scale structures similar to those used by Mr. Sondheim in "Passion" and "Sweeney Todd." Not only do his musical numbers drive "Giant" through its dramatic arc with compulsive force, but much of Ms. Pearson's dialogue is underscored, which prevents "Giant" from losing any momentum along the way. The result is a show that doesn't have any slow spots—one that feels not long, but big.

Joan Marcus

Kate Baldwin and Katie Thompson in 'Giant.'

This musical spaciousness is central to the theatrical effect of "Giant," whose omnipresent central "character" is Reata, the ranch owned by Bick Benedict (Brian d'Arcy James), a cattleman who loves his "heartbreak country" and balks at the prospect of surrendering its magnificent landscape to venal oilmen: "You may get rich from oil, / But it's our legacy we'll lose. / A hundred years of work and sacrifice." Not only is Mr. LaChiusa's score more than equal to the task of painting that grandiose backdrop, but he is no less adept at portraying the conflict between Bick and his wife, Leslie (Kate Baldwin), a cultivated Virginian who can't come to terms with the hard facts of life on Reata.

The original Signature Theatre production of "Giant" ran for four hours with two intermissions. I thought it worked at that length, but Mr. LaChiusa and Ms. Pearson have trimmed an hour from the running time, and their cuts, which are judicious and creative, make the show even more effective. So, too, do Michael Greif's uncluttered staging and Allen Moyer's spare but powerfully evocative set.

What I miss in this production is the strong sense of place that you take for granted in a western movie. As lovely as Mr. Moyer's set is, I wish it were dirtier, just as I wish that Mr. Greif had brought in a diction coach to help the members of the cast, Mr. James in particular, sound more authentically Texan. Katie Thompson, who plays Vashti, the neighbor who longed to marry Bick herself, is a glorious exception to this rule: No sooner does she open her mouth than you hear the full-blooded voice of a country singer and realize at once what's missing from the performances of most of her colleagues.

Another problem is that the Public is presenting "Giant" in its 299-seat Newman Theater, which is too small for a musical that's set on a 2½-million-acre cattle ranch. To be sure, Mr. Moyer has done everything humanly possible to create the illusion of wide-open space, and for the most part you'll buy the results. Still, much of "Giant" feels physically cramped in a way that prevents it from blossoming properly. It needs a Broadway-size stage—and a Broadway-size orchestra pit. Mr. LaChiusa's resplendent score cries out in vain for more than the 16 hard-working players who are all that the Newman can accommodate.

These aren't quibbles, but in the end they don't matter, for the show comes through triumphantly in spite of them. Like "Oklahoma!" before it, "Giant" tells an all-American tale in a way that is well suited to the present moment. It's a myth, but an honest one, enacted with high seriousness and great beauty. This show is built to last.

GIANT, Entertainment Weekly
Written By: Thom Geler , November 16, 2012

Composer Michael John LaChiusa's ambition is as big as Texas, which seems appropriate for his sprawling and terrific new musical, Giant. Adapting Edna Ferber's Pulitzer-winning 1952 novel (the basis for the 1956 film starring Rock Hudson, Elizabeth Taylor, and James Dean), the composer has crafted one of the finest new American musicals in recent memory. (The show runs through Dec. 2 at the Public Theater.)

The story centers on rancher Jordan ''Bick'' Benedict (Smash's Brian D'Arcy James, with a drawl and an earth-bound solidity) and his well-read, well-heeled Virginia wife, Leslie (the gorgeous and crystal-voiced Kate Baldwin), who immediately feels out of place in her new Texas home in the 1920s. In short brushstrokes, LaChiusa and book writer Sybille Pearson establish surprising depths in this unlikely pair. Though he's a committed Texan, he's no prairie rube: He spent two years at Harvard and picks up on her Emerson quotes. Leslie, meanwhile, envisions a move West to live out some of the daydreams she's had in her father's study, ''and unlike here there's a great unknown just waiting there.''

Once on Reata, the Benedict ranch, the show's canvas widens to include Jordan's ranch neighbors, the Mexican workers, as well as Jett Rink (PJ Griffith), a good-looking but immature hand who soon strikes out on his own and takes an (unrequited) interest in Leslie and, later, in her tomboy daughter, Luz (a feisty Mackenzie Mauzy). Luz' brother, Jordy Jr. (a quietly powerful Bobby Steggert), emerges as a dutiful and bookish lad who finds it hard to connect with his father given Bick's stalwart devotion to the ''heartbreak country'' of Texas — particularly after Jordy Jr. falls for Juana (the lovely Natalie Cortez), a Latina on the ranch who longs to be a teacher.

Though it clocks in at three hours and 15 minutes, Giant moves with brisk efficiency through its decades-spanning story under the capable direction of Michael Greif. One secret to the pacing is LaChiusa's clever deployment of songs to advance the plot. And he rounds out the central Benedict family drama by giving supporting characters their one opportunities to shine. In fact, some of the production's strongest numbers include ''He Wanted a Girl,'' a jilted-woman ballad sung by Jordan's big-boned childhood sweetheart Vashti (a strong Katie Thompson) and ''Jump,'' a spirited up-tempo ensemble number at the top of the second act featuring young Luz and her then-teenage peers — both Mexican and Anglo.

In works like The Wild Party and Marie Christine, LaChiusa burst on the theater scene as a serious-minded student of Sondheim with a somewhat allergic reaction to traditional melodies. But here he rolls out hummable song after hummable song, drawing on musical traditions as various as classic Broadway show tunes (Rodgers and Hammerstein particularly), Aaron Copeland orchestral works, Mexican folk music, and Native American percussion. The score is richly and satisfyingly complex, with each major character getting a musical motif or style. (Jett's tunes, for instance, have a syncopated jazzy feel befitting a man who rejects traditional ranching for the urban life made possible by oil drilling.)

In the end, though, it is the story and its epic but human sweep that will draw you in. As in Ferber's novel, LaChiusa touches on themes that are both universal (the conflict between fathers and sons, the inevitability of death and loss) and particular (anti-Latino bigotry, Texas' transition from ranching to an oil-based economy). The overarching issue: Just how susceptible are we to change? By the end of the show, Bick and Leslie are middle aged and on a precipice in their relationship. They've grown in some ways, but they've also stubbornly clung to tradition and bad habits. Through it all, they've remained side by side, reinforcing the value of forging — and maintaining — connections despite the vicissitudes of life. ''I don't want false hopes,'' Leslie sings. ''I just want us to keep talking.'' And, God willing, to keep singing too.

GIANT is Sprawling, Eloquent New Musical, Associated Press
Written By: Jennifer Farrar , November 15, 2012

Giant The Public Theater

This theater image released by The Public Theater shows Brian d'Arcy James, left, and Kate Baldwin during a performance of "Giant," at The Public Theater at Astor Place in New York. The play will run through Dec. 2. (AP Photo/The Public Theater, Joan Marcus)

NEW YORK (AP) — Beware of allowing tradition to blind you to the benefits of progress. That's one message from the aptly-titled "Giant," the robust, polished, three-hour new musical that opened Thursday night at The Public Theater.

Like its massive setting of Texas ranch country and its three-decade time frame, "Giant" is presented on a grand scale, with a 22-member cast and a 17-piece orchestra floating above the stage, conducted by Chris Fenwick.

Music and lyrics are by Michael John LaChiusa, the book is by Sybille Pearson, and direction is by Michael Greif. Lush orchestrations are provided by Bruce Coughlin and Larry Hochman. The score contains a range of musical styles, including overtones of country western, swing, blues, Mariachi music and jazz.

"Giant" is based on the 1952 novel about the Texas oil boom by Pulitzer Prize-winner Edna Ferber. Somehow Ferber's sprawling material has been wrangled into a generally cohesive, often-eloquent musical that retains her concern with social issues while examining 25 turbulent years.

Social and political changes overtake several generations of American and Mexican citizens in what one lovely song deems the "Heartbreak Country" of Texas cattle ranch life. The story begins with the whirlwind 1925 marriage of Jordan "Bick" Benedict, a wealthy, stubborn Texas rancher (ruggedly and richly voiced by Brian D'Arcy James,) and Leslie Lynnton, a daydreaming, aristocratic Daddy's girl from Virginia (a tour de force performance by Kate Baldwin.)

The newlyweds are met at the Benedict family ranch, Reata ("rope"), with the powerful disapproval of Bick's hardscrabble older sister, Luz (a rather harsh portrayal by Michelle Pawk) who partners with Bick in running the ranch. Luz bellows out her anger in the unsubtle, "No Time For Surprises," but soon there's a tragic accident, and Leslie takes over with a new, progressive agenda.

Noted performances include Katie Thompson in a lusty portrayal of Benedict neighbor Vashti, who hoped to win Bick for herself. Thompson richly voices Vashti's heartache in "He Wanted A Girl," and later joins Baldwin in a show stopping duet, "Midnight Blues," about the changing nature of married desire over the years.

Lowly, flirtatious ranch-hand Jett Rink, played with slithering relish by P.J. Griffith, is later reborn as a vulgar oil millionaire with zero regard for environmental consequences. In contrast, John Dossett is warmly sensitive as Bick's open-minded Uncle Bawley.

Soon oil derricks despoil the ranch and foul the water, as Rink and others use political chicanery and deceitful lobbying to elevate petroleum to a patriotic necessity. Bick tries to hold onto cherished family traditions and honor the land, but he's outnumbered by other relatives.

In the turmoil, he grows apart from Leslie while brooding over unwanted changes. Baldwin is feline and sexy as she tries to rekindle Bick's interest with the smoothly seductive, "Topsy Turvey."

Ever present in the background are the Mexican servants and vaqueros (ranch hands) and their families, repressed by legalized prejudice and xenophobia. In a hopeful sign for the future, the second act is more focused on the next Benedict generation's absence of prejudice. It's now 1941, and Bobby Steggert and Mackenzie Mauzy bring freshness to the stage as bright, open-minded Jordy and Lil Luz, who are close friends with the Mexican kids their own age.

Miguel Cervantes is scene-stealingly dynamic as young Army enlistee Angel. Together with Mauzy and Jon Fletcher as Luz's would-be boyfriend, Bobby, they animatedly perform the optimistic song "Jump!"

A wide variety of costumes by Jeff Mahshie encompass young Leslie's flapper dresses in 1925, rougher outfits for the ranch hands and Mexican servants, and glamorous period fashions for the wealthy white Texas elite over the ensuing decades.

Multiple interiors and landscapes are suggested by Allen Moyer's spare scenic design, using sheer scrims, wonderful projections that convey mood with weather (clouds, rain, bright sun) and selective furnishings that gracefully appear and then vanish.

In fitting tribute to the original owners of the land, the musical begins and ends with a song sun in Spanish, "Aurelia Dolores" apparently a lovelier way to say "Heartbreak Country."

Musical Numbers for Giant

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Writers Notes for Giant

Written By: Michael John LaChiusa

When Julie Gilbert, the grand niece of the novelist, Edna Ferber (Pulitzer Prize-winning author of “Showboat,” “Saratoga Trunk” among many others,) came to me over a decade ago with the suggestion that I adapt her aunt’s iconic, best-selling book, “Giant” for the musical stage, I was both flattered and terrified. I was familiar with the epic novel, as well as with the classic film starring Rock Hudson, Elizabeth Taylor, and James Dean---but the very thought of trying to harness twenty-five years of Texan history, cattle ranching, oil drilling, racial disharmony, not to mention the anatomy of a marriage of opposites, was alarming. Impossible, I thought, and told Julie as much. But Julie is as stubborn as she is kind. A few years later, she came back to me and asked if I still might entertain the idea. I’d placed the novel on the “impossible” bookshelf that I reserve for musical ideas that I have no notion as to how to make happen, so, out of respect to Julie I figured it behooved me to re-read it. As it so often happens, something that fails to capture my imagination one day may suddenly trigger a different reaction in me a day later, sometimes a year or several years later. That’s life, I suppose; people change, with experience, on a daily, even hourly basis. A book you read when you are a teenager might have an entirely different meaning for you when you’re middle-aged; that book or even a movie or symphony or painting doesn’t change---you do, emotionally and psychologically, and you might find new meaning in the work. Re-reading Ferber’s novel, I heard music for the first time. Bick Benedict, scion of Reata, the largest cattle ranch in Texas, and his passionate, roller-coaster marriage to Leslie Lynnton, a Virginian-raised debutante, struck me as something I needed to sing about.  What looked impossible seemed (possibly) possible.

It was at the same time that The Shen Family Foundation provided the Signature Theatre in Arlington, Virginia with a grant of monies that would provide three composers, including myself, financial support for four years to develop new musicals. Each musical would be fully produced by the theatre company. It was an “anything goes” grant: no restrictions. I was free to choose any project I wished, of any size and length. While reconsidering the novel “Giant”, I knew I was looking at something unusual (at least by contemporary musical standards) in structure: a three-act evening, possibly even a three-evening event, epic and vast, with a large company of actors and musicians. Big, like Texas. When I proposed the idea to Eric Shaeffer, the intrepid artistic director of the Signature Theatre, he didn’t blink. “Go for it,” he said.

But I couldn’t do it alone. I enjoy writing my own libretti, as well as lyrics and music, but it’s lonely going it alone. Collaborating with another writer, especially one you respect and who shares your taste and goals---and who can challenge you---that’s the ideal situation. I found an ideal collaborator in Sybille Pearson, who I asked to join me on this wild adventure. Sybille, pragmatic and smart, was well aware of the difficulties of what we were about to do, but she embraced the project with every ounce of her being. She came up with a structure that could rein in the many pages of plot, exposition, and character, allowing me to try to create the aural equivalent of Texas. We knew we weren’t going to have ten thousand heads of cattle on stage, or a hundred gushing oil wells. The challenge for me was how to turn Texas into music: the dust, the smell of oil, the heat, the prick of a cactus, the amazing blue of the Texan sky---what does that sound like? And most importantly, how do the souls of these heartbreaking, complex, beautiful (and, sometimes, very ugly) characters sing?

Sybille and I presented a first read-through of the show, warts and all, in 2007. We had arrived at a three-act structure, with two intermissions. That reading lasted five-and-a-half hours! Using one of my favorite musicals, Frank Loesser’s “The Most Happy Fella”, as a model, we began to scale back, rewrite and cut unnecessary and redundant song and dialogue. When we opened at the Signature Theatre in 2009, we had reduced the show to four-and-a-half hours; three acts, including two intermissions. Of course, we were concerned that audiences might not go on the ride with us for the entirety of the evening. We needn’t have been worried. The audience at the Signature Theatre accepted the epic nature of the show and it wasn’t rare to hear a patron say on his or her way out, “I didn’t want it to end.”

We set our sights on bringing the show to New York. Knowing that we wouldn’t have the luxury that was afforded us in Arlington, (especially where union rules and costs were concerned,) Sybille and I took on the challenge offered us by our director, Michael Greif, to turn our three-act version into a two-act, one intermission, three-hour show. It was a daunting challenge: what could we, should we cut to fit this new model? Michael’s reasoning was sound, though: we would always have our four-and-a–half hour, three-act version so why not create a shorter version that might be more accessible to more people. After all, to invest four-and-a-half hours in watching a musical is not something everyone has the time for, nor can afford. But would this compromise our original concept and goal of creating an epic? It was Ted Shen, whose foundation commissioned the original version, to whom I turned for advice. He thoughtfully weighed the idea and offered the example of “Porgy and Bess, “ George Gershwin’s classic opera. There is the full-length version, and a shorter version of “Porgy and Bess”, so why not have the same with “Giant”?

After several workshops and an out-of-tryout in, yes, Texas, at the Dallas Theatre Center, we were ready with our two-act version, which then began a limited run (later extended) at the Joseph Papp Public Theater, in New York City, October 26, 2012. A lot of material from the original Arlington production had been trimmed or cut entirely; and there were several new numbers as well. My concerns that the three-hour version might compromise the integrity of the original were unwarranted.Still, I’m partial to the original three-act version. I love its epic proportions, the sweep and breadth (and breath) of it. I like that we can spend more time with our characters, and more time experiencing time itself, if that makes any sense. Sybille and I, for this version licensed by Rodgers and Hammerstein Music Library, have chosen the New York premiere version, but it’s our intention to include several addenda for those theatre companies brave enough to take on the longer version. I’m still looking forward to seeing a two- or three-night version---one act per night. Why not? “Giant“ is, if nothing else, a musical about the endless possibilities of our country, as well as our dreams and desires. Dream big, I say. What might seem impossible just may be possible.

Performance Tools for Giant

Rental Materials for Giant


  • GIANT - Orchestration (17 Books/14 Players)
    • 1 – Reed 1 (Piccolo/Flute/Alto Flute/Clarinet (Bb))
    • 1 – Trumpet 1 ((Bb)/Flugel Horn)
    • 1 – Trumpet 2 ((Bb)/Flugel Horn)
    • 1 – Trombone (Bass Trombone)
    • 1 – Guitar (Nylon String, Mandolin, Tenor Banjo, 6 String Acoustic Steel (plus slide), Archtop/Hollow Body, Electric for 40's swing, early rock and roll and Texas Country)
    • 1 – Viola
    • 1 – Cello
    • 1 – Reed 2 (Flute/Clarinet (Bb)/Tenor Sax)
    • 1 – Reed 3 (Clarinet (Bb)/Bass Clarinet/Bassoon/Baritone Sax)
    • 1 – Bass (Acoustic/Electric)
    • 2 – Percussion I-II
    • 1 – Violin
    • 1 – Keyboard
    • 1 – Piano Vocal Score
    • 1 – Full Score, Act I
    • 1 – Full Score, Act II
  • GIANT - Rehearsal Set (30 Books)
    • 2 – Piano Vocal Score
    • 28 – Libretto Vocal Book
  • GIANT - Pre-Production Pack
    • 1 – Piano Vocal Score
    • 1 – Libretto Vocal Book
  • GIANT - Libretto Vocal Book 10 Pack
    • 10 – Libretto-Vocal Book

Cast Requirements for Giant

1 Woman
1 Man

3 Women
5 Men

6 Women
10 Men

(doubling is indicated by a slash)
Jordan “Bick” Benedict, a cattle rancher and heir to Reata
Leslie Lynnton Benedict, his wife
Jett Rink, a mechanic
Luz Benedict, Bick’s older sister
Uncle “Bawley” Benedict, Bick’s uncle
Vashti Hake Snythe
Mott “Pinkie” Snythe
Mike McCormack, a lobbyist
Mrs. Lynnton / Adarene Morley
Lil Luz Benedict, Bick and Leslie’s daughter
Jordy Benedict Jr., Bick and Leslie’s son
Bob Dietz Sr. / Bobby Dietz Jr.
Polo Guerra, a vaquero
Juana Guerra
Angel Obregon Sr. / Angel Obregon Jr.
Miguel Obregon, a vaquero
Clay Sullivan / Lord Karfrey
Heidi / Jett’s Wife / Lady Karfrey (Leigh), Leslie’s sister
Analita Sr. / Analita Jr.
Deluvina Obregon
Ensemble (2 Men, 2 Women)

Set Requirements for Giant

GIANT takes place in Texas between the 1920s and 1950s.

Materials Notes

GIANT Orchestrations

Orchestrations: Bruce Coughlin
Additional Orchestrations: Larry Hochman

Reed 1(Piccolo/Flute/ Alto Flute/Clarinet (Bb))
Reed 2 (Flute/Clarinet (Bb)/Tenor Sax)
Reed 3 (Clarinet (Bb)/Bass Clarinet/Bassoon/Baritone Sax)
Trumpet 1 (Bb)/ Flugel Horn
Trumpet 2 (Bb)/Flugel Horn
Trombone/Bass Trombone
Percussion 1 (see list below)
Percussion 2 (see list below)
Piano: Synth Keyboard (Piano, Harp, Celesta, Arco Strings, Pizz. Strings, Barroom Upright Piano, etc.)
Guitar (Nylon string, Mandolin, Tenor Banjo, 6 String Acoustic Steel (plus slide), Archtop/Hollow body
Electric for 40’s swing, early rock and roll and Texas Country)
Violin 1
Violin 2
Violin 3
Bass (Acoustic/Electric)


Percussion 1: Drumset with hardware, 2 crash cymbals, Hi hat cymbals, 2 small trap tables, 2 bean pod rattles, Large Djembe (should have good low open tone too), Rain Stick, Triangle , Snake Rattle (Antelope toenails), Finger Cymbal (B flat or E flat +D), Beel tree china cymbal, 22” ride , 17” crash , Crash cymbal with bass drum mount, Slapstick, Maracas, Egg shaker

Percussion 2: Maracas, Able triangle (extra), 1 hardware mount extension, Auto Spring Coil, Brake Drum with sd stand, Marimba (4 1/3 octave), Slapstick, Cabasa, Xylophone (pit xylo with stand), Pair Caxixi, Djembe with stand, Triangle plus clip, Anvil, Set of Chimes , Orch bells plus Lp table stand (glock), 1 Susp cymb plus stand, 3 Granite blocks, Tam Tam (large-ish 32” or so) plus beater

Shared Percussion: Timps (26 and 32), Concert Bass Drum (with piatti mounted also), Vibes (make sure the motor works, multi speed (fast/slow options)), Mark Tree, Bell Tree, Taiko Drum, HI OCTAVE SET Crotales

Percussion 1: Drumset with hardware, 2 crash cymbals, Hi hat cymbals, 2 small trap tables, 2 bean pod rattles, Large Djembe (should have good low open tone too), Rain Stick, Triangle , Snake Rattle (Antelope toenails), Finger Cymbal (B flat or E flat +D), Beel tree china cymbal, 22” ride , 17” crash , Crash cymbal with bass drum mount, Slapstick, Maracas, Egg shaker

Percussion 2: Maracas, Able triangle (extra), 1 hardware mount extension, Auto Spring Coil, Brake Drum with sd stand, Marimba (4 1/3 octave), Slapstick, Cabasa, Xylophone (pit xylo with stand), Pair Caxixi, Djembe with stand, Triangle plus clip, Anvil, Set of Chimes , Orch bells plus Lp table stand (glock), 1 Susp cymb plus stand, 3 Granite blocks, Tam Tam (large-ish 32” or so) plus beater

Shared Percussion: Timps (26 and 32), Concert Bass Drum (with piatti mounted also), Vibes (make sure the motor works, multi speed (fast/slow options)), Mark Tree, Bell Tree, Taiko Drum, HI OCTAVE SET Crotales

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