8935 Score Tom S. Long & Allen Pote Children’s Choir8940 Preview Pack

HO PESince 1892

Publishing CompanyCarol Stream IL 60188

www.hopepublishing.com800-323-1049

Words by Tom S. Long Music by Allen PoteA M u s i c a l f o r Y o u n g V o i c e s

Purchased 1 copy/copies from Hope Publishing Company, Carol Stream, Illinois on 02/21/2019 for use by MATTHEWS UNITED METHODIST CHURCH, MATTHEWS, NC.

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Warning: It is illegal to copy any portion of this book.

Copyright © 2018 Hope Publishing Company, Carol Stream, IL 60188International Copyright Secured. All Rights Reserved.

HO PESince 1892

Publishing CompanyCarol Stream IL 60188

www.hopepublishing.com800-323-1049

Code No.

8935 Score

8936 Listening CD

8937 Accompaniment CD

8938 Instrumental Parts

8939 Value Pack (10 listening CDs)

8940 Preview Pack (Book & Listening CD) Limit one per customer.

Words by Tom S. LongMusic by Allen Pote

A M u s i c a l f o r Y o u n g V o i c e s

THE STORY OF SHADRACH, MESHACH, AND ABEDNEGO

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CONTENTS

Fired Up!. . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

A Sad Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Shadrach, Meshach, and Abednego . . . . . . . . . . . . . 19

Hooray for the King! . . . . . . . . . . . . . . . . . . . . . . 29

Everyone Who Is Anyone . . . . . . . . . . . . . . . . . . 38

Proclamation I . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Angry Babylonian Rally . . . . . . . . . . . . . . . . . . 46

Proclamation II . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Stand Firm . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

The Furnace Song. . . . . . . . . . . . . . . . . . . . . . . . . 60

A Prayer for Peace . . . . . . . . . . . . . . . . . . . . . . . . . 68

Everyone Who Is Anyone Reprise . . . . . . . . . . . . . 73

A God Who Saves . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Fired Up! Narration Version . . . . . . . . . . . . . . . . . . . 81

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In the sixth century B.C.E., Nebuchadnezzar of Babylon conquered the ancient Kingdom of Judah and forced large portions of the population into captivity. It is from this period of exile we get wonderful Biblical stories of courage and faith in the face of oppression—the stories of Esther, Daniel, and the tale told in this musical—Shadrach, Meshach, and Abednego and the fiery furnace.

Fired Up! is a light-hearted retelling of that tale, but—as always—we tried to include moments of deeper feeling in order to communicate the core message: we follow a loving God worthy of trust—regardless of the circumstances.

The 35 minute work is designed for flexible staging with a minimum of props and costumes. Although two major set pieces are required—a golden idol and the mouth of a furnace—the production notes suggest how these can be created simply. We’ve also included a narration version of the script for groups that would like to present a scaled back “concert” version of the show.

The original production was performed by a cast of young people in grades 3 through 8; but we think the musical has enough humor and depth to engage older and younger performers as well. It’s a terrific story, and we had great fun finding new ways to tell it. We hope you’ll enjoy the work as much as we did.

—Tom Long and Allen Pote

FOREWORD

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CHARACTERS

Ashpenaz – Chief of Staff for King Nebuchadnezzar, a clever servant, with a sense of humor and a born storytellerNarrator 1Narrator 2King – Vain and pompous; and ignorant without being aware of it Shadrach – Smooth and accomplished, a diplomatMeshach – Strong and upright, a soldierAbednego – Smart and studious, an intellectual—the oldest and perhaps wisest of the threeChorus – who take on multiple roles listed below: Babylonians 1-6 Babylonian Guards Royal Herald VIP’s, including Homecoming Queen, Prom Date, Dogcatcher, and Dogs Counselors 1-13 – Advisors to the King who are jealous of our heroes Angel in the Furnace (non speaking)

Most roles can be played by either male or female performers. The Narrators can double as Chorus members. They adopt their Narrator roles simply by stepping up to their positions at the music stands on stage right and stage left. In the score, unless otherwise indicated, “BABYLONIANS” includes the KING and ASHPENAZ.

PRODUCTION NOTESApproximate Performance Time:

35 minutes

For a more detailed “Director’s Copy” of the script with additional production ideas and images—go to hopepublishing.com and search for Fired Up which will bring up this product’s page and the link to your free “Director’s Copy.”

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SET:An assortment of blocks or boxes for the cast to sit and stand on. If desired, the stage can also be decorated with freestanding banners on poles.Throne – can be a separate item, or one of the painted blocks.Golden Idol – There are several options for making the idol. 1) Paint the image of the idol on a 4’ X 8’ Styrofoam sheet and then cut it out with a sharp knife. The sheets are sold as insulating foam at building supply stores, and should be 2 inches to 4 inches thick. 2) For a more ambitious three dimensional statue--use Styrofoam glue to paste several 4’ X 8’ Styrofoam sheets together and—after it dries—carve out the form of the statue and paint it gold. 3) Create a tall column of cardboard appliance boxes with hot glue or tape. Paint the idol on one side, and the rest of the box surfaces a neutral color or black. 4) Paint the image of the idol on a long roll of cloth and mount it like a banner on a pole. Any of the three dimensional statues can be mounted on a rolling cart so they can be rolled onstage quickly at the appropriate moment.Fiery Furnace – The right and left sides of the furnace mouth can be made from two six foot stepladders. Screw or fasten a 30” wide rectangle of luan board or cardboard to the back side of each ladder. The top of the furnace mouth can be made from an 8’ X 18” X 6” rectangular cardboard “tube” or by a Styrofoam sheet with the same dimensions. Place the two ladders six to eight feet apart with the steps facing upstage, and lay this top piece so that it extends from the top of one ladder to the other. (Use Velcro so the top piece can be assembled and disassembled quickly.) All the surfaces of the furnace that show to the audience should be painted to resemble grey stonework. The flames in the furnace are represented by ribbon wands.

PROPS:Clipboard for Ashpenaz2 music stands with scripts on themMilitary headband for MeshachGolden Judge’s Gavel for AbednegoChain with Golden Medallion (perhaps with a money sign on it) for ShadrachStack of FoldersGolden Statue on rolling cartLarge cloth to veil the statueScrollRed, Yellow, and Orange Ribbon Wands for “fire” – at least 12

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COSTUMES:Costumes can be as simple as t-shirts and pants with simple add-ons for different characters.

Babylonians: colorful shoulder sashes and headbands. Ashpenaz may wear a color that sets him/her apart. The Chorus members who become Counselors may wear matching colored sashes.Narrators: If they join the chorus between narrative sections, they dress as Babylonians. If not, they can wear black.King Nebuchadnezzar: longer open robe with colorful belt sash and crown.Shadrach, Meshach, and Abednego: Plain biblical style robes to begin. Underneath, they wear Babylonian dress like the Chorus. Shadrach also wears a colorful belt sash that matches the King’s.Prom King: Top hatHomecoming Queen: Tiara and SashDogs: Backwards brown baseball caps with floppy felt earsAngel: White robe

STAGING AND MOVEMENT:

In most cases, suggestions for movement during the songs are indicated in the score. For Proclamations I and II—If the parts are not sung in unison, the cast should form into four separate groups with each group arranged in straight rows. When the drum group sings their part, they mime drumming; when the flute group sings their part, they mime playing on flutes and swaying with the music; when the zither group sings, they mime strumming zithers quickly; when the horns sing, they mime playing horns and swaying with the music. As the song progresses, each group layers its words and motions on top of the groups that have gone before—until all four are singing and “playing” at the same time. If sung in unison, all the singers simply mime playing each instrument in turn.

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...œœœ jœ œ

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repeat if necessary

7

ALLEN POTE

© 2018 Hope Publishing Company, Carol Stream, IL 60188.All rights reserved.

Warning: it is illegal to copy this work without permission.

TOM LONG

(The stage is set with a throne on stage right and a number of blocks arranged across the stage to provide levels for the CAST. There are two music stands on the stage—one on the right and one on the left. As the opening music plays, the CAST enter and take their places—all with their backs to the audience: SHADRACH, MESHACH and ABEDNEGO, wearing Judean robes are center stage; KING NEBUCHADNEZZAR is upstage center standing on a block; and the rest of the CAST as BABYLONIANS are arrayed upstage in a semi-circle with our three heroes at the center of the circle. The NARRATORS enter and stand on the sides of the stage, right and left. ASHPENAZ enters last and moves down center to speak to the audience.)

Fired Up!The Story of Shadrach, Meshach, and Abednego

ASHPENAZ: Hello. As I’m sure you know, my name is Ashpenaz. That’s right—the one and only Ashpenaz of Babylon. You’ve all heard my name, right? (He pauses for audience response, and then pronounces his name slowly and deliberately) Ash-pen-naz? Highest official in the palace of KING Nebuchadnezzar?…(pointing to himself) The top dog, the fat cat, the big cheese? No? What are they teaching in Ancient Mesopotamian History these days? Oh well, trust me, I was pretty important about twenty-six hundred years ago. And today, I’m here to tell an amazing story—not about me—but about three very special people from a country called Judah. And I’ve got a whole cast of actors and singers to help me out—people to play Babylonians and Judeans and heroes and kings… We even have a couple of rhyming narrators. But enough talk—let’s get this story started. (calling) Narrators, get to your places… (NARRATOR 1 moves to the music stand on stage right as NARRATOR 2 crosses to the one on stage left.)...and music please!

(As NARRATOR 1 speaks SHADRACH, MESHACH, and ABEDNEGO turn to the audience and pose.)

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9..

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A (omit 3)

P

Slowly, following narration

NARRATOR 1: The people of God as you probably know Once inhabited Judah, long long ago.

2

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(The BABYLONIANS turn andpose in threatening positionsaimed at the three Judeans.)

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NARRATOR 2: The neighbor of Judah was great Babylon, A kingdom engaged in a land grab-a-thon.

NARRATOR 2: King Nebuchadnezzar, their leader, sent forth His soldiers to strike like a spear from the north.

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(KING NEBUCHADNEZZAR turns and poses with arm outstretched, pointing.)

(The BABYLONIANS take a lunge step toward SHADRACH, MESHACH and ABEDNEGO—voicing a guttural and militant “Unh!” as they move. Our three heroes gasp and huddle together in poses of fear.)

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F/A

NARRATOR 1: The people of God had no place to run

NARRATOR 2: You could stick in a fork cause old Judah was done.

NARRATOR 1: Their capital city Jerusalem fell,

(On the word “fell,” the three Judeans drop and crouch on the floor, hiding their faces.)

NARRATOR 2: As their captors cried out with a victory yell!

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(The BABYLONIANScheer.)

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8

Fired Up!

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feats Je ru sa lem, and

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- - - - - - -

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œn œ œ# œ œ œn œ œcar ries all their prin ces off and

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- -

9

ALLEN POTE

A Sad Song

© 2018 Hope Publishing Company, Carol Stream, IL 60188.All rights reserved.

Warning: it is illegal to copy this work without permission.

TOM LONG

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- -

10

A Sad Song

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bad song, this is a

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11

A Sad Song

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œn œ œ œ œb ‰ jœstart with hap py songs. But

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œ œ œ Œ ‰ jœgin when things go

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A

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32

œn œ œ œ œb Œwhat your God is named.

‰ œœœ œœœ‰ jœœœ

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D m B b7(9)

œ œ œ# œ œ œn œ œBad things still can come your way and

‰ œœœ œœœ‰ jœœœ

‰ œœœ œœœ‰ jœœœ

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&

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34

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‰ œœœœ‰ œœœœ

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slowing

slowing

12

A Sad Song

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∑

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P

(As the music changes, the BABYLONIANS turn away from the audience. SHADRACH,MESHACH, and ABEDNEGO move down center and kneel to pray.)

ASHPENAZ: Many Judeans and their leaders were taken prisoner and forced to live in Babylon. It was a difficult time for them, but they never forgot their homeland—and they never stopped praying to their God.

followingspeaker

4

∑

˙̇̇# ˙̇̇

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SHADRACH, MESHACH,and ABEDNEGO:

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Re

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œ œ œ œ œmem ber the land so

˙̇ ˙̇

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slightly faster

slightly faster

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far a way when

œœ œœ ˙̇

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œ œ œ œwalked with God from

˙̇ ˙̇

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day to day, a

œœ œœ ˙̇

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home.

ww#

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13

A Sad Song

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œ œ œ œ œHow can we sing a

ww

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song of praise be

˙̇ ˙

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B b D m/A

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˙ œ œw

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.˙ Œsky?

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œ œ œ œ œHow can we sing a

ww

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song of praise when

˙̇ ˙

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˙ ˙

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wwhy?

Œ ‰ jœ ˙̇̇

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Œ ‰ jœ ˙̇̇

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14

A Sad Song

(BABYLONIAN 1 turns to speak to SHADRACH, MESHACH, and ABEDNEGO.)

BABYLONIAN 1: (with false sincerity) Aww—everyone in Babylon feels so sorry for you… (to the rest of the BABYLONIANS) Isn’t that right, folks?

(The BABYLONIANS look back over their shoulders at SHADRACH, MESHACH, and ABEDNEGO.)

BABYLONIANS: (after a pause) Nawww…(They break and turn to the audience again.)

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Ó ‰ jœ œ# œThis is a

‰ œœœ œœœ œœœ œœœœœœ Œ

jœœœ‰ Œ Ó

D m

Tempo I q = 112

Tempo I q = 112

F

F

BABYLONIANS:

5

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Ó ‰œœœ ‰ œœœ

‰ œ# œ œ# ˙œ œ œ œ

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bad song, this is a

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œ œ œ œ œ œ œ œsong that makes you want to hiss and

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

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.œ Jœ œ œ œ œn œsad song, not a ver y

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Ó ‰ œœ‰ œœ

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œ œ œ œ œ Œ ‰ jœnev er be hap py. You

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œ œ œ œ

- - -

15

A Sad Song

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œ œ œ œ ‰ jœwon’t be hap py. You’ll

‰ œœœœ ‰ œœœœ ‰ œœœœ#‰ œœœœ

œ œ œ œ

A 7

(Several GUARDS move to SHADRACH, MESHACH, and ABEDNEGO and mime tying their hands behind their backs.)

œ œ œ œ œ#nev er be hap py

œ œ œ œ#‰ œœœ# ‰ œœœ ‰ œœ ‰ œœ

œ# œ œ œ

œ œ œ œtill this song is

œœœ#œœœ œœœ œœœ

œœ

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œœ

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&

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through!

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KING: And maybe not even then!

∑

ww

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Very slow

Very slow

f

(The GUARDS march SHADRACH,MESHACH, and ABEDNEGO offstage.)

∑

jœ .œ œ .œ œ œœœœ>œ œ

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∑

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œ

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Moderately

œ œ œ# œ œ ˙

œœ ˙

D(omit3,5)Arit.

16

A Sad Song

(During the previous two measures, the rest of the BABYLONIANS move upstage to stand with their backs to the audience. SHADRACH, MESHACH, and ABEDNEGO—who have removed their Judean robes offstage to reveal Babylonian costumes underneath—rejoin this group along with the GUARDS. ASHPENAZ hides behind the throne or offstage. The NARRATORS cross to their positions right and left.) P

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17

NARRATOR 1: Now call me naïve, but I think it’s smarmy To get what you want with a conquering army.

NARRATOR 2: When Judah was conquered by Nebuchadnezzar, He looted the temple and took all the treasure.

NARRATOR 1: And what did he say after stealing the wealth?

NARRATOR 2: Well, it’s time for the king to speak up for himself…

KING: (stepping downstage) Has anyone seen my Chief of Staff? Ashpenaz…(calling) Ashpenaz!

(ASHPENAZ enters with a clipboard and crosses to the KING.)

ASHPENAZ: Right here, Your Highness.

KING: Ashey, I want you to pick some of the Judean captives to help me run the country.

ASHPENAZ: I’m way ahead of you, Sire. I’ve already found three people I think are perfect. In fact, they’re princes!

KING: Excellent! Where are they?

ASHPENAZ: They’re right there in that crowd, Sire.

(The BABYLONIANS, along with SHADRACH, MESHACH, AND ABEDNEGO turn to createa crowd, ad libbing conversation with each other.)

KING: (shouting over the hubbub) Where? All I see are Babylonians.

ASHPENAZ: Exactly! (to crowd) Freeze! (The crowd freezes.) You see, Your Highness, I’ve taught these young foreigners how to look, speak, and act just like the ordinary citizens who were born here. They could fit in anywhere.

KING: And clearly they do.

ASHPENAZ: But—and here’s the best part—they’re not actually ordinary. They’re exceptional! (calling to the crowd) Will the real Judeans please step forward!

(SHADRACH, MESHACH, and ABEDNEGO step out of the crowd as ASHPENAZ picks up three props from behind a box onstage: a military headband or helmet, a golden judge’s gavel, and a neck chain with a large gold medallion on it. ASHPENAZ then introduces the three Judeans to the KING, one at a time. Most of his commentary describing the three are delivered as asides to the KING.) This is Meshach…

MESHACH: (shaking hands with the KING) Hello, Your Highness.

(The KING winces as though the handshake is painful, and after MESHACH releases his hand, he reacts to the strength of MESHACH’s grip.)

KING: Whoa—that’s quite a grip you’ve got there…

MESHACH: Thank you, Sire.

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ASHPENAZ: He’s very strong, Your Highness.

KING: I can tell.

ASHPENAZ: (handing the KING the military headband) He’d make a great soldier.

KING: You’re right. (to MESHACH as he puts the headband on him) Welcome Captain Meshach.

MESHACH: (saluting) Yes, sir!

ASHPENAZ: And this is Abednego…(aside to KING) He’s very smart.

ABEDNEGO: (with a small bow, palms pressed together in front of his chest in a prayerful pose) Greetings and felicitations.

KING: (to ASHPENAZ) Felicitations?

ASHPENAZ: It means blessings or best wishes.

KING: Oh, good. (to ABEDNEGO) And what do you do?

ABEDNEGO: I am trained in the optimization and facilitation of governmental administration and logistics.

KING: (shaking hands with a blank look) Ah…(aside to ASHPENAZ) He must be smart. I can’t understand anything he’s saying.

ASHPENAZ: (handing the KING the gavel) In that case, why not make him a judge?

KING: Of course! (to ABEDNEGO as he hands him the gavel) My new Chief Justice Abednego—glad to have you aboard.

ABEDNEGO: (with another bow) I’m honored, Your Highness.

ASHPENAZ: And this is Shadrach... (SHADRACH is dressed in a costume that resembles the KING’s costume in some way—in color or style. He speaks with smooth charm.)

SHADRACH: It’s my joy to meet you, my King. Your presence is like the sunshine that banishes the darkest clouds. (He bows deeply and with a hand flourish.)

KING: Oh, well said! (noticing the costume similarity) And I love your sense of style. (to ASHPENAZ) He could almost pass for royalty.

ASHPENAZ: Yes, he’s very charming. And such beautiful speech, even when he has nothing to say.

KING: (He has a sudden realization.) Oh! He’d make a perfect politician!

ASHPENAZ: Not so fast, Your Highness—he’s also completely honest.

KING: Ah. Never mind then.

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F

6

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œ œ œ œ

Shad rach, Me shach,

Œ œœœœŒ œœœœ

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FBABYLONIANS: *

‰ œ Jœœ œ œ

and A bed ne go.

Œ œœœœŒ œœœœ

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That’s how the Bi ble

Œ œœœœŒ œœœœ

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A bmaj7 A bmaj7/G- - - - - -

19

ALLEN POTE

Shadrach, Meshach, and Abednego

© 2018 Hope Publishing Company, Carol Stream, IL 60188.All rights reserved.

Warning: it is illegal to copy this work without permission.

TOM LONG

ASHPENAZ: You could let him collect your taxes, though. He’d never cheat you, and he knows how to talk to rich people. (He hands the KING the chain and medallion, and then moves to pick up a thick stack of folders.)

KING: Good thinking. (placing the medallion around SHADRACH’s neck) Shadrach—Secretary of the Treasury—how does that sound?

SHADRACH: Thank you, Your Highness.

ASHPENAZ: (handing the KING the folders) And here, Sire…

KING: What’s this?

ASHPENAZ: Those are their complete files. Everything you need to know about them is in there.

KING: (skimming one page) Oh this is too much information. And I hate to read. (He shoves the folders back to ASHPENAZ.) Just sing it, why don’t you?

ASHPENAZ: Alright, Chorus, you heard him!

*Optional: KING may not sing

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says they go.

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And if you want to

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18

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says they go.

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20

Shadrach, Meshach, and Abednego

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œ Œ œ Œ

word was

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∑

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27

œ œ Œ œwell taught in

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G m7 C 7(9)

œ œ œ œ œ œthings you learn from books.

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30

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œœ

œœ

G m/E b E b- - - - - -

21

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33

œ œ Œ œand when the

Œ œœœœ Œ œœœœ

œ Œ œ Œ

F m7/A b F m7/G

œ œ œ œ œ œking had ques tioned them,

Œ œœœœ Œ œœœœ

œ Œ œŒ

F m7 F m7/E b

œ œ Œ œhe said, “You

Œ œœœœ Œ œœœœn

œ Œ œœŒ

G m7 C 7(9)-

&

&

?

bbb

bbb

bbb

36

œ œ œ œ œ œare my cham pi ons,

Œ œœœœ Œ œœœœn

œ Œ œœŒ

G m7 C 7(9)

œ œ œ œ Œ

for you are

œœœœ‰ jœœœœ œœœœ

Œ

œ ‰ jœ œ œ

F m7

œ œ Jœ œjœ

ten times wis er than

œœœœŒ Ó

œ Œ Ó

B b7(9)- - -

&

&

?

bbb

bbb

bbb

39

œ œ œ œ œall the ad vis ors

œœn

œœ œœn œœ

œ œ œ œn

œ œ œ œ Œ

I com mand.”

œœœœ ‰jœœ ˙̇Jœ œ œb œ

œœœ ‰ Jœœœ

˙̇˙

B bsus9 Gm7b 9/B b

∑

œœ œœ œœn œœ

œ œ œ# œ

C m7(omit 5)B bo/D b B b/DB bm7(omit 5)

- - -

&

&

?

bbb

bbb

bbb

42

∑

‰œn œ œ œ# œ œ œ#

œœœ Œ

œœœ Œ

F 7(omit 5) B bm7

œ œ œ œ

Shad rach, Me shach,

Œ œœœœŒ œœœœ

œœ

Œ œ Œ

E bmaj7 E bmaj7/D

‰ œ Jœœ œ œ

and A bed ne go.

Œ œœœœŒ œœœœ

œ Œ œ Œ

E bmaj7/C E bmaj/B b- - - - -

22

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45

œ œ‰ jœ œ œ

That’s how the Bi ble

Œ œœœœŒ œœœœ

œ Œ œ Œ

A bmaj7 A bmaj7/G

œb œ œ œ Œ

says they go.

œœœnb ‰ jœœœb ˙̇̇

œœ ‰

jœ œœ

F 7( b 9) A b/B b

œ œ ‰ œ Jœ

Here’s what set the

Œ œœœœŒ œœœœ

œœ

Œ œœ

Œ

E bmaj7 E bmaj7/D-

&

&

?

bbb

bbb

bbb

48œb œ œ œ œ

guys a part: God’s

œœœbb ‰

jœœœn˙̇˙

œœ ‰ J

œœ

œœ œ

œ

B bm7 C 7

œ Œ œ Œ

word was

Œ œœœ>Œ œœœœ>

Œœœœœ>

Œœœœ>

F m7 F m7

œ œ œ jœb œ jœhid den in their heart.

œ œ œ jœb œ jœœ Œ œ Œœœ Œ

œœ Œ

B b7(omit 5)- -

&

&

?

bbb

bbb

bbb

51

œ Œ Œ Œ

œœ# œ œ œ

œ œ

œ œ œ œ

E b

7

∑

œ œ œ œ œ# œœ

œ œ œ œ

œ> œ> ¿ ¿

Shad rach! He’s not

œœœœ>œœœœ>

Ó

œ> œ>Ó

F m7/A b

VOICE 1:

-

&

&

?

bbb

bbb

bbb

54

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

shy in his pi e ty and

∑

∑

¿ ¿ ¿ ¿ ¿

yet still wise in the

∑

∑

¿ ¿ ¿ ¿ ¿ ¿ ¿

ways of high so ci e ty.

∑

∑

- - - - -

23

Shadrach, Meshach, and Abednego

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&

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57

œ> œ> ¿ ¿ ¿ ¿Me shach! s’got your back when

œœœœ>œœœœ>

Ó

œ> œ>Ó

G m7

VOICE 2:ALL:

¿ ¿ ¿ ¿ ¿

things go wrong, cause he’s

∑

∑

¿ ¿ ¿ ¿ ¿ ¿

al ways got a knack for

∑

∑

- -

&

&

?

bbb

bbb

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60

¿ ¿ ¿ ¿ ‰ Jœ

stand in’ up strong! A

∑

∑

ALL:

œ>

œ>

œ>

¿ ¿

bed ne go! He’s so

œœœœ>œœœœ>

Ó

œ> œ>Ó

F m7

VOICE 3:

¿ ¿ ¿ ¿ ¿ ¿ ¿

brain y it’s in san i a,

∑

∑

- - - - -- - -

&

&

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bbb

bbb

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63

¿ ¿ ¿ ¿ ¿ ¿ ¿

smart er than an y man in

∑

∑

¿ ¿ ¿ ¿ ¿ ¿ ¿

Me so po tam i a!

∑

∑

¿ ¿ ¿ ¿

Style and strength and

œœn

Œ œœŒ

œ Œ œ Œ

F9 Gm

ALL:

- - - - - - -

&

&

?

bbb

bbb

bbb

66

¿ ¿ ¿ ¿ ¿ ¿ ¿

smarts is what they got, and they’re

œœnŒ œœ

Œ

œ Œ œn Œ

A bmM7 A m7(omit 5)

¿ ¿ ¿ ¿ ¿ ¿3

not throw in’ a way their

œœ œœ œœn œœ

œ œ œ# œ

C m7(omit 5) B bo/D b B b/DB bm7(omit 5)- -

24

Shadrach, Meshach, and Abednego

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68

Œ ¿> Œ Óshot!

‰œn œ œ œ# œ œ œ#

œœœ Œ

œœœ Œ

F 7(omit 5) B bm7

œ œ œ œ

Shad rach, Me shach,

Œ œœœœŒ œœœœ

œœ

Œ œ Œ

E bmaj7 E bmaj7/D

‰ œ Jœœ œ œ

and A bed ne go.

Œ œœœœŒ œœœœ

œ Œ œ Œ

E bmaj7/C E bmaj/B b- - - - -

&

&

?

bbb

bbb

bbb

71

œ œ‰ jœ œ œ

That’s how the Bi ble

Œ œœœœŒ œœœœ

œ Œ œ Œ

A bmaj7 A bmaj7/G

œb œ œ œ Œ

says they go.

œœœnb ‰ jœœœb ˙̇̇

œœ ‰

jœ œœ

F 7( b 9) A b/B b

œ œ ‰ œ Jœ

Here’s what set the

Œ œœœœŒ œœœœ

œœ

Œ œœ

Œ

E bmaj7 E bmaj7/D-

&

&

?

bbb

bbb

bbb

74œb œ œ œ œ

guys a part: God’s

œœœbb ‰

jœœœn˙̇˙

œœ ‰ J

œœ

œœ œ

œ

B bm7 C 7

œ Œ œ Œ

word was

Œ œœœ>Œ œœœœ>

Œœœœœ>

Œœœœ>

F m7 F m7

œ œ œ Œ œ

hid den God’s

jœ œ jœ œ œb œœ Œ Óœœ Œ Ó

B b7(omit 5)- -

&

&

?

bbb

bbb

bbb

77

œ Œ œ Œ

word was

Œ œœœ>Œ œœœœ>

Œœœœœ>

Œœœœ>

F m7 F m7

œ œ œ Œ œ

hid den God’s

jœ œ jœ œ œb œœ Œ Óœœ Œ Ó

B b7(omit 5)

f œœ Œ œœ Œword was

Œ œœœœ> Œ œœœœ>

Œœœœœ>

Œœœœ>

F m7 F m7

f

-

25

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80

œ œ œ jœb œ jœhid den in their heart.

œ œ œ jœb œ jœœ Œ œ Œœœ Œ

œœ Œ

B b7(omit 5)

œ Œ Ó

œœ# œ œ œ

œ œ

œ œ œ œ

E b

∑

˙ œ œ œn œ..œœn Jœœ J

œœ ‰ Œ

.

.œœ

jœœ

jœœ ‰ Œ

F 7(9)-

&

&

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83

œ œ œ œShad rach, Me shach,

œ œœœœ œœœ

œœ

œœ

A b/B b

‰ œ jœ œ œ œ>

and A bed ne go!

‰ œ jœ œ œ œ

œœ

œœ

w

œœ œ# œ œ œ

œœœœ

œ œ œ œ œ

E b

∑

œœœœ Œœœœœœ^

Œ

œŒ œ

œ

^Œ

E

E b- - - - -

26

Shadrach, Meshach, and Abednego

KING: There, wasn’t that better than some boring security briefing? Carry on everyone!

(As the last four measures of the previous song are played, the KING exits right; SHADRACH,MESHACH, and ABEDNEGO exit left; and the BABYLONIANS settle in a stage picture upstage.)

ASHPENAZ: (to the audience.) Well it didn’t take long before our three heroes began to make a name for themselves. You see, they had something a lot of other leaders didn’t have—integrity. That just means they always tried to do the right thing no matter what. And people noticed.

(BABYLONIAN 2 stands up on a block and shouts.)

BABYLONIAN 2: When you go to court, who’s the judge that’s always fair?

ALL BABYLONIANS: (standing) Abednego!

BABYLONIAN 3: (jumping up on a block) When robbers attack, who’s the soldier that’s always there?

ALL BABYLONIANS: Meshach!

BABYLONIAN 4: (jumping up on a block) When the tax collector tries to cheat you, who’s the man who makes it square?

BABYLONIANS: Shadrach!

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27

BABYLONIAN 5: (jumping up on a block) These new advisors from Judah are great!

BABYLONIANS: (cheering even louder) Yeah!

(SHADRACH, MESHACH, and ABEDNEGO start to enter.)

BABYLONIAN 6: (jumping up on a block) And look—and here they come. (starting a cheer, in rhythm) Shadrach, Meshach, Abednego!

BABYLONIANS: (joining in the chant) Shadrach, Meschach, Abednego! Shadrach, Meshach, Abednego!

(The BABYLONIANS gather around SHADRACH, MESHACH, and ABEDNEGO, chanting louder and louder.)

ASHPENAZ: Hold it! (shouting over the crowd) Hold it!! (The crowd’s chanting trails off.) O.K. folks—let’s give these guys a little space. They need a minute for a scene of their own. All right? (The BABYLONIANS ad lib agreement as they move upstage and settle into a freeze with their backs to the audience. ASHPENAZ turns to SHADRACH, MESHACH, and ABEDNEGO.) It’s all yours—take it away. (He exits.)

SHADRACH: Do you find all that…hooplah…as tiring as I do?

MESHACH: You mean the crowds and the fame?

SHADRACH: I mean putting on a happy face and acting Babylonian day after day.

MESHACH: Yes it’s exhausting. And sometimes I feel guilty.

ABEDNEGO: Why?

MESHACH: There’s things I have to do for the King sometimes—that don’t feel right.

SHADRACH: I know. I feel the same way.

MESHACH: It’s like I’m forgetting the way I was raised. Like I’m letting Judah down somehow.

SHADRACH: Sometimes I feel like I’m letting God down.

ABEDNEGO: (comforting the other two) You’re right, it can be really difficult. But remember the words of the prophet: “Those who honor God, God will honor.” We just need to do our jobs and stay faithful to Yahweh.

SHADRACH: What if we get asked to do something God really hates? What do we do then?

ABEDNEGO: Just pray that day never comes. But if it does, we’ve got each other to lean on, right?

(The three exchange a look of encouragement and agreement.)

SHADRACH: Right!

MESHACH: Amen!

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28

(They exit.)

NARRATOR 1: At first in the kingdom I’m happy to tell The life of our heroes was going quite well.

NARRATOR 2: But as days turned to weeks and the months hurried past, I’m afraid that this period of peace couldn’t last.

(The KING enters and sits on the throne, sulking.)

NARRATOR 1: And if you don’t know, then it’s time that you learned: Every tale that’s exciting must have a dark turn;

NARRATOR 2: And in order for stories to truly surprise, In the end, complications will have to arise.

NARRATOR 1: And so the day came when King said:

KING: I’m bored. I know that I’m loved—but am I adored?

NARRATOR 2: And with that, this conceited and ignorant man Set in motion a most diabolical plan.

KING: (standing) I will build a great statue for people to see— A fabulous idol devoted to me.

NARRATOR 1: He gave a command and the work was begun, And continued till soon the King’s statue was done.

NARRATOR 2: Now following God is not always smooth sailing,

NARRATOR 1: You’ll see as we skip to the day of unveiling. ASHPENAZ: (entering quickly) All right people, gather round!

(The BABYLONIANS unfreeze and turn, gathering into a crowd. SHADRACH, MESHACH, and ABEDNEGO enter and stand to the right of the throne as the KING crosses to center stage.)

KING: Is everything ready for the big day?

ASHPENAZ: Yes, Your Highness. The statue is finished.

KING: Excellent! And is everyone really excited about it?

(The BABYLONIANS exchange less than enthusiastic looks with some eye rolling.)

ASHPENAZ: Well…uh….

KING: Is there a problem? People love me, don’t they?

ASHPENAZ and BABYLONIANS: Uh…

KING: (raising his voice for all to hear, and speaking deliberately) I said—people love me don’t they?

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44

44

œ.œ.

œ.œ.

œ.œ.

œ.œ.

œœœ.œœœ.

œœœ.œœœ.

Lively q = 112

F

8 œ.

œ.œ.

œ.œ.

œ.œ.

œ.

œœœ.œœœ.

œœœ.œœœ. ?

‰ œœœ.‰ œœœ.

‰ œœœ.‰ œœœ.

œœ.

œ.œœ.

œ.

B bM7 G m/B b

&

&

?

bb

bb

bb

4

∑

‰ œœœ# .‰ œœœ. œ œ

œ œ œ. œ.

œœ.

œ. œ. œ.

B b ø G m7/F

ALL (except KING):

œ œ œ œ œ œ# œ œ œHal le, hal le, hal le lu with a

œ. œœœ ‰jœœœ ‰ jœœœ

‰ jœœœ

œœ œ

œœ œ

B b

F

simile

œ œ œ œ œ œ Œ

cou ple of hip hoo rays!

‰ jœœœŒ ‰ jœœœ#

>œœœœ.

œœ œ

‰ jœ>

œœ.

œ.

F ø G m7/B b- - - - - -

29

ALLEN POTE

Hooray for the King!

© 2018 Hope Publishing Company, Carol Stream, IL 60188.All rights reserved.

Warning: it is illegal to copy this work without permission.

TOM LONG

ALL: (ad lib half-hearted agreement) “Well, I guess,” “Sort of…,” “Yeah, in a way…” etc.

KING: Oh, you can do better than that.

ALL: (ad lib praise, with more enthusiasm) “Yes,” “Of course we love you…”, “You’re the greatest…” etc.

KING: All right, I want to hear some flat out, shameless sucking up!

ASHPENAZ: (wearily) O.K. I guess that calls for another song!

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7

œ œ œ œ œ œ# œ œ œHal le, hal le, hal le lu we will

‰ œœœ‰ œœœ

‰ œœœ‰ œœœ

œœ œ

œœ œ

B b

œ œ œ œ œ Œ

hol ler all our days.

‰ jœœœœŒ ‰ jœœœœn#

>œœœœb .

œœ œ

‰ jœn>

œ œ.

C m7 B m7 C m7- - - - -

&

&

?

bb

bb

bb

9

œ œ œ œ œ œ œ œShow er him with ad mi ra tion—

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œœ œ œ œ

F 7(9)

œ œ œ œ œ œwords of praise to bask in.

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œ œ œ œ

C m7/G F 7(9)- - - -

&

&

?

bb

bb

bb

11

œ œ œ œ œ œ œ œHe de serves a dor ing love, and

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œ œ œœ

C m7/G F 7(9)

œ œ œ œ œ œ

if you doubt just ask him.

œœœœ>œœœœ>

Œ œœœœ

œœ>

œœ>

Œ œœ

Cm7/E b F 7sus B b- - -

&

&

?

bb

bb

bb

13

Ó Œ ‰ jœHis

œ œ œ œ œ. œ. œœœ

>Œ

œœœœ. œœœœ

.Œ œ

œ>

Cm7 F7 B b

œ œ œ œ œ œ ‰jœ

I. Q. is the high est. In

‰ œœœœ‰ œœœœ

‰ œœœœn#‰ œœœœ

œœ œ

œœn

n œ

C m7/E b E o7-

30

Hooray for the King!

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15

œ œ œ œ œ ‰jœ

beau ty he’s a ten. And

œœœŒ ‰ œœœn#

>œœœœ.

‰

œœ Œ ‰ œ>

œ.‰

B b/F A G m7/B b

œ œ œ œ œ œ œ œif we ev er lose our strength he’ll

‰ œœœœ‰ œœœœ

‰ œœœœn#‰ œœœœ

œœ œ

œœn

n œ

C m7/E b E o7- -

&

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bb

bb

bb

17

œ œ œ œ œ ‰jœ

make us great a gain. The

œœœŒ ‰ œœœœn#

>œœœœ.

‰

œœ Œ ‰ œ>

œ.‰

B b/F A G m7/B b

œ œ œ œ œ œ œ œsplen dor of his pal a ces will

‰ œœœœ‰ œœœœ

‰ œœœœn#‰ œœœœ

œœ œ

œœn

n œ

C m7/E b E o7- - - -

&

&

?

bb

bb

bb

19œ œ œ œ œ œ Œ

set your head to spin ning.

‰ œœœ‰ œœœ

‰ œœœœn‰ œœœœ

œœ

œœ

œœ

œœ

B b/F G 7

œ œ œ œ œ œ œHe’s so good at ev ’ry thing,

œœœn‰ œœœ

‰jœœœ#

‰ œ œ œ œ

œœ

‰ œœ

‰ œœ

‰ œœn

n ‰

C 7(omit 5) D m7(omit 5) C o/E b C/E- - -

&

&

?

bb

bb

bb

21

œ œ œ œ œ œ Œyou’ll get tired of win ning.

œœœbŒ ‰

jœœœœ œœœœ.œœœ Œ ‰ J

œœœœœœ.

C m7 Cm9 F7

∑

œ œ œ œ œ. œ. œœœ

>Œ

œœœœ. œœœœ

.Œ œ

œ>

Cm7 F 7 B b-

31

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23

∑U

∑U

KING: That’s more like it. Now, bring out the statue!

ASHPENAZ: Of course, Sire. (calling) Drum roll please!

∑

wwæf

(Several BABYLONIANS start to roll the idol on to the stage. If possible, the statue is covered with a cloth which is removed quickly on the last measure of music.)

9

œ œ œ œ œ˙̇̇

œœ

œœ

F E b/FDramatically

œ œ œ œ œ˙̇̇

œœ

œœ

F E b/F

&

?

bb

bb

27

œ œ œ œ œ œœœ œ œ œœ

œœ

œœ

F G m/F

œœœ œ œ œ œœœœ œ œ œ œ

œœ

œœ

E b Fœœœ œœœ

˙̇̇˙

œœ

˙

E b/F F

&

&

?

bb

bb

bb

30

Ó Œ ‰ jœHe

œ œ œ œ œ. œ. œœœ

>Œ

œœœœ. œœœœ

.Œ œ

œ>

Cm7 F7 B b

ALL (except KING):

f

FTempo I

Tempo I

KING: Wonderful!

(All cheer and applaud.)

10

œ œ œ œ œ œ ‰jœ

had a roy al stat ue and

‰ œœœœ‰ œœœœ

‰ œœœœn#‰ œœœœ

œœ œ

œœn

n œ

C m7/E b E o7

F

œ œ œ œ œ ‰jœ

cov ered it in gold. Some

œœœŒ ‰ œœœn#

>œœœœ.

‰

œœ Œ ‰ œ>

œ.‰

B b/F A G m7/B b- - -

32

Hooray for the King!

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33

œ œ œ œ œ œ œ œsay that it re sem bled him or

‰ œœœœ‰ œœœœ

‰ œœœœn#‰ œœœœ

œœ œ

œœn

n œ

C m7/E b E o7

œ œ œ œ œ ‰jœ

so the stor y’s told. The

œœœŒ ‰ œœœœn#

>œœœœ.

‰

œœ Œ ‰ œ>

œ.‰

B b/F A G m7/B b- - -

&

&

?

bb

bb

bb

35

œ œ œ œ œ œ œ œhead rose nine ty feet a bove the

‰ œœœœ‰ œœœœ

‰ œœœœn#‰ œœœœ

œœ œ

œœn

n œ

C m7/E b E o7

œ œ œ œ œ ‰jœ

spot where it was placed, and

‰ œœœ‰ œœœ

‰ œœœœn‰ œœœœ

œœ

œœ

œœ

œœ

B b/F G 7- -

&

&

?

bb

bb

bb

37

œ œ œ œ œ œ œ ¿yet so thin it seemed to have a

œœœn‰ œœœ

‰jœœœ#

‰ œ œ œ œ

œœ

‰ œœ

‰ œœ

‰ œœn

n ‰

C 7(omit 5) D m7(omit 5) C o/E b C/E

¿ ¿ ¿ ¿ ¿ Œsu per mo del’s waist!

œœœbŒ ‰

jœœœœ œœœœ>

œœœ Œ ‰ Jœœœ

œœœ>

C m7 Cm9 F7- -

&

&

?

bb

bb

bb

39

∑

œ œ œ œ œ œ œ œ œœœ Œ

œœ ‰ œ œ œ

E b/F F

œ œ œ œ œ œ# œ œ œHal le, hal le, hal le lu with a

‰ œœœ‰ œœœ

‰ œœœ‰ œœœ

œœ œ

œœ œ

B b

Fœ œ œ œ œ œ Œ

cou ple of hip hoo rays!

‰ jœœœŒ ‰ jœœœ#

>œœœœ.

œœ œ

‰ jœ>

œœ.

œ.

F ø G m7/B b- - - - - -

33

Hooray for the King!

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42

œ œ œ œ œ œ# œ œ œHal le, hal le, hal le lu we will

‰ œœœ‰ œœœ

‰ œœœ‰ œœœ

œœ œ

œœ œ

B b

œ œ œ œ œ Œ

hol ler all our days.

‰ jœœœœŒ ‰ jœœœœn#

>œœœœb .

œœ œ

‰ jœn >œ œ.

C m7 B m7 C m7- - - - -

&

&

?

bb

bb

bb

44

œ œ œ œ œ œ œ œShow er him with ad mi ra tion—

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œœ œ œ œ

F 7(9)

œ œ œ œ œ œwords of praise to bask in.

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œ œ œ œ

C m7/G F 7(9)- - - -

&

&

?

bb

bb

bb

46

œ œ œ œ œ œ œ œHe de serves a dor ing love, and

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œ œ œœ

C m7/G F 7(9)

œ œ œ œ œ œif you doubt just ask him.

œœœœ>œœœœ>

Œ œœœœ

œœ>

œœ>

Œ œœ

Cm7/E b F 7sus B b- - -

&

&

?

bb

bb

bb

48

∑

œ œ œ œ œ. œ. œ œ œ œ œ. œ.

œœœœ.

Œœœœœ.

Œ

Cm7 Cm7/E b

rit.

rit.

11

Ó Œ œ œThen our

œ œ œ œ œ. œ.˙˙

œœœœ.

Œ ˙˙

Cm7/G F(omit3,5)

Pœ œ œ œ œ œ

gra cious good king gent ly

˙̇̇ ˙̇̇

ww

G m F/G

Slowly q = 80

Slowly q = 80

P

- -

34

Hooray for the King!

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51

œ œ œ œ œ Œgave a new or der,

˙̇̇ œœœ œœœ œœœ

.

.˙˙ œ

G m F/G G m/D

œ œ œ œ œ œ“Wor ship this thing or your

˙̇̇ ˙̇̇

ww

G m F/G- -

&

&

?

bb

bb

bb

53

œ œ œ œ œ ‰ jœlives will be short er.” We

˙̇̇ œœœ œœœ œœœ

.

.˙˙ œ

G m F/G G m/D

F (SHADRACH, MESHACH, and ABEDNEGO exchange worried glances and stop singing.)œ œ œ œ œ ‰ jœ

turned to the i dol, we

˙̇˙

˙̇˙

˙˙

˙˙

Cm D m7(omit 5)

F

- -

&

&

?

bb

bb

bb

55

œ œ œ œ ‰ jœoo’ed and we ah’d, and

˙̇˙

˙̇˙

˙˙

˙˙

C m/E b D m7(omit 5)

œ œ œ œ œ ‰ jœsaid that the stat ue would

˙̇˙

œ œ œ˙̇

˙˙

˙˙

Cm D m7(omit 5)

œ œ œ ˙

be our new God!

œœœœœœ ˙̇̇

ww

&

F E b/F F-

&

&

&

bb

bb

bb

58

|Oo,

œœ

œœ

œœ

œœ

œœœ œœœœœœ

œœœ

Lively q = 112

Lively q = 112

f

|oh,

œœ

œœ

œœ

œœ

œœœ œœœœœœ

œœœ

|Oo,

œœ

œœ

œœ

œœ

œœœ œœœœœœ

œœœ ?

35

Hooray for the King!

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61

|Ah!

œ œ œ œ œ. œ. œœœœ

>Œ

œœœœ. œœœœ

.œ> œ œ œ

C m7 F 7 B b

œ œ œ œ œ œ# œ œ œHal le, hal le, hal le lu with a

‰ œœœ‰ œœœ

‰ œœœ‰ œœœ

œœ œ

œœ œ

B b

F

F ALL (except KING):

- - - -

&

&

?

bb

bb

bb

63

œ œ œ œ œ œ Œ

cou ple of hip hoo rays!

‰ jœœœŒ ‰ jœœœ#

>œœœœ.

œœ œ

‰ jœ>

œœ.

œ.

F ø G m7/B b

œ œ œ œ œ œ# œ œ œHal le, hal le, hal le lu we will

‰ œœœ‰ œœœ

‰ œœœ‰ œœœ

œœ œ

œœ œ

B b- - - - - -

&

&

?

bb

bb

bb

65

œ œ œ œ œ Œhol ler all our days.

‰ jœœœœŒ ‰ jœœœœn#

>œœœœb .

œœ œ

‰ jœn>

œ œ.

C m7 B m7 C m7

œ œ œ œ œ œ œ œShow er him with ad mi ra tion—

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œœ œ œ œ

F 7(9)- - - - -

&

&

?

bb

bb

bb

67

œ œ œ œ œ œwords of praise to bask in.

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œ œ œ œ

C m7/G F 7(9)

œ œ œ œ œ œ œ œHe de serves a dor ing love, and

‰ œœœœ‰ œœœœ

‰ œœœœ‰ œœœœ

œ œ œœ

C m7/G F 7(9)- - -

36

Hooray for the King!

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69

œ œ œ œ œ œ

if you doubt just ask him.

œœœœ>œœœœ>

Œ œœœœ

œœ>

œœ>

Œ œœ

Cm7/E b F 7sus B b

∑

œ œ œ œ œ. œ. œœœ

>Œ

œœœœ. œœœœ

.Œ œ

œ>

Cm7 F7 B b

f F

.œ jœ œ œ Œ

Hal le lu jah!

.œ jœœ œœ œœ Œœ œ œ

.œJœœ

œœ œœ Œœ œ œ

E b B b- - -

&

&

?

bb

bb

bb

72

.œ jœ œ œ ‰ œ œ

Hal le lu jah! Hal le

.œ jœœ œœ œœ œœœ œ œ

.œJœœ

œœ œœœœœ œ œ

E b B b

œ œ ‰ œ œ œ œ ‰ œ œ

lu jah! Hal le lu jah! Hal le

œœœ œœœ Œ œœœ œœœ Œ

œœ œœ Œœœ œœ Œ

E b B b E b B b- - - - - - - - - - -

&

&

?

bb

bb

bb

74

œ œ ‰ œ œ œ œ Œ

lu jah! Hal le lu jah!

œœœ œœœ Œ œœœ œœœ Œ

œœ œœ Œœœ œœ Œ

E b B b E b B b

∑U

∑U

∑U

KING: (to ASHPENAZ as he looks at the audience) Shouldn’t they be standing? Why aren't they standing?

ASHPENAZ: It hasn’t been written yet.

∑

œ œ œ œ œ œœ œ œœœœ

^Œ

˙˙ œœ

^Œ

Fsus9 B b

f

- - - -

37

Hooray for the King!

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b

b

86

86

‰ œœœ œœœ œœœ œœœ œœœœœœ

.œœ jœ

D mStately

f

(During the song, the VIP’s process in, in a dignified, formal way.)12

œœœ œœœœœœ œœœ œœœ

œœœ

.œœ j

œ

C

œœœ œœœ œœœœœœ œœœ œœœ

œœœ

.œœ j

œ

B b

&

&

?

b

b

b

4

∑

....˙̇̇˙#

.

.œœ

œœ

œœn

n œœ#

#

A

ALL:

œ œ œ œ œ œSa traps, ad vis ors, and

‰ œœœ œœœ‰ œœœ œœœ

œ ‰ œ# ‰

D m D m/C#

F

F

jœ œ œ ‰

judg es,

‰ œœœ œœœ‰ œœœ œœœ

œn ‰ œn ‰

D m/C D m/B- - - -

38

ALLEN POTE

Everyone Who Is Anyone

© 2018 Hope Publishing Company, Carol Stream, IL 60188.All rights reserved.

Warning: it is illegal to copy this work without permission.

TOM LONG

KING: Oh. (examining the statue) Well, I think this is truly divine. Like me, in fact. But I’m going to need a bigger crowd to admire it. All I see are peasants. Where are the really important people?

ASHPENAZ: Perhaps you need to announce a special dedication ceremony.

KING: Perfect. Get it done.

ASHPENAZ: Narrators!

(The NARRATORS move to their respective spots as a number of the BABYLONIANS exit and prepare to reenter as VERY IMPORTANT PEOPLE or VIP’s.)

NARRATOR 1: So invites went out on the land and the sea, Requesting all people to RSVP;

NARRATOR 2: And nobles streamed in from all parts of the nation To be there in time for the King’s dedication.

ASHPENAZ: Announcing Everyone Who is Anyone…

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7

œ œ œ œ œ œPre fects and aud i tors

‰ œœœ œœœ‰ œœœ œœœ

œb ‰ œ ‰

G mB b

.œ Œ .

too.

‰ œœœ#œœœ ...œœœ

.œ ‰ œ œ

A

œ œ œ œ œ œPrin ces and cap tains and

‰ œœœ œœœ‰ œœœ# œœœ

œ ‰ œ ‰

G m A

- - - - -

&

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b

b

b

10 jœ œ œ jœsher iffs, a

‰ œœœ œœœ‰ œœœ œœœ

œ ‰ œ ‰

D m D m/C

œ œ œ œ œ# œgi ant po li ti cal

‰ œœœ œœœ‰ œœœ# œœœ

œ ‰ œ ‰

G m/B b A

.œ Œ .

zoo!

œœ Jœ

> œœ>

‰

œœ

jœ>œœ>

‰

D m- - - - -

&

?

b

b

86

86

13œœ œ œ œ œœ œ œ œ

.

.œœ

.

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D m G m/B bVery slowly

F

13

œœ œ œ œ œœ œ# œ œ

.

.œœ

.

.œœ

G m Arit.

.

.˙˙

.

.˙˙

D m

39

Everyone Who Is Anyone

NARRATOR 1: Hold it! (music stops) I’m sorry, I hate to ruin the big entrance, but…what’s a satrap?

NARRATOR 2: (checking his script) The footnotes say it’s “the ruler of a satrapy.”

NARRATOR 1: Satrapy?

NARRATOR 2: Don’t ask me.

ASHPENAZ: Rewind!

(The procession returns to its offstage position, walking backwards double time, like a video rewinding. They quickly put on hats and costume pieces appropriate to their new roles.)

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16

‰ œœœ œœœ œœœ œœœ œœœœœœ

.œœ jœ

D mStately

f

14

œœœ œœœœœœ œœœ œœœ

œœœ

.œœ j

œ

C

œœœ œœœ œœœœœœ œœœ œœœ

œœœ

.œœ j

œ

B b

&

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b

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19

∑

....˙̇̇˙#

.

.œœ

œœ

œœn

n œœ#

#

A

œ œ œ œ œ œLots of of fi cial of

‰ œœœ œœœ‰ œœœ œœœ

œ ‰ œ# ‰

D m D m/C#

F

F

ALL:

jœ œ ‰ œ œfi cials, ev ery

‰ œœœ œœœ‰ œœœ œœœ

œn ‰ œn ‰

D m/C D m/B

- - - - -

&

&

?

b

b

b

22

œ œ œ œ œ œhigh muck y muck you could

‰ œœœ œœœ‰ œœœ œœœ

œb ‰ œ ‰

G mB b

.œ Œjœ

name, The

‰ œœœ#œœœ ...œœœ

.œ ‰ œ œ

A

œ œ œ œ œ œhome com ing queen and her

‰ œœœ œœœ‰ œœœ# œ�