Quicksand

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Amy and Sam face many challenges associated with their son Oscar who is a nonverbal autistic child. 

Amy and Sam celebrate Oscar’s birth. They observe Oscar's retreat from them, his slow development and loss of the ability to speak.

At first denying the diagnosis of autism, Amy and Sam blame themselves, the pediatrician and finally vaccines for Oscar's disability.

Committed to finding a way to bring their son back to them, Sam and Amy  despair over the fact that they cannot communicate with Oscar who can't hear his own voice but has thoughts, who cannot talk but has things to say. 

Amy reflects upon Oscar’s uncertain future and asks, "Will we get to see just who you might be  wading through all this Quicksand?"* 

Sam has a heated debate with a neuro-scientist about what may be at the root of Oscar’s autism. 

A Naturopath assures the desperate parents that he will provide all the help he can for Oscar. 

We listen to Oscar plead desperately for something to break the dam, to release his words, and untie his tongue. 

An Annie Sullivan-type tutor teaches Oscar to communicate via a computer keyboard. The miraculous manifestation of Oscar’s ability to think and comprehend appears on a large screen right before his stunned mother and father. Sam and Amy finally meet Oscar for the first time.

OSCAR (types and his words are 'displayed on a large screen):

The words that I am typing are a song of praise.

All thoughts are mine, word by word, phrase by phrase.*

*Poetry from Quicksand  – Brian William Taylor (used by permission)

CHARACTERS

(Alphabetical Order)

AERIALIST – athlete of small stature with artistic  sensibilities – simulates a fetus suspended in a womb

AMY - late 30s – Oscar's mother, Sam's wife, classically trained soprano 

COUNTRY WESTERN SINGER – comfortable with country-western style, triple cast as MICHELLE - 30s – Amy and Sam's friend, Jonathan's wife, and as the WAITRESS, strong chest voice, alto

DR. ANDERSON - 50s – female pediatrician, classically trained mezzo soprano

DR. MCEWEN - 50s - Black male, pharmaceutical company executive double cast as the BLUES SINGER, comfortable with classical, rock, and blues styles, baritone

DR. OAKLAND - 40s – pharmaceutical company executive, comfortable with classical and rock styles, baritone

DR. WILSON - 60s – neuroscientist, comfortable with classical and rock styles, baritone

ELIZABETH - 30s – Oscar's teacher, classically trained soprano

NATUROPATH OLSON - 30's – holistic doctor, triple cast as the COOL JAZZ SINGER, and as JONATHAN, Amy and Sam's friend, comfortable with classical and jazz styles, tenor

OMA - 60s – Amy’s mother, Oscar's grandmother, classically trained mezzo soprano

OSCAR - 10 to 12 year old – must be able to follow stage directions to imitate the physical movements and aural sounds of a nonverbal, autistic child, excellent musical ear, soprano

RAPPER - 20's – Black male, comfortable with "rap" style

SALOON SINGER - 30s – large Black woman, double cast as NURSE TORMA, comfortable with saloon and rock styles, mezzo soprano

SAM - late 30s – Oscar's father, Amy's husband, tenor

Full Orchestra: Piccolo, Flute, oboe, clarinet, bassoon, fr. horn, trumpet I, II, III, Trombone i and II,  Bass Trombone, Tuba, Timpani, Percussion,Electric Bass,  Piano, Acoustic Guitar, Violin I, Violin II, Viola, Cello, Double Bass,  

or 

Piano and any of the above instruments

Piano/vocal perusal score and script available upon request.

For more information about Quicksand call: 406-529-1379 or write: sylvele@aol.com

No Greater Love is a musical commemorating the 1917 Granite Mountain-Speculator Mine fire that killed 168 miners.  

Miners

Gummy,  baritone, 50's 

Manus, tenor, 30's

Cobb

Wirta

Fowler

Mostoski

Sullly/Asst. Foreman

Evans/Hoistman

Collins/Shift Boss

Young miner

Jig Dancing Miner

Conroy/Station Tender

Sheridan/Station Tender

Galia

New Arrivals

Jimmy

Zoe

Brothel Women

Madame McGinnis, Mezzo Soprano, Belter, 40-50

Cashier Jane

Lulu

Ladies of the Line (six)

Floozy Dancers (4)

Townsfolk

Madge, soprano, 30's

Father Barry

Filthy McNabb/Bartender

Dublin Dan

Teddy/Paperboy, 10-12 years old

Anka, soprano, 10-12 years old

Mrs. Mostoski

Town Criers (2)

Crazy Mary

Shoestring Annie

Ensemble/Townsfolk/Doctor/Nurse/Helmet Man

Officials

Norman Braley/Mine Manager, Baritone 50-60

County Attorney Knowles

A. E. Spriggs/Mining Board Chair 50-60

Flute, Oboe,/English Horn, Clarinet, Bassoon, French Horn, Trumpet, Timpani, Percussion, Guitar, Acoustic Bass, Electronic Keyboard (piano/strings/accordion/mandolin/fiddle)

or

Piano and any combination of the above instruments

Perusal copies of the piano/vocal score and script are available upon request.

Those considering a production of No Greater Love should contact Dr. Gary Funk. dr.garyfunk.com

Ruth presents the saga of a young mother and her family just before the end of WWII. The place is Neisse, Silesia, which is today on the southern Polish border. It is January 1945 and the Allied troops are converging from the West and the Russians are approaching from the East. Ruth's town is caught in the middle. 

Ruth and her family are forced out of their home to join the great march of refugees moving  away from the inevitable battle that, in its wake, will leave a path a death and destruction.

Ruth's husband, Alfred, conscripted to fight for the German army on the Russian front has not been home for a long time. Ilse, Ruth's youngest sister, was attending school in a nearby village when city officials ordered the citizens to evacuate. Ilse did not return in time to join her family as it escaped the impending carnage.

Ruth, her sister "Big Inge," and Ruth's two children (Ingelein and Freddie), not knowing where to go, join the endless "Frostbite March" of refugees.

The family seeks refuge in a deserted army barracks where fellow refugees share their harrowing stories and find some comfort in their common experiences. Eventually Ruth and family turn away from the Russian front and head back to the West. 

A week later, Ruth's family joins an estimated 3000 others at the main train station in Dresden. After finding a place in the train depot where they could rest, Ruth walks outside of the station to search for something for the family to drink. In a moment of exhaustion and deep despair, Ruth recounts, "An angel came and touched me on my shoulder and told me that I had to get my family out of the train station!" 

Ruth runs back into the depot and moves her family quickly across the many tracks that lay between them and a train waiting to depart at the far end of the station and the family boards the train.

That night was the infamous fire-bombing of Dresden during which thousands of people were killed.

The train went to Munich where Ruth found a more permanent place to stay. 

Some time later, there was knock on the door. Ruth opened the door to see Ilse staring at her. Miraculously, Ilse had tracked her family down. Ilse, Big Inge and Ruth embrace and vow never to be apart again.

That's Act I. It only gets better in Act II.

Ruth: (Old): Soprano, 60's

Sylvele: Soprano, 40's

Ruth (young): Soprano, late 20's-early 30's

Big Inge: Mezzo Soprano, 20's

Ilse: Soprano, late teens

Ingelein: female child soprano, 10

Freddie: male child soprano, 8

Alfred: Tenor, early 30;s

Andi: Tenor, 30's

Tibor: Barione, 30's

Ensemble: Funeral attendees/soldiers/immigrants

2 Flutes, 2 Oboes, 2 Cl. in Bb, 1 bassoon, 4 Horns in F, 2 Tpts in Bb, 2 Trombones, Tuba, Timpani, Percussion (3 players), acoustic guitar, harp, piano, accordion and strings.

Length:  Act I: 62:00; Act II: 47:00 

Perusal Score: Available upon request

Rental/Royalty Costs:  Upon request.

The opera Ruth is attractive to those interested in engaging in a remarkable story about a women who demonstrates undaunted courage, unbending faith, unconditional love of family and the strength of will to fight against the huge political forces of WWII. Audiences will be emotionally moved and their identification with Ruth and her strength of character, her human vulnerabilities and finally with her husband's willingness to forgive Ruth for her infidelity. The opera paints a human face of common people upon the atrocities of political turmoil – a portrait of people who, hidden in the dark shadows of war, are inevitably squeezed by its unrelenting vice.

The music powerfully dramatic and intensely romantic. Violent harmonic dissonance, angular melodic material and insistent rhythms are utilized to express the intensity of the external and internal conflicts inherent in the story. The music was composed with the intention to speak honestly and remain faithful to Ruth's character.