Directed and choreographed by Graciela Daniele, the New York cast featured Marc Kudisch, Erin Davie, Natalie Venetia Belcon, and David Patrick Kelly.

The musical was presented at the Landor Theatre, London, from 6 March to 7 April 2012, with direction by Robert McWhir.

[4] The Canadian premiere of The Glorious Ones took place in May 2014, presented by the Toronto Civic Light Opera Company, starring Joe Cascone (Flaminio), Joanne Kennedy (Columbina), David Haines (Dottore), Eric Botosan (Pantalone), Elizabeth Rose Morriss (Isabella), Jordan Quinn (Francesco) and Susan Sanders (Armanda).

[5] As the curtains part, seven actors appear in commedia dell'arte costumes, on a little stage, moving in a dreamlike recreation of their old roles.

Flaminio Scala, the leader of the troupe, begins the story, transporting us back to a beautiful spring day in Venice.

They tell us that much of their comic routines were improvised, and Flaminio Scala illustrates with a slapstick version of his early life, in which he demonstrates how he was raised by monks and later thrown onto the street.

The next day, Flaminio Scala discovers Francesco Andreini, a talented young comic, who is performing on the street.

During the course of this song, Flaminio gets an idea from the many patches on Francesco's clothes—he creates a patchwork costume for a new character--Arlecchino, the clown—and gives his young protege this featured role.

Flaminio is convinced that their lowbrow humor will enchant the King, make their fortunes, and cement his reputation as a theatrical genius for all time.

Once in France, their performance for the King begins with three vulgar "lazzi" or comic routines, which lead up to the most bawdy piece of all, "Armanda's Tarantella," featuring the little dwarf, all the men, and a series of double-entendres!.

In "My Body Wasn't Why," she sings about her passionate love affair with Flaminio, which led her to be his leading lady.

During the performance, Isabella and her husband Francesco play a trick on Flaminio, and suddenly the clownish Arlechino becomes the leading man.

After the show, Flaminio is furious at the trick, but Columbina tells him to deal with the fact that he's too old to play the role of the lover.

Columbina falls to her knees, praying comically for him, but suddenly realizes that the blood is real and that Flaminio is indeed dead.

As the actors grieve, mystified by his terrible act, Flaminio rises and looks back on his life, and the beauty of doing something of worth.

Instead, a "film projector" begins to flicker, and they see a parade of comic icons—Lucille Ball, Buster Keaton, Charlie Chaplin, etc.—they realize their comedy has survived the centuries and exists today.