Scattershot Symphony #25

Theater Of The Imagination – Part 4

Welcome to:

Scattershot Symphony

The Music of Peter Link

(That’s me.)

This week being the twenty-fifth episode of this podcast, 

I prefer to let the music do the talkin’.  However, if you need to know more about me, please visit Wikipedia.com – Peter Link.   

This episode is entitled

“Theater Of The Imagination – Part 4”

Sundown, The Musical, came to me as a finished script, brought by two young very talented writers who had written script and lyrics and needed a composer. Normally, this is the kind of submission I would turn down immediately because if I’m going to work on a musical, I want to be around and involved from the get-go. Doing it their way is just not the way to do it. The composer should have a lot to say where a song goes in a script, especially on how the transitions are made that move scenes from dialogue to lyrics and song. 

One way I’ve always wanted to work, and what always worked for me, was to work with the book writer and take all their best and emotional moments and turn them into song. Book writers don’t always like this, but then being a bookwriter for a musical is often an unappreciated job for this very reason. His or her best scenes are turned into lyrics … and eventually, song.

One other very important principle is that songs must spring forth only when the emotion or the power of the moment is greater than the spoken word can communicate. Then the song feels natural as it evolves within the context of the play. Why? Because music is often a higher form of communication. That’s what musicals are all about. When the moment becomes the deepest, or the most exciting or the most cataclysmic, it becomes a song.

A third basic principle is that the song, in the modern musical, starting with Rodgers and Hammerstein’s Oklahoma, must advance the plot. The pre-Oklahoma fashion was to often put the song in a nightclub atmosphere as simply a piece of entertainment, as opposed to furthering the story line.

So getting a “finished” script was not at all my cup of tea. Consequently, the script from book writers Joe Bravaco and Larry Rosler with lyrics by Larry Rosler went immediately to the shelf, where it sat for months … unread. But Joe and Larry’s patience and persistance paid off. After several calls from them asking if I had yet been able to get to reading it, I finally gave in and sat down one day and read it through. 

In short, I loved it. It was a well written, very powerful, dramatic and wonderfully humorous telling of the close of the great American West ending in the famous Gunfight at the OK Corral. And it starred some of the biggest and most famous characters of the storied Western — Doc Holliday, Wyatt Earp and his two brothers, Virgil and Morgan, and the notorious Clanton Gang. As a boy, I could remember flipping a coin with my playmates to decide who could get to be Wyatt or Doc on any given playdate.

When in college, my summers were always spent working as a cowboy in Colorado either on a working ranch driving a herd of horses from New Mexico to Colorado, or even at a dude ranch leading trail rides into the mountains in Buena Vista. I even did some rodeo barrel racing and bareback riding, and actually once, on a bet, rode in total panic on the back of an extremely ticked off, wild bull out of a gate managing to stay on for at least 7 seconds before I was, most gratefully, sent flying into the air and quickly back onto the dust of the ring. It was probably the most frightening moment of my life sitting on the stinking back of a furious sweating and snorting 650 pound steer waiting for the gate to open.

So yes, I had a little cowboy in my blood.

But now, enough of my summertime cowboy phase. Let’s get to the real deal — one of the great mythic characters of the Wild West.

After a close brush with death during a showdown in the main street of Tombstone, Arizona, our inebriated gunslinger, Doc Holliday, realizes it’s time to reevaluate his life. Before his luck runs completely cold, he decides to put his gun and the West behind him and head back home to Baltimore where he once had a successful Dental practice. This will be his last Arizona Morning.

Let’s listen to Steve Blanchard, our Doc Holliday, sing our opening song.

Arizona Morning

Music by Peter Link
Lyrics by Larry Rosler

Oh the desert sun is shining
On an Arizona morning
Setting all the world on fire
Turning canyons into gold
And I’ve never seen it bigger
And I’ve never seen it brighter
And it’s never been so clear to me
My luck is turning cold

I can see my life before me
On the Arizona morning
And there’s suddenly a future
Where the darkness used to be
Time to leave this world of wonder
To the coyotes and the badgers
Gonna leave before the undertaker
Gets his hands on me

Goodbye, Arizona morning
I have seen the light and seen it clean and clear
Goodbye, Arizona morning
I better figure where I’m gonna go from here
Here in the bright white morning

I could head down to Pueblo
But I’d drink too much tequila
I could head up to Nebraska
But I’d bust a gut on corn
And I’ve got a sudden craving
For Atlantic crab and oysters
So I’m packing up and heading east this Arizona morn

Goodbye, Arizona morning
I am heading home across the countryside
Goodbye, Arizona morning
I got a feeling that it’s time for me to ride
Into the bright, white morning

Going where the cool wind blows
Shake the desert from my clothes
Only Sagittarius knows
What lies ahead
For me

Adios and let’s get goin’
On an Arizona morning
Fare-thee-well, my friends and neighbors
May you keep your powder dry
Pretty soon I will be strollin’
On the beaches by the ocean
And I’ll think of all you sinners ‘neath the Arizona sky

Goodbye, Arizona morning
I am heading home across the countryside
Goodbye, Arizona morning
I got a feeling that it’s time for me to ride
So it’s goodbye Arizona morning
Goodbye Arizona sky!

Being much more a guitar player than a pianist, the score came easily for me. And my two fellow creators in Joe and Larry naturally understood my musical necessities and a solid collaboration was formed. Getting it on when we finished was another story. We first wanted to get the show out of town so that we could see what worked and what didn’t, but that meant sending the script and some music around to theaters outside of NYC. 

At the time I owned Westrax Recording Studios in NYC which offered me a great advantage in getting things produced because I could do great demos of the music for very little money. I ended up recording the entire album using friends who were Broadway stars. To hell with demos. In my own studio I could produce masters.

And for a cast, I was able to work with seasoned Broadway veterans.

So we decided to do something a little different and do the cast album before the show even opened. 

Also, back in those days, Broadway Cast albums were always recorded, once the show was deemed a certifiable hit, on the Monday off day following opening night. Many of the greatest hit shows of the time were recorded on that one Monday. Why in one day? Because Actors Equity had made a deal with the Broadway producers that each cast member had to get paid a full week’s salary PER DAY of recording the cast album.

It’s madness! For two reasons. One — because Albums just aren’t made in a day. Money forced tremendously long hours all day and all night with the orchestra which allowed only two or three takes per song … with the many of the actors sitting in the studio for the 24 hours. Often, to me, the results sounded like a rush job because, well, it was a rush job.

On top of that, the build to opening night for all actors in all shows is exhausting. By the time a show opens the cast is usually at the end of their energies, their voices raw from overuse and holding on for dear life. And so, on their first day off, after opening, they have to do a 24 hour session. Ridiculous!

In my first hit show album, Salvation, produced by Columbia Records, we had to do just that. When the day was over I thought to myself, “Never again!”

So, instead of making an album in one day, we worked on the Sundown recording project for about 5 months. The ability to do it right produced an award winning album that was most gratifying to all involved. Among many awards it won:

Top Ten Theatre Albums, 2004, Talkin’ Broadway.com

Top Twenty Theatre CDs, 2004, Broadway Radio Show

JPF Independent Music Award nominee for Best Theatre Recording, Sundown

JPF Independent Music Award nominee for Best Theatre Song, the title song, “Sundown” sung by Steve Blanchard

And the Billboard World Song of the Year honor, for “Bridges” from Sundown sung by Judy MacLane.

The songs you are hearing today are from that album.

OK, let’s get back to our story.

Later that Arizona morning, we meet the Clantons and McLaurys, who were actually not the ruff ridin’, bank robbin’ owlhoots I always imagined when I was a kid, but rather influential citizens of Tombstone who just so happened to be dirty politicians. In this next song both sets of outlaw brothers (or should we say, “Outside of the Law brothers) celebrate a lucrative deal with the Sante Fe Railroad, cementing their authority in town.

The Brothers Clanton and McLaury celebrate —

“WE AIN’T NEVER HAD IT SO GOOD”
Lyrics by Larry Rossler
Music by Peter Link

TOM
ONCE WE HAD TO SETTLE FOR CRUMBS

FRANK
Those days are done.

TOM NOW WE GOT THE PICK OF THE PLUMS

IKE
Why is that?

TOM WITH MR. RUGGLES UNDER OUR THUMBS

IKE
God bless him.

TOM
WE AIN’T NEVER HAD IT
NO WE AIN’T NEVER HAD IT SO GOOD

FRANK
We’re sitting pretty now.

IKE
Fat as a contented cow.

TOM
Sounds good, don’t it Billy Boy?

BILLY
I guess.

TOM
MADE THE DEAL AND LOCKED IT UP TIGHT

IKE
Tight as a drum.

TOM AIN’T NO COMPETITION IN SIGHT

FRANK
None that I see!

TOM
THE FUTURE’S LOOKING ROSY AND BRIGHT

IKE
It’s a new day!

TOM
HAVE WE EVERY HAD IT
SAY, HAVE WE EVER HAD IT SO GOOD?

FRANK, TOM, & BILLY IKE
WE AIN’T NEVER HAD IT SO GOOD OH NO
NO WE AIN’T NEVER HAD IT SO GOOD WE NEVER HAD IT COUNT YOUR LUCKY STARS AND NOW
AND KNOCK ON WOOD WE’RE GONNA GET IT

FRANK, TOM, BILLY & IKE WE AIN’T NEVER HAD IT SO GOOD

IKE
We owe it all to Frank.

TOM
Our chief negotiator.

FRANK
Was nothing at all.

TOM PUT IT THERE MY OLD BICKAROO

IKE
PUT IT RIGHT THERE

TOM GIVE A CHEER AND SING HALLELU

HALLEUJAH BROTHER!

TOM
THE GRAVY TRAIN HAS FINALLY COME THROUGH

IKE
LOOK THE TRAIN’S A-COMIN’!

TOM
HAVE WE EVER HAD IT
SAY, HAVE WE EVER HAD IT SO GOOD?

FRANK, TOM, BILLY IKE WE AIN’T NEVER HAD IT SO GOOD OH, NO
WE AIN’T NEVER HAD IT SO GOOD WE NEVER HAD IT
COUNT YOUR LUCKY STARS AND NOW
AND KNOCK ON WOOD WE’RE GONNA GET IT

FRANK, TOM, BILLY, IKE
WE AIN’T NEVER HAD IT BUT, GLORY BE, WE GOT IT
WE AIN’T NEVER HAD IT SO GOOD!

They invite Doc to join the celebration, but he has no time for their shenanigans. He is gettin out of the bad boy business and is packed and set to board a stage heading east. Doc’s plans, however, are waylaid ~ when the Earp brothers, his old cronies from Dodge City, also not the most ethical and incorruptible gentlemen to wear spurs and pack a .44, arrive in town. If Wyatt Earp, Tombstone’s newly appointed sheriff, can get Doc back into the fold, the Earp gang will possibly be Back in Business in Tombstone as well. Doc is soon swept into their revelry of old times, which includes a flashy gun-twirling good ol’ boys routine, and is hoodwinked into missing his stage.

The Brothers Earp and a reluctant Doc Holliday sing

Back in Business

In no time, Doc finds himself in the middle of a dispute between the Clantons and new Sheriff Wyatt Earp who, the Clantons discover, cannot be bought.  So, “Who will control the town?” Now, there’s the sticky wicket that the Clantons must elimintate before they lose their grip on Tombstone.

Doc Holliday, the Earps, Clantons and McLaurys face off and sing

 

“WE GOT A FLY IN THE OINTMENT”
Lyrics by Larry Rossler
Music by Peter Link

WE GOT A FLY IN THE OINTMENT
NOW AIN’T THAT A SHAME

IKE & FRANK

A WORM IN OUR APPLE

A MOTH IN OUR FLAME

IKE, FRANK & TOM

A MINOR DISTRACTION

BUT NEVERTHELESS

IKE, FRANK, TOM & BILLY

A FLY IN THE OINTMENT
HAD BETTER BE SWATTED I GUESS

TOM

That’s right.

1-2-25

IKE

WE GOT A LETTER FROM THE GOVERNOR                                           THAT YOU’RE GONNA BE OUR MAN                                                                                     NOW YOU’RE IN THE FAMILY                                                                WELCOME TO THE CLANTON CLAN

FRANK                                                          LEARN TO LOOK THE OTHER WAY                                                                                                      AND YOU MIGHT GET A RAISE IN PAY                                                            NOW WHAT DO YOU SAY TO THAT SIR?

(Offers a check to WYATT.)

WYATT                                                          I SAY SHOVE IT IN YOUR HAT, SIR

                                                           DOC
            (Suddenly stepping between IKE and WYATT)
What he means to say is he’s proud to serve the people of Tombstone and looks forward to working with you in a spirit of cooperation.  No extra incentive is necessary. Isn’t that what you mean to say, Wyatt? Wyatt?

WYATT

What I mean to say is: You try to buy this sheriff, and you’ll be negotiatin’ with the barrel of his shotgun.

IKE

Well, Mr. Earp…

WYATT

Well, Mr. Clanton…

WYATT [CUT BOLD]

            LOOKS LIKE

WE GOT A FLY IN THE OINTMENT

A BUG OUR BED

                                                                   
                                                            WYATT & MORGAN                    
A FLEA IN OUR FLANNELS

A LOUSE ON OUR HEAD

                                                            WYATT, MORGAN & VIRGIL 

A MINOR DISTRACTION

BUT NEVERTHELESS

A FLY IN THE OINTMENT

HAD BETTER BE SWATTED I GUESS

1-2-26

                                                            WYATT

That’s right…

(EARPS cross to CLANTONS and MCLAURYS. DOC splits them and turns to WYATT.)

                                                            DOC  

            IF I COULD ADD A WORD OF REASON TO

THIS RIVETING DEBATE

SIMPLY PUT, THE WORD IS “WHOA!”

SIMMER DOWN, NEGOTIATE

                                                                        WYATT

SIMMER DOWN?  I’LL TELL YOU WHAT

HE CAN CLEAN MY CHAMBER POT

(Moving to TOM)

                        WYATT (continued)

NOW TELL ME HOW YOU VOTE, SIR

                                                            TOM

I VOTE SHOVE IT DOWN YOUR THROAT, SIR

DOC

                                                (Stepping between TOM and WYATT)

Wyatt, what Tom means to say is he understands your position and will give your proposal all due thought and consideration. Isn’t that right, Tom?

                                                (TOM spits on the ground.)

                                                                        IKE

Well, Mr. Earp . .

                                                                        WYATT

Well, Mr. Clanton. . .

                                                (DOC observes the scene’s mounting tension from UC.)

WYATT (continued
LOOKS LIKE
MINOR DISTRACTION

BUT NEVERTHELESS

EARPS, MCLAURYS & CLANTONS

WE GOT A FLY IN THE OINTMENT

A MOUSE IN OUR TRUNK

A FOX IN OUR HENHOUSE

A SKUNK IN OUR BUNK

            A

EARPS, MCLAURYS & CLANTONS     
            A FLY IN THE OINMENT
HAD BETTER BE SWATTED I GUESS

YES!

WE GOT A FLY IN THE OINTMENT!

A SNAKE IN THE WELL!

A RAT IN THE RAFTERS!

A BAD AWFUL SMELL!

AND ALL OF A SUDDEN

THE WORLD’S OUT OF TUNE

THAT FLY IN THE OINTMENT
WE GOT TO GET RID OF IT SOON

IKE

Soon, Mr. Earp.

EARPS, MCLAURYS & CLANTONS

WE GOT TO GET RID OF IT SOON

WYATT

Soon, Ike, and it’s Sheriff Earp.

EARPS, MCLAURYS & CLANTONS

WE GOT TO GET RID OF IT
RID EVERY BIT OF IT

GOT TO GET RID OF IT SOON!

Though Sundown played in theaters around the country, it never opened in New York. It just isn’t big an’ brassy Broadway fare, and its cast of 11 is too large for the financial limitations of Off-Broadway.

Sundown was first presented in 2001 as a staged reading at the York Theater Company in NYC. It was then further developed in the ASCAP Musical Theater Workshop under the guiding eyes of both Steven Schwartz and Stephen Sondheim. It premiered in 2002 at the Lyric Stage in Irving Texas where it won a Dallas Drama League Nomination for best new play or musical. It received its East Coast premier in 2003 at the Barter Theater in Abington, Virginia.

Starting off in both locations gave the musical a firm foundation with critical reviews around the country. Here’s a few examples:

“Western Classic hits the mark!” ~Fort Worth Star Telegram

“Shootout makes bang-up musical~” ~The Dallas Morning News

“A rollicking good time.” ~Washington County News, Virginia

“A great musical play!” ~Bristol Herald, Bristol, Virginia

“The music is terrific. A tuneful show!” ~Stephen Schwartz, Composer of Wicked, Godspell and Pippin, ASCAP Musical Theater Workshop, New York

OK, I know, I’m heaping a lot of praise on my own work,  but for most of us mere mortals (excluding the Rodgers and Hammersteins, Neil Simons and Stephen Sondheims not to mention the William Shakespeares, the geniuses of our trade) getting a show up on Broadway and then having a hit is just not an easy task, to say the least. So, when you finally create something that actually works, where audiences laugh and cry at all the right moments, and then stand and cheer at the final curtain, then the critics agree and the show runs for a couple of years, and ya’ finally have something to crow about, well, then … ya’ gotta crow.

Cuz most of the time, Opening night ends in a crushing read of the New York Times review as the critic seals your fate in his pleasant, but mixed review. No other art form that I know of is so dependent on the press reviews for their life on the boards. In the 15 Broadway shows that I was part of as the composer, only about a third of them made much of an impact. It’s a rough business.

But when it’s a hit, well, I suppose that makes it all worth it … I suppose.

Anyway, back to our story …

Days later, after the opening clashes between both parties, with Wyatt still gloating over his forceful handling of the Clanton situation, Doc and Virgil Earp recommend to the overly aggressive Wyatt, a more enlightened approach to Politickin’.  

“POLITICKIN’”

Lyrics by Larry Rossler
Music by Peter Link

POLITICKIN’S SLAPPIN’ BACKS AND GRINNIN TILL YOU DROP

VIRGIL

DOC

VIRGIL IT’S TRADIN’ JOKES WITH COUNCILMEN IN THE LOCAL BARBERSHOP

DOC IT’S TELLIN’ INFLUENTIAL WIVES THEIR COOKIN’S FINGER LICKIN’

DOC & VIRGIL YOU THROW THE BULL AND PULL THE WOOL AND THAT’S CALLED POLITICKIN

WYATT NAW, POLITICKIN’S KNOWIN’ HOW
TO TWIST SOMEBODY’S ARM

MORGAN AND GOIN’ FOR THE JUGGLAR VEIN CAN WORK JUST LIKE A CHARM

WYATT THE SECRET LIES IN HOW TO KEEP THE PUBLIC TERROR STRICKIN’

WYATT & MORGAN A SMOKIN’ COLT’S THE NUTS AND BOLTS
OF OLD TIME POLITICKIN’

I’M TALIKN’ ‘BOUT THAT HAT TIPPIN’

DOC

WYATT
HEAD CRACKIN’

DOC & VIRGIL
HAND GRIPPIN’

WYATT & MORGAN
FACE SMACKIN’

DOC & VIRGIL
SLICK TRICKIN’

WYATT & MORGAN
ASS KICKIN’

WYATT, MORGAN, DOC & VIRGIL
POLITICKIN’

VIRGIL
POLITICKIN’S DOIN’ ALL
THE THINGS THAT I PROPOSE

WYATT AND I PROPOSE THERE’S NOTHIN’
LIKE A PUNCH RIGHT IN THE NOSE

DOC
NO THAT’S NOT IT

WYATT
YOU LOST YOUR GRIT

DOC
NOT ME

WYATT
YOU’RE TURNIN’ CHICKEN

WYATT & DOC GUESS YOU AND ME JUST CAN’T AGREE
ON THIS HERE POLITICKIN’

DOC & VIRGIL THINK OF THE FUTURE IF YOU TRY ANOTHER TACK
WYATT EARP IN WASHINGTON, WE’LL EVEN HELP YOU PACK YOU COULD FULFILL YOUR GREAT AMBITION
BUT FIRST YOU’VE GOT TO PLAY THE POLITICIAN LIKE

DOC
BEN FRANKLIN

VIRGIL
JOHN ADAMS

DOC
DAN WEBSTER

VIRGIL
ABE LINCOLN
WELL, WYATT?
DOC
(More spoken than sung)

WYATT
I’LL TRY IT!

WYATT & VIRGIL
POLITICKIN’!

DOC
Now ya got it, Wyatt.

WYATT & DOC
POLITICKIN

VIRGIL
The man’s come to his senses!

MORGAN
Never thought I’d see the day.

WYATT, DOC, VIRGIL & MORGAN
POLITICKIN

However,  the Clantons have played their own politickin’ and have had Wyatt Earp removed from the office of sherrif. This does not sit at all well with Wyatt, who thinks he needs Doc to help him retrieve the badge, but Doc again refuses to become involved. 

Again, Steve Blanchard, as Doc Holliday,

“THE REST OF MY LIFE”
Lyrics by Larry Rossler
Music by Peter Link

DOC (continued)
YOU CAN BE RECKLESS THE REST OF YOUR LIFE
LIVING FOREVER ON THE RAZOR’S EDGE
IF IT’S A LIFE YOU CHOOSE TO LEAD YOU CAN BLEED THE REST OF YOUR LIFE

I’M GONNA RESCUE THE REST OF MY LIFE
PULLING MY LIFE OUT OF THE RAGING FIRE
GO ON AND DIG YOURSELF A GRAVE WHILE I SAVE THE REST OF MY LIFE
CAUSE I’M GOING HOME
YEAH I’VE WASTED GOLDEN DAYS AND NIGHTS IN DIRTY SALOONS I GOT TO GET MOVIN’

I think a desert fever has made you delirious. That’s the only explanation for this charlatan who stands before me.

DOC
I GOT TO GET MOVIN’ AND MAKE A NEW LIFE
I MADE UP MY MIND TO DO THE BEST I CAN
IF YOU COULD LOOK INSIDE OF ME YOU WOULD SEE A DIFFERENT MAN

WYATT
That’s hogwash. There ain’t a mad coyote from here to Leadville who’d fall for that bluff.

DOC
It’s no bluff, Wyatt.

DOC (continued)
I WANT A GOOD HOME
A ROOF ABOVE MY HEAD
A SURE FOUNDATION OF STONE A RUG ON THE FLOOR
A PERMANENT BED IF I CAN FIND IT
I’LL NEVER LEAVE IT THE REST OF MY LIFE

WYATT
You’re the only one who knowsa what that badge means to my name. It’s my redemption, Doc. Don’t let me fall into the abyss. Throw me a rope, partner, before I disappear.

(WYATT exits)

DOC
I’m the one who awaits redemption, my friend.

DOC (continued)
NOW I’VE HAD A SIGN
AND I’VE GOT A SECOND CHANCE TO SEE IF I CAN BE THE MAN I WAS MEANT TO BE

I’VE SEEN ALL THE LONESOME TOWNS I CARE TO SEE I’VE LAID AWAKE AT NIGHT

IN ALL THE FLEA BITTEN LONELY ROOMS

DOC (continued) I JUST CAN’T BE THAT MAN ANYMORE
THERE’S SO MUCH CONFUSION IN THIS CRAZY WORLD

I START TO GO AND THEN YOU SHOW YOU’RE UGLY FACE AGAIN AND THE GAME BEGINS
THE GAME BEGINS AGAIN

I’M GONNA RESCUE THE REST OF MY LIFE
PULLING MY LIFE OUT OF THE RAGING FIRE
GO ON AND DIG YOURSELF A GRAVE WHILE I SAVE THE REST OF MY LIFE
THE REST OF MY LIFE THE REST OF MY LIFE

Later that night at the Oriental Saloon, as the Clantons relish their defeat of Wyatt Earp, a disheveled Kate Fisher, the heroine of our story and new in town, barrels through the bar room door looking for a bottle of whiskey. Tom McLaury, the gang’s muscle and ladies’ man, likes what he sees and attempts to seduce Kate with One More Drink … and then another … and then another … 

Joe Lutton as Tom Mclaury and Judy MacLane as Kate Fisher …

One More Drink
Music by Peter Link
Lyrics by Larry Rosler

I got a pocket of greenbacks
And bought a bottle of rye
I got a hunch you been travelin’
And you’re probably dry

What are you drivin’ at?

Well, I been standing here wondrin’
If such a good lookin’ lass
Would kill the night with a cowboy
And let him fill up her glass

This place is soundin’ better.

Come one and raise it up
You little butter cup
While the night is young
Come on, baby, gonna have some fun

All right!

Why don’t you have
One more drink
Honey, have one more drink
Whatever problems you got
Say goodbye to them with one little shot

Come on, woman.

Why don’t you have
One more drink
Honey, have one more drink
I betcha we could have fun
Have a drink
Well, just one

Bottoms up!

I got a big rig
That’s ready to go
So take a big swig
We’ll take a ride where the lights are low

Whoa!

But you’re a smooth talkin’ cowboy
And lookin’ handsome as sin

Why, thank you.

I hope you won’t take advantage
Of this condition I’m in

Me??

When you get to talkin’ romantic
A girl could hardly decline
And makin’ love on a buckboard
Is sendin’ chills up my spine

I thought you’d like it.

But baby slow it down
We oughta paint the town
While the night is young
Come on, baby, gonna have some fun

Set ’em up!

You better buy

One more drink
Atta girl!
One more drink
Whatever problems we got
Say good-bye to them with one little shot

Come on, woman, throw it down!

Why don’t we have
One more drink
Honey, have –
One more drink
We’ll have a ball and we’ll shoot
One more shot
One more toot
Feels so good

Why don’t you have
One more drink
Yeah let’s have
One more drink
We’ll have a laugh and we’ll pour
One more drink

Pour one more
That’s two more drinks
Pour two more
Make it three more drinks
Aw hell, pour four
Just give me
One more drink!

Meanwhile, outside the Oriental Bar and Hotel, a despondent Wyatt sits with Doc, who suggests that if Wyatt had a woman, he might stop agonizing over his lost sheriff’s badge. It’s then that the drunken Kate staggers out of the hotel/bar and passes out cold. When Tom McLaury tries to claim her, Doc outwits him, sauntering off with Kate slung over his shoulder. Tom, properly humiliated, swears that Doc has not had the last word. 

The next morning in Doc’s room, Kate wakes to discover Doc dressing to leave town. She is intrigued by this gentleman gunfighter and wants to know more about him.

Again, Steve Blanchard,

 

“THE PRODIGAL SON”
Lyrics by Larry Rossler
Music by Peter Link

DOC
HEY SAID I WAS BORN UNDER A LUCKY STAR
“OUR JOHNNIE HAS PROMISE HE’S GONNA GO FAR”
BUT MAMA AND PAPA NEVER KNEW I’D BE THE PRODIGAL SON
WHOSE PROMISE FELL THROUGH

BLAME IT ON CIRCUMSTANCE BAD LUCK OR CHANCE BLAME IT ON THE STARS
AND THEIR MERCURIAL DANCE
I’VE GOT EXCUSES BUT ALL THE SAME THERE’S ONLY JOHN HOLLIDAY TO BLAME YES, THERE’S ONLY JOHN HOLLIDAY TO BLAME

KATE
I may not look the type, but I’ve read the King James during some dark hours, and if I ain’t mistaken, The Prodigal Son is suppose to teach us a lesson. You familiar with that lesson, Doc?
DOC
It’s one I’m banking on.

DOC (continued)
YOU NEVER WIN BACK
THE OPPORTUNITIES LOST THE TALENT YOU WASTED THE TIME THAT IT COST YOU CAN’T RELIVE LIFE THAT’S PASSED YOU BY
AND YET THIS PRODIGAL SON IS GIVING IT A TRY

YOU’LL NEVER CATCH A SHADOW DANCING ON THE WALL
YOU CAN’T RETURN TO SPRING AFTER AUTUMN LEAVES FALL
AND YOU CAN’T GRAB A SMOKE RING DRIFTIN’ BY BUT I’M GOIN’ BACK HOME AND GIVIN’ IT A TRY

Now, with a deliciously fascinating Kate Fisher suddenly in his life, Doc’s plan to leave Tombstone is once again postponed. 

We were excited when we got the chance to present Sundown in its home, the great South West. As it turned out, we later received the following note from its producers. 

I quote:

“Sundown at The Adobe Theater in Albuquerque, New Mexico, was an overwhelming success. The show routinely sold out and set a revenue record for our theater.”
— Cy & Jane Hoffman, directors

We knew Sundown was not meant for a Broadway production, so we never tried, even though we got the following support from New York producers and writers like:

“The music is terrific! A tuneful show!”
— Stephen Schwartz

“Beautiful songs. ‘Sundown’ is haunting.”
— Rupert Holmes

“Haunting and touching.”
Lauren Mitchell, Dodgers Theatrical Producers

“A melodic and engrossing musical. Unexpected in its subject and treatment. The score and book are excellent!”
— Jim Morgan, artistic director, York Theatre Company

Too big a cast for off-Broadway and not right for Broadway, it played around the country most successfully, but with a cast of nine men and only two women, it did not get produced by schools and community theaters much because it seems that more often, shows with lots of women’s roles get produced because good male singers are hard to find outside of New York. Once again, it’s a tough business where often one learns the hard way.

OK, more story …

When Wyatt learns that a woman now preoccupies Doc’s time, he bemoans the plight of men. I always loved the bluster of Wyatt beautifully played by actor, Patrick Ryan Sullivan. Here he laments the fact that

 Men Ain’t What They Used to Be

However, none of Wyatt’s bravado can sway Doc to join his crusade against the Clantons. 

That night, while on the town with Kate, Doc is struck with a coughing fit. “Probably consumption,” he explains.  Doc assures her that he has it licked, and he’s going home before anything else can harm him. On impulse, Doc invites Kate to join him in Baltimore. She, wisely, needs to think about it, so Doc returns to his room to freshen up, giving Kate time to consider his proposition.

Probably the most memorable song from the show, Judy MacLane as Kate Fisher considers …

Bridges
Lyrics by Larry Rossler
Music by Peter Link

IF I’DA STAYED WITH THAT LAWYER
OUT IN SANTE FE

HE WOULDA DRAPED ME IN JEWELRY
AND I’D BE RICH TODAY
I COULDA SEEN ATLANTIC CITY
AND SARATOGA SPRINGS
AND IN TIME I’D HAVE FIVE BABIES
TUGGING AT MY APRON STRINGS

PASSED UP A CHANCE WITH A HANDSOME
KANSAS FARMER THAT I KNEW
I COULDA GOT TIED AND BEEN A BRIDE
IF I’DA ONLY SAID “I DO”
COULDA RUSTLED UP HIS BREAKFAST
FIXED SUPPER FOR HIS KIN
MAYBE PLANT SOME WHEAT AND BARLEY
WHILE I GREW A DOUBLE CHIN

I BEEN BURNIN’ BRIDGES BEHIND ME
AND THE TIME IS TICKIN’ ON
I WANT TO TAKE WHAT I CAN GET
BEFORE ALL MY BRIDGES ARE GONE
BEFORE ALL MY BRIDGES ARE GONE
BEFORE ALL MY BRIDGES ARE GONE

WHERE IS MY SOLDIER FROM TEXAS
WHO SWEPT ME OFF MY FEET?
WAS IT A SAILOR OR A TAILOR
WHO LIVED ON BOURBON STREET?
WELL, I’VE HAD BEAUS BY THE BUSHEL
AND LIFE AIN’T OVER YET
BUT THEN I LOOK THERE IN THE MIRROR
AND IT WON’T LET ME FORGET

I BEEN BURNIN’ BRIDGES BEHIND ME
AND THE TIME IS TICKIN’ ON
I BETTER TAKE WHAT I CAN GET
BEFORE ALL MY BRIDGES ARE GONE
BEFORE ALL MY BRIDGES ARE GONE
BEFORE ALL MY BRIDGES ARE GONE

And so we close our first act with two of our strongest songs and most powerful moments.

Back at the Oriental Hotel, the Clantons successfully tempt Doc with one last game of poker before he leaves. During game, he catches Billy Clanton cheating. A fight erupts with a vengeful Tom brutally beating a coughing and weakened Doc within an inch of his life. On his knees now and struggling for breath, Doc realizes that time is running out. Woman In Black, sometimes known as Delores Delmorte, (an angel of death) follows after Doc throughout the musical impatiently waiting to do her last rights. She hovers over his every precarious move always waiting … Played by Julia Wade, she begins the first act closer.

Steve Blanchard

Sundown

ACT TWO

The Clanton gang is anxiously awaiting the arrival of the stage that is carrying their money from the mostly corrupt Sante Fe Railroad deal. However, Doc, now somewhat recovered, has other plans for the cold, hard cash. He robs the stage.

When word spreads that the stage has been hit and their money stolen, the Clantons, no dummies, easily suspect the culprit and vow to take care of Doc for good. However, Doc, now emboldened by the robbery, has found new energy and welcomes their challenge. Only Kate recognizes the dire consequences and desperately pleads with Doc to leave Tombstone. 

Judy MacLane as Kate,

You Ain’t No Prisoner
Music by Peter Link
Lyrics by Larry Rosler

You can walk right out the door
Leave behind your heavy load
You can turn your life around
If you take a different road
Lead another life tomorrow
Start again when daylight breaks
You ain’t no pris’ner to your old mistakes

Get a grip and take control
That’s the thing you gotta do
You ain’t trapped inside a cage
There ain’t nothin’ stoppin’ you
Yesterday is dead and gone now
Start again when dawn appears
You ain’t no pris’ner to your burned up years

You ain’t no pris’ner
You ain’t no pris’ner
You ain’t no pris’ner
You’re a free man
Free to choose

You don’t wear no ball and chain
You ain’t under lock and key
Ain’t no jailer in this world
But yourself can set you free
If you want to change the future
Start again just start again
You ain’t no pris’ner to your ancient ways

You ain’t no pris’ner
You ain’t no pris’ner
You ain’t no pris’ner
You’re a free man
Free to choose

But it’s too late. At gunpoint, deputy sheriff, Tom, escorts Kate and Doc to the Cochise County Jail to settle the matter of the robbery once and for all. 

Meanwhile, Wyatt, who has been wallowing in liquor and self-pity, is itching for his own showdown with the Clantons, but his brothers insist he keep calm and wait.

The brothers, Earp, featuring Patrick Ryan Sullivan, Dennis Deal and Jimmy Bennett

 

“WAIT”
Lyrics by Larry Rossler
Music by Peter Link

VIRGIL
WAIT AND SEE
THAT’S HOW WE PLAY IT BEFORE YOU MOVE
A PAWN OR KING
YOU PONDER AND YA’ WEIGH IT

WYATT
I can’t do that.

DON’T PUSH DON’T RUSH
DON’T TAKE THE BAIT WYATT, WAIT

VIRGIL (continued)

WYATT
Come on, Virg.

WYATT, WAIT WAIT AND SEE
KEEP GOOD AND STEADY AND KEEP YOUR HEAD AND KEEP IT COOL
YOU GOT TO BE READY
VIRGIL

WYATT
I don’t know, boys.

LOOK OUT LOOK SHARP ANTICIPATE WYATT, WAIT

But, but, but –

VIRGIL

WYATT

WYATT, WAIT WAIT

VIRGIL

WYATT
ALL I HEAR IS WAIT

MORGAN
WAIT

WYATT
WAIT AND WAIT AGAIN

2-1-10C(1)

VIRGIL & MORGAN
WAIT

WYATT
WAIT, I’M SICK OF IT!

VIRGIL & MORGAN
WAIT

WYATT
WAIT AND WAIT TIL WHEN?

VIRGIL & MORGAN
WAIT

WAIT UNTIL WE’RE DEAD? ARE WE MICE OR MEN?

WYATT

I wanna draw first blood. I want revenge!

WYATT (continued) (spoken)

WAIT AND SEE HOLD YER HORSES

VIRGIL & MORGAN

YOU GOTTA MAKE A BATTLE PLAN AND MUSTER YOUR FORCES

WYATT
Well, likw when?

GOOD THINGS WILL COME
TO THOSE WHO WAIT

VIRGIL

OK, I’LL WAIT
THIS TIME I’LL WAIT FOR NOW I’LL WAIT

WYATT

WE WAIT WE WAIT WE WAI

At the jailhouse, Kate refuses to sign a statement, acknowledging Doc as the thief. An angry, frustrated Tom throws Kate behind bars and assaults her, as Doc, locked in an adjacent cell, helplessly stands by, unable to protect her. 

Dawn breaks. Doc and Kate are finally alone. In their separate cells they wonder what might have been had they met in … 

Another Time
Music by Peter Link
Lyrics by Larry Rosler

Kate
Why must the world
Keep you from me?
Oh, how I wish
That we were free
So free we could sail
Like hawks in the air
No chains and no jail
Just sky everywhere

Kate & Doc
How I wish I knew you
In another time
Wish the road led to you
In another time
To another place
And another time

Doc
I’m so sorry, Kate.

Kate
Nothin’ you coulda done. nothin’.

Kate & Doc
If all the stars
Stayed on our side
Lighting up trails
We never tried
We’d run brave and strong
Like wild horses do
We’d live good and long
One life, me and you

How I wish I knew you
In another time
Wish the road led to you
In another time
To another place
And another time

Not one to stew over her own misfortune, Kate uses her grit and wile to break out of jail. Once they’re free, she begs Doc to leave Tombstone before more time is lost. But after what Doc, helplessly behind bars, witnessed Tom doing to Kate, he is now resolute. Doc has other plans for Tom McLaury. 

Sneaking into a bedroom at China Mary’s bordello, Doc confronts Tom McLaury and sets the time and place of the final showdown. As Doc, the Earps, and the Clanton and McLauty Gang prepare for the fight, Kate implores Doc one last time to put down his gun. He can’t. The vindictive gunfighter is in his genes. Unwilling to watch him die, Kate leaves Doc forever. 

Doc and Company

Poison Water
Words by Larry Rosler
Music by Peter Link

[Doc]
Lord, you know I tried
Did my very best
To turn the other cheek
As you suggest
But love your enemy’s a hard request
When he’s reaching for his gun

Here I go again
And it makes me sad
To say goodbye
To all the dreams we had
So how did something good
Turn out so bad
Take a look at what we’ve done

Poisoned the water
Poisoned the water
Look at us now
We’ve poisoned the water
Poisoned water
Full of waste
Let them come and get a taste
Of poison water

[Tom]
Mother of mercy-

[Doc]
Relax, Tom. Just relax. We don’t want to wake the lady.

[Tom]
But I’m unarmed. You know China Mary don’t allow no guns in her rooms. You ain’t gonna shoot an unarmed man, are ya? Are ya?

[Doc]
I’m here to extend an invitation: you meet me later today, and we’ll settle the score for all time.

[Morgan]
Virg, what they done to Kate ain’t right.

[Virgil]
And what they do to one of us, they do to all.

[Morgan]
We should end it now

[Virgil]
We should do it quick
And when we do it, dammit, make it stick

[Morgan]
A little piece of lead should do the trick

[Virgil]
That’s the gospel truth my son

[Tom]
Gentlemen, this time Doc Holliday has called out the wrong man.

[Ike]
The wrong house, Tom, the wrong house.

[Frank]
Turn your back on wolves
This is what you git

[Ike]
You touch a rattlesnake
And you get bit

[Tom & Ike]
The talking’s over now we finish it
Take a look at what they’ve done

[Clantons, McLaurys, Morgan & Virgil]
Poisoned the water
Poisoned the water
Look at them now
They’ve poisoned the water
Poisoned water
Full of waste
Let them come and get a taste
Of poison water

[Wyatt]
You hear that?

[Wyatt]
It’s the sound of hearts beatin’ faster right before a kill. I love that sound. I’ll round up the boys, Doc. Don’t be long.

[Kate]
Doc, it’s not too late
Not for us
Cause I know
We can make it, Doc
Please don’t go
What of all those dreams
Of getting out
Cutting ties

[Woman in Black]
They were only pretty lies
Just a pack of pretty lies

[Kate]
I ain’t going to bury you. If you go down there, I gotta walk out on you.

[Doc]
I have no choice, Kate.

[Woman in Black]
See the minute hand
Moving on the clock
Too late to close the door
And turn the lock
It’s what you wanted
Are you ready, Doc?

[Earps]
Yeah, today they’re gonna pay

[Clantons & McLaurys]
Yeah, today they’re gonna pay

[All]
At a place they call OK
Cause they
Poisoned the water
Poisoned the water
We know just who poisoned the water
Poisoned water’s got to kill
Let them come and drink their fill
Of poisoned water

Let the water go
Let that poison flow

That afternoon the two gangs come face to face at the OK Corral, but the Clanton gang is no match for the professionals, Doc and the Earps, who, in less than sixty seconds, leave a Clanton and two McLaurys dead in the corral. Finally, our angel of death, the Woman In Black gets what she’s been longing for … but not exactly the way she imagined, for Doc lives on. So, join us now for a gunfight. Please bring along your imagination. We take you now to the killing ground of the OK Corral.

Prelude to a Gunfight

Six years later, a lonely Doc Holliday resides in a Colorado sanitarium. Death by consumption is imminent. The Woman In Black awaits the inevitable. While the tale of a gunfight has made Doc a legend, only thoughts of Kate keep him company.

“ANOTHER TIME” –reprise
Lyrics by Larry Rossler
Music by Peter Link

DOC
THANK THE LORD I MET YOU
AND WE SHARED SOME TIME

KATE
AND I WON’T FORGET YOU
OR THAT PRECIOUS TIME

DOC & KATE
TIL WE MEET AGAIN
IN ANOTHER TIME

So there ya’ have it. Episode 25: Sundown. Next? Episode 26: Insights Into The Sacred Music of Julia Wade. We’ll take an in depth look at the making of the songs from Julia’s new Album, The Best Of Julia Wade.

Sundown, The Podcast Musical, will be presented next as the second offering in Theater Of The Imagination’s Podcast Series starring many of its original Sundown Album cast. Stay tuned for its release hopefully in the fall of 2023. 

Watchfire Music’s Theater Of The Imagination will also be offering all of its Podcast content in a Subscription based platform — Scattershot Symphony, Havin’ A Talk With God, Rosemary And Thyme and all the rest of its Podcast Musical content. Much more on this later this Spring.

Why are we calling these four episodes “Theater Of The Imagination”? Because each of these four episodes are destined to be presented in Watchfire Music’s Theater Of The Imagination forthcoming podcast musical series. Presently playing now is the first of the series. Rosemary and Thyme, a re-imagining modernization of the greatest story ever told in 16 episodes just went over 10,000 downloads and is already in 133 countries. If you love musicals, you really must try this new groundbreaking experience – the podcast musical. It is simply an amazing immersive theatrical experience. Find it on Watchfiremusic.com – Podcasts.

Also, please rate and review us on Apple Podcasts … etc.

A grateful nod goes to the entire cast of Sundown, The Album and especially Joe Bravaco and Larry Rosler, our authors for their patience and immense talents.

A very special thanks also to Stuart Barefoot, our Associate Producer for all your invaluable knowledge and good vibes.

And a posthumous thanks to Ludwig Van Beethoven for your opening 4 bars.

Julia

(over playout music)

This podcast is presented with loving care by the staff at Watchfire Music. If you liked what you heard, we got lots more where that came from. In the meantime, you can find the songs you just heard on watchfiremusic.com. There you can purchase the singles or albums and have access to all the lyrics. Also, there you will find all previous podcasts and future scheduling.

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tell your friends and Stay tuned!