Take it to the Top

Q. Do you know who I am?

A. That depends.

Q. On what?

A. On what day it is and what mood I’m in.

Q. And what day is this?

A. It’s the Day of Reckoning.

Q. Day of Reckoning?

A. Well – perhaps not in the strictest sense.  That day is in God’s hands, not mine.  But in my own limited realm of self, I essentially have reached the place where something has got to happen, or else I just know  – from knowing myself — that I might implode.

Q. What would “imploding” entail?

A. I don’t know, man.  Some kind of total breakdown.  I’ll think of something.

Q. So you secretly *want* to implode?

A. Of course not!

Q. Then how can you avoid it?

A. That’s a good question.  I would say, by coming to terms with my issues of frustration.  Not so much anger issues — that would be true in a different sense, in a different context — but issues of frustration.   Frustration, and — confusion.

Q. Can you elaborate, please?

A. I will try.

Sad man silhouette worried on the beach

In certain sects of Buddhism, we are taught that frustration and confusion are the natural states operative in the human condition.  I resonate within this framework, to a degree.  I find that they work in concert with each other, within me.  My oft-expressed frustration with my professional and creative challenges seems to be proportional to the confusion I have as to how best to actualize my artistic goals.   Take this musical, for example, Eden in Babylon.

There are basically two ways I could go about this.  One way would be to complete my package, including a vocal score, demo of three songs with instrumentation and vocals, and complete libretto — or musical script — and submit the package to theatre companies interested in producing original musicals.  I have a few companies in mind, several of which include people with whom I’ve worked in the past, people who respect me enough that they will probably prioritize taking a look at my work.    This way of going about it would cost me considerably less money than the second way.

Q. What’s the second way?

A. I was just getting to that.  It involves coming up with a budget of about $50,000 and self-producing the show.

Q. Roughly speaking, how would that $50,000 be spent?

A. First off, I would find a theatre of sufficient size to accommodate a 27-member cast and small orchestra, as well as (perhaps more importantly) a moderately large audience.  Let’s say, about a 400-seat house.   Included in the budget would be the rental rates for a run of, say, twelve performances — ten evenings, and two matinees.  

Q. What next?

A. Hire the production staff.  I would need to pay a technical director, a stage manager, an ASM, a musical director, a rehearsal accompanist, perhaps a separate conductor and/or vocal director, a choreographer, a lighting designer, a set designer, a costumer, a props master, and a few other stage hands and gophers.  Oh – and a director.

Q. And then?

A. Auditions.  Although there would probably only be a mild stipend available for most of the Actors, the cast quality would be strengthened if we included at least three Equity Actors, hopefully reputable, popular Actors and Actresses.   In fact, I would even call people I know, people with whom I have worked in the past, to check their availability, if need be.

Q. So the Actors you have in mind would need to be available during the period when the theater has been rented?

A. Yes.  During the run.  I might even try to get the run to coincide with the prior availability of somebody whom I want very badly — for example, the main character, Winston Greene.   

Q. Any ideas who can do that?

A. The ideas are brewing, but not yet solidified.  We need a dynamic rock tenor capable of coming across like a 23-year old man.  And there are certain other requirements.   Could be a challenge.  But he’s out there somewhere.   

Q. What about the other main characters?

A. I have two people in mind for two of the supporting female roles, but nobody specifically lined up for the female lead, Taura.  Both the male and female leads will probably need to be AEA, along with the male antagonist: Benzo Diablo.

Q.Benzo Diablo?

A. It’s a play on words.  If you’ve ever taken a valium, you probably know what I mean.

Q. Now why would I ever do a thing like that?

A. I don’t know – that’s up to you.

Q. Well, this is mounting up monetarily.  But don’t you think $50,000 is a little steep?

A. Not at all.  We need props and set pieces.   I may need to hire a Master Carpenter.   Lights might be provided with the theatre itself, but there will also be technical effects.  It adds up.  I can do it on $50,000 — and do it well.

Q. What will be your own role in the production?

A. As the Author, it stands to reason I should be somewhat detached.   I would want my presence felt, but not in such a way as might interfere.  Moreover, I would like to come see the show, and not to have to be involved with performances. Perhaps I would be the Accompanist, Vocal Director (but not conductor) or even the Artistic Director.  Of the three, Vocal Director is my forte.   But any one of those positions would enable me to actually come and see the show on Opening Night, perhaps even with a date.

Q. Aren’t you dreaming?

A. I am indeed.  But what does the Bible say?

Q. I don’t know — what does it say?

A. It says:

And your young men will see visions, and your old men will dream dreams.
Joel 2:28

 

Q. Are you an old man, Andy?

A. Well, I sure ain’t gettin’ any younger.  I might be putting a little wear and tear on the old running shoes, but sometimes I feel like the only race I’m running is the race against against Alzheimer’s trying to get this show on the road.

Q. Do I detect a wee bit of impatience?

A. What you are detecting is Awareness of Mortality!

Q. And when you were younger?

A. I saw visions.   This is one of them.  My dream is for others to see it, too.

Q. But wouldn’t the first way be easier?

A. Not necessarily.   For one thing, it’s proven more difficult to get singers interested in helping me make a demo for a show that no one knows will ever be produced, than it naturally would be for one that had a definite production schedule.  In fact, with definite production dates, after holding auditions, I might not even bother with the demo.  Not to mention, there would be a lot of compromise in taking the less expensive route.  Compromise – and working intensively, sometimes intimately, with others.  Multiple conflicts of interest, and strange bedfellows abounding.

Q. But wouldn’t $50,000 be a considerable chunk of change?  I mean, how likely is it that you, Andy Pope, who has been homeless throughout most of the 21st Century, will actually come up with $50,000?

A. Oh, it’s very likely indeed.  For I have taken this matter to a spiritual level – not only to my pastor and close spiritual confidantes, but all the way to the Top!

Q. To the Top!?

A. You heard me.

Q. Really?  The Top?!?

A. Is there an echo in here?

Q. But aren’t you being a bit — grandiose?

A. Grand? Yes.  Grandiose?  Perhaps.   Delusional, however, as in “delusions of grandeur” — no way, buddy boy!  This type of grandeur is written in the Stars.

Q. You seem a shade more — confident than usual.   What about confusion?  What about — frustration?

A. Very good questions indeed.   These truths, my friend, are for me to know – and for you to find out.

TO BE CONTINUED

My Pitch – Reiterated

Re-posted from the original ‘pitch’ of August 15th of this year.   Not one word has been changed.  Unfortunately, not much of anything else has changed either — yet.  

I have been flagrantly panhandling online for far too long for the sake of the advancement of my project.  I suck at marketing, sales, and advertising.  In fact, all those departments annoy the living daylights out of me.  I rock at playwriting, singing, playing the piano, writing music, musical direction, and homeless rights activism.  Blogging probably falls somewhere in the middle.

online-business-to-start-nowIt has occurred to me that if people perhaps knew why I’ve been asking for money, and where the money would be going, it might help me to get some donations from sympathetic people who can afford to do so.  So here goes.

I’m a person who has written a musical, and I would very much like to see this musical produced.  The musical paints a picture of the effects of homelessness on the youth of today’s America.  It is a very positive, upbeat show with an extremely encouraging, happy ending.  I have written the entire script, all of the music, and all of the lyrics.

But there I stop.  It will not be possible to move further toward the production of this musical without getting the kind of green stuff that doesn’t grow on trees.  This stuff is not known to come wafting through the window.  So I need to make a pitch.

There are numerous hurdles I need to surmount before anyone is going to take a look at this show — that is, anyone having the power to produce it.  First and foremost, I need to make an adequate demo recording of three or four of the songs, with real singers singing with their real voices, rendering the melodies and harmonies I have so meticulously created in the musical score that I have painstakingly composed, over a number of years, as I have been passionately absorbed in this project.

Talking around campus, and especially at the local School of Music, I get the feeling there are competent singers who will get behind me.  But like all singers, they will need to be paid.  My songs are catchy, urban, progressive show tunes, Broadway-influenced, and according to many, Broadway-bound.   However, it’s not the kind of stuff that even the quickest of studies are going to be able to pull off with minimal rehearsal.   No singer worth their salt is going to want to lend their voice to this endeavor without at least two or three rehearsals, prior to recording.  The very least I feel I should pay such a singer would be $125 for the whole shot.   I also need five singers to pull this off.  Even some of those five voices will be doubled or tripled, in order to replicate the chorus sections of the musical numbers that I have scored.

I am a serious composer who emphasized in Music Theory and Composition at a major Conservatory, and I hung out with my composition mentor, Dr. Stan Beckler, till shortly before the day he died.  My music draws from folk, classic rock, hip-hop and rap as well as from traditional comic light opera, but by no means does it entail your typical, tired old  1-4-5 progressions.  I have taken great pains to honor the genre of my youth, and bring fresh life and vigor to my favorite Performing Arts Form.  So basically, I need $625 to get started with this leg of the project, and create a decent demo of at least three songs.

I am technically situated so that I can record the singing over the instrumental tracks you hear on this page, eliminating doubled melody lines when necessary, to emphasize the live vocals.  This will sound a lot more authentic than one might think, and any irksome complaints regarding the “canned” use of the “electronic” sounds wll be instantly jettisoned, once my project is heard.   If I had the money to hire musicians and schedule studio time, I would probably go that route instead.  But I don’t have the money, and it would take quite a bit more rehearsal time — so this is the starting point that I propose.

It has not been easy to write these words tonight, much less paste them in three different spots on this web site, and blast them all across the Internet, to the expected ridicule of those who don’t believe me.   But because I know what I am doing — musically, artistically, and theatrically — in the realm of Musical Theatre where most of my lifelong experience lies, I can confidently tell you that I will back up my claims with action — as soon as I have the bucks to make it happen.

powerofprotestWe can take it from there.  I am not above self-producing the show locally, and directing it myself.  But all these moves will require money, which a mere church musician in between jobs on a fixed monthly income cannot possibly conjure.  Rather, if I could conjure up that kind of capital, I’d neither have the time nor the energy to pursue my passion, and the dream of my lifetime will land in my grave.   Daylight’s burning.  I’m in my sixties already.  Let’s get a move on.  Let’s get this show on the road.

If you’ve been reading this blog, and listening to my music, and reading my posts about the Homeless Phenomenon in America, then get the word out to those who have the power — assuming you don’t have the power yourself.

And power to the people.  Power to all the people!  Power to the Homeless People of the United States of America.

Please donate to Eden in Babylon.
Anything Helps.

My Pitch

I have been flagrantly panhandling online for far too long for the sake of the advancement of my project.  I suck at marketing, sales, and advertising.  In fact, all those departments annoy the living daylights out of me.  I rock at playwriting, singing, playing the piano, writing music, musical direction, and homeless rights activism.  Blogging probably falls somewhere in the middle.

online-business-to-start-nowIt has occurred to me that if people perhaps knew why I’ve been asking for money, and where the money would be going, it might help me to get some donations from sympathetic people who can afford to do so.  So here goes.

I’m a person who has written a musical, and I would very much like to see this musical produced.  The musical paints a picture of the effects of homelessness on the youth of today’s America.  It is a very positive, upbeat show with an extremely encouraging, happy ending.  I have written the entire script, all of the music, and all of the lyrics.

But there I stop.  It will not be possible to move further toward the production of this musical without getting the kind of green stuff that doesn’t grow on trees.  This stuff is not known to come wafting through the window.  So I need to make a pitch.

There are numerous hurdles I need to surmount before anyone is going to take a look at this show — that is, anyone having the power to produce it.  First and foremost, I need to make an adequate demo recording of three or four of the songs, with real singers singing with their real voices, rendering the melodies and harmonies I have so meticulously created in the musical score that I have painstakingly composed, over a number of years, as I have been passionately absorbed in this project.

Talking around campus, and especially at the local School of Music, I get the feeling there are competent singers who will get behind me.  But like all singers, they will need to be paid.  My songs are catchy, urban, progressive show tunes, Broadway-influenced, and according to many, Broadway-bound.   However, it’s not the kind of stuff that even the quickest of studies are going to be able to pull off with minimal rehearsal.   No singer worth their salt is going to want to lend their voice to this endeavor without at least two or three rehearsals, prior to recording.  The very least I feel I should pay such a singer would be $125 for the whole shot.   I also need five singers to pull this off.  Even some of those five voices will be doubled or tripled, in order to replicate the chorus sections of the musical numbers that I have scored.

I am a serious composer who emphasized in Music Theory and Composition at a major Conservatory, and I hung out with my composition mentor, Dr. Stan Beckler, till shortly before the day he died.  My music draws from folk, classic rock, hip-hop and rap as well as from traditional comic light opera, but by no means does it entail your typical, tired old  1-4-5 progressions.  I have taken great pains to honor the genre of my youth, and bring fresh life and vigor to my favorite Performing Arts Form.  So basically, I need $625 to get started with this leg of the project, and create a decent demo of at least three songs.

I am technically situated so that I can record the singing over the instrumental tracks you hear on this page, eliminating doubled melody lines when necessary, to emphasize the live vocals.  This will sound a lot more authentic than one might think, and any irksome complaints regarding the “canned” use of the “electronic” sounds wll be instantly jettisoned, once my project is heard.   If I had the money to hire musicians and schedule studio time, I would probably go that route instead.  But I don’t have the money, and it would take quite a bit more rehearsal time — so this is the starting point that I propose.

It has not been easy to write these words tonight, much less paste them in three different spots on this web site, and blast them all across the Internet, to the expected ridicule of those who don’t believe me.   But because I know what I am doing — musically, artistically, and theatrically — in the realm of Musical Theatre where most of my lifelong experience lies, I can confidently tell you that I will back up my claims with action — as soon as I have the bucks to make it happen.

hippies singingWe can take it from there.  I am not above self-producing the show locally, and directing it myself.  But all these moves will require money, which a mere church musician in between jobs on a fixed monthly income cannot possibly conjure.  Rather, if I could conjure up that kind of capital, I’d neither have the time nor the energy to pursue my passion, and the dream of my lifetime will land in my grave.   Daylight’s burning.  I’m in my sixties already.  Let’s get a move on.  Let’s get this show on the road.

If you’ve been reading this blog, and listening to my music, and reading my posts about the Homeless Phenomenon in America, then get the word out to those who have the power — assuming you don’t have the power yourself.

And power to the people.  Power to all the people!  Power to the Homeless People of the United States of America.

Please donate to Eden in Babylon.
Not Just Anything Helps.

Hunted

The streets at midnight magnify the Hunted.
They are among the weirdest of the wanted,
By cops and hookers constantly confronted.
You do not want to be among the Hunted.

Hunted

from the new musical Eden in Babylon,
exploring the effects of homelessness on the young people of 21st Century America.
Copyright © 2017 by Andrew Michael Pope

All Rights Reserved.

Please donate to Eden in Babylon.
Anything Helps – God Bless!

 

Awake the Dawn

My heart is steadfast, O God!
I will sing and make melody with all my being!
Awake, O harp and lyre!
I will awake the dawn!
(
Psalm 108:1-2)

Awake the Dawn

from the new musical Eden in Babylon, 
exploring the effects of homelessness on the young people of 21st Century America.
Copyright © 2017 by Andrew Michael Pope

All Rights Reserved.

Please donate to Eden in Babylon.
Anything Helps – God Bless!

Artist in Babylon

Check this out:

Please donate to Eden in Babylon.
Anything Helps – God Bless!

Now look at this:

anything-helps

I’m trying to make a point here.   Between Thanksgiving Day of last year and March 4th of this year, I wrote a complete 135-page script to a new musical.   I then naturally proceeded to try and round up singers for a demo for this project, only to find that nobody wanted to work for free.  And what was I to expect?  This music is fancy progressive Broadway show tune material.  Even quick studies would have to put a lot of work into it to make it sound right.   Such talent deserves to be paid.  

So I went about trying to raise funds for this leg of the project: $1000, to be exact.  In the past three months, I have raised exactly $100 – in three donations of $5, $20, and $75 respectively.   I could have raised more than that by flying a sign on the sidewalk.  However, to fly a sign on the sidewalk (aside from being illegal where I live), would be dangerous, as I described in the poem on this post. 

Three months and ten days have past since I finished the script.  I would very much like to move forward with the next leg of this project.  It irks me that money should be my object.  So, if you are person with some wherewithal, and if you believe in my work, please consider making a contribution to this project, so that I can move forward once again.

Just one catch.  Because I am an Artist, and I’m passionate about my themes, I tend to be a little sensitive.   At least glance at the script and give half a listen to my tunes before you make a donation.   I want to receive support from people who believe my project is worth their money.   This project means something to me.  It’s about something I believe in.  It involves a message that is not often heard, if at all, in our society.  So please believe in me before you click on donate.  I don’t want to receive money from people who don’t. 

Please donate to Eden in Babylon.
Anything Helps – God Bless!

 

Forward Motion

Things have actually progressed remarkably smoothly since my last update.  There has not been a moment throughout the past week when I have felt that “life” was getting in the way of my artistic progress.   To the contrary, I finished scoring all the parts for the other players tonight, and we’ve arranged a time and place to practice this Sunday for the upcoming show the following Saturday.   One more practice after that, and I think we’ll be in pretty good shape.

As I might have mentioned, I agreed to continue to accompany the Wednesday evening Taize services on a volunteer basis, while no longer being on salary at my church.  I understand that the woman who is replacing me for the next two months is very capable, and I’m looking forward to sitting in the pews on Sunday, soaking in the sermon and all aspects of the service, and no longer having to concern myself with the strange conflicts that would rear their heads whenever I tried to play piano or organ properly for the occasion.

It would seem that my background in Musical Theatre somehow interfered with my ability to grasp the worshipful context.  Although I identify as a Christian, it was unusually difficult for me to shake the idea that my playing was a “performance” rather than an “offering” or a “presentation” before God.  I would constantly refer to the chancel as the “stage,” to the prelude as an “overture,” and to the postlude as “exit music.”  I am certain that a period of observation, without mandatory participation, will help me to shed these conflicts.   It’s entirely possible that when the four months are over, and both of my replacements have served their terms, I might regain some kind of paid position with the music ministry.  But I’m neither banking on it, nor shunning the prospect.   To paraphrase John the Baptist: “God must increase, and I must decrease.”

Along with this transformation, my zeal for the production possibilities of my own musical has skyrocketed.  Of the five originals that we will be performing on Saturday the 6th, three of them will be from Eden in Babylon.   If you want to look at the lyrics I will be singing, here are the links thereof:

Heart Song

Ode to the Universe

The Very Same World

I’ve decided on four theatre companies where I have worked in the past, or where I know people with whom I’ve worked, where I will submit the musical immediately upon completing my demo.  Then I think I’ll relax and see what we can do about producing the show on a regional level here in the Palouse Empire, where I have chanced upon a community of like-minded Artists who believe in me.   I’ve been here only nine months as of yesterday, and I never cease to marvel at the miracle of it all.

I didn’t have to let an entire lifetime go by without seeing the city where I was born — where I had only lived for the first year of my life.   When I first saw this city, I saw that it seemed custom-designed for me — right to the point of their being a running shoe store conveniently placed on the lower floor of the very apartment building in which I live:

friendship square

There also turned out to be a Conservatory of Music that I didn’t even know about in this town, sponsoring an annual jazz festival.  Moreover, Idaho Repertory Theatre was founded in this city in the year I was born.  And when I went to see the house where I was born, the cross street as I approached said: “Home Street.”

Sure beats being hit on the head with guns by gangbangers and having four laptops full of costly music production software stolen in a three-year period of time! I still have the same laptop I had when I moved here — in fact, I even have a back-up, in case this one should fail me.  Once again — there is a God.