Capstone Interpretation 1

Running head: ANALYSIS & INTERPRETATION OF CAPTSONE

Analysis and Interpretation of Capstone Performance:

“…of both worlds.”

Zachary T. Ford

Iowa State University

 Capstone Interpretation 2

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

Master’s 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 fraternity’s 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
 Capstone Interpretation 3

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 Don’t

Have,” “Everything’s 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-E represents my journey to a new place.
 Capstone Interpretation 4

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 of Iowa State into my piece, which is why I included

some of “The Bells of Iowa State.” Both the music of Iowa State and Taryn’s 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, “What’s a Chickering?” to poke fun at myself, having asked

the same question at my cohort’s 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 “Don’t 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 Don’t 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 back to 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 where I sing, “Listen to the song that

I sing and trust me…” and all six voices conclude, “We’ll 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 of Gypsy)
 Capstone Interpretation 7

and Taryn Packheiser (dance professor and choreographer of Gypsy). 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 my self was 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
 Capstone Interpretation 8

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 competed for 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 other after we

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.

 Capstone Interpretation 9

Mariana was actually in Musical Theatre 2 last year, and she is one of the students I have

worked with in my assistantship. This year, she had the star role in Gypsy, so I had many more

opportunities to work and connect with her. Because Gypsy was the experience that significantly

reimmersed me back into the world of performing arts, I wanted to include an aspect of it in my

piece. I also really wanted the end of my piece to be positive. I wanted it to represent growth

and an optimistic outlook. The most well-known song in Gypsy seemed to fit well:

“Everything’s Coming Up Roses.” Of course, I changed “roses” to “Master’s.” Knowing that

the audience of my piece is the cohort, I wanted to tailor the piece to their experiences.

Final Phase

The concept of the whole piece reflects my philosophy of student affairs: we need to

know ourselves well enough to support students’ exploration of themselves. That is exactly what

I do as an accompanist. I help create support structures so they can grow and shine. Still, I

wanted to include a song that brings this point home. “Come So Far” was a great way to bring

the whole ensemble back on stage and wrap the piece up. We need to keep in mind how far we

have come and the ways that we have grown, but we must focus on where we are going and the

difference we can still make in the world. Most importantly, we need to work together to make it

happen.

After “Come So Far,” Taryn reprises her role as narrator through movement by returning

to the stage and symbolizing the growth that has taken place throughout the piece. I will let the

actual performance speak for itself in how this looks. The meaning is pretty obvious.

Lastly, to reconnect to the Iowa State theme of the piece, everybody will come back on

stage to sing “Iowa State Fights.” Iowa State University is now and forever a part of who we

are, and it is worthwhile to celebrate the common bond that connects us all.
 Capstone Interpretation 10

Appendix

Zack Ford’s Capstone Reflection

Monday, May 4 – 4:30 PM

Note: Applause will be held until the end of the show. Each song/scene will move seamlessly
from 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,” the
ensemble 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 YOU
WHICH WE MAY NOT DO AT ALL.

THERE'S AN IOWA KIND OF SPECIAL

CHIP-ON-THE-SHOULDER ATTITUDE.
WE'VE NEVER BEEN WITHOUT.
THAT WE RECALL.

WE CAN BE COLD
AS OUR FALLING THERMOMETERS IN DECEMBER
IF YOU ASK ABOUT OUR WEATHER IN JULY.

AND WE'RE SO BY GOD STUBBORN

WE COULD STAND TOUCHIN' NOSES
FOR 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 FILL
OF ALL THE FOOD YOU BRING YOURSELF.
YOU REALLY OUGHT TO GIVE IOWA A TRY.

JESSE: PROVIDED YOU ARE CONTRARY!

 Capstone Interpretation 11

(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 can’t wait to get a job in Greek Life!

DEANNA: I’m with Meghan! I can’t wait to learn ways I can work better with students of
color!

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

MEGHAN: I’m all about supporting students with disabilities!!

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

ANNA: That’s, uh, great guys! I guess?

MICHAEL: (steps forward to address four girls) HEY! … What’s 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' NOSES
FOR 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
 Capstone Interpretation 12

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 can’t 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 WINDOWSILL
CHILDREN 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 FREE
GOT TO FIND MY CORNER OF THE SKY

SO MANY MEN SEEM DESTINED

TO SETTLE FOR SOMETHING SMALL
BUT I WON'T REST UNTIL I KNOW I'LL HAVE IT ALL
SO DON'T ASK WHERE I'M GOING
JUST 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 FREE
GOT TO FIND MY CORNER OF THE SKY

Lost in the Wilderness

JESSE: (over outro/intro) Bryce, can’t 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
 Capstone Interpretation 13

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 CONFESS
YOU'RE LOST IN THE WILDERNESS

DON'T YOU EVER WATCH THE EAGLE FLY TO THE SUN

AND 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 GROUND
WHERE OUR FUTURE LIES A-BORNING
WHERE OUR HEARTS ARE OUTWARD BOUND
TILL 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 CHICKERING’S VECTORS
AND KING AND KITCHENER’S REFLECTIVE JUDGMENT
AND EVEN KOHLBERG’S MORAL DEVELOPMENT
AND THEN WE GOT TO THEORY TWO
OUR HEARTS WERE CHALLENGED BUT WE MADE IT THROUGH
CUZ WE, WE KNEW JUST WHAT TO DO

REFLECTION, REFLECTION
REFLECTION, REFLECTION

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

REFLECTION, REFLECTION
REFLECTION, REFLECT, REFLECT, REFLECT
 Capstone Interpretation 14

What Did I Have That I Don’t Have?

(Steph and Katelyn do not acknowledge each other’s 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 THAT’S 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 I’M 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 DON’T 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...
 Capstone Interpretation 15

JANAE:
HEAR MY SONG
IT 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 ON
HOLD TIGHT

MARGAUX:
I KNOW IT'S DARK RIGHT NOW
BUT JUST BELIEVE SOMEHOW
THAT SOON THERE WILL BE LIGHT

M, M, J, J:
HOLD ON
HOLD 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 PAST
YOU 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 PAIN
HEAR MY SONG
IT'S THE ONE THING I HAVE
THAT HAS NEVER LET ME DOWN
 Capstone Interpretation 16

M, M, J, J:
LISTEN TO THE SONG THAT I SING
LISTEN TO THE WORDS IN MY HEART
LISTEN TO THE HOPE I CAN BRING
AND YOU'LL START TO GROW
AND SHINE

ZACK (m. 105-107):

LISTEN TO THE SONG THAT I SING
AND 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

Zack’s Monologue

Zack: I just found myself.

I wasn’t lost—I was here—but I had lost myself.

There I was, wandering through life as if the setting hadn’t changed.

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

You couldn’t see me for myself. My self was still in its special place—it didn’t fit here, but I
was just going through the motions. I assumed you knew me as my self, but you couldn’t. Our
selves were not in a place where they could be compatible.

You saw me. You saw the articulate, confident intellectual. That’s me. No doubt that might
have been slightly overwhelming. Things haven’t changed much since 1st grade in that regard.

But my nutshell--that’s not what intimidated you. No, no, that wasn’t me. It’s my self that’s so
scary.

My self is so much more. It is raw. It is vulnerable. It is exposed. And it can’t live any other
way. If it ever did, those days are beyond memory.
 Capstone Interpretation 17

My comfort with my self comes from a different world. It’s a world full of personal challenges,
a world full of mandatory risk. It is a naked world, full of critique, and you don’t know that
world. You couldn’t, unless you’d been there. You’d have to let yourself go there! How could I
have expected you to?

But that’s where my self was and is: here, in the theatre, on the stage. And when you couldn’t
appreciate my raw, exposed self, it was lost. All that was left was me, and as intelligent and
articulate as I might be, you wouldn’t want to know me if I wasn’t myself. And you didn’t. And
yet, I felt I could not be myself and have you know me.

I’m scary because I’m open. I’m open because I’m scared of the unknown.

I’m scary because I push myself. I push myself because I’m scared of letting myself down.

I’m 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 person’s heart without
saying a word…and 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 couldn’t be myself and we
never could connect.

But I’m ready to be myself again. I’m ready to show you I can listen to you, because I do. I’m
ready to show you I can care for you, because I do. I’m ready to show you I can cry with you,
because I have. I can’t let me cry, I can only let myself cry. And I can’t 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 would
know 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 can
never appreciate who you are or what you stand for… even though I’d like to think I do.

But if your potential to believe that is beyond your comfort, your willingness, or your
confidence, 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:
 Capstone Interpretation 18

I’VE TURNED THE KEY TO PANDORA’S BOX

AND I’LL NEVER BE FORGIVEN
THE SKELETONS ARE TAKING ON A LIFE OF THEIR OWN
UNAPOLOGETIC ABOUT ALL THAT HAS BEEN HIDDEN
THE DANCE OF SOCIAL GRACES EXHAUSTS ME TO THE BONE

I’VE ALLOWED MYSELF TO BE

A SMILING, WILLING VICTIM
TO THOSE OF YOU IN SHARKSKIN SUITS WHO CLAIM TO BE SO WISE
THROUGH EVERY METAMORPHOSIS I’VE TAKEN WHAT YOU’VE GIVEN
BUT WHEN THE MONEY DISAPPEARED YOU LEFT ME HEAR TO DIE

NOW ALL I SEE

ALL I GOT IS ME
BUT THAT’S SO MUCH MORE
THAN I HAD EVER DREAMED

SO TAKE IN EVERY INCH OF ME

I DON’T CARE IF YOU LIKE WHAT YOU SEE
I’D RATHER DIE THAN TO LIVE BY YOUR FEAR
I’M NAKED NOW AND I’M NOT BLEEDING
I CAN’T HAVE YOUR SELF-RIGHTEOUS SCREAMING
CAUSE NOW THE DAY OF RECKONING IS HERE

WHEN I WAS A CHILD OF GOD

I TOOK A NOBLE CALLING
TO 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 ME
AND THAT’S SO MUCH MORE
THAN I HAD EVER DREAMED

SO TAKE IN EVERY INCH OF ME

I DON’T CARE IF YOU LIKE WHAT YOU SEE
I’D RATHER DIE THAN TO LIVE BY YOUR FEAR
I’M NAKED NOW AND I’M NOT BLEEDING
I CAN’T 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
 Capstone Interpretation 19

AND THAT’S SO MUCH MORE

THAN YOU HAVE EVER SEEN

SO TAKE IN EVERY INCH OF ME

I DON’T CARE IF YOU LIKE WHAT YOU SEE
I’D RATHER DIE THAN TO LIVE BY YOUR FEAR
I’M NAKED NOW AND I’M NOT BLEEDING
I CAN’T HAVE YOUR SELF-RIGHTEOUS SCREAMING
CAUSE NOW THE DAY OF RECKONING IS HERE
NOW 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 CAN’T!

ANNA: YES I CAN!

DEANNA: NO YOU CAN’T!

ANNA: YES I CAN!

DEANNA: NO YOU CAN’T!

ANNA: YES I CAN! YES I CAN!

DEANNA: I CAN GO TO OSH KOSH!

ANNA: I CAN GO TO NASPA!

DEANNA: I’LL WORK AT A PRIVATE!!

 Capstone Interpretation 20

ANNA: I’LL 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.)

“Everything’s Coming Up Master’s”

(Mariana enters just as she’s about to begin singing.)

MARIANA:
I HAD A DREAM, A DREAM ABOUT YOU, ELPS.
IT’S GONNA COME TRUE, ELPS.
THEY THINK THAT WE’RE THOUGH, BUT ELPS…

YOU’LL BE SWELL! YOU’LL BE GREAT!

GONNA HAVE THE WHOLE WORLD ON THE PLATE!
STARTING HERE, STARTING NOW
HONEYS, EVERYTHING’S COMING UP MASTER’S!

CURTAIN UP! LIGHT THE LIGHTS!

WE GOT NOTHING TO HIT BUT THE HEIGHTS!
I CAN TELL, WAIT AND SEE
THERE’S THE BELL! FOLLOW ME!
AND NOTHING GONNA STOP US ‘TIL WE’RE THROUGH!

HONEYS, EVERYTHING’S COMING UP MASTER’S DIPLOMAS!

EVERYTHING’S COMING UP ASTIN AND CHICKERING!
EVERYTHING’S COMING UP RES LIFE AND LEADERSHIP!
EVERYTHING’S COMING UP MASTER’S 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.)
 Capstone Interpretation 21

MEGHAN:
HEY OLD FRIEND, LET’S LOOK BACK
ON THE CRAZY CLOTHES WE WORE

MARIANA:
AIN’T IT FUN TO LOOK BACK
AND TO SEE IT’S ALL BEEN DONE BEFORE?

JASON:
ALL THOSE NIGHTS TOGETHER
ARE A SPECIAL MEMORY

DEANNA:
AND I CAN’T WAIT FOR TOMORROW
JUST AS LONG AS YOU’RE DANCING NEXT TO ME

ALL (SO FAR):

‘CAUSE IT’S SO CLEAR
EVERY YEAR WE GET STRONGER

MARGAUX:
WHAT’S 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 WE’VE COME SO FAR
BUT WE’VE GOT SO FAR TO GO
I KNOW THE ROAD SEEMS LONG
BUT IT WON’T BE LONG ‘TIL IT’S TIME TO GO
SO, MOST DAYS WE’LL TAKE IT FAST
AND SOME NIGHTS WE’LL TAKE IT SLOW
I KNOW WE’VE COME SO FAR
BUT BABY, BABY,
WE’VE GOT SO FAR TO GO!

JANAE:
HEY OLD FRIEND, TOGETHER
SIDE BY SIDE AND YEAR BY YEAR
 Capstone Interpretation 22

MICHAEL:
THE ROAD WAS FILLED WITH TWISTS AND TURNS
OH BUT THAT’S THE ROAD THAT GOT US HERE

ANNA:
LET’S MOVE PAST THE BAD TIMES
BUT BEFORE THOSE MEMORIES FADE

BRYCE:
LET’S FORGIVE BUT NOT FORGET
AND LEARN FROM ALL THE MISTAKES WE MADE

ALL (SO FAR):

‘CAUSE IT’S SO CLEAR
EVERY YEAR WE GET STRONGER!

KAYLA:
SO DON’T GIVE UP!

STEPH:
AND DON’T SAY WHEN!

KAYLA AND STEPH:

AND JUST JUMP BACK…

ALL:
… ON THE ROAD AGAIN! “CAUSE

I KNOW WE’VE COME SO FAR

BUT WE’VE GOT SO FAR TO GO
I KNOW THE ROAD SEEMS LONG
BUT WON’T BE LONG ‘TIL IT’S TIME TO GO
SO, MOST DAYS WE’LL TAKE IT FAST
AND SOME NIGHTS WE’LL TAKE IT SLOW
I KNOW WE’VE COME SO FAR
BUT BABY, BABY
WE’VE 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

THERE’S PLENTY OF ROOM SO JUMP INSIDE
THE HIGHWAY’S ROCKY EVERY NOW AND THEN
BUT IT’S SO MUCH BETTER THAN WHERE I’VE BEEN
 Capstone Interpretation 23

JUST KEEP MOVIN’ AT YOUR OWN SPEED

YOUR HEART IS ALL THE COMPASS YOU’LL EVER NEED
LET’S KEEP CRUISIN’ THE ROAD WE’RE ON
‘CAUSE THE REAR VIEW MIRROR ONLY SHOWS WHAT’S GONE, GONE, GONE

(All ensemble members should return to stage.)

GOT SO FAR TO GO

‘CAUSE IT’S 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 LET’S DANCE INTO THE PROMISED LAND! ‘CAUSE

I KNOW WE’VE COME SO FAR

BUT WE’VE GOT SO FAR TO GO
I KNOW THE ROAD SEEMS LONG
BUT WON’T BE LONG ‘TIL IT’S TIME TO GO
SO, MOST DAYS WE’LL TAKE IT FAST
AND SOME NIGHTS WE’LL TAKE IT SLOW
I KNOW WE’VE COME SO FAR
BUT BABY, BABY
WE’VE GOT SO FAR TO GO

(Ensemble members should feel free to improv different solos during the repeat, then gradually
exit 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!
 Capstone Interpretation 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.