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Sasha Matson

Jazz Opera in Nine Innings

Sasha Matson

Jazz Opera in Nine Innings

WWW.ALBANYRECORDS.COM TROY1553/54 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 Julie Adams / Daniel Favela © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Carin Gilfry / Rod Gilfry Daniel Montenegro Track List

CD 1 CD 2 Act I Act II 1 Chart 1 [2:18] 1 Chart 6 [2:82] 2 First Inning 2 Sixth Inning (Dutch/Angel/Marvin) [7:40] (Dutch/Marvin/Angel) [7:54] Jazz Opera 3 Chart 2 [1:14] 3 Chart 7 [1:37] in Nine Innings 4 Second Inning 4 Seventh Inning (Lilly/Jan/Angel/Marvin) [10:03] (Lilly/Jan/Marvin) [12:30] 5 Chart 3 [1:25] 5 Chart 8 [1:52] 6 Third Inning 6 Eighth Inning Music by Sasha Matson (Jan/Dutch/Angel/Marvin) [8:38] (All) [11:07] Libretto by Mark Miller & Sasha Matson 7 Chart 4 [1:25] 7 Chart 9 [1:23] 8 Fourth Inning 8 Ninth Inning (Lilly/JanAngel) [12:08] (All) [11:47] 9 Chart 5 [1:19] Julie Adams ...... Lilly Young Gernot Bernroider, drums Total Time CD 2 = 50:12 10 Fifth Inning Daniel Favela ...... Marvin Wilder Russ Johnson, trumpets (Marvin/Jan) [7:41] Carin Gilfry ...... Jan Green Rich Mollin, bass Rod Gilfry ...... Dutch Schulhaus Jason Rigby, saxophones Total Time CD 1 = 53:51 Daniel Montenegro ...... Angel Corazon Sean Wayland, piano, Hammond C3, Fender Rhodes

Conducted by Sasha Matson Directed by Stephanie Vlahos Produced by John Atkinson Sasha Matson & Producer John Atkinson, The Librettist Systems Two, Mark Miller earned a history degree at Stanford and reported for Reuters Brooklyn, New York and CBS Radio. He began a parallel career in show business at 20th Century-Fox as a writer for director-choreographer Bob Fosse, and co-wrote the screenplay for the Universal feature film Mr. Baseball, among other films. He has written 40 books and articles for the National Geographic Society and was a columnist for the San Francisco Examiner. As a writer for CBS Radio, Mark was nominated for a 2012 Writers Guild of America Award for Outstanding Achievement in Television and Radio Writing.

The Director 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 direc- tor for the Domingo-Thornton Young Artists Program at Los Angeles Opera, as well as Director-in-Residence at The Bob Cole Conservatory of Music at California State University, Long Beach.

The Producer Producer John Atkinson has been editor in chief of Stereophile magazine since 1986. Formally The Composer educated in the sciences, with an honors degree in physics and chemistry and a postgraduate Sasha Matson spent his formative years in Berkeley, California, where his father taught philosophy at qualification in the teaching of high-school science, his passion was always for music. A musician the University of California. He received a Bachelors Degree in Composition from the San Francisco (primarily on bass guitar, but also on recorder, clarinet, violin, and viola da gamba), a sound recordist, Conservatory of Music. Moving to Los Angeles, he has scored music for feature film and other multi- and an audiophile, Atkinson pursued all three areas simultaneously in the 1960s and ’70s, before media. Sasha received the Ph.D. in Composition and Theory from UCLA. Recordings of his work have finally settling down in magazine publishing in 1976, when he joined the UK’s Hi-Fi News & Record been released on the AudioQuest and New Albion labels. Sasha writes about audio and music, and is Review. He has produced, engineered, mastered or played instruments on more than 40 commercially an Associate Editor for Positive Feedback Online. Sasha has taught at La Grange College, Long Island released LPs and CDs since 1972. University, and The State University of New York. In 2000 he moved with his family to Cooperstown. Notes his belt. The studio has a superb collection of microphones both vintage and modern, and instruments “It breaks your heart.” That was the poetic language A. Bartlett Giamatti used in his beautiful essay include a truly outstanding Steinway B piano, that used to reside at Carnegie Hall and a gorgeous-sounding “The Green Fields of the Mind,” and I am pleased that the Giamatti estate gave us permission to use Hammond C-3 organ that was used in the past by, among others, Long Island supergroup Vanilla Fudge. his text. I began to work backward from there in the fall of 2000. The musicians set up in a rough semicircle facing Sasha at the podium. Trumpeter Russ Johnson Whose heart? And how was it broken? and sax player Jason Rigby were to Sasha’s left behind windowed screens. Rich Mollin on double bass In Giamatti’s thinking, baseball is a game but also an art form, with the capacity to express was in an isolation booth at the back of the room. Gernot Bernroider’s drums were to the right of Rich, the deepest emotional truths about individuals and society. One has only to pick up the sports pages with more isolating screens keeping down the leakage into the other instruments’ microphones. to see this dynamic acted out against the economic and cultural realities of our time. Finally, Sean Wayland’s piano, Hammond organ with its Leslie cabinet, and Fender Rhodes 88 electric Baseball has its own specific historical musical attributes. One of them is the sound of the piano were positioned to Sasha’s right. The sound of the trumpet was picked up with a vintage RCA stadium organ. That sound led me quickly to scoring the music for a “Miles” jazz quintet. This particular 77 ribbon mike, while the saxes were miked with another ribbon, an RCA 44, and a Neumann U87. grouping of instruments is as capable as any large orchestra of realizing music in all its potential To give Mike Marciano enough choices for the sound of double bass, Rich was miked with two variety. The musical materials boil down to the rising three-chord “Charge” fanfare still heard in Neumann U47 FETs pointing at the F holes in the instrument’s body, along with a Shure SM81 higher stadiums everywhere, which can be turned to the dark side by becoming an altered dominant harmony. up. Mike also took a direct feed from a piezoelectric pickup mounted into the bass’s bridge. A pair of Early on in the work process I had a sonic picture in my ear of what a finished recording of Neumann KM 86 cardioids were placed high over the drums to capture the contribution of the room, “Cooperstown” might sound like. I used as a model the great Blue Note stereo recordings of the late while other mikes were positioned close to each drum to capture the direct sound. The piano’s sound ’50s and early ’60s by Rudy Van Gelder: trumpet hard left, saxophone hard right, then added a vocal was captured with a pair of AKG 414 cardioids under the lid, while an AKG D12 and another pair of cast of five. I have nothing on my shelf that sounds quite like it. 414s were used for the organ’s Leslie cabinet. A direct stereo feed was taken from the Rhodes piano. —Sasha Matson The 27 microphone feeds were converted to digital with ProTools A/D converters running at 88.2kHz and 24 bit word length and recorded straight to ProTools. When Sasha Matson asked me back in 2011 if I would be willing to produce his opera Cooperstown, I The musicians were well-rehearsed and the planned two days proved sufficient for Sasha and wasn’t sure what to expect. The word “opera” conjures up images of temperamental tenors, sweet-voiced me to leave with every measure of music covered by at least one good take. At a subsequent session, sopranos, contrary contraltos, and belligerent baritones, along with a huge orchestra and chorus and Mike Marciano and Justin Volpe assembled the master backing track from the takes Sasha and I had massive logistical issues. That prospect would be daunting, especially when my resume as a recording marked as the best. This would be used for the vocal sessions. producer has involved chamber music, rock music and small-scale jazz. But when Sasha clarified that Cooperstown was a “Jazz Opera in Nine Innings,” that the five solo singers would be accompanied The vocal sessions took place at Schnee Studio in Studio City, California. A popular venue for recording film by a 1950s modern jazz quintet, it took me less than a New York minute to get on board. scores, Bill Schnee’s place opened in 1981, and has an impressive wall of gold and platinum discs for record- ings that have been made there. But for vocal recording, the attraction is Bill’s collection of vintage tubed The band sessions took place at Brooklyn’s Systems Two Recording, which had been recommended by Music microphones and his use of the renowned Mastering Lab microphone preamplifiers. The sounds our “canaries” Matters’ Joe Harley. Systems Two is a popular venue for recording jazz, not only because it has a large room would be making would be picked up with Neumann U87s, perhaps the finest vocal microphone extant. with supportive acoustics, in which a group can perform as they would live with only a small amount of Bill Schnee and Kenton Fukuda loaded the Systems Two ProTools files on to their control acoustic isolation, but because recording engineer Mike Marciano has two jazz engineering Grammies under room’s hard drives, set their ProTools converters to the same 88.2kHz/24-bit sample rate and bit depth, and we were off. Except that it wasn’t going to be as straightforward a process as the instru- would render him unemployable. The ensemble mental sessions. Although the two days the studio had been booked for would in theory be ample issues a rousing call for the game to begin. time to get all nine “Innings” down, baritone Rod Gilfry could only be there the first day and tenor Scene 4 (“4th Inning”) — Daniel Montenegro the second day. Sasha and I therefore carefully followed a road map, giving the Jazz Opera Metropolitan Stadium bullpen. highest priority on the first day to Rod’s solos, followed by the scenes that featured Carin Gilfry, Julie in Nine Innings Lilly watches the Blueblood’s practice as she and Adams, and Daniel Favela. The next day, we could concentrate on Daniel Montenegro’s solos and his Jan ponder the life of a player’s woman. Angel greets duets and trios with the others. Synopsis them both fondly from the field, but Jan leaves Act I after rueing her thwarted love life. Alone with Angel, Sasha deserves a tip of the hat for the consistency of his conducting, but it was still our great fortune Scene 1 (“1st Inning”) — Lilly expresses doubts. Together they sing a duet. that Stephanie Vlahos had a cast who were able to give great ensemble performances under these Metropolitan Stadium. Night game in progress. Angel implores Lilly to make a life with him. conditions. Even in the great quintet toward the end of the ninth “Inning,” where we only had four of There’s trouble on the field as young star pitcher Scene 5 (“5th Inning”) — the five singers working together for each take, the ensemble is empathetic. Nevertheless, every ANGEL CORAZON repeatedly waves off catcher “First Base.” Evening. measure in my score ended up covered with frantic notes and scribblings, as I made sure that we MARVIN WILDER’S signs. Marvin loses his tem- Jan is drinking alone when Marvin joins her. Does hadn’t missed something before we headed back to Systems Two to assemble the vocal performances. per, calls time out, and marches to the pitcher’s she want to win Angel? Marvin outlines in sinister mound to confront Angel. DOUGLAS “DUTCH” terms a plan to sabotage the unlikely lovers. Jan For all the tracking sessions in Brooklyn and Los Angeles, the instruments and vocalists had been SCHULHAUS, manager of the Bluebloods, trots hesitates, then agrees, and exits. Marvin vows to recorded “flat,” without equalization or reverberation, although there was some occasional peak to the mound to intervene. Tempers flare. exact his jealous vengeance upon the two lovers. limiting on the vocals. We had wanted to hear that we were getting the maximum sound quality Scene 2 (“2nd Inning”) — from the microphones without being misled. But for the final session in Systems Two, Mike Marciano “First Base” Sports Bar. Evening. Act II would take the raw session files, adjusting levels, and adding equalization and reverberation with Sports agent JAN GREEN enters with chic young Scene 6 (“6th Inning”) — both plug-ins and outboard devices. (For reverberation, one of the plug-ins Mike used added the LILLY YOUNG, come to meet Angel and Marvin, Lilly’s ambience of renowned concert halls, like Amsterdam’s Concertgebouw.) Metropolitan Stadium. Night game in progress. blind date. Marvin’s posturing fails to impress Dutch sets the scene at an important late-season But other than some dynamic adjustments of volume for each instrument and voice, using Lilly, but Angel and Lilly enjoy an immediate ProTools’ gain overlays, there is no overall compression applied to Cooperstown. The technology Mike game. Angel calls time for a conference on the rapport. Jan, disappointed in her hope of rekindling mound. He and Marvin argue again. Angel agrees used was in the service of Sasha’s music, not to squash the dynamic life out of it. Angel’s ardor, ends the evening early. The goal in a mix is that the whole will be greater than the sum of the individual parts. Right to throw the pitches that Marvin calls. He does, and at the beginning of my involvement on the Cooperstown project, Sasha had told me his goal was to Scene 3 (“3rd Inning”) — disaster ensues: the other team lights up the recreate the feeling of the great jazz quintet recordings of the 1950s. Even taking my own involvement Metropolitan Stadium. Workout. scoreboard as Angel’s magic deserts him and in this project into account, I think Mike Marciano realized that goal for him with the mix. A triple play Angel warms up in the bullpen while Jan and the game is lost. Alone on the field after the for the fielders, a home-run for the batters, a World Series win for the team. Dutch sing of his talents and bright future. players have gone, Dutch vows to defend Angel Jan shares with the audience a secret only she from harm, and to protect the game of baseball. —John Atkinson knows: Angel’s flawed heart, which if revealed Scene 7 (“7th Inning”) — Cooperstown Angel nods—Marvin relayed Dutch’s command — MARVIN “First Base Sports Bar,” evening. Jazz Opera in Nine Innings and “throws” again. Just what we need— Marvin is alone. Jan arrives with Lilly, who is The Batter swings and misses, twisted into a pretzel. More prima donnas at work! Libretto disappointed to find Angel is not there. Jan MARVIN DUTCH excuses herself. Marvin plies Lilly with drinks while ACT I Time! (to Angel) There’s one guy who knows, planting seeds of doubt in her mind regarding OVERTURE (“Chart 1”) Batter #1 slams his bat on the ground in anger and There’s one guy you owe, Angel’s fidelity and his suitability as a mate. SCENE 1 (“First Inning”) stalks back to his dugout. And that guy, Angel, Marvin and Lilly dance. Lilly, tipsy, rests her head New York City’s Metropolitan Stadium. Night Batter #2 walks to the plate. BATTER #3 steps into Is me! on Marvin’s shoulder as he guides her out the door. game in progress. the on-deck circle. Pitcher ANGEL CORAZON, wearing a Bluebloods (indicating Marvin) Scene 8 (“8th Inning”) — jacket emblazoned “CORAZON,” is on the mound. DUTCH Do what he says! Metropolitan Stadium bullpen, twilight. Catcher MARVIN WILDER is behind the plate, where Trouble in the battery! Sliders and curves, Angel is in the bullpen, preparing for the final BATTER #1 readies himself. Kid’s waving him off. Tighten the screws, Pennant game when Lilly appears. He asks her why BATTER #2 takes practice swings in the on-deck Wilder needs flattery, By degree. He’s got to be boss! she didn’t answer her phone last night. Lilly leaves circle. Dutch trudges to the Blueblood dugout. Marvin stalks in tears. Dutch telephones the bullpen, telling Blueblood Manager DOUGLAS “DUTCH” SCHULHAUS Dutch signals “time” and marches grimly to the back to the plate, where Batter #2 waits. Angel turns stands before the dugout. Angel he is putting him in as a closer. Marvin mound, beckoning Wilder to join him. his back to the plate, composing himself. He embodies the stern and resolute gravitas of a dons his gear as Jan enters and confronts him. Major League veteran. MARVIN DUTCH Scene 9 (“9th Inning”) — Angel winds up and throws…. (to Dutch) Now batting fourth— He’s off the reservation! Metropolitan Stadium infield, night (game continues) Leading the League, DUTCH Completely lost. A fearsome monster, The Bluebloods need one more out to win the Top of the first! ANGEL Going for ten in a row. Pennant, but Angel is falling apart. Angel and The start of the game! Now comes the wind-up… Marvin meet on the mound, where Marvin asserts (making signals to Marvin) I throw what I want! To hell with the cost! Now comes the pitch… that Lilly is in love with him. Angel hurls his pitch Give ’em a rising fastball! Now comes the switch… DUTCH and strikes the final batter out, but his graceful Angel winds up and “throws”… the Batter swings As in slow motion, Batter #2 swings and misses: follow-through becomes a slow collapse. A single and misses. You can throw, light illuminates the pitcher’s mound, where Angel But you don’t know ANGEL / MARVIN A two-seamer—sinks like the Titanic! The book. Control, power, and speed, This guy’s a ball chaser, has been brought to his knees by the strain on His four-seamer fastball’s gigantic! ANGEL All the tools that I need. With no place to hide. his flawed heart. Lilly arrives to cradle Angel in Angel “throws” again… the Batter watches as the Upper pocket, inside! Low down corner, outside! her arms, his major-league career finished. ball “slams” into Marvin’s mitt. I know plenty, I can deal with these jerks! Dutch and Jan kneel beside the lovers. Marvin has to reach hard for Angel’s pitch, falling Backspin creates the Magnus Effect. on the ball. Ball rises up—no way to connect! ALL DUTCH DUTCH DUTCH (shouted) Try a little pitching, Hey ump! The old brush-back— Stee-RIKE! Instead of bitchin, How ’bout lettin’ me manage A little chin music. All day and all night. Every once in a while? Looks like Corazon Angel throws again—and Batter #2 swings—the Wants to call the tune. CRACK of a bat! Marvin throws off his mask and What ever happened The Umpire (the on-stage Conductor, a non-singing Angel throws—and on-stage action freezes and waits for a pop-up to fall into his mitt. To this game, role) reacts and waves Dutch away. holds at the end of his follow-through— They played in the sun? DUTCH DUTCH No rules, no shame, (BLACKOUT) Angel’s got the heat You clueless sawed off runt! Never a hitch. Dealers out to game the game. Your little hat’s too tight! End of Scene 1 The man of the hour What ever happened? Go piss on the plate! SCENE 2 (“Second Inning”) To beat. It needs a light dustin’! Angel leans to stare at Marvin, waiting for signals. “First Base” Sports Bar, Evening. (to Marvin) He shakes his head “no.” Another shake-off, and a The Umpire makes the famous vertical ‘You’re out An upscale sports bar. A big-screen TV silently Changes and off-speed third “no.” Marvin calls time and marches to the of here’ hand signal. Dutch makes a threatening projects a Major League game. Stuff for this guy! mound. Dutch trots out. move as if to attack the Ump, but Angel and Marvin To stage-left, The ONSTAGE BAND plays quiet jazz music. I read the stats, restrain him. Dutch glowers at the Ump, turns and Two stylish and attractive women enter. And they never lie. MARVIN stalks to the dugout and the showers (exits). Sports agent JAN GREEN, who represents Angel and (as they converge—their voices overlapping as MARVIN Marvin, is perhaps ten years older than LILLY YOUNG, tensions mount) MARVIN Start thinking ahead a Wall Streeter. They sit at the bar and signal the I call for a curve, You’re on your own now, kid! To next Opening Day. BARTENDER. He shakes me a no! I’m tired of playing ANGEL Waves off a screwball, LILLY For half Angel’s pay. Watch and learn! Won’t throw a slow! Where are the boys? DUTCH MARVIN Are we early? ANGEL How much is enough? I’m watchin’ You play by the book, JAN (pause…) MARVIN You end up with the hook! Don’t worry Lilly, I’m waitin’ Talk to my agent. You’re top of the order tonight. DUTCH (pause…) DUTCH You’re throwing a pattern! When’s my lesson? LILLY That’s not my job When they figure it out, Like moths to a flame, Marvin gives Angel a chilly look, turns and walks to They’ll light you right up We dance at the window panes. MARVIN the plate. Like the Fourth of July! Of glowing male egos. I run this team, Batter #3 readies himself. Angel stares him down, From behind home plate. Dutch confronts the Umpire—chin-to-chin! then throws. JAN / LILLY The Batter throws himself to the ground to avoid Diamond princes we will wed, being hit, dusts himself off and readies. A Major League wedding bed. Sit with the player’s wives, ANGEL JAN MARVIN And tell each other stories. They know where (clinks her glass against Marvin’s) Watch out—watch out ladies! I’m coming from. Cheers, lover! He’s hot-hot-hot-blooded, LILLY He’s Caribbean! Happy ones. MARVIN Angel touches his glass to Lilly’s There’s Jan LILLY JAN ANGEL With my blind date. I thought you were his friend. Sad ones. I am most pleased It’s good to be a little late; To make your acquaintance. MARVIN LILLY Make them wait. Oh, I am— About being bored. LILLY ANGEL To the bitter end! (to Marvin, trying to be polite) JAN You’re always playing a game! Jan’s told me so LILLY Being ignored. Marvin embraces Jan and tries to kiss her on the Much about you. (to Angel) JAN / LILLY lips. She turns a cheek to his lips. Jan tells me you’re new, ANGEL Because there’s a game on. From the Dominican Republic. MARVIN She’s my agent, remember? JAN My beautiful Svengali— (to Jan) ANGEL Can you imagine? You bring me a gift? Are you working on commission tonight? I was raised in San Cristóbal On the wrong side of the tracks The BARTENDER silently delivers two martinis. JAN Jan waves Marvin off—his cynical humor doesn’t Except there weren’t any (slipping from his embrace) work for her. JAN By the seaside. Lilly, this is Marvin Wilder, (raises her glass to toast with Lilly) Do you like baseball? Now playing for the women: Smartest catcher in the Show. LILLY Marvin cuts in to wrest back Lilly’s attention: Jan the Super Agent! And the star of my roster, I was raised on the Upper East Side. Angel Corazon. MARVIN Boarded in prep schools LILLY You’re an Upper Eastsider— Where I learned how to ride And her good friend, The Bartender sets up four Martini glasses and I can tell by looking. And how to look cool. Lilly the Uptown Girl! quickly fills them from a shaker. LILLY LILLY ANGEL MARVIN ANGEL and MARVIN enter from the far side. The band Do you think When I was a young girl When I was a small boy (aside to Bartender) members wave and nod in affectionate greeting and That I’m predictable? We cruised to We went down to launch into a Caribbean pop tune. Angel acknowledges A year ago I topped that list…. JAN Santo Domingo. the docks the music—expertly—all confidence and youthful Marvin presents Martinis to Lilly and Jan. (to Lilly) My father drank The ships came, lights cockiness—dances to it as he crosses the room. LILLY The Bluebloods’ scout. in the bar all ablaze MARVIN What’s this? Brought Angel to me, While my mother Filled with beautiful What kind of music Signed, sealed, delivered. played bingo. people MARVIN Are they playing? A performance-enhancing substance. Are they drunk? Over the rail in the We looked up at them in Miró al desfile que She gazed at the parade LILLY Lilly and Jan exit. harbor wonder pasaba That must be one ANGEL / MARVIN I pitched the boys Called out for pennies Y miró el joven tan guapo, And the young man so bold, Of your very best lines. She’s beautiful! pennies. Con corazón que Whose heart called for hers. ANGEL I was told by the purser, Without any shame, cantaba a ella. ANGEL Come see me play! They didn’t have many. I’d do the same again. “Sientate aquí con migo,” “Pray sit with me here,” Elegant, schooled, and kind— Le contestó al joven. To the young man she LILLY LILLY MARVIN answered. Name the day. Did you catch any? —Expensive, spoiled, and blind. “Dame el toco de tu mano “Give me the touch of She opens her purse, takes out a card and gives it ANGEL Marvin snaps his fingers to get the Bartender’s atten- your hand to Angel. Some days were Y dame el perfume de And the scent of your hair.” tion, and points to their two empty Martini glasses. MARVIN Better than others… tu cabello.” End of Scene 2 (to all, grouchily) LILLY “Tengo que ingresar “I must join the parade, Is it time to eat? SCENE 3 (“Third Inning”) Afternoon Workout I’m sorry I didn’t en el desfile, Metropolitan Stadium. JAN Throw more to you. Al cual estoy prometido,” For which I am promised,” ANGEL stretches in the bullpen (stage left). (takes Lilly’s arm) ANGEL Y con eso se fue And away he strode At stage right, MARVIN straps on his armor, preparing It’s getting late. I can still hear En el Día de los Muertos. On the Day of the Dead. for battle, with a cold stare at Angel. The songs they used to sing, Ella lo espera siempre allí, She waits for him there, MARVIN JAN looks down over the bullpen rail, confident and In the old cafés. Abajo de la sombra ’Neath the shade of the Change of plans? at ease in the world of men. DUTCH walks onto center stage between Angel and On the water. de los arboles, trees, ANGEL Marvin. Dutch gives Marvin a perfunctory nod, places Angel walks to the band, stuffs a bill into their tip Al lado del lago tan azúl By the lake so blue (to Lilly and Jan) a hand on Angel’s shoulder, and confers privately jar, and says something to them. Con su mantilla tan claro. With her lace so pale. Do you have to leave so soon? The band members launch into a pre-war Cuban with the rookie. Angel and Lilly gaze at each other for a long love song. LILLY Marvin, standing off to the side, watches them, moment—a magical moment. (as Jan pulls her away, toward the exit) resentfully punching a fist into his mitt. ANGEL JAN Goodbye, Marvin— Dutch steps away from Angel, reviews the line-up (in Spanish) (in English) I wonder which maid Nice to meet you. sheet on his clipboard, then notices Jan. Al lado de la fuente, By the fountain so cool, He has on his Good night… Angel. Abajo la sombra de Neath the shade of the DUTCH Made-up mind? arboles’ trees They pause at the door to look back at Angel and Hey Jan—is it Al lado del lago tan azúl, By the lake so blue, ANGEL Marvin at the bar. Contract time again already? Se encontraba una Sat the fairest maid. (to Lilly) LILLY JAN JAN linda dancella. You’ve broken many hearts, He’s gorgeous— He’s gorgeous— Relax, Schulhaus— Would you like to break mine? Con ojos abajo de su Through her lace-, Oh Jan, what a find! Oh innocent friend of mine! I like to watch my men work out. mantilla, covered hair ANGEL ANGEL / DUTCH —We had nothing to divide. ANGEL I play for the poor man, Every game is an affirmation Angel gets called up to The Show. I don’t play for pay— The lunch bucket fan. Of all we believe. At twenty years old, MARVIN For the people who struggle for bread. Honesty and hard work, What does he know? That’s what they all say— The cabbies and shoeblacks, the public school teachers Fair play by the rules. What do they see in him, Up there in the bleachers. The kind of things these days, They don’t see in me? ANGEL Up there in the cheap seats! They don’t learn in school. I’ll build a convent— ANGEL I can hear their heartbeat! I’ll build a school! MARVIN No time to ponder, or to doubt. It’s for them that I throw— I’ll play baseball forever! There’s the game in their heads, Don’t need the priest, or the shrink. ’Cause the rich don’t need any heroes… There’s the game that we play. When the crowd proclaims you royalty, MARVIN MARVIN They cheer for the Mets, Who cares what the critics think? This kid is not too clever. (to Dutch) The Mets want their pay. My arm commands respect, ANGEL I’d like to be the one They read about the Yankees— It will not be denied. I’ll build a university! Who makes the news every night. They get out their hankies. I demand obedience, loyalty— Max out the speed gun, JAN The Cubs are so nice— King until I die! See my name up in lights. That’ll get you great publicity. Not one has his vice. JAN Lead the league ANGEL “It’s not if you win, Angel could be my perfect prize. In strikeouts pitching— I will Marv—I will! It’s how you play the game!” Only I know his secret: Even that wouldn’t stop Have you ever heard anything so lame? A flawed heart could fail MARVIN Dutch from bitching. (indicating Angel) At the slightest heartache. O.K. with me— DUTCH For him it comes easy, Angel’s heart could break, You’re paying the bill. Why, any manager would For me it comes hard. At the slightest ache. DUTCH Want a guy like that. My stomach is queasy ANGEL A hot dog at the park Only trouble is, When I play in this yard. My future’s ahead of me. Beats a ribeye at Lugar’s! To get him to put down his beer DUTCH Come down from the stands MARVIN MARVIN Ten years catching in the Minors, And do these things, here. Where the hell else would it be? People who say that His old man a drunk— Don’t know Bud from Beluga! JAN Gave his mom shiners JAN Fans tell their wives and lovers When he fell in a funk. The future ends at thirty-three. DUTCH They played this game so well; With Angel, we’ll take the pennant! MARVIN ANGEL That if they’d kept on playing Wife left me for a guy I’d play this game for free! MARVIN They might have cast a spell. Who sold Buicks. You’re the reason we never win it! Millions would adore them MARVIN The divorce came through As they rode in parades. You’re paid nine-million-three— In just under two weeks. ANGEL To dodge the tag. Angel steps onto the field, dressed casually. He Jan walks to the exit stage left, pauses and looks Este es nuestro año! sings to himself. at the two lovers, now gazing at each other. This man I’ve met ANGEL / DUTCH Can take me there, ANGEL JAN This is our year! To a land beyond A golden field at twilight, Look at her! Red, white, and blue. Sweet fragrance of grass, The light in her eyes. DUTCH Purple promise of night. That flame was mine That’s what I want to hear! Jan enters and joins Lilly. Summer’s fulfillment of springtime. Not so long ago… Let’s play ball! JAN He sees Jan and Lilly in the bleachers. Look at them! DUTCH / MARVIN There you are, Listen to their laughter. Let’s play ball! Ready for your balcony scene. Two beautiful women, She’s found happiness Come to watch me play. DUTCH / MARVIN / ANGEL LILLY For keeps, for ever after! May I have your autographs? Let’s play ball! See how well they move, Jan exits. How graceful they seem. JAN ALL We’re going out later; ANGEL Let’s play ball! JAN Thought we’d say hello. I was hoping I might find you here today. Play ball! Look closer! They’re men of sweat and stubble, Who live for the double-play. ANGEL LILLY End of Scene 3 Head Uptown tonight with me, We’ve almost finished— I find it hard to stay away. SCENE 4 (“Fourth Inning”) We’ll find someone worth all the trouble. A few more routines. ANGEL Metropolitan Stadium. Afternoon, end of a practice. LILLY LILLY You love the game? Lilly sits alone in the front row of the bleachers, Look at Angel running! It is rather warm up here. between the dugout and home plate. LILLY JAN JAN I’m more interested in the players, LILLY Look at yourself slumming! It’s hot, Than in keeping score. Not only boys And getting hotter! Love the smell of new-mown grass, LILLY / JAN ANGEL And an open field. Think of our lives, ANGEL What would you like to know? Where they can play. Lived somewhere else. I’ll take you both dancing, LILLY To find a world, Any place you’d like to go! Spring-filled newborn life. To know where my wandering heart is, That doesn’t ring false. With different names, JAN And what it’s searching for. Than Wall Street JAN I’m a free agent Corazon, ANGEL Or Third Avenue. Your heart will break on the first road trip, Not your draft-pick. It lives in a world, The truth will hurt when he lets it slip, Farewell you two— Not only men. High and luxurious. That you are living the player’s life. The night belongs to the young, Travel through the world, And the part you play, is player’s wife! And foolish. Slide into the plate Where the sounds and colors The true places, dimming, accelerating in ‘stage-time’ an implied And for that, they send a case of wine. Are soft and mysterious. Beyond others you have known. sunset, so that by the conclusion of the scene the MARVIN two lovers stand together in a soft post-sunset glow. Looking down from And you in turn, (to Bartender) Skyboxes far above. Will give to me, LILLY A double Martini— A life, a love, Give me the touch of your hand! For the Super Agent, LILLY A home. (to Jan) I’m not above you, LILLY / ANGEL Evening, my weary Angel Corazon. LILLY And the scent of your hair! Fading beauty. Where is that world, ANGEL (BLACKOUT) Beyond all time and care? JAN You want something beyond End of Scene 4 Be polite; The life you’re living now. ANGEL Treat me nice. What is the thing you want? Wherever life leads. SCENE 5 (“Fifth Inning”) The thing you do not have? From Metropolitan Stadium to the “First Base.” MARVIN LILLY / ANGEL Jan is drinking alone. Marvin enters, sees her and Don’t play the fool. LILLY Here—and everywhere! stops. She does not see him. You’ve been working overtime. I have all I need! ANGEL LILLY MARVIN I’m not your tool! ANGEL I wish I did not feel This cannot work, (indicating Jan) You’re smart as a cat, I don’t believe it. So many worlds apart. Brave Angel Heart. Alone with a glass, Lilly’s stuck on Angel LILLY Every thing is new, I’ve forgotten what I knew, Striking a pose. Like pine tar on a bat. That is the truth Right here, right now, What I meant to say In a thicket of barstools, JAN As I see it. From the start. From the start. Blooms the thorniest rose. That was not my intention. ANGEL ANGEL Jan and Marvin lock gazes. He saunters to her with This Angel needs a guardian. To see the truth (gestures to the baseball diamond) the knowing swagger of a former lover. I could be good for him! Is not to lie. Lilly, take this diamond, JAN MARVIN For your finger, LILLY Men in macho guise, ‘Mr. Plaster-Saint-Baseball-Today’? Embedded in emerald, Don’t you believe me? Stride across this land, Green as your eyes. JAN Think it is their right, ANGEL Come down to me! I believe in Corazon! To command any prize. Lilly, I have won, Take the field with me, He’s not like all the rest— All there is to win. Play by my side! Today’s Team Captain is Hearts of stone beating ice-cold blood, You I cannot win, Tomorrow’s Board Director. Through their Bluebloods chest. Lilly hesitates, then descends the steps to the field Angel For love is not a game. Fabulous dreamers, offers his hand. She takes it. They gaze at one another (next two lines sung ‘sotto voce’) Fantastical suitors. I will take you —then come together in a passionate first-kiss embrace. A fragile heart easily broken, To the simple places, During the scene the stage lights have been slowly Their ambitions intertwine with mine, A secret I’ve never spoken. MARVIN JAN JAN MARVIN You want to win What kind of scheme? For what? Keep in touch! Your cardboard Angel? (meditating to himself) MARVIN Marvin answers by opening his arms, presenting People are so easy, JAN Work your magic, himself as the Betrayer. They know not what they do. I will not lose Weave your user’s dream. JAN An Angel sent from nowhere, My final chance. I’ll get what I want, A lie? His winning streak is through. What chance for love And we’ll all live… Is left to me? MARVIN He lifts his Martini glass in the air to toast himself. JAN I will not leave If he thought she’d betrayed him— Lilly? It will be cold and clear as this, My perfect love, JAN Served straight up, with a twist. MARVIN Benched and sidelined, We’ve all taken our pleasure What do they have in common? (BLACKOUT) Carried off the field. Where and when we’ve found it. Pleasure time is JAN The end will justify the means. End of Scene 5 Youth, beauty, trusting hearts. Draw the curtain, no one will see. Measured time, ACT II. Part of the package, MARVIN MARVIN SCENE 6 (“Sixth Inning”) From deal to deal. Together they’re less I’m not speaking of truth, From the First Base to Metropolitan Stadium. Than the sum of their parts! I play to win. Yards are gained, Night game in progress. Years are lost. JAN MARVIN / JAN Dutch leans on the dugout rail—his spot whenever A yellow flag’s You want me to? We know what we want, he’s not center stage—and observes the action. Upon the play. So let it begin. MARVIN DUTCH Run ’round the base, Put the ball in play. MARVIN In spring I called them “My Perfect Pair,” Like a crazy clock. Bring Lilly to the “First Base,” ‘Capisce?’ The Bluebloods’ ticket to the Series. With no arms I’ll do the rest. Now in autumn For me to hold. JAN JAN Yes, and then? There’s a chill in the air Hey bartender, Angel loves Lilly. From these two and their furies. Hit me once again. MARVIN Roll your laughing dice. MARVIN One game at a time. The Batter tosses his bat and trots to first. He often acts rashly. Last call for love. JAN DUTCH At this point the lines step on each other, as if they JAN I’ve had enough to drink, Eighty-nine miles an hour, are reading each others’ minds. When he’s shamed. And quite enough of you. Angel’s beginning to tire. Give my love to Dutch. Missing his phenomenal power, MARVIN MARVIN Lost his crowd-pleasing fire. Don’t play fair! When he’s blamed. Jan exits. Throwing low when he should throw high, MARVIN ANGEL MARVIN Slow when the call’s for fast. I’ve caught Hall of Famers. You want my power. How sweet it is— He delivers what Wilder signs, You’re a pretty-boy flamer. My gift from the gods! I signal from the plate. Or this rookie’s not going to last. You don’t know the score, I’m the golden calf you need, Angel trusts me, On the field… To beat the odds. And I control his fate. In September the heat turned cold. (spoken ‘sotto voce’) An unsuited pair, DUTCH The lights narrow to illuminate only Dutch, alone on …Or in bed. About to fold. Loneliness goes with the turf, the mound. Angel reacts. Marvin flips the ball to Angel, shoots On the mound, or alone on the bench. Angel signals for a time out and motions Marvin to DUTCH him a hard look, then walks back to the plate. Take it in stride. the mound. We live in a meadow of green, Angel watches him walk away, stunned by Marvin’s Turn off the pride. MARVIN Filled with lives of men unseen, hostility. The game continues. There’s another game—tomorrow. What’s the problem? The men upon the walls Send ’em packin’! DUTCH Dutch pats Angel on the back—removing him from In the Hall of Fame. Once it was a game of camaraderie. the game. ANGEL By the strength of my right arm, Now they live for fame and celebrity. MARVIN I throw what you call, I will defend from any harm, The gold is in the averages. And look what happens! Angel peers at Marvin who signals. Angel shakes The men who love the game It’s the weak ones his head “No”—again, and again. They were born to play. MARVIN The game savages. He throws—the “Batter” swings— Fastball’s got to smoke, Full moon over second base, Angel trudges toward the dugout. Marvin lifts his Curve’s got to choke ’em. DUTCH A hanging pitch in space, arms in a shrug of feigned innocence. (spoken) Bring me a touch of grace, ANGEL A hit! Going… going… Gone! I do my best, From Cooperstown. I put it where you want, (walking to the mound to join Marvin and Angel) Angel has to do the rest. They hit it hard. (BLACKOUT) What the hell was that? It’s over the wall DUTCH I haven’t seen ball that bad End of Scene 6 And out of the yard! Don’t give me that baloney, Wilder! Since I managed in Florida! What’s going on with you two? SCENE 7 (“Seventh Inning”) MARVIN MARVIN Envy? Jealousy? “First Base” Sports Bar. Evening. Show me heat—no hesitation, (to Dutch) I’m watching you, Marvin, Lilly and Jan enter simultaneously—Marvin Out on the mound, no reservations. I call low and inside, And I don’t like what I see! stage right, Lilly and Jan stage left. They converge at ANGEL He throws high and wide! the bar. Marvin is more fashionably dressed and Marvin shakes his head contemptuously and I’ll throw the pitches groomed than previously. Jan reacts—looks him up and ANGEL strides from the mound. I want to throw. down with a lascivious smirk of exaggerated surprise. I don’t need your calls! Halfway to the dugout he stops and turns to the Whatever you tell me, Marvin reacts by slowly turning around, displaying audience. I can always say “No!” DUTCH himself as a matador shows off his suit of lights to I didn’t come out here the crowd, to elicit applause. He signals the Just to pat you on the ass. BARMAN who sets up three Martini glasses and LILLY And you know what you’d find? He twirls her—she’s performing for a moment— begins the mixing ritual…. Throughout the scene, Marvin broke your heart— A lot of little broads then spins back into his embrace. until Jan’s exit, Marvin positions himself strategi- And a jazz band. JAN MARVIN cally between the two women. He merely took the dare. She grabs a mike from a stand and sings in the Corazon is still a kid LILLY manner of a ‘Berlin Ballad’ introduction: Who sees his face Marvin returns, takes his place between them. I’ll just check my messages. On baseball cards. JAN LILLY JAN For the love of a Single-A boy Clutched to his chest I thought Angel would be here. Don’t make that call! I gave up the joy Like brightly colored toys— Why tie strings to a star? JAN Of singing in small up-state churches. You complete his collection. You’re left with heat The Angel I know Schubert and hymns LILLY Grown cold and blurred. Makes up rules as he goes. Gave way to the whims The swinging single life MARVIN MARVIN Of dreams losing their purchase. You men all flaunt— So poetic—I’m sympathetic Rich, young and handsome— Where’s the truth in that? Jan now sings in full ‘Ballad’ style: As his post-season numbers go south… At the top of his game! MARVIN Your Dominican Tourist, once so athletic; Let him enjoy Romance is frail— Whistling in the dark, Back to the mano to mouth… His fifteen minutes of fame. A kind of jail We search for life, for love— Made of illusions and rapture. Back to the Island— LILLY We seek, we need, and want it! Hola, mis amigos! What are you implying? Through gin and tears, LILLY Back in the ’hood! I sing of the year MARVIN You do? When I loved an Angel. Marvin steps away to where the Bartender waits, Be careful what you wish for. MARVIN leaving Jan and Lilly briefly alone. Jan continues to sing wordless ‘vocalise’ as Lilly LILLY I do. and Marvin dance. JAN Just friends! LILLY / JAN Stylish dresser… That is where it ends! LILLY I am weary of men I’m sure he’s very happy LILLY MARVIN Who only live for winning. With his new-found fame The dimmer the light, the better. (to Jan) I remember what I knew, Dazzling some low-rent dame. Why protect him— At the start, at the beginning. JAN Why not tell her? MARVIN Ruggedly handsome, don’t you think? MARVIN Angel disappointed you as well! I’m your consolation prize. My gaming ends LILLY Jan stands and walks toward the Band. LILLY With the ninth inning. So they say—he gets a lot of ink. (with bitter humor) JAN Jan ends her singing interlude—kisses one of the JAN You see the question marks in my eyes? (spoken) musicians—rejoins Marvin and Lilly. He’s got style—and savoir faire. Open up a ballplayer’s head JAN Love is the loser’s game, LILLY Are you hustling me, Still no Angel I see? The stats are bent and fake. Your face is a mask— Mister All-Star Catcher in the Rye? That’s old business to me. Lovers place their foolish bets, If not for Jan, MARVIN Hoping to beat the Fates. Then for whom? (quickly checks her cell phone, then flips it closed) Call it ‘courting’ please— Another client, Cupid is nodding off, MARVIN A charge I won’t deny. Young and compliant, But I am wide awake— Who else is in the room? LILLY Waits for me Uptown. —In the give and take. LILLY Then court me as you may This one won’t let me down! Marvin receives two Martinis from the Bartender You came hoping? For just this one night. Jan gives Lilly a quick air-kiss on both cheeks, the and carries them back to Lilly. My heart is in two places, MARVIN same to Marvin, and breezes off-stage with a wave One is bright green and illuminated from within— Too weary to fight. —Angel would not! back to them. A moment of silence follows as Marvin an ‘Appletini’ cocktail. That summarizes the plot. Lilly rests her head on Marvin’s shoulder. He drapes walks to the end of the bar, and speaks ‘sotto voce’ to Marvin offers it to Lilly as the lights dim around them. his coat around her and guides her toward the door. the Barman. As Marvin waits for drinks he sings to the LILLY MARVIN audience, implying that Lilly does not hear. Lilly sits Odds favor its success; LILLY Ever try an Appletini? alone at the other end of the bar, lost in thought. My little fling seems a mess. I can feel LILLY A touch of fall. MARVIN The Bartender sets up two more Martinis, then moves Am I allowed? Fingers of frost cover Trust, freely given, to the end of the bar. He remains, as if waiting to MARVIN The tumbling leaves. Is the coin of the lover’s realm. close, in the half-shadow. Lilly downs her previous (holds up his Martini in toast) Steal it away, Martini. Marvin places a fresh one before her. We reap what we sow, To romance— Drink the bitter with the sweet. And hearts will break. LILLY LILLY Harvest as best we can— Forgiveness, if it comes at all, That’s my limit. (holds up her glass and touches his) The bold, the brave, the meek. Is always a little late— (throws her head back and shakes it, as if trying to To happiness— —In the give and take. clear her mind) MARVIN When push comes to shove, MARVIN I think I’m getting tight. October is the cruelest month. And doing a little business. I never make mistakes. MARVIN (BLACKOUT) Dreams that lovers dream, They each take a sip. Lilly places her glass on the bar. I know a place we could go— Are easy to placate. End of Scene 7 LILLY LILLY SCENE 8 (“Eighth Inning”) Like reporters, You’re here with your Beefeater dry— I should say good-night. Metropolitan Stadium bullpen, twilight. You can buy ’em with a steak! Why not out with the guys? —In the give and take. MARVIN Dutch leans on a rail by a dugout phone, flipping MARVIN —it’s on your way home. through pages on a clipboard, preparing for the (Instrumental Solo Verse) Why do you ask? Pennant Game about to start. Angel slumps on the LILLY bench, the picture of despair. (tipsy) DUTCH What to do! ANGEL LILLY LILLY One hundred-sixty games done. A man must have Go back to your world, I need you to hear, Never in my life, One more victory, A woman he can trust. So near, yet so far away! Please don’t send me away. Have I lost my way. The Pennant’s won. You need to leave now— Don’t ever let me— Lost what I held close, LILLY Bottom of the eighth, Go! Go! And found my heart astray. You did. Blues lead by a run. Lilly rushes away in tears. Never in my life, Three outs away from ANGEL Have I seen the stars so clear. Our Series in the sun. (in Spanish) (in English) ANGEL Love is a nebula spinning “Una mujer que le trae ‘A woman who brings For years, kept to myself— Nine strikes—it’s over! Around an invisible core. Paz a su corazon.” Peace to his heart.’ My secret—Mi Corazon. I’ve got to have a closer! I always play each game, Angel, I can still feel LILLY Dutch exits. Lilly appears at the rail above Angel, Like it was my last. The touch of your hand. I could. looking distraught. Angel sees her—they gaze at Press my ear to your chest, Love weighs on my chest, one another, silent for a long while. ANGEL To hear its beating sound. I’m pitching on two days rest, How can you prove that, now? ANGEL We’re in the Pennant now, Lilly exits. I called—you didn’t answer. Not at the beginning. LILLY DUTCH I called later—still, no answer. You’ll have to take it “No pain, no gain.” Why have you got such LILLY On faith. For lovers that is true. A problem with him Wilder? What can I tell you? Set love aside— ANGEL MARVIN Now is the time for winning. ANGEL Who are you He rankles me. The truth! To talk of faith? The bullpen phone rings. DUTCH Go back to your world LILLY DUTCH Everybody rankles you. Of white-gloved doormen! We’re in love— Angel! MARVIN That’s the truth. LILLY Time to plow the field! No one is that good at ball, Parquet floors are better than dirt! Light ’em up ANGEL No one is that good in bed, Loving you is a world of hurt. Shut ’em down, At half-past three— It’s messed with his head! My life depends on love, And wrap the Show! “Away from the phone Yours ends with the ball and glove. Nine strikes it’s over— DUTCH Or on another line,” Within these walls, I’ve got to have a closer! Only a few days to go— —All night long? Greenness is all— Play it cool, and play it straight. Angel picks up his glove and walks to the mound LILLY Outside all is gray. I want you thinking at the plate. (exits). Lilly appears in the stands. You stood me up! Where the faithless deceive MARVIN ANGEL —And betray. I’ll try to behave. No one tells a Corazon DUTCH Only pain is predicted! Angel bends to see Marvin’s signs. He shakes the LILLY You’re gonna send me first sign off—“No!” Shakes off the second — Is life nothing but a game, Marvin flips his mask down, crouches down in a To an early grave! shakes off the third! Checks first, then throws. Played for pleasure— ‘catcher’s stance,’ facing the audience. The crack of a bat—another roar from the Dutch exits. LILLY / ANGEL Behind your catcher’s mask crowd!—Angel reacts—upset with himself. Played for profit? MARVIN On a rock you bask, Catches a ball from the plate and then turns Games! I was not raised, Curled reptilian evil! toward the audience. Games! Between Lexington and Park. I know you, Marvin— Top of the ninth, Games! I do not hail from a I know what—and who— Two on, no outs— Colorful cruise destination. DUTCH You are! Tying run on second. (shouted) Two on, no outs. In my shotgun world (BLACKOUT) Time out! My stuff’s not working! They slave all their lives End of Scene 8 Dutch beckons Marvin—they trot to the mound for To honor their DUTCH a conference. Small obligations. SCENE 9 (“Ninth Inning”) (shouts first sign-word—then sings) Metropolitan Stadium—the afternoon continues. Cross! You boys want to fill me in? They’re fools—suckers— Angel stands on the mound, holding a baseball. Marvin Break off the mound! Why the shaking off? Set up—knocked down. squats at the plate. Dutch leans on the dugout rail. Circus! Laid out—wrapped up. MARVIN In close for the bunt! The grave their final vacation! ANGEL Save yourself another trip, What can we believe in? Angel makes no reaction—his attention has wan- Yank him now! Jan enters the dugout area, furiously confronting Why should we forgive? dered. Lilly appears in the stands. DUTCH Marvin. Who plays the fool, LILLY (gesturing to Angel, then to Marvin) JAN When we hope against all odds? Why me? He stays— This dugout’s a snake pit! He throws. The sound of a hit—cheers—Angel Why must I love this man? You shut up! You’re the cause of it! slumps—receives a new ball. Show me some baseball. What the hell was I thinking? ANGEL At home we trust My heart is bleeding Dutch stalks back to the dugout. Twice burned, The rain will come, Into my game. MARVIN You would think I would learn— Fish will bite, I’ve been a fool! You haven’t got what it takes. I’ve got to cut out the drinking! Tourists will throw us their silver. LILLY / ANGEL What could I have gained, ANGEL The rains came— Who’s behind? That would counter the pain We’ll see about that! Dollars pouring down on me. Who’s ahead? Jealous desires inflicted? Doors opened, Marvin flips Angel the ball—Angel bobbles and When love is a vice Crowded with smiling faces, drops it. Marvin walks back to the plate. Not worth the price Beautiful and false. Jan enters the stands and joins Lilly. JAN DUET ANGEL DUTCH What’s the score? (Sung to Angel) If you keep the ball Positions— JAN LILLY From hitting the backstop, Deliver! LILLY Double play! Send me away— You’ve done all You and Marvin are ahead. MARVIN Score it six-five-four! Treat me like a whore! I need you to do! JAN We live for this! Keep it going, Angel Treat me like a fool, I never intended— MARVIN Just one more! Just once more! MARVIN / ANGEL When I call a deuce LILLY We live for this! DUET How ’bout you produce (interrupting) (Sung to each other) A curve ball, DUTCH —Games! ANGEL MARVIN Instead of excuses? Let’s play ball! It’s all a game to you. He’s a power hitter— He’s a right-hander. Where was Angel last night? LILLY DUTCH / MARVIN Sucker for a slider. He knows you’ll throw outside Love in the balance— Let’s play ball! JAN Why call for I never meant— A low inside? I called for a splitter. JAN DUTCH / MARVIN / ANGEL Careers on the line— Let’s play ball! DUTCH QUINTET (ALL) (QUINTET ENDS) Let’s go Bluebloods— let’s go! DUTCH LILLY / JAN We’re taking our chances— JAN DUTCH / ANGEL On with the show! One point at a time! (spoken) Let’s go Bluebloods— let’s go! You’re not paid No!—Marvin wouldn’t dare! To stand around— DUTCH DUTCH / ANGEL / JAN Let’s see some pitching— Let’s go Bluebloods, let’s go! Jan quickly exits—implying she is on her way down Let’s go Bluebloods— let’s go! Let’s see some catching! to the dugout. MARVIN ALL LILLY Everyone ready? DUTCH Let’s go Bluebloods— let’s go! Angel lives for the game, (spoken) ANGEL Angel peers at the plate… shakes off Marvin’s More than he lives his life! I’m sending that Do it now! sign, then throws… Why must I lose, sonofabitch catcher down! LILLY The crack of the bat! For Angel to win? Only a game— MARVIN Angel rubs up a new ball, checks Marvin’s signal JAN It’s only a game! (to himself, as he walks to the mound) —shakes it off once, twice, three times! Marvin is stalling— Time to serve it up— He calls “time out” and waves Marvin to the Lilly exits Crazy, power hungry— This knuckleball can’t miss. mound. Marvin trots out to the hill. JAN Everyone must lose— Marvin raises the baseball to the light. Down to the wire— So Wilder can win! The catcher becomes the pitcher— Right to the end! Straight up with a twist! ANGEL A sky so blue. In the seconds before they react to Angel, Dutch From his kneeling collapsed position, Angel reaches On this hill I am alone. We yearned for love, jumps for joy, while Marvin merely removes his his arm up and out to Lilly, as the lights fade to a My stats and life are my own, Yet life is cruel, mask and glove, as if it were just another win. He single spot, illuminating the baseball held in the No one else matters. It plays us all for fools. stands and stares—watches what follows from the palm of Angel’s hand. shadows. A single light illuminates the pitcher’s MARVIN I climbed this hill of sand, (BLACKOUT) mound, where Angel is on his knees, clutching his Then you won’t mind This summit of perfection. chest in pain. Lilly runs onto the field and cradles CURTAIN I was with the woman you treasured, The price is Lilly’s love, Angel in her arms. She is joined by Dutch and Jan. The trophy you pleasured! A price I cannot pay. * — A. Bartlett Giamatti DUTCH ANGEL What prize matters most? It breaks your heart. It was you last night— Peace of mind, It is designed It was you! A love for life? to break your heart. Or a place among the ghosts, Angel begins to rub his chest, as if reacting to Of Cooperstown? The game begins in spring, pain. His hand intermittently returns to his chest When everything throughout the remainder of this scene. LILLY begins again. Never in my life, ANGEL Have I seen the stars so clear. Filling afternoons (rubs his chest as if in response to pain) Love is a nebula, and evenings. Lilly? Spinning around an invisible core. Keeping the memory It can’t be true! of sunshine and high skies… Give me the touch of your hand— Marvin flips the ball to Angel, who in his shock …alive. And the scent of your hair! drops it. And then, as soon as the chill rains come Angel hurls his final pitch. In slow motion the ball MARVIN When the days are all twilight flies to the plate and the fearsome batter swings— (spoken) When you need it most and misses. Angel’s graceful follow-through …Welcome to The Show! becomes a slow collapse—he sinks to his knees… It stops. Marvin strides back to the plate. He sets up to The Bluebloods win the Pennant! And leaves you receive Angel’s pitch. to face the fall… ANGEL …alone.* ANGEL (hands on his chest) (looks up at the glowing evening sky) Lilly! A golden autumn eve, Mi corazon! Sun racing past, The Performers Soprano Julie Adams is a 2014 Winner of the Grand Finals of the Metropolitan Opera National Council Auditions. Julie studied with Cesar Ulloa at the San Francisco Conservatory of Music. In the summer of 2012, she participated in the International Vocal Arts Institute summer program in Tel Aviv, Israel, where she performed the role of Lia in L’enfant Prodigue. Julie sang the role of Pamina in Die Zauberflote at the Music Academy of the West in Santa Barbara, California in 2013, and will be a Merola Opera Fellow with San Francisco Opera in 2014.

Tenor Daniel Favela recently earned a degree in Vocal Performance from the Bob Cole Conservatory of Music at California State University Long Beach. He has performed with the San Diego Opera and was a member of The Royals, a doo-wop group out of San Diego. He has sung with legendary groups including The Drifters, The Flamingos, and The Safaris, and jazz artists James Moody and Don Shelton. Daniel was a soloist with the Holland Symphony in Michigan, singing Rachmaninoff’s The Bells in 2013. Mezzo-Soprano Carin Gilfry is an exciting new talent in the world of classical singing. Some of her operatic highlights include the U.S. premiere of Cavalli’s Elliogabalo at the Aspen Music Festival. In the summer of 2010, Ms. Gilfry created the role of Estrella in the world premiere of Life is a Dream at the Santa Fe Opera. In November of the same year she made her Los Angeles Opera debut as Giovanna in Verdi’s Rigoletto. Ms. Gilfry holds a Master of Music degree from the Juilliard School, and was a member of the Domingo-Thornton Young Artist Program at the Los Angeles Opera, and a member of the Young Artists Program at Glimmerglass Opera in 2011.

Baritone Rod Gilfry, two-time Grammy nominee, singer and actor, has performed in all the world’s music capitals. His most recent Grammy nomination was for his 2008 performance in the title role of Messiaen’s opera Saint Francois d’Assise in Amsterdam. Best known as an opera singer, he is also an acclaimed recitalist and concert artist, and appears frequently in musical theater classics. He devoted his entire 2009/10 season to the music of Rodgers and Hammerstein. His discography of 28 audio and video recordings includes the DVD and CD of his one-man show My Heart is So Full of You. With a 74-role repertoire, Gilfry sings music from the Baroque to that composed expressly for him.

Tenor Daniel Montenegro can be heard on Sony Classical’s The American Tenors DVD. Recent perfor- mances include Mario in Il Postino at the Theatre Musical de Chatelet alongside Placido Domingo, as well as at the Hollywood Bowl conducted by Gustavo Dudamel. Other recent appearances include Alfredo in La Traviata with the Minnesota Opera. Mr. Montenegro recently debuted with Washington National Opera. Daniel is a graduate of the Adler Fellowship Program at the San Francisco Opera. Gernot Bernroider, drums Russ Johnson, trumpets

Rich Mollin, bass

Jason Rigby, saxophones Acknowledgments Mastered by John Atkinson Particular thanks to: Music preparation by Jonathan B. Griffiths and John Atkinson — for calling the plays and the Terry Woodson Music Service marking the scorecard. Mrs. Edward T. Chase — for support of the premiere. Art Dudley — for Photography by Wes Bender (Band) match-making. Jeff Idelson and the team at the and Joseph D’Allessio (Vocal) Hall of Fame — for support of the premiere. Photograph of Mark Miller [“Mark Pitching”] Samuel Goldwyn Jr. — for the detailed notes © Lucy Hilmer. before, and the dinner after. Ian Krouse at UCLA — for the use of his office piano one summer. Graphic preparation by Ian Lascell Mike Marciano and Bill Schnee — for protecting All text excerpts public domain, except excerpt the plate. Mark Miller — for friendship and from the essay “The Green Fields of the Mind” work above and beyond. Luis Torres — for by A. Bartlett Giamatti, Algonquin Books of the translation. Van Dyke Parks — for match- Chapel Hill, Publisher. Used by permission. making. Anthony Scafide — for consulting. The paintings “Fastball” and “Curveball” by And to Stephanie Vlahos — for weathering the Josephine Coniglio (oil on canvas, 2003, 12 x 12 e-mail storms. inches). Used by permission of the artist. Cooperstown was first performed at the National Baseball Hall of Fame’s Grandstand Theatre Band sessions recorded at Systems Two, on May 19, 2007. Music Direction by Charles Sean Wayland, piano, Brooklyn, New York, June 16–17, 2011 Hammond C3 & Fender Rhodes Schneider. Directed by Patrick Calleo. Engineered by Mike Marciano — Cooperstown is dedicated to the memory of Vocal sessions recorded at Schnee Studio, Marvin Galbraith Barrett — Studio City, California, September 1–2, 2012 www.sashamatson.com Engineered by Bill Schnee and Kenton Fukuda © 2015 Published by Sasha Matson Music Co. BMI. Pro Tools editing by Justin Volpe Mixed by Mike Marciano at Systems Two Sasha Matson Cooperstown Jazz Opera in Nine Innings

Sasha Matson TROY1553 /54

Jazz Opera in Nine Innings

TROY1553 /54

Julie Adams / Daniel Favela Carin Gilfry / Rod Gilfry

Sasha Matson Cooperstown Jazz Opera in Nine Innings Daniel Montenegro Sasha Matson Cooperstown Jazz Opera in Nine Innings

Jazz Opera Music by Sasha Matson in Nine Innings Libretto by Mark Miller & Sasha Matson

TROY1553 /54 CD 1 CD 2 Act I Act II 1 Chart 1 [2:18] 1 Chart 6 [2:82]

2 First Inning (Dutch/Angel/Marvin) [7:40] 2 Sixth Inning (Dutch/Marvin/Angel) [7:54] 3 Chart 2 [1:14] 3 Chart 7 [1:37] 4 Second Inning (Lilly/Jan/Angel/Marvin) [10:03] 4 Seventh Inning (Lilly/Jan/Marvin) [12:30] 5 Chart 3 [1:25] 5 Chart 8 [1:52] 6 Third Inning (Jan/Dutch/Angel/Marvin) [8:38] 6 Eighth Inning (All) [11:07] 7 Chart 4 [1:25] 7 Chart 9 [1:23] 8 Fourth Inning (Lilly/JanAngel) [12:08] 8 Ninth Inning (All) [11:47] 9 Chart 5 [1:19] Total Time CD 2 = 50:12 10 Fifth Inning (Marvin/Jan) [7:41] Total Time CD 1 = 53:51

Julie Adams ...... Lilly Young Gernot Bernroider, drums / Russ Johnson, trumpets / Rich Mollin, bass Daniel Favela ...... Marvin Wilder Jason Rigby, saxophones / Sean Wayland, piano, Hammond C3, Fender Rhodes Carin Gilfry ...... Jan Green Rod Gilfry ...... Dutch Schulhaus Conducted by Sasha Matson Daniel Montenegro ...... Angel Corazon Directed by Stephanie Vlahos Produced by John Atkinson TROY1553 /54

WWW.ALBANYRECORDS.COM TROY1553/54 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Sasha Matson Cooperstown Jazz Opera in Nine Innings