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11/20/13 (“Frozen” Until Rehearsal Period) Presented by the Skylight

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11/20/13 (“Frozen” Until Rehearsal Period) Presented by the Skylight 11/20/13 (“Frozen” until rehearsal period) Presented by the Skylight Music Theatre Company, Milwaukee, Wisconsin I HEAR AMERICA SINGING Another Revolution of the Heart a musical Book, Music, and Lyrics by Daron Hagen (with additional public domain musical material drawn from traditional American ballads and folk songs, and poetry by William Blake, A.E. Houseman, and Gertrude Stein.) AGENCY CONTACT: Bill Rhoads and Associates Licensing Agent c/o Burning Sled Music 140 East Market Street Rhinebeck, NY 12572 347-684-1640 [email protected] Production Draft © Original Words and Music Copyright 2013 Burning Sled Music © Arrangements of public domain tunes Copyright 2013 Burning Sled Music Physical possession of this script does not imply the right to produce the work. I HEAR AMERICA SINGING CHARACTERS ROBBIE (TENOR / PIANIST) a successful, gay, middle-aged Broadway composer and music director living in an apartment on Manhattan’s Upper West Side. ROSE (SOPRANO) Robbie’s best friend, a successful, perpetually touring, middle-aged singer-actress based in Chicago. ROGER (BARITONE) Rose’s ex-husband, a recovering alcoholic struggling to revive a once-flourishing career as an opera singer, now living with, and caring for, his ailing mother in Milwaukee. SETTINGS Scenes 1-3: Robbie’s apartment on an upper floor of an apartment building on Manhattan’s Upper West Side somewhere in the mid-90s. A grand piano, covered with stacks of music, books, and manuscript paper, a wine bottle, the bust of a dead composer, a picture of Robbie, Roger, and Rose taken during graduate school, a folded-up checkered tablecloth, two wine glasses, and a beat up fedora. There’s a juice glass filled with pens and pencils and an ashtray on the rack. A standing lamp is positioned on the left side of the keyboard. A stack of books totters under the piano. Three stools are arrayed in the instrument’s bow, left, center, and right. Far left stand an easel and a pile of Manhasset music stands. Scene 4: An empty black box of the sort used by creative teams to audition shows for potential backers. A grand piano sits center. The stands and easel remain. TIME Recently DURATION Approximately 70 minutes. 2 I HEAR AMERICA SINGING SCENE 1: NO. 1: “Working” (Instrumental Music Under) The SOUND of traffic on Broadway, several floors below. ROBBIE, middle aged, wearing a Juilliard tee shirt and comfortable slacks, sits at the piano, composing as the AUDIENCE is admitted. HIS lair, right, is elevated a few feet above the rest of the stage and reached by several low steps. HIS glasses are perched, Hal-Prince-like, on HIS forehead. HE chews on a pencil, and emits grunts and snatches of melody as HE works. Much erasing. HE is illuminated in a pool of LIGHT. HIS grand piano is covered with personal objects: the bust of a favorite dead composer, a photograph of HIMSELF, with ROGER, and ROSE, a half-empty wine bottle, two wine glasses, a folded checkered table cloth, scripts, scores, and a fine fedora. Upstage, to ROBBIE’S left, stands an old lamp, which casts warm LIGHT on the keyboard. A juice glass filled with pens and pencils is on the right side of the rack; an ashtray, empty of butts, sits on the left side. To the left is the hallway and outer room of ROBBIE’S apartment. Three stools sit in a row center. Far left is a pile of beat up old Manhasset music stands, behind which an easel with a placard on it faces upstage. Center, by the door to ROBBIE’S apartment, stands a small end table with a plate on it suitable for receiving keys. After the AUDIENCE is seated, and the HOUSE LIGHTS dim, ROGER enters, left, wearing a beat up raincoat over a tweed coat, and a woolen Irish hat. HE has dark, prematurely graying “baritone hair,” of which HE is clearly proud, and a carefully tended beard and moustache. HE throws HIS keys on the plate. There is a folded copy of The New York Times under HIS arm. HE shakes HIS umbrella but does not close it. Instead, HE freezes, listening for a moment to ROBBIE. Smiling slightly, HE places the umbrella down without closing it. HE removes HIS raincoat and throws it next to the pile of music stands, then sits on one of three stools downstage of the piano, opens the newspaper, and begins to read. ROSE, wearing a stylish raincoat over a lovely dress, enters, makes as if to drop HER keys in the plate, sees ROGER’S, and puts them in HER pocket instead. SHE removes a pretty scarf from HER head, drapes it on the table over the key plate, shakes out her umbrella, and folds it up, placing it on the table. SHE advances into the sitting room while unbuttoning HER raincoat, which SHE places over the stool next to ROGER’S. HE ignores HER. SHE 3 I HEAR AMERICA SINGING crosses HER legs. One foot wiggles. SHE leans over and, with one finger, draws the newspaper down. ROSE You! ROGER Guilty. ROSE I’ll say. ROGER I was reading that! ROSE Oh, Roger. ROGER Been a long time, Rosie. ROSE You don’t get to call me that, anymore. ROGER Hmm. Okay. (Beat.) Rose. Uncomfortable beat. You flew? ROSE Sure did. (Beat.) You? ROGER (Nodding.) Mom’s health is failing. ROSE Ah. ROGER You should come up to see her. We’re not that far away. Milwaukee is practically a suburb of Chicago. Isn’t that what you used to say? ROSE I haven’t seen the inside of my apartment in Chicago for six months. 4 I HEAR AMERICA SINGING ROGER —The wages of sin? ROSE I wish. Just on the road. A “Fledermaus” in Akron, a “Kiss Me Kate” in St. Louis…. Anyway, I didn’t think … considering … that she would want to see the … ex-wife. ROGER Naw. I’ve always been pretty sure that she likes you better than me. (ROSE smiles; SHE changes the subject.) ROSE Trouble getting a cab? ROGER Same old—. ROSE Newark? ROGER LaGuardia. ROSE You beat me here. ROGER You flew in from O’Hare, too? ROSE No. L.A. I’m up for a sitcom—. ROGER (Tired.) Of course. I should have known. (Uncomfortable beat.) ROSE (Gesturing, and trying another tack.) Rain. ROGER (Hard.) The Irish call it “piss rain.” ROSE digests HIS anger, then tries, gently, yet another tack. 5 I HEAR AMERICA SINGING ROSE You can hear him composing in there. ROGER Yeah. (Beat.) Just like old times. ROSE Yeah. NO. 2: “I Hear America Singing” ROBBIE I HEAR AMERICA SINGING THE VARIED CAROLS, I HEAR. ROGER joins ROBBIE SO BLITHE AND STRONG, SO LOUD AND LONG, ROSE BEHOLD OUR SONGS, ARE GENUINE AND TRUE. ALL THREE I HEAR AMERICA SINGING BENEATH THE RED, WHITE, AND BLUE. EACH VOICE I HEAR RINGS PROUD AND CLEAR, PROCLAIMING FREEDOM’S CALL FOR ME AND YOU. ROBBIE I SING AMERICA’S ANTHEMS, OUR MUSICS, NEW SONGS AND OLD, ALL THREE I SING TO BRING LIGHT TO THE DARKEST NIGHT, BEHOLD THE SIGHT OF PEOPLE THAT ARE FREE ROBBIE rises from the piano. ALL THREE continue, a capella, as HE comes around front, hugs ROSE, shakes hands with ROGER, and seats HIMSELF on the center stool. 6 I HEAR AMERICA SINGING TO SING AMERICA’S ANTHEMS BENEATH THE RED, WHITE, AND BLUE. EACH VOICE I HEAR RINGS PROUD AND CLEAR, PROCLAIMING FREEDOM’S CALL FOR ME AND YOU. ROSE (Laughing.) Isn’t that how it, went, Robbie? ROBBIE (To ROSE.) A pity that the rest of the show stank. ROSE I sorta’ liked that song, though. ROGER (To ROSE.) I wasn’t paid. Were you? ROSE (To ROGER.) Honestly, Roger, I don’t remember. ROBBIE (To ROSE.) I sorta’ did, too. After all, I wrote it. ROSE (To ROBBIE.) Oh, it was a long, long time ago. ROGER (Aside, shaking his head.) Nope. Not a dime. ROBBIE (To ROSE.) Back when… ROSE (To ROBBIE.) …you (indicating ROBBIE) were straight… ROGER (To ROSE.) ..and you (indicating ROSE.)… ROSE (To ROGER.) …yes, I know. I (indicating HERSELF) was married to you (indicating ROGER), darling. ROBBIE (Aside.) It was a long, long time ago. 7 I HEAR AMERICA SINGING ROGER (To ROBBIE.) What do you mean by that? ROSE Boys. ROBBIE (To ROGER.) Only that it was a long, long time ago, Roger. ROSE Boys. ROGER (Crossing HIS arms, to ROBBIE, shaking HIS head.) Nope, pal. Never paid. Not a dime. Not a wooden nickel. Not a cent. ROBBIE (Rising from HIS stool, to ROGER) It wasn’t my fault. Shows close. ROGER (to ROSE.) Yeah. And people get divorced. ROSE Dammit! ROGER (Rising, to ROBBIE.) Not your fault? The critics pasted us. It was your score, Robbie. Some Sondheim you are. ROSE (Rising, exasperated.) Not that again! Beat. ROSE places a hand on each man’s chest and gently pushes HIM back down on HIS stool. ROBBIE (Quietly, to BOTH.) So. You’re here. Beat. ROGER turns away. ROSE reaches for ROBBIE’S hand. ROSE (To ROBBIE.) You called. ROBBIE (Smiling gratefully.) Rosie. HE Looks over his glasses at ROGER’S back. ROSE looks. 8 I HEAR AMERICA SINGING ROSE (To ROGER’S back, tenderly.) Ro-o-oger. ROGER (Turning.) Oh, please. ROBBIE (To ROGER.) Listen. I know it’s been a long time. ROGER (To ROBBIE, beginning rueful.) You got famous. (Beat, turning bitter) You got busy. (Ending angry) And I never got paid. ROSE Oh. For. Pete’s. Sake. ROGER (Quietly. Beat. Then, tenderly hurt.) And.
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