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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-asperformer 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
Capstone Interpretation 5 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
Capstone Interpretation 6 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!
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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 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...
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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!!
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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.
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