Cooperstown It Breaks Your Heart

Cooperstown It breaks your heart

MUSIC BY Sasha Matson LIBRETTO BY Mark Miller & Sasha Matson

CONTACT: 607-434-3504 • [email protected]

Julie Adams • Daniel Favela • Carin Gilfry

Rod Gilfry • Daniel Montenegro

k Gernot Bernroider - Drums

Russ Johnson - Trumpets

Rich Mollin - Bass

Jason Rigby - Saxophones

Sean Wayland - Piano, Hammond C3, Fender Rhodes

k Conducted by Sasha Matson

MUSIC BY LIBRETTO BY Sasha Matson Mark Miller and Sasha Matson

PRODUCED BY DIRECTED BY John Atkinson Stephanie Vlahos

BAND SESSIONS RECORDED AT Systems Two Recording, Brooklyn, New York June 16-17, 2011

ENGINEERED BY Mike Marciano

VOCAL SESSIONS RECORDED AT Schnee Studio, Studio City, California September 1-2, 2012

ENGINEERED BY Bill Schnee and Kenton Fukuda

PRO TOOLS EDITING BY Justin Volpe

MIXED BY Mike Marciano at Systems Two Recording

MUSIC PREPARATION BY Jonathan B. Griffiths and the Terry Woodson Music Service

PHOTOGRAPHY BY Wes Bender ( Band ) and Joseph D’Allessio ( Vocal )

THE STORY

NOTES

“COOPERSTOWN OR BUST!” is chalked on many vans that pull up every summer in front of our house across the lawn from the National Baseball Hall of Fame. It is a long and winding road trip to Cooperstown, and the recording process was that way as well. But what a trip! Such great talent here to hear, on both sides of the microphones. Rod Gilfry! John Atkinson! I have been honored by their enthusiastic support and participation. I have been to the Show. “It breaks your heart.” That was the poetic language A. Bartlett Giamatti used in his beautiful essay “The Green Fields of the Mind”, and I am pleased that the Giamatti estate gave us permission to use his text. I began to work backward from there in the fall of 2000. Whose heart? And how was it broken? In Giamatti’s thinking, baseball is a game but also an art form, with the capacity to express the deepest emotional truths about individuals and society. One has only to pick up the sports pages to see this dynamic acted out against the economic and cultural realities of our time. Baseball has its own specific historical musical attributes. One of them is the sound of the stadium organ. That sound led me quickly to scoring the music for a “Miles” jazz quintet. This particular grouping of instruments is as capable as any large orchestra of realizing music in all its potential variety. The musical materials boil down to the rising three-chord “Charge” fanfare still heard in stadiums everywhere, which can be turned to the dark side by becoming an altered dominant harmony. Early on in the work process I had a sonic picture in my ear of what a finished recording of “Cooperstown” might sound like. I used as a model the great Blue Note stereo recordings of the late 50’s and early 60’s by Rudy Van Gelder: trumpet hard left, saxophone hard right, then added a vocal cast of five. I have nothing on my shelf that sounds quite like it. “Cooperstown” brings together forms and techniques from jazz, opera, musical theater and baseball itself, to tell a uniquely American story in a new and different way.

— Sasha Matson

Particular Thanks To: John Atkinson – for calling the plays and marking the scorecard. Mrs. Edward T. Chase – for support of the premiere. Ted Chapin at Rogers & Hammerstein – for cheerleading. Art Dudley – for match-making. Jeff Idelson and the team at the Hall of Fame – for support of the premiere. Samuel Goldwyn Jr. – for the detailed notes before, and the dinner after. Ian Krouse at UCLA – for the use of his office piano one summer. Mike Marciano and Bill Schnee – for protecting the plate. Mark Miller – for friendship and work above and beyond. Luis Torres – for the translation. Van Dyke Parks – for match-making. Stephanie Vlahos – for weathering the e-mail storms.

Sasha Matson spent his formative years in Berkeley, California, where his father taught philosophy at the University of California. He received a Bachelors Degree in Composition from the San Francisco Conservatory of Music. Moving to Los Angeles, he scored music for a dozen motion pictures and received a Doctorate Degree in Composition and Theory from UCLA. Recordings of his work have been released on the AudioQuest and New Albion labels. Audiophile Producer

Joe Harley has called Sasha “The world’s SASHA MATSON AND PRODUCER JOHN ATKINSON, most unpredictable composer.” He currently SYSTEMS TWO RECORDING, BROOKLYN, NY. JUNE, 2011 resides in Cooperstown with his family.

Mark Miller earned a history degree at Stanford and began a journalism career as a Reuters reporter in San Francisco. At 20th Century-Fox he produced and wrote for director-choreographer Bob Fosse, and co-wrote the screenplay for the Universal feature film “Mr. Baseball.” He has written 40 books and articles for the National Geographic Society, and was a Los Angeles-based columnist for the San Francisco Examiner. He is currently a writer- producer for CBS Radio, recently nominated along with CBS “60

Minutes” correspondent Scott Pelley for a Writers Guild of America Award S.M. WITH MIKE MARCIANO AT SYSTEMS TWO RECORDING. for Outstanding Achievement in Television and Radio Writing. He lives with his wife in Los Angeles.

Stephanie Vlahos comes to the directing profession with the experience of a former professional singer. A graduate of Yale University and the Juilliard School, Stephanie has worked in solo performance in diverging musical arenas. A recipient of the Chanel Diva Award, she is currently Artistic Director for OPERA POSSE, and is a theatre coach and stage director for the Domingo-Thornton Young Artists Program at LA Opera, as well as Director-in- Residence at The Bob Cole Conservatory of Music at California State University, Long Beach.

Producer John Atkinson has been editor in chief of Stereophile magazine since 1986. Formally educated in the sciences, with an honors degree in physics and chemistry and a postgraduate qualification in the teaching of high-school science, his passion was always for music. A musician (primarily on bass guitar, but also on recorder, clarinet, violin, and viola da gamba), a sound recordist, and an audiophile, Atkinson pursued all three areas simultaneously in the 1960s and ’70s, before finally settling down in magazine publishing in 1976, when he joined the UK’s Hi-Fi News & Record Review. He has produced, engineered, mastered or played instruments on more than 40 commercially released LPs and CDs since 1972.

Cooperstown was first performed at the National Baseball Hall of Fame’s Grandstand Theatre on May 19, 2007. Music Direction by Charles Schneider. Directed by Patrick Calleo.

Cooperstown is dedicated to the memory of Marvin Galbraith Barrett.

All text excerpts public domain, except excerpt from the essay “The Green Fields of the Mind” by A. Bartlett Giamatti, Algonquin Books of Chapel Hill, Publisher. Used by permission.

The painting “Fastball” by Josephine Coniglio (oil on canvas, 2003, 12 x 12 inches) is used by permission of the artist.

Daniel Montenegro (“Angel Corazon”)

Daniel Favela (“Marvin Wilder”)

Sean Wayland — Piano, Hammond C3 and Fender Rhodes

Carin Gilfry (“Jan Green”)

Rod Gilfry (“Dutch Schulhaus

Russ Johnson - Trumpets

Julie Adams (“Lilly Young”)

Bill Schnee, Sasha Matson, John Atkinson and Stephanie Vlahos Schnee Studio, Studio City

Jason Rigby - Saxophones

Rod Gilfry and Carin Gilfry

Gernot Bernroider - Drums

Rich Mollin - Bass

Disc One ACT I

1 Chart 1 2:18 2 First Inning (Dutch / Angel / Marvin) 7:40 3 Chart 2 1:14 4 Second Inning (Lilly / Jan / Angel / Marvin) 10:03 5 Chart 3 1:25 6 Third Inning (Jan / Dutch / Angel / Marvin) 8:38 7 Chart 4 1:25 8 Fourth Inning (Lilly / Jan / Angel) 12:08 9 Chart 5 1:19 10 Fifth Inning (Marvin / Jan) 7:41 T.T. 53:51

Disc Two ACT II 1 Chart 6 2:02 2 Sixth Inning (Dutch / Marvin / Angel) 7:54 3 Chart 7 0:37 4 Seventh Inning (Lilly / Jan / Marvin) 12:30 5 Chart 8 1:52 6 Eighth Inning (All) 11:07 7 Chart 9 1:23 8 Ninth Inning (All) 11:47 T.T. 49:12

SYNOPSIS

ACT I

Scene 1 (“First Inning”) - Metropolitan Stadium. Night game in progress.

There’s trouble on the field as young star pitcher ANGEL CORAZON repeatedly waves off catcher MARVIN WILDER’S signs. Marvin loses his temper, calls time out, and marches to the pitcher’s mound to confront Angel. DOUGLAS “DUTCH” SCHULHAUS, manager of the Bluebloods, trots to the mound to intervene. Tempers flare; Dutch butts chests with the UMPIRE (the on-stage Conductor) and is thrown out of the game.

Scene 2 (“Second Inning”) - “First Base” Sports Bar. Evening.

Sports agent JAN GREEN enters with a chic young woman, LILLY YOUNG. Jan is playing match-maker; they have come to meet Angel and Marvin. Marvin is intended to be Lilly’s blind date. Angel and Marvin arrive late. Marvin’s posturing fails to impress Lilly, and contrary to Jan and Marvin’s intentions, Angel and Lilly fall into an immediate and easy rapport. Angel invites her to attend his next game, and she eagerly accepts. Jan, disappointed in her hope of rekindling Angel’s ardor, ends the evening early.

Scene 3 (“Third Inning”) - Metropolitan Stadium. Workout.

In the bullpen, pitcher Angel warms up. Near him, Jan stands confidently. Jan and Dutch sing of Angel’s talents and bright future. In contrast is the catcher, Marvin. Jan shares with the audience a secret only she knows—Angel has a flawed heart, which if revealed, would render him unemployable. The ensemble issues a rousing call for the game to begin.

Scene 4 (“Fourth Inning”) - Metropolitan Stadium bullpen.

Lilly is waiting for Angel to complete afternoon practice. Jan urges Lilly to leave with her. They discuss the baseball life. Angel enters greeting both women fondly from below on the field. Jan leaves, meditating with some bitterness on her thwarted love life prior to exiting. The two lovers are now alone. Lilly expresses doubts. Together they sing a duet – his positive and macho, hers questioning and mixed. Angel implores Lilly to “come down to me, be by my side.”

Scene 5 (“Fifth Inning”) - “First Base.” Evening.

Jan, Angel’s agent, is drinking alone. Marvin enters and joins her. Does she want to win Angel? More than anything, she admits. Marvin challenges Jan—use your skills as an agent to win the thing you want most. Marvin outlines, in vague but sinister terms, a plan to sabotage the unlikely lovers. Jan hesitates—but then agrees. She exits. Marvin vows to exact his jealous vengeance upon the two lovers.

INTERMISSION

ACT II

Scene 6 (“Sixth Inning”) - Metropolitan Stadium. Night game in progress.

Dutch sets the scene at an important late-season game. Angel is sweaty and weary, laboring hard as he pitches. Angel calls time for a conference on the mound. He and Marvin argue again. Angel agrees to throw the pitches that Marvin calls. He does, and disaster ensues: the other team lights up the scoreboard as Angel’s magic deserts him and the game is lost. Marvin rejoices in the ease with which he can control the Fates. Alone on the field after the players have gone, Dutch vows to defend Angel from harm, and to protect the game of baseball.

Scene 7 (“Seventh Inning”) - “First Base Sports Bar”, evening.

Marvin sits alone at the bar, sipping a Martini. Jan arrives with Lilly in tow. Lilly looks around, asks where is Angel—she thought he would be there. Marvin tells her that Angel couldn’t come. Jan excuses herself. Marvin plies Lilly with drinks while planting seeds of doubt in her mind regarding Angel’s fidelity, his suitability as a mate. Marvin and Lilly dance. Lilly, tipsy, rests her head on Marvin’s shoulder as he guides slowly out the door.

Scene 8 (“Eighth Inning”) - Metropolitan Stadium bullpen, twilight.

Angel sits alone in the bullpen. Lilly appears at the rail above, stricken. Angel asks her why she didn’t answer when he called last night. Lilly leaves in tears. Dutch telephones from the dugout, telling Angel he is putting him into the game as a closer, and how much is riding on his performance. Lilly returns to the seats above. Marvin is adjusting his catcher’s gear in the bullpen as Jan enters, furiously confronting him. Jan rejects Marvin and everything he stands for, regretting her agreement to help him betray Lilly and Angel.

Scene 9 (“Ninth Inning”) - Metropolitan Stadium infield, night (game continues)

It is the bottom of the 9th in the Pennant Game. Things are not going well for Angel. Dutch calls time and walks to the mound, telling Angel that he has what it takes to win. Jan appears in the stands-concerned about Marvin’s scheming. Angel motions Marvin to the mound. Marvin states that the fact that Lilly is now in love with him—that Angel has lost her—should mean nothing. Marvin’s revelation stuns Angel. Lilly appears in the stands, unnoticed by Angel. He hurls his final pitch, and strikes the final batter out. Angel’s graceful follow-through becomes a slow collapse. A single light illumines the pitcher’s mound, where Angel has been brought to his knees by the strain on his flawed heart. Lilly arrives to cradle Angel in her arms, his Major League career finished. Dutch and Jan kneel beside them, and together they sing a final trio.

CURTAIN

Cast

Angel Corazon Daniel Montenegro Jan Green Carin Gilfry Dutch Schulhaus Rod Gilfry Marvin Wilder Daniel Favela Lilly Young Julie Adams

COOPERSTOWN

ACT I

OVERTURE

(“Chart 1”)

SCENE 1

(“First Inning”)

New York City’s Metropolitan Stadium. Night game in progress.

Pitcher ANGEL CORAZON, wearing a Bluebloods jacket emblazoned “CORAZON,” is on the mound.

Catcher MARVIN WILDER is behind the plate, where BATTER #1 readies himself. BATTER #2 takes practice swings in the on-deck circle.

Blueblood Manager DOUGLAS “DUTCH” SCHULHAUS stands before the dugout, his usual location when he is not center stage. He embodies the stern and resolute gravitas of a Major League veteran.

DUTCH Top of the first! The start of the game. (making signals to Marvin) Give him a rising fastball! Give him a rising fastball! Angel winds up and “throws” ... the Batter swings and misses. A two-seamer sinks like Titanic! His four-seamer fastball’s gigantic! Angel “throws” again ... the Batter watches as the ball “slams” into Marvin’s mitt. Backspin creates the Magnus Effect. Ball rises up—no way to connect! Angel nods—Marvin relayed Dutch’s command—and “throws” again. The Batter swings and misses, twisted into a pretzel.

MARVIN Time! Batter #1 slams his bat on the ground in anger and stalks back to his dugout. Batter #2 walks to the plate. BATTER #3 steps into the on-deck circle.

DUTCH Trouble in the battery! Kid’s waving him off. Wilder needs flattery, He’s got to be boss! Dutch signals “time” and marches grimly to the mound, beckoning Wilder to join him.

MARVIN (to Dutch) He’s off the reservation! Completely lost.

ANGEL I throw what I want! To hell with the cost!

DUTCH You can throw, But you don’t know The Book.

ANGEL I know plenty, I can deal with these jerks!

MARVIN Just what we need— More prima donnas at work!

DUTCH (to Angel) There’s one guy who knows, There’s one guy you owe, And that guy, Angel, Is me! (indicating Marvin) Do what he says! Sliders and curves, Tighten the screws, By degree. Dutch trudges to the Blueblood dugout. Marvin stalks back to the plate, where Batter #2 waits. Angel turns his back to the plate, composing himself.

DUTCH Now batting fourth— Leading the League, A fearsome monster,

Going for ten in a row.

Now comes the wind-up... Now comes the pitch... Now comes the switch... As in slow motion, Batter #2 swings and misses:

ANGEL MARVIN Control, power, and speed, This guy’s a ball chaser, All the tools that I need. With no place to hide. Upper pocket, inside! Low down corner, outside! Upper pocket, inside! Low down corner, outside! Marvin has to reach hard for Angel’s pitch, falling on the ball.

ALL (shouted) Stirrrr-RIKE! Angel throws again—and Batter #2 swings—the CRACK of a bat! Marvin throws off his mask and waits for a pop-up to fall into his mitt.

DUTCH Angel’s got the heat Never a hitch. The man of the hour To beat. (to Marvin) Changes and off-speed Stuff for this guy! I read the stats, And they never lie.

MARVIN Start thinking ahead To next Opening Day. I’m tired of playing For half Angel’s pay.

DUTCH How much is enough?

MARVIN Talk to my agent.

DUTCH That’s not my job

MARVIN I run this team—

DUTCH How much is enough?

MARVIN —From behind home plate.

DUTCH Try a little pitching, Instead of bitching All day and all night.

What ever happened To this Game, They played in the sun?

No rules, no shame, Dealers out to game the Game. What ever happened? Angel leans to stare at Marvin, waiting for signals. He shakes his head “no.” Another shake-off, and a third “no.” Marvin calls time and marches to the mound. Dutch trots out.

MARVIN (as they converge—their voices overlapping as tensions mount) I call for a curve, He shakes me a no! Waves off a screwball, Won’t throw it slow!

ANGEL You play by the book, You end up with the hook!

DUTCH You’re throwing a pattern! When they figure it out, They’ll light you right up Like the Fourth of July! Dutch confronts the Umpire—chin-to-chin!

DUTCH Hey ump! How ‘bout letting me manage Every once in a while?

The Umpire (the on-stage Conductor, a non-singing role) reacts and waves Dutch away. Dutch butts his chest against the Umpire.

DUTCH You clueless sawed off runt! Your little hat’s too tight! Go piss on the plate! It needs a light dustin’!

MARVIN You’re on your own now, kid!

ANGEL Watch and learn!

MARVIN I’m watchin’ (pause...) I’m waitin’ (pause...) When’s my lesson? Marvin gives Angel a chilly look, turns and walks to the plate. Batter #3 readies himself. Angel stares him down, then throws. The Batter throws himself to the ground to avoid being hit, dusts himself off and readies.

DUTCH The old brush-back— A little chin music. Looks like Corazon Wants to call the tune. Angel throws—and on-stage action freezes and holds at the end of his follow-through—

ALL (shouted) Strike!

(Blackout)

SCENE 2

(“Second Inning”)

“First Base” Sports Bar, Evening.

An upscale sports bar. A big-screen TV silently projects a Major League game.

To stage-left, The ONSTAGE BAND plays quiet jazz music.

Two stylish and attractive women enter.

Sports agent JAN GREEN, who represents Angel and Marvin, is perhaps ten years older than LILLY YOUNG, a Wall Streeter. They sit at the bar and signal the BARTENDER.

LILLY Where are the boys? Are we early?

JAN Don’t worry Lilly, You’re top of the order tonight.

LILLY Like moths to a flame, We dance at the window panes. Of glowing male egos.

JAN / LILLY Diamond princes we will wed, A Major League wedding bed. Sit with the player’s wives, And tell each other stories.

LILLY Happy ones.

JAN Sad ones.

LILLY About being bored.

JAN Being ignored.

JAN / LILLY Because there’s a game on.

JAN Can you imagine? Imagine? The BARTENDER silently delivers two Martinis.

JAN (raises her glass to toast with Lilly) Now playing for the women: Jan the Super Agent!

LILLY And her good friend, Lilly the Uptown Girl! ANGEL and MARVIN enter from the far side. The band members wave and nod in affectionate greeting and launch into a Caribbean pop tune. Angel acknowledges the music—all confidence and youthful cockiness—and dances to it as he crosses the room.

MARVIN What kind of music Are they playing? Are they drunk?

ANGEL They know where I’m coming from.

MARVIN There’s Jan With my blind date. It’s good to be a little late— Make them wait.

ANGEL You’re always playing a game! Marvin embraces Jan and tries to kiss her on the lips. She turns a cheek to his lips.

MARVIN My beautiful Svengali— You bring me a gift?

JAN (slipping from his embrace) Lilly, this is Marvin Wilder, Smartest catcher in The Show. And the star of my roster, Angel Corazon!

The Bartender sets up four Martini glasses and quickly fills them from a shaker.

MARVIN (aside to Bartender) A year ago I topped that list…. Marvin presents Martinis to Lilly and Jan.

LILLY What’s this?

MARVIN A performance-enhancing substance.

JAN (clinks her glass against Marvin’s) Cheers, lover! Angel touches his glass to Lily’s

ANGEL I am most pleased To make your acquaintance.

LILLY (to Marvin, trying to be polite) Jan’s told me so Much about you.

ANGEL She’s my agent, remember? (to Jan) Are you working on commission tonight?

ANGEL Do you like baseball? Marvin cuts in to wrest back Lilly’s attention:

MARVIN You’re an Upper East Sider I can tell by looking.

LILLY Do you think I’m predictable?

JAN (to Lilly) The Bluebloods’ scout.

Brought Angel to me, Signed, sealed, delivered.

MARVIN Watch out—watch out ladies! He’s hot-hot-hot-blooded, He’s Caribbean!

LILLY I thought you were his friend.

MARVIN Oh, I am— To the bitter end!

LILLY (to Angel) Jan tells me you’re new, From the Dominican Republic.

ANGEL I was raised in San Cristóbal On the wrong side of the tracks Except there weren’t any By the seaside.

LILLY I was raised on the Upper East Side. Boarded in prep schools Where I learned how to ride And how to look cool.

LILLY ANGEL When I was a young girl When I was a small boy We cruised to Santo Domingo. We went down to the docks My father drank in the bar The ships came, lights all ablaze While my mother played bingo. Filled with beautiful people

Over the rail in the harbor We looked up at them in wonder I pitched the boys pennies. Called out for pennies I was told by the purser, Without any shame, They didn’t have many. I’d do the same again.

LILLY Did you catch any?

ANGEL Some days were

Better than others...

LILLY I’m sorry I didn’t Throw more to you.

ANGEL I can still hear The songs they used to sing In the old cafés. On the water. Angel walks to the band, stuffs a bill into their tip jar, and says something to them. The band members launch into a “pre-war Cuban love song.“

ANGEL (in Spanish / supertitles) Al lado de la fuente, By the fountain so cool, Abajo la sombra de arboles’ Neath the shade of the trees Al lado del lago tan azúl, By the lake so blue, Se encontraba una linda dancella. Sat the fairest maid.

Con ojos abajo de su mantilla, Through her lace-covered hair, Miró al desfile que pasaba She gazed at the parade Y miró el joven tan guapo, And the young man so bold, Con corazón que cantaba a ella. Whose heart called for hers.

“Sientate aquí con migo,” “Pray sit with me here,” Le contestó al joven. To the young man she answered. “Dame el toco de tu mano “Give me the touch of your hand Y dame el perfume de tu cabello.” And the scent of your hair.”

“Tengo que ingresar en el desfile, “I must join the parade, Al cual estoy prometido,” For which I am promised,” Y con eso se fue And away he strode En el Día de los Muertos. On the Day of the Dead.

Ella lo espera siempre allí, She waits for him there, Abajo de la sombra de los arboles, ‘Neath the shade of the trees, Al lado del lago tan azúl By the lake so blue Con su mantilla tan claro. With her lace so pale. Angel and Lilly gaze at each other for a long moment—a magical moment.

JAN I wonder which maid He has on his Made-up mind?

ANGEL (to Lilly) You’ve broken many hearts, Would you like to break mine?

LILLY That must be one Of your very best lines.

ANGEL Come see me play!

LILLY Name the day. She opens her purse, takes out a card and gives it to Angel.

MARVIN (to all, grouchily) Is it time to eat?

JAN (takes Lilly’s arm) It’s getting late.

MARVIN Change of plans. Change of plans!

ANGEL (to Lilly and Jan) Do you have to leave so soon?

LILLY (as Jan pulls her away, toward the exit) Goodbye, Marvin— Nice to meet you.

Good night … Angel. They pause at the door to look back at Angel and Marvin at the bar.

LILLY JAN He’s gorgeous— He’s gorgeous— Oh Jan, what a find! Oh innocent friend of mine! Lilly and Jan exit.

ANGEL / MARVIN She’s beautiful!

ANGEL Elegant, schooled, and kind.

MARVIN Expensive, spoiled, and blind. Marvin snaps his fingers to get the Bartender’s attention, and points to their two empty Martini glasses.

(Blackout)

SCENE 3

(“Third Inning”)

Afternoon Workout, Metropolitan Stadium.

ANGEL stretches in the bullpen (stage left).

At stage right, MARVIN straps on his armor, preparing for battle, with a cold stare at Angel. JAN looks down over the bullpen rail, confident and at ease in the world of men.

DUTCH” walks onto center stage between Angel and Marvin. Dutch gives Marvin a perfunctory nod, places a hand on Angel’s shoulder, and confers privately with the rookie.

Marvin, standing off to the side, watches them, resentfully punching a fist into his mitt.

Dutch steps away from Angel, reviews the line-up sheet on his clipboard, then notices Jan.

DUTCH Hey, Jan—is it Contract time again already?

JAN Relax, Schulhaus— I like to watch my men work out.

ANGEL I play for the poor man, The lunch bucket fan. For the people who struggle for bread.

The cabbies and shoeblacks, the public school teachers Stuck up in the bleachers. Up there in the cheap seats!

I can hear their heartbeats! It’s for them that I throw— ‘Cause the rich don’t need any heroes...1

MARVIN (to Dutch) I’d like to be the one Who makes the news every night.

1 Leon Lamar Wagner (May 13, 1934 – January 3, 2004) was an American left fielder in Major League Baseball, affectionately known as "Daddy Wags" during his playing days, which ended in 1969 with the San Francisco Giants.

Max out the speed gun, See my name up in lights.

Lead the League In strikeouts pitching— Even that wouldn’t stop Dutch from bitching.

DUTCH Why, any manager would Want a guy like that.

Only trouble is, To get him to put down his beer.

Come down from the stands And do these things, here. 2

JAN Fans tell their wives and lovers They played this game so well. That if they’d kept on playing They might have cast a spell.

Millions would adore them As they rode in parades. Rode in parades.

ANGEL / DUTCH Every game is an affirmation Of all we believe. Honesty and hard work, Fair play by the rules. The kind of things these days, They don’t learn in school.

MARVIN There’s the game in their heads, There’s the game that we play. They cheer for the Mets, The Mets want their pay.

2 Daniel “Danny” Edward Murtaugh (October 8, 1917 – December 2, 1976) was an American second baseman, manager, front-office executive and coach in Major League Baseball best known for his 29-year association with the Pittsburgh Pirates as a player and manager.

They read about the Yankees— They get out their hankies. The Cubs are so nice— Not one has his vice. “It’s not if you win, It’s how you play the game!” Have you ever heard anything so lame? (indicating Angel) For him it comes easy, For me it comes hard. My stomach is queasy When I play in this yard. When I play in this yard.

DUTCH (indicating Marvin) Ten years catching in the Minors, His old man a drunk. Gave his mom shiners When he fell in a funk.

MARVIN Wife left me for a guy Who sold Buicks. The divorce came through In just under two weeks. —We had nothing to divide.

Angel gets called up to The Show. At twenty years old, What does he know? What do they see in him, They don’t see in me?

ANGEL No time to ponder or to doubt. Don’t need the priest or the shrink. When the crowd proclaims you royalty, Who cares what the critics think?

My arm commands respect, It will not be denied. I demand obedience, loyalty— King until I die!

JAN Angel could be my perfect prize.

Only I know his secret: A flawed heart could fail At the slightest heartache. Angel’s heart could break, At the slightest ache.

ANGEL My future’s ahead of me.

MARVIN Where the hell else would it be?

JAN The future ends at thirty-three.

ANGEL I’d play this game for free!

MARVIN You’re paid nine-million-three—

ANGEL I don’t play for pay—

MARVIN That’s what they all say—

ANGEL I’ll build a convent! I’ll build a school! I’ll play baseball forever!

MARVIN This kid is not too clever.

ANGEL I’ll build a university!

JAN That’ll get you great publicity.

ANGEL I will Marv—I will!

MARVIN O.K. with me— You’re paying the bill.

DUTCH A hot dog at the park Beats a rib-eye at Lugar’s!

MARVIN People who say that Don’t know Bud from Beluga!

DUTCH With Angel, we’ll take the pennant!

MARVIN You’re the reason we never win it!

ANGEL Este es nuestro año!

ANGEL / DUTCH This is our year!

DUTCH That’s what I want to hear! Let’s play ball!

DUTCH / MARVIN Let’s play ball!

DUTCH /MARVIN/ANGEL Let’s play ball!

ALL Let’s play ball! Play... ball!

(Blackout)

SCENE 4

(“Fourth Inning”)

Metropolitan Stadium. Afternoon, end of a practice.

Lilly sits alone in the front row of the bleachers, between the dugout and home plate.

LILLY Not only boys Love the smell of new-mown grass, And an open field. Where they can play.

Spring-filled newborn life. With different names Than Wall Street Or Third Avenue.

Not only men Travel through the world, Slide into the plate To dodge the tag.

This man I’ve met Can take me there, To a land beyond Red, white, and blue. Jan enters and joins Lilly.

JAN There you are, Ready for your balcony scene.

LILLY See how well they move, How graceful they seem.

JAN Look closer! They’re men of sweat and stubble, Who live for the double-play. Head Uptown tonight with me, We’ll find someone worth all the trouble.

LILLY Look at Angel running!

JAN Look at yourself slumming!

LILLY / JAN Think of our lives, Lived somewhere else. To find a world, That doesn’t ring false.

JAN Your heart will break on the first road trip. The truth will hurt when he lets it slip, That you are living the player’s life. And the part you play, is player’s wife! Angel steps onto the field, dressed casually. He sings to himself.

ANGEL A golden field at twilight, Sweet fragrance of grass, Purple promise of night. Summer’s fulfillment of springtime. He sees Jan and Lilly in the bleachers. Two beautiful women, Come to watch me play. May I have your autographs?

JAN We’re going out later; Thought we’d say hello.

ANGEL We’ve almost finished— A few more routines.

LILLY It is rather warm up here.

JAN It’s hot, And getting hotter!

ANGEL I’ll take you both dancing, Any place you’d like to go!

JAN I’m a free agent, Corazon, —not your draft-pick. Farewell you two. The night belongs to the young, And foolish. Jan walks to the exit stage left, pauses and looks at the two lovers, now gazing at each other.

JAN Look at her! The light in her eyes. That flame was mine Not so long ago...

Look at them! Listen to their laughter. She’s found happiness For keeps, for ever after! Jan exits.

ANGEL I was hoping I might find you here today.

LILLY I find it hard to stay away.

ANGEL You love the game?

LILLY I’m more interested in the players, Than in keeping score.

ANGEL What would you like to know?

LILLY To know where my wandering heart is, And what it’s searching for.

ANGEL It lives in a world, High and luxurious. Where the sounds and colors Are soft and mysterious. Looking down from Skyboxes far above.

LILLY I’m not above you, Angel Corazon. Angel gently takes her in his arms. They gaze at one another. He gently strokes Lilly’s hair.

ANGEL You want something beyond The life you’re living now. What is that thing you want? The thing you do not have?

LILLY I have all I need!

ANGEL I don’t believe it.

LILLY That is the truth As I see it.

ANGEL To see the truth Is not to lie.

LILLY Don’t you believe me?

ANGEL Not to lie. Lilly, I have won, All there is to win. You I cannot win, For love is not a game.

I will take you To the simple places. The true places, Beyond all others You have known.

And you in turn, Will give to me A life, a love, A home.

LILLY Where is that world, Beyond all time and care?

ANGEL Wherever life leads.

LILLY / ANGEL Here—and everywhere!

ANGEL LILLY I wish I did not feel This cannot work, So many worlds apart. Brave Angel Heart.

Every thing is new, I’ve forgotten what I knew, Right here, right now, What I meant to say From the start. From the start.

ANGEL (gestures to the baseball diamond) Lilly, take this diamond, For your finger. Embedded in emerald, Green as your eye.

Come down to me. Come down to me! Take the field with me, Play by my side! Lilly hesitates, then descends the steps to the field Angel offers his hand. She takes it. They gaze at one another—then come together in a passionate first-kiss embrace. During the scene the stage lights have been slowly dimming, accelerating in ‘stage-time’ an implied sunset, so that by the conclusion of the scene the two lovers stand together in a soft post- sunset glow.

LILLY Give me the touch of your hand!

LILLY / ANGEL And the scent of your hair!

(Blackout)

SCENE 5

(“Fifth Inning”)

From Metropolitan Stadium to the “First Base”.

Jan is drinking alone. Marvin enters, sees her and stops. She does not see him.

MARVIN (indicating Jan) Alone with a glass, Striking a pose. In a thicket of barstools, Blooms the thorniest rose. Jan and Marvin lock gazes. He saunters to her with the knowing swagger of a former lover.

JAN Men in macho guise, Stride across this land, Think it is their right, To command any prize.

Today’s Team Captain is Tomorrow’s Board Director. Fabulous dreamers, Fantastical suitors.

Their ambitions intertwine with mine, And for that, they send a case of wine.

MARVIN (to Bartender) A double Martini— For the Super Agent, (to Jan) Evening, my weary Fading beauty.

JAN Be polite; Treat me nice.

MARVIN Don’t play the fool. You’ve been working overtime. I’m not your tool! You’re smart as a cat.

Lilly’s stuck on Angel Like pine tar on a bat.

JAN That was not my invention. This Angel needs a guardian. I could be good for him!

MARVIN ‘Mr. Plaster-Saint-Baseball-Today’?

JAN I believe in Corazon! He’s not like all the rest— Hearts of stone beating ice-cold Blood through their Bluebloods chest. (next two lines sung ‘sotto voce’) A fragile heart easily broken— A secret I’ve never spoken.

MARVIN You want to win Your cardboard Angel?

JAN I will not lose My final chance. What chance for love Is left to me?

I will not leave My perfect love, Benched and sidelined, Carried off the field.

Pleasure time is Measured time, Part of the package, From deal to deal.

Yards are gained, Years are lost. A yellow flag’s Upon the play.

Run ‘round the base,

Like a crazy clock. With no arms—with no arms For me to hold.

Hey bartender, Hit me once again. Roll your laughing dice. Last call for love. Last call for love.

MARVIN Don’t play fair!

JAN What kind of scheme?

MARVIN Work your magic, Weave your user’s dream. I’ll get what I want, And we’ll all live...

JAN Lilly?

MARVIN What do they have in common?

JAN Youth, beauty, trusting hearts.

MARVIN Together they’re less Than the sum of their parts!

JAN You want me to...

MARVIN Put the ball in play. Bring Lilly to the “First Base.” I’ll do the rest.

JAN Angel loves Lilly.

MARVIN He often acts rashly.

JAN When he’s shamed.

MARVIN When he’s blamed.

JAN For what? A lie? Marvin answers by opening his arms, presenting himself as the Betrayer.

MARVIN If he thought she’d betrayed him—

JAN We’ve all taken our pleasure Where and when we’ve found it. The end will justify the means. Draw the curtain, no one will see.

MARVIN I’m not speaking of truth, I play to win.

MARVIN / JAN We know what we want, So let it begin.

MARVIN ‘Capice?

JAN Yes, and then?

MARVIN One game at a time.

JAN I’ve had enough to drink, And quite enough of you. Give my love to Dutch. Jan exits.

MARVIN Keep in touch! (meditating to himself) People are so easy,

They know not what they do. An Angel sent from nowhere, His winning streak is through. He lifts his Martini glass in the air to toast himself. It will be cold and clear as this, Served straight up, with a twist.

(Blackout)

ACT II

Scene 6

(“Sixth Inning”)

From the First Base to Metropolitan Stadium. Night game in progress.

Dutch leans on the dugout rail—his spot whenever he’s not center stage—and observes the action.

DUTCH In spring I called them “My Perfect Pair” —The Bluebloods’ ticket to the Series. Now in autumn There’s a chill in the air From these two and their furies. The Batter tosses his bat and trots to first.

DUTCH Eighty-nine miles an hour, Angel’s beginning to tire. Missing his phenomenal power, Lost his crowd-pleasing fire.

Throwing low when he should throw high, Slow when the call’s for fast. He delivers what Wilder signs, Or this rookie’s not going to last.

In September the heat turned cold. An unsuited pair, About to fold. Angel signals for a time out and motions Marvin to the mound.

MARVIN What’s the problem? Send ‘em packin’!

ANGEL I throw what you call, And look what happens!

MARVIN Fastball’s got to smoke, Curve’s got to choke ‘em.

ANGEL I put it where you want, They hit it hard. It’s over the wall And out of the yard!

MARVIN Show me heat—no hesitation, Out on the mound, no reservations.

ANGEL I’ll throw the pitches I want to throw. Whatever you tell me, I can always say “No!”

MARVIN I’ve caught Hall of Famers. You’re a pretty-boy flamer. You don’t know the score, On the field… (spoken ‘sotto voce’) …Or in bed. Angel reacts. Marvin flips the ball to Angel, shoots him a hard look, then walks back to the plate. Angel watches him walk away, stunned by Marvin’s hostility. The game continues.

DUTCH Once it was a game of camaraderie. Now they live for fame and celebrity. Angel peers at Marvin who signals. Angel shakes his head “No”—again, and again. He throws—the “Batter” swings—

DUTCH (spoken) A hit! Going... going... Gone! (walking to the mound to join Marvin and Angel) What the hell was that? I haven’t seen ball that bad Since I managed in Florida!

MARVIN (to Dutch) I call low and inside, He throws high and wide!

ANGEL I don’t need your calls!

DUTCH (to Angel) I didn’t come out here Just to pat you on the ass.

ANGEL You want my power. My gift from the gods! I’m the golden calf you need, To beat the odds.

DUTCH Loneliness goes with the turf, On the mound, or alone on the bench. Take it in stride. Turn off the pride. There’s another game—tomorrow. Dutch pats Angel on the back—removing him from the game.

MARVIN The gold is in the averages. It’s the weak ones The game savages. Angel trudges toward the dugout. Marvin lifts his arms in a shrug of feigned innocence.

MARVIN I do my best, Angel has to do the rest.

DUTCH Don’t give me that baloney, Wilder! What’s going on with you two? Envy? Jealousy? I’m watching you, And I don’t like what I see! Marvin shakes his head contemptuously and strides from the mound. Halfway to the dugout he stops and turns to the audience.

MARVIN How sweet it is— I signal from the plate. Angel trusts me, And I control his fate.

The lights narrow to illuminate only Dutch, alone on the mound.

DUTCH We live in a meadow of green, Filled with lives of men unseen, The men upon the walls In the Hall of Fame.

By the strength of my right arm, I will defend from any harm, The men who love the game They were born to play.

Full moon over second base, A hanging pitch in space, Bring me a touch of grace, From Cooperstown. From Cooperstown!

(Blackout)

SCENE 7

(“Seventh Inning”)

“First Base” Sports Bar. Evening.

Marvin, Lilly and Jan enter simultaneously—Marvin stage right, Lilly and Jan stage left. They converge at the bar. Marvin is more fashionably dressed and groomed than previously. Jan reacts—looks him up and down with a lascivious smirk of exaggerated surprise.

Marvin reacts by slowly turning around, displaying himself as a matador shows off his suit of lights to the crowd, to elicit applause. He signals the BARMAN who sets up three Martini glasses and begins the mixing ritual…

Throughout the scene, until Jan’s exit, Marvin positions himself strategically between the two women.

LILLY I’ll just check my messages.

JAN Don’t make that call! Why tie strings to a star? You’re left with heat Grown cold and blurred.

MARVIN So poetic—I’m sympathetic As his post-season numbers go south. Your Dominican Tourist, once so athletic, Back to the mano to mouth

—Back to the Island— —Hola, mis amigos! Back in the ‘hood! Marvin steps away to where the Bartender waits, leaving Jan and Lilly briefly alone.

JAN Stylish dresser...

LILLY The dimmer the light, the better.

JAN Ruggedly handsome, don’t you think?

LILLY So they say—he gets a lot of ink.

JAN He’s got style and savoir faire.

LILLY Marvin broke your heart.

JAN He merely took the dare. Marvin returns, takes his place between them.

LILLY I thought Angel would be here.

JAN The Angel I know Makes up rules as he goes.

MARVIN Rich, young and handsome— At the top of his game! Let him enjoy His fifteen minutes of fame.

LILLY What are you implying?

MARVIN Be careful what you wish for.

LILLY Just friends! That is where it ends!

MARVIN (to Jan) Why protect him? Why not tell her? Angel disappointed you as well! Jan stands and walks toward the Band.

JAN (spoken) Open up a ballplayer’s head And you know what you’d find?

A lot of little broads And a jazz band. She grabs a mike from a stand and sings in the manner of a ‘Berlin Ballad’ introduction:

JAN For the love of a Single-A boy I gave up the joy Of singing in small Upstate churches.

Schubert and hymns Gave way to the whims Of dreams losing their purchase. Jan now sings in full ‘Ballad’ style: Romance is frail, A kind of jail Made of illusions and rapture.

Through gin and tears, I sing of the year When I loved an Angel. Jan continues to sing wordless ‘vocalise’ as Lilly and Marvin dance.

LILLY I’m sure he’s very happy With his new-found fame Dazzling some low-rent dame.

MARVIN I’m your consolation prize.

LILLY (with bitter humor) You see the question marks in my eyes? He twirls her—she’s performing for a moment—then spins back into his embrace.

MARVIN Corazon is still a kid Who sees his face On baseball cards Clutched to his chest Like brightly colored toys— You complete the collection.

LILLY The swinging single life

You men all flaunt— Where’s the truth in that?

MARVIN Whistling in the dark, We search for life, for love— We seek, we need, and want it!

LILLY You do?

MARVIN I do!

LILLY/JAN I am weary of men Who only live for winning. I remember what I knew, At the start, at the beginning.

MARVIN My gaming ends With the ninth inning. Jan ends her singing interlude—kisses one of the musicians—rejoins Marvin and Lilly.

JAN Still no Angel, I see? That’s old business to me. (quickly checks her cell phone, then flips it closed) Another client, Young and compliant, Waits for me Uptown. This one won’t let me down! Jan gives Lilly a quick air-kiss on both cheeks, the same to Marvin, and breezes off-stage with a wave back to them. A moment of silence follows as Marvin walks to the end of the bar, and speaks ‘sotto voce’ to the Barman. As Marvin waits for drinks he sings to the audience, implying that Lilly does not hear. Lilly sits alone at the other end of the bar, lost in thought.

MARVIN Trust, freely given, Is the coin of the lover’s realm. Steal it away And hearts will break.

Forgiveness, if it comes at all, Is always a little late— —In the give and take.

When push comes to shove, I never make mistakes. Dreams that lovers dream, Are easy to placate.

Like reporters, You can buy ‘em with a steak! —In the give and take. (Instrumental Solo Verse) Love is the loser’s game, The stats are bent and fake. Lovers place their foolish bets, Hoping to beat the Fates.

Cupid is nodding off, But I am wide awake— —In the give and take. Marvin receives two Martinis from the Bartender and carries them back to Lilly. One is bright green and illuminated from within—an ‘Appletini’ cocktail. Marvin offers it to Lilly as the lights dim around them.

MARVIN Ever try an Appletini?

LILLY Am I allowed?

MARVIN (holds up his Martini in toast) To romance—

LILLY (holds up her glass and touches his) To happiness—

MARVIN And doing a little business. They each take a sip. Lilly places her glass on the bar.

LILLY You’re here with your Beefeater dry— Why not out with the guys?

MARVIN Why do you ask?

LILLY Your face is a mask— If not for Jan, Then for whom?

MARVIN Who else is in the room?

LILLY You came hoping?

MARVIN —Angel would not! That summarizes the plot.

LILLY Odds favor its success; My little fling seems a mess. The Bartender sets up two more Martinis, then moves to the end of the bar. He remains, as if waiting to close, in the half-shadow. Lilly downs her previous Martini. Marvin places a fresh one before her.

LILLY That’s my limit. (throws her head back and shakes it, as if trying to clear her mind) I think I’m getting tight.

MARVIN I know a place we could go—

LILLY —I should say good-night.

MARVIN —It’s on your way home.

LILLY (tipsy) Are you hustling me, Mister All-Star Catcher in the Rye?

MARVIN Call it ‘courting’ please— A charge I won’t deny.

LILLY Then court me as you may For just this one night. My heart is in two places, Too weary to fight. Lilly rests her head on Marvin’s shoulder. He drapes his coat around her and guides her toward the door.

LILLY I can feel A touch of fall. Fingers of frost cover The tumbling leaves.

We reap what we sow, Drink the bitter with the sweet. Harvest as best we can— The bold, the brave, the meek.

MARVIN October is the cruelest month.

(Blackout)

SCENE 8

(“Eighth Inning”)

Metropolitan Stadium bullpen, twilight.

Dutch leans on the dugout rail by the bullpen phone, flipping through pages on a clipboard, preparing for the Pennant Game about to start. Angel slumps on the bench, the picture of despair.

DUTCH One hundred-sixty games done. One more victory, The Pennant’s won.

Bottom of the eighth, Blues lead by a run. Three outs away from Our Series in the sun.

Nine strikes—it’s over! I’ve got to have a closer

Nine strikes—it’s over! I’ve got to have a closer! Dutch exits. Lilly appears at the rail above Angel, looking distraught. Angel sees her—they gaze at one another, silent for a long while.

ANGEL I called, you didn’t answer. I called later, still, no answer.

LILLY What can I tell you?

ANGEL The truth. The truth!

LILLY We’re in love— That’s the truth.

ANGEL At half-past three— “Away from the phone

Or on another line,” —All night long?

LILLY You stood me up!

ANGEL No one tells a Corazon What to do! A man must have A woman he can trust.

LILLY You did.

ANGEL “Una mujer que le trae (‘A woman who brings Paz a su corazon.” Peace to his heart.’)

LILLY I could.

ANGEL How can you prove that, now?

LILLY You’ll have to take it On faith.

ANGEL Who are you To talk of faith? Go back to your world Of white-gloved doormen!

LILLY Parquet floors are better than dirt! Loving you is a world of hurt. My life depends on love, Yours ends with the ball and glove.

Within these walls, Greenness is all— Outside all is gray. Where the faithless deceive—and betray.

ANGEL LILLY Go back to your world, Why can’t you hear me?

So near, yet so far away! Please don’t send me away. You need to leave now— Don’t ever let me— Go! Go! Go back to your world, Please don’t send me away. Go back to your world I need you to hear So near, yet so far from here! Don’t ever let me— You need to leave— Don’t ever let me— Go! Go! Lilly rushes away in tears.

ANGEL For years, kept to myself, My secret—mi corazon. I always play each game, Like it was my last.

Love weighs on my chest, I’m pitching on two days rest, We’re in the Pennant now, Not at the beginning.

“No pain, no gain.” For lovers that is true. Set love aside— Now is the time for winning. The bullpen phone rings.

DUTCH Angel! Time to plow the field! Angel! Time to plow the field!

ANGEL No pain, no gain!

DUTCH Light ‘em up Shut ‘em down and wrap The Show!

ANGEL No pain, no gain!

DUTCH Nine strikes it’s over— I’ve got to have a closer!

ANGEL Now is the time! Now is the time for winning!

DUTCH Nine strikes it’s over— I’ve got to have a closer! Angel picks up his glove and walks to the mound (exits). Lilly appears in the stands.

LILLY Never in my life, Have I lost my way. Lost what I held close, And found my heart astray.

Never in my life, Have I seen the stars so clear. Love is a nebula spinning Around an invisible core.

Angel, I can still feel The touch of your hand. Press my ear to your chest, To hear its beating sound. Lilly exits. Dutch confronts Marvin.

DUTCH Why have you got such A problem with him, Wilder?

MARVIN He rankles me.

DUTCH Everybody rankles you.

MARVIN No one is that good at ball, No one is that good in bed, It’s messed with his head!

DUTCH Only a few days to go— Play it cool, and play it straight. I want you thinking at the plate.

MARVIN I’ll try to behave.

DUTCH You’re gonna send me To an early grave! Dutch exits. Marvin stalks around in exasperation.

MARVIN I was not raised, Between Lexington and Park. I do not hail from a Colorful cruise destination.

In my shotgun world They slave all their lives To honor their Small obligations.

They’re fools—suckers! Set up—knocked down! Laid out—wrapped up! The grave their final vacation! Jan enters the dugout area, furiously confronting Marvin.

JAN This dugout’s a snake pit! You’re the cause of it! What the hell was I thinking?

Twice burned, You would think I would learn— I’ve got to cut out the drinking!

What could I have gained, That would counter the pain Jealous desires inflicted?

When love is a vice Not worth the price Only pain is predicted! Marvin flips his mask down, crouches down in a ‘catcher’s stance,’ facing the audience. Behind your catcher’s mask On a rock you bask, Curled reptilian evil!

I know you, Marvin— I know what—and who— You are!

(Blackout)

SCENE 9

(“Ninth Inning”)

Metropolitan Stadium - the afternoon continues. Angel stands on the mound, holding a baseball. Marvin squats at the plate. Dutch leans on the dugout rail.

ANGEL What can we believe in? Why should we forgive? Who plays the fool, When we hope against all odds? He throws. The sound of a hit—cheers—Angel slumps—receives a new ball. At home we trust The rain will come, Fish will bite, Tourists will throw us their silver.

The rains came, Dollars pouring down on me. Doors opened, Crowded with smiling faces, Beautiful and false. Angel bends to see Marvin’s signs. He shakes the first sign off—“No!” Shakes off the second—shakes off the third! Checks first, then throws. The CRACK of a bat—another roar from the crowd!—Angel reacts—upset with himself. Catches a ball from the plate and then turns toward the audience. Top of the ninth, Two on, no outs— Tying run on second. Two on, no outs. My stuff’s not working!

DUTCH (shouts first sign-word—then sings) Cross! Break off the mound! Angel makes no reaction—his attention has wandered. Lilly appears in the stands. Circus! In close for the bunt!

LILLY Why me? Why must I love this man?

ANGEL My heart is bleeding Into my game. I’ve been a fool!

LILLY / ANGEL Who’s behind? Who’s ahead?

LILLY Is life nothing but a game Played for pleasure—

LILLY / ANGEL —Played for profit? Games! Games! Games!

DUTCH (shouted) Time out! Dutch beckons Marvin—they trot to the mound for a conference.

DUTCH You boys want to fill me in? Why the shaking off?

MARVIN Save yourself another trip, Yank him now!

DUTCH (gesturing to Angel, then to Marvin) He stays— You shut up! Show me some baseball. Dutch stalks back to the dugout.

MARVIN (to Angel) You haven’t got what it takes.

ANGEL We’ll see about that! Marvin flips Angel the ball – Angel bobbles and drops it. Marvin walks back to the plate. Jan enters the stands and joins Lilly.

JAN What’s the score?

LILLY You and Marvin are ahead.

JAN I never intended—

LILLY (interrupting) —Games! It’s all a game to you. Where was Angel last night?

JAN I never meant—

DUTCH Let’s go Bluebloods—let’s go!

DUTCH / ANGEL Let’s go Bluebloods—let’s go!

DUTCH / ANGEL / JAN Let’s go Bluebloods—let’s go!

ALL Let’s go Bluebloods—let’s go! Angel peers at the plate... shakes off Marvin’s sign, then throws… The CRACK of the bat! Angel rubs up a new ball, checks Marvin’s signal—shakes it off once, twice, three times! He calls “time out” and waves Marvin to the mound. Marvin trots out to the hill.

DUET (Sung to Angel)

JAN LILLY Double play! Send me away— Score it six-five-four! Treat me like a whore!

Keep it going, Angel Treat me like a fool, Just one more! Just once more!

DUET (Sung to each other)

ANGEL MARVIN He’s a power hitter— He’s a right-hander. Sucker for a slider. He knows you’ll throw outside. Why call for A low inside? I called for a splitter.

QUINTET (ALL)

DUTCH On with the show! You’re not paid To stand around— Let’s see some pitching— Let’s see some catching!

LILLY Angel lives for the game, More than he lives his life! Why must I lose, For Angel to win?

JAN Marvin is stalling— Crazy, power hungry— Everyone must lose— So Wilder can win!

DUTCH Let’s go Bluebloods—let’s go! Let’s go Bluebloods—let’s go!

MARVIN When I call a deuce 3 How ‘bout you produce A curve ball, Instead of excuses?

ANGEL If you keep the ball From hitting the backstop,

3 Deuce. A curveball, because it is usually signaled for by the catcher by showing the pitcher two fingers.

You’ve done all I need you to do!

DUTCH Let’s go Bluebloods—let’s go! Let’s go Bluebloods—let’s go!

MARVIN Everyone ready?

ANGEL Do it now!

LILLY Only a game, Only a game— It’s only a game! Lilly exits

MARVIN We live for this!

MARVIN / ANGEL We live for this!

DUTCH Let’s play ball!

DUTCH / MARVIN Let’s play ball!

DUTCH / MARVIN / ANGEL Let’s play ball! (Quintet ends)

JAN (SPOKEN) No!—Marvin wouldn’t dare! Jan quickly exits – implying she is on her way down to the dugout.

DUTCH I’m sending that Sonofabitch catcher down!

MARVIN (to himself, as he walks to the mound) Time to serve it up— This knuckleball can’t miss.

Marvin raises the baseball to the light. The catcher becomes the pitcher— Straight up with a twist!

ANGEL On this hill I am alone. My stats and life are my own. No one else matters!

MARVIN Then you won’t mind I was with the woman— —The woman you treasured, The trophy you pleasured!

ANGEL It was you last night! It was you! Angel begins to rub his chest, as if reacting to pain. His hand intermittently returns to his chest throughout the remainder of this scene.

ANGEL (rubs his chest as if in response to pain) Lilly? It can’t be true!

MARVIN (spoken) Welcome to The Show! Marvin strides back to the plate. He sets up to receive Angel’s pitch.

ANGEL (looks up at the glowing evening sky) A golden autumn eve, Sun racing past A sky so blue.

We yearned for love, Yet life is cruel. It plays us all for fools.

I climbed this hill of sand, This summit of perfection. The price is Lilly’s love, A price I cannot pay.

What prize matters most? Peace of mind, A love for life? Or a place among the ghosts Of Cooperstown?

LILLY ANGEL Never in my life What prize matters most? Have I seen the stars so clear. Peace of mind, Love is a nebula, A love for life? Spinning around an invisible core. Or a place among the ghosts Give me the touch of your hand— Of Cooperstown? And the scent of your hair! Angel hurls his final pitch. In slow motion the ball flies to the plate and the fearsome batter swings—and misses. Angel’s graceful follow-through becomes a slow collapse—he sinks to his knees… The Bluebloods win the Pennant!

ANGEL (hands on his chest) Lilly! Mi corazon! In the seconds before they react to Angel, Dutch jumps for joy, while Marvin merely removes his mask and glove as if it were just another win. He stands and stares—watches what follows from the shadows. A single light illumines the pitcher’s mound, where Angel is on his knees, clutching his chest in pain. Lilly runs onto the field and cradles Angel in her arms. She is joined by Dutch and Jan.

DUTCH It breaks your heart. It is designed to break your heart.

The game begins in spring, When everything begins again.

Filling afternoons and evenings. Keeping the memory of sunshine and high skies… …alive.

And then, as soon as the chill rains come When the days are all twilight

When you need it most...

It stops And leaves you to face the fall… …alone. 4

From his kneeling collapsed position, Angel reaches his arm up and out to Lilly, as the lights fade to a single spot, illuminating the baseball held in the palm of Angel’s hand.

(Blackout)

CURTAIN

4 From A Great and Glorious Game: Baseball Writings of A. Bartlett Giamatti, 1989. Angelo Bartlett "Bart" Giamatti (April 4, 1938 – September 1, 1989) was the president of Yale University and later the seventh Commissioner of Major League Baseball.

MATSON & MILLER