THE SANTA FE OPERA

WORLD PREMIERE The (R)evolution of Mason Bates, composer Mark Campbell, librettist Michael Christie, conductor

Live Recording 1 The Santa Fe Opera

2 3 Content The (R)evolution of Steve Jobs Mason Bates, composer Mark Campbell, librettist The Santa Fe Opera 6 Commissioned by The Santa Fe Opera

Track Information 8 Co-commissioned with Seattle Opera and Opera, with support from Cal Performances Cast 10 Co-produced with Seattle Opera, San Francisco Opera, and The Indiana University Jacobs School of Music Composer’s Note 12 Special thanks to San Francisco Conservatory of Music

Librettist’s Note 16 World Premiere: July 22, 2017 Composer’s Biography 20 The Santa Fe Opera Orchestra Michael Christie, Conductor Librettist’s Biography 22 Chorus: Members of The Santa Fe Opera Apprentice Program for Singers Susanne Sheston, Chorus Master Synopsis 24 Robert Tweten, Head of Music Staff Libretto 28 Kevin Newbury, Stage Director Rick Jacobsohn, Sound Design Acknowledgements 82 Victoria “Vita” Tzykun, Scenic Design Brian Loach, Sound Design Paul Carey, Costume Design Chloe Treat, Choreographer American Operas Series 84 Japhy Weideman, Lighting Design Chelsea Antrim Dennis, Production Stage Manager 59 Productions, Projection Design James Daniel, Assistant Stage Director Pentatone: What we stand for 86 Assistance with the electronic sounds provided by Gary Rydstrom of Skywalker Sound.

Principal support for the recording of The (R)evolution of Steve Jobs generously provided by Jane Stieren Lacy. The production of The (R)evolution of Steve Jobs underwritten by a deeply appreciated gift from David Henry Jacobs. Additional artistic costs underwritten by The Carl & Marilynn Thoma Foundation and The General Director’s Premiere Fund in honor of Richard Gaddes. 4 5 The Santa Fe Opera dozens of foreign countries, creating a singers an opportunity to learn and retired following the 2008 season significant impact on the economy of perform new roles in a setting that when Charles MacKay became the From the unlikeliest of beginnings — an the State of New Mexico. allowed ample time to rehearse and third General Director in The Santa opera company located hundreds of prepare each production. Crosby Fe Opera’s history. Under MacKay’s miles from any major city, featuring The Santa Fe Opera’s mission is to was succeeded as founding General leadership, the Opera has maintained American singers in a wide-ranging advance the operatic art form by Director by Richard Gaddes in 2000. a balanced budget through a and challenging repertory, and presenting ensemble performances During his tenure in Santa Fe he tumultuous economic period and treating theatrical and musical values of the highest quality in a unique implemented a wide range of new continues to present bold and as equally important in its productions setting with a varied repertoire of programming, including community- innovative repertory. — The Santa Fe Opera has grown to new, rarely performed, and standard based productions in the off-season become recognized as one of the works; to ensure the excellence of and simulcasts to Albuquerque and world’s leading cultural festivals. opera’s future through apprentice a park in downtown Santa Fe. He programs for singers, technicians, Every summer since 1957, opera lovers and arts administrators; and to foster have been drawn to the magnificent and enrich an understanding and northern New Mexico mountains to appreciation of opera among a diverse enjoy productions at The Santa Fe public. More than 2,000 performances Opera. Here, the company’s dramatic of 169 different operas have been given adobe theater blends harmoniously here, including 15 world premieres and with the landscape. It is this fusion of 45 American premieres. nature and art that leaves such an enduring impression on all who visit. The company was founded by John More than half the audience comes Crosby who, as a young conductor from outside New Mexico, representing from New York, had an idea of starting every state in the union as well as an opera company to give American

6 7 Track Information

CD 1 (PTC 5186 691) CD 2 (PTC 5186 692)

1 Prologue: The garage of the Jobs family home, Los Altos 3:16 1 Scene 10: Steve Jobs’ home, Palo Alto 2:54 Paul – “I built this table” 2 Scene 11: Corporate Offices, Cupertino 3:52 2 Overture 1:19 Steve, Chrisann, and Woz – “Losing it” 3 Scene 1: Product Launch, the stage of a convention center, San Francisco 7:41 3 Interlude: The Rise and Fall of Steve Jobs 3:03 Steve and Ensemble – “One device” 4 Scene 12: Corporate Offices, Cupertino 5:54 4 Scene 2: Corporate Offices, Cupertino 3:09 Steve – “Wrong” 5 Meditative Interlude 1:33 5 Scene 12: Corporate Offices, Cupertino 3:04 6 Scene 3: The hills around Cupertino 2:31 Woz – “Goliath” 7 Scene 4: A calligraphy class, 1:05 6 Scene 12: Corporate Offices, Cupertino 2:54 8 Scene 5: The garage of the Jobs family home, Los Altos 4:04 Coda Steve and Woz – “Ma Bell” 7 Dark Interlude 1:46 9 Scene 6: An apple orchard near Los Altos 5:45 8 Scenes 13-14-15: Flashbacks 3:00 Chrisann – “I could learn to like you” 9 Scene 16: Steve Jobs’ home, Palo Alto 7:41 10 Scene 7: The Los Altos Zen Center 6:23 Laurene - “Humans are messy” Kōbun – “Take one step” 10 Lyrical Interlude 0:51 11 Scene 8: A lecture hall, 2:14 11 Scene 17: The wedding, 3:38 12 Scene 9: The garage of the Jobs family home, Los Altos 4:42 12 Scene 18: The memorial service, Stanford University Chapel 3:23 13 Scene 9: The garage of the Jobs family home, Los Altos 3:44 13 Scene 18 and Epilogue: Steve Jobs – “Something we play” The memorial service, Stanford University Chapel and the garage 4:32 Laurene – “Look up, look out, look around” Total playing time CD 1: 47.34 Total playing time CD 2: 46:41

8 9 Cast

Paul Jobs (“Woz”) Kelly Markgraf Garrett Sorenson

Steve Jobs Edward Parks Jessica E. Jones

Laurene Powell Jobs Ensemble Soloists Sasha Cooke Adelaide Boedecker Adam Bonanni Kōbun Chino Otogawa Kristen Choi Wei Wu Thaddeus Ennen Andrew Maughan Teacher Corrie Stallings Mariya Kaganskaya Tyler Zimmerman

Young Steve Jobs (silent) Jonah Sorenson

Back Row: Mariya Kaganskaya, Michael Christie, Wei Wu, Mark Campbell, Sasha Cooke, Jessica E. Jones 10 Front Row: Garrett Sorenson, Edward Parks, Kelly Markgraf, Mason Bates, Kevin Newbury 11 The Music of theme, but an entire sonic identity. has rarely been heard in opera houses moving, oceanic harmonies collide Communication As they interact, their musics collide, since. Jobs loved the guitar, and the with the frenetic music of Steve, and blending almost as if mixed by a energetic sound of a finger-picked ultimately she succeeds in slowing Mason Bates, composer DJ. In my symphonic music, I have steel-string illuminates the internal down his busy inner world. The story of Steve Jobs exists at the often looked to exotic forms to pull world of a restless man. intersection of creativity, technology, new sounds out of me, whether in an Another key character is spiritual and human communication — a “energy symphony” or an anthology In fact, Jobs’ search for inner peace advisor Kōbun, an important yet thematic crossroads that opera can of mythological creatures. In this is the story of the opera — which, in a overlooked figure who receives explore unlike any other medium. opera, that happens on the level of sentence, is about a man who learns stunning treatment by master Opera, after all, can illuminate character. The music of Steve Jobs is to be human again. The key role in librettist Mark Campbell. A panoply the interior thoughts of different a quicksilver blend of orchestra and this journey is his wife Laurene, who of Tibetan prayer bowls and Chinese characters simultaneously through whirring electronica, the latter of acted as the electrical “ground” to gongs drifts across the electronics, the juxtaposition of individual which was partly built using samples the positive and negative charges sometimes sounding purely themes. That makes it an ideal of Mac gear. I wanted Steve’s of Jobs. His buzzing inner energy “acoustic,” sometimes imaginatively medium to explore a man who soundworld to have an authenticity made for a visionary of Jesus-like processed as if in a nirvana-esque revolutionized how we communicate. to it, whether through the use of charisma, but he could quickly limbo. The “mystical bass” trope internal machine sounds (spinning become a cold tyrant. Laurene is in opera has a long history (think The (R)evolution of Steve Jobs hard drives or key clicks) or external a soulful and strong woman who Sarastro). This opera continues explodes the concept of Wagnerian sound effects (charming whizzes and convinces Jobs of the importance that tradition with the enhanced leitmotifs — the melodies assigned beeps). Accompanying Steve is also of true human connection, the storytelling of electronic sounds, to various characters — into an acoustic guitar — an instrument person who reminds him that people which eerily blow across the soundworlds. Each character in this whose predecessors appeared quite don’t have one button: they are mesmerizing sound of a low opera walks onstage with not only a often in early opera, but one that beautifully complicated. Her slow- bass voice.

12 13 Finally, we have Steve Wozniak and Chrisann Brennan, important foils both musically and dramatically. Woz is always trailed by a pair of saxophones, whereas Chrisann is accompanied by hummingbird-like flutes. These two characters know Steve from the early days, and through their eyes we witness his stunning transformation.

Anchoring the imaginative, non- chronological storyline are numbers — real musical numbers — and a clear- as-crystal through-line: how can you simplify human communication onto sleek beautiful devices — when people are so messy? This opera travels with Jobs on his journey from hippie idealist to techno mogul and, ultimately, to a deeper understanding of true human connection.

14 15 The Evolution of That was one of the challenges I provided me “a fine place to start” leave the stage — thereby capturing (R)evolution faced when Mason Bates invited me this story: a typical suburban garage. the way people come and go in to write the libretto for the opera But I also knew that the set would memories. Mark Campbell, librettist that was to become The (R)evolution need to feature a sophisticated A visionary who changed our lives of Steve Jobs. As aware and wary of projection design because of its Learning about the phone prank Jobs for the better. A ruthless businessman this as I was when I accepted Mason’s subject, envisioning that the walls of and Steve Wozniak (“Woz”) played who exploited his friends’ ideas. invitation, it soon became apparent this garage would “break apart” and on Ma Bell with their “little blue A misunderstood orphan. A former that no story I would create could become screens on which video could box” not only provided a great way hippie who sacrificed his principles capture all aspects of the Steve Jobs be projected. to dramatize the dynamic between to the deity of capitalism. A family people think they know; nothing I the two men, but also showed their guy. A reckless egomaniac. An Ayn write would be captious or laudatory Investigating Jobs’ high regard for youthful proclivities to rebel against Rand hero in huaraches. Every person enough. So I simply focused on writing Japanese minimalism led me to the authority. on this planet who is even slightly the story that Mason and I wanted to symbol of the ensō, which is a circle familiar with Steve Jobs has their tell — and the one that would sing. Buddhist monks draw by hand every When I found out that Jobs had own version of the man. Because his day. That prompted thinking about studied with a Buddhist spiritual passing is so recent, and the showman I started by reading and watching the story in a circular way, as did mentor named Kōbun Chino Otogawa, image he cultivated is so vivid in our everything I could find about Jobs. As I Jobs’ habit of taking long meditative I decided immediately to make Kōbun imaginations — and because the sifted through the events of Jobs’ life, walks. (The (R)evolution in the title an important character in the story so devices he helped create are such a several seminal events and anecdotes refers more to the path Jobs takes in that Jobs would have a companion to part of our daily lives — it’ll probably “caught the light” and I jotted them the opera than the one he created guide him through his past. But there take a generation before people are down in a journal. in technology.) It also led to the was very little to read at that time able to push away their own image of introduction of Noh theatre elements about Kōbun. Fortunately my friend Jobs and accept any portrayal of him Learning that Jobs’ father identified in the staging, like the onstage bench and colleague Kelley Rourke, who is other than the one they imagine. talent in his son early on and gave (or jiutai-za), so characters could enter also a Buddhist teacher, directed me him a workbench for his 10th birthday and exit the story without having to to the Brooklyn Zen Center, which

16 17 practices Sōtō Zen Buddhism. There toggling between Jobs’ growth as an and everyone at the company for reminded me again of the importance I met with the priest and dharma entrepreneur and his emotional stasis helping Mason and I bring our work of Jobs’ contribution to our current teacher, Teah Strozer, who not as a human being. And as befits a to the stage so beautifully. I’m also history. He may have run into some only studied with Kōbun, but also journey of memory, Jobs’ circling back grateful to the company for helping stumbling blocks as a human being, knew Jobs. Her guidance about the on his life is told in a non-chronological put together this recording so that but no one can deny — whatever portrayal of Kōbun was invaluable. way. people can hear our stupendous cast version of the man they have in their and orchestra, conducted superbly minds — his role in humanizing and Another interesting anecdote that While there wasn’t much change in by Michael Christie. Finally a big democratizing technology. found its way into the libretto was of the structure between the first draft I thank you to the co-producers of the the time when Jobs visualized a entire presented Mason and the final libretto, opera: David Henry Jacobs at Indiana field morphing into an orchestra while there were quite a few revisions in the University’s Jacob School of Music, on an acid trip. This allowed me to text to give Mason the right words to Aidan Lang at Seattle Opera and imagine Jobs thinking of the computer fire his inspiration. He frequently asked Matthew Shilvock at San Francisco as a musical instrument: “something me to soften my more cynical impulses Opera. we play,” rather than something that about Jobs and create a more plays us. sympathetic portrait than I might Admittedly, there were points in the have otherwise. creation of this libretto when finding Other details were incorporated into my way into a sympathetic portrait of the libretto: the lack of furniture in It’s very fitting that The (R)evolution Jobs became tricky. At those times, his first place, his love for the work of of Steve Jobs premiered at Santa I would do my own circling back: to Ansel Adams, his diets, his adoration Fe Opera. The company has always 1984, when I had just purchased my of Dylan, how he met Laurene, the shown a pioneering spirit — not first . The vision of that cruelty he could show his business unlike Jobs himself — and I’ll always amiable face on that toaster-sized associates. All these elements figure be grateful to Charles MacKay, computer atop my kitchen table in my into the story which soon started Brad Woolbright, Paul Horpedahl, toaster-sized East Village apartment

18 19 Mason Bates

Recently named the most- have highly informed not only performed composer of his his compositional approach, but generation and the 2018 Composer his distinctive touch in curating of the Year by Musical America, projects. Bates has become a visible Mason Bates serves as the first advocate for bringing new music composer-in-residence of the to new spaces, whether through Kennedy Center for the Performing institutional partnerships such as his Arts. His music fuses innovative former residency with the Chicago orchestral writing, imaginative Symphony Orchestra, or through narrative forms, the harmonies of his club/classical project Mercury jazz, and the rhythms of techno, Soul, which transforms commercial and his symphonic music is the first clubs into exciting hybrid musical to receive widespread acceptance events. Living in the San Francisco for its unique integration of Bay Area, he has also composed electronic sounds. Championed for films, including Gus Van Sant’s by legendary conductors such The Sea of Trees starring Matthew as Riccardo Muti, Michael Tilson McConaughey and Naomi Watts. Thomas, and Leonard Slatkin, his music marks an important For more information, visit new expansion in the orchestral masonbates.com sound. His activities as a DJ

20 21 Mark Campbell

Mark Campbell’s work as a librettist Immoral but Highly Profitable is at the forefront of the current Enterprise of Mr. Burke & Mr. Hare, contemporary opera scene in the The Shining, Later the Same United States. The 25 librettos he Evening, Volpone, Bastianello/ has written for the operatic stage Lucrezia, Rappahannock County, demonstrate a versatility in subject The Manchurian Candidate, and matter, style, and tone, and an As One. Other awards include: adeptness at creating musical a Grammy® nomination, the stories that succeed in both large first Kleban Foundation Award and intimate venues. The names of for Lyricist, two Richard Rodgers his collaborators comprise a roster Awards, a Larson Foundation Award, of the most prominent composers a NYFA Playwriting Fellowship, the in classical music, and include three first Dominic J. Pelliciotti Award, and Pulitzer Prize winners. Mark’s best- a NYSCA grant. known work is Silent Night, which received the 2012 Pulitzer Prize in For more information, visit Music and has already entered the markcampbellwords.com standard operatic repertory. Other successful operas include: Elizabeth Cree, Some Light Emerges, Dinner at Eight, The Nefarious,

22 23 Synopsis SCENE 3 SCENE 6 Chrisann arrives and tells Steve that she 2007: later that afternoon; the hills 1974: An apple orchard near Los Altos is pregnant. When Steve demands that PROLOGUE around Cupertino Steve and his girlfriend Chrisann lie together Chrisann end the pregnancy, she leaves 1965: The garage of the Jobs Steve goes on a long meditative walk. Kōbun after taking LSD. Steve imagines their in tears. Steve and Woz dream about the family home, Los Altos Chino Otogawa, Steve’s former spiritual surroundings coming to life as an orchestra future of their invention. Steve remembers Paul Jobs presents his son Steve with a mentor in Sōtō Zen Buddhism, joins him. playing Bach. The two start to make love the orchestra in the orchard playing Bach. workbench as a birthday present. As they gaze at the sunset, Kōbun prompts when Kōbun interrupts them. Steve to acknowledge his mortality. SCENE 10 SCENE 1 SCENE 7 1989: Steve Jobs’ home, Palo Alto 2007: Product Launch, the stage of a SCENE 4 2007: The hills around Cupertino Steve shows Laurene his sparsely furnished convention center, San Francisco 1973: A class in calligraphy, Reed College 1975: The Los Altos Zen Center home. Photographs by Ansel Adams in An adult Steve Jobs delivers a public launch A teacher discusses the significance of the Kōbun informs Steve that he cannot Steve’s home prompt a brief discussion of his company’s new product — “one ensō, a circle drawn in Japanese calligraphy. live at the Zen Center and hints that his about artistic inspiration. Laurene and device” that will revolutionize technology. Steve is inspired by aesthetic ideas of destiny may lie elsewhere. Steve go to the bedroom to make love for At the end, he stops, noticeably weak elegance and simplicity. the first time. and short of breath. SCENE 8 SCENE 5 1989: A lecture hall, Stanford University SCENE 11 SCENE 2 1973: The garage of the Jobs Steve meets Laurene for the first time. 1980: Corporate Offices, Cupertino 2007: directly after; family home, Los Altos Steve severs ties with Chrisann and angers Corporate Offices, Cupertino Steve’s best friend Steve Wozniak has SCENE 9 Woz by denying a fellow employee his Steve retreats to his office. His wife Laurene created a “blue box,” a device that allows 1976: The garage of the Jobs pension. Chrisann and Woz lament the loss chides him for not taking better care of the user to make free calls. Steve and family home, Los Altos of the Steve they once knew. himself and asks him to come home and “Woz” celebrate the ease with which Woz presents a new computer interface to reconnect with their family. corporate giants can be toppled. Steve. They begin to celebrate when

24 25 SCENE 12 SCENE 15 SCENE 18 1981-1986: Corporate Offices, Cupertino 2007: The hills around Cupertino 2011: The memorial service, Steve denies palimony to Chrisann for their 1989: Steve Jobs’ home, Palo Alto Stanford University Chapel child, Lisa, and offends Woz, who quits. The evening in Steve’s home when he fell in Kōbun explains that Steve is witnessing Demoted by the board of directors, Steve love with Laurene. Kōbun reminds Steve that his own memorial service. Steve protests bitterly leaves the company and has a Laurene also helped keep his ego in check. a few production elements of the service, The (R)evolution of Steve Jobs breakdown. but Kōbun tells him to be still, to simplify. is inspired by the life and creative SCENE 16 Laurene and Woz muse about Steve. Finally, spirit of Steve Jobs and does not SCENE 13 2007: later that night; Steve Jobs’ home, Laurene is left alone and observes that purport to depict actual events 2007: The hills around Cupertino Palo Alto while Steve will be both lionized and as they occurred or statements, Kōbun reminds Steve that it was necessary Steve returns home after his walk to find demonized, no one can deny his influence beliefs, or opinions of the for him to learn from his mistakes. He Laurene waiting for him. She confronts on the world. persons depicted. It has not shows Steve a brief replay of his life after he Steve and gets him to accept his illness been authorized or endorsed by fell apart, revisiting his first meeting with and mortality. EPILOGUE Apple Inc., the Estate or Family Laurene and the evening when he fell in 1965: The garage of the Jobs family home, of Steve Jobs, or by any persons love with her. SCENE 17 Los Altos depicted. 1991: The wedding, Yosimite National Park As Laurene looks on, Paul Jobs presents SCENE 14 Kōbun marries Steve and Laurene in a his son with a workbench on his birthday as 2007: The hills around Cupertino Buddhist ceremony. Steve expresses his “a fine place to start.” 1989: A lecture hall, Stanford University love for Laurene and his gratitude to her The day when Steve and Laurene met. for teaching him the value of human connection. Kōbun’s 1992 death is revealed, prompting a meditation on mortality that segues into the scene.

26 27 Libretto Putting things together, 1 PROLOGUE Taking things apart, 1965: The garage of the Jobs family home, You’ll find out how they run, Los Altos Learn what makes them tick. Hope you like this table, Hope you like this table I made. As Steve looks on, lights come up on the Only plywood and nails, Jobs family home in Los Altos, CA. The Still, it’s a fine place to start. house moves forward so that the garage Happy birthday, son. takes center stage. The door flies open. The interior resembles a chaotic repair 2 OVERTURE shop: various objects — televisions, car radios, lamps, toasters, etc. — lie on end Young Steve smiles at Paul, removes his with their insides exposed. On one side of birthday hat, and sits down to work. the garage is an old sofa. On another side Suddenly, the walls of the garage break are two workbenches, one covered with tools apart and become projection screens. A and objects; the other, shorter, relatively small bench is brought in and placed on the clear. Paul enters with Young Steve, who has periphery of stage right. Paul walks to it and his hands over his eyes and wears a birthday sits. Steve moves to the center of the stage hat; Paul brings Young Steve to the smaller and addresses the audience directly. workbench and uncovers his eyes.

Paul: 3 SCENE 1 Thought it was high-time, 2007: The stage of a convention center, You got your own space. San Francisco A place to make things, And take things apart. Steve: So I built this table, Thanks for coming. So I built this table for you. Thanks for being here. Should be just the right height, We got a lot to cover, Long as you don’t grow an inch. And not much time. Got your own tools, Now is a fine place to start. Got your own table, But before we do, Got all you need. Can I ask you all

28 Edward Parks (Steve) and Jonah Sorenson (Young Steve) 29 Steve: Cradled in my hand, To turn off your phones? Today, right now… Turn them off. That’s right, turn them off! Steve reveals a small device in his hand. And when you hear what I say, The ensemble enters and moves You’ll want to throw out frenetically in many directions across Your old junk anyway. the stage. The screens quickly fill up with hundreds of flashing images. Ensemble: “Junk!” “Junk?” Steve: He called my smartphone “junk?!” Only one device. Does it all. Steve: In one hand, A quote… All you need, Popular Mechanics, One device. Nineteen Forty-Nine. Does it all. [quoting] In one hand, “Computers in the future All you need. May perhaps Communication, Weigh only one-and-a-half tons.” Entertainment, [Steve laughs with the audience.] Information, You’ll recall Illumination, I once said: Connection, “Never trust a computer Interaction, You can’t lift.” Navigation, But now, today, Communication, I say: Inspiration, “Never trust one Comprehension, You can’t fit in your pocket.” Not to mention, And here you have it. Communication. Right here, right now. [teasingly] Ensemble: [with above] Nestled in my pocket, One device… Does it all…

30 Edward Parks (Steve) and The Santa Fe Opera Chorus 31 Ensemble: Try an app. In one hand… Tap, All You need. Scrap the app. Hear some Bach. The ensemble freezes. In the following rapid Hear The Boss. sequence, image after image is flashed on Hear your boss. the screen: news reports, text messages, [as if typing an excuse, rapidly] emails, maps, etc., all cued by the text. Type type type type swipe. Cheer the game. Steve: Play a game. Tap, Send a card. Get the news. Mend a heart. Tap, Buy a tie. Set a date. Learn some Thai. Tap, Order Thai. Book a flight. Miss your kids? Tap, Miss your wife? Stay in touch. Miss your home? Tap, Miss your life? Stay in shape. Tap, Tap, [live image of a family waving (as on Talk to friends. Skype)] Tap, Make up with your girlfriend. Stalk celebs. [image of text message with hearts] Tap, Tap, Map a route. Break up with your girlfriend. Tap, [image of text message with skulls] Pay a bill. Tap, Tap, Break up with your parents. Plan a day. [photo of a person with parents] Tap, Zap, Clear a day. [the same photo with parents deleted] Tap, Take up with a puppy.

32 Edward Parks (Steve) 33 Steve: All you need, Snap, To review, [photo of a puppy] To relive, Your cute new puppy. To control… [leading the audience’s reaction] Snap, Ensemble: [with above] [photo of a flashy car] Boom or bust? Your cute new car. Hope or hype? [photo of the puppy in the car] Hot or not? Your cute new puppy, State of the art or In your cute new car… Art of the sale? Tap, Hit or miss? Being driven by the Pope. Score or snore? [Pope photo added to the car and puppy. Wow or meh? The Pope waves.] May spell a trend, May spell the end? The ensemble reanimates. More images appear: advertising for the product, Today it was revealed… reporters announcing the product, Our people have confirmed… Wall Street bells ringing for the profit from Another product launch… the product, designers analyzing Excitement running high… the product. The future has arrived… Creating quite a buzz... Steve: A revolution in... All with... One device. Some of the images on the screen take Does it all. on a darker meaning: a factory in China In one hand. assembling the product, environmental All you need. waste, security invasion/hacking, etc. Information, The ensemble grows as images become Education, positive again. Entertainment, Communication,

34 Edward Parks (Steve) and The Santa Fe Opera Chorus 35 Ensemble: Ensemble: Today it was revealed… One device, Our people have confirmed… Everything Another product launch… To relive Excitement running high… All of those The future has arrived… Precious moments Historical event… In your life. A revolution in… Your life, Creating quite a buzz… Glorious, Boom or bust? Beautiful Hope or hype? Moments Hit or miss? In your life. Score or snore? Flop or fail? Steve: [with above] Is it state of the art or In one hand, Art of the sale? All you need, Education… To control Inspiration… All of those Interaction… Messy moments Information… In your life. Everything… All of those Comprehension… Chaotic moments. Inspiration… Interaction… Ensemble: Information… One, one device, Everything. All you need to Revive, review, relive, renew, Steve: [with above] I need it, I need it, It’s all you need, Must have it now! In one hand, In your pocket, Steve: [with above] Everything. Control, Control, You need it,

36 Edward Parks (Steve) 37 Steve: We really need more money. You must have it now! To capture and control Steve: All those mad and messy moments Just need to finish a few more things… In your life! Laurene: The music is suspended; there is a low You know what you need? pulse. The ensemble freezes. The images Really need? fade. Steve stands in the center, clearly Some rest. exhausted, breathing deeply, wavering wanly. The ensemble leaves the stage as Steve: Steve walks slowly to his office, formed by Not that again. two screens put together. He sits in a chair Not the right time. to catch his breath. Laurene: Rest. 4 SCENE 2 You’re tired. 2007: directly after; Corporate Offices, You’re overworked. Cupertino You’re not well, Steve. You have to get better, [Laurene enters] And carrots alone — Ain’t doing the trick. Laurene: [kissing Steve on the mouth] You need time off, Hey, stranger. Down time, Nice work. Time away, Time away. Steve: Only “nice”? Steve: [reflexively] [a little defensively] Time. Sales are already through the roof. Maybe in a month…

Laurene: [ironically] Laurene: [a flash of anger] That’s good. “One month?” Because — God knows ­­—

38 Edward Parks (Steve) and Sasha Cooke (Laurene) 39 Laurene: 6 SCENE 3 Steve: 7 SCENE 4 That leads to six, 2007: later that afternoon; “You can’t connect the dots going forward. 1973: A calligraphy class, Reed College Then a year, then five, the hills around Cupertino You can only connect them And suddenly, Going backward.” Ensemble: Reed’s voice has changed, [Steve stops and sits. Kōbun enters and stands A circle… And Erin’s talking college. for a short while before Steve sees him.] Kōbun: You know how it goes: Pretty good. Teacher: [repeating Steve’s sentence] One device, one device… Steve: Must have gotten that from me. In Japanese calligraphy, We lose you. What are you doing here? The ensō is basically a circle. [softening] Steve: [looking off] And you lose yourself. Kōbun: [off-handedly] Quite a sky. Ensemble: Come home, Steve. I’m your spiritual mentor. The sky of my youth. A circle… Come home. I’m always around. The kids miss you. Lucky you. Kōbun: Steve joins the class. While others take [sweetly ironic] [simply and directly] Quite a sun. notes and repeat phrases, Steve notes the And sometimes I do, too. You’re dying, Steve. Always loveliest when it’s leaving. information in his mind. [pointedly] Steve: Steve: Diminishing. Teacher: Promise. I know. Drawn in one or two continual strokes. Just need a walk. Steve: It can mean: To clear my head. Kōbun: And returning. Enlightenment… And you resent the diminishment. [muttering a line from a memory, tracing [Steve and Laurene kiss meaningfully. the circular shape of the sun with his finger] Ensemble: Laurene walks to the bench and sits.] Steve: “…Basically a circle.” Enlightenment… Deeply. 5 MEDITATIVE INTERLUDE What was it I said? Kōbun stands, walks to the bench and sits. Teacher: In that speech… The screens form a classroom as students in Elegance… Steve walks slowly in a kinhin, a meditative Years ago? desks roll on. A teacher stands before them circle. The ensō is projected on the screen drawing the ensō on a chalkboard. On the Ensemble: and drawn in one stroke as he completes the Kōbun: heading of the chalkboard is written the Elegance… circular path. Bucolic images of the Silicon I don’t know. date: January 25, 1973. Valley sky and mountains appear. You said so many foolish things.

40 41 Teacher: Ensemble: The universe… Kanso (simplicity)… The void… Steve: Ensemble: Simplicity… The universe… Simplicity. The void… The teacher exits and the students in Teacher: desks roll off. The screens come together and Characterized form the garage again. The garage By the minimalism door flies open. Woz stands with a beer Of Japanese aesthetics. and a “blue box” attached to a phone. Shizen (nature)… Steve walks over to him.

Ensemble: Shizen (nature)… 8 SCENE 5 1973: The garage of the Jobs family Teacher: home, Los Altos Yugen (grace)… Woz: Ensemble: It’s like totally simple. Yugen (grace)… This little blue box Matches the tones Teacher: Ma Bell uses to make Datsuoku (freedom)… Long distance calls. And we get them for free. Ensemble: (Freedom)... Steve: The wonderful wizard of Woz! Teacher: You and I are hereby Kanso (simplicity)… Bona fide “Phone Phreaks.”

42 Garrett Sorenson (Woz) and Edward Parks (Steve) 43 Woz: [Steve and Woz laugh wildly.] Woz: Woz: All right. Press the buttons. Money-sucking… For Bob Dylan… Steve: Steve presses the buttons at one end It worked! Steve: Steve: of the blue box. Woz picks up the receiver Monolithic… Dylan Thomas… of the phone. Woz: It worked! Woz: Woz: Steve: Monopolistic… Bob and Thomas… Who are you calling? Steve: Rebels, freaks, reformers, Do you know what this means? Steve: Who keep this planet spinning. Woz: [speaking into the phone with Autocratic… a bad German accent] Woz: Steve/Woz: Ja, hello. I know what it means! Steve/Woz: Only goes to show... Dis is Henry Kissinger, Knees! Only goes to show... Calling Daß Vatican. Steve: All you ever need... Do you know what this means? Steve/Woz: All you ever need... Steve: [dancing in a circle laughing] Ma Bell was just brought to her knees! To take down the corporate Goliaths... Oh man, oh man, oh man! Woz: Take down the Wall Street behemoths... I know what it means! Steve: Is a decent slingshot. Woz: [gesturing for Steve to be quiet] That’s one, one for the common people, Decent slingshot. Ja, hello. Woz/Steve: Is dis Daß Vatican? I know exactly what this means… Woz: Woz walks over to the bench and sits. That’s one for Abbie Hoffman, The screens come together and a field Steve: Steve: and apple orchard are projected. Holy shit! Ma Bell Steve/Woz: Chrisann enters and sits on the ground. Was just taken down. That’s one for Cesar Chavez. Steve walks to her. Woz: That’s one — that’s one for Here ist Henry Kissinger. Woz: The trouble-makers, I vish to cancel Ma Bell …Rebels, freaks, and sinners My meeting mit der Pope. Was just screwed over. Who keep this planet spinning. Thank you, For Dylan... Auf weidersehn. Steve/Woz: Ma Bell Was just brought to her…

44 45 9 SCENE 6 Steve: [correcting] 1974: An apple orchard near Los Altos Mucus-free. Yup. Steve: [after a short beat] Apples only. I still don’t feel anything. Chrisann: Chrisann: You’re crazy. It’s pure purple microdot. Give it time. Steve: Crazy about Fujis. Steve: Time… Chrisann: And also just crazy. Chrisann: Always in a rush. Steve: Be patient. And now, a college drop-out! I missed you. At age nineteen, [melodramatically] Steve: My life is over! You, too. [Steve and Chrisann laugh. It’s good to be back. She smiles at him.] I still don’t feel anything. Chrisann: Chrisann: I could learn to like you, Steve, give it time. Weird as that may be. Still on that diet? I could learn to like you, Maybe like a lot. Steve: A dropout, Which one? Jobless, Living at home. Chrisann: Often distant, Phlegm-free — Often moody.

46 Edward Parks (Steve) and Jessica E. Jones (Chrisann) 47 Chrisann: Chrisann: Steve: [to Kōbun] shi son bu sa And you don’t even know Hear what? Your face is the last thing mo ko sa What you want in life! I want in my brain mo ko ho ja But your brain — Steve: At this particular moment. ho ro mi It’s always clicking, clicking, A clarinet. Clicking away. And a flute. The screens form to create a Sōtō Zen Steve: You could be a genius And that reed… center, with a projection of the ensō on it. Remember? Or a psycho…yet… The oboe! Chrisann walks to the bench and sits. I wanted to be a monk. I could learn to like you, Strings, Kōbun brings Steve into the Zen center. Maybe, like a lot. Brass, [Lights change, and Steve and Bizarre diets, Reeds, Kōbun are instantly in the past.] Usually shoeless, Branches, 10 SCENE 7 French hygiene, Stones, 2007: The hills around Cupertino Kōbun: Anti-antiperspirant, Grass, 1975: The Los Altos Zen Center A monk? Budding Buddhist, The entire field. And you may never know It’s playing something. Kōbun: [pointing to the ensō] Steve: What you want in life. But what’s it playing? That can also be a ticking clock. I like it here. But your mind, What is it playing? Keeps working, Bach! Steve: Kōbun: Working, Like my body isn’t telling me that already. Yes, but here is where Searching, Chrisann: You learn the truth, Percolating, Bach? [Five members of the ensemble enter Not avoid it. Clicking, clicking away. and form a meditation class.] (Why do I feel like that old nun in I could learn to like you, Steve: The Sound of Music?) Like a lot a lot. The composer! Steve: Steve… And when we’re together, It was around this time we met. You’re all loose wires, Something just connects. Chrisann: Broken parts, Guess the drug’s beginning to work. Kōbun: Too much noise. [Chrisann kisses Steve.] ’75. If I let you stay here, They kiss. Steve undoes Chrisann’s blouse You would end up killing me. Steve: [suddenly] and they start to have sex. Kōbun rises from Ensemble: [chanting softly under scene] Hear that? the bench and taps Steve on his shoulder. Ji ho san shi i shi fu

48 49 Kōbun: Always allow it, If I let you stay here, Take one step, They would end up killing me. One little step, That much murder And try At a Zen Center To simplify. Isn’t healthy. I recommend you One screen rolls on; it shows an image Take one step. or images of a lecture hall. A sign says Take one step… “View from the Top/1989.” Steve goes to One little step, sit when Laurene enters. They take each One little step. other in, smile, then both sit. Kick a stone, See it land, See it land… 11 SCENE 8 In the pond. 1989: Lecture Hall, Stanford University Watch it ripple On the pond. Steve: [placing words as if on a marquee] On the pond… Welcome to In the moonlight, “View from the Top 1989.” That shines as brightly In the teardrop Laurene: As in the sea. Hope the speech See a frog… Isn’t boring. See a blind old frog, Who feels that moonlight, Steve: And leaps into the air, Shouldn’t be. Leaps high, leaps high! I’m the speaker. …Into the mouth Of a snake, Laurene: Who then sleeps. I know. This is the way of nature. I still hope Never force it, It isn’t boring.

50 Edward Parks (Steve) and Wei Wu (Kōbun) 51 Steve: Woz: Woz: Chrisann: And what made you sit here? One teeny tiny thing. An interface only a motherboard could love. You should have told your sperm that. Just one more thing. Laurene: Chrisann: Steve: Won it in a raffle. Steve: Steve… Seriously… It’s supposed to Stop telling me that, Woz. Do you have a moment? [suddenly, coldly] Include dinner I can’t do this — With the speaker. Woz: Steve hands the joint to Woz and takes Not now. [they laugh] It has to be exactly right. Chrisann outside the garage, out of Seriously, it was the only seat left. earshot of Woz. Chrisann: Steve/Woz: No…You won’t shut me out this way. [They look at each other and feel a Enough, Woz/Just one more thing. Steve: large jolt of attraction.] Shut up, Woz/And then… Not now. Steve: I’m busy. Get rid of it. Steve: Woz: Vegan okay? Presto, change-o! Chrisann: Chrisann: All done. The tests came back. Get —? The walls form the garage again. I’m — Woz rises from the bench, walks to the [Woz holds up a prototype for something Steve: garage and sits at the workbench. resembling the circuit board for .] Chrisann gestures with a circular motion Rid of it. around her belly to indicate that she’s I don’t want it. Steve: pregnant. 12 SCENE 9 That’s it? Chrisann: 1976: The garage of the Jobs [Woz nods “yes.”] Steve: [turns away, coldly] You don’t mean that. family home, Los Altos Let’s celebrate. How could you do this to me? Steve: Woz: [finishing his work] Steve lights a joint. Chrisann has risen Chrisann: [incredulous] Not now. One more thing… from the bench and shambles disconsolately Do this to you? Not ever. Just one more thing… to the garage. How can you say such a thing? I’ll say it’s not mine.

Steve: Steve: [looking at the board] Steve: You said that an hour ago… She sure is ugly. Especially now. I have too much going on.

52 53 Steve stands and stares at Chrisann Steve: Steve/Woz: Musical instruments, silently. He folds his arms. She looks at Wrong. Sound. They are all him in disbelief, then returns to the bench. It’s all about how it looks. Sound. Sound! Valves, Steve returns to the garage, takes the Wires, joint from Woz and draws from it Woz: [placating a little] 13 Steve: [suddenly remembering] Pedals, heavily, then broods. Maybe we could add a keyboard. Music. Pegs, Bach. Keys, Woz: Steve: [His brain starts clicking.] Instruments. But when we connect to them… You okay? How it looks and…feels. These machines could be Connect… Keyboard — check. Something we play. Connect… Steve: [He’s not.] What about color? Something we play. They become I’m fine. Like a violin. Something we play. Woz: Or a guitar. Something we play, Woz: With some work. All music is merely mathematics, Something we You sure? Merely math, Bang, Steve: But when we hear music, Hit, Steve: So, color. Really listen, Blow, Fine. A sleek monitor? We think of God. Something we [looking at the board] We think of sunsets, Trill, We have to cover it up. Woz: We think of life, Hum, Cover it up completely. That could be arranged. We think of death. Strum, No clutter. We think of great sex. Something we play. No wires. Steve: More than think, It’s messy. Screen. We feel. Two screens form an empty interior My friend will make a case for it. These machines space. The year is projected: 1989. There Outta koa wood. Woz: Can be the same way. are projections of large black and white Keyboard. Something that doesn’t play us, photographs on walls. Steve walks into this Woz: But something we play. space with Laurene, holding her hand. If you want. Steve: Like a clarinet, But it’s not about how it looks. Power switch. Or a French horn. But what it does. And while we’re at it… Or what’s that reed — The oboe. Instruments,

54 55 CD 2 Don’t you hear music 1 SCENE 10 When you make things? 1989: Steve Jobs’ home, Palo Alto Steve: Laurene: [looking around the empty space] Used to. Just move in? Laurene: Steve: You should. Been here five years. Why make them if you don’t? Since ’84. You have all the money in the world. And all the time. Laurene: If you can’t find joy in what you do, There’s no furniture. Who can? [softer, sexier] Steve: So, do you at least have a bed? Never found any I liked. Steve goes to Laurene and kisses her. They Laurene: [seeing the photos] part. Laurene returns to the bench. Steve My favorite — moves into the office to talk to an engineer.

Steve: You like Ansel Adams? 2 SCENE 11 1980: Corporate Offices, Cupertino Laurene: [quoting] “I can look at a fine art photograph Steve: [addressing one engineer] And sometimes I hear music.” One button, Turn it on, Steve: And you’re off. Beautiful. Simple, Clear-cut, Laurene: Uncluttered, Not mine. And clean. He said that — Mr. Adams. Clean. A lean and clean machine.

56 Edward Parks (Steve) 57 Chrisann rises from the bench. Lights Chrisann: [with above] switch and the scene moves from You don’t want love. promotional to intimate. You don’t have the time. You don’t want us. Chrisann: No room. Hello, stranger. And this new life, [Steve tries to walk away.] That’s kicking inside me. Stop ignoring me! You can’t make me end it. You can’t and won’t. Steve: [coldly] I don’t have time for this now. Woz rises from the bench. Lights switch and the scene moves from promotional Chrisann: to intimate. If you don’t want to be with me anymore, Then just say so. Woz: We talked about this. Steve: He was one of our hardest workers… I don’t want to be with you anymore. He’s down on his luck. He was with us from the start. Lights switch. Steve returns to address a group of engineers and doesn’t hear Steve: Chrisann. He also quit.

Steve: Woz: One button, Come on. Turn it on, A little stock. And you’re off. It’s the least we can do. Simple, I’ll match whatever you give him. Clear-cut, Uncluttered, Steve: And clean. Great. A lean machine. I give him zero.

58 Edward Parks (Steve) 59 Lights switch. Steve returns to a large And no space, They oughta let him go… Ensemble Soloist: group of people at a product launch. In his life. Better… More? Woz and Chrisann are in separate spaces My crazy Steve: Brighter… apart from Steve. Where did you go? Newer… Steve: You’re losing it, losing it, A circle. Steve: The love we once had: [Steve stands before a group of Not a square. One button, All gone, all gone. people in a boardroom.] I assume you know the difference. Turn it on, And you’re off. Ensemble Soloist: Ensemble: Simple, 3 SCENE 12 We need focus groups… Wrong. All wrong. Clear-cut, 1981-1986: Corporate Offices, Cupertino He needs more curve. Uncluttered, ordered, INTERLUDE: The Rise and Fall of Steve Jobs Steve: [interrupting] More like a circle. Self-contained, What the hell for? Faster… And clean. Videos project images of Steve’s meteoric Henry Ford said: A lean machine. rise in business. Stock market, successful “If I asked people what they want, Steve moves into another room. sales reports, reviews, headlines about his They’d ask for a faster horse.” Chrisann has risen from the bench. Woz: [with above] money, his power, his reach. The screens She stands in front of him. You’re losing it, form a maze of corporate offices. Steve Ensemble: You’re losing it. goes from room to room and faces various Faster… Steve: The guy I thought I knew configurations of the ensemble that form Better… You… Has no time, marketing groups, designers, engineers, Lighter… No space, etc. His energy gets increasingly manic, Darker… Chrisann: No life. demanding, and rude. Newer… I called. My poor old friend: Cheaper… Where did you go? 4 Ensemble: Better… Ensemble: You’re losing it, losing it, They need to make a change… Brighter… The dreams we once had: We fell another point… Steve moves into another area All gone, all gone. They oughta let him go… with a designer who shows him a Chrisann: Morale is really low… computer case. Like a hundred times. Chrisann: [with above] We’re losing everyday… You’re losing it, He hasn’t got a clue… Steve: Ensemble: [with above] You’re losing it. Seattle pushed ahead… Wrong. All wrong. Quicker… The man I used to love They need to make a change… I need more curve. Has no time, We fell another point… More like a circle.

60 61 [An engineer has entered Chrisann: [to Steve] Ensemble: Steve: [to another designer, with a clipboard.] Steve, I’m struggling. Cheaper… holding a computer guide] You could help us out. Lighter… Wrong. All wrong. Ensemble Soloist: Quicker… I want more gloss. July can’t happen. Steve: [to Chrisann] Better… Use that to blow your nose on. I don’t do hand-outs. [looking inside the guide] Ensemble: Steve moves into another room and Wrong. All wrong. Better… Chrisann: addresses a designer, who shows him a The font’s all wrong. I’m not asking for a — color palette. Find something less shout-y. Steve: [to Ensemble Soloist] What do you mean July can’t happen? Steve: [to Chrisann] Ensemble Soloist: [to Steve] Ensemble: I told you not to go through with it. Here is the palette. Lighter… Ensemble: Darker… Cheaper… Chrisann: Steve: [reviewing color swatches Lower… Lighter… Lisa. Her name is Lisa. with the designer] Higher… Darker… Wrong. All wrong. Sooner… Better… Steve: [to Chrisann] I need more grey. Better… Better… She’s not my problem. This is like… Better… Vulture vomit. Steve: [to Chrisann] Chrisann: Ensemble Soloist: I told you, she’s not my child. Steve… Ensemble Soloist: Less “shout-y?” This is more grey. Ensemble: Steve: [to Ensemble Soloist] You’ve seen every color there is. Steve: Lighter… MAKE July happen. You heard me! Darker… [to Chrisann.] Ensemble: [with above] Less shout-y! Not now. Wrong. All wrong. Ensemble Soloist: [to Steve] He needs more grey. Ensemble Soloist: July can’t happen. [Steve storms away. The Soloist rejoins ByteWorld Magazine…line two. the ensemble. Chrisann exits.] Steve: Steve: [to Ensemble Soloist] Then make one up! Steve: [referring to the phone call] Just make it happen. Ensemble: Goddamn critics. Brighter… Ensemble: [to the designer, shouting] Quicker… Better… Better…

62 63 Steve: Newer... Ensemble Soloist: [uttering to himself] I told you: less shout-y, less shout-y! Cheaper... They need that name for the new machine. (I’ll take care of my LISA, Chrisann, [picking up the phone, suddenly friendly] Faster… And you take care of yours.) Thanks for calling me back. Faster… Ensemble: [suddenly not] Faster… Faster…Sooner… [Steve slams down the phone. Listen, what you write is bullshit. An engineer shows him a prototype.] We’re not failing. Steve leaves and is encountered by a Steve: [to the reporter] Who cares what the market says? colleague, who plays sound on a speaker. My DNA? Steve: [The voice on the other line speaks.] Wrong. All wrong. Those bozos churn out crap Steve: [An engineer plays sound Ensemble: [with above] The case is wrong. For dumb clients. on a speaker.] Better… No one should look inside it, Their software belongs in the garbage, Wrong. All wrong. Better… You wouldn’t let a bus driver Not my machines. I ask for Bach, Do heart surgery, would you? Period. And you give me… [Steve writes a name and slips the No one should get it open. [Steve slams down the phone.] Flatulent mosquitoes. Ensemble Soloist a piece of paper.] No one needs to take these things apart, No one needs to learn Ensemble: Ensemble Soloist: [to Steve] Steve: [to the reporter] What makes them run, Brighter… That reporter’s on line nine. My DNA lied. No one. Quicker… Says it is something urgent. Cheaper… Ensemble Soloist: [reading the piece Ensemble: [with above] Better… Ensemble: of paper, incredulously] Wrong. Better… Lighter… “Lisa?” All wrong. Lower… Darker… That’s the name? The case is wrong. Higher… Sooner… For a computer? Lighter… Better… Darker… Better… [Steve turns away and takes the telephone Steve: [to the reporter] Lower… Better… call; he speaks to the reporter angrily.] I don’t have time for this. Higher… Newer... Twenty-nine percent Sooner… Cheaper... Steve: Of the male population Better… Higher... Of course, I know who Ms. Brennan is. In this country could be the father! Lower... Of course, I know her daughter’s name. [slamming down the phone. Woz: Sooner... How do you know to Soloist, explaining] Hey pal, Better... I’m the father? Yes, the name is “LISA.” The big M just pulled ahead of us. Give me proof. “Logic Interface…System…” whatever.

64 65 Steve: [to Woz] You need to control everything. So what? Decide everything, And you won’t give up, Woz: Not for a single second, Their software works anywhere. Until you’ve run us into the ground. You won’t let ours. You’ve become one of the bastards We hated: Steve: An egomaniacal, “Won’t” is right. Self-centered, No crap software Self-serving, Is going to mess up my machine. Self-deceived, You just stick to your circuits and chips. Mega-corporate And I’ll run my company. Prick! Got it? You’re not who you were, This company is not what it was, Woz: And I want no part of it. Your company? I quit. Your machine? [walks off and sits on the bench] 5 You’ve become one of the people we hated: A Goliath… Steve: A Goliath. Good riddance! Whatever you had before, Go back to making video games Whatever you were before, For brainless brats! Gone, Gone, 6 [no one is there] All gone. The dreams, Ensemble Soloist: The garage, They’re waiting for you in the boardroom. Your father’s garage, Our machine, Ensemble: Our beautiful machine, Brighter… Something we play, Faster… That doesn’t play us. [Steve starts to move into another room But now, while an engineer shows him a case.]

66 Garrett Sorenson (Woz) and Edward Parks (Steve) 67 Steve: [to the engineer] Ensemble: Boardroom Ensemble: 8 SCENE 13 Wrong! Quicker... Only for a while. 2007: The hills around Cupertino Still wrong! Cheaper… It’s a better place for you, The case is wrong. Brighter… More suited to [Kōbun speaks from the bench.] Your managerial “style.” Ensemble: Steve has entered the room. He stands It’s better… Kōbun: Better… before a board of people seated at a table. A better place for you, Karma can suck. There is an empty chair; he doesn’t sit. A better place for us. What did you expect? Steve: [to the engineer] “Simplify” doesn’t mean No one should look inside it, Boardroom Ensemble: Ensemble: [with above] Be selfish. Get it open. We know you’re a busy man, Better, newer, better, lighter... So we won’t waste your…time. Better, darker, lower, higher, sooner... [Steve returns to Kōbun.] Ensemble: Your policies aren’t working, Higher… The company is failing. [The ensemble reaches a fever pitch. Steve: Lower… We have made the tough decision. Steve breaks down.] I was only seeking perfection. To move you to a new division. Steve: [to the engineer] Steve: Kōbun: Shut it in. Steve: [flying into a rage] Close it up… You’ve mistaken “want” for “love.” Close it down, A “new division?” Shut it in… You let your ego get the best of you. Bolt it down. You mean, like, Siberia? Bolt it down… It happens. You’re sticking me in Siberia? Better… You died your first death. Ensemble/Steve: You can’t do that. No one. But you moved on. Better… This is my company. No one. And you started again… Faster… No one needs to know how it works, Siberia? Cheaper… How wrong it is, This is my company. Steve: Brighter... How messy it is. I quit. And I started again. Faster... Better... Ensemble: [with above] 7 DARK INTERLUDE Kōbun: Better, quicker, cheaper... You did your best work Steve: Broken, messy, ugly... [Steve collapses in rage.] In the second ten years. When will anyone around here How wrong... Learn to do their freakin’ job?! Steve: We all did our best work.

68 69 Kōbun: SCENE 15 And you met Laurene… 2007: The hills around Cupertino, 1989: Steve Jobs’ home, Palo Alto Steve: I met Laurene. Laurene: Don’t you hear music A quick replay of part of Scene 8. One When you make things? screen rolls on; it shows an image or images of a lecture hall. Steve goes to and is about Steve: to sit when Laurene enters. They take each Used to. other in, then both sit. Laurene: You should. SCENE 14 Why make them if you don’t? 2007: The hills around Cupertino, 1989: A lecture hall, Stanford University Steve: And I fell in love with Laurene. Steve: [placing words as if on a marquee] Welcome to Kōbun: [from the bench] “View from the Top 1989” And when your old habits come back, Laurene was always there to — Laurene: As you so poetically put it — Hope the speech “Kick your ass.” Isn’t boring.

Kōbun: [from the bench] 9 SCENE 16 And you fell in love with Laurene… 2007: later that night; Steve Jobs’ home

A quick replay of part of Scene 10. A second [Steve enters. Laurene has been screen rolls on to form an empty interior waiting up for him.] space with projections of large black and white photographs on it. Steve walks into Laurene: this space with Laurene, holding her hand. Where were you?

70 Edward Parks (Steve) and Sasha Cooke (Laurene) 71 Steve: Steve: Laurene: Broken drives, Told you. I’m not shutting — Sure you do, Sadness, illness, On a walk. You’re a human being. Despair, disease, Laurene: With an illness. Madness, misery… Laurene: You’ve got a family. See, humans have failings. That was a long walk. And I won’t — Steve: And there isn’t one button, We won’t — I’m not built that way. That switches us on, Steve: Let you get sick again. And switches us off. I went many places. You need to take care of yourself. Laurene: We’re never that easy. Get normal treatment. “Built that way?” You know you have an illness, Laurene: You’re not one of your machines. Listen to yourself! You know you have an awful illness, I was worried. You can’t keep Steve: Steve: Ignoring it. Steve: What’s wrong with machines? My health is perfect. You need to Not that again. At least they don’t fail you. Face the truth, I’m fine. Laurene: Face the facts. Laurene: Why do you keep lying… And that will start Laurene: Define “fail.” By accepting that you’re human, You’re not fine. Steve: And that you may need some help, You look awful. Steve: It’s perfect. That you’re not alone in this. After the launch, The opposite of succeed. I still believe You looked awful. Laurene: In our marriage. Laurene: Lying to yourself? But I can’t stand by Steve: But we’re always failing. When will you And watch you fall apart. Don’t worry a — Let in the truth? You know that I love you, Steve: When will you see… But I can’t be with you, Laurene: Not me. Humans are messy, Unless you are willing to change. No! Awkward and cluttered, You know that I love you, You’re not shutting me out again. Laurene: Look at us closely, But I cannot be with you, You did that with Chrisann, You and me, we’re always failing. Open our cases, Unless you are willing With Lisa, You’ll only find chaos. To change, With your friends, Steve: Wires all jumbled, To change. But you won’t do that to me. I don’t fail. Circuits not working, Wrong parts,

72 73 Steve: 11 Kōbun: Don’t leave. Kan ji zai bo za tsu Please. Gyo jin han ya ha ra mi ta I’ll speak to the doctor tomorrow. Ji sho ken go on kai ku I promise. Do i sai ku I’m not good at this. Yaku sha ri shi… You know that. I can only try. [Steve is about to kiss Laurene, when the scene freezes.] Laurene: You can only try. Steve: And on March 18, 1991, Steve: [with above] I married Laurene. I can try. And we had three children.

[Laurene goes to Steve and helps Kōbun: him stand. They kiss.] And adopted a fourth…

Steve: 10 SCENE 17 Lisa. 1991: The wedding, Yosemite National Park Kōbun: LYRICAL INTERLUDE Shin mu ke ge mu ke ge ko Mu u ku fu on ri i sai ten do mu so The wedding of Laurene and Steve. A third ku gyo ne… screen rolls on; two screens project the interior of a religious space; the third a The ensō is projected, but this time it is photo of Yosemite. The ensemble enters completed by two strokes that conjoin, with benches, places them, and sits. There rather than one stroke. is a conspicuous empty space on one of the benches at the front). This is not a traditional Steve: Western wedding. There are gongs instead of Fitzgerald said: wedding bells and Kōbun chants as Steve and “There are no second acts Laurene stand across from each other. In American lives.”

74 Edward Parks (Steve) 75 Steve: [Kōbun takes Steve over to the bench Laurene: Laurene: Enter Laurene, stage right.] Only one, only one. Wish you could have been here. And my life is transformed, But your not being here From the moment we meet. Steve: Is sort of the point. [looking at Laurene] Drowned… 12 SCENE 18 I owe you everything. Trying to save your own child. 2011: The memorial service, Steve: For eighteen years Stanford University Chapel I wanted Austin roses. Of patience, Kōbun: Not lilies. Of strength. We start at nothing, Laurene: [to herself] I owe you everything. Return to nothing. And now he is gone. Laurene: For keeping me in line, The circle ends where it was begun. Twenty years together… Reed wore the tie you gave him. For helping me He hates it. Rediscover the garage, Laurene: [with above] Steve: [conspiratorially] While not neglecting What was it Kōbun always used to say? Wait. Good job. The rest of the house. What is this? For helping me face my illness. The ensemble remains. Laurene walks Steve: You made me do my best work, to an empty space on a bench with the Kōbun: Laurene… And gave me the happiest moments ensemble, and sits. Doesn’t look like another product launch. She’s beautiful. In my life. Thank God for that. Was she ever not beautiful? And… Kōbun: [suddenly harsh] I owe you everything. And there is only one certainty in life, Steve: What’s that bastard from ByteWorld There’s only one. Is it — Doing here?! [Steve returns to Laurene and kisses her.] Is it my memorial service? Laurene: [with above] Kōbun: Kōbun: [with above] That “there is only one certainty in life.” Kōbun: Be still, Steve. Gya tei gya tei Only one. It is. Ha ra gya tei To commemorate, as you said, Steve: Hara so gya tei A fourth screen is rolled on with a “The single best invention of life.” And my photo’s on the wrong side. Bo ji so wa ka… large-sized poster of Jobs’ image. And soon… Lilies are brought on. It is clear that the Steve/Kōbun: Kōbun: Like the frog wedding has now become a memorial “Death is Be still, Steve. In the snake’s mouth. service. The ensemble freezes. Woz enters The single best invention of life.” It’s out of your control now. I was gone. and sits. Laurene is in her own world. Be still.

76 77 Kōbun: You were a fraud. Simplify. You were such a pain, Simplify. Both a brilliant man And a freak The three screens fill with phrases from And you were never easy. online tributes to Jobs until it goes But once you found your way, completely white. Discovered you were “human,” We found a way Ensemble: To connect, Have a safe journey, Steve... Took time to find our way Fifty-six years... And connect Condolences to the family… But we found a way RIP, Steve… To connect. Thanks for making great things… To connect. Our generation… You were only a man, Notre génération… And I loved you. Nós te amamos… iSad, iTriste, iTraurig, iKanashi… Woz: [with above] Making better clouds… Gone too soon, Have a safe journey, Steve… Way too soon. Even though you could be an SOB. [The ensemble has exited; Laurene But once you found your way and Woz remain.] Back to the garage. And, with Laurene, a way to connect. Laurene: Yes, you did find your way A lot of important people here. Back to the garage. Saying important things. And you found a way to connect. Soon the press will lionize you, You found a way to connect. And vilify you. To connect. You were visionary, You were cruel, [Woz exits. Laurene remains.] You were original,

78 Sasha Cooke (Laurene) and The Santa Fe Opera Chorus, projection of Edward Parks (Steve) 79 13 Laurene: A fourth screen rolls on and that And after this is over, combined with the three screens onstage The very second this is over, form the fourth wall of the garage. For better or worse, Paul and Young Steve reenter as before; Everyone will Young Steve uncovers his eyes. Steve looks Reach in their pockets, on. Laurene remains on one bench. Or purses, And — guess what? — EPILOGUE Look at their phones, 1965: The garage of the Jobs family Their “one device.” home, Los Altos I’m not sure Version 2.0 of Steve Would want that. Paul: Version 2.0 might say: Hope you like this table, “Look up, look out, look around. Hope you like this table I made. Look at the stars, Only plywood and nails, Look at the sky, Still, it’s a fine place to start. Take in the light, Take another sip, Steve: [with above, recalling] Take another bite, Hope you like this table, Steal another kiss, Hope you like this table I made. Dance another dance, Only plywood and nails. Glance at the smile Of the person right there next to you.” Laurene: [with above, looking on] Look up, look out, look around. Look up, Be here now. Look out, Be here now. Be here now, And then he would say: And now is… “Please buy them, But don’t spend your life on them.” Steve/Laurene: …A fine place to start.

[Music rises again as lights brighten to blinding, then go out. The end.]

80 81 Acknowledgments

Recorded live at The Santa Fe Opera, Dirk Sobotka Principal support for the recording of The Andrew W. Mellon Foundation and the The Crosby Theatre, July/August 2017 Editing The (R)evolution of Steve Jobs National Endowment for the Arts generously provided by have provided additional support. By arrangement with Aphra Music, Publisher Mark Donahue Jane Stieren Lacy. Mixing and Mastering The engagement of Victoria “Vita” Tzykun Charles MacKay Additional support for the recording of sponsored by General Director Brandon Johnson The (R)evolution of Steve Jobs The Marineau Family Foundation. Assistant Engineer generously provided by: Brad Woolbright Phyllis H. Brissenden The performances of Mason Bates Director of Artistic Administration Soundmirror, Inc. Post-production Ambassador David & Connie Girard-diCarlo sponsored by Paul Horpedahl Irving Harris Foundation Donna L. Kendall – Production and Facilities Director Synch Agency Susan & Philip Marineau The Donna L. Kendall Foundation. Graphic Design Sarah Billinghurst Solomon & Laura Hudman Howard Solomon The performances of Edward Parks Director of Marketing Photography The Carl & Marilynn Thoma Foundation sponsored by Production photography © Ken Howard Joanna L. & T. Peter Townsend Jane Stieren Lacy. Adam Franklin Artistic Administrator The Crosby Theatre, page 2; Cast and Creative team, page 11 The production of The (R)evolution of Steve Jobs The performances of Sasha Cooke © Brandon Soder underwritten by a deeply appreciated gift from sponsored by Michael Bronson David Henry Jacobs. Brooke Suzanne Gray. Recording Project Consultant Box and booklet cover; Rainbow over The Santa Fe Opera, page 7; Milky Way Above Additional artistic costs The performances of Garrett Sorenson Elizabeth Ostrow the Opera, page 81 © Paul Horpedahl underwritten by sponsored by Producer Mark Campbell, page 22 © Nacho Guevara The Carl & Marilynn Thoma Foundation Phyllis H. Brissenden. Mark Donahue The General Director’s Premiere Fund Balance Engineer This recording was made possible through the in honor of Richard Gaddes courtesy of the American Guild of Musical Artists, AFL-CIO. Dirk Sobotka Recording Engineer

David Williams Wireless Engineer

82 83 American Operas Series

The history of opera predates that viewing opera as an elite art form of the United States. Going back to representing antiquated interests, in 16th century Italy, opera reflected languages they did not understand. a fascination with myth and was As the American repertoire has mounted for the benefit of the court. expanded over the centuries so As opera spread its roots throughout have American audiences, drawn to western and eastern Europe it evolved contemporaneous topics played out as a public form of entertainment in their native tongue. But American and increasingly drew upon history operas are no longer confined to and literature as inspiration. The listeners in the US; the works of American Pilgrim settlers found such American composers have been entertainment to be at odds with increasingly heard throughout the their puritanical ideology, but at the world. American opera embodies turn of the 18th century opera crept the individualism of its homeland, across the US border as a European and with each generation new import. By mid-century William musical language has found its voice Henry Fry became the first American in American opera – a voice that composer to pen an opera, but opera resonates with all who love the music, was still predominantly associated the drama and the brilliance that is with European composers. This opera. contributed to many in the country

84 85 What we stand for:

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