Musicals

Musicals

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Conrack the Musical – visit website →

A Country Carol

Doubling allows for 6 principals and 5 chorus, with additional chorus where desired.

“A Country Carol” changes some of the specifics of Dickens’ classic tale while retaining its essential structure and message.  It is the story of a soul seduced by show business, lost in the pursuit of money and fame.  Unlike Dickens, it is chiefly a love story, and the family that finds itself together at last on Christmas Day is Ebben’s own.

Major changes from original:

  • Ebbeneezer is as rich and cold-hearted as ever, but now he’s a Broadway producer at the turn of the last century who has sold his soul for fortune and fame.
  • Young Ebben is a “hick from the holla” whose boundless ambition drives him to New York, away from his wife Belle, and into the arms of an older actress.
  • Cratchit is torn between his love for Belle and his loyalty to his best friend.
  • Tiny Tim is now Tina, a little girl crippled by the loss of a father she never knew.

—  And who has set all this in motion?  The Big Guy, who is re-writing Dickens to emphasize the love story, add humor to the ghosts, and infuse the whole with trademark American buoyancy and hope.

* * *

Our story begins with an embittered Ebben, a successful actor/writer/producer in New York City in 1909, delighting, in “Christmas Is,” that the Christmas spirit is spelled “b-u-y!”  Working for him is Gloria, an aspiring actress, who, joined by the rest of the company, counters with the joyous “It’s Christmas Everywhere!”  Returning home, Ebben is frightened by the ghost of Jake, his partner-producer during his climb to the top of the New York theatre world.  Jake’s Ghost warns Ebben to reform his ways and, together, they spin back through time to re-visit Ebben’s past in Butterfly Holla, West Virginia, 1898.

The Holla Folk are celebrating the annual pig roasting in the rousing “Hog Heav’n,” led by their preacher-man, Cratch.  Young Ebben doesn’t participate.  He is up on Bald Rock composing a new song.  When his wife, Belle, finds him there, he sings that he wants to leave the holla and live a full life, to play every note in a “Song Called Me.”  He gets his wish when a traveling carnival man, Jake, hears him singing and signs him to a vaudeville contract, prompting Young Ebben to joyously sing “Gettin’ the Hell Outta the Holla.”  Young Ebben’s German immigrant act is not popular with the audience, but his attractive, sexy acting partner, Lydia, persuades Jake to let Young Ebben write his own material, a comedy number called “Po White Trash.”  When a New York producer wants to star Young Ebben and Lydia in his latest musical, he finally gets to realize his dream of leaving the holla.  Belle lets him go, but not before telling him he must carry all the sounds and feelings of the holla with him—he must “Listen to the Land.”  What she doesn’t tell him is that she is pregnant, because she doesn’t want to stand in the way of his dream. Young Ebben promises that he will always remember where his true home is.  Belle convinces him to take Cratch with him—she knows Young Ebben will probably need some looking-after. Cratch can’t prevent Young Ebben’s seduction by fame and fortune, however, and at the opening night performance, Belle catches Young Ebben in a passionate embrace with Lydia.  Declaring herself “An Ol’ Mountain Woman,” she returns to the holla with Cratch, where, unbeknownst to Young Ebben, she will give birth to their daughter, Tina(Tiny Tim).  Young Ebben swears that he’ll make it big and get rich and “Never Go Back to the Holla,” as Jake’s Ghost gestures to bring an end to Ebben’s journey to his past, and to Act One.

In Act II, ten years have passed as the Ghost of Christmas Present, who is Ebben’s mother, takes Ebben back to Butterfly Holla, where Cratch has managed to build a church and the Holla folk celebrate with the gospel song “Let It Rise!”  When Cratch finally finds the courage to ask Belle to marry him, she works through her feelings in “Belle’s Dilemma:” she still loves Ebben but knows Tina needs a father. Tina, however, wants her real father, and, missing him, plaintively asks “Do I Believe in Santa Claus?”  When her answer is “no,” Belle decides to tell her that her father is not dead, as she had previously told her, but alive and probably living in New York.  Terribly hurt by this lie, Tina angrily runs off.  Ebben, of course, has witnessed this scene between the woman he still loves and the daughter he didn’t know he had, but he is unable to speak to them or make them see him, causing him tremendous anguish.  Alone, Belle sings the beautiful waltz, “Second Chances,” pining for a second chance with Ebben, and he, still unseen, joins her in loving harmony, pining for the same thing.

The Ghost of Christmas Future appears and takes Ebben to his New York penthouse ten years in the future, 1919, where Older Ebben sings of the joys of money in “You Can Count On It,” and unfeelingly refuses to grant the washed-up Lydia even a part in the chorus in his latest musical hit.  When the ghost takes Older Ebben back to the holla, in a twist on Dickens, he learns that it is not Tina who has died, but Belle.  The Holla Folk lay her to rest in the “Singin’ of a Spirit.”  Older Ebben has lost his beloved and the daughter he never knew he had.  He also has learned that, with Death, comes the loss of feeling, and he can never feel again.  Devastated, he sings the haunting “When The Music Stops,” asking how he can possibly go on living. The answer comes when he begs forgiveness, promises to honor Christmas in his heart, and pleads to be allowed to feel again.  Redeemed, the ghost whisks him back to New York City, where he discovers it has all been a nightmare of a dream.  He joyously sings “Gettin’ Back to the Holla,” and hurries there to find Belle and Tina, where they reprise “Listen to the Land.”  The whole company then ends the show singing Ebben’s newest song, one he will be content to stay in the holla and sing for the rest of his days: “A Country Carol.”

On To Oklahoma

ACT ONE:

Grampa is telling George and Alice, his grandchildren, a “windy” about the booming of the Oklahoma territory in the 1880’s. They don’t want to listen, but agree to when Grampa tells them they can be in the story. It is the aniversary of the great Run to the Promised Land in 1889.

Dave Payne is gathering folks to cross the border illegally into Oklahoma to boom the land by forcing the government to open it for settlement. He, his comon-law wife, Anna, their son George, and Bill Couch sign up Frank McPherson and his children, Sarah nad Alice. Marsh Murdoch scoffs at the notion, but Payne thinks he has the man who will make thousands follow him: Pawnee Bill. At the last moment, Pawnee joins Buffalo bill’s Wild West show instead, but Frank knows the way and the expedition is on.

Meanwhile, two cowboys, Jim and Dusty Dan, come in from the range. Jim meets Sarah, they get off on the wrong foot, but Sarah is eventually won over enough to share her dream with Him: planting an acorn on her own special spot in Oklahoma. Jim is torn between his growing love for Sarah and his knowledge that nesters like her will destroy his way of life forever.

In a saloon brawl, Jim saves the life of an Indian, Lone Wolf, when Jake Adams, Jim’s rival for trail boss, tries to stab him. Lone Wolf promises to repay the debt someday.

Out on the prairie, Jim, Dusty, and Jake show the cavalry where the boomers are camped. Jim is forced to identify Payne, thus sending him to prison and driving a wedge between him and Sarah which Charlie Wickmiller, a photographer from Back East, is happy to fill.

Charlie’s pictures make Payne’s movement to settle the Oklahoma terribory nationally known. The President and congress are forced to deal with Payne’s demands. They do so in typical Washington fashion: passing the buck. Payne, disgusted, returns to Wichita to organize another expedition and learns that his fight in the courts has paid off: a judge has declared that settling Oklahoma is no longer illegal!

At this point, Ben Miller, the cattle baron, takes matters into his own hands and has Jake Adams deliver Payne a bottle of poisoned whiskey. Tragically, Payne dies-on the verge of realizing his dream.

At the funeral, Jim tries to explain his behavior to Sarah, but she won’t listen, so he decides to join Pawnee Bill’s Wild West Show and get as far away from Sarah as possible. Now who will lead the settlers into the Oklahoma Territory? As Payne’s coffin is lowered into the grave, Bill Couch steps forward and promises to lead the Boomers to the Promised Land.

ACT TWO:

Lone Wolf, who has followed Jim into the Wild West Show, convinces Jim to return to the Oklahoma Territory and leave this mockery of things they both hold dear. Once there, Jim spends with with Lone Wolf and his father, Eagle Chief, gaining a new appreciation for the land as something more permanent than a place to drive cattle over.

Jim tracks down Sarah, only to learn she is married to Charlie and they are making the Run. Jim decides to claim a special spot only he knows about and give the land to Sarah.

In a musicalized ballet, the Boomers reenact the Run of ’89. Jake kills Charlie in a land dispute, and Jim seeks frontier justice with his gun. Jake has Jim in his sights and is about to pull the trigger, when Jake suddenly falls dead. Lone Wolf steps out of the shadows: his debt is repaid.

Jim finally gets up his courage and asks Sarah to marry him. She accepts, and Gramps-who is Jim gown old-finishes his “windy” by dividing his claim in two and giving half to each of his grandchildren, passing the sacred land on to the next generation.

Battlecry - The Musical

Battlecry musical banner

In the early morning dawn of November 19, 1863, six figures appear at the site of the national cemetery in Gettysburg, Pennsylvania for the day’s dedication ceremony. Only two were soldiers in the monumental fighting that took place there four months earlier, but all bear the scars of battle.

Amelia Christianson, young, pretty, and affianced to Frank Smoker, a Union soldier. Frank is marching to Gettysburg. Quentin Johnson, a rebel, tells his friend Joe that he hopes to get some new boots for his bare feet. And while these characters are heading for town, two freed blacks, Isaac Hampton, and his wife, Sarah, are fleeing Gettysburg. Four soldiers and four citizens whose lives will intersect at the crossroads of the little town that saw the biggest battle of the Civil War.

Lee, Longstreet, Meade, Chamberlain, the iconic leaders, struggle with each other over how best to win while the battle is brought thrillingly to life through the dramatized diaries of real soldiers and citizens.

BATTLECRY is a heart-warming story of the real meaning of Lincoln’s “last full measure of devotion.” The songs will cheer you and move you, reminding us that even in the midst of terrible agony, there can be joy, love and healing.

Musicals for Children

Glory Road

GLORY ROAD! is the story of a wacky character, MR. HISTORY, who takes five ethnically-diverse 10-14-year-olds back in time to show them that history is not the boring subject they think, but is actually quite exciting.

The 5 kids and Mr. History play multiple parts in depicting the story of a runaway slave and his son who are led north by Harriet Tubman. They are chased by a slave-catcher in a series of exciting vignettes, and the son is separated from his father and Tubman. These two finally reach the safety of Quakers in Chester, PA, who disguise the slave as a grieving widow in a funeral procession to get him safely onboard a ship bound for Canada. The slave-catcher shows up at the funeral with an affidavit for the slaves’ arrest, but the unexpected return of the lost child, combined with the outrage of the local populace, drives the slave-catcher away and the slaves go free.

Years later, the slave father accidentally meets one of the Quakers who had helped him escape, and reveals that he is now well-off, happily married, and enjoying his freedom. The kids are now excited by history upon their return to the present, and Mr. History leaves them to go and find other children to enthrall with his magical time-travellin’.

SONGS: “Glory Road!”; “Go Down, Moses”; “Star”; chase music.

Dream...

DREAM is the story of the days the young Dr. King studied theology at Crozer Theological Seminary in Chester, PA. Here, through reading and experience-especially the painful experience of having to renounce his love for a white woman in order to preserve his career as a teacher in the black community-King developed and refined his theory of nonviolent resistance based on the Greek idea of “agape,” a love higher than one’s self. Meeting Rosa Parks and leading the Montgomery Bus Boycott in 1955, King’s believes were sorely put to the test. He had to endure threats, bombings, and jail, while convincing his followers not to answer violence with violence, but with agape. The musical excitingly dramatizes how a person can carry what he or she learns in the classroom into the “real world,” where it can sometimes transform the actions and feelings of a whole nation.

SONGS: “TRAVEL THE PAST,” “TIRED”, “AGAPE”.

Whalesong

WILLIE, a humpback whale from the “country,” is anxious to depart the waters of the Caribbean for the coast of New Jersey to meet again his truelove, WANDA, a female humpback from the “north.” He’s been practicing a song he wrote just for Wanda, but it’s “different” and maybe Wanda won’t like different. His buddy Dolph, a dolphin(surprise!) tells him that different is good, and, together with their turtle friend SAMANTHA, they swim north to the strains of “MOVIN’ ON UP THE LINE.”

When Willie finally sees Wanda, he is star-struck-her flippers, her tail, her fluke, the way she breaches leave him practically swooning. Her bluesy rendition of FLUKE SALUTE only adds to her appeal, but finally Willie gets up the courage to ask her to the fishfry and she says yes.

At the ‘fry, Dolph mocks the way humans always put spices on seafood and sings a “spicy” tango to the joys of eating the natural way: EAT IT PLAIN. Then the feasting begins. But Willie accidentally swallows a balloon dropped from a tourist boat. Wanda takes care of him, and this presents Willie his chance-with much prodding from Dolph-to sing her his song, “YOU SHAKE ME TO MY BONES.” Wanda is duly impressed, but just as they are about to kiss, she hears the motor noise from another tourist boat and, unable to resist the chance to perform her famous fluke salute, dashes off towards the boat.

Willie chases her (through the audience, if possible), warning her about the danger of boats. He is distracted, however, by the sudden appearance of a FISHERMAN, who apparently has fallen overboard and become trapped in his own fishing net. Singing whale songs to calm him down, Willie manages to use the sharp barnacles on his back to saw the fisherman free. As the man swims to the surface, Willie hears a terrible scream from Wanda.

The next morning, Wanda “wanders” in, her fluke heavily bandaged from a run-in with a boat propeller. Now she’s the “ugly” one, not Willie. Now she’s the one who’s “different.” The star singer has been brought down a notch or two. But that’s just the way Willie wants it. He convinces Wanda that there’s nothing wrong with taking the time to appreciate the things around you-“Slow down and smell the seaweed.” And, together, the whole company reprises the FLUKE SALUTE with its timeless message, “Whoever you are, you’re a star!”

Paul Revere Rides Again

Angela hates history and doesn’t mind saying so. One day, after shouting how boring history is, the magical Mr. History suddenly appears. He, the world’s greatest ham, sings HISTORY IS HIP!, regaling Angela with a succession of exciting historical characters, including Columbus, Beethoven, and Johnny Appleseed. An avid collector of hats, Mr. History admires Angela’s, and bets her that she’ll be singing history’s praises before the day is through, if she’ll only come along with him on a trip back through time. He gives her a tri-corne and they do the Time-Warp Spin back through time to a town meeting in Boston, Massachusetts, where Sam and John Adams, John Hancock, and James Otis wonder how in the world they can pull off a revolt against the mighty British nation.

Sam Adams answers that question in RECIPE FOR REVOLUTION, a stirring song that ends with Angela whipping her hat in the air and congratulating the colonists with “Gimme five!” and “Right on, Brother!” The colonists wonder what alien has entered their midst, but Mr. History, frantically grabbing History Hats from his History Trunk, plunks them on her head, transforming her first into Mother Goose, then a baseball player, and finally into a messenger sent by the Massachusetts Governor, Thomas Hutchinson.. When the colonists rush out to dump the tea into the harbor, Angela wants to join them, but Mr. History restrains her.

She is definitely developing a case of “Historical Curiosity,” however, which only grows when Paul Revere’s horse, played by two actors in a costume, a la vaudeville, wanders on complaining that Revere gets all the credit while he does all the work. In a hilarious soft-shoe for four feet, called WHERE WOULD MANKIND BE WITHOUT THE HORSE(I’D LIKE TO KNOW), he makes his case for the horse as man’s best and most helpful friend.

He is interrupted by the appearance of Paul Revere, who tries to ride his horse. The horse will have none of it, however, and a chase ensues through the audience-including the horse’s front and rear ends running in different directions!–, but finally Revere catches his horse and off they go.

Angela is even more swept up in the excitement of history this time, but she still won’t sing “History Is Hip” to Mr. History and lose the bet-and her hat. So he spins them to another time way back when: a military drill of some would-be colonial recruits led by John Sullivan. Somewhat like the Mechanicals in “A Mid-Summer Night’s Dream,” this group of misfits shows how ill-equipped America was with men who knew how to fight. They sing YOU GOTTA FIGHT FOR WHAT YOU BELIEVE IS RIGHT, and while they don’t lack for spirit, they do lack for direction-continually bumping into each other and tripping over their muskets. When Revere enters with word that the British are sending reinforcements to for William and Mary, the “militia” dash off to attack the fort.

Mr. History and Angela spin back to Boston for the beginning of the famous ride. Using Longfellow’s famous poem, Mr. History unfolds the tale of this momentous moment in American history, with Revere speaking the words Longfellow wrote for him. Chased by a British officer, Revere “rides” into the audience, where Angela and Mr. History help him escape. At house after house, he shouts “The Redcoats are coming!” until he finally reaches John Hancock and Sam Adams, who have been hiding in Lexington. When they praise Revere for saving the whole American cause, he modestly replies that all he did was “take a little ride.” Hancock and Adams show how much more it was than that in LITTLE RIDE, at the end of which Mr. History and Angela spin back to the present.

Angela, who has thoroughly enjoyed her trip back through time, is caught singing LITTLE RIDE by Mr. History, who thinks he has won the bet. But Angela stubbornly refuses to concede that history is hip, so Mr. History finally has to turn over his trunk full of hats to her. Alone onstage, Angela watches the Historical Characters she has just encountered slowly enter and lay their hats at her feet. Convinced at last, she sings HISTORY IS HIP with the entire company as the show ends.

CAST:

  • MR. HISTORY: a totally zany song-and-dance man who thinks he is the world’s greatest magician-though, of course, he is not. Male, 30’s or older.
  • ANGELA: a tough 12-year-old girl, African American in the original, but of any ethnicity.
  • CHORUS: four males of any age play all of the remaining characters: Christopher Columbus, Johnny Appleseed, Shakespeare, Beethoven, Sam Adams, John Adams, James Otis, John Hancock, Revere’s horse(two people), Thomas Hutchinson, John Sullivan, Peter Peabody, Edward Everett, a British officer, and an American sergeant.

NOTES ON PRODUCTION: This musical does not need much in the way of sets besides Mr. History’s History Trunk. The costume of the horse may have to be built. Mr. History and Angela need only hats to make their magical transformations to various characters. The show is designed to easily tour.

SONGS:

  • HISTORY IS HIP!
  • RECIPE FOR REVOLUTION
  • WHERE WOULD MANKIND BE WITHOUT THE HORSE(I’D LIKE TO KNOW)
  • YOU GOTTA FIGHT FOR WHAT YOU BELIEVE IS RIGHT
  • LITTLE RIDE

Common Sense

Wacky Mr. History sings to Angela that “HATS ARE FAT!” and bets her that he can prove that the “pen is mightier than the sword,” that writing is actually doing something. To do so, he time travels with her back to Philadelphia, December 10, 1775, where Mr. History sets himself up as barkeep and Angela as barmaid in a tavern populated by Dickinson, Paine, Wheeze, and Franky.

Wheeze keeps sneezing Angela’s hat off her head-and without her history hat, she reverts to her present-day self, which causes much humorous confusion. Franky wants Wheeze and him to head west, but Wheeze remains loyal to his employer, John Dickinson. When Paine begins to pontificate, Wheeze ridicules his “crazy ideas”-such as the notion that women mean just as much to society as men, or the idea that slavery is “an outrage against humanity.” Dickinson challenges Paine to a public debate in one month’s time, but Paine hesitates: the penalty for treason is hanging. Dickinson, Wheeze, and Franky mock him in the song, “YOU’RE A PAIN, PAINE!”

Paine is dejected, but Mr. History and Angela cheer him up with the words of “COMMON SENSE,” and Paine goes off to accept Dickinson’s challenge. Trying to put his ideas into words, however, proves to be harder than Paine thought, until Angela has the idea of letting him wear her hat for inspiration. With hat off, of course, she reverts to her present-day self, so Mr. History once again has to sort things out. Finally, Paine finds inspiration and begins to write furiously.

Mr. History runs into Franky and Wheeze in the street-or, rather, Franky runs into him, trying to avoid McSneeze’s powerful sneezes. The poor Scotsman explains his plight in “THE CURSE OF THE AH-CHOO,” complete with a Hallelujah-like chorus of sneezes. If only he could get Dickinson to promote him to valet, he could get out of the stable and away from the horses, which cause his affliction. Then McSneeze remembers the reward money for turning in a traitor and he and Franky dash off to Paine’s house.

Angela beats them there and hides Paine’s manuscript, so the debate can go on as scheduled. Using quotes from his famous essay, Paine’s arguments against Dickinson, who favors submission to England’s will, convince McSneeze that his true loyalty lies with those patriots who are not afraid of change. Because of the power of Paine’s words, McSneeze quits his job as Dickinson’s stable master and joins the patriot cause. It is, as they all sing, only “COMMON SENSE.”

CAST OF CHARACTERS

ANGELA: Hip, cool, tough, girl with street savvy. Age 12. African-American.
MR. HISTORY: Totally zany showman, combination of Robin Williams and Chris Rock. Age doesn’t matter, except that he’s older than the kids are.
WHEEZE MCSNEEZE: Fat, humorous bully. Scottish accent.
FRANKY HANKY: Small and weak, fast talker, carries a large handkerchief to protect himself from McSneeze’s affliction.
JOHN DICKINSON: Well-dressed businessman, powerful speaker, a bit snobbish.
TOM PAINE: Bad dresser, excessive drinker, overly argumentative-but not obnoxious.

SONGS

“HATS ARE FAT!”
“YOU’RE A PAIN, PAINE!”
“COMMON SENSE”
“THE CURSE OF THE AH-CHOO”
“HISTORY IS HIP”