A CD of the album, with cover art by Margaret Ashford-Trotter and a chipboard card case designed by Brittain Ashford.
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Includes unlimited streaming of Ghost Quartet
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Sheet Music
A complete 141-page score of all the text and music in the show. Score is lead sheet style, with full vocal arrangements, and other melodic lines written out and (see attached images!)
[BRITTAIN]
I’m sorry—you know, you know what I mean.
[GELSEY]
Yes, child. And yes, I am.
Do I know you? You remind me of my sister.
[BRITTAIN]
No, I’m from far away. My name is Rose. Rose Red.
[GELSEY]
My sister's name was Dunyazad.
[BRITTAIN]
It’s a beautiful name.
I know her, from the stories.
[GELSEY]
She’s been dead a long time now.
What do you need?
[BRITTAIN]
Um, Stardust? Just one piece.
[GELSEY]
Hm. I don’t know if I have any left.
1001 is a pretty big number.
[BRITTAIN]
I always figured you could have gone on forever.
[GELSEY]
Nope. Not forever.
I HAVE A LOT OF MEMORIES
AND I HAVE A LOT OF SADNESS
BUT THE TWO DON’T LINE UP
THE TWO DON’T LINE UP
I USED TO RUN THRU THE SAND
CAMPFIRE STARS IN THE DISTANCE
AND I’D GAZE INTO THE DARKNESS
AND WONDER ABOUT THE VOID
AND I’M HAUNTED BY THAT MEMORY
OF WHO I USED TO BE
SO GLEEFUL
SO BLANK
SO READY
I WAS EMPTY THEN
AND I’M EMPTY NOW
BUT IT’S NOT THE SAME AT ALL
MY HEAD WAS WITH FILLED STORIES
OF SWIMMING AND SINGING ON THE MOON
AND I’D STAY UP ALL NIGHT LONG
I’D STAY UP ALL NIGHT LONG
AND ALL OF THE BOYS WOULD FALL OVER
OH HOW DAZZLING I COULD BE
BUT THE MAGIC IS GONE
ALL MY JOY GOT BLOATED AND SICK
AND I’M HAUNTED BY THOSE MEMORIES
OF WHO I USED TO BE
SO GLEEFUL
SO BLANK
SO READY
LAST NIGHT I DREAMED
I MET MYSELF AT A TANGO
ALL THE DANCERS WERE RUTHLESS AND DERANGED
AND I ASKED MY YOUNGER SELF FOR A DANCE
JUST LIKE
(She dances a bit, then stops)
BUT MYSELF DIDN’T HAVE TIME FOR ME
DIDN’T HAVE TIME FOR ANYONE SO USED UP
SO SHE DANCED ALONE
AND I SAT IN A CHAIR
BY THE WALL
ALL ALONE
STARING AT MY PHONE
[ALL]
I WAS EMPTY THEN
AND I’M EMPTY NOW
BUT IT’S NOT THE SAME AT ALL
____________________________________
MONK
______
[BRENT]
Side 2, Track 8. “Monk.”
(Dave plays “Ruby, My Dear.”)
[BRITTAIN (Dunyazad)]
But Scheherazade, how did Rose Red steal the Starchild from Roxie? I mean surely Lady Usher had a security system? Were they outside, in a park?
[GELSEY (Scheherazade)]
Yes, they were outside. In a park.
[BRITTAIN]
Oh. Oh, of course.
You tell such wonderful stories Scheherazade.
[GELSEY]
Thank you Dunyazad.
(Shouted to Brent) I sure hope the Shah thinks so!
(Brent grunts.)
I’m glad you’re here. It's good to be with you.
[BRITTAIN]
Yeah.
(They listen for a bit.)
Hey, what’s behind that door?
[GELSEY]
David thinks Monk.
[BRITTAIN]
A monk? Like you?
[GELSEY]
Ha. No, no not like me.
Monk. Thelonious Monk.
He thinks that the ghost of Thelonious Monk is living behind that door, this hidden door in the 14th century Persian palace of Shah Zaman. David serenades him every night with music from that piano. And it’s the last piano in the world, and its keys cut his fingers with every note he plays, because the Gods have decreed that humans don’t deserve music anymore, because they think we don’t treat it holy enough. And every sound gives him migraine thickness, blinding pressure, bamboo shoots in the fingernail. Yet, listen.
He plays Thelonious Monk’s music every night in the hope that Monk’s ghost will awaken from his slumber, open the door and forgive him, and grant him a smile, a kiss, and a meaning for all of his pain.
[BRITTAIN]
Oh.
[GELSEY]
Will you dance with me?
[BRITTAIN]
Okay.
(They dance.)
[GELSEY]
Do you remember a time when we weren’t just sisters?
Do you remember anything else?
[BRITTAIN]
No, not yet.
But…I’m getting there.
____________________________________
Theater composer, writer, performer. Shows include Moby-Dick; Octet; Ghost Quartet; Preludes; Black Wizard / Blue Wizard;
Natasha, Pierre & The Great Comet of 1812; All Hands; Three Pianos; Beardo; Beowulf - A Thousand Years of Baggage; The Sewers; Sandwich; Clown Bible; and (The 99-cent) Miss Saigon....more
This is a great adaptation of Arthuriana and a brilliant narrative album. I love how the queerness of the characters is handled as an integral part of the narrative and plot development without it being the end all be all of the characters themselves. my boy Gawain deserved better though maritarvaniti
Polish and Chinese musicians meet under the direction of composer Piotr Kurek on these mesmerizing pieces, composed for theater. Bandcamp New & Notable Jun 9, 2020
