Fans and artists,
Just a word of explanation to give the context of the excerpt here from the opera based on Leonard CohenŐs songs/music—the operaŐs title IŐm hesitant to name but it is subtitled ŇA Musical Experience.Ó
ItŐs a opera because all the characters sing their parts, unlike a musical-theatre production where the storyline is usually spoken in dialogue and the songs accent and support the action. In an opera, the songs and music tell the whole story.
The opera takes place in two acts:
ACT ONE — Metamorphosis of A Poet and Lover
ACT TWO — Education of The Universal Man
The
story is the journey of a man, an artist, through the dramas and conflicts that
we all live out: youthful aspirations, falling in love, losing love, ambition,
winning our achievements, paying the price of them, and struggling to not lose
our way. Each scene builds on
the last and connects the next, completing the arc from youth to old age. Being part of a whole, the songs have an
added resonance in context.
At
this point in the story—where the excerpt is taken from—the leading
character is living the life he sought to achieve, a particularly public life
in that of an artist, and it is not all it was cracked up to be.
The opera libretto (a fancy name for the written book/manuscript) was created to be read by the players, not the audience/public, so the form and notations may be unfamiliar:
The
characters/singers parts are indented and where the ellipsis (
É )
occurs at the end of
a lyric line, the singers continue the song (until the next indention, or the
end of the song). The lyrics are
not written out entirely (though they are sung entirely in performance)—they are a guide for placement with
the stage and character directions.
[Any stage production is a collaboration among
all players, and hopefully fresh at each performance, so the synchronicity
among singers and dancers might deviate slightly from the script, spontaneously
in performance.]
ŇStage rightÓ and Ňstage leftÓ are from the playersŐ perspective. Opposite to the audienceŐs view of the stage.
ŇIn the windowÓ—the stage-right wall of the set has a window, framed or unframed, expansive or narrow, through which we glimpse something outside.
ŇStage leftÓ—downstage of the entrance/exit upstage-left is an anteroom, marginal like a corridor but open to view, where stage action plays counterpoint or complementary.
The
Characters
|
ŇOAÓ |
Old Artist |
|
ŇMAÓ |
Middle-Age Artist |
|
ŇYAÓ |
Young Artist |
|
ŇBOYÓ |
Artist as a boy |
|
The CHORUS |
Greek chorus, gospel chorus, angels,
Burlesque queens, maintenance workers, Pop Back-up singers, circus troupe includes Chorus Soloists |
|
SINGERS |
Multi-racial men and women in varying ages portraying various characters (as noted in libretto) |
|
DANCERS |
Multi-racial men and women in varying ages, including a boy and a girl, portraying various characters (Mother Dancer, Nun Dancer, Homeless Dancer, Cowgirl Dancer, Biker Dancer, Trapeze Dancer, Lover Dancers, Gang Dancers, Ballroom Dancers, Jester, Cop, etc.) |
|
NON-DANCING CHARACTERS |
Bartender, Old Men in Suits, Blue-Faced Drunks, The Marginals, etc. |
|
MUSICIAN SOLOISTS |
Guitarist, Calliope player, Mandolin player, Pianist, Saxophonist, Violinist, Accordion player, etc. |
|
The ORCHESTRA |
(in the pit) |
[Excerpt]
PIANO plonks out its tune as BACK-UP SINGERS push up their breasts, wet their lips, and squeeze into their spotlight upstage for maximum effect.
Spotlight downstage on OA glares, full and isolating. He takes up his microphone on the stand.
OA brings his hand up above his eyes against the blank glare, trying to see through to the audience in the theatre.
PIANO plonks, plonks É
Spotlights fade and the music ends. House-lights go up. But OA remains standing as STAGEHANDS take away his microphone and equipment and exit with BACK-UP SINGERS upstage left.
On his way out, a STAGEHAND hands OA his raincoat.
Upstage left: the red-flashing Exit light fades to a shadowy pink as house-lights are switched off.
In the window: searchlight beams go dark—the partyŐs over—and a moon rises with a frosty aureole.
OA looks up at the waning moon as he puts on his coat.
A faint blue cast of the moon reveals the CHORUS silhouetted in shadow on the upstage dais.
OA wanders toward the moon, then back downstage which is lit only by footlights. In this empty theatre, without an audience, he is gapingly alone.
In the window: the moon grows distant and a neon ŇMotelÓ sign flashes.
OA pulls up his coat collar and walks stage right as HUSTLER DANCER enters, approaches stealthily. OA pulls some cash out of his pocket and hands it to him.
OA takes a lit cigarette from HUSTLER, inhales deeply—hands it back. The red flame glows and trails as HUSTLER moves off into darkness.
A puff of blue cigarette smoke spirals above OA. He reaches up and tries to grasp it—but it evaporates.
He turns back into stage shadow and follows the little burning spark.
Stage left: blue light rises on PIANIST seated at a piano. He plays a solo as OA listens.
A smoky alley-light fades up center stage on three CRAP-SHOOTERS bent, hovering, rolling dice. OA joins them, leaning in close to the comfort of bodies.
Stage left: blue light glimmers as PIANIST solo continues the haunting lament.
Stage light fades on CRAP-SHOOTERS. OA sinks into his coat collar and walks stage right as the ŇMotelÓ signŐs blinking reflects across the stage.
A SEDUCTIVE DANCER (ŇLady of the EveningÓ) enters out of the dark and lures OA from behind in a sensuous tango move. He responds reflexively—desire flaring—and turns to embrace her.
They dance a slow, heated tango.
SEDUCTIVE DANCER imposes an aggressive tango challenge—OA hesitates.
One of the CRAP-SHOOTERS slips in cleverly and makes his tango move on her. The couple dance away into the shadows, leaving OA stranded.
The couple kiss fiercely before exiting through the pink light upstage left as OA glances back sharply at them. He laughs at himself, nearly stricken.
In the window: night grows darker, the flashing ŇMotelÓ sign less frequent, and the moon so far away.
OA buttons up his coat and moves on.
He walks one way, then turns and walks another as if turning corners of city streets.
OA stops, listens: piano notes falling like footsteps, an echo is what is not there.
Stage left: PIANIST plays solo interlude.
OA walks in the direction of dimming ŇMotelÓ sign. CHORUS rise to go.
Stage left: PIANIST gets up from piano and exits upstage (though piano notes continue).
In the window: it starts raining—ŇMotelÓ sign colors meld into wet shine.
Stage left: the PIANO plays itŐs music in the blue light.
OA exits, singing, downstage right as CHORUS file off upstage left.
In the window: the rain becomes a downpour, obscuring the moon. ŇMotelÓ colors dissolve. The stage falls into grey shadow.
Stage left: the soft blue light fades down on the piano—the last chords echo through darkness.
The sound of RAIN.
A SOFT PATTER. Then SILENCE.
Upstage left: very gradually, a brighter light fades up. OA enters through it, his coat dripping wet. He shivers like a sorry stray.
In the window: high up a slick reflection of streetlight like that off a wet sidewalk. Below it just the intimation of a basement wall, underground.
Stage left: brash light emerges above the Last Chance Bar counter. A ŇBUDÓ beer sign blinks temperamentally on the sideboard as a WEARY BARTENDER pours shots into stubby glasses.
OA takes off his coat and throws it on a bar stool—snatches up a shot and downs it.
Upstage center: jukebox lights flick on, sending colorful swirls around the room.
DESPERATE GIRL DANCERS—in Cowgirl, Biker-Chick, and Se–orita get-ups—dance center stage trying to lure SHY MEN DANCERS who nervously hover together stage right in loud Hawaiian and Cowboy shirts.
BIKER DANCERS enter stage left, zipping up their flies, and line up at the bar with their shots. A HANDSOME BIKER lands a tough-guy slap on OAŐs shoulder, which causes a coughing fit.
A COUNTRY TRIO with FIDDLER enter downstage right and set up. ALL DANCERS promptly down the last of their drinks and get ready-and-willing—stupidly smiling.
TRIO plays with the FIDDLER taking the lead.
A SE„ORITA makes her move on OA at the bar, who is proceeding to get wasted.
SHY MEN find their nerve and rush on the DESPERATE GIRLS.
FIDDLER fiddles sublimely. ALL dance: stiff nerdy waltzes, flailing jitterbugs, square-dancing, and shimmying salsa.
Two SHY MEN dance the pony, hop from spot to spot like bouncing pogo-sticks.
DANCERS mix it up, leave one partner for another, change dance styles.
A Biker-Chick rips her blouse off to reveal a cowgirl bustier beneath. Yee-hah!
BIKER at the bar go wild, rush over to cut in on SHY DANCERS and trip over themselves, and partners, drunkenly.
FIDDLER fiddles a blue streak.
Biker-Chick in the bustier takes OA by his hand and leads him out to dance—heŐs drunk and sheŐs horny so itŐs a sloppy grab-and-fumble slapstick.
SHY DANCER comes alive suddenly and slides his SE„ORITA partner through his legs and then high up into the air, her ample bright skirt covering his happy head.
DANCERS on the floor sigh, cry out, kiss each other—some missing the mark, others swooning, a few immobilized in it.
The TRIO and FIDDLER play wildly.
OA follows his Biker-Chick partner across the floor like a leashed puppy.
Biker-Chick yanks off her leather chaps and reveals a marvelous ass. OA drops to his knees in awe.
Biker-Chick finds another dance partner—they quickstep around OA on the floor.
Other COWGIRL and SE„ORITA DANCERS rip their blouses off while SHY DANCERS chase them longingly.
Stage left: DANCERS at the bar whoop it up, splashing each other with drinks.
DANCERS on the floor wind down to the weary pace of marathon dancers.
Stage left: a COWBOY and BIKER slump dead drunk on the bar counter.
HANDSOME BIKER helps OA up off the floor and escorts him clumsily to a bar stool. WEARY BARTENDER pours them another drink absently, though neither go for it.
Stage left: An ANCIENT COWGIRL comes and nuzzles OA in his stupor.
BARTENDER signals Ňlast callÓ and DANCERS scurry drunkenly to get another drink and a last partner.
Stage left: the ŇBUDÓ sign sputters explosively, then dies out. BARTENDER brings up full stage lights.
Everyone blinks and scatters.
Stage left: HANDSOME gives the ANCIENT COWGIRL the ŇadiosÓ and strokes OAŐs drunken head tenderly.
DANCERS on the floor swallow their last drinks and hang onto each other for all itŐs worth—rousing themselves for a final wild dance.
HANDSOME gets OA on his feet for a last dance. The place is sloppily rocking and the BARTENDER is shoving drunks off his bar.
Even the ANCIENT COWGIRL tears her blouse off (an ancient granny-corset beneath) and a SHY DANCER lays his sappy head on her sagging chest.
HANDSOME wipes OAŐs forehead and strokes his head in motherly tenderness as they dance. OA wraps his arms around him and hugs him gratefully.
BARTENDER goes berserk and tries to sweep everyone out.
DANCERS and OA try to get their clothing back on and start exiting upstage left—straggling together for support, crying and laughing, blushing and bowing.
ALL straggle off drunken and weary, smiling sadly, smiling badly, smiling É
TRIO and FIDDLER exit downstage right. Voices fade in the distance:
WEARY BARTENDER lowers a big switch. Stage goes pitch black.
LAUGHTER, then a SLAP. A man CRYING. A woman COOING.
In the window: expands to the rise of dawnŐs stark promise—a harsh unearthly light, lonely and hollow like every hangoverŐs morning of raw reality. Church spires peak through the starkness: Sunday morning—silent bells and birds fluttering in church towers in an empty sky.
A light fades up center stage, though the stage margins remain in shadow.
Stage left: muted light on an alleyway shelters OA and HANDSOME BIKER, passed out with heads fallen against each other, slumped beside a rubbish bin.
HANDSOME wakes, raises his hand to his bleary eyes and squints at the light. He gently lifts OAŐs head off his shoulder—OA wakes and holds his hurting head.
HANDSOME helps OA up and they hobble together out into center stage.
They straighten themselves, embarrassed by their drunken intimacy (what they can remember of it!) and slap each other in manly salute.
Light glimmers down, as from a church window, on CHORUS seated on the dais with heads bowed over their gospel robes.
HANDSOME wanders off, losing himself in the shadows.
The slow percussion beat of ŇAnthemÓ intro sets OA moving—but stilted and undirected.