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My Brother Paul: the Musical Life of Paul Dresser

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My Brother Paul: the Musical Life of Paul Dresser MY BROTHER PAUL: THE MUSICAL LIFE OF PAUL DRESSER A Play with Music Book by Donald E. Baker Suggested by the Writings of Theodore Dreiser Music and Lyrics by Paul Dresser Edited and with Additional Lyrics by Donald E. Baker 3M, 1W (doubling) “Paul, the good son, the loving brother…. Jailbird, writer of pointless ballads, singer of trivial songs—even so, write his name large as one who loved his fellowmen!” Theodore Dreiser, Dawn 109 Ella Kinley Circle Unit 401 Myrtle Beach SC 29588 910.228.1734 Copyright © 2018 by Donald E. Baker [email protected] All rights reserved https://newplayexchange.org/users/13449/donald-e-baker ii SYNOPSIS Paul Dresser, largely unknown today, was one of the most popular American song writers of the late nineteenth century. His younger brother, the novelist Theodore Dreiser, at the time was much less successful. There was both love and rivalry between them. The play uses Paul’s songs and Theodore’s memoirs to explore that sibling rivalry as Paul escapes from his stifling Indiana childhood; becomes a wealthy and successful vaudeville comedian, character actor, song writer, and darling of the New York theater world. It also explores his relationships with women, including his ever-forgiving mother; the bordello madam who was the love of his life; the burlesque queen who was the mother of his child; and the protégé to whom he loaned his last name. Paul’s career declined rapidly ragtime eclipsed the romantic ballads that were his stock in trade. He gave away much of his wealth and died young, at age forty-seven. PAUL DRESSER DESCRIPTION Paul Dresser was a warm, generous, and genuinely tender man, spirited and bubbly and emotional, but he could also be a bit vulgar in his storytelling and personal habits. He was attractive to women, despite tipping the scales at 300 pounds. And he was welcome anyplace people could laugh at a funny story or shed a tear over a sentimental song about home or mother or lost sweethearts. PERMISSIONS The songs of Paul Dresser are in the public domain, but the use of material from the autobiographical writings of Theodore Dreiser requires special arrangements with the Dreiser Estate prior to performance: Dramatic Permissions Curtis Brown Ltd. Ten Astor Place New York NY 10003 Copyright © 2018 by Donald E. Baker. All rights reserved. iii SETTING Theodore Dreiser’s study and his memory and imagination. TIME 1919, evening, when memory steals from the shadows. SET The play can be presented on a single set divided into three areas which can be lit independently, although the actors can move freely among them: Theodore’s area suggests a writer’s study, 1919. There is a desk constructed to appear as though it had once been an old-time square piano, with a chair and telephone. Paul’s and Max’s area includes a parlor spinet or upright piano with bench and a coat rack. Minor changes of clothing or accessories might be facilitated by a vaudevillian’s traveling trunk with the name “Dresser” stenciled on it and stickers for various cities. The Actress’s area is furnished with a few pieces of generic middle-class Victorian furniture—a settee, a small desk/dressing table, etc.—so that it can suggest a boarding house parlor, a bordello sitting room, a vaudeville dressing room, and the outer office of a music company. Copyright © 2018 by Donald E. Baker. All rights reserved. iv CHARACTERS Minimum 3M, 1W PAUL DRESSER (Baritone): Age 47. Tin pan alley composer. Dresses in the fashion of a Broadway dandy ca. 1900. Lives only in his brother’s memory, having died thirteen years before the time of the play. Sings most of the songs. Performs some material in a German accent. If the actor is capable, could sometimes accompany himself and others at the piano. THEODORE DREISER: Age 48. Paul’s brother, despite the different spelling of the last name. Important American novelist of the early twentieth century. Age about 48. Dialogue only, no songs except to participate in the envoi. Called “Thee,” with a “Th” as in “thistle.” MAX HOFFMAN (Tenor): Age 30’s-40’s. Pianist and Paul’s music arranger. Accompanies the singers or appears to do so if an offstage accompanist is used. Also plays minor male characters. AN ACTRESS (Soprano): Age 30+. Plays the women in Paul’s life, including: SARAH DREISER, Paul’s mother, gray-haired SALLY WALKER, Bordello madame, Paul’s lover, redhead MAY HOWARD, Burlesque queen, mother of Paul’s child, blonde ROSABEL (ROSE) MORRISON, Singer/actress LOUISE (KERLIN) DRESSER, Paul’s protégé, brunette NOTE ON CASTING The female roles can be distributed among two or more actresses. If they are all played by the same actress, as indicated above, perhaps changes could be facilitated by having each wear the same neutral dress and indicate the different characters by wigs and accessories. The voice-range specifications are flexible. The author has the score on the computer program MuseScore, so it would be relatively easy for him to transpose the keys of the songs to accommodate the singers who are actually cast. Copyright © 2018 by Donald E. Baker. All rights reserved. v MUSICAL NUMBERS Words and Music by Paul Dresser unless otherwise noted. ACT ONE Act I Introduction (On the Banks of the Wabash Far Away) Paul She Went to the City Paul Liza Jane Paul Come Tell Me What’s Your Answer, Yes or No Paul You’re Going Far Away Lad / The Path That Leads the Other Way* Sarah Dreiser Your Mother Wants You Home, Boy Max The Old Flame Flickers, and I Wonder Why Sally Walker and Paul The Curse Paul The Letter That Never Came** May Howard The Curse (Reprise) Paul ACT TWO Act II Introduction (The Curse) Instrumental One Night Stand*** Paul and Max Just Tell Them That You Saw Me Paul and Rose On the Banks of the Wabash, Far Away Paul, Max, Rose The Town Where I Was Born Louise Dresser Back Home Again in Indiana**** Max Indiana Montage Paul and Max Where Are the Friends of Other Days? Paul My Gal Sal Louise Dresser Just Tell Them That You Saw Me/On the Banks of the Wabash Far Away (Reprise) Paul MUSIC FOR BOWS & ENVOI Envoi* Entire Cast *Additional lyrics by Donald E. Baker **Lyrics by Paul Dresser, music by Paul Dresser and/or Max Sturm ***By Donald E. Baker ****Lyrics by Ballard MacDonald, music by James F. Hanley Copyright © 2018 by Donald E. Baker. All rights reserved. I - 1 ACT I SETTING: Theodore Dreiser’s study and in his memory and imagination, as described in the preliminary material. AT RISE: The stage is in darkness. A piano is heard. (Song: “ON THE BANKS OF THE WABASH” [Instrumental]) Music continues as lights come up to reveal THEODORE DREISER at work at his desk. He turns and reads what he has written, speaking over the piano underscore. THEODORE I loved my brother Paul Dresser. But I envied— (He scratches it out) I was jealous of— (He scratches that out also) But I resented— Yes. That’s it. I loved my brother Paul Dresser. But I resented him too. My early novels brought me nothing but critical scorn. His music brought him public adulation. My books hardly earned a penny. His songs made him wealthy. I was just one more anonymous inhabitant of a backstreet in Brooklyn. My famous brother was the toast of Broadway. Lights come up to reveal PAUL DRESSER, with MAX HOFFMAN at the piano. PAUL has available a glass of whiskey to sip on whenever he wishes. PAUL adds his voice to the piano. (Song: “ON THE BANKS OF THE WABASH)” PAUL (singing) OH, THE MOONLIGHT'S FAIR TONIGHT ALONG THE WABASH. FROM THE FIELDS THERE COMES THE BREATH OF NEW-MOWN HAY. THROUGH THE SYCAMORES THE CANDLE-LIGHT IS GLEAMING ON THE BANKS OF THE WABASH FAR AWAY. PAUL Ah the great author at work. Always writing books. One after another. O.k., Theodore Herman Dreiser, where’s my book? But before you answer that how about a hug for your older brother? THEODORE Paul, it’s 1919. You’ve been dead thirteen years. Technically we’re the same age. Copyright © 2018 by Donald E. Baker. All rights reserved. I - 2 PAUL Well you’ll always be my little brother. C’mere. They embrace. PAUL is effusive; THEODORE is reluctant, stiff, and awkward. PAUL (cont.) Do you know my accompanist and arranger, the late, great Max Hoffman? MAX Evening, Mr. Dreiser. Nice place you got here. THEODORE Uh, thank you. PAUL I can’t believe you turned my piano into a desk, Thee. THEODORE Those old square pianos never could stay in tune. It’s a better desk. PAUL In tune or not I churned out a lot of songs on that piano. You don’t seem surprised to see me. THEODORE Lately I’ve been thinking a lot about you, about your life and career. But your sudden appearance right this moment is very inconvenient. My publisher has given me a deadline to produce a book—any book—or else. PAUL Or else what? THEODORE Or else he’ll sue for the return of the advance payment which I have already spent. PAUL A sea of troubles to be sure, troubles from which I am prepared to deliver you—just like the old days huh? On my deathbed you said my life would make a terrific book. You promised you’d write it. But you never did. That’s why I’ve been in your head and that’s why I’m back here now.
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