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Home , Cold Mountain (novel), Cold Mountain (opera), Gene Scheer, Jennifer Higdon, Kevin Burdette, Richard Gaddes

THE SANTA FE WORLD PREMIERE Based on the –winning novel by

Jennifer Higdon, composer , librettist Miguel Harth-Bedoya, conductor

Live Recording

1 Content Cold Mountain , Composer Gene Scheer, Librettist

The Sante Fe Opera 6 The ’s production was co-commissioned and co-produced with Track Information 8 Opera Philadelphia and Minnesota Opera, in collaboration with North Carolina Opera Cast 10 THE SANTA FE OPERA Author’s Note 12 The Santa Fe Opera Orchestra Miguel Harth-Bedoya, Conductor Composer’s Note 14

Librettist’s Note 16 Chorus – Members of The Santa Fe Opera Apprentice Program for Singers Biographies 18 Susanne Sheston, Chorus Master Synopsis 22 Libretto 24 Leonard Foglia, Stage Director Robert Brill, Scenic Design Acknowledgements 103 David C. Woolard, Costume Design American Series 104 Brian Nason, Lighting Design Premium Sound and Outstanding Artists 106 Elaine J. McCarthy, Projection Design Rick Sordelet, Fight Director

This recording has been made possible, in part, by Jane Stieren Lacy and an anonymous donor. The world premiere production of Cold Mountain was underwritten by deeply appreciated grants from:

Wyncote Foundation The Andrew W. Mellon Foundation Carol Franc Buck Foundation

2 3 4 5 The Santa Fe Opera Track Information CD 1 ACT I (PTC 5186 524) CD 2 ACT II (PTC 5186 525) From the unlikeliest of beginnings — an programs for singers, technicians and arts 1 Scene One: Bill Owens’ farm 4. 33 1 Opening 0. 58 opera company located hundreds of miles administrators; and to foster and enrich an “Peaches In The Summertime” 2 Scene One: Lucinda and Inman duet 7. 08 from any major city, featuring American understanding and appreciation of opera 2 Scene Two: Confederate hospital, Raleigh, North Carolina 6. 08 “Is That All You Got?” singers in a wide-ranging and challenging among a diverse public. More than 2,000 “What Was His Name?” 3 Scene Two 1. 09 repertory, and treating theatrical and performances of 164 diff erent operas have 3 Scene Two: Inman’s aria 6. 09 “Interlude: Inman Walking” musical values as equally important in its been given here, including fourteen world 4 Scene Three : Ada and Inman duet 2. 46 “The Metal Age” productions — The Santa Fe Opera has premieres and 45 American premieres. “Orion” 4 Scene Three: A churchyard on Cold Mountain 4. 30 grown to become recognized as one of the 5 Scene Four: Stobrod’s campsite 6. 13 “I Don’t Like That Man” world’s leading cultural festivals. The company was founded by the late “Bless You, Ruby” 5 Scene Four: Black Cove Farm - Ada meets Ruby 4. 01 , a young conductor from 6 Scene Five: Sara’s cabin 6. 31 “Who Ya’ Talkin’ To?” Every summer since 1957, opera lovers have New York, who had an idea of starting an “Your Baby Sick?” 6 Scene Five: A gorge along a river 6. 44 been drawn to the magnifi cent northern opera company to give American singers 7 Scene Six: Black Cove Farm 4. 31 “We Once Lived In A Land Of Paradise” New Mexico mountains to enjoy productions an opportunity to learn and perform new “Funny Lookin’ Scarecrow…” 7 Scene Six: Early morning, Black Cove Farm 2. 32 at The Santa Fe Opera. Here, the roles in a setting that allowed ample time 8 Scene Seven: Sara’s cabin 2. 32 “Sun’s Up. You’ll Eat Later…” company’s dramatic adobe theater blends to rehearse and prepare each production. “Get Up! Quick!” 8 Scene Six: Ruby’s aria 6. 34 harmoniously with the landscape. It is this Crosby was succeeded as founding General 9 Scene Eight: Quintet 2. 41 “My Only Teacher Was Hunger” fusion of nature and art that leaves such an Director by Richard Gaddes in 2000. During “I Should Be Cryin’ But I Just Feel Numb” 9 Scene Six: Ada and Inman duet 3. 35 enduring impression on all who visit. More his tenure in Santa Fe he implemented a 10 Scene Nine: Stobrod’s campsite 4. 51 “Why Can’t We?” “Howdy, Strangers... Keep Playin’...” than half the audience comes from outside wide range of new programming, including 10 Scene Seven: Cape Fear River 2. 36 11 Scene Ten: Walking up Cold Mountain 4. 17 New Mexico, representing every state in the community-based productions in the “Mister, How Much To Ferry Me Across?” “Our Beautiful Country” union as well as dozens of foreign countries, off -season and simulcasts to Albuquerque 11 Scene Eight: The next morning, along the banks of the river 6. 07 12 Scene Ten 4. 40 creating a signifi cant impact on the and a park in downtown Santa Fe. He “Look At Me, I’m Floating” “Ada’s aria” economy of the State of New Mexico. retired following the 2008 season when 12 Scene Nine: Black Cove Farm 8. 08 13 Scene Eleven: Deep in the woods on Cold Mountain 3. 30 Charles MacKay became the third General “Listen” “I’m Lost” The Santa Fe Opera’s mission is to advance Director in The Santa Fe Opera’s history. 13 Scene Nine: Teague’s aria 3. 37 14 Scene Twelve: Ruby and Ada’s campsite 6. 31 the operatic art form by presenting Under MacKay’s leadership, the Opera has “A Fence Is A Good Thing” “You Just Need To Rest. We’ll Talk Later.” ensemble performances of the highest maintained a balanced budget through a 14 Scene Ten: The Chain Gang 2. 47 15 Scene Twelve: Chorus 11. 39 quality in a unique setting with a varied tumultuous economic period and continues “I Told You. I’m A Preacher!” “Tell Her” repertoire of new, rarely performed, and to present bold and innovative repertory. 15 Scene Ten: Ada and Inman duet 4. 58 16 Scene Thirteen: Black Cove Farm 2. 20 standard works; to ensure the excellence “Come Back To Cold Mountain” “Epilogue, nine years later” of opera’s future through apprentice Total playing time CD 1: 73. 10 Total playing time CD 2: 72. 30 6 7 8 9

Cast Back to Cold Mountain about W.P. Inman’s journey home and and the luminous physical presences and operas and novels are very his death at the hands of Teague’s of , , diff erent beasts; some bits of anatomy Charles Frazier, Author Teague Solomon Veasey Stobrod Thewes Charlie Home Guard near the end of the Civil Emily Fons, , Kevin are transplantable, but many are Jay Hunter Morris Roger Honeywell Daniel Bates Autumn 1989, I went to Jackson War. Within a week I abandoned the Burdette, and Roger Honeywell not. And as for control, I use that at Hole, Wyoming for a sort of writer’s previous book and started writing Cold brought Inman and Ada and Ruby, the very beginning. Somebody wants Owens Laura Lucinda Ethan retreat. I was working on a novel Mountain. In my original conception, Teague and Stobrod and Veasey back to adapt my work, I talk with them, Deborah Nansteel Robert Pomakov Robert Pomakov Andrea Núñez set in the contemporary world. The the book would have been brief, to me with a very simple feeling: Old and go by instinct. Yes or no. After main character drove a black Audi. intensely violent, and hopeless. But friends long parted, happily meet that, when artists like Higdon, Scheer, Owens’ Son Lila Pangle Thomas Sometime during that trip, the image that idea didn’t last long because Ada again under diff erent circumstances. and Anthony Minghella are engaging Adrian Kramer Bridgette Gan Anthony Michaels-Moore Tyler Putnam of two women appeared out of and Ruby stepped out of that painting, with my work to create something of W.P. Inm an Katie Reid Birch nowhere in my mind. It was like looking off that page of description to save me Leading up to the premiere, I was their own, I think my role is to answer Nathan Gunn Heather Phillips Roy Hage Nicholas Ottersberg at a painting. They stood together on and the book. often asked by journalists and others questions, ask a few, and off er support a cold day by a fi re in the backyard about my thoughts concerning and encouragement. And also to enjoy Sara Ada’s Daughter A Blind Man Olivia of an Appalachian farmhouse. Their Twenty-six years later, sitting in the adaptation for fi lm and opera. the adventure of learning more about Kevin Burdette Shabnam Kalbasi Chelsea Basler Cadence Dennis clothes suggested the nineteenth audience for the premiere of the opera A frequent assumption was that I the process of making art by watching century and that one woman was in Santa Fe, seeing and hearing that surely wanted as much control over other artists with diff erent tools than Ada Monroe Claire Isabel Leonard Megan Marino more refi ned than the other. I didn’t story and those characters through the the fi nal product as possible, and mine reimagine and revive these know who they were, and they had eyes and ears of artists as gifted and that I would particularly dislike any characters and scenes in wonderful Monroe Junior The Santa Fe Opera Orchestra nothing to do with the book I was accomplished as Jennifer Higdon and change, however minor, from my new ways. Anthony Michaels-Moore Daniel Bates Miguel Harth-Bedoya, Conductor working on, but I wrote a page Gene Scheer, was an overwhelmingly novel. People sometimes failed to Chorus – Members of The Santa Fe Opera Apprentice Program for Singers describing that static scene. gratifying experience. I won’t try to believe my answers. For example, I Ruby Thewes Chain Gang Guards write about the music and the voices; think that a sure way to make a bad Emily Fons Roy Hage Susanne Sheston, Chorus Master Anthony Michaels-Moore A month later, back in North Carolina, I don’t have the technical vocabulary. adaptation of almost all novels is to Robert Pomakov my father shared a bit of family history I’ll just say that the music, the voices try for absolute faithfulness. Movies

10 11 12 Author’s note 13 Journey to my youth in East Tennessee was very exhaustion, fear, love, and grief. At a surprise, as I embarked on the fi nal Ascending the feelings woven into the marrow of But the written elements of an opera war does to them; it is about how they Cold Mountain close to that line. Looking to confi rm fi rst, the composing was slow…trying scenes, to fi nd that various characters Cold Mountain the source?” are a diff erent matter. And, curiously, respond, how they choose to grow and my suspicion, I checked and discovered to fi nd the harmonies, melodies, were leaving the stage of my mind, transforming narrative art into an to endure. Jennifer Higdon, Composer Gene Scheer, Librettist that the family farm was a mere 60 tempos, and orchestral coloring that and that as I was writing the fi nal Thus the fi rst question is not what active theatrical form doesn’t mean After years of searching for a story miles, as the crow fl ies, from Cold each character demanded. It was measures, there literally remained In his essay “Why Read the Classics?,” to cut or include, but rather: what that the narrator no longer exists. After nearly fi ve hours of food, drink, that would be the focus of my fi rst Mountain. Writing this opera would be like feeling my way through darkness, only Ada. Putting a double bar at the Italo Calvino defi nes a classic as “a is it about this story that music can Rather, the narrative voice in opera is and conversation with the Fraziers, the opera, I read the fi rst several pages of a recollection of the landscape of my but each discovery provided a spot of end of the last measure, I could see book that has never fi nished saying communicate on its own? How can the reborn in the voice of the composer. dinner was over. The next day I set off Charles Frazier’s award-winning Cold formative years…a familiarity that I light. By the time we completed the her leaving the room, and closing the what it has to say.” Having spent narrative be structured to allow music for an inn just off the Appalachian Trail Mountain and realized this was it. The would welcome in a new-to-me genre. workshop of the fi rst act at The Curtis door behind her. There was silence…a almost two years distilling Charles to reinvent the experience? Later that night at dinner, as glasses to begin writing the piece. Amazingly, novel resonated in a profound manner: Institute of Music, I started to gain very loud, lonely silence. As I sat there, Frazier’s Cold Mountain, into a libretto, of bourbon were consumed, the I discovered that the inn was an old the characters, the physical setting, How to capture the journey of these confi dence in the musical lines that I said a little prayer of thanks, to each I still fi nd myself surprised by the ways It may seem self-evident, but this is topic eventually returned to how the farmhouse that had been run by the poetic structure of Frazier’s characters, while musically painting had been committed to the page. and every person that had guided me, that it continues to resonate deeply, why opera exists. We come to opera transformation from page to stage women during the “War of Yankee written lines. It didn’t occur to me at their landscape? I had the heavenly The second act came easier, almost and for the author, Charles Frazier, how it continues to have something for the unique catharsis that only takes place. I explained that I wanted Aggression.” the time that the most likely reason task of fi guring out how Inman, Ada, as if the characters themselves were for sharing and for the musicians who to say. music can provide. to structure the story in a way that for such an immediate attraction and Ruby would sound, especially convinced of what their music should would bring it all to life and for you, made it as active as possible. Sitting at my writing table, I felt like was the familiarity of everything in contrast to the less-than-savory say, and they were adamant that I the audience, who would grant us the At the start of the project, when Running counter to that imperative is I could hear Ruby and Ada outside about the book. It wasn’t until my Veasey and Teague. I searched to fi nd follow their wishes. There were twists grace of your hearing. Thank you. Charles and I drove up to Cold the strong gravitational pull I feel of By “active” I did not mean frenetic, on the porch. I still hear their voices; fourth time through the novel that I the collective pain of soldiers — living, and turns that I had not anticipated, Mountain, I explained that my goal wanting to include all of the details or even physical. Nor was I looking sometimes they are speaking and now, became aware of the map in the front. dying, and gone. And along the way and which I fi rst resisted. But giving was to produce the scaff olding around that make up the source. I’ve often for “choices” that result in histrionic after the wonderful premiere at Santa Staring at the jagged line denoting I encountered several women who in, I discovered that the characters’ which Jennifer Higdon could re- worked for days wondering: “How can I confrontations. What I intended to Fe, they’re sometimes singing, but the real Cold Mountain’s location to were marking each day in a journey needs were diff erent from what I imagine the story through her inspired not include that?” It all seems essential convey is that the transformative they’re still out there. It seems certain the western edge of North Carolina, of survival (Lucinda and Sara), and had thought. For the more than two music. When adapting something because, in the written form, all of journeys that Inman, Ada, and Ruby they will never fi nish saying what they I suddenly fl ashed on the realization the questionably-changed Stobrod. years of composing, they were living for an opera, my starting thought is the details of a great literary work are undertake result from acts of their have to say. that the farm where I spent most of Each person carried their own worries, in my head, day and night. So it was “how can I enable music to explore essential. will. The drama is not about what the

14 Composer’s note 15 16 Librettist’s note 17 Jennifer Higdon Gene Scheer

Jennifer Higdon (b. , NY, Higdon is the recipient of the Mr. Scheer’s work is noted for its scope It Never Goes Away, featured in Mr. December 31, 1962) taught herself to Pulitzer Prize for her , and versatility. With the composer Marsalis’s work Congo Square. With play fl ute at the age of 15 and began a Grammy for her Percussion he has collaborated on , Mr. Scheer wrote the formal musical studies at 18, with Concerto, and has also been many projects, including the critically Grammy-nominated oratorio August an even later start in composition at awarded a Guggenheim Fellowship, acclaimed world 4, 1964. With , Mr. Scheer the age of 21. Despite this challenge, a Koussevitzky Fellowship, a Pew premiere of Moby-Dick, starring Ben wrote the opera , premiered by Higdon has become a major fi gure Fellowship, and two awards from Heppner; (Houston the Dallas Opera. Also a composer in in contemporary classical music and the American Academy of Arts and Grand Opera), which starred Frederica his own right, Mr. Scheer has written is one of America’s most frequently Letters. She has served in the capacity von Stade; and To Hell and Back songs for singers such as Renée performed composers. of composer-in-residence at various (Philharmonia Baroque Orchestra), Fleming, , Denyce festivals, universities, and orchestras which featured Patti LuPone. Other Graves, and Nathan Gunn. Higdon’s list of commissioners is around the country. Her works are works by Scheer and Heggie include prominently featured Mr. Scheer’s extensive and illustrious and includes, recorded on more than 60 cds. Higdon Camille Claudel: Into the fi re, a song song “American Anthem” (as sung among others: The Philadelphia holds the Rock Chair in Composition cycle premiered by Joyce DiDonato. by Norah Jones) in his Emmy Award- Orchestra, the , at The Curtis Institute of Music in Mr. Scheer worked as librettist with winning World War II documentary for the Chicago Symphony, and the Philadelphia. on An American Tragedy, PBS entitled The War. Minnesota Orchestra. Solo artists who which premiered at The Metropolitan have commissioned and premiered For more information, visit Opera in 2005 as well as Therese For more information, visit her works include Thomas www.jenniferhigdon.com Raquin, written for the Dallas Opera www.genescheer.com Hampson, violinists and in 2001. Other collaborations include Jennifer Koh, and pianists Yuja Wang the lyrics for ’s and Gary Graff man.

18 Biographies 19 20 21 Synopsis Libretto Owens Four feet of fresh dirt! That’s a big job “Hallelujah, amen” is the signal for his men. Teague. for one old man. I know your boy’s here, One of Teague’s men suddenly stabs Owens. ACT I ACT II ACT I Owens! Teague motions to his cohorts and Owens, Teague who is bleeding to death, is thrown into the Teague, the leader of the local Home the two men. Lila’s husband drugs Lucinda, a runaway slave, is rifl ing deserters. Ruby sees her father’s SCENE ONE: How ‘bout that! You ask questions … already Owens points his gun at Teague. hole in the ground. Two men start burying Bill Owens’ farm 1 know the answers. So tell me why’d Suddenly from hidden positions Teague’s Owens alive. Guard, is hunting down Civil War Inman and Veasey before giving them through the pockets of the dead name, as Teague intended. The next I make my way, all the way out here? cohorts appear. Each has a rifl e pointed deserters. up to the Home Guard. The men are prisoners when Inman stirs and morning, Inman and Sara must react Lights up on Bill Owens’ farm. Late at Owens. Teague put on a chain gang of deserters. startles her. She frees him, and Inman quickly when Union soldiers appear. afternoon. There is a large hole and piles of Owens Peaches in the summertime, dirt where a stump has just been removed. I don’t know. Teague Apples in the fall, W.P. Inman, a Confederate soldier, continues his journey. From the distance, we hear Teague singing Drop it… If I can’t have me that girl, decides to desert and return home Back at the farm, Ruby fi nds her At a campfi re in the woods, Teague a song to himself as he approaches. Teague I don’ t want none at all. to his beloved Ada. On his journey, estranged father Stobrod trying to Back at Black Cove Farm, Stobrod and his men confront Stobrod and Bill Owens, an old man, hears Teague’s That loaded gun tells me you’ve a notion. (Owens does so) voice and comes outside holding a rifl e and, Owens (To his son still hidden) Inman meets Solomon Veasey, whom steal food. She wants nothing to and his travelling companion Pangle Pangle. Both men are shot and left in a panic, quickly loads it. Owens Can’t have it! Deserters hidin’ in the hills… I’m beggin’ ya’… he stops from committing murder. do with him, despite his assertions are still relying upon Ruby and Ada for for dead. You’re Home Guard. Lookin’ for outliers… With our brave boys riskin’ their lives Stay away … Run away … Stay away … Meanwhile, the once-privileged Ada that he has changed. When Teague sustenance. Stobrod tries to convince Teague fi ghtin’ Yankees. Now where’s your boy? Run away… Never, never come out… Peaches in the summertime, Teague lives a life of deprivation at Black approaches, Ruby hides her father, but Ruby that he is a new man, but she Ada goes hunting deep in the woods, Apples in the fall. How ‘bout that … You’re a seer … (Pause) Owens is now silenced, covered with Cove Farm until she meets Ruby, a later orders him to stay away. remains skeptical. where she and Inman fi nally reunite. If I can’t have me that girl, a prophet … Hallelujah! dirt and we hear Teague alone as his men mountain woman who teaches Ada Although both are deeply altered by I don’t want none at all. (Teague enters) Blessed with vision… Hallelujah! After all, you can see the future … fi ll the hole. I wish I had a banjo string, You know what people are thinking? Tell me, old man, what am I going to do? about farming and surviving. Meanwhile, Inman starts an Inman now happens upon Sara, a the war, they manage to promise Made of gold and twine, So … what am I thinking? Tell me, Owens… Teague insurrection, but the guards shoot war widow, who is trying desperately themselves to each other — but Teague And every tune I’d play on it, Owens I wish I had a banjo string, Inman reencounters Veasey near a the entire chain gang and leave. A to comfort her baby. Inman helps her, is not done pursuing deserters. And the I’d wish that girl was mine… Owens If he were here … I’d beg ‘im. Made of gold and twine, I haven’t seen a soul. Stay away … Run away… And every tune I’d play on it, river while fl eeing the Home Guard, wounded Inman is the lone survivor. gains her trust, and is invited to spend next morning when they wake, they Owens Never, never come out… I’d wish that girl was mine! and bargains with him for passage He relives the day he bid Ada farewell, the night. are unaware that it will be the last Who’s there? Teague across the water. Fate and weather but the memory dissolves to the morning they spend together… I best just go back to town then. Is that Teague Owens’ son enters from where he has been Teague what you are saying? I could wait for him… hiding. He is wildly swinging an axe, which is conspire against the pair, who capsize gruesome reality of the war: Inman, At Black Cove Farm, Teague appears. Who am I? But I’m tired and I just don’t want to. quickly taken out of his hands. Crazed with and drift downriver. The next morning, chained to six dead men, loses He has brought a copy of the (He examines the hole in the ground and Hallelujah. Amen! grief, he tries to grab a shovel out of the Lila and her three sisters stumble upon consciousness. newspaper that lists the names of sees many tools lying about) hand of one on Teague’s men.

22 23 24 Act I Scene One 25 Owens’ Son Balis, a soldier who has died in the night. Inman, has walked with a cane, to a Inman Blind Man And when we charged a General No! No! Father! Father! Leave him alone! As Balis is slowly put on a stretcher, a chorus large window. He reads from Balis’ Shit, glad you’re not the doctor. I’d not give a cent. I fear it might turn exclaimed: “They’ll fall like rain dripping Get him out! It’s my fault … Father! Father! of wounded wmen sings. notebook. My legs are gettin’ stronger … My neck’s raw. me hateful. down from the eaves of a house.” No … But if I can walk … they’ll send me back. there was nothing poetic, nothing as pure Unable to get a shovel he starts digging Chorus Inman Inman as a drop of water. Just bile and stench … frantically with his hands to free his father. What was his name? “The comeliest order on earth is but a Blind Man It’s done that to me. Plenty I wish I’d And there in the middle of it… He is held back, tied up and gagged by What was his name? heap of random sweepings.” I believe they will… never seen. A drummer boy crying, bleeding, dying… Teague’s men. The boy’s muffl ed screams Buried. Buried. Buried and forgotten. ‘Let me help you, boy. Let me help…’ continue as the men fi ll the hole. When will this end? All go back to sleep. The room is once He takes a piece of newspaper forms a Blind Man Afraid, even of kindness… What waits for me now? again still. Inman looks out the large cone with it and places boiled peanuts You said ten minutes. It’s having a thing He shot me in the neck. Owens’ Son When will this end? window. A blind man enters pushing a inside which he hands to Inman. and the loss I’m talking about. The metal age has come. He has been gagged. The words are What waits for me? cart, selling boiled peanuts. Inman, who Come on, cite me one instance where With the crust of bread, clenched in muffl ed, unintelligible. Richmond, Charlotte, . is getting over severe injuries, makes his Inman you wish you were blind. my fi st, drenched with blood. …Oh, God! Oh, God! Oh, to be home, and safe… way out the window and approaches Balis died last night. I found his journal: The metal age has come. Please … Please … No, no, I beg you! Beyond reveille’s reach. the blind man. He is limping severely. “We mark some days as fair, some as foul Inman 3 Father! No! No! His cane and the dragging of his leg form ‘cause we don’t see the character of Malvern Hill. Sharpsburg. Lights up on Ada, on another part of Inman a cadence that the blind man recognizes. every day is the same.” The trenches in Petersburg. the stage in the churchyard. A rooster has Teague Die here or return to the trenches… A morning like this. just scratched her. When the lights come up It’s your fault. All of this … But it will What lingers with the dawn? Blind Man Blind Man I dipped a crust of bread in a cup of broth. on her she is wiping away the blood. be over soon. He’s fi ghtin’ it out with his Do I want to know? Inman … W.P. Inman… You believe that? Turned my face to feel the sun… In a disheveled state, she is crawling in maker. Come on… Close my eyes. When will it end? Suddenly, beneath our feet, dynamite the bushes trying unsuccessfully to reach Inman Inman thundered. Arms, shredded fi ngers, an egg that’s under a bush. Chorus Are you sure you’re blind? I believe a man’s spirit can be blasted away. pieces of legs with boots still on them SCENE TWO: What were their names? I’m a hut of bones … nothing more. showered the earth… Ada Confederate hospital, Buried, Buried, Buried and forgotten. Blind Man When you lost your eyes, you must of felt The metal age has come. Shoo, shoo… Raleigh, North Carolina 2 When will it end? There’s a rhythm to everything. that too. And the crust of bread, clenched in my What were their names? From the sound of the wind in the poplars, fi st was drenched in blood. Teague and his cohorts enter. Walking by All exit. A musical transition drives to a Buried, Buried, Buried and forgotten. to the crackle of green hick’ry in a fi re… Blind Man The metal age has come. the graveyard. Teague sends him men on sudden change in location and mood. What was his name? to the gait of a man walkin’ with a cane, I didn’t lose ‘em … never had ‘em. Thousands and thousands in bright blue, ahead. The lights come up on a Confederate When will it end? who no longer needs one… shiny, factory made uniforms. hospital. It is late at night. The men are up Inman We shot them and loaded. Shot them Inman watching orderlies come in to take away What would you pay right now to see? and loaded. For fi ve hours, thousands After their retreat … I lay there … others What would you pay for even ten minutes and thousands of men. riffl ed through pockets, and pulled boots of sight? Plenty, I bet. off corpses… Kevin Burdette (Blind Man) and Nathan Gunn (Inman) 26 Act I Scene Two 27 28 29 All I could think about was a woman I knew. Teague Inman Ada/Monroe Inman appears. His appearance is Inman Inman Talking to no one. (Inman exits) Ada Monroe … what are you doing now? Let me help you… Brushing your hair. Sketching a bouquet “…That which shows God out of me, completely altered. It is years before. You dropped your fan, and I thought Not at all. And what’s a “simile?” of lilacs… makes me a wart and a wen…” He is dressed handsomely for a Sunday you might like to have it back. Teague Teague gets down on his knees and goes morning service. Ada is conjuring this Ada She does not even wait for the answer. I nearly shot you! Thought you was a cat in about getting the egg. Teague Ada memory. He hands it to her. Well, then, you supply the simile. She’s got a million things to say. the bushes. Anytime… My name’s Teague. Back in Charleston I heard you preach that Ada many times. Inman Ada Inman Ada Ada I’m sure there’s just the one egg … just Ada I understand you are from Charleston. Thank you. (Stuttering) I am … I … I mean… Like grabbing a chestnut burr, at least thus Pardon me, who are you? You make a habit of shooting cats? overlooked it. I know who you are… Monroe far. God will feed the soul… Ada Inman Ruby Teague Blind Man Teague exits. Yes, I am. (A lengthy, awkward pause) Out of bullets? (Pause) Ada Old lady Swanger told me you’re all alone Mountain cats … Wild mountain cats … Heard the army is lookin’ for deserters. Ada Just one question? Nothing more? (Pause) Like grabbing a chestnut burr, you say? and need help with the farm… They’re dangerous. If one were to disappear … sooner than later It’s my stomach needs the feeding now. Yes, I am from Charleston. Ada seems prudent… Be careful, Inman… SCENE THREE I should have married a man in Charleston. We came to the mountains for the air. I think it would show an amplitude of spirit, Ada Ada A churchyard on Cold Mountain 4 Father was not well, so he took the If you were to say something, anything right SCENE FOUR Pardon me. Please tell me… Do I look dangerous? The Blind Man exits. Monroe church here. We’re living at Black Cove now. Black Cove Farm, Imman exits. Ada sits down on the ground You didn’t fall in love in Charleston. farm. I value conversation. It’s how Ada meets Ruby 5 Ruby Teague Teague and leans on a gravestone. Monroe appears, You fell in love in our church here. the Good Lord sews us together. Inman My name is Ruby. Help? You need … You look like you need lookin’ after. Heard about your father. I reckon you’ll among the gravestones. I saw you lookin’ at me all through You’ve been the subject of much Ruby is full of energy and chatters a miracle. That’s a fact. be sellin’ Black Cove farm… Ada the sermon. Surely you prepared more than speculation. on and on while Ada tries to get an Well, here I am. I have looked it over. Inman (He gives her the egg) All alone don’t Monroe Why Daddy … I might have slipped… one question. Questions unlock the world. understanding of who this person is If you could barter weeds, you’d be a Ada Monroe … what are you doing now? work out here… I don’t like that man… (Referring to Teague) but I did not fall … not that day… So, you’ve only just one? Nothing more? Ruby enters and watches the end of Ada’s and what is being off ered. rich woman. Brushing your hair … sketching a bouquet (Pause) I believe that’s like hunting with conversation with Inman. To Ruby it appears of lilacs. (Unctuously) Especially, for one … as fi ne Ada Monroe one bullet. If you miss, I fear the rest of that Ada is talking to thin air. Ruby Ada as you… Nothing to like. Not like Charleston A congregation of faces buried in their the hunt will be a lackluster aff air. Who ya’ talking to? Have you gone crazy? I’m sorry. I’m confused … Help? Teague here on Cold Mountain. hymnals. And a man not singing a word Ada ‘Cause if you’re crazy, I don’t see how … But you’re a woman! Miss Monroe, what are you doing? Why are Inman Everything is vertical. but looking at you with wonder… Inman Like a novelty? this’ll ever work! you on the ground? What are you doing, Ada Monroe? Hard to keep a foothold. Like the moon had suddenly appeared I’m not hunting you. Ruby But you’ll clean up all right… Playing music and reading to your father… Fallin’ ever since we came. bright in the morning sky. Inman Ada What’s your point? Ada No. Pardon? This is good land for corn and taters, but Inman Ada Monroe Then what are you doing? you’ve got one or two seeds in the ground! Oh, the scent of lilacs, I can hardly Oh, you found it. Well, thank you. God will catch you. “That which shows Ada Ruby It’s like you’re sittin’ on a whale, fi shin’ for remember… God in me, fortifi es me…” A challenge? That seems crazy to me. Nothing but guppies. crazy…

30 Act I Scene Three 31 32 Act I Scene Four 33 Ada (She sees the egg that Ada has found) Ruby Ruby That’s a simile. Something in common? Don’t want no pay. I want to be your Whatcha doing walkin’ around a graveyard partner. Ruby with an egg? Ada Oh, so it’s a story with a point. Well, the Can you really run a farm? Ada point of the story here is you need help. Ada Can you keep us from going hungry? Can this work? Found it under that bush. Had to I could use some company… Ada shoo a rooster to get near it. Who knows how long the war will last… Ruby I do … but rough work. He scratched me pretty bad. The future’s like a clock without It might … Just don’t ask me to empty I was hungry. any hands. your nightjar. Come on… Ruby Number one, if you’ve a horse we can Ruby shakes her head in disbelief. Ruby plow all day. Is that a “simile?” SCENE FIVE Ruby A gorge along a river 6 Ada I heard about your daddy … I am sorry… Ada Plow? It’s a story with a point. Veasey carries Laura, who is unconscious, Ada to a cliff over-looking a river. He weeps for Ruby I can’t ever imagine the hurt going away. (Ruby sees and hears the rooster) what he is about to do. Then we’ll plant. Ruby That’s him, isn’t it? I hate a fl oggin’ rooster. Veasey Ada Mine was killed in the war. Oh, Lord. Oh, Lord. Oh, Lord! Plant? He knew two things. She goes after him. We once lived in a land of paradise. Number one: How to drink. Ruby Number two: How to pretend I didn’t exist. Ada Inman enters. He’s heard Veasey’s plaintive Then we’ll harvest. Get this farm running. Be careful. He’s horrid. cries, but does not want to approach Ada him, to get involved. He quietly walks in Ada Your mother? Ruby breaks the neck of the rooster. the opposite direction, trying to remain I believe I need a man-hand for the job. unnoticed. Ruby Ruby Ruby Died when I was born… Supper. We can talk about an Veasey Number two, every man worth hiring is arrangement while he’s stewin’. We once hoped to be spared off and gone. It’s a harsh truth but it’s Ada and redeemed. the way of things. We have something in common… Ada But I can’t pay you. Emily Fons (Ruby) Roger Honeywell (Veasey) and Andrea Núñez (Laura) 34 35 36 Act I Scene Five 37 When Inman hears the following he Veasey Inman Inman Inman (Whispered to Veasey) What are you going to do with her? Inman Ruby cannot walk away. Though torn, he turns She’s somewhat with child. And… Some say we all are…. Marry her. Your church is near? One word … I’ll shoot you. I can only imagine. Wait! It’s her life that I care about. Ada Monroe! around and climbs up the cliff where Veasey stands. As Veasey sings the Inman Veasey Veasey Inman silently darts across to where Laura (Inman ignores him. He has found paper Veasey Ada enters. She has just gotten up but following, he picks Laura up and holds And…? You miss the tangle. I am already betrothed. Over the ridge … in the town. is lying on the ground. While pointing his and pen and is writing out a note) Shoot me now. You don’t understand. already has an old letter from Inman in her body over the cliff . I now believe when I took to preaching pistol at Veasey, he cradles Laura and gently her hands, which she has been reading. Veasey I answered a false call. I believe… Inman places his hand over her mouth. The home What are you writing? You’re writing what Inman Veasey …drugged with sleeping powders. People come by here? guard enters and to an extended, energetic I’ve done! I do understand! Ada Oh, my angel. I am sorry for what I am Inman ostinato-like refrain they search the woods Breakfast? about to do… But there’s no other way. Inman If you want me to beat you, keep talking. Veasey for Inman. Inman Veasey Oh, my angel. I’m sending you to a And you’re the Daddy? Every morning on the way to the river. I’m writing what you’ve done! Just shoot me now. It’s all the same. Ruby better world. Veasey Home Guard Too late. Sun’s up. You’ll eat later. Veasey nods. Under these circumstances, I will hold my Inman has found a pistol and a handkerchief Over here! Look. Over here! Find him. Veasey (In a panic) Inman threatening Veasey with his pistol, You need to write things down. Inman climbs up the cliff and pulls out tongue. in Veasey’s saddle bag — He places them in Nothing here. Keep looking! Nothing here. You cannot do that. stuff s a handkerchief in his mouth. his gun just before Veasey drops Laura’s Veasey his pocket. You got paper? body into the river. You are a message from God. Inman is examining Laura who remains The sound of the home guard men recedes Inman Inman unconscious. Veasey (With urgency) into the distance. Laura, still in a haze, I can and I am. Not the same to me. (She sees the letter in Ada’s hands) Inman Inman I’ll be needing that pistol… wakes up. Set her down … Step away from her. So the plan was to pitch her in the gorge? Inman Veasey Got something to write with? Get over here where I can see you. Can you hear me? Inman ties Veasey’s hands and feet. Laura (Spoken) God damn you to hell. SCENE SIX Veasey Who are you? Early morning, Black Cove Farm 7 Ada Veasey But you’re a message from God! Veasey Inman Inman I can’t write on this. I’ve got my journal… You’re a message from God. Her name is Laura. A sweet name for a Why? You’re a preacher. Inman God would if I moved on knowing you’d Lights up on Ruby who is hard at work. Inman punches Veasey who goes sprawling sweet girl. She was so lovely, my angel! A strong dream urging you to put that soon be back here ready to fi nish what There is a pile of wood that she has already Ada puts the letter in her pocket and Inman on the ground. All through the summer we crept about Veasey preacher behind you. Laura, the preacher you began. chopped. She has been at this for some pulls out her journal. Is she dead? the nightwoods… And our romantic There are … challenges … There are … does not speak for God. No man does. I won’t let you ruin her life! time. She chops a few more pieces and now, Veasey rendezvous were… demons … There are… He means you no good. Laura? clearly exasperated, cries out. Ruby Veasey I accept the merit of that. Veasey What do you keep in there? No… Please! Don’t kill me, I am man of God. Inman Suddenly to an orchestral accompaniment She has fallen asleep. God damn you to hell! My congregation Ruby Spare me. Home Guard is heard and seen searching will lynch me! We have churched members Ada! Ada! Ada Inman Inman goes over to Laura and the forest. As we see this action taking Veasey for playing a fi ddle in their homes! Ideas, poems, sketches … What’s the matter with her? examines her. His gun is still drawn Veasey place, Inman holds Veasey at gunpoint. Well, deserter, You will ruin my life. Inman picks up Laura and walks off — and pointed at Veasey. What are you going to do with me? Laura is now many yards away. Again, Ruby continues her work. Laura quietly moans.

38 39 40 Act I Scene Six 41 Ruby Ruby Ruby 8 Ada hands Ruby the letter in her pocket Inman Inman has conjured this memory of Ada. Good. Nothing important. Number one: You got arms? You got legs? My only teacher was hunger. from Inman. Ruby takes some time Do you recall that rainy night… She appears. She is dressed beautifully, as I know you’re hungry. What’s the plan? The only companion who never turned looking at it and it slowly becomes she was the night of the Christmas party (Ada writes Ruby’s lists furiously in his head. Need is a pretty sharp knife. apparent that she cannot read. Ada being described. Ada approaches Inman. her journal) Crawl around when the snows come She hands it back to Ada. I know. looking for eggs? When it’s in your hands long enough, Again, the intimacy emerging makes Ruby Ada 9 Lay out a garden for cool season crops… you can whittle anything down to the Ada uncomfortable and she changes I’m glad I found you alone. Cabbage, turnips, lettuce, greens. Ada reads from her journal, impressing Ruby truth. My truth was… Stay alive. It’s a letter from a soldier. the subject. Father’s about to start leadin’ the carols. Number two: Buy clay crocks for tomatoes with her sudden vigor and intensity. My daddy only cared for moonshine. His name is Inman. W.P. Inman. and beans. Number three: Patch the He’d go off days at a time and leave me Ruby Inman shingles on the barn roof. It leaks… Ada to puzzle out fi nding food and staying Ruby Need to put a trap in the corncrib… Want to join them? “Lay out a garden. Crocks for tomatoes warm. I remember when I was four years What’s it say? Ada and beans. Patch the shingles. Cut the old, all alone, tangled in a blackthorn tree. Inman Ada Why’d you sleep there, last night, Ruby? hay…” Ruby, Ruby… (Looking for approval) Stuck and shivrin’ and crying, calling out Ada Right before Christmas four years ago… Not yet … not until I fi nd a way Plenty of room in the house. the orchard is in bloom. The fruit will for help. Daddy’s drinkin’ friends used to “I am coming home one way or another, to express how sorry I am for the way that I come in soon. I was sketching trees say, “They’s panthers on Cold Mountain. and I do not know how things might Ruby acted when we fi rst met. Ruby the other day. Oh, they carry little girls away.” stand between us.” Animals are stealin’ corn at night. I’m used to bein’ by myself. I cried until I could hardly breathe. I’m certain. Come on. Inman She shows Ruby her sketch. Ruby is For comfort, I counted every star in the sky Lights up on Inman in the forest. You’ve been most kind since then. Ada surprised, impressed by Ada’s attempt to that night. I know that look in your eye. Ruby and Ada exit. You’re not by yourself anymore. engage in the process. She is also intrigued Empty as a starless night. You realize Ada/Inman Ada by the sketch, which she is now studying. you’re all alone. But you are here for a “I thought to tell you all I’ve done and seen. Inman A new year is about to start. 1861. Any act of intimacy makes Ruby reason. And so am I… I do not intend But I’d need a page as broad as the blue Everyone was in the parlor. But you sat I’d like to apologize for my prideful uncomfortable. She quickly changes Ruby to let you fail. That’s what I know. sky to write that tale. I miss you Ada. by me in the kitchen by the stove. And language. There’s too much right now. the subject. Your daddy teach you this? That’s my truth. Tell me, Ada, I do not trust anyone, anything anymore … placed your head on my shoulder. It is a Some say war will soon be upon us. what’s your truth? not even words to convey what is in bitter surety in my heart that if you knew So many boastful, prideful words… Ruby Ada my heart… what I have seen and done, it would make thrown around as if honor was at stake. Number four: Hayfi elds need to be cut. How to draw, how to speak French, how Ada you fear to do such a thing again. Ada, I’m to play the piano… Back in Charleston, I should have gone back to Charleston. Inman coming for you on a hard road. I thought Inman Ada I was raised to be a lady … not to survive. But I can’t, Ruby. …but what is there is infi nite this cause worth fi ghting for. Now all I want Don’t you believe in honor? But I can’t do that. You know how the world runs, Ruby. And leads me back to you. I miss you so.” is a cabin so high on Cold Mountain that not Who taught you such things? a soul but the nighthawks passing across Ruby the clouds in autumn could hear us whisper… He might be dead. Nathan Gunn (Inman) and Isabel Leonard (Ada) 42 43 44 45 Ada SCENE SEVEN Inman (Inman start paddling energetically) Veasey SCENE EIGHT Sisters A fun chase ensues in which the sisters I do but it won’t be found on a battlefi eld. Cape Fear River 10 I have to get across… I’ll shoot ‘em… The next morning, along No! chase Lila. Ultimately, the circuitous chase, My heart does not see the world divided… What happened to your face? the banks of the river 11 to an orchestral accompaniment leads the Are we not all blossoms on the same tree? Ada exits and the lights suddenly come up Veasey Inman Lila women to the spot where Inman and on Inman who is standing on the banks of “A hot-tempered man stirs up dissension, Veasey cannot resist his inclination to Too far away … They got rifl es! The next day. The sun is shining. East, West, North, South… Veasey are suddenly revealed. They have Inman the Cape Fear River. He is in a panic. He but a patient man calms a quarrel.” blather on. As Inman paddles vigorously, The lights come up on Lila, who is Oh, Lord, you up there … sittin’ in that washed up on the banks of the river. Both Forgive me if I think some blossoms knows that the Home Guard is close behind. Veasey, with great enthusiasm, tells his More gunfi re. fl oating in the river looking up in the clouds, cloud… Take me, take me where you will… men are unconscious. The women examine are more beautiful than others. Inman story. talking to her three sisters who are washing both of them slowly. All four are much (Pause) Have you ever had so much to The storm is now becoming stronger. Inman So, what do you want? Inman clothes along the banks of the river. Claire/Olivia/Katie more interested in Inman and surround him. say that the words won’t come out? sees a man in a boat just off the shoreline Veasey The boat’s been hit. We’re sinkin’ fast. There’s work to do! Lila sits down and cradles Inman’s head in and calls out to him. Veasey When they found me and your note, the We’ll turn it over … Use it as a shield. Lila What makes you so special? her arms. She kisses him. Ada/Inman I want my pistol back. deacon and others gave me a fair beating Look at me, I’m fl oatin’ … Light as a You don’t have to say anything. Inman and cut off my Samson-like locks. Veasey Cottonwood seed. Blown by the four winds Lila Lila It is enough. Why can’t we just be here Mister! Mister! Over here! Inman I was lucky to get away. You see, that’s What? … Oh, sisters … Oh, sisters… …You gotta watch me… He’s breathin’. together? All words cast shadows on what Mister! How much to ferry me across? I could shoot you right now. the thing about me… I have this lucky star Come on, look at me… I’m feeling. It is enough just being with you. that always manages to watch over me. More gunfi re. Lila/Claire/Olivia/Katie Olivia Oh, could we just be here forever… A coat that is over his head obscures Veasey Why, here I am with a boat, two pistols a Sisters …We’re not gonna watch you… Fine lookin thang. Oh, if we could just close our eyes… Veasey’s identity. He is using it to protect It’s not your way or you would have done man ferrying me across the Cape Fear Inman Not gonna look at you. You gotta watch me. Floatin’ … Stay … stay here forever… himself from the rain that has begun to fall. it before. Oh, and I want your gun too. river on an unexpected odyssey. We’re going in either way! Come on! light as a Cottonwood seed… Katie He turns around in the boat and pulls the I believe I might move on to Texas … Lila Blown by the four winds… Bet he draws women like dog hair She leans her head on his shoulder. coat off his head revealing both who he is Inman All you need to start a life in Texas is guns … Veasey/Inman Come on, sisters, look at me! East, West, North, South… draws lightening. Thunder booms in the distance. and the fact that his hair was shorn off . Damn it! Alright … A storm’s coming … I and look I’ve now got two! Now! Inman wakes out of his dream and sees gotta get across… Sisters Claire/Olivia/Katie Claire men off in the distance coming for him. Veasey The Home Guard men who have appeared They fl ip the boat. To a thrilling No! Oh, sister … Oh, sister! I wish he’d hug me ‘til I grunt. He picks up his pack and runs off . Good God! Just the man I’m looking for! Inman gets in the boat, He gives both guns on the shoreline, start shooting at the boat, orchestral interlude, the current carries Ada stands and-- not in the urgent tempo to Veasey. which is now in the middle of the river. the boat away. The boat disappears Lila Lila Lila of the scene but rather-- in the ethereal Inman as the lights fade. Please! Oh, sisters … Oh, sisters! He’s mine. I found him. mood of Inman’s memory sings plaintively. You? How did you get that boat? Veasey Veasey “Give to the one who begs from you, and Damn … what the hell! Sisters Claire Claire Ada Veasey do not refuse the one who would take from No! Let’s get her. You gotta man. Are we not all blossoms on the The same way you got my pistol. I found it! you.” My, you’re in a rush. Inman same tree? My lord. My lord. My lord… Home Guard! Where’s your lucky star now? Lila Lila (Spoken) I’ve asked and I have received… Inman Please! Junior ain’t a man… He’s a husband… Give me that paddle.

46 Act I Scene Seven 47 48 Act I Scene Eight 49 Lila/Olivia/Claire/Katie Claire (To Inman) Katie Lila Inman Veasey Wake up. Wake up… Tell me you can hear Does he always talk so much? We’ll make a fi re. You need to rest … Big man like you… My head is spinning. I am not a deserter! You are making a my voice. Wake up. Wake up. (To the others) I’ll stay with him… terrible mistake! Tell me who you are… Inman Olivia You three take the Rev’rend off and look Lila Where have the four winds brought ‘Fraid so… Cook up some food. for some fi rewood. Blown by the four winds… Veasey is struck across the face with you from? Wake up. Wake up… Oh, mister … Oh, mister … Come on… the handle of a shotgun and collapses on Katie goes to Veasey. Junior enters. Lila/Katie/Olivia/Claire Veasey the ground. (Inman slowly wakes) He’s carrying an open liquor bottle. He’s A picnic by the river. A celebration! Let me be the fi rst to thank the good Lord Inman overheard the last part of the conversation. From the jug in his bag, Junior pours two for what I pray I’m about to receive. I can’t… Junior Tell me … Tell me … Tell me … Tell me… cups and gives them to Inman and Veasey. You’re not the fi rst one I’ve snared. Where are you from? Junior He pretends to pour some of the brew Olivia lingers for a moment … jealous of Lila I get fi ve dollars a head for every Wherever you come from you’re lucky into his own cup. Lila’s proximity to Inman. Look at me… outlier I turn over. Get up … time to march Inman to be alive, Rev’rend. Saw your boat in … back to the war! Cold Mountain … Cold Mountain… pieces down river. My name’s junior. Junior Lila Inman Where am I now? This here’s Lila, my wife… To survivin’ the storm…. Shoo… I’m dizzy. Inman stands and before he is taken away, These hussies are her sisters… as Junior counts his money, Lila comes Lila/Olivia/Claire/Katie He lifts his glass, all toast and drink. Olivia exits. As Lila sings the following, Lila over to Inman and hugs him tight. You’re with me. Inman starts to get up … but is still too she slowly starts to take off her clothes. Look at me … East, West, North, South… unsteady to do so. Junior begins pouring Veasey Inman is disoriented, feeling ever It’ll be like sitting in a cloud… Take me, Lila Veasey wakes up and sees the women drinks from a jug in his pack. Thank you, sir. increasingly the eff ects of the drugs. take me, take me where you will… Bye-Bye. gathered around Inman. The women remain much more interested in Inman. Inman Junior Inman Just as Lila approaches Inman, Junior Inman and Veasey are chained to a We were off fi shin’ … Got caught by You can thank me later. I’ve some traps I’m dizzy… arrives with two men with shotguns from group of men and begin the march Veasey the storm. I should be gettin’ home. nearby. I’ll be back real soon. (He exits.) the Home Guard. They have arrived with a back east. Lights fade. Am I in heaven? (Pause) Lila chain gang of fi ve deserters. Lila/Olivia/Claire/Katie Inman stands and is suddenly unsteady Just overwhelmed by my beauty. (Veasey, trying to get the women’s Wait … Wait … Don’t you want to stay on his feet as numbness overcomes him. Look at me, I’m fl oatin’… Junior attention) here with us? He is feeling the fi rst eff ects of the drug Get off of him, Lila … There he is! that Junior poured in his cup. Inman Don’t make a move or I’ll blow your Oh, you beautiful visions! I’m alive too! Veasey Who are you? h e a d o ff . Come over here. I’m not so bruised that That does seem prudent… I can’t share with you my story, my plight, Lila A third man from the Home Guard my journey … I am the Rev’rend Veasey. Light as a Cottonwood seed… leads Veasey on stage.

Nathan Gunn (Inman) with Bridgette Gan (Lila), Heather Phillips (Katie), 50 Shabnam Kalbasi (Olivia), and Megan Marino (Claire) 51 52 53 SCENE NINE Ruby Ruby/Ada Stobrod Stobrod Stobrod Black Cove Farm 12 And… Hear how the world sounds diff erent each Oh … Oh … Oh… Every battle I was in, I led the charge. I been staying up in the mountain … in a day. Listen… Alive and growing and dying, Damn … Damn … Damn it to hell… You gonna let me out of this thing? cave… (Pause) with a group of… Black Cove Farm. The lights come up on Ada whispering something new all the time. Ada gives the gun to Ruby. Ada retreats to Ruby standing behind Ada who is seated. I hear the dry, brittle rattle of dying leaves. What is the story? The trees, the sky… a safe position. Ruby He hesitates. Ruby cups her hands over Ada’s eyes. They I hear trees. Every moment is changing. I’m thinking about it. had been eating some biscuits and there Moments are alive. Ruby Ada are still some in a basket on the ground. Ruby Hear how the world sounds diff erent You stay back… Ada calls from the distance. Deserters? Trees? Trees? Just trees? each day. What do you hear? Listen. Ruby You’ve a long way to go. Ruby cautiously approaches Stobrod, who Ada Ruby What do you hear? Once again she places her hands over slowly, turns and reveals his face to Ruby. Ruby, we catch something? I told ya’. You say you want to know the running Ada Ada’s eyes. Ada hears the sound of the wind. They are both shocked to see each other. of this land. Listen … Listen… I’m trying. This time it is combined with the quiet wail Ruby Stobrod of Stobrod whose arm is caught in the trap Stobrod Yeah, (Pause) my Daddy. Had enough of fi ghtin’- Oh! Ada Ruby Ruby placed in the corncrib. Damn! Hell fi re! I just hear sounds. Wind, bird songs… Until you can tell the sound of the poplar Ruby releases Stobrod from the trap as In pain — Stobrod fl exes his hand. Nothing … just sounds… from the oak, You haven’t started to know Ada Ruby the scene proceeds. Ada notices his concern. a place. Name me four plants on the hillside You hear that? So, you’re not dead? Ruby that in a pinch you could eat. Name me two Ada Ada Can’t you hear how the world things blooming now, two things fruiting. Ruby Stobrod Pardon? Your hand hurt? sounds diff erent each day? How many days to the next full moon? Somethin’s caught in that trap! Not yet … long night a kneeling here Listen … Listen … It’s alive. It’s growin’ Go get the gun! trapped. Ruby He moves it around. and dyin’…and it whispers something’ Ada Stobrod! He’s made it home from the war. new all the time. I do know the sky, Ruby. I do know the sky! Ada runs off and gets a shotgun. Ruby But dead or alive he’s of little matter to me. Ruby Last night I saw the waxing crescent… Lights slowly come up on the corncrib No doubt … So you ran off from the Some biscuits and send him on his way. I bet it’s fi ne. Bet you can still dance with Ada So, I’d say about twenty days. and Stobrod whose arm is caught in fi ghting… (Aside) Shoot! a bottle in your hand! Wind in the trees… Oh, Ruby, my head’s been in the clouds the trap. He is quietly moaning, as he tries my whole life. It’s down here on earth in vain to release his arm. He does not want Stobrod She goes to get the basket of biscuits. Stobrod Ruby where I get lost. to make any noise, but because of the pain I was owed a furlough … being a hero… No, Ruby. I’m changed. And… and frustration he can’t help but quietly Ada I need my hands to fi ddle. Ruby moan and curse. Ruby (Sarcastically) My name’s Ada. Some say I fi ddle like a man wild with fever. Ada Come on, let’s try again. Right. You got someplace to go? Music’s changed me. There is a dry, brittle rattle…

Kevin Burdette (Stobrod) and Isabel Leonard (Ada) 54 Act I Scene Nine 55 56 57 Ruby (Sarcastically) Ada (Admiring the farm) Your farm’s doin’ Ada Ruby Ada is concerned that if the boy Teague/Stobrod Stobrod Right… Home Guard! Hide him. better. Where’s his daddy? She don’t need nothing. (who has shown great curiosity, inspecting And what can never be… What will you choose? everything) is not occupied by Ruby he will Stobrod Ruby Ada Teague Teague stumble upon Stobrod’s hiding spot. There Ada Teague There is an invisible world, Ruby… Damn you. Not gonna die for you. That’s because of Ruby. Killed in Fredericksburg. Don’t have a What she needs you can’t give her. are fence lengths that need to be fi xed with Do they change? A fence is a very good thing. Like a fi re behind a wall … Can’t never (She hesitates for brief moment) mama. a hatchet and then placed on the fence see it… But you can feel the heat … Teague Teague inadvertently approaches where poles. As Teague sings the following he Ruby Ada That’s what music does. That’s what Ada Who? Ada Stobrod is hiding. Ada, trying to divert his fi xes the fence with Ada. Ada shows that Nobody can really change. I see something; I’ll let you know. happened to me. Hide him … Now… You lookin’ after him? attention, calls out to him—even a little she is up to the task. Shall I walk you to the foot of the hill? Ruby enters fl irtatiously to get him away from Stobrod. Ruby and Stobrod’s eyes meet as the Ada Ruby Teague Teague 13 quartet is sung, wondering if their troubled Teague Do people change? Damn you to hell. Come on. Ruby Teachin’ him what matters. Right, boy? Ada A fence is a good thing. past can be set right. Clearly the words Why, I’d like that. (She helps him to hide) Me. Mr. Teague, do you see this fence? You build it right, nothing’s gonna move mean diff erent things to each character Stobrod (The boy nods) Come on over here. it or change it… Miss Ada, all we’re tryin but they unite them all in the understanding Ada War changes everyone into somebody else. Teague Teague (To Ada) (Teague walks over to Ada) I built this… to do in this war is build a fence. that the war has become the defi ning Ruby, you stay up here and get that I wish I had a banjo string made of So, you got an employee? Teachin’ him about the Nigger lovin’ Keep those people up North from comin’ moment of their lives. fi r e s t a r t e d ! Ada gold and twine. traitors and cowards hidin’ out in these hills. Teague down here and tellin’ us how to live our lives. Everyone? And every tune I’d play on it, I’d wish that Ruby You? (He laughs) Really? A Fence is a good thing. Marks what’s yours Teague/Ruby/Ada/Stobrod She acts gruff as if she is her boss for girl was mine. Shady grove, my little love. A partner… Ruby sees Birch approaching Stobrod’s … and what’s not… Even after your gone…. Some borders can’t be crossed, Teague’s benefi t. Ruby plays along. Ruby Shady grove, I know. Shady grove, hiding place. She calls him over. Ada Some borders can’t be crossed, Some wounds will never heal, People might change, but not you. my little love, I’m bound for Shady grove. Birch, a twelve-year-old boy, who has been Well, me and Ruby. Some wounds will never heal. Some things Some things you can’t forget. Ruby You eat this … then get … You go dippin’ Some come here to fi ddle and dance. traveling with Teague now enters and runs Ruby you can’t forget. Hearts buried beneath Hearts buried beneath regret. Yes, ma’am. our corn again, I might put a barrel of shot Some come here to marry. up to him. Hey boy, you hungry? Teague (He looks it over) regret. Who you are the war reveals. In the end, how will I feel? in you, and I don’t load salt! Some come here to fi nd romance. I’ll show you how it’s done. You’d like that, Yes, a fence is a good thing. Who you are the war reveals…. Teague I come here to marry… Ada The boy nods. She feeds him some of the right? Birch, come on. Teague is heard, approaching from And you’ve got a boy… biscuits from the basket. Ada Ada the distance. Ada Ruby What is bein’ revealed right now? What do you do then? Ada, Teague and Birch exit. Stobrod comes Why, Mister Teague, what fi nds you up Teague Teague Nothing wrong with it. We’ll do it ourselves. Does anyone ever change? out from his hiding place. Teague this way? No, this here’s Birch. Home Guard’s goin’ round to let folks Ruby Peaches in the summertime, know — You see somethin’ … you speak up. Ada Ruby What doesn’t change? Stobrod Apples in the fall. Teague Birch starts to wander around, looking at I came here to tell you myself… Ruby, you stay and watch that boy. Can I forgive? I know Ruby… I know! If I can’t have me that girl, Don’t need no reason. Ain’t you being things with great curiosity. While the scene See what you might need… (To Teague) I’d so love it if you’d show me No one really changes. Teague I don’t want none at all. here enough of one. proceeds, he comes dangerously close to how it’s done. What doesn’t fade? where Stobrod is hiding.

58 59 60 61 Ruby SCENE TEN Veasey Home Guard Scout Chorus The lights now come up on Ada sitting You don’t know shit. The Chain Gang 14 You gotta let me go. It’s the right thing. Feds! Down! Everyone down! Quiet! God has closed his eyes outside. We enter the memory of 1861, on This woman’s been good to me. To a musical accompaniment we see But ours are open wide. the eve of Inman’s departure for the war. Anything happened to her because of you… Inman, Veasey and the other deserters Veasey is viciously struck by the Home Federal Chorus (Getting closer) We know that where we’re going Ada is beautifully dressed. She studies I swear, I’d… who have all been chained together Guard and collapses on the ground. While Marchin’ into the fury… They’ll have no place to hide. the daguerreotype of Inman in her hands. walking under armed guard. We see how the others try to pull him back up onto his Marchin’ with my brother… Marchin’ into the fury… Inman enters. He is dressed well and looks Stobrod weary they are from the long trek they’ve feet, the sound of the Federal troops gets Marchin’ with my brother… strong and handsome. You saved me, Ruby. You didn’t have to. already endured. louder and more present … though still Home Guard Scout I only know we’re going home quite a distance away. Quiet! One way or another! Ada 15 Ruby Veasey One way or another! Oh, Inman … the picture’s not complete. Did no such thing. I told you. I told you. I told you. Federal Chorus Federal Chorus I only know we’re going home… I’m a preacher! You are makin’ a terrible (Still distant, but getting closer) I only know we’re going home… Inman Stobrod mistake! I’m not a deserter … not like these God has closed his eyes One way or another! A gun shot. Despite the threat of the Shall I take it back? You did. People change, Ruby. men! You gotta let me go. But ours are open wide. federal troops, in the heat of the moment, I have, I swear … I’ll show you, I will. At fi rst the men do as instructed and a Home Guard man fi res a shot. Once one Ada As Veasey continues, the sound of his The Home Guard has noticed the sound huddle together. shot is fi red, the Home Guard men shoot I mean the picture in my mind. Ruby voice is woven together with the sound of the Federal troops off in the distance. everyone on the chain gang. The Federal Who are you, Inman? Get. of a large chorus of Federal troops from far Inman (To the chain gang) Troops hear the gunshots. The prisoners try We hardly know each other. Not really. off in the distance humming softly. Federal Chorus Listen, they can’t use those guns. to make a run for it, but linked together, We both know that. Stobrod At fi rst it goes unnoticed … just a distant, We know that where we’re going Feds’ll be on ‘em. Gotta be now. stumble into a big pile of corpses. One of And yet there’s something… Bless you, Ruby. Gonna write you a tune almost indiscernible sound. They’ll have no place to hide. the Home Guard men is shot dead in the Something pulling just like a star and call it: “Bless you, Ruby.” (They indicate they’re with him) Now! melee. The federal troops rush onto the holds the moon with invisible thread. Veasey Home Guard Man While the federal chorus sings and gets stage. The interlude continues. A number Ruby Look at me. Look at me. I’ll scout ahead. Keep ‘em here! closer and closer, the men follow Inman of federal troops go after the two Home Inman Get! Listen to what I’m sayin’… and a vicious brawl ensues. It is made more Guard men who ran off . The other federal I believe in the invisible, the spirit world. I swear … I am guilty of many things … Federal Chorus (Getting closer) complicated and interesting by the fact troops examine the pile of bodies. Inman, I have to. I want to believe that while He exits. Lights fade and come up on But not of betraying the cause… We all know what is coming. that the men are chained together. During who is on the bottom of the pile, unnoticed I’m away, You’ll be right out there the fi nal scene of the act. We all know what to do. the fi ght, the chain gang men are able to by the audience is able to leave the stage. beside me… Home Guard Man The sooner that the fi ght begins, corner the Home Guard. The Home Guard After concluding that all in the pile are A preacher? (Sarcastically) Right. The sooner it is through. is afraid of using their guns and alerting the dead, the remaining Federal soldiers run Ada Federal troops to their presence. off after the Home Guard. I’ll be right out there beside you…. Home Guard Men The Home Guard scout runs back on All preachers, right? Keep movin’… stage in a panic. Fight Interlude combined with Federal Inman Even if just out of my reach. Isabel Leonard (Ada) 62 Act I Scene Ten 63 64 65 Ada Ada Inman, who has peeled off layers of his (She fi nds a letter in one of the prisoner’s Lucinda is startled. She pulls away suddenly. Lucinda Even if just out your reach. Are you afraid? costume as he returns to the pile of dead pockets and sounds out the fi rst words) At fi rst because of the hat she is wearing, Lucinda. You shot? men, once again appears in his chain gang Inman does not see her face. Lucinda turns Ada Inman garb. He resumes his position among the “ To … my … An … gel…” (Pause) and Inman, at fi rst, is crestfallen when he Inman I had this made for you. Would you think me a coward if I said, dead men. As Ada fi nishes her lines, she Better be an angel or ain’t gonna see her sees that she is black. Grazed by a bullet. Knocked me out. “Yes?” disappears from the stage. A short interlude again. She hands him a daguerreotype and plays at the end of which Inman stirs, Inman Lucinda he studies it. Ada discovers that he has been shot but has (She pulls off some hats and looks in the Please don’t go. You lucky. I want you to say “yes.” survived. He discovers he is the lone survivor. brims, pulls them apart looking for hidden You’re hungry, right? Inman I want you say you’ll not do anything He tries to stand, but is still connected to food. She then starts taking shoes off of Inman Beautiful. I wish you were smiling. foolish. the chain gang. He tries in vain to pull away the soldiers and inspecting them for some Lucinda We’re both runnin’ … Lucinda. and then collapses, unconscious, on the hidden bounty. She takes Inman’s shoe off . You ain’t got nothin’. Ada Inman ground. The lights fade to black. He is still unconscious. She then takes off his I been through your pockets. Lucinda I’ll smile when you return. I’ll not do anything foolish. hat and in the brim discovers a picture With that chain, you ain’t runnin’ nowhere. of Ada that he has hidden. She studies Inman He looks up in the sky. Ada the picture.) Not here … over there … another man… Inman I want you to come back to Cold Mountain. ACT II Over there … seen him … He’s Home Guard. I know how you feel … how you felt… Inman I want you to promise. Look at her … she got everything… See Orion’s belt? OPENING 1 Not a care in the world… Lucinda Lucinda Those three stars are just about to Inman I bet that brooch is made of gold. Is he? You know how I feel … how I felt? leave the sky until November. I will come back. I promise. SCENE ONE That dress, that fabric looks like silk… Lucinda and Inman duet 2 I once sewed a hem on a dress like that… Inman Inman The stars and I will return together (Inman starts walking slowly towards the Smooth … softer than a butterfl y’s wings. I’m sure he’s dead. Before all the Chained. Chained. and every question will be answered, pile of dead men on stage) The lights come up on the pile of bodies shootin’ began, I saw him put cornbread I don’t mean you no harm. not with words but with something more in the same position as in the end of Act Inman begins to stir. in his pocket. Go on. No harm. No harm. enduring. The war won’t last but six months. One. Lucinda, a runaway slave, enters. Desperately hungry, she looks through Look at her. She got everything. Lucinda runs across the stage and fi nds the Lucinda They kiss for the fi rst time. Ada the pockets of the fallen. home guard man. She fi nds the corn bread Chained? Chained? Come back to me. Come back to me is Inman and sits down and begins to devour it. You don’t mean me no harm? Inman my request. Lucinda You’re wrong. No harm? No harm? The war won’t last six months. Is that all ya got? Inman You’re either blind or stupid. That and blood… So much blood… What’s your name? (Pause) Of course you do. You all do. Chained? Why? Lord, they even shoot their own. Deborah Nansteel (Lucinda) and Nathan Gunn (Inman) 66 Act II Scene One 67 68 69 Lucinda/Inman Lucinda Lucinda Ada But I still believe… in the invisible…. SCENE FOUR I am runnin,’ runnin,’ runnin,’ Why’d they shoot you all? I do not trust you. And I never will never Orion … Orion… in something more… Hidden in the Stobrod’s campsite 5 Runnin,’ out of time. trust you. And I’ve gotta gun. Don’t forget shadows, in the sky above, I am runnin’, runnin’ runnin’ Inman it. (Pause) Lucinda reaches into the pocket Ada/Inman A secret realm… a mystical spark… Inman exits. The lights come up on to another world. Lucinda, Lucinda… of the jacket and pulls out the keys to the Orion … Orion… Ruby and Ada who have made their way And I’m tired … so tired… Because I don’t want to fi ght anymore chain attaching Inman to the six dead Four Novembers have come and gone… Inman to Stobrod’s campsite. They have brought … that’s why… I just want to marry that bodies. You’ve returned but I have been… Oh, Ada! some food and two of Monroe’s coats. Inman woman. I have been gutted … and all Ada stands near Stobrod and Pangle, and I can’t hardly feel if there’s anything left that’s left is the hope of her. Lucinda Inman Ada listens to the fi ddle tune that Stobod plays. in my heart. Without her, I am a broken branch. Don’t forget it. Swallowed … Oh, Inman! Ruby stands off a fair distance.

Lucinda Lucinda Lucinda tosses the keys to Inman and Ada Ada/Inman Ruby Wanna know what’s deep in my heart? We all broken branches… runs off quickly. Inman unlocks the chain. I’m drifting… Are you still out there in the dark? Just give him the stuff and let’s get… If I could pull one trigger… and kill every We all slowly dying. When I die, at least white person in the world…. I’d do it in a I’ll die free... that’s why I run. Inman Ada/Inman Stobrod second. I’m gonna keep runnin’. SCENE TWO 3 Sinking… Four Novembers have come and gone… Well, there’s Miss Ruby… Can you tell me … who I am now? Bless you, Ruby. Inman Inman As an orchestral interlude plays, we see Ada/Inman What is left of who I was? That man’s gotta gun. Go look. Lucinda, are you alone? Inman walk on and on as all the …like a stone in a stream. Why, bless you Ruby, let me sing you You can’t kill all of us. phases of the moon are sequentially, Ada this song. Bless you, Ruby, the world But you can get started with me… Lucinda beautifully depicted in the sky above him. Ada/Inman Oh, Inman, would you even know me? goes ‘round… Bless you, Ruby, what’s lost I got the stars in the sky. Finally, after walking for 28 days, the …past what might have been. is found… Bless you, Ruby, I’ve a heart that Lucinda And they are leadin’ me to Chicago. waning crescent dissolves into the Oh, Ada/Oh, Inman…. Inman knows … The garden is wrapped in ice, Is this your wife? complete darkness of the new moon. Ada, will you even know me? but I still smell the rose. Inman The stars now illuminate the heavens. Ada/Inman She shows him the picture. He slowly I hope you get there, Lucinda. The stage is fi lled with stars. Inman spots Orion … Orion…. Stobrod/Pangle breaks down. He begins weeping I really do. Orion in the sky and begins to sing. Four Novembers have come and gone… Bless you, Ruby. uncontrollably. Lucinda watches him Bless you, Ruby. fall apart. She is moved enough by his Lucinda walks across the stage and takes SCENE THREE Ada/Inman sincere show of emotion that she asks the dead Home Guard’s jacket off and puts Ada and Inman duet 4 Everything has changed, I’m a mystery Stobrod another question. it on. She carries his pistol in her hands. to myself… So much time has passed Bless you, Ruby the snows are coming. She walks back over to Inman and points Inman And I have changed. The nights are long. the gun at him. Orion … Orion… Lights up on Ada who I don’t know myself. The world keeps hummin’ is also looking up at the sky. I sing this song. Nathan Gunn (Inman) 70 Act II Scene Two & Three 71 72 Act II Scene Four 73 Stobrod/Pangle Ruby But once near Richmond … a man come Stobrod Stobrod Sara Inman Sara Bless you, Ruby. Bless you, Ruby. Shouldn’t have come at all. runnin’ in… Lookin’ for a fi ddler. His Ruby, I need caring for. I have changed, Miss Ada. Who are you? (The baby cries during the Want to try? Gotta push plow … a kitchen garden … a Won’t be any mercy if we’re found helpin’ daughter had poured coal oil onto kindlin’. following exchange) Hush, baby. few chickens… Had a cow but the raiders, Stobrod you. Come on, Ada, let’s get. It touched live coals and a fi re exploded… Ruby Ada Sara they took it away… (The baby cries out) My heart knows the garden might be …burned her bad. She was dying and Has your liquor give out? (She nods) I know you were in the barn Inman Hush … Hush… (Pause … she nods) Hush, baby … they burned down the barn. wrapped in ice, But I still smell the rose. Ada asked for a fi ddler to play her out. the other night. A man goin’ home. There’s a hog out back… Who’s Georgia boy? I played the few tunes that I knew. Stobrod Inman collects the piece of cloth prepares Countin’ on it to get us through winter… Ruby And she said … “That all you got? Ruby… Stobrod Sara it using the few remaining drops of whisky Come on, Ada! Let’s go… Reid enters carrying fi rewood. Make me up one!” I had to try … had to … You tell Ruby? I ain’t got nothin’ … mister. in his fl ask. While Sara continues to try and He hands Sara the cloth and Sara puts and I did… Ruby Best be on your way… comfort her child the dialogue continues. the wound end in the baby’s mouth. Ada Reid Eat roots, Drink muddy water. Ada That was so fi ne … almost made me forget I am. Stobrod plays the song and Pangle joins in. Sleep in hollow log. No, but that Teague’s been around. Inman Inman Sara where I was… everything that’s happening… Best stay away…. Just wanted to pay for some food. Name’s Inman. Yours? Hush-a-bye, Honey child… Stobrod Stobrod/Pangle Stobrod Pangle Not his fault that he’s from Georgia. ‘If I knew why, I’d tell you./I’d tell you. I know you’ve got more feeling than Ruby yells to Ada from off stage. Sara Sara Inman takes over singing, improvising You’re in the woods. We just played a song. But there are some things that no one that for your Daddy. Confederate scrip? (To the baby) Sara … Hush, baby… lyrics to a lullaby as Sara rocks the baby. Ruby knows./That no one knows. Ruby Hush… I ain’t got nothing’… Slowly the baby calms down. Stobrod Shoot … another mouth to feed. So all I can do is sing to you./I’ll sing to you. Ruby Ada! Inman She means the war, Pangle. Enough of this … Come on, Ada… In time we’ll fi nd out how it goes./How it You don’t know shit. He turns to walk away. All alone? Inman Don’t mind him. He’s … kind of “gentle” goes. How it goes.’ I’ve dined on many a root Hush-a-bye, Honey child. in the mind. Ada when you were off roundering. SCENE FIVE Sara Sara Hush-a-bye, Honey child. What you played is so pretty. Stobrod Slept in worse places than hollow logs. Sara’s cabin 6 Hush, baby … Please, baby… My man, John went off for the fi ghting. You’re mama’s … doing … all she can. Pangle You learn this in the war? When I was done, she said, They killed him in Virginia. It’s time … for you to … close your eyes… You’re pretty…. I’m hungry. “Now that was fi ne,” and then she died. Stobrod Ada runs off after Ruby. The lights come up The baby cries some more. He never saw his boy. Hush, child… with dreams as sweet as… (To Stobrod) Is now the time to ask her Stobrod I haven’t stopped playing since then. I did my best by you. on Inman in the woods. He hears the sound Inman turns back. And it’s just the two of us now. (He can’t think of a word) if she brought something for me and I always played … but preferred holding Lookin’ for notes that work. Times was hard. of a baby crying. He sees Sara pacing back Georgia boy to eat? a quart moonshine to a fi ddle… You see, a tune that works is like habit, I ain’t who I was… on forth on the porch of her cabin trying in Inman Inman Sara It gives order to a day’s end. vain to calm her baby boy. Might try a few drops of whiskey on You got any help? Blackberry jam? Ada Ruby Ruby the end of a cloth … You can talk right to me, Pangle. Finally the truth. Ruby Well, I am … Come on … Ada… Inman Sara Inman I brought two of my daddy’s coats. Come on, let’s go. Your baby sick? Sara Not a lick. As blackberry jam … and… Winter is coming. Who’s Georgia boy? Stobrod Ruby marches off ahead of Ada. Really? Never heard of that. He’s been It was fun … nothing special… Stobrod stops Ada. at it for hours… Inman Sara Then how do you make it? …strawberry pies…

74 75 76 Act II Scene Five 77 Inman Sara The lights fade on the two frozen in their Teague Ruby Ruby And strawberry pies. We got mountains here. (Pause) positions in bed. Lights suddenly come Well, his name’s here in the paper. “Hay … wood County De … serters.” I don’t care about him. Your mama’s doin all she can. If I had a barn I’d let you sleep there. up on Black Cove Farm. Ruby is in the That’s why I come up here… Can I have the paper … show Ada…? Hush-a-bye, close your eyes. fi eld fi xing the scarecrow, which has been She looks down the list. Teague comes Inman outfi tted in one of Ada’s nice dresses. Ruby over and points at her father’s name. Teague The baby has fallen asleep. This porch’ll do … I’ll be gone fi rst thing. Teague calls out. He’s dead! Sure, read her your daddy’s name. Teague/Ruby Over and over! “Haywood County Deserter.” Sara Sara Teague Stobrod Thewes. She’s in town, you say? Why, I might meet I can’t believe it. (Pause) All right then … Goodnight. SCENE SIX Wanted to show it to Miss Ada… her all alone on the road… Black Cove Farm 7 so she could read it to you… Ruby Wouldn’t that be nice … awful nice? Without him there’d be nothing holding She takes the baby inside the cabin and Show her what kinda man your Daddy is… I ain’t got nothin’ to do with him. Some man’s gonna sweep her up and me to this world. There’s a pone of closes the door. She unbraids her hair Teague I get by on my own… sweep you out. cornbread and pinto beans. Go on… and begins getting ready for bed. After Funny lookin’ scarecrow … Ruby Always have! considering for some time she comes I can read now … Ada’s teachin’ me. He exits. Ruby frantically studies the Inman outside and approaches Inman. Ruby Ruby is stunned, trying to fi gure out newspaper trying to fi nd Inman’s name. I’ll pay. Ada won’t use her Daddy’s clothes… Teague the ramifi cations of this development. Sara Says it’s like seein’ a ghost… Really? Let’s see you fi nd your Daddy’s Teague takes the paper back. Ruby Sara If I was to ask you to do something I think it’s a waste a fabric. name! Inman, don’t let me fi nd your name here! You just did. would you do it? If I was to ask you to Teague Don’t tell me she taught me readin’ so I come in and lay in bed with me but Teague Teague hands her the paper and points You don’t get by on your own. could read your name and be the one to Inman devours food, eating loudly in gulps. not do anything else, could you do it? Lots bein’ wasted these days. She around? to the article in the paper. Look at you here on Miss Ada’s Black Cove break her heart. Don’t let me fi nd your Could you? (He nods) I believed you could farm… You got it good. Sleepin’ in the big name. Not here… (Pause) Not yet… Inman or I’d have never asked. Ruby Ruby house… Thinkin’ you’re so special… Sorry, not taken food in days-- In town. “Ca … su … al … ties…” Walkin” around this farm like you own it… A sudden light change and we are Just cress and creek water. Inman takes off his boots and gets into bed. Ain’t that right? And she teachin’ you to instantly in Sara’s cabin. She stands at After some time, Sara begins to cry. Teague Teague read? Shit! What a waste of time, the window. Inman is still asleep in the bed. Sara (A bit suspiciously) Well, I must of missed Not there. Like planting seeds on a rock in winter. Sara sees three Federal troops approaching. How far you mean to go? Inman her? Ain’t that right, Ruby Thewes? Only thing you’ll ever need to read She urgently calls out to Inman. I’ll go if that would be better. Oh, I know who your Daddy is… Ruby is your daddy’s name on this list of traitors! Inman “Killed” … (Pause) That’s all that matters. I promise you. Cold Mountain. (Pause) Sara Ruby The war’s gonna kill him … or I will. Hush. I just want to pretend that things He’s dead. Teague You better hope we don’t fi nd him here. are all right. Just want to pretend that Not there… I’m not alone. Emily Fons (Ruby) and Jay Hunter Morris (Teague) 78 Act II Scene Six 79 80 81 SCENE SEVEN Ethan Ethan Charlie’ll take care of the baby… Charlie SCENE EIGHT Sara’s cabin 8 Tie her up. (To Thomas) Check it out. I’ll go away. Won’t come back. I promise. Quintet 9 Charlie cradles the baby in his arms and We were hungry. That’s all. Sara The men tie her to the porch post. Thomas runs around back and looks for tries to comfort it. Ethan takes her into the I just want to go home. Ada/Ruby/Inman Get up! Quick! Feds! Get out… the pen in which the hog is located. cabin. Inman runs around the side of the I should be cryin’, but I just feel numb.… Sara house. He has Thomas’ pistol, which he is Sara comes outside with a shotgun. Like every root’s been pulled or severed… Inman crawls out the window and hides My baby! My baby! What are you doing? Sara pointing at Charlie. She walks up to Charlie. Is the world one big grave? along the side of the house. Sara walks out No! No! Take it … But if you do, Will the fi ghtin’ be forever? onto the porch. Three armed Federal soldiers You might as well kill us now… Inman Charlie Fightin’ to remember … Fightin’ to forget… approach Sara’s cabin. Thomas ‘Cause it’ll all come out the same. Call him! Now! We were hungry. Oh, Daddy…/Oh, Ada…/Oh, Inman… Told you. We’re hungry. What would you ask of me now? Sara Thomas looks into the hog pen and is Charlie Sara pulls the trigger and kills Charlie. I don’t got nothing! Raiders took all I had. Sara surprised by Inman who sneaks up behind Ethan! Ethan! Quick. She walks back into the cabin. Inman, weary Lights come up on Stobrod playing the No! No! What are you doin? him and with some rope strangles Thomas. from so much killing, sits down on the steps. fi ddle in the woods. Ethan/Thomas/Charlie Thomas is not able to cry out while being Inman Lights come up on Stobrod and Pangle, We’re hungry. You know you got something. Ethan suff ocated, but it takes some time — 20 Again! playing a tune by a campfi re. This fi ddle/ Quintet We got all day! But your baby ain’t got seconds or more — for him to be killed. orchestral interlude extends for some time Stobrod/Pangle Sara time… While this is happening the scene in the Charlie and we see Inman forlornly trying to If I knew why, I’d tell you. Please. I told you. front of the cabin continues. Ethan! Rebs comin up the road! process the all of the accumulated horror But there are some things While Sara is pleading the men casually They’re armed. Ethan! he has witnessed. Lights now come up on That no one knows. Ethan dangle their legs off the edge of the porch. Sara Ada who is placing fl owers by her father’s So all I can do is sing to you. And I said we’re hungry. Don’t lie to me! Ethan and Thomas are unmoved. Charlie It’ll all come out the same! Inman is now standing on the porch by grave. Lights up on Ruby who still studies In time we’ll fi nd out how it goes. (To the others) Grab her. wants to pick up the baby, but won’t dare He’s shivering. He’s just a baby! Take me the door. Ethan comes running out onto the newspaper and refl ects on the many to do so. inside; I’ll do anything you want! the porch. Inman kills Ethan. Sara runs out, names listed, and her troubled history Ruby/Ada/Inman Thomas and Charlie restrain Sara. Please. steps over Ethan’s body and goes to get her with her father. You’ve/He’s/I’ve been gone too long. Ethan enters the cabin. Sara baby from Charlie. She takes the child back Gone so long… My boy! He’s shiverin’! Ethan, who is clearly the leader, signals that inside. While she does this, Inman continues And I just don’t know why, Sara If I had something I’d give it to you. Charlie can do so. forlornly. I’ve no tears left to cry. No! I ain’t got nothing. Please mister. Please! I’ve got some chickens. Take ‘em. My boy’s shakin’! Have you no shame? Ethan Inman As the lights fade on Ruby, Inman and Ada, Ethan comes out with her baby, removes the He’ll die … No? (Pause) I’ve got a hog! Anything I want? What am I going to do with you? Stobrod and Pangle continue playing the blanket it is wrapped in and places it on the I’ve got a hog! It’s out back. song “ Gone too long”. Teague and his men frozen ground. (He unties her) approach the campfi re.

Isabel Leonard (Ada) 82 Act II Scene Seven 83 84 Act II Scene Eight 85 SCENE NINE There’s a hollow in the cliff , as big as a Lights come up on Ada and Ruby. Teague Teague is talking to Birch. Ada is talking Ruby the unnamed tributaries of our nation’s Ada Stobrod’s campsite 10 great barn loft. Reid turns and moves across the stage and Quit grinnin’! to Reid. You wear what you want. blood, the rivers of our nation’s blood. Ruby, he’s here… begins to explain to Ada and Ruby what But I don’t want no wind blowin’ up my (Ruby and Ada, dressed in men’s trousers, Stobrod … He’s still breathing! Teague Teague happened to Stobrod and Pangle. As he Ruby Teague/Reid dress. carrying supplies, and shovels walk slowly Howdy strangers … Keep playin… Well, much obliged. does so the scene with Teague, Stobrod …have tied red ribbons in the trees. There’s a pot a beans on. up Cold Mountain. As they make their way Ruby We’re just gonna warm up by the fi re. Well, ain’t you, Stobrod Thewes? and Pangle continues. All the way up Cold Mountain. Ada up the mountain to bury their dead, they Daddy, can you hear me? He’s a fool. Lived a fool. Figures he’d die Reid exits into the house. Teague’s men exit. What about that Georgia boy? walk through the ghosts of soldiers and Go get blankets! Damn fool! Stobrod and Pangle continue playing. Pangle Reid a fool. Teague sits down at the campfi re and eats civilians who have died in the war.) We gotta keep him warm. Teague and his cohorts including Birch sit (Innocently) Y’all friends? I seen it all done. Seen it all. the beans with Birch. The lights slowly fade Ruby I gotta get some roots, spider webs… around the fi re. Teague/Reid on them. Don’t need to travel with no deserter. Buried and forgotten, in our beautiful golden seal to make a poultice. Teague Ruby Now, take off your hat. We do all right on our own. Right? country where we lie buried. I think I saw some down the hill. Teague You stayed in Ada Monroe’s Barn two Tell me like it happened. Don’t leave nothin’ Ada We rest beneath every step you take, in Damn fool! Nothin’ but trouble… Say, we’re after a bunch of outliers said to nights ago. In this snow! Shoot … your out. Ruby I’m so sorry, Ruby. Ada the dust, in the ground on which you tread. be in a cave … been robbing folks. tracks were easy to follow. (Pause) And I’m a fool for ever thinkin’ he could We do… Oh, beautiful country! Chorus If a man knew where that cave was it’d be You know your kin don’t care if you live Reid change… Or care about anyone. Ruby Hear the echo of our song Buried … Buried and forgotten. in his favor to tell me. or die. So he says: I’m just sorry I brought this trouble on you. Ruby and Ada exit. It begins to snow. and feel the shadow from our pain and toil. In the fi elds … under trees. Teague/Reid A chorus made up dead soldiers Across the valleys spread in scarlet soil, In valleys, and on the mountains, Reid enters carrying some fi rewood. Pangle Reid/Teague And hold it over your face. Ada slowly appears. Our elegies echo loudly… we sing their elegies. He quickly senses the threat and hides and, Ain’t true. Ruby and Miss Ada give us Go on … you too, boy! You didn’t bring it. It just came. Bury them on Cold Mountain. unobserved, watches the exchange. these coats and food to eat too. Pangle places his hat over his face. Ruby fi nds Pangle. Teague, at fi rst, is not overly threatening. You want some? Ruby/Ada Ruby SCENE TEN Ruby runs off . Ada wraps Stobrod in blankets He is trying to get additional information. Oh, that poor boy. Ruby Still feel tangled in that blackthorn tree. Walking up Cold Mountain 11 Ruby and after some time begins to sing an aria Stobrod I will not cry one tear for him. Ada, it’s Pangle. He’s here! to Stobrod who remains unconscious. Stobrod Pangle! He’s simple minded … confused… Teague/Reid Ada Chorus Of The Dead I don’t rightly know. Some say… The fault is not his … and not those girls… Compose yourself to die. Quit your grinnin’! Teague You’re not. Buried … Buried and forgotten. Chorus Ada 12 backside of the mountain. There ain’t nothing funny here. Hallelujah, amen…. In the fi elds … under trees. Hear the brittle snap of twigs, I feel sorry for you. Not because your Close on Bearpen Branch. Teague Ruby In valleys and on the mountains, Encased in winter’s blackest bark. eyes might never open, But because Oh, I think there’s plenty a fault to go Teague/Ada/Ruby/Reid The Home Guard shoots Pangle and Well … we gotta go fi nd them. we will sing their elegies. The plumb line of our soul’s been cracked, your eyes were closed so long… Pangle round. Tell you what… Why don’t you go Compose yourself to die! Stobrod. You got britches in the house? What will echo from our song, as one by one the stars go dark How much you missed, how good your Why that’s not even close to it. and stand up against that big poplar. Gotta go put ‘em on. from this land of toil and pain? in our beautiful country… daughter is… how virtuous, how smart It’s this side. Over on Big Stomp, Ruby Teague What will grow from this scarlet soil? and dignifi ed and loving she is. up Nick Creek, through some hick’ries to I told y’all not to stay in that barn! Y’all go on now. Ada We are soldiers, sons, civilians… Ada fi nds Stobrod. While you were off numbing yourself a rock slide. In this snow might as well … Men’s trousers? to life’s tangles,

86 Act II Scene Nine 87 88 Act II Scene Ten 89 She was learning the name and purpose The lights come up on Inman who Inman hears her voice and is surprised. Inman turns to go away. Inman SCENE TWELVE Ada walks back into the cabin and sits (He smiles) of every bird, of every weed and berry. examines Stobrod’s fi ddle, which he just Three days or four … Four I think… Ruby and Ada’s campsite 14 on a chair and watches Inman sleep. Surviving on her own by fi nding the ways discovered lying on the ground. He notices Inman Ada After some time she begins to sing. How is the Reverend? life weaves so wondrously together. the holes in it. Perhaps he lightly plucks a You’re a woman. Inman? Inman? Ada Inman I feel so sorry for you. I feel so sorry for you string as he tries to deduce what happened. Last time you slept? Thank you … I do believe I need … to… Ada Ada because your eyes were closed for so long. From off stage we hear the sound of Ada’s Ada Inman Are you dreaming of a secret? You get my letters? How much you missed. So much you shotgun. Inman is startled and takes out But I shoot like a man. So don’t get any Ada. Inman Ada Is it the same as mine? missed. Do you have any idea how good his LeMat’s pistol and cocks both hammers. ideas. Lower your gun, mister. Don’t know. You just need rest. We’ll talk later. Is who we were just melted snow… Inman your daughter is? And you could not fi nd a He unsuccessfully tries to hide behind some Ada takes a few steps towards him. …an echo lost long ago? I got two. connection to your only child. rocks or a tree, moving awkwardly due Inman lowers his gun. Ada continues to He is a man ravaged by the war and by Ada He falls asleep. Inman, I am not who I was … and what I tell you, if I ever see Inman again, to profound exhaustion and hunger. point her shotgun at Inman. Slowly, Inman his eff orts to return home. He is starving Come with me. about you? What you must have endured… Ada I will kiss the narrowest hinge in his hand. Ada appears with a few of the birds she begins to wonder if he has recognized Ada’s and shattered. Ruby My father died… Nothing will go unnoticed or unvalued. has just killed. Through the snow she sees voice. Inman stumbles. Ada calls Ruby for help. He’s out … I’m gonna check on Daddy… Inman stirs. For that is what Ruby has taught me… what appears to be a stranger pointing a Ada Inman That’s what I know… pistol at her. She drops the birds and Inman Oh, Inman… Ada She moves to exit. Inman I’m so sorry. And she would have taught you if you’d only quickly and effi ciently pulls the shotgun I know you. Ada … Ada Monroe? Ruby! Ruby, come quickly! Ruby! Ada … Some water? opened your eyes soon enough. into position and points it at Inman. Inman Ada Ada For an extended moment they each Ada is slightly confused and lets the barrel It’s me … what’s left of me. Ruby enters. Ruby, nothing’s changed between us… Ada gives him a cup of water. (Pause) Oh, Inman, I sent you a hundred Ruby enters with herbs and roots she point their guns at each other. of her gun drop from Inman’s face to his letters… And tore up two for each has found. chest. She looks at him but is unable to Ada Ada Ruby Ada one sent… (Pause) recognize him. I see you now. I see you… Ruby … this is Inman… We can do without him. More? Ruby SCENE ELEVEN You might think we can’t, but we can. Inman Ada, take the shotgun. Wild turkeys are by Deep in the woods on Ada Inman Ruby We’re just starting. I’ve got a vision in She pours another glass. (Pause) Why? the creek. If he lives, we’re gonna be here Cold Mountain 13 I don’t know you. Ada, I’ve been coming to you on a Come now … Lean on me … Come on… my mind of how that cove needs to be. for a while…. Let me tell you, turkeys can I don’t want any trouble. hard road… There’s not a thing we can’t do ourselves. Inman Ada disappear on you … So move slow… Inman But if it comes, I’m ready. Inman supported by both women is You don’t need him. Remember when we fi rst spoke? Because they were fi lled with things… Go on… I’m lost. And besides we don’t know each Ada taken to the camp. Inman collapses by …that day in church… Things that people just say… other well enough to start killing one Inman Oh, Inman… the fi re. He’s given food, which he devours. Ada “I am thinking of you.” Ada walks away from the Cherokee cabin. another yet. I believe I’ve made a mistake. Nothing is spoken while he eats. I know I don’t need him. But I think Ada “Do not worry about me.” It is snowing. She sees turkeys off in the Nothing is the same anymore. (She takes his hand … She feels how thin When he is fi nished, Ada gives him I want him. I fear, I did not make it … easy… (She smiles) When my only real thought was: distance, prepares the shotgun and Ada I’m just a fool who thought the war would and ravaged his body has become) a blanket. I’m so afraid … please… walks off stage in pursuit of them. Lower your gun. only last six months. Ruby Inman I’m sorry; I’ve made a mistake… When did you last eat? Well, that’s a diff erent thing. I’ll be back. There were some thorns around the fl ower…

90 Act II Scene Eleven 91 92 Act II Scene Twelve 93 Inman Ada Ada Veasey/Chain Gang Ada/Inman (Pause) The ensemble disappears. Inman Do not forget me… The war took away all Are there threads not torn in tatters Tell her how the boat went down… Threads that we can follow back to where Not for every gold dollar in the I knew … and all I had… That we can follow back to where we we began. Inman Federal Treasury. began? Ada/Inman Ada, we both know … before the war, Ada …What has happened, who I am. Soldiers They embrace. The action switches to It was Ruby who taught me to survive Ada Tell her how you ran away… Ada Inman Ruby watching her father sleeping. and grow in ways I never imagined. I know people can be mended. Veasey/Chain Gang How Balis died, and then you left …we hardly knew each other… It is early the next morning. Ruby sings But, Inman … I feared forgetting who I Why not you? How all the rest of us lie dead… And you were gone. the song that Stobrod made up for the was… For it is what connected me to you… Inman dying girl. Inman enters and unobserved Inman Ada/Inman Ada That’s right … but that’s not the truth… listens to Ruby sing to her father. Inman Why not me? I hardly remember who I was. I know people can be mended. Ada, I could never forget you. Why not you? Ada Inman Ruby But if you knew all I’d seen and done… Ada Lila/Olivia/Claire/Katie It was enough… It was enough… If I knew why, I’d tell you. All I did … I fear you’d not care to know me… Tell me everything. Tell her of the riverbank… Inman But there are some things that no one I fear I’m ruined beyond repair… Why not me? Inman knows. So all I can do is sing to you. An ensemble emerges. Lights come up on Ada/Inman Ada, I want to marry you. In time we’ll fi nd out how this all goes. Ada each of the people that Inman met during Can you hear the voices… Soldiers I don’t believe that… his experience of the war and during his Tell her how you fought… Ada Inman journey home. He is remembering them all. Lila/Olivia/Claire/Katie The slaughter that went on and on… Oh, Inman … I do too. How’s he doin? Inman There is an abstract quality to the scene. The siren song that you denied… I do. War chisels your soul with fear and The lighting and the music weave the All but Inman and Ada sing the following. Ruby bitterness into something dark and strange. impression that time is elapsing. Ada/Inman Time is suspended as the chorus envelops Inman Doesn’t seem to want to die… Hard to fi nd your way back in so much …whispering what truly matters: Ada and Inman. I do. We gotta be gettin’ home… darkness, from so much pain. I mean to Black Cove farm… CHORUS 15 Sara All Inman Ada Ada Please, tell her how you saved my child… Tell her … Tell her everything. I do. Inman Oh, Inman, you found me…. Tell her of the slave you met. Tell her … tell her … who we were… Ruby, Black Cove is your home. How I freed you, Ada/Inman How the past is not the past, During a musical interlude, Ada begins Only question is whether you’ll let me Inman Tell her what I said… There must be threads not torn in tatters… But from now on, all time’s a blur… to get undressed. make it mine too. Ada, I want to tell you everything… A fog of memories, death, killing and sin… … What has happened, who I am. Inman/Ada Sara Tell her everything … Tell her … Ada Ruby I hardly remember who I was. I want to tell you everything… How you eased the tears he cried… Tell her… If war is ever to end … Would you turn around? You don’t need my permission. It is here it must begin…

Nathan Gunn (Inman) and Isabel Leonard (Ada) 94 95 96 97 Inman Ada Reid Damn it, I’m looking for a way not to SCENE THIRTEEN Ada walks on stage and embraces her Yes, I do. Well … we’re ready to go. But the fi re’s Name’s Reid. I was with Ruby’s daddy… hurt you. I want to walk away but can’t do Black Cove Farm, daughter. Ada studies the sky. still burning. been waitin’ at Black Cove Farm. it wonderin’ if you’ll shoot me when my Epilogue, nine years later 16 Ruby When the ladies didn’t come back back’s turned. Come on out of there… Ada Well … (Pause) You work hard? A bit of an awkward pause in which I fi gured I’d see why… before headin’ back 1874. The orchestral music makes an You’re right. It’s come back. (He nods … Pause) Ada and Inman are embarrassed to kiss to Georgia. (Pause) Birch throws his rifl e on the ground. extended transition to the Epilogue. Now go catch the others. Be warned … I got lots of plans in front of Ruby. Inman walks over and picks it up. The orchestra stops playing as a nine year and not much patience… Ruby old girl walks on stage holding a music Suddenly the entire theater is Ruby Well, let’s go. Inman box which plays the Orion love duet theme. fi lled with stars. Inman smiles to himself noting that What are you waitin’ for? Smart boy. The orchestra picks up the theme. The Ruby has shown nothing but patience Shoot, just kiss’ em and let’s go. Ada, Ruby and Reid exit, carrying Stobrod nine-year-old girl comes down stage and Ada and forgiveness in how she is treating off stage. Inman is at the fi re, starting As Inman bends over to pick up the gun, is soon surrounded by Ruby’s three children Orion … Orion … I still believe her father. Ada and Inman kiss. to extinguish it when Teague, Birch and Birch comes out from behind the trees. who run on stage and come up and listen …in the invisible… Teague’s men enter. Their guns are drawn. Birch shoots Inman with the small pistol and admire the music box. Ruby enters …in something more… Inman Ruby (Calls out) in his hand. with Reid and Stobrod. They are carrying a Hidden in the shadows, Only plans I got are to go North … become Georgia boy! Georgia boy! Teague basket and blanket. It is getting dark and in the sky above … A secret realm… a Yankee prisoner. Ada and I thought it (Reid enters) You’re a lucky man, W.P. Inman. Birch (Spoken) they are all returning from a picnic. a mystical spark… through — Best way to survive. You done packin’? She’s a fi ne looking woman… Hallelujah, amen. Oh, Inman! War’ll be over by summer… I wonder what she’ll… Ruby Reid Birch runs off and Ada runs on. Come on, children. Already dark out. Lights fade. Ruby …Just like you told me. Suddenly Inman shoots one of Teague’s She cradles Inman in her arms. Time for bed. Grandpa’ll play you some Then you come home… men. A shoot out/fi ght takes place. Birch tunes. (To Reid) And Daddy’s got some And don’t waste no time. I got plans… Ruby runs away and hides. Inman kills all of Ada chores to do. (She gives him a quick kiss) Good. Come on… Teague’s men and then kills Teague with a Inman! Inman! No! No! So, let’s get going. Ada enters. knife in a dramatic fi ght. Inman knows that Oh, Inman. Come back to me. While Reid answers Inman’s question he Birch is hiding and has a rifl e. Inman grabs a Inman! No! All, but the nine-year-old girl, exit the Ada starts, with Ruby’s help, picking up Stobrod weapon from one of Teague’s fallen men. stage. She is studying the sky. Suddenly she You got plans? to begin the trek back to Black Cove. Inman dies in her arms. believes she sees a constellation emerge. Inman Ruby Inman Come on out of there. (Pause) Girl (Calls out — spoken) Gonna have another mouth to feed. Who’s this? Come on, kid, I’m not asking again. Mama! Mama, look! Someone’s gotta make plans. Throw out what arms you’ve got and you can go on home. (Pause)

98 99 100 Act II Scene Thirteen 101 Acknowledgments American Operas

Recorded live at Mark Donahue Series The Santa Fe Opera, August 2015 Mixing and Mastering The history of opera predates that viewing opera as an elite art form By arrangement with Soundmirror, Inc. of the United States. Going back to representing antiquated interests, in Lawdon Press, Publisher Post-production 16th century Italy, opera refl ected languages they did not understand. Charles MacKay Graphic Design: Synch Agency a fascination with myth and was As the American repertoire has General Director Debi Kline and Matt Walker mounted for the benefi t of the court. expanded over the centuries so Brad Woolbright Photography As opera spread its roots throughout have American audiences, drawn to Director of Artistic Administration Production photography © Ken Howard western and eastern Europe it evolved contemporaneous topics played out for The Santa Fe Opera as a public form of entertainment in their native tongue. But American Michael Bronson Recording Project Consultant The Crosby Theatre, page 2 © Paul Horpedahl and increasingly drew upon history operas are no longer confi ned to Moon Over the Opera, page 6 © Mark Nohl and literature as inspiration. The listeners in the US; the works of Elizabeth Ostrow The Crosby Theatre, page 102 © Robert Godwin American Pilgrim settlers found such American composers have been Producer Appalachian Vista, exterior front cover and booklet cover entertainment to be at odds with increasingly heard throughout the © Brent McGuirt Mark Donahue their puritanical ideology, but at the world. American opera embodies Balance Engineer This was made possible through the turn of the 18th century opera crept the individualism of its homeland, courtesy of the American Guild across the US border as a European and with each generation new Dirk Sobotka of Musical Artists, AFL-CIO. Recording Engineer import. By mid-century William musical language has found its voice Henry Fry became the fi rst American in American opera – a voice that David Williams Wireless Engineer 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 Dirk Sobotka with European composers. This opera. Editing contributed to many in the country

102 103 104 105 Premium Sound and Outstanding Artists

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