The Next Step

Tomorrow it will be two months exactly since I finished an initial complete draft of my musical play, Eden in Babylon. I told myself earlier that I would wait two months before looking at it again.   Obviously, the two months are almost up.

What will I see when I take a look at the gargantuan labor of love that I hammered out between Thanksgiving Day of 2016 and March 4th of this year?   Well, to be honest with you, I took a little peek at it two or three nights ago.  What I have seen, so far, is this:

1. A number of the characters don’t quite act like themselves when they first enter into the action.  This is because I got to know them better as the story unfolded.

2. Although it is a musical, and one expects the characters to break into song periodically, sometimes the songs are not sufficiently motivated by what’s happening in the story line.  Or, if they are, the transition between spoken dialogue and sung lyrics is awkward or forced.

3. I run the happy risk of pissing of right-wing fundamentalist evangelical Christians left and right, even though I am a Christian.

4. It might be too long.

5. My plan to obfuscate deus ex machina by throwing in so many instances of it into the final scene may or may not work.   Either the audience will be skyrocketed into a higher dimension of suspension of disbelief or they will be completely let down.   There seems no in between. 

The first of these should be pretty easy to fix, now that I do know my characters fairly well.  The second may take some work.  However, my plan to smooth out those transitions while in the process of creating the piano-vocal score seems sound. 

ChurchillThe third is actually more of a bother than I may let on, but that’s only because I’m paranoid about being lambasted by others who identify with a Christian belief system.  In reality, some of those ultra-right-wingers don’t give anybody a break.  The fourth is a much better problem to have than its opposite.  Better to submit it too long, and permit the director to chop it up at discretion, than to submit it too short, and have it appear to be incomplete. 

The fifth is an issue for almost every novelist, playwright, or filmmaker.  How do we end the story effectively, without it seeming to be a wrap-up?   To be honest, I have no idea if what I have done will fly.  Of the eight or nine people who have read the script, no one has yet complained.  But that doesn’t say much.  No one has yet complained about any aspect of the script.  (All I ever hear is praise — and that’s not good.)

The next step, after making adjustments while notating the piano-vocal score, is to organize a read-through.   I’ve secured a location for the read-through, which will be in the back room of the One World Cafe.  In the time it will take me to notate the p-v score, I can probably round up the 23 readers I will need to pull this off. 

Realistically, this will take me till the end of the year 2017.   On the other hand, who said anything about being realistic?

Labor of Love

In case anyone’s wondered, I’m still in the land of the living, and I have not yet dropped off the face of the planet.  I realized earlier today that it’s been nine days since I’ve posted.   I was planning to delay this post until I had completed the piano-vocal score to the third musical number in Eden in Babylon, the song called The Very Same World.  But then I realized that even the completion of that score will only reflect a far greater pleasure — one that has already made itself manifest in my experience, and quite unexpectedly, at that.

Remember how I said I wasn’t looking forward to having to create an entire piano-vocal score for a musical so huge?  I alluded to the tedious ardor of having to put The Burden of Eden together nine years ago, and not having attempted a score of that magnitude since.  But to my pleasant surprise, I have found that I am actually enjoying the process of creating this score.  I’ve been working on “Same World” since Monday, and I honestly believe I will have it finished tomorrow, which is Friday.  (Or later on today, to be more accurate, since I am up after one in the morning as we speak.)

Steinway-Model-D-Grand-Piano-52626-Brazilian-Rosewood-1I think part of the difference lies in the software I’m using now, as opposed to back then.  In those days I only had a general midi replica of a piano sound.  Now I’m using a sampled Steinway grand.  Believe me, it makes a huge difference.  I’m also undergoing the intriguing challenge of trying to create a piano part the way that I myself would play these tunes on the piano.  This challenge is made even more challenging by the fact that I have never played any of these songs on the piano.  I don’t own a piano; and I wrote them, like I write all my music, “in my head.”

But hearing the sound of that Steinway, I’m eager to at least try to play them on the church piano, which is a Baldwin grand.  Once I have the music written out, it will be much easier to do so.  All I’ll have to do is change hats and read it – as though it were somebody else’s music, and not my own.  I honestly think this process will fascinate me enough, that the tedium I’d earlier dreaded will no longer be a legitimate threat.  More likely, this current fascination will morph into a gigantic labor of love.

So, I’m in the final formatting stages of “Same World” tonight.  Our church secretary said I could sent the pdf file to her, and she would print it out for me in the morning.  Then I’m going to examine the hard copy, pencil in any adjustments, and print out a final version.   My goal is to have both “Same World” and Heart Song scored by next Friday, so I can take them down to the Open Mike, where I just might meet some interested singers for the project.

Many other nice things have been happening lately, and my goal to get this musical produced seems a bit more attainable now.   The plans I’m devising to go about this are a bit less vague and a bit more fully baked than they were the last time you saw me.  But I’ll save the details for a near-future entry.  I want to take another look at the “Same World” score before I ponder the unappealing notion known as “sleep.”  I’ve long been of the camp that contends something like sleep, in situations like these, to be for the faint of heart.   Food also seems to be quite unnecessary.   My theory, as expressed in this post, is this:

What physical nutrition I lack is made up for in the spiritual nutrition with which this music is feeding my soul.

No wonder they bipolarized me!  But would I have it any other way?  Probably not.   They can bipolarize me till the cows come home.  When I take care of my soul, the rest of me takes care of itself.