more as they joyfully sing together. Later, the young ranger Billy and his girlfriend Nancy squabble about Nancy's appetite for other men. Jim and Mary return to the spotlight. Mary reveals her "Little Buttercup" secret: Yellow Feather is really Brown Bear's son, long believed dead. As the first act ends, Jim and his aged Indian guide Fleet Foot set off to capture Yellow Feather. Act II Mary holds a garden party featuring the Eastchester ladies and the Rangers. Retired General Oscar Fairfax shows up, bringing a box of gifts for the ladies. Taking command of the Rangers in Jim's absence, he directs the Rangers to depart, find Jim, and bring him back. Fairfax now has the ladies to himself. But his interest shifts to Mme. Ernestine when he meets her and learns they have something in common: in their youth, both spent happy days in Vienna. Mary goes to her garden. Yellow Feather sneaks in, finds her there, ties her to a tree, and threatens to debase her. Jim returns just in time and wrests a knife from the villain. The Rangers, who have surrounded the Inn, capture Yellow Feather as he tries to escape. The rest of the cast then emerges. Fairfax has good news: the courts have upheld Brown Bear's claim to the disputed land, a mere one-fourth of Colorado. The chief gives Mary the Inn's land and dedicates the rest for a national park, a place the Rangers can call home. In the finale, a miraculously reformed Yellow Feather reappears, waving a large American flag. Jim and Mary, Billy and Nancy, Oscar and Ernestine, and several Ranger-Eastchester couples seem headed for the altar. Music The musical numbers for Little Mary Sunshine are appropriately tongue-in-cheek: any triteness and corn (and there is a good deal of both) is fully intended, rather than inadvertent. This is musical parody at a very high level. Particularly memorable among the songs are the show's most conspicuously parodic song, "Colorado Love Call" ("Indian Love Call" revisited), which evokes memories of Nelson Eddy's duets with Jeanette MacDonald; the hopelessly optimistic "Look for a Sky of Blue"; the catchy yet schmaltzy tune "In Izzenschnooken on the Lovely Essenzook Zee"; the soft-shoe-styled "Once in a Blue Moon"; the lyrical waltzes "You're the Fairest Flower" and "Do You Ever Dream of Vienna?"; the comedy-lyric-laden "Mata Hari"; and especially the exaggerated triple-counterpoint medley "Playing Croquet", "Swinging", and "How