Time to act
LAURA KAMINSKY C R Y S TA L M A N I C H Conducted by Andrew Bisantz
BOSTON CONSERVATORY AT BERKLEE
Time to act Scene 1: Eremos (Loneliness) 1 2 3 4 5 6 7 8 9 10
Playmakers! Tune in! While we walk the world We all have a role to play Time to act! New to the Playmakers Alona, weird name… Who’s ready? Lockdown Do you all have a role to play? Every month a drill
8:39 2:56 4:17 2:29 6:13 1:47 7:14 2:19 1:40 3:27
Scene 2: Alethia (Truth) 11 12 13 14 15 16 17 18
Hey there, amigo I placed my brother in a tomb Can a drill prevent a crime? Change the ending! If you knew the beauty of that day I’ll always wear his jacket We will act to fight for what’s right Build the world you want to see
3:08 5:48 3:45 5:36 7:24 6:32 4:50 5:30
Scene 3: Catharsis (Release)
19 Any school 20 You shared your pain
6:27 3:14
Composed by Laura Kaminsky Libretto by Crystal Manich Soloists Jared Kellman-Medina, baritone (Tyson) Blythe Gaissert, mezzo-soprano (Robin Grace) Elizabeth Marlow, soprano (Bailey) Daniel Esteban Lugo, tenor (José) Anne Turner, mezzo-soprano (Alona)
Boston Conservatory at Berklee Opera Chorus Abby Kate Boeschen, Claire Burreson, Emma Rogers, Demitra Ypsilantis, Noah Gunn, Joey Nicoletti, John Tuvera Lim, Patrick O’Farrell
Boston Conservatory at Berklee Orchestra Conducted by Andrew Bisantz Nathan Soric, Clarinet Yuyan Huang, Alto Saxophone Joseph Rodriguez and Jack Tarpley, Percussion Jean Anderson, Piano Anna Vittoria Furlanetto, Violin An-Chi Tsou, Cello Gabriel de los Reyes, Bass
Elaine Martone, Producer Isaí Jess Muñoz, Executive Producer Laurann Gilley, Assistant Producer Gintas Norvila, Engineer Jennifer Nulsen, Mastering Engineer Pan-Pan Gou, Sound Designer Recorded at National Sawdust, Brooklyn, New York, April 21-23, 2026
A note from the creators Building a Better World “In the wake of the 2018 Parkland tragedy in Florida, and then, a year later, while directing Hansel and Gretel for Pittsburgh Opera, Crystal Manich (librettist) was haunted by the heartbreak at the local Tree of Life Synagogue and by a question: What role could opera play in a culture increasingly unable to sit in the center, to listen, to speak calmly, and to hold complexity without retreating to extremes? Not wanting to locate the piece within the specifics of an actual event, she instead wanted to write a metaphor for our present moment: a story about young people navigating inherited fear, fractured discourse, and the search for empathy. In sustained dialogue with Laura Kaminsky (composer), the creators determined to make Time to Act an opera that dealt with the horrific impact of gun violence in our society with sensitivity, and in a way that would engender thoughtful dialogue among those who encounter the work. The development process was rooted in collaboration, conversation, and a shared belief that opera can speak urgently to our time. Young people are at the heart of Time to Act. The creators are deeply passionate about placing them at the center of an operatic narrative, not as symbols, but as fully realized individuals. The story takes place in Anywhere, USA, where teens unite and come to understand that theater itself can become an act of healing. They discover that by coming together to produce their reimagined Antigone, made relevant to the world in which they live, they can help change the world for the better. With adolescent humor and bravado, with doubt and anguish, and with a plenitude of youthful passion and courage, the characters tackle difficult ethical issues and arrive, ultimately, at the conclusion that the arts are a powerful way to understand ourselves as individuals and collectively. Through performance, they find a way to hold grief and responsibility together, transforming their space into a place of security and safety. In Time to Act, they urge us to build the world we want to see.” – Laura Kaminsky and Crystal Manich
SYNOPSIS Scene 1: Eremos (Loneliness) Present day. A group of high school drama students, the Playmakers, prepares a production of Sophocles' Antigone at the urging of their teacher, Robin Grace. José and Bailey are the leaders of the group, while injured football quarterback Tyson is comfortable with his role as the class clown. As the Playmakers grapple with the ancient story of love, loyalty, and loss, a new student, Alona, joins the group, sparking discomfort and discord, especially with Tyson. José and Alona have an instant connection. An unexpected school lockdown triggers Alona, who becomes extremely anxious. After the rudimentary safety drill, the Playmakers recall an actual event of gun violence one year prior that occurred at another school. Bailey comforts Alona as she recovers from the drill, but Alona is wary of trusting Bailey. Scene 2: Alethia (Truth) As the Playmakers collaborate on Antigone, they discover how the ancient story is parallel to experiences in their own lives. A conversation about violence and the effectiveness of safety drills spurs Alona to reveal her dark secret: her brother was the shooter at the other school. The group becomes divided. A violent confrontation erupts between Tyson and José over Tyson's admonishment of Alona. Robin returns to the class and urges the Playmakers to unite as a team. Inspired by their discoveries after Alona's revelation, they decide to perform the ancient play Antigone using their own words as a rite of healing and change. Tyson has no empathy toward Alona. When pressed by Bailey, he confesses his own traumatic connection to gun violence and leaves. Scene 3: Catharsis (Release) In the final scene, the Playmakers, having found inspiration in Antigone, prepare to mount their own production. They want their show to spur change for the promise of a better future as they come together to support Alona. Tyson returns to the group with an understanding of Alona's wounds, ready to confront his own inquietude and prepared to play the role of King Creon to her Antigone.
Libretto Scene 1: Eramos (Loneliness) Track 1, Playmakers! Tune in! A high school space that functions as a stage in Anywhere, USA. It is also a classroom: theatre props, a ballet bar, unhung lights, a couch, chairs, a few desks, a chalkboard. There is an intercom and a school bell. A door leads to other parts of the school. Prior to the start of the opera we see students, the PLAYMAKERS, gathering for elective period. Dancers stretch or run routines at the ballet bar, other students hang theatre lights or paint a backdrop, and Playmakers BAILEY and JOSÉ do script study and recitation. There is also a BAND, our orchestra. TYSON, a jock, enters, backpack slung over his shoulder. His letterman jacket wraps his torso. He has spent hours on his hair. His arm is in a sling. Tyson crosses to the band and does a secret handshake with his friend the DRUMMER, who starts a little riff and Tyson improvises to it. The other activity in the room increases and soon it is a cacophony of teenage chaos by way of artistic expression. ROBIN GRACE, any gender, comes into the room with a powerful aura: this person can inspire. Robin has a taste for flair, which we can see in the details of what they wear. Robin claps to get the attention of the room. The Playmakers pile their phones into a basket. ROBIN: Playmakers! Tune in! Tune in! The orchestra tunes. Robin beats out a rhythm using their hand to their chest. The Playmakers join Robin Grace, a few at a time.
ROBIN: Feel it Feel it Fill the space if you feel it Time to act Create the flow Connect with me Come on let's go PLAYMAKERS: Let's feel it Let's feel it Let's fill the space 'cause we feel it Time to act Create the flow Connect with us Time to show Up! The students are now in community. Robin introduces a ball to the game. PLAYMAKERS: Time to show Time to show Up Up Up! ROBIN: Create the flow: Bailey, are you tuned in?
Robin tosses the ball to Bailey, keeping the rhythm steady with the other Playmakers. Bailey changes the rhythm, then everyone joins in.
BAILEY: I'm tuned in Create the flow Time for you to show Up... José! Bailey tosses the ball to José, who creates a new rhythm that everyone follows.
JOSÉ: Estoy presente I feel the flow La conexión creciente Es tiempo que te presentes... A Playmaker changes the rhythm again; the others join.
PLAYMAKER 1: I'm tuned in Time for you to show Up...
Another Playmaker changes the rhythm. PLAYMAKER 2: I'm here and ready Connect with me Holding steady Time for you to show Up... Tyson! The ball is tossed to Tyson. He throws it with his free arm wide like in football. It crashes into a corner.
TYSON: Always ready!
JOSÉ: In wisdom chiefly stands...
Some laughter as he does an end-zone-type dance.
PLAYMAKER 1: To please the gods
TYSON: Even with my bad arm, I still got it! ROBIN: Tyson, a leader on the field, Can you lead us now in a chorus From the play? TYSON: But this one's past its day
BAILEY: No one's forcing you to be a Playmaker TYSON: I am a total playaaaaa! Laughter. Bailey isn't impressed. Robin recovers the ball and gives it back to Tyson to refocus the room. TYSON: One month off the field, Already conquering the stage, 'Cause a leader is never a beginner, Even in a sling I'm a winner Some laughter as Tyson throws Bailey the ball. BAILEY: Man's highest happiness...
PLAYMAKER 2: Pride is vile... PLAYMAKER 3: But we learn too late PLAYMAKER 4: When time is past
PLAYMAKERS: Pride is vile But we learn too late When time is past TYSON: Like this play, past it's time JOSÉ: Maybe you just don't understand it ROBIN: Let's follow that What do you hear? JOSÉ: I wanna hear it altered TYSON: Snooze
ROBIN: Tune in! José, speak up! PLAYMAKERS: Up Up Up!
PLAYMAKERS: Ancient Greece
PLAYMAKERS: A war zone
ROBIN: What is happening?
TYSON: She's dead at the end Lame!
JOSÉ: How 'bout:
PLAYMAKERS: War Like now So much war Civil war
Track 2: While we walk the world
ROBIN: What is the conflict?
JOSÉ: "While we walk the world We focus on the lofty skies, Then learn too late, as pride ticks away time, That our days were wasted deep, deep in lies"
JOSÉ: Antigone's brothers die on opposing sides
Applause from all but Tyson. JOSÉ: Make sense to you now? TYSON: Nah JOSÉ: Just feelin' the words, not playin' ball ROBIN: José, your point is wise, You're connecting Feeling the words, rewriting... How does 'Antigone' relate today? ROBIN: Tell me the story: Where are we?
BAILEY: One is called the patriot, the other the traitor A war zone PLAYMAKERS: A war zone PLAYMAKER 1: Who decides who is right? JOSÉ: King Creon's law states that traitors shouldn't be buried BAILEY: But Antigone buries him anyway PLAYMAKERS: Creon punishes Antigone BAILEY/JOSÉ: She stands up for her beliefs
BAILEY: That's true! JOSÉ: It's classic drama! PLAYMAKERS: It's sad... Greek theatre... Why?...That's the point! TYSON: Why does it gotta be tragic? ROBIN: But how does it make you feel? Even though it's an old story, How do you connect? The students ponder.
Track 3: We all have a role to play ROBIN: We all have a role to play, When we cross from the darkness And find our light We act, A mirror giving equal voice To joy, and pain, To loss and gain
We all have a role to play, Who will be the one in power? Who will be the lover? Who will be the challenger? We all have a role to play, We share our humanity, radiating, Those who sit out there in the dark Listen, feel Vulnerable voices shine bright and heal Making one sound... Daring to cross from the darkness We find our light There is silence as everyone takes in Robin's words. The intercom beeps and a voice is heard.
Track 4: Time to act! PLAYMAKERS: Time to act, Time to show up Up Up! PLAYMAKER 1: Gimme some light! PLAYMAKER 2: Need a hand? They work fix the spotlight.
INTERCOM VOICE: Robin Grace to the office. Robin Grace to the office.
JOSÉ: A lead role is my ticket to Carnegie Mellon Drama
ROBIN: The gods have spoken! Time to act! Playmakers, unite! Find your role: Write, direct, design, act... Together, build the world you want to see, And Tyson...
PLAYMAKER 3: I have a vision!
TYSON: Yeah? ROBIN: Find your light As Robin leaves the space, the Playmakers get to work.
PLAYMAKER 4: Let me help you They grab painting materials. PLAYMAKERS: Time to show Up Up Up! BAILEY: Audition, if you want a role!
TYSON: I just wanna play the field Not the stage PLAYMAKERS: Time to show Up Up Up! BAILEY: Who will be first to take the floor? Someone puts a crown on Tyson. BAILEY: Ty! You can read for the tyrant King! TYSON: Do I gotta dress up? PLAYMAKERS: Up Up Up! JOSÉ: Feel the words and rewrite! BAILEY: Tyson! "Captain Always Ready"... PLAYMAKERS: Time to show Up Up Up!
Everyone horses around as Tyson is pushed to center stage. Robin enters again. Behind them a long way away is ALONA, a 16-year-old whose clothing covers every inch of her body. She drowns in an oversized rain jacket. Her stringy hair falls to cover most of her face. She wears a backpack, phone in hand. She stops short of following Robin all the way into the space. PLAYMAKERS: Show up, Ty! Show up! TYSON: I've been crowned king! King! Robin, amused, claps a rhythm. ROBIN: Tune in!
Track 5: New to the Playmakers ROBIN: New to the Playmakers... Welcome... Robin looks for Alona. She is hesitant, scanning the room. ROBIN: Please introduce yourself ALONA: I'm... I'm... Alona
Robin hands Alona a script. ROBIN: Alona, what role do you want to play? No reaction from Alona. ROBIN: Find your light, find your way Welcome... Tyson takes center stage and comes forward to Alona with a swagger. He removes the crown from his head. TYSON: Hey, what's good? Name's Tyson, captain... The captain! While they wait for me on the field, I'm already a winner on the stage, Shining on my college apps With things theatrical, dynamical Reliable, undeniable, pliable The captain! ...'Cause my grades are crap!
JOSÉ: ¿Qué tal? Can't wait for the show, You gonna audition? I'm a real actor ...Maybe I know, it's crazy Wanna play Haemon, The lover Got most of it in my memory His language is
Leathery and peppery I like rewriting the words: "I hear things in the darkness said, Must injustice fall on my love's head? She couldn't leave her brother unburied, Left to that fate... Ah, should he, who fell in the fray, Be eaten by birds of prey? Oh King, my father, what do you say? Let her live more than just one more day!" JOSÉ: Got most of it in my memory His language is Leathery and peppery I like rewriting the words Alona cracks a small smile, charmed by José. Tyson jumps in competitively, modeling his letterman jacket. TYSON: Got a letter 'cause my golden arm Is reliable, undeniable, desirable... After they cast me as King You'll see that I can bring home A winning team A star is always ready to score BAILEY: My star sign is Gemini! I'm Bailey JOSÉ: By the way, I'm José
BAILEY: Guys! Stop showing off - hi! I just do theatre for fun I'm into swimming and writing and physics - I know, weird if you want, after school we can go to Uptown Coffee their muffins are delish then head over to the park and play a bit of bball - just for fun 'cause I suck - whatever anyway we have to do auditions now welcome! ROBIN: Bailey, be Alona's pal for a while? BAILEY: Count on me! ROBIN: You're in good hands, Alona Time to act! Robin leaves. Silence. It's awkward with Alona standing there.
Track 6: Alona, weird name... TYSON: Alona, weird name... What's up with that huge jacket? BAILEY: Ty, you up? TYSON: Up... for playin' ball! This isn't fun anymore And Alona, she's just a blob
JOSÉ: Leave her be
BAILEY: The role you want to play?
TYSON: Or a snob
ALONA: Chorus is fine
BAILEY: We put phones there to focus
BAILEY: Aim higher! Sister Ismene promises to help Antigone, but not to bury their brother. Antigone does it alone, then the King thinks Antigone's a traitor, too...
Alona sticks her phone in her pocket. TYSON: That's the rule, Alona You think you're better than us? If you don't like it, Go back to your other school
Alona looks across the room, uneasy. ALONA: Where do those doors go?
BAILEY: Have a look at the play
BAILEY: The exit? Outside
JOSÉ: The words are hard to get at first But like music, just feel them Soft as air
ALONA: Good
TYSON: Yawn! ALONA: Thank you The atmosphere changes as the Playmakers disperse. BAILEY: Ignore Ty, he's just a jock... So, Ismene or Antigone? ALONA: What?
BAILEY: We all need to get offstage sometimes Out of the spotlight, into the sun ALONA: It's all good... I'll audition for chorus Bailey springs to action.
Track 7: Who’s ready? BAILEY: Who's ready? Tyson comes forward with script in hand. He places the crown on his head.
TYSON: Always ready! Can I get a spot? A spot is turned on by one of the Playmakers and shines brightly on Tyson, who smiles. TYSON: Creon's monologue: "I decree - none shall entomb But leave his corpse unburied, By the dogs and vultures mangled... Who shows himself my country's friend, Living or dead, shall me from honor gain, I decree..."
PLAYMAKERS: Bravo!
BOTH PLAYMAKERS: "I knew that I should die through your decree"
TYSON: Moving on!
Bailey urges Alona forward to centerstage. Alona removes the large rain jacket for the first time. The spotlight abruptly hits her face, she winces. She reads from the script. Her approach to the text brings the chaotic to the spiritual.
ALONA: It was passionate Sensitive Emotional Real JOSÉ: Just feelin' the words
Applause. Tyson removes the crown and bows proudly.
BAILEY: Next, Antigone...
PLAYMAKERS: Intense, full of ego!
PLAYMAKERS: Me, me, me! No, me!
BAILEY: You're Creon, it's clear José? JOSÉ: Robin Grace says we shouldn't bark the lines... For my audition today I will be performing the role of Haemon: "Do not wear not your first thought, He who thinks he alone is wise, Such men when searched are mostly empty found, There is another way, It brings no disgrace to yield There is another way There is another way"
ALONA: "It was not Zeus who gave forth these laws... To honor the corpse of my brother, Slain so piteously, I have not sinned before the gods... I knew that I should die through your decree, And if before my time I shall die, I reckon this a gain... My nature knows only to share love, not hate... And if before my time I shall die, I reckon this a gain..." All are affected by her performance, even Tyson.
One Playmaker comes forward into the spotlight, followed by another. PLAYMAKER 1: "It was not Zeus who gave forth these laws, Justice knows not your law" PLAYMAKER 2: "That you, a mortal man, should overpass The unwritten laws of the gods" PLAYMAKER 1: "I knew -” PLAYMAKER 2: "- I should die through your decree" PLAYMAKER 1: "I have not sinned before the gods"
JOSÉ: Like music, Soft as air BAILEY: Beautiful
TYSON: The new girl can't hang! She's not part of our team, She just got here and BANG!
JOSÉ: Real
Suddenly, the bell rings. It goes dark for a few seconds. The emergency lights snap on. A siren through the intercom.
PLAYMAKERS: Honest and true
ALONA: What's going on?
Alona puts the large rain jacket back on.
INTERCOM VOICE: Attention, attention.
PLAYMAKERS: Alona... BAILEY: The choice is clear, Girl, you are Antigone! JOSÉ: Bailey, sister Ismene! PLAYMAKERS: José is Haemon, the lover! Tyson gets the drummer to disrupt the room by playing an obnoxious rock beat. TYSON: She gets the lead? She doesn't deserve it! BAILEY: Ty! JOSÉ: Chill out!
Sounds and buzzes ring out as everyone collects their phones from the basket. Panic. Alona pulls her buzzing phone out of her pocket.
TYSON: Ready! PLAYMAKERS: Code red Drill Giggling from some of the Playmakers. Tyson helps Robin as the designated student. Alona is frozen, hiding in her jacket. TYSON: Quiet! BAILEY: It's just a drill JOSÉ: Every month with no warning Tyson and Robin lead the Playmakers in collecting desks and chairs.
INTERCOM VOICE: This is an active shooter drill. Prepare for lockdown.
ALONA: What do I do?
Robin enters, practiced. Alona shudders.
TYSON: Quiet! Block the door
Track 8: Lockdown
Bailey ties her sweater around the door handles. José collects chairs to take to the Playmakers making a barricade at the door.
PLAYMAKERS: Lockdown Lockdown Lockdown ROBIN: Time to act Tyson!
JOSÉ: Grab something heavy Stack
PLAYMAKERS: Up, Up, Up!
ROBIN: Bailey, check on Alona!
BAILEY: If a shooter gets in...
PLAYMAKERS: Up, Up, Up!
PLAYMAKERS: Distract the shooter PLAYMAKER 1: I can distract! Some Playmakers giggle; Alona shakes. ALONA: It's not a joke PLAYMAKERS: Up, Up, Up! JOSÉ: It's not real You okay? PLAYMAKERS: Up, Up, Up! Bailey and José take Alona away from the group. The Playmakers, noticing, stop giggling and keep stacking.
TYSON: Robin Grace, barricade almost up
Silence. The double door handles suddenly jiggle abruptly by someone from the outside. Alona gasps.
ROBIN: Good connect! And Tyson, strong leadership TYSON: Next time we'll do it faster, Right, team?
Track 9: Do you all have a role to play? ROBIN: Do you all have a role to play?
BAILEY: Breathe It's just a lock check Breathe
BAILEY: Creon!
INTERCOM VOICE: Thank you for participating in the active shooter drill. We work together to keep us safe.
BAILEY: Haemon!
PLAYMAKER 3: If he gets sick, can I be King?
PLAYMAKERS: The lover!
ROBIN: The gods have spoken... Tune in!
BAILEY: Ismene!
Robin beats out a rhythm to refocus the room. The Playmakers join in.
PLAYMAKER 4: I'm the understudy for Ismene!
PLAYMAKER 1: Man's highest happiness PLAYMAKER 2: In wisdom chiefly stands PLAYMAKERS: To please the gods!
ROBIN: Antigone? PLAYMAKERS: Alona! ROBIN: You found your way!
JOSÉ: She really feels the words!
Like last year at Gates High That wasn't -
PLAYMAKER 4: It's really scary
PLAYMAKERS: Honest and true We feel them, too
PLAYMAKERS: A drill They say it was like a war zone
BAILEY: Could happen anywhere Even here
ROBIN: That's what theatre can do! Restore the room Beware the bell Then tomorrow, we act!
ALONA: Gates?
PLAYMAKERS: Fear Even here
The atmosphere eases up as before the drill, except for Alona who remains removed. Robin and Playmakers restore the space. PLAYMAKERS: Let's feel it Let's fill the space 'cause we feel it Time to act, create the flow, Connect with us Then tomorrow we act! Time to act now!
Track 10: Every month a drill PLAYMAKERS: Every month a drill Only a drill JOSÉ: It's not serious Until it's real
JOSÉ: It was far away But still PLAYMAKERS: Not a drill Like a war zone BAILEY: Let's not talk about it ROBIN: If it matters to you, Use your voice BAILEY: What happened at Gates could happen anywhere PLAYMAKERS: Even here The fear The protests But nobody listens Nobody listens to us JOSÉ: Drills are a joke
BAILEY: Our school, A war zone? Our school... No one should go to school In a war zone They say: Tie a sweater around door handles Build a barricade Distract the shooter They say: throw books ALONA: A book can't stop a gun Everyone is silent, uncomfortable. School bell rings. The Playmakers gather their belongings. Robin stands at the back of the space, saying goodbye as they exit. Out of their sight, Alona shakes. Bailey goes to her. BAILEY: Hey, you okay? You okay? You can trust me ALONA: Promise?
BAILEY: You can trust me ALONA: Promise... Bailey comforts Alona out of everyone's sight.
Scene 2: Alethia (Truth) Track 11: Hey there, amigo
José is furiously scribbling away. Tyson enters the space. His drops his backpack to the side. José enthusiastically gives him a newly written page. JOSÉ: Hey there, amigo, while we wait for the others, I have new words for our scene TYSON: Let's give it a shot... Tyson stands ready to act, then realizes something. TYSON: Almost forgot, Get into character! Tyson puts on the crown. TYSON (AS CREON): "Surely, my son, you won't defy your father Even though Antigone was to be your bride? You love me unconditionally, And she must die..." Still too phony Old
JOSÉ: You think so?
An awkward silence. Bailey breaks it.
TYSON: How about: "Don't mess with dad, even though Antigone's your girlfriend..."
BAILEY: Crown?
JOSÉ: Or! "Don't mess with dad, Even though Antigone is your bride-to-be, You must love me -" JOSÉ/TYSON: "Unconditionally!" TYSON (AS CREON): "You won't dare defy me!" They are having a good time. Alona and Bailey walk into the space with their backpacks. BAILEY: Rehearsing already? TYSON: José's really gettin' it now! JOSÉ: New words, we'll show you! But since Alona's here, Let's do the big scene TYSON: Yeah, Alona, show us what you can do
TYSON: Check BAILEY: Rope? JOSÉ: Got it While José gets the rope, Alona removes the oversized jacket and carefully sets it aside. Tyson watches her. Bailey sets up rehearsal cubes and chairs. BAILEY: Ty, stand high up José helps Alona to get the rope around her wrists. They look at each other and can't help but smile. Bailey and Tyson see it. BAILEY: Haemon, c'mon, loverboy! José is embarrassed. Tyson steps up onto the higher level. The other three get into position with their scripts.
Track 12: I placed my brother in a tomb ALONA (AS ANTIGONE): "I placed my brother in a tomb. Anyone would have done the same If they were not afraid" TYSON (AS CREON): "You are alone in your thoughts. And you, shedding sisterly tears, Will you confess you took part in this?" BAILEY (AS ISMENE): "I share the guilt" ALONA (AS ANTIGONE): "No, you do not share the guilt, You do not..." Alona dramatically crosses to Tyson as if pleading. She touches him and he scurries away, stumbling off the high level. The crown falls off his head onto the ground. TYSON: Why does it gotta be tragic? Tyson picks up the crown and wanders away to adjust it. BAILEY: Ty, play on our team...let's do a fun scene! ALONA: Fun? It's Greek tragedy.
BAILEY: Not exactly comedy, is it?
Bailey resets the props as Alona gets out of the rope with José's help. JOSÉ: I've been thinking... Antigone fights for the right to mourn, But Creon, her own family, doesn't wanna hear it ALONA: A bully JOSÉ: He never feels anything Until his son Haemon dies ALONA: He's torn apart JOSÉ: Is a broken heart the only way he can understand someone's pain? Alona is struck. JOSÉ: But Antigone, Why does she wanna die? ALONA: Love and guilt... "Loved I shall be with him whom I have loved More time is mine In which to share the favor of the dead Than that of those who live -" ALONA/JOSÉ: "For I shall rest Forever there."
JOSÉ: In other words: "I have an eternity to love him in sleep, Because on earth time doesn't keep"
ALONA: You're a poet JOSÉ: Just feelin' the words. ALONA: I feel them, too They connect. Bailey interrupts, struggling to keep the focus of the rehearsal. BAILEY: Creon and Haemon - with new words! Bailey drags José next to Tyson as Alona puts on the jacket. JOSÉ: Just like we did before - ready? TYSON: Always ready! Tyson puts the crown back on. The other Playmakers trickle in. TYSON (AS CREON): "Don't mess with dad, 'Cause even though Antigone is your bride-to-be, You must love me unconditionally, You won't dare defy me, She must die..."
JOSÉ (AS HAEMON): "I can hear things in the darkness said, Must injustice fall on my love's head? She couldn't leave her brother Unburied, left to that fate..."
doesn't stop the pain, A sister's love and guilt
TYSON (AS CREON): "I am the State, The State is me... You are so young, Your counsel I refuse to hear -"
JOSÉ: Why doesn't he deserve a burial?
JOSÉ (AS HAEMON): "Consider my deeds Not my years..." Before I rewrite more, I'm just trying to connect: Creon makes the law to serve himself
TYSON: Her brother was a traitor
TYSON: That's the law JOSÉ: But it's stupid BAILEY: It didn't prevent a tragedy, it just caused more
JOSÉ: What's he holdin' on to?
JOSÉ: Ty, you said this play was old, I can't help but think... Robin Grace always asks how we can relate... The drill the other day...
TYSON: The law is the law
ALONA: The drill?
JOSÉ: But he could change the law, right?
Alona freezes.
BAILEY: Let's follow that
BAILEY: Sure TYSON: Why should he? JOSÉ: Because his law
Track 13: Can a drill prevent a crime?
But they never say fight for what's right: Policy, prevention, peace For what's right BAILEY: We live in isolation, in our phony universe... then a trigger is pulled, tragedy comes... another shock, more fear... we're told to do more drills JOSÉ: A drill can't prevent a tragedy The cycle of death repeats Everyday PLAYMAKERS: Another shooting Another school TYSON: You can't say all tragedies are the same Last year at Gates, I'll never forget that day... Him Gun in hand How many in cold blood? Then he shot himself Gun in hand They said no warning signs? A high school dropout Loser Killer
JOSÉ: Can a drill prevent a crime? Like Creon's law, reality isn't reflected When tragedy strikes, they tell us to fight: Fight back with a weapon, stay alive, find blame...
Alona flinches and slowly steps away from the group, retreating into her jacket. JOSÉ: Loneliness Isolation That's what kills BAILEY: They tell us, "live in fear, do the drills..." As if this is normal? We have a voice JOSÉ: Like Antigone... Who dies for feelin' love and guilt BAILEY: But why does someone so young have to die? TYSON: Come on, man, can we change the ending? Alona collapses her shoulders as she wraps herself in her arms, unseen by the others. JOSÉ: Why? TYSON: You're changin' the words, right? Change the ending JOSÉ: It's a tragedy, hombre! TYSON: Why does it gotta be tragic? JOSÉ: Her death is why you feel the injustice!
TYSON: She should live with her actions, Pay for her crime JOSÉ: Like her brother paid for his?
TYSON: At Gates? JOSÉ: Did you lose someone you love? Her silence says it all.
Track 14: Change the ending!
BAILEY/TYSON/JOSÉ: Alona...
TYSON: Change the ending! Change it!
BAILEY: Trust us
ALONA: No! The ending cannot change!
ALONA: We didn't know How could we? He felt alone
TYSON: You in charge now? JOSÉ: Back off TYSON: You want a piece? ALONA: The ending cannot change! Everything...stops We had to get away Glass Shoes Shame All they could do was Repeat Repeat Repeat the blame Glass Shoes Pain
TYSON: Who? ALONA: My brother JOSÉ: That day, your brother ALONA: Died BAILEY: No JOSÉ: I am sorry TYSON: We didn't know JOSÉ: What was his name?
ALONA: We used to be close, He told me he was sad... He went with dad, I stayed with mom Our family broken He quit school, School saved me He faded away TYSON: Alona, what was his name? ALONA: You haven't said it, But you know it... Paul My brain can't stop... When did I ever tell him I loved him? Maybe love could have stopped his pain BAILEY/JOSÉ: It wasn't your fault TYSON: I knew she was dangerous She's guilty! Her parents, too ALONA: Ty, I promise you I know TYSON: What do you know?! ALONA: I know what a gun can do!
Track 15: If you knew the beauty of that day ALONA: If you knew the beauty of that day, A chill, the warm sun on my face... Then, theatre class before lunch Shakespeare I was Rosalind, The spotlight in my eyes Act II: "Time is the old justice that examines all such offenders, and let Time try. Adieu" Then, the bell wailed Piercing Darkness We wait A drill? Silence, then screams Phones buzz and ding Code red A shrill, "Everyone down!" My face on concrete Under the theatre seats I don't move I lie there A dust ball near my eye... Others are stuck on the catwalk, The spotlight still on I message my mom: "I love you. Something's happening." The doors shake Screams One shot
Then more release Silence Then radios and pounding "Police!" They count us as we march, Hands on our heads They say "don't look" But I do: a body Lying in broken glass, Shoes that look familiar, The sunlight makes the smoke thick... Like a war zone In the beauty of the chill, The warm sun on my face, My parents and I embraced For the first time in years Hours went by, Then a knock. "Police... Is your son Paul?" That single shot was his The shoes were his The shame was mine Dad found his journal: His pain, loneliness, isolation Paul's consolation: death I live with one question: If Paul got into the theatre Would he have killed me too? I know what a gun can do BAILEY: Time will give you closure
ALONA: I'll always wear his jacket... Sometimes I wish I died, I can't turn off the lights I still hear the screams He haunts me in dreams Shots, glass, blood, shoes, shame...
ALONA: Never!
JOSÉ: Someone get his bag!
TYSON: Then get out!
Track 16: I’ll always wear his jacket
TYSON: Leave! Or I'll take you out!
Chaos and panic. Gasps and yelling. José attacks Tyson, who throws his bag down, and they throw punches. Tyson's bad arm prevents him from doing more. Some Playmakers grab Tyson's backpack and guard it. Alona, who has been to the side buried in her jacket, suddenly gets herself between Tyson and José just as Tyson is going for a large swing with a music stand. He stops in his tracks when he sees Alona.
ALONA: I'll always wear his jacket
JOSÉ: Stop!
ALONA: Stop!
Alona covers herself in the jacket.
TYSON: Your girlfriend's a freak, Get out! We need protection
ALONA: You asked how many died that day? Ten, twenty? One is too many
Tyson goes towards his backpack and picks it up.
Robin enters hurriedly.
TYSON: That jacket A killer's jacket PLAYMAKERS: You still hear the screams Your own brother haunts your dreams Shots, glass, blood, shoes, Your own brother haunts your dreams JOSÉ: She is not to blame for his act BAILEY: You were destined to live ALONA: Would he have killed me too? TYSON: Take it off! Take off that jacket!
ALONA: Nowhere is safe
JOSÉ: You need to go! TYSON: If I go, you go! JOSÉ: What's in the bag? A gun? A gun?
PLAYMAKERS: Grace! ROBIN: What happened?! JOSÉ: I think he has a gun! TYSON: I never said that!
BAILEY: We need to find Grace -
ROBIN: Ty! José!
PLAYMAKERS: Grace! Grace!
Robin retrieves the bag and empties its contents until there is nothing left. No gun.
TYSON: I wouldn't be caught dead with a gun, I know what it can do! Pull the trigger, BANG! A sound so loud It echoes in your dreams... ROBIN: Tune in Robin beats out a soft rhythm on their heart. As Robin stops, the Playmakers beat quietly. Tyson is the last to join. ROBIN: The theatre is a mirror giving equal voice... Why did this happen? TYSON: We were talking about the play... Alona... Her brother Was the shooter at Gates BAILEY: She stopped your fight! TYSON: She doesn't belong! JOSÉ: She does! Robin starts tapping the rhythm again, then stops. The Playmakers, except for Alona and Tyson, tap quietly. ROBIN: The theatre is where we find empathy It's safe We're a team
Everything stops. José breaks the ice and goes to Tyson, extending his hand. Tyson hesitates, then shakes it noncommittally. JOSÉ: We need to do the play... The words, actions of 'Antigone' can inspire, Even today! Tyson, we can rewrite the ending! BAILEY: Maybe a book can stop a gun...
BAILEY: Alona? ALONA: You see my pain Loneliness Isolation... You show me trust, I now have a voice... Ty?
Track 7: We will act to fight for what’s right
ROBIN: We all have a role to play It is time to cross from the darkness Find your light
PLAYMAKERS (EXCEPT TYSON/ALONA): We will act to fight for what's right Drills and threats make us scared, not safe How many more? One is too many
PLAYMAKERS (EXCEPT TYSON/ALONA): Cross from the darkness Find our light
BAILEY: We must stand up!
ALONA/BAILEY/JOSÉ Together, build the world you want to see
PLAYMAKERS (EXCEPT TYSON/ALONA): We will act To fight for what's right We must stand up! Time to act! Time to stand Up Up Up!
PLAYMAKERS: Our world Focus on Tyson as he stands with the crown. He puts it down. ALONA: You're letting your team down?
TYSON: I'm not on your team! Someone else can wear that stupid crown Tyson goes to a corner to collect his belongings. The bell rings: school's over. The Playmakers gather their items. José approaches Alona and extends his hand, which she takes. ALONA/JOSÉ: Together we can change the ending The Playmakers gather around Alona. PLAYMAKERS/ROBIN: Time to act Time to show up Time to stand up Right now! The Playmakers begin to exit. The crown is left in view. Robin goes to Bailey.
Track 8: Build the world you want to see ROBIN: Build the world you want to see Robin looks over to Tyson then departs. Bailey stays behind and takes the phone basket to Tyson. They are alone. BAILEY: Playmakers support each other...Ty?
TYSON: Nowhere is safe No place No school No home
Tyson listens a moment, then picks up his stuff, heads towards the exit, and leaves. Bailey remains alone for a moment.
BAILEY: Trust me
Track 19: Any school
TYSON: I was just a boy In my dad's desk, I found a new toy Gleaming Smooth Heavy I wanted to show my sister My toy And BANG! An explosion in my hand A sound so loud It echoes in your dreams I live with one question: What if I had killed her? Killed my own sister? I know what a gun can do! No one knows my pain My loneliness My isolation I had to be reliable, undeniable, and pliable I need to play it safe BAILEY: Ty, we can build the world we want to see
Scene 3: Catharsis (Release) Musical interlude, a suspension of reality. The Playmakers (except Tyson) enter to transform the space, gathering together as they prepare to perform their version of "Antigone". They have changed their clothes; they pick up props; check the lights, etc. Alona wears her brother's jacket. Robin enters and looks on as the Playmakers prepare. PLAYMAKERS: Any school Tucked within snow-capped mountains Any school Beneath the crimson sun in a desert Any school Near the crashing waves of an ocean Surrounded by rolling verdant hills Amidst the roar of a bustling city Any school Any school How many more? One is too many How many more? TYSON: ...how many more? One is too many Tyson has entered wearing his jacket. He turns to face Alona.
Track 20: You shared your pain TYSON: You shared Your pain Your loneliness Your isolation... Now I can too, I'm ready to act Let's build the world Together One voice ALONA/TYSON: Together One voice ROBIN: The future is yours ALONA/TYSON/BAILEY/JOSÉ/ROBIN Together One voice The future is ours
ROBIN: Yours Tyson removes his letterman jacket. Alona, in turn, removes her brother's jacket. They give the jackets to Robin who ceremoniously takes them. ROBIN: It is time A Playmaker gives the crown to Alona, who puts it on Tyson's head. PLAYMAKERS/ROBIN It is time Let's build the world Let's build our world Our world The Playmakers take up new positions on the stage, ready to perform the play. Robin watches, cradling the jackets. ALONA: It is time to act
A note of gratitude This recording of Time to Act reflects the vision, generosity, and collaboration of a remarkable community of artists, partners, and supporters. We are deeply grateful to the supporters of the Vocal Arts Fund at Boston Conservatory at Berklee, whose generosity made this recording and its worldwide release possible, and especially to the Ho Chiang Foundation, whose founding gift established the fund and whose enduring philanthropy continues to create transformative opportunities for emerging artists. We are proud to acknowledge the co-commissioners—Pittsburgh Opera, Opera Montana, and Boston Conservatory at Berklee—with additional commissioning support from Opera Santa Barbara. We also gratefully recognize the support of New Music USA's Organization Fund, OPERA America's Opera Grants for Women Composers program, supported by the Virginia B. Toulmin Foundation, OPERA America's Opera Fund, and the National Endowment for the Arts. Our sincere thanks go to Christopher Hahn, Robert Boldin, Michael Sakir, Susan Miller, Isaí Jess Muñoz, Kevin Haden, Michael Shinn, Andrew Bisantz, David Gately, Laurann Gilley, Jean Anderson, Kostis Protopapas, and Bill Holab for their exceptional leadership and artistic partnership. We are equally grateful to Ana de Archuleta and the team at National Sawdust, Louis Levitt and Bright Shiny Things, and Elaine Martone and Gintas Norvila for their expertise and dedication in bringing this recording to life. To everyone who helped carry Time to Act from commission to performance—and now to listeners around the world—we offer our heartfelt thanks. - Laura Kaminsky, Crystal Manich, and Boston Conservatory at Berklee
CRYSTAL MANICH
Puerto Rican director Crystal Manich is known for her “ingenious direction” (Opera Today) and staging that is “imaginative, freely mingling modern and antiquarian touches in the sets and costumes” (The New York Times). She has directed productions of opera, plays, musical theatre, and circus across the United States, Argentina, Australia, and Europe. Her authored works include the libretto for Time to Act, composed by Laura Kaminsky, and the book and lyrics for Triângulo, composed by Martin Bejerano. Also a film director and producer, she received a 2021 Chicago EMMY nomination and has directed and produced narrative and documentary films. Manich is an alumna of Carnegie Mellon University and has a Professional Certificate in Screenwriting from the University of California Los Angeles. She currently serves as the Director of Opera Studies at Carnegie Mellon University. crystalmanich.com
LAURA KAMINSKY
With “an ear for the new and interesting” (The New York Times), composer Laura Kaminsky frequently addresses social and political issues in her work. As One (co-librettists Mark Campbell and Kimberly Reed) is the most produced contemporary opera since its 2014 premiere with 65+ productions internationally. Other operas: Some Light Emerges and Today It Rains (Campbell & Reed); Hometown to the World (Reed); Finding Wright (Andrea Fellows Fineberg); February (co-librettist with novelist Lisa Moore); Lucidity (David Cote); Time To Act (Crystal Manich); The Post Office (Elaine Sexton); forthcoming: The Song of the Lark (Fineberg). Her instrumental catalogue includes a Piano Concerto and Piano Quintet (for Ursula Oppens), two string quartets for the Fry Street Quartet, and a score for the documentary series Poetry in America. On the faculties at SUNY Purchase and Boston Conservatory/Berklee, Kaminsky is codirector, with librettist Deborah Brevoort, of Seattle Opera’s Creation Lab. laurakaminsky.com
ANDREW BISANTZ
Conductor Andrew Bisantz has had numerous accolades for his musical leadership from Opera News, The New York Times, The Boston Globe, and The Miami Herald. In his decades-long career, he has conducted over 100 productions for over 30 companies including Arizona Opera, Boston Lyric Opera, Central City Opera, Florida Grand Opera, Glimmerglass Opera, Opera Omaha, Opera Tampa, Virginia Opera, and Wolf Trap Opera. He is Artistic Director and Chief Conductor of Eugene Opera, as well as Artistic Director and Conductor of the Savannah VOICE Festival. Orchestrally, Mr. Bisantz has appeared with both the Buffalo and Rochester Philharmonic Orchestras, the Western New York Chamber Orchestra, and the Virginia Symphony. He joined the Boston Conservatory faculty as Principal Opera Conductor and Professor of Conducting in 2023.
BOSTON CONSERVATORY AT BERKLEE
Boston Conservatory at Berklee is a fully accredited performing arts college, providing a transformative education that empowers its students with the skill, imagination, and courage to shape the future of the arts. Guided by an unwavering commitment to artistic excellence, innovation, and inclusion, Boston Conservatory's programs in dance, music, and theater are ranked among the best in the United States and are highly sought-after by students around the globe. Boston Conservatory at Berklee’s Music Division honors the enduring traditions of classical music while embracing the diverse perspectives and repertoire of today. Its opera program is the oldest of its kind in the United States, combining exceptional vocal and theatrical training with fully staged productions of the highest caliber. The Boston Conservatory Orchestra—the school’s premier instrumental ensemble—offers rigorous orchestral training led by distinguished faculty and guest conductors. Collaboration between these two entities fosters versatile creative artists, preparing them to lead the next generation of performers, leaders, and cultural innovators.
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