September 22, 2009
 

SHINE: Take 3

When does an author let go?  In the case of musicals, ain't never gonna happen. Something in the universe demands it, like atomic bonding, or gravity itself.  Lousy or fine, grand or not, you and your musical are parent and child; logic and time become as deceptive and complex as string theory. In the case of Shine, its example could be Chapter 1 in The Road to Broadway manual: "Don't Let This Happen to You" or "Who the Heck is Horatio Alger?"

Nowadays I'm often asked where the proverbial edge might be in this fun and inspiring old show, Broadway-bound some 30 years ago. Other than in its craft and heart, perhaps not in the show itself, but certainly in its making.

For such an uplifting show, Shine has a bitter history.  The last of its era, written in the years just before the age of AIDs, it was a project of innocence. But not for long.

In Richard Seff's autobiography, Supporting Player, much of the story of how Shine came to be -- and then came not to be -- is told, at times greatly at my expense. It is truthful from his point of view, but Richard graciously does not share all. Then again, perhaps he never knew. I'm not sure. I used to imagine that one day I might annotate the "meanwhile" scenes of the history of this 1980 almost-Broadway show. But would anyone care how a naive Southern boy most likely destroyed his fresh career in one phone conversation with a brutal Manhattan heiress? Or follow my trek during the months before, like Alice Pleasance, in the bizarre wonderland of midtown offices, weekend retreats and upper Eastside parlors of the powerful and wealthy showmakers, ever selling his Kander and Rodgers inspired music? Or indulge me in recounting the countless meetings with sometimes majestic, but often arrogant and silly producers, peculiar directors and absurd choreographers, along with a few unnerving midnight command appointments with inebriated Broadway royalty? Or let me re-live long limo rides with movie stars who wanted to sing and dance? Or permit me to spill the beans about the usual (and unusual) sex, drugs, racism, secret financial woes, agent betrayal and casting revenge? Or ... You get the idea. Sounds almost fun. But most of these late 1970s players of my youth are long out of the limelight, over the hill or under the daisies now. Still it remains curiouser and curiouser to me that the real story of this what-could-have-been family tuner is brimming with so much of the inappropriate. But all that's for another time, or never.

*

The three tracks of this addendum demo recording were made in August of this year. We hoped that if a few moments of the score were given the Broadway treatment denied in the early 80s, we might time travel a bit and glimpse the show as it was meant to be and perhaps show off the traits of the music that had yet to be truly realized.

With the talents of orchestrator and arranger Greg Anthony and a modest budget, we have attempted that, beginning with these highlights.

It's strange but satisfying to hear the young energized melodies that accompanied my life in those long ago difficult days as they narrate Greg's Overture, even more enhanced by the fact that the legendary Thomas Z. Shepard visited and sat with us as we heard these new sounds for the first time.

Partners was written for the original duo of Matthew Broderick and Timothy Hutton who were the planned stars for the original cast. Never used, the song was put back in the score after the regional production in Richmond in 1983. Mostly a vaudeville turn to assist in a scene change, it's a strong buddy song and every musical should have one. (Is that in Lehman Engel's book?  I forget.) Stanley Bahorek and Aaron Simon Gross have the fun of premiering Greg's new and even more Kander-esque version here with a live orchestra.

Yes! is based on my original "Hero Theme" that was to begin the show; something that explored minor-major melodic lines. (A mission I considered for the entire score but later employed in Chaplin.) But my classical roots were showing and that all seemed too "adult" for a teenage bootblack and most wanted an "Annie" boy-belter ballad instead. Shine deliberately follows the essence of Alger design and appears simplistic at first glance, but it's not a cartoon. If only it had been, it surely would have been easier. Lee and I wrote several songs to follow the "temptation" scene between Luke Gerrish and Dick, villain and hero. We finally chose this wordy soliloquy, based on that abandoned melodic herald. It gives the actor time; the music becomes large, valiant and challenging, and the boy gets a proper chance to think things through, become a grownup and confront the basic dilemma we all face: Should I be good? Or will I be bad? Horatio Alger in a nutshell, in a very high key. (Bravo! Stan)

"The Success Story of a Nation" is how we billed the show later on. And Shine is indeed about the American Dream: the American dreaming and ambition of its cast of characters and more so of its authors. Live and Learn. A good title for one of Horatio Alger's novels, but also what we continue to try and do with a bright and friendly show with a dark and troubled past.

PARTNERS

DICK
PARTNERS, YOU AND I, BOY
PARTNERS, WORTH A TRY, BOY
PARTNERS, THAT’S WHAT WE TWO OUGHT TO BE !

FOSWELL
SPLITTING ALL THE WINNINGS
HITTING ALL THE INNINGS
FITTING JUST LIKE A LOCK AND A KEY.

DICK
I’VE GOT LOTS OF QUALITIES YOU COULD USE

FOSWELL
LIFE'S NOT JUST FRIVOLITIES,
TIME TO SETTLE AND TEST OUR METTLE AND

DICK
YOUR WAY'S MUCH TOO SLOW
THERE'S MORE WAYS THAN YOU KNOW

FOSWELL
THERE'RE DOORWAYS LEADING
TO LIFE A LA CARTE!

BOTH
SO HOW ABOUT IT, PARTNER,
WHEN DO WE START?

DICK
PARTNER, NOTHING SHIFTY --
PARTNER, FIFTY-FIFTY!

FOSWELL
SIXTY-FORTY IS PLENTY FOR ME --

DICK
SHARING LIKE A BROTHER --

FOSWELL
CARING FOR EACH OTHER --

BOTH
DARING, JUST LIKE TWO PARTNERS SHOULD BE!
YOU'VE GOT LOTS OF LEARNING TO DO, MY LAD
AND WHAT I'M JUST BURNING TO DO
IS TEACH IT TO

DICK
NOT JUST PREACH IT TO

BOTH
YOU, FRIEND, CAUSE I SEE IN YOU, FRIEND
ONE LIKE ME IN YOU FRIEND, PARTNER,
I HERE BY DECLARE:
THERE'S NO TWO WAYS ABOUT IT
WE ARE A PAIR!

YES! (DICK'S SOLILOQUY)

I'LL HAVE TO BE LIKE YOU, GERRISH
DO ALL THE THINGS YOU DO, GERRISH
AND LIE AND CHEAT AND STEAL, GERRISH
TO LIVE JUST LIKE THE REAL GERRISH
LOOKING IN A MIRROR, WILL I BE THERE
OR BE SEEING YOU, INSTEAD OF ME THERE?

DID I WANT TO MOVE OUT OF THAT BOX? YES
DID I WANT A DOOR OF MINE THAT LOCKS? YES
DID I WANT A FUTURE THAT WAS BETTER
THAN MY PAST?
DID I DREAM THAT SOME DAY I'D BE OFF
THE STREET AT LAST?

DID I WANT TO KEEP ON SHINING SHOES? NO
NEVER USE THE BRAINS THAT OTHERS USE? (NO)
DID I WANT TO REACH FOR STARS?
I WILLINGLY CONFESS
YES! YES! YES!

DO I WANT TO DO THE THINGS I SHOULD? YES
WANT TO BE A MAN
BOTH STRONG AND GOOD? YES
IF MY PA COULD SEE ME NOW,
WOULD HE BE FEELING PROUD?
SAYING "THAT'S MY BOY DOWN THERE!"
AND SHOUTING IT OUT LOUD?

WILL I CREEP AND CRAWL
RIGHT OUT OF SIGHT? NO
WILL I TAKE A FALL AND THROW THE FIGHT? NO
WILL I USE THE BEST IN ME AND NEVER ANY LESS?
YES! YES! YES!

GERRISH THINKS THAT LIVING BY THE RULES
MAY BE FINE FOR CHILDREN IN THEIR SCHOOLS
MAY BE FINE FOR ANGELS OR FOR MULES
BUT CHILDREN, MULES AND ANGELS AREN'T FOOLS!

IF I MUST GO BACK TO SHINING SHOES NOW
ALWAYS SHINING SHOES, NO MATTER WHOSE NOW
STARTING AT THE BOTTOM
WITH WHATEVER I HAVE GOT
STARTING AT THE BOTTOM
NEVER MINDING WHAT I'VE NOT!

PULL YOURSELF TOGETHER, BOY AND SHUT UP!
WHEN YOU'RE DOWN
THERE'S NO DIRECTION BUT UP!
WILL IT ALL TURN OUT ALL RIGHT?
THAT'S ANYBODY'S GUESS
TRYING ONCE AGAIN MAY LEAD
TO FAILURE OR SUCCESS
SHOULD I COUNT TO FIVE AND THEN
START CLEANING UP THIS MESS?
YES! YES! YES! YES! YES!

© Lee Goldsmith, Roger Anderson.  You can download the mp3s above here.
Visit www.shinethemusical.com for more information on the show.