Musicals

Gender Politics.  Racial Politics.  Power Politics.  Some of our paradigmatic models reconsidered. 

Musicals outlined below.  Two have full-text and songs linked (#5 and #7 below).  Musicals listed in order of popularity on a previous page.

  1. KORONATION: The Story of Mars and Venus
    • The story of the fall of Persepolis, City of Enlightenment, art and science, beauty and technology.  When the Nubian Kings still ruled Persia; and Ishtara, the Central Asian golden goddess called Fara by her family, was their Queen.  The story of Rama and Fara as Mars and Venus, the latter being named by the astronomers for their Emperors.  Begins as a three-generation bedtime story for an eight-year-old boy named Caesarion.
  2. TRISTAN AND ISOLDE: The Fall of Babel (a rock opera)
    • Isolde is abducted from the Temple and palace in Jerusalem, where Tristan and Isolde live and rule, in order to thwart their perfect Golden Age.  Jerusalem is the Capital seat of Babel, also known as the Babylonian Empire.  A politics of race is created, de novo, in order to undermine their regime of peace, known for its open markets, free-flowing of peoples and cultural artifacts, as well as its floating gardens and trickling water-works.  Tristan and Isolde separate for 6000 years in order to teach the evil-doers what happens when they get what they want.
  3. GILGAMESH (a rock opera)
    • Gilgamesh, one of the faces of God on earth, sends Sara to the New World to correct a few errant men.  Sara is furious with Gilgamesh for sending her on this errand.  She lets him know it in no uncertain terms.  Meanwhile, Gilgamesh is pained at the rebuke — he misses her — but also constant in his desire that his will be done.  The story of modern divorce.
  4. GUINEVERE FROM THE ABBEY (a rock opera)
    • The story of Guinevere from her perspective.  It is told from the golden sandstone Temple in Jerusalem, where she resides in order to be apart from Arthur, who is a womanizer, a drinker, and a brute; and to be close to her lover, the High Priest of Jerusalem.  Will they make it out of Arthur’s domain to their small villa on the rocky mountain coast of Italy with its two small horses and vegetable garden?
  5. PARIS IS BURNING: The True Story of Paris and Helena
    • Helena, a daughter of the Tribe of Reuben and High Priestess of the Temple, is abducted by the Tribe of Naphtali from the Temple of Jerusalem, circa 6000 B.C.E.  Paris — her husband, the High Priest, also from the Tribe of Reuben and one of the faces of God on earth — is angry.
  6. THE WAR OF THE GODS: Dummuzi, a Sumerian Tale
    • Dummuzi, the Mesopotamian shepherd god, comes to Jerusalem.  He falls in love with Bat-Raisa, daughter of Melissa and Herod, Queen and King of Jerusalem.  Bat-Raisa, who is used to enjoying some position of authority in the city, is overwhelmed by the beauty and song of the sandy shepherd, who arrives with his donkey and his village’s wares to sell in the Jerusalem market.  Ancient Mesopotamian [sic]  music of love and peace fills the sandy streets and stone corridors of the town.  But will the peace last?  Told as a bedtime story with Christological elements.
  7. DUNLUCE: The Story of Anthony and Cleopatra
    • Anthony and Cleopatra go to college at Dunluce University in Northern Ireland, where a university and town have been built within and around the renovated ancient castle.  They have not seen one another in 2000 years; their reunion is one of joy, as well as tensions and jealousies.  Their youthful exuberance is thwarted rather pointlessly.  Do their ties go back even further?  Could they be David and Sheba?

 

Two musicals are available for viewing at the link above. All Rights Reserved.  Please note that, except in those using the image below, images associated with songs are performance-art for the song.  On one additional note, while I have written a number of musicals (script and songs, or libretto and songs), I have no aspirations to performance.  I am a writer.  The performances in the musicals/songs that are available on-line are for demonstration purposes only.  Performances are rough cuts, live, single track, and do not include harmonies; in some cases, harmonies are available if interested.  The musicals are available for original direction, choreography, and complete musical score.  Song Sheets are available for the songs; sheet music is not available.
I am happy to read my stories out loud.
If you are interested in viewing more of the musicals, or in producing or purchasing the rights to one of the musicals, please contact me.  Thank you!

 

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