Reflection, Analysis, and Script for "...of both worlds." - Zack Ford, May 2009

8/14/2019 Reflection, Analysis, and Script for "...of both worlds." - Zack Ford, May 2009

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Capstone Interpretation 1

Running head: ANALYSIS & INTERPRETATION OF CAPTSONE

Analysis and Interpretation of Capstone Performance:

of both worlds.

Zachary T. Ford

Iowa State University


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Analysis and Interpretation of Capstone Performance:

of both worlds.

My first instinct is to say, I prefer that my art speak for itself. Then I realize that of

both worlds. is a unique project with a specific purpose, and if I do not illuminate the intent of

the design, it might never be realized or appreciated.

I cannot pinpoint the exact moment the idea to do a musical performance for my final

Masters capstone narrative came to fruition. What I do know is that delving deep back into the

world of performing arts this last semester has been extremely revealing for me. Here I was, in

Iowa (which I had associated with unhappiness), and I felt connected, respected, understood, and

appreciated. I had friends that valued me and the time they spent with me. In early April, I also

had the opportunity to reconnect with some of my best friends from my undergraduate institution

thanks to the ACPA conference and my fraternitys centennial celebration. All these experiences

resulted in one profound feeling: happiness. I was not the problem and Iowa was not the

problem. My circumstances were the problem.

I knew that the quintessential piece I had been missing was music. Music is how I

express myself. Even when I am not performing, my background in music has conditioned me to

relate and be confident in unique ways. I knew that I needed to find a way to express my final

reflection in music if I ever expected those in my cohort with whom I have struggled to connect

to understand where I am coming from.

What I do as a piano accompanist is exactly what people have struggled to see in me. I

lift others up. I let myself go and focus on accentuating the way others express themselves. I am

committed fully to my coperformers, including the way they feel about the music and what it


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means for them on very personal levels. This is why it made perfect sense to tell my story

through others.

I have had the rewarding experience of accompanying for the Musical Theatre 2 course

here at Iowa State, and I asked my students to help me with my own project. Many of the songs

in my piece are songs they worked on this year and I simply found ways to use them to tell my

story (including Corner of the Sky, Lost in the Wilderness, What Did I Have That I Dont

Have, Everythings Coming Up Roses, and Anything You Can Do). From others, I asked

them to learn new music that I thought would utilize their talents and help tell my story (such as

Hear My Song and The Reckoning). Symbolically, I think this kind of accompanist-as-

performer concept shows the side of me others have not seen: truly losing myself in the work of

others.

One of the other choices I made in the construction of the piece was not allowing

applause between songs or scenes. I wanted the story to be told uninterrupted so that the focus is

not the performance, but the message it is communicating. I put a lot of thought into the order of

the music and ways that I could create seamless transitions so that there was a consistent flow

throughout.

I would like to briefly walk through the six phases of my piece and explain what I am

trying to communicate with each. I intend this commentary and analysis to merely supplement

the script, which is attached as an appendix.

Phase 1 Wow, Iowa.

This phase reflects some of the experiences I discussed in my learning portfolio. The

opening music, the Axiom theme from the film Wall-Erepresents my journey to a new place.


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Iowa was very new and very different, and I had to leave many things behind. I was excited and

curious, but also nervous and unsure of what to expect.

One night at Welch Avenue Station, I was discussing this project with my new good

friend Taryn Packheiser, who teaches dance at Iowa State and who I had been working with

quite a bit on Gypsy. I told her about how others would be telling my story, but that I was

opening with solo piano music. I suggested that maybe it should be more than that. We began

discussing ideas for adding movement to it, and she herself was excited to explore it further. She

has since become in many ways the narrator of my piece through her movement, communicating

the idea of having lost a piece of myself during my time here that I only recently rediscovered.

I also wanted to weave the music ofIowa State into my piece, which is why I included

some of The Bells of Iowa State. Both the music of Iowa State and Taryns role as the narrator

then come full circle at the conclusion of the piece.

The second song, Iowa Stubborn, is meant to be literal, ironic, and satirical. When I

was driving to Iowa, I turned on The Music Man soundtrack as I crossed the Mississippi River,

so it is a literal memory of my journey to Iowa. Given the challenges I have had relating to

people, it also reflects many of the perceptions I have had since I have been here. It seemed an

appropriate way to truly open the piece and engage all of the performers because it really does

represent how I felt when I arrived.

I also wrote some lines for during the interlude about the intentions people had for

entering the program, though I reversed the ostracization. I have felt that a lot of people in the

program are more motivated by the kind of work they want to do than the significance and

meaning of that work. Those of us who I think are more substantially motivated by being agents

of change are not as understood. The idea of social justice motivates me throughout my life, and


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I was always disappointed by the attitudes of Leave theory in the classroom, or Leave work at

work. By juxtaposing those motivated by social justice ostracizing the individual merely in the

program to do work, I hope to demonstrate the way I felt disconnected from many of my

colleagues. I also included the line, Whats a Chickering? to poke fun at myself, having asked

the same question at my cohorts orientation.

Phase 2 Points of View

These two songs seemed to be a great opportunity to expand on the idea of the different

motivations people have for student affairs. In Corner of the Sky, the singer speaks of the idea

of just finding a place where he can be himself and do his thing. This was very much a mentality

I had as a music education major and even as I was beginning my time at Iowa State. I then

learned that I have a much bigger role to play and realized I should not simply settle for being

comfortable doing my own thing. I want to question everything and take nothing for granted so

that I can truly make a difference in the world. Where Corner of the Sky suggests freedom is

finding a sanctuary where ignorance is bliss, Lost in the Wilderness suggests a much harsher

reality where there is much more to be done to achieve freedom.

I like the way these two songs go together. Both are by the same composer, though they

are from very different shows. Both were songs that the singers, Bryce and Jesse, had already

worked on this year in our class. What I also like is the way the lyrics go together. Bryce sings,

Eagles belong where they can fly, and then Jesse counters with Dont you ever watch the

eagle fly and wonder how he got to be so free? When we rehearsed these two songs together

for the first time, Bryce and Jesse made that connection on their own and it proved a great

learning opportunity.

Phase 3 Reflection


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I actually performed Hallelujah at my high school senior baccalaureate ceremony. It

was the first time I sang a solo to an audience, and I prepared that piece all on my own (including

teaching it to myself without sheet music). Given the ironic religious privilege of the event at

which I first performed it, it seemed appropriate to bring it back. The lyrics I chose for it are

intentionally cheesy and more for comedy than anything else. If any of us had to sum up this

program in one word, it would easily be reflection. The overall piece is all about transitions,

and I would not want four serious songs in a row, so I thought this helped break things up a bit

for the listener. I also wanted just a little opportunity to sing myself since I am otherwise just

playing the piano.

What Did I Have That I Dont Have is a song that both Katelyn and Stephanie had

previously worked on. It seemed to echo my challenges finding myself and relating to others in

this program. The original song refers to a man, but I just changed he to they to represent

the cohort.

The answer, of course, to their question, is music. I asked four of the singers to learn

Hear My Song, to complete the reflection. Even the staging of these two songs is symbolic.

The duet represents my two years at Iowa State, and they literally look backto see the four

singers echoing my four years as a music major at Ithaca College. The six voices representing

my thought processes build to the final moment of the song whereIsing, Listen to the song that

I sing and trust me and all six voices conclude, Well be fine. This sorting out and

synthesis of my thoughts is the perfect set-up for my monologue.

Phase 4 Synthesis and Cohesion

In the interest of full disclosure, the first draft of this monologue was written at 3 AM

after an amazing evening of bonding with Brad Dell (theatre professor and director ofGypsy)


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and Taryn Packheiser (dance professor and choreographer ofGypsy). The connections I was

making with them and the passion they had for the impact of their art stirred something in me.

What they were so energized and personally connected to was the piece I was missing. I had

left music as a profession because I cared about social justice and wanted to make a bigger

impact on a wider audience. What I had not thought about was how much I was shaped by

performing arts and how unrealistic it was for me to just leave it all behind. How I express

myself and how I relate to people are very much spoiled by my experience in the performing

arts, and I realized that this disconnect within myselfwas very much what kept others from

understanding where I was coming from. I revised and trimmed down a lot of the language after

that evening, but it is still very much the piece I wrote in a delirious burst of creativity after a

significant personal experience. I will say no more about the monologue and let it speak for

itself.

The song that follows my monologue, The Reckoning, is quintessential to my piece. In

fact, I went to a lot of trouble to include it. Because the sheet music for it does not exist, I

actually asked my fraternity brother to transpose and arrange the whole piece for me. I then

asked one of the students I have gotten to know quite well, Michael, to learn the entire piece. It

is the only non-ensemble song in the show that is sung in its entirety.

The composer of the piece, Levi Kreis, is an openly gay man who once thought he

wanted to pursue a life of religious practice but was dismayed by inconsistencies he saw in

religious practices. The lyrics and background of the piece fit very much into my experiences

being out as gay and coming out as atheist while in the program. It epitomizes the idea of

freedom from conformity and humility. It boldly and confidently sends the message, Here I am,

I do not conform, I am happier this way than I have ever been, and I do not care what you think


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of me. I have often felt that I have had to conform or compromise my identity for others to

appreciate me, and it is the most unpleasant feeling. I need to be myself (as I have said in my

monologue) and if someone is unwilling to understand and appreciate who I am as a person, it is

not going to keep me from being happy.

Though Michael is neither gay nor atheist, I partly asked him to sing this song because I

thought he could personally relate to it too. In one sense, Michael often feels like he is relegated

to the background, so I wanted to give him a chance to really shine. I also think the theme of the

song really relate to the challenges he has had. He has been through a lot and had to grow up

faster than his peers, so he has often struggled with being appreciated for who he is and what he

has been through and accomplished. This song has really helped build our friendship, and I think

this will show as the climax of the whole piece, particularly because its bright gospel feel lets me

shine at the piano as well.

Phase 5 Looking Ahead

After the serious nature of the previous phases, I wanted to lighten things back up. In

Musical Theatre 1, the class practices their acting chops using Anything You Can Do. I

thought it would be fun to use this song to portray the awkward drama that unfolds as we are all

job searching. We have not overtly competedfor jobs, but there is definitely a sense of pressure

from each other as we all make progress towards employment. I also intended a slight

commentary about how the cohort lacks cohesion. It seems we only support each otherafterwe

look out for ourselves, which makes sense because there was never really any foundation or

motivation for group-wide support. The hug at the end of this scene represents that sort of

pseudo-support we offer each other.


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Appendix

Zack Fords Capstone ReflectionMonday, May 4 4:30 PM

Note: Applause will be held until the end of the show. Each song/scene will move seamlesslyfrom one to the next.

of both worlds.A capstone narrative in six phases.

Phase 1 Wow, Iowa.

(Zack enters, sits at the piano, and plays the introductory music (Wall-E theme), which Taryn

will perform movement with. At the end, as he plays the theme of Bells of Iowa State, theensemble enters and forms a straight line across stage with their heads down until Iowa

Stubborn is cued.)

Iowa Stubborn

ENSEMBLE:

OH, THERE'S NOTHING HALFWAY

ABOUT THE IOWA WAY TO TREAT YOU,

WHEN WE TREAT YOUWHICH WE MAY NOT DO AT ALL.

THERE'S AN IOWA KIND OF SPECIALCHIP-ON-THE-SHOULDER ATTITUDE.

WE'VE NEVER BEEN WITHOUT.

THAT WE RECALL.

WE CAN BE COLD

AS OUR FALLING THERMOMETERS IN DECEMBERIF YOU ASK ABOUT OUR WEATHER IN JULY.

AND WE'RE SO BY GOD STUBBORN

WE COULD STAND TOUCHIN' NOSESFOR A WEEK AT A TIME

AND NEVER SEE EYE-TO-EYE.

BUT WHAT THE HECK, YOU'RE WELCOME,

JOIN US AT THE PICNIC.

YOU CAN EAT YOUR FILLOF ALL THE FOOD YOU BRING YOURSELF.

YOU REALLY OUGHT TO GIVE IOWA A TRY.

JESSE: PROVIDED YOU ARE CONTRARY!


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(dialogue over music: Meghan, Anna, Kayla, and Deanna step forward while others mill around

in the background)

MEGHAN: Wow! I am so excited to really dig into social justice and learn about how I can

make a difference in students lives!

ANNA: Umm. Sure! I cant wait to get a job in Greek Life!

DEANNA: Im with Meghan! I cant wait to learn ways I can work better with students of

color!

KAYLA: And Im ready to learn how I can better serve queer students!

MEGHAN: Im all about supporting students with disabilities!!

M, D, and K: (high-five each other) Awesome!

ANNA: Thats, uh, great guys! I guess?

MICHAEL: (steps forward to address four girls) HEY! Whats a Chickering?

ENSEMBLE:

WE CAN BE COLD

AS OUR FALLING THERMOMETER IN DECEMBER

IF YOU ASK ABOUT OUR WEATHER IN JULY.

AND WE'RE SO BY GOD STUBBORN

WE CAN STAND TOUCHIN' NOSESFOR A WEEK AT A TIME

AND NEVER SEE EYE-TO-EYE.

BUT WE'LL GIVE YOU OUR SHIRT

AND A BACK TO GO WITH IT

IF YOUR CROPS SHOULD HAPPEN TO DIE.

DEANNA:

SO, WHAT THE HECK, YOU'RE WELCOME,

GLAD TO HAVE YOU WITH US.

KAYLA:

EVEN THOUGH WE MAY NOT EVER MENTION IT AGAIN.

ENSEMBLE:

YOU REALLY OUGHT TO GIVE IOWA

CYCLONE IOWA


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DUBUQUE, DES MOINES, DAVENPORT, MARSHALLTOWN,

MASON CITY, KEOKUK, AMES, CLEAR LAKE

OUGHT TO GIVE IOWA A TRY!

(Ensemble leaves stage except Bryce and Jesse.)

Phase 2 Points of View

Corner of the Sky

BRYCE (over intro): Jesse! Are you as excited for this program as I am? I cant wait to find my

place in the world!

EVERYTHING HAS ITS SEASON

EVERYTHING HAS ITS TIME

SHOW ME A REASON AND I'LL SOON SHOW YOU A RHYME

CATS FIT ON THE WINDOWSILLCHILDREN FIT IN THE SNOW

WHY DO I FEEL I DON'T FIT IN ANYWHERE I GO?

RIVERS BELONG WHERE THEY CAN RAMBLE

EAGLES BELONG WHERE THEY CAN FLY

I'VE GOT TO BE WHERE MY SPIRIT CAN RUN FREEGOT TO FIND MY CORNER OF THE SKY

SO MANY MEN SEEM DESTINEDTO SETTLE FOR SOMETHING SMALL

BUT I WON'T REST UNTIL I KNOW I'LL HAVE IT ALL

SO DON'T ASK WHERE I'M GOINGJUST LISTEN WHEN I'M GONE

AND FAR AWAY YOU'LL HEAR ME SINGING

SOFTLY TO THE DAWN:

RIVERS BELONG WHERE THEY CAN RAMBLE

EAGLES BELONG WHERE THEY CAN FLY

I'VE GOT TO BE WHERE MY SPIRIT CAN RUN FREEGOT TO FIND MY CORNER OF THE SKY

Lost in the Wilderness

JESSE: (over outro/intro) Bryce, cant you see that the world is a much more challenging place

than that? We must work together and take our task very seriously!

YOU FOLLOW ALL THE RULES

YOU SWALLOW ALL THE STORIES

AND EVERY NIGHT YOU WISH ON A STAR


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DREAMING YOUR DAY WILL COME, TRUSTING IN ALLEGORIES

AND EVERY MORNING BOY LOOK WHERE YOU ARE

LOST IN THE WILDERNESS

LOST, SLOWLY DYING IN THE WILDERNESS

WITH NO CHANCE OF LIVING BOY, UNTIL YOU CONFESSYOU'RE LOST IN THE WILDERNESS

DON'T YOU EVER WATCH THE EAGLE FLY TO THE SUNAND WONDER HOW HE GOT TO BE SO FREE

IF YOU EVER HAVE YOU KNOW YOUR JOURNEY'S BEGUN

HEY WHAT'VE WE GOT TO LOSE BOY, WHEN ALREADY WE ARE

LOST IN THE WILDERNESS

AND WHERE WE ARE HEADED BOY, I COULDN'T EVEN GUESS BUT

OFF WE GO WITHOUT A WARNING

RUNNING AS WE HIT THE GROUNDWHERE OUR FUTURE LIES A-BORNING

WHERE OUR HEARTS ARE OUTWARD BOUNDTILL ONE BRIGHT AND DISTANT MORNING

WE MAY STOP AND LOOK AROUND

AND THERE IN THE WILDERNESS

FINALLY WE'LL BE FOUND!

(Bryce and Jesse depart the stage in disagreement.)

Phase 3 - Reflection

Reflection (Hallelujah)

ZACK:

WE LEARNED ALL ABOUT CHICKERINGS VECTORSAND KING AND KITCHENERS REFLECTIVE JUDGMENT

AND EVEN KOHLBERGS MORAL DEVELOPMENT

AND THEN WE GOT TO THEORY TWO

OUR HEARTS WERE CHALLENGED BUT WE MADE IT THROUGHCUZ WE, WE KNEW JUST WHAT TO DO

REFLECTION, REFLECTIONREFLECTION, REFLECTION

(Steph and Katelyn enter and go to opposite sides of the stage.)

REFLECTION, REFLECTION

REFLECTION, REFLECT, REFLECT, REFLECT


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What Did I Have That I Dont Have?

(Steph and Katelyn do not acknowledge each others presence, each in her own world. )

STEPH:

WHAT DID I HAVE THAT I DON'T HAVE?WHAT DO I NEED BIG SUPPLY OF?

WHAT WAS THE TRICK I DID PARTICULARLY WELL BEFORE?

KATELYN:

WHAT DID THEY SEE THATS GONE IN ME?

WHAT DID I USE THAT NOW I'M SHY OF?

WHY IS THE SEQUEL NEVER THE EQUAL?WHY IS THERE NO ENCORE?

STEPH AND KATELYN:

WHERE CAN I GO TO REPAIR?ALL THE WEAR AND THE TEAR

TILL IM ONCE AGAIN THE PREVIOUS ME!

KATELYN:

WHAT DID THEY LIKE THAT I AM NOT LIKE?

STEPH:

WHAT WAS THE CHARM THAT I'VE RUN DRY OF?

KATELYN:

WHAT WOULD I GIVE IF MY OLD KNOW-HOW STILL KNEW HOW?

STEPH AND KATELYN:

WHAT DID I HAVE I DONT HAVE NOW?

(Janae enters to center behind piano. Steph and Katelyn sit and face upstage.)

Hear My Song

(Meghan-Woman 1 and Margaux-Woman 2 enter as Janae-Man 1 starts to sing. )

JANAE (m. 51):

HEAR MY SONG:

IT'LL HELP YOU BELIEVE IN TOMORROW

HEAR MY SONG:IT'LL SHOW YOU THE WAY YOU CAN

M, M, J:

SHINE...


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JANAE:

HEAR MY SONGIT WAS MADE FOR THE TIMES

WHEN YOU DON'T KNOW WHERE TO GO

M, M, J:

LISTEN TO THE SONG THAT I SING

MARGAUX:

YOU'LL BE FINE.

(Jason-Man 2 enters.)

M, M, J, J:

CAUSE I'LL BE SINGING

HOLD ONHOLD TIGHT

MARGAUX:

I KNOW IT'S DARK RIGHT NOW

BUT JUST BELIEVE SOMEHOW

THAT SOON THERE WILL BE LIGHT

M, M, J, J:

HOLD ONHOLD FAST

MEGHAN (Switch parts with MARGAUX for m. 81-86):THAT'S NOT ENOUGH FOR SOME

BUT TRUST THE LIGHT WILL COME

AND WE'LL GET PASTYOU AND MAMA

M, M, J, J:

SAFE AT LAST!

JASON:

HEAR MY SONG:IT'LL HELP US GET THROUGH TIL TOMORROW

HEAR MY SONG:

IT'LL HELP US SURVIVE ALL THE PAINHEAR MY SONG

IT'S THE ONE THING I HAVE

THAT HAS NEVER LET ME DOWN


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M, M, J, J:

LISTEN TO THE SONG THAT I SING

LISTEN TO THE WORDS IN MY HEARTLISTEN TO THE HOPE I CAN BRING

AND YOU'LL START TO GROW

AND SHINE

ZACK (m. 105-107):

LISTEN TO THE SONG THAT I SINGAND TRUST ME...

(Steph and Katelyn stand and face out again.)

MEGHAN, MARGAUX, JANAE, JASON, Steph, and KATELYN:

We'll be fine...

MEGHAN:A new world calls across the ocean!

(All 6 performers leave the stage.)

Phase 4 Synthesis and Cohesion

Zacks Monologue

Zack: I just found myself.

I wasnt lostI was herebut I had lost myself.

There I was, wandering through life as if the setting hadnt changed.

Here I was, unable to connect, unable to relate, unable to be myself.

You couldnt see me for myself. My self was still in its special placeit didnt fit here, but I

was just going through the motions. I assumed you knew me as my self, but you couldnt. Our

selves were not in a place where they could be compatible.

You saw me. You saw the articulate, confident intellectual. Thats me. No doubt that might

have been slightly overwhelming. Things havent changed much since 1st grade in that regard.

But my nutshell--thats not what intimidated you. No, no, that wasnt me. Its my self thats so

scary.

My self is so much more. It is raw. It is vulnerable. It is exposed. And it cant live any other

way. If it ever did, those days are beyond memory.


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My comfort with my self comes from a different world. Its a world full of personal challenges,

a world full of mandatory risk. It is a naked world, full of critique, and you dontknow that

world. You couldnt, unless youd been there. Youd have to let yourself go there! How could Ihave expected you to?

But thats where my self was and is: here, in the theatre, on the stage. And when you couldntappreciate my raw, exposed self, it was lost. All that was left was me, and as intelligent and

articulate as I might be, you wouldnt want to know me if I wasnt myself. And you didnt. And

yet, I felt I could not be myself and have you know me.

Im scary because Im open. Im open because Im scared of the unknown.

Im scary because I push myself. I push myself because Im scared of letting myself down.

Im scary because I see life on a different plane and I could not live if I could not also be seen on

that plane.

But I let my self go without even realizing it. I was so foolish. And look at what happened!

Look at the pain I felt, and look at the pain I caused.

But I just found myself, and boy did I miss it. I missed the raw. I missed the vulnerable. I

missed the passion and the subtlety. I missed being able to connect to a persons heart without

saying a wordand I missed the connection within my own heart.

All this time you saw me being me and you thought me cold and self-centered, but I was

desperately self-directed. You were showing me your selves, but I couldnt be myself and wenever could connect.

But Im ready to be myself again. Im ready to show you I can listen to you, because I do. Imready to show you I can care for you, because I do. Im ready to show you I can cry with you,

because I have. I cant let me cry, I can only let myself cry. And I cant be there for you, if I am

not here for myself. But I care I care deeply about all of you, and the only way you wouldknow it is if I let you see me for who I really am. You need to see me being myself if I ever

expect you to understand.

I am scared. And I am lonely and as long as that is what I am without being myself, then I cannever appreciate who you are or what you stand for even though Id like to think I do.

But if your potential to believe that is beyond your comfort, your willingness, or yourconfidence, I can blame no one but myself.

(Zack sits back at the piano and Michael enters with an air of confidence and joy.)

The Reckoning

MICHAEL:


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IVE TURNED THE KEY TO PANDORAS BOX

AND ILL NEVER BE FORGIVEN

THE SKELETONS ARE TAKING ON A LIFE OF THEIR OWNUNAPOLOGETIC ABOUT ALL THAT HAS BEEN HIDDEN

THE DANCE OF SOCIAL GRACES EXHAUSTS ME TO THE BONE

IVE ALLOWED MYSELF TO BE

A SMILING, WILLING VICTIM

TO THOSE OF YOU IN SHARKSKIN SUITS WHO CLAIM TO BE SO WISETHROUGH EVERY METAMORPHOSIS IVE TAKEN WHAT YOUVE GIVEN

BUT WHEN THE MONEY DISAPPEARED YOU LEFT ME HEAR TO DIE

NOW ALL I SEEALL I GOT IS ME

BUT THATS SO MUCH MORE

THAN I HAD EVER DREAMED

SO TAKE IN EVERY INCH OF ME

I DONT CARE IF YOU LIKE WHAT YOU SEEID RATHER DIE THAN TO LIVE BY YOUR FEAR

IM NAKED NOW AND IM NOT BLEEDING

I CANT HAVE YOUR SELF-RIGHTEOUS SCREAMING

CAUSE NOW THE DAY OF RECKONING IS HERE

WHEN I WAS A CHILD OF GOD

I TOOK A NOBLE CALLINGTO NEVER LET ANOTHER MAN LOOK DOWN UPON MY YOUTH

AFTER ALL THE SELF DEPRECATING, THE FASTING AND THE DEMON SLAYING

YOUR WAYS OF SIN BECAME MY ONLY TRUTH

AND NOW I SEE

THAT GOD IS MEAND THATS SO MUCH MORE

THAN I HAD EVER DREAMED

SO TAKE IN EVERY INCH OF MEI DONT CARE IF YOU LIKE WHAT YOU SEE

ID RATHER DIE THAN TO LIVE BY YOUR FEAR

IM NAKED NOW AND IM NOT BLEEDINGI CANT HAVE YOUR SELF-RIGHTEOUS SCREAMING

CAUSE NOW THE DAY OF RECKONING IS HERE.

Whoo! Play on, player! Yeah! Haha, alright!

NOW ALL I SEE

ALL I GOT IS ME


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AND THATS SO MUCH MORE

THAN YOU HAVE EVER SEEN

SO TAKE IN EVERY INCH OF ME

I DONT CARE IF YOU LIKE WHAT YOU SEE

ID RATHER DIE THAN TO LIVE BY YOUR FEARIM NAKED NOW AND IM NOT BLEEDING

I CANT HAVE YOUR SELF-RIGHTEOUS SCREAMING

CAUSE NOW THE DAY OF RECKONING IS HERENOW THE DAY OF RECKONING IS HERE.

(Michael leaves the stage as Deanna and Anna enter and confront each other.)

Phase 5 Looking Ahead

Any Job You Can Get

(Musical vamp starts.)

DEANNA: Hey Anna, got any interviews scheduled yet?

ANNA: Oh yeah, a TON!

DEANNA: Oh yeah?? Well

ANY JOB YOU CAN GET, I CAN GET BETTER!

ANNA: Please!

I CAN GET ANY JOB BETTER THAN YOU!

DEANNA: NO YOU CANT!

ANNA: YES I CAN!


ANNA: YES I CAN!


ANNA: YES I CAN! YES I CAN!

DEANNA: I CAN GO TO OSH KOSH!

ANNA: I CAN GO TO NASPA!

DEANNA: ILL WORK AT A PRIVATE!!


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ANNA: ILL WORK AT A PUBLIC!!

DEANNA: I CAN GET MOST ANY JOB!

ANNA: Hang on a second. Are we even applying for any of the same jobs?

DEANNA: Well. Huh. I guess not?

ANNA: Oh. (pause.) Well then good luck!!

DEANNA: Good luck to you too!!

(They hug and leave the stage.)

Everythings Coming Up Masters

(Mariana enters just as shes about to begin singing.)

MARIANA:

I HAD A DREAM, A DREAM ABOUT YOU, ELPS.

ITS GONNA COME TRUE, ELPS.

THEY THINK THAT WERE THOUGH, BUT ELPS

YOULL BE SWELL! YOULL BE GREAT!

GONNA HAVE THE WHOLE WORLD ON THE PLATE!STARTING HERE, STARTING NOW

HONEYS, EVERYTHINGS COMING UP MASTERS!

CURTAIN UP! LIGHT THE LIGHTS!

WE GOT NOTHING TO HIT BUT THE HEIGHTS!

I CAN TELL, WAIT AND SEETHERES THE BELL! FOLLOW ME!

AND NOTHING GONNA STOP US TIL WERE THROUGH!

HONEYS, EVERYTHINGS COMING UP MASTERS DIPLOMAS!EVERYTHINGS COMING UP ASTIN AND CHICKERING!

EVERYTHINGS COMING UP RES LIFE AND LEADERSHIP!

EVERYTHINGS COMING UP MASTERS FOR ME AND FOR YOU!

Final Phase

Come So Far (Got So Far To Go)

(Ensemble members will join the stage individually in time for their solos.)


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MEGHAN:

HEY OLD FRIEND, LETS LOOK BACK

ON THE CRAZY CLOTHES WE WORE

MARIANA:

AINT IT FUN TO LOOK BACKAND TO SEE ITS ALL BEEN DONE BEFORE?

JASON:

ALL THOSE NIGHTS TOGETHER

ARE A SPECIAL MEMORY

DEANNA:

AND I CANT WAIT FOR TOMORROW

JUST AS LONG AS YOURE DANCING NEXT TO ME

ALL (SO FAR):CAUSE ITS SO CLEAR

EVERY YEAR WE GET STRONGER

MARGAUX:

WHATS GONE IS GONE

JESSE:

THE PAST IS THE PAST

MARGAUX & JESSE:

TURN THE RADIO UP

KATELYN:

AND THEN HIT THE GAS CAUSE

ALL (SO FAR):

I KNOW WEVE COME SO FAR

BUT WEVE GOT SO FAR TO GO

I KNOW THE ROAD SEEMS LONGBUT IT WONT BE LONG TIL ITS TIME TO GO

SO, MOST DAYS WELL TAKE IT FAST

AND SOME NIGHTS WELL TAKE IT SLOWI KNOW WEVE COME SO FAR

BUT BABY, BABY,

WEVE GOT SO FAR TO GO!

JANAE:

HEY OLD FRIEND, TOGETHER

SIDE BY SIDE AND YEAR BY YEAR


22/24


MICHAEL:

THE ROAD WAS FILLED WITH TWISTS AND TURNSOH BUT THATS THE ROAD THAT GOT US HERE

ANNA:LETS MOVE PAST THE BAD TIMES

BUT BEFORE THOSE MEMORIES FADE

BRYCE:

LETS FORGIVE BUT NOT FORGET

AND LEARN FROM ALL THE MISTAKES WE MADE

ALL (SO FAR):

CAUSE ITS SO CLEAR

EVERY YEAR WE GET STRONGER!

KAYLA:

SO DONT GIVE UP!

STEPH:

AND DONT SAY WHEN!

KAYLA AND STEPH:

AND JUST JUMP BACK

ALL:

ON THE ROAD AGAIN! CAUSE



I KNOW THE ROAD SEEMS LONGBUT WONT BE LONG TIL ITS TIME TO GO


AND SOME NIGHTS WELL TAKE IT SLOW

I KNOW WEVE COME SO FARBUT BABY, BABY

WEVE GOT SO FAR TO GO

(Some members of ensemble should go out and engage audience members and get them do

dance at this point.)

HEY OLD FRIEND COME ALONG FOR THE RIDE

THERES PLENTY OF ROOM SO JUMP INSIDE

THE HIGHWAYS ROCKY EVERY NOW AND THEN

BUT ITS SO MUCH BETTER THAN WHERE IVE BEEN


23/24


JUST KEEP MOVIN AT YOUR OWN SPEED

YOUR HEART IS ALL THE COMPASS YOULL EVER NEED

LETS KEEP CRUISIN THE ROAD WERE ONCAUSE THE REAR VIEW MIRROR ONLY SHOWS WHATS GONE, GONE, GONE

(All ensemble members should return to stage.)

GOT SO FAR TO GO

CAUSE ITS SO CLEAR

MICHAEL:

EVERY YEAR WE GET STRONGER!

HALF OF ENSEMBLE:

SO SHINE THAT LIGHT!

OTHER HALF OF ENSEMBLE:

AND TAKE MY HAND!

ALL:

AND LETS DANCE INTO THE PROMISED LAND! CAUSE



I KNOW THE ROAD SEEMS LONGBUT WONT BE LONG TIL ITS TIME TO GO


AND SOME NIGHTS WELL TAKE IT SLOWI KNOW WEVE COME SO FAR

BUT BABY, BABY

WEVE GOT SO FAR TO GO

(Ensemble members should feel free to improv different solos during the repeat, then graduallyexit stage in any direction and fade, but be ready to immediately reappear.)

Iowa State Fights

(Ensemble jumps back out!)

ALL:

O WE WILL FIGHT, FIGHT, FIGHT FOR IOWA STATE,AND MAY HER COLORS EVER FLY.

YES, WE WILL FIGHT WITH MIGHT FOR IOWA STATE,

WITH A WILL TO DO OR DIE,

RAH! RAH! RAH!


24/24


LOYAL SONS FOREVER TRUE,

AND WE WILL FIGHT THE BATTLE THROUGH.

AND WHEN WE HIT THAT LINE WE'LL HIT IT HARD EV'RY YARD FOR I. S. U.

O WE WILL FIGHT, FIGHT, FIGHT FOR IOWA STATE,

AND MAY HER COLORS EVER FLY.YES, WE WILL FIGHT WITH MIGHT FOR IOWA STATE,

WITH A WILL TO DO OR DIE,

RAH! RAH! RAH!LOYAL SONS FOREVER TRUE,

AND WE WILL FIGHT THE BATTLE THROUGH.

AND WHEN WE HIT THAT LINE WE'LL HIT IT HARD EV'RY YARD FOR I. S. U.

Documents

Reflection, Analysis, and Script for "...of both worlds." - Zack Ford, May 2009