Reid THE SHELL TRIAL

Ellen Reid The Shell Trial

An opera in three acts with a libretto by Roxie Perkins (2023)

Full Score

15th January (Premiere) Edition

Chester Music

issuu version for perusal only

Commissioned by Dutch National Opera, in co-production with Het Geluid (Maastricht), Opera Philadelphia and Bregenz Festival.

Music by Ellen Reid.

Libretto by Roxie Perkins; based on the play De zaak Shell by Anoek Nuyens, Rebekka de Wit, Frascati Producties and De Nwe Tijd.

Co-adapted by Gable Roelofsen & Romy Roelofsen (Het Geluid).

First performed on 16th March 2024 at the Dutch National Opera, Amsterdam, The Netherlands, conducted by Manoj Kamps and performed by members of the Royal Concertgebouw Orchestra.

Durations:

c. 30 minutes [Act One]

c. 40 minutes [Act Two]

c. 20 minutes [Act Three]

Total: c. 90 minutes

© 2023 Chester Music Ltd

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ORCHESTRAL INSTRUMENTATION

Flute (I/Piccolo, Alto Flute)

Clarinet in Bb (I/Bass Clarinet)

Horn in F

Trumpet in C Trombone (I/Bass Trombone)

Percussion (3 players):

2 Tam-Tams, Glockenspiel, Chimes, 3 Suspended Cymbals, Bass Drum, Crotales, Bell tree, 2 Triangles, Waterphone, Snare Drum, Vibraphone, Anvil, Brake Drum, Wind Chimes, Roto-Toms

9 Bullhorns (used by “The People”)

Piano (I/Nord Stage 2 Synthesizer)

Strings (6.5.4.4.3)

TECHNICAL REQUIREMENTS

The Nord Stage 2 Synthesizer should be amplified with an amplifier in the pit, not through the hall’s sound system.

The piece uses an acoustic lift; lavalier microphones should be available as needed for the Future CEO, the Future Government, and the Future Law.

Nine bullhorns are needed for use by The Activist, The Teacher, The Climate Refugee, The Historian, The Consumer, The Weatherman, The Field Worker, The Pilot, and The Laborer.

GENERAL

PERFORMANCE INSTRUCTIONS

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Headless stems indicate a general contour and pitch area. Follow the direction of the lines, staying in the relative range indicated.

Glissandi should last the entire duration of the first note the glissando line is connected to.

Solid stemless noteheads are of a shorter duration than hollow stemless noteheads.

X time signatures, often paired with a duration, indicate an unmetered measure.

Boxed material should be repeated for the duration of the arrow. Follow indicated instructions for the duration of the arrow. If multiple musicians have the same notation, it should not be together.

Triangle noteheads indicate to play the highest pitch possible. i

issuu version for perusal only

In Act II, players in the orchestra stomp while playing. These are indicated with X noteheads below the staff.

VOICES

Passages that are unpitched are generally indicated with a one-line staff.

Spoken or shouted text is indicated with X-noteheads.

Lines of text connected by elision markers are to be spoken or sung quickly (as marked) and repeated for the duration indicated.

A thick horizontal line above a vocal staff indicates to sing in a straight tone for the duration indicated.

Throughout, many cast members will sing or speak through a bullhorn; these passages are marked with the indication “bullhorn,” ending with the marking “open” or “(open, no bullhorn).”

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PARTS

THE PLAYERS

THE LAW / THE ARTIST (PoC, Soprano)

THE CEO (white, Bass)

THE GOVERNMENT (white, Mezzo)

THE PEOPLE

THE CONSUMER (PoC, Tenor)

THE ACTIVIST (white, Soprano)

THE FOSSIL FUEL LABORER (PoC, Bass)

THE PILOT (white, Bass)

THE HISTORIAN (PoC, Mezzo)

THE CLIMATE REFUGEE (PoC, Mezzo)

THE FIELD WORKER (PoC, Tenor)

THE ELEMENTARY SCHOOL TEACHER (white, Soprano)

THE WEATHERMAN (white, Tenor)

THE PAST

—A large, diverse children’s choir representing those killed by Shell’s colonial past and climate disasters throughout time.

—When characters die, they are brought into this chorus by the DANCER.

THE FUTURE

—A diverse chorus of twelve children that represent THE FUTURE PLAYERS and THE FUTURE PEOPLE. Including:

THE FUTURE CEO: any race, gender. This is the only kid who should not be part of the chorus of THE PAST and should only appear at the end of the show.

—The rest of the chorus of THE FUTURE should include: two kids who will play the other FUTURE PLAYERS, and nine kids that will play THE FUTURE PEOPLE.

—These kids can be a separate choir from THE PAST, or they could transform out of the chorus of THE PAST into a vision of the future.

—Out of THE FUTURE PEOPLE, two children should be designated as THE LAST FUTURE PEOPLE who will survive the game.

issuu version for perusal only

THE EARTH

Voiced by the orchestra. An elderly, female or nonbinary DANCER is the physical representation of this wordless choir.

SPACE

There is a machine-like wheel on stage.

NOTES

—All PEOPLE and PLAYERS carry an object with them that represents their role.

—The most important relationship in Act 1 is between the PLAYERS and the AUDIENCE. All usage of “you”, refers to the AUDIENCE.

—The most important relationship in Act 2 is between the PEOPLE and the PLAYERS. Most usage of “you” refers to the PLAYERS.

—The most important relationship in Act 3 is between the PAST, the FUTURE, and the AUDIENCE. Usage of “you” refers to the AUDIENCE.

GAME ADDENDUM

The game played at the end of the show is real. Here are the rules:

—There will be 3 rounds of the game in total, however the final round has pre-orchestrated components. The game is an adjusted version of musical chairs.

—The rules of the game are different for the different groups.

—FUTURE PLAYERS walk and repeat their song, in unison with each other, around the chairs in the center of the stage. They do not carry any objects. When they stop singing, everyone must freeze.

—FUTURE PEOPLE must walk around the middle of the stage in unison with the FUTURE PLAYERS. They don’t sing/speak. They can’t drop their objects. They must freeze at the same time as the FUTURE PLAYERS.

—The DANCER and the dead are in their own, separate ring on the outer edge of the stage. Whenever any of the FUTURE PEOPLE get out of the game, they join the dead in the outer ring.

issuu version for perusal only

—When the FUTURE PLAYERS yell “BEST” everyone must try to find a chair. THE FUTURE PLAYERS will always get a chair. THE FUTURE PEOPLE must race each other for the chairs that are left. The dead do not participate in this race.

—When a FUTURE PERSON can’t find a chair, they must drop their object and sink to the ground. Then the DANCER will then lead them into the outer ring. Whichever FUTURE PERSON (that’s still in the game) is closest to the dropped object must pick it up and carry it with them in the next round.

—The ADULT PLAYERS only role in the game is moving the chairs away during the rounds. They don’t play or sing, they are the game makers.

NOTES PER ROUND

—In the first round there are ten chairs and twelve kids (three FUTURE PLAYERS, nine FUTURE PEOPLE). Two FUTURE PEOPLE get out. Afterwards, the PLAYERS remove five chairs.

—In the second round there are five chairs and ten kids (three FUTURE PLAYERS, seven FUTURE PEOPLE). Five FUTURE PEOPLE get out. Afterwards, the PLAYERS remove one chair.

—In the third round there are four chairs and five kids (three FUTURE PLAYERS, two FUTURE PEOPLE). The two FUTURE PEOPLE that make it to this round should be pre-determined. This round of the game is not completed.

LIBRETTO

ADJUSTMENTS PER PRODUCTION

This piece has four text components that need to evolve per production. Text that should be adjusted per production is listed here as well as specially notated in the libretto.

1.) PRONOUNS

All roles in this piece are denoted by voice type, not gender. Pronouns (based on the original cast) that are in the sung text can be adjusted per production to reflect the current singers. Throughout the libretto these pronouns have a + sign next to them. Otherwise, characters are referred to in gender neutral pronouns in the stage directions. Per production the artistic team should adjust the pronouns to suit their cast. The only part that is gender specific is the DANCER.

2.) THE ARTISTS’ OPENING MONOLOGUE

There are 3 different options for the ARTISTS’ opening monologue. The artistic team per production should choose the option which reflects the present status of the real Shell trial, and use that monologue:

—OPTION A: if the appeal is ongoing and no verdict has been reached.

—OPTION B: if Shell wins the appeal.

—OPTION C: if Shell loses the appeal.

3.) THE ACTIVISTS’ ENTRANCE

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On page 19 of the libretto: one of the ACTIVIST’s first lines should be tweaked per production to reflect specific climate/fossil fuel issues within the country the show is being staged. The line that can be replaced has ^ next to it in the libretto. In the score it has an asterisk.

For the premiere production the line is: ^REVOKE BIG OIL TAX CUTS!^. For future productions, the artistic team should engage with local activist communities to distill their concerns into a new sentence to take its place. The replacement line needs to have seven syllables to fit within the existing musical structure.

4.) THE DOOM SCROLLS

On pages 36-40 of the libretto: there are five “clouds” of doom scroll text from THE PEOPLE that should be updated per production. The lines that should be replaced per production have ~ next to them in the libretto. In the score there are asterisks. The text in all of these “doom scroll clouds” is spoken and does not need to fit rhythmically within the existing syllabic lines.

For each show, the artistic team should pull headlines and replace the text with news that’s occurred within the specific year that the production is taking place. Each cloud needs a slightly different focus of headlines to be inputted, detailed below:

DOOM SCROLL 1: BAD NEWS

The first cloud of headlines on pages 36-37 should be updated per production with negative headlines about recent climate disasters and oil spills around the world.

DOOM SCROLL 2: GOOD NEWS

The second cloud of headlines on paged 37-38 should be updated per production with positive headlines about recent climate lawsuits and global green initiatives.

DOOM SCROLL 3: BAD NEWS

The third cloud of headlines on page 38 should be updated per production with more negative headlines about recent climate disasters and oil spills around the world.

DOOM SCROLL 4: GOOD NEWS

The fourth cloud of headlines on page 39 should be updated per production with more positive headlines about recent climate lawsuits and global green initiatives.

DOOM SCROLL 5: SHELL NEWS

The fifth/final cloud of headlines on pages 39-40 should be updated per production with news about Royal Dutch Shell Oil Company, including: recent profits, oil spills, drilling projects, press announcements, and lawsuits. It can be good or bad news.

Libretto by

Roxie Perkins

SPIRAL 1: THE ARTIST*

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THE SHELL TRIAL

an opera in three acts

Adapted from the play “The Shell Trial: Rehearsals for Reality” by Anoek Nuyens and Rebekka de Wit

ACT 1

The ARTIST talks to the AUDIENCE. Spoken. Like a Greek statue, they are carrying an object that relates to their part.

THE ARTIST (OPTION A, if the appeal is ongoing)

Welcome. My name is _____* (Insert name of performer). I’ll be performing tonight, but I want to give some context. Right now, there is a revolutionary court case in the Netherlands where the oil company Shell is being sued by citizens and NGOs. Shell is often sued, but these citizens don’t want an apology or money; they want Shell to stop causing climate damage. Against all odds, they won. In 2021 a judge ruled that Shell needed to make a radical change and cut 40% emissions by 2030. Was Shell shocked by this? No. They had been preparing for this guilty verdict for twenty years. You see, in addition to a media army, Shell has a Scenario Department that rehearses scenarios they might face because: the future belongs to those who play their part the best. And in 1998 they predicted that around now climate change would worsen, and a major case would be brought against them. They were right. So, Shell made the move they’d been preparing for years and appealed the verdict. The appeal trial starts in ___* days (Or: if the appeal trial has already started: “a verdict will be reached in ___* days.”). And as we wait, all I can think is… What are we going to say when our kids ask: what did you do? I could answer that it isn’t my role to save the world… But I’m not sure what my role is. I don’t think you’re sure what yours is, either. So, tonight I’d like to treat this stage as our Scenario Department where we can figure out the responsibilities of all the moving parts. And it is hard to know what can change but I believe it is possible—if you play. So… Let’s play.

THE ARTIST (OPTION B, if Shell wins the appeal)

Welcome. My name is _____* (Insert name of performer). I’ll be performing tonight, but I want to give some context. ______* (Depending on the length of time since the appeal closed, insert either: “Recently” or “Some time ago”), there was a revolutionary court case in the Netherlands where the oil company Shell was sued by citizens and NGOs. Shell is often sued, but these citizens didn’t want an apology or money; they wanted Shell to stop causing climate damage. Against all odds, they won. In 2021 a judge ruled that Shell needed to make a radical change and cut 40% emissions by 2030. Was Shell shocked by this? No. They had been preparing for this guilty verdict for twenty years. You see, in addition to a media army, Shell has a Scenario Department that rehearses scenarios they might face because: the future belongs to those who play their part the best. And in 1998 they predicted that around now climate change would worsen, and a major case would be brought against them. They were right. So, Shell made the move they’d been preparing for years and appealed the verdict. In _____* (Insert the year that Shell won the appeal. If Shell has won multiple appeals, then list all the years they won their cases.) Shell won the appeal* (Or: “appeals” if there have been multiple cases.), washing themselves of their guilty verdict. But it’s still not over. And as we wait to see when the citizens and NGO’s will appeal and sue Shell again... All I can think is… What are we going to say when our kids ask: what did you do? I could answer that it isn’t my role to save the world… But I’m not sure what my role is. I don’t think you’re sure what yours is, either. So, tonight I’d like to treat this stage as our Scenario Department where we can figure out the responsibilities of all the moving parts. And it is hard to know what can change but I believe it is possible—if you play. So… Let’s play.

THE ARTIST (OPTION C, if Shell loses the appeal)

Welcome. My name is _____* (Insert name of performer). I’ll be performing tonight, but I want to give some context. ______* (Depending on the length of time since the appeal closed, insert either: “Recently” or “Some time ago”), there was a revolutionary court case in the Netherlands where the oil company Shell was sued by citizens and NGOs. Shell is often sued, but these citizens didn’t want an apology or money; they wanted Shell to stop causing climate damage. Against all odds, they won. In 2021 a judge ruled that Shell needed to make a radical change and cut 40% emissions by 2030. Was Shell shocked by this? No. They had been preparing for this guilty verdict for twenty years. You see, in addition to a media army, Shell has a Scenario Department that rehearses scenarios they might face because: the future belongs to those who play their part the best. And in 1998 they predicted that around now climate change would worsen, and a major case would be brought against them. They were right. So, Shell made the move they’d been preparing for years and appealed the verdict. In _____* (Insert the year that Shell lost the appeal. If Shell has lost multiple appeals, then list all the years they lost their cases.) Shell lost the appeal* (Or: “appeals” if there have been multiple cases.), confirming their guilty verdict. But it’s still not over. And as we wait to see if Shell will appeal, again… All I can think is… What are we going to say when our kids ask: what did you do? I could answer that it isn’t my role to save the world… But I’m not sure what my role is. I don’t think you’re sure what yours is, either. So, tonight I’d like to treat this stage as our Scenario Department where we can figure out the responsibilities of all the moving parts. And it is hard to know what can change but I believe it is possible—if you play. So… Let’s play.

Music by Ellen Reid

The show starts. The ARTIST hides their object and transforms into the LAW—taking the spotlight. Sung.

# œœ œ#œ œ#˙ œj‰Œ Œ

≈ œœ #œœR‰≈œ œœ #œR‰≈ œœ #œœ R‰ ≈ œœ n#œœR‰ ≈ œœ #œœ R ≈ œœ n#œœRŒ Œ œ œ # # Œ Œ œ œ # # Ó Œ œ œ # # Ó

œœ #œœR≈‰œœ #œœr≈‰œ œœ #œR≈‰œœ n#œœ R ≈‰ œœ #œœr≈œœ n#œœ R ≈Œ

≈ œ œ R‰≈ œœR‰≈œ#œR‰ ≈ œ #œR‰ ≈œœr‰ Œ

≈œR‰≈ œ R‰≈œR‰ ≈ œ R‰ ≈œr‰ Œ

≈œ#R‰≈œ#R‰≈œR‰ ≈ œ R‰ ≈œ#r‰

œ

J ‰ #œ

≈ œœ #œœR≈‰ œœ #œœR≈‰ œœ #œœ R≈≈

œœ n#œœR≈‰ œœ #œœR≈œ œœ #œRŒ

œœ #œœR≈‰ œœ #œœr≈‰ œœ #œœR≈‰ œœ n#œœ R ≈‰ œœ #œœR≈œœ #œœr≈Œ

≈œR≈‰ #œR≈‰ #œR‰ ≈ #œR‰ ≈ œ R≈œRœR≈‰

≈œR≈‰ #œR≈‰ #œR‰ ≈ #œR‰ ≈ œ R≈œRœR≈‰

≈œR≈‰ #œR≈‰ #œR‰ ≈ #œR‰ ≈ œ R≈œRœR≈‰

≈œR≈‰ #œR≈‰ #œR‰ ≈ #œR‰ ≈

˙ O ˙

œœ bbœœ #œœœ œ #œ #œœ˙ w ˙ Œ

œ Œ Ó œ bœœbbœœbœœ œ œ n#œœnnœœnœœ œ æ æ æ w #w æ æ æ œ œ j‰Œ Œ œ bœœbbœœbœœ œ œ n#œœnnœœnœœ œ œ œœnbœœ nœ œ œ œ bœœbbœœ bœ œ œ œ n#œ œ nnœœnœœ œ œ œ œ nbœ œ nœ œ œ œ bœœbbœœbœœ œ œ nœ

SPIRAL 3: THE CEO

The CEO takes the spotlight. They sound like shimmer hiding gray—a sugary show-off and an aggressive know-it-all.

Œ ‰ œ r œr≈‰ ‰ Œ

Œ ‰ ≈ œ r œr≈‰ ‰ Œ ˙ ˙ ˙ #˙

Œ œ œ J #œ œ œ œ #œ #œ œ œ b˙ ˙

≈œœ œ bbbœœ œ bœ æ æ æ ˙ ˙ ˙ æ æ æ œ œ œ nœ œ œ œœbnb œ œ bbœr≈‰ ‰ Œ b˙ œ Œ

œ œ œ œ bœ n ‰ Œ Œ ≈œ œ

œ œ

œ œ œ b n œ œ bœbb r≈‰ ‰ Œ ˙ ˙ ˙ ˙

‰ bœœ˙ œ ≈ bœ bœR≈‰

‰

Œ ≈œ

bœR≈‰Œ Œ ≈œ # nœœ # œ R≈‰≈œ # œœ # œ R≈‰≈œœœ œ R≈‰≈œ # œœ # œ R≈‰≈œœœ

‰ œbœœ n œbœ‰ Œ ≈œbœœ bœr≈‰Œ Œ ≈œœ n#œ œr≈‰≈œœœ # œr≈‰≈œœœ œr≈‰≈œœœ bnœr≈‰≈œœœ #

‰ bœbœœ œ ‰ Ó Œ ≈œ nœœ b nœR≈‰Œ Œ ≈œ b bœœbœR≈‰≈œ b œœœR≈‰≈œœœbœR≈‰≈œ bœœœR≈‰≈œœœ

bœœ b œ œœ œnœœ b nœ‰ Ó Œ ≈œ b bœœ bœR≈‰Œ Œ ≈œ n nœœ # œ R≈‰≈œœœ # œ R≈‰≈œœœ œ R≈‰≈œœœ # œ R≈‰≈œœœ

Œ Œ œœ‰ Ó Œ ‰ œœ œr≈‰Œ Œ ‰ œœ œr≈‰‰ œœœr≈‰‰ œœ œr≈‰‰ œœœr≈‰‰ œœ æ æ æ œ j ‰ Œ œœ‰ œ Œ Ó œ Œ Ó œ Œ œ Œ œ Œ œ Œ

Œ Œ œœ‰

œ j‰Œ

bœR≈‰≈œ bœœœR≈‰‰œ n#œœ J ‰Œ

œ R≈‰≈œœœ # œ R≈‰‰œ b œœnj‰Œ

œ j‰ ‰ Œ œ j‰ ‰ œ j‰‰ œ j‰‰Œ

œr≈‰‰ œœœr≈‰‰œœœr≈‰Œ œ Œ Œ Œ

Œ œ Œ œ Œ œ œj‰ ‰ Œ œj‰ ‰ œj‰‰œj‰‰Œ

œr≈‰‰

r≈‰‰œœœr≈‰Œ

œ œ bœ ˙ nœ œ Jœœœœœ

j‰œœ

f nunununununuknew, Andyou keptbuying. - More. If

ff youstopped

stark, bitter, accusatory thiswouldendtomor - row. -

for perusal only

œ œ bœ œ œ œ ‰ œ J bœ Œ bœ Œ bœ Œ nœ Œ œ œ œœœ b œ

w ww w w w w w w # w w w w œ bœ b Œ œ bœ b Œ œ bœ b Œ œ œ Œ

w w w w #w # w w Œ ÚÚ ÚÚ ÚÚ ÚÚr≈‰ Œ ÚÚ ÚÚ ÚÚ ÚÚr≈‰ Œ ÚÚ ÚÚ ÚÚ ÚÚr≈‰ Œ ÚÚ ÚÚ ÚÚ ÚÚ

w w w w w w Œ r≈‰ Œ r≈‰ Œ r≈‰ Œ r≈‰

ww ww ww

Œ r≈‰ Œ r≈‰ Œ r≈‰ Œ r≈‰

w w w Œ r≈‰ Œ r≈‰ Œ r≈‰ Œ r≈‰

œ bœ ˙ w bœ Œ bœ Œ bœ Œ œ Œ

œ bœ ˙ w Œ r≈‰ Œ r≈‰ Œ r≈‰ Œ r≈‰

#w w

Œ #œr≈‰ Œ #œr≈‰ Œ #œr≈‰ Œ #œr≈‰

w w w Œ œr≈‰ Œ œr≈‰ Œ œr≈‰ Œ œr≈‰

ww ww

w w w #w

w #w

Œ bœœr≈‰ Œ bœœr≈‰ Œ œœr≈‰ Œ bœœr≈‰

Œ œ bœr≈‰ Œ œ bœr≈‰ Œ œ œr≈‰ Œ œ bœr≈‰

Œ #œœR≈‰ Œ #œœR≈‰ Œ œœR≈‰ Œ #˙˙

SPIRAL 4: THE GOVERNMENT

The GOVERNMENT takes the spotlight. They sound like muddy brown tea stains—hypnotic, overworked, and in control.

œr≈‰ Œ œr≈‰

œr≈‰ Œ œ

r≈‰ œœœœœœœr≈‰

œ œ œr≈‰ Œ œr≈‰ œœœœœœœr≈‰ œœœœœœœr≈‰

j‰ œj‰ œj‰ œœ ‰ bœ J bœ œœ œœ b bœ œbœœ b œœœ # œ ˙ #w

Œ Œ œ ˙ œ J ‰ bœœbœœ b œœ ‰ bœj œ œœ bbœœœœœœœœœœœ nnœ

œœ # œ ˙ ˙ œœ # œ #œ œ ˙ w

œ œ œ b œ œ œ b nb œ œ œ b œœ œ #œ nœœ bbœœ n œœœ n#œ#œœ n œ#œnœœœ bbœ bœœ bnœœœ n#œœœ n bœœ bnœœœ bnœœ #nœœœœ bbœœ bbœœ n#œnw #œœ nbœœ # œœœ n œœœœ b#œ œœ bbœœœœœ n#œ#œœ n œ#œnœœœ bbœ bœœ

In the distance the sound of EARTH hums again—like kindling sparking faster...

SPIRAL 5: THE CONSUMER

Suddenly the CONSUMER takes the spotlight—cutting off the PLAYERS and differentiating themself. The CONSUMER is carrying an object that relates to their part.

The ripples shake faster, propelling the CONSUMER on—anxiety rising. The PLAYERS aren’t threatened by this interruption. Joining in, they dissuade the CONSUMERS’ sense of responsibility.

œ J‰‰ bœ J‰‰ ‰ bœ J‰‰œ b J‰ ‰ œ J‰‰‰ œ J ‰‰ bœ J‰‰ œ J ‰‰ œ JŒ

‰œnJ‰Œ œ J‰‰ #œJ‰‰ ‰œnJ‰Œ nœJ‰‰ nœJ‰‰ ‰nœJ‰‰ œ J‰ ‰#œJ‰‰‰œ nJ ‰‰nœJ‰‰ #œ J ‰‰#œJŒ

‰œnJ‰Œ nœJ‰‰#œJ‰‰ ‰œnJ‰Œ #œJ‰‰ nœJ‰‰ ‰œ#J‰‰œnJ‰ ‰#œJ‰‰‰œ nJ ‰‰œ#J‰‰œ #J ‰‰#œJŒ

‰œj‰Œ œj‰‰œj‰‰ ‰œj‰Œ

œj‰‰œj‰‰ ‰œj‰‰œj‰ ‰œj‰‰‰œj ‰‰œj‰‰œj ‰‰œjŒ

‰ œ œ n j‰Œ œ œj‰‰œ œ j ‰‰ ‰ œ œ n j‰Œ œ œ n j ‰‰ œ nœ # j‰‰ ‰ œ #œ n j ‰‰ œ bœj‰ ‰œ œ j ‰‰‰œnœj ‰‰ œ nœj‰‰œ œ

j‰‰‰œj‰

nœj‰‰#œj‰‰ ‰ œ j‰‰#œj‰ Œ œ j‰‰ ‰‰#œjŒ Œ ‰œj‰ œ œ œ

‰nœj‰ ‰‰#œj‰‰œj Œ nœj‰‰ nœj‰‰‰‰œnj Œ ‰ œ j‰ ‰œ

œ‰œ‰‰œj ‰œj‰‰‰œj

œ œ n ‰œ n ‰‰œj ‰œnj‰‰‰œj

‰ œj‰œ‰œ ‰‰œj‰‰œj

œ Jœ n

nw

Jœ

¿ ¿jŒ ¿ ¿ ¿ ¿ ¿jŒ

œ œœœœ#œœœœœœœœ œœœnœ œ œœœnœ œœœœœ#œ # œœ#œœœ#œbœœnœnœbœœœœbœ nbœœbœ n

Œ œœœœ œœœœœœœœœnœœœ #œœ#œœ#œœœ ##œœœ ##œœ nœœnœnœnœœnœœœ n#œœ#œ n Œ œœœœœnœœœ #œœ#œœ#œœœ ##œœœ ##œœ nœœnœnœnœœnœœœ n#œœ#œ n

œœœœœœœœœ œœ bœœœœœœœœœœœœbœœœœœœœœœœœœbœœœœœœœœœœœœbœœœœœœœœœœœœ

¿ j ¿jŒ Œ ‰  ¿ j ¿jŒ Œ ‰  ¿ j ¿jŒ

j ¿jŒ Œ ‰  j ¿jŒ

‰  ¿ j ¿jŒ Œ

‰  j ¿jŒ Œ ‰  j ¿jŒ Œ bœnœ ˙ nœbœ ˙ œnœ ˙ #œnœ ˙ œ bœ ˙ bœ nœ ˙ù

œ#œ ˙ bœ œ ˙ nœbœ ˙ œbœ ˙ bœ nœ ˙ nœ bœ ˙ù œnœ ˙ #œnœ ˙ œ#œ ˙ bœ œ ˙ bœ bœ ˙ nœ bœ ˙ù

#œ J ‰ ‰ œ J œ œ œ J ‰ ‰ œ J #œ œ bœ J ‰ ‰ œ J œ œ nœ J ‰ ‰ œ J #œ œ œ J ‰ ‰ œ J œ œ #œ J ‰ ‰ œ J bœ

Œ nœœ#œnœnœœœœŒ œœ#œ#œ#œœœœŒ bœœœnœ n œœnœœ Œ œœnœœœœœœ œœ # œœœœœœœœœœbœœœ nbœœbœœbœ b œœœœ

Œ œœ nnœœœ nnœ Œ œœœ # œœœ # Œ bœœ #nœœ nbœœ Œ œœ b œœœœ n #œœ b œ œbœœ œœ nnœ œ œbœ#œœ n bœbœœ b œ œ œ ˙ ˙ œ ˙ ˙ œ bœ ˙ ˙ œ ˙ ˙ œ #œ ˙ ˙ ˙ ˙ œœ ˙˙ œœ ˙˙ ˙ œ ˙ œœ ˙˙ œœ ˙˙ œœ ˙˙

‰nœjŒ Œ ‰bœjŒ Œ ‰nœjŒ Œ

‰#œjŒ

bœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœ

bœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ

bœœbœœœ nbœœbœbœœœ nbœbœœbœœœ nbœœbœbœœœ nbœbœœbœœœ nbœbœœbœœœ nbœ

bœœ b œœœ nbœœbœ b œœœ nbœbœœ b œœœ nbœœbœ b œœœ nbœbœœ b œœœ nbœbœœ b œœœ nbœbœœœ

SPIRAL 6: THE ACTIVIST

ACT II

Suddenly someone in the AUDIENCE steals the spotlight: THE ACTIVIST. They interrupt with an object that relates to their part… A BULLHORN. Beneath, fire slowly grows. Beneath, fire slowly grows. Alto Flute

Bass Trombone Percussion 1

Percussion 3

The Law/ Artist

tothosewho whoplay their part...

-longs tothosewho whoplay their part...

-longs tothosewho whoplay their part...

Interrupting the haze, violent, spoken through the bullhorn

w bw w bw b

œœ b J œœœbœ ˙

SPIRAL 7: THE FOSSIL FUEL LABORER and THE PILOT

Like a burst dam, water shoves THE FOSSIL FUEL LABORER and THE PILOT out of the audience. They both carry an object that relates to their parts.

Brash, bold, the LABORER and PILOT take the spotlight as the ACTIVIST flees out of the theatre.

û ‰ nw ‰œj‰œ bJ‰œjœœ‰ ‰œj‰œ bJŒ ‰œj‰œJ‰œ b Jœœ‰ ‰œj‰œJŒ

œ j û ‰Œ œ j û ‰Œ œ j û ‰Œ œ j û ‰ ‰œj‰œj‰œjœœ‰ ‰œj‰œjŒ ‰œj‰œj‰œjœœ‰

œj‰Œ œj‰ œj‰Œ œj‰ œj‰Œ œj‰ œj‰Œ œj‰ œj‰Œ œj‰ œj‰Œ œj‰Œ œj‰Œ œj‰ œj‰Œ

THE PLAYERS watch the LABORER and PILOT approach.

bj‰œ bJ‰œjœ b œ‰

‰œbj ‰œ bJ‰œjœœ‰ ‰œbj‰œ bJ‰‰ ‰œbj‰œ bJ‰œ b Jœœ‰

bœjû ‰ Œ œ j û ‰Œ bœjû ‰Œ œ j û ‰ bœjû ‰Œ œ j û ‰Œ

‰œ œ j Ó ‰œ œ j Ó ‰œ œ j Ó ‰œj ‰œj‰œjœœ‰ ‰œj‰œjŒ ‰œj‰œj‰œjœœ‰ ‰œ œ j Ó

œj‰Œ œj‰Œ œj‰Œ œj‰ Œ œj‰Œ œj‰Œ œj‰ œj‰Œ œj‰Œ œj‰Œ œj‰ Œ ‰œj ‰œJŒ œœ‰ ‰œj‰œJŒ ‰œj‰œJŒ œœ‰

œbœœ œœœ bœbœ bœ J œ

bj‰œJŒ ‰bœj‰œj‰‰ ‰ œ j‰œ ‰‰ œ œ ‰ ‰œbj‰œ bJ‰œjœœ‰ ‰œbj‰œ bJŒ ‰œbj‰œ bJŒ ‰œnj‰œJŒ ‰ œ j‰œJ‰‰ ‰ œ j‰œ ‰‰ œ œ ‰ bœjû ‰ Œ œ j û ‰Œ bœjû ‰Œ œ j û ‰bœjû ‰Œ œ j‰bœj‰Œ œ j‰ bœj‰‰œj‰‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰œ œ j ‰œ œ j ‰œj‰œj‰œjœœ‰ ‰œj‰œjŒ ‰œj‰œjŒ ‰œj‰œjŒ ‰œj‰œjŒ ‰œj‰œjŒ ‰œj‰œjŒ œj‰Œ œj‰Œ œj‰Œ œj‰Œ œj‰ Œ œj‰Œ œj‰Œ œj‰ œj‰Œ œj‰ œj‰Œ œj‰ œj‰‰œj‰‰ œj‰‰œj‰‰œj‰‰œj‰‰ ‰œj‰œJŒ œœ‰ ‰œj‰œJŒ ‰œj‰œJŒ

While you "care," leaving - usyour

While you "care," leaving - usyour

As though falling off a waterfall, suddenly the PILOT and LABORER freefall into a crisis of their own guilt.

thehandsthathold thedirt,notthehandsthatholdthe keys.Assum - -ingI

for perusal only

The PLAYERS seize the PILOT/LABORER’S despair as an opportunity to calm them. The CEO steps forward on his own—taking the spotlight and appealing to them as though they were all equals.

reeling them in like a parent comforting a kid I

I

lost in the throws, feeling trapped, unable to change hate my job. I

lost in the throws, feeling trapped, unable to change hate my job.

Like a spell, the PLAYERS urge the LABORER/PILOT to repeat the vow back to them and let go of their guilt. Slowly, the LABORER/PILOT join their chorus and release their sense of responsibility. Offering them a gilded spell to quiet their unrest.

SPIRAL 8: THE HISTORIAN

Suddenly THE HISTORIAN interrupts from the AUDIENCE, taking the spotlight. They are carrying an object that relates to their part. Weighed down.

& > & > & > & open > ? open >

3 /

#œ #œ nœ Œ bœœ bbœœœ b œ bœ œ bœ œ bœ Œ Ó bœœœœœ b œ œ œ #œ #œœ Œ bœœ b œ œ bœ bœ œ Œ #œœ # #œœ #œœ#œœ nœ Œ Œ Œ #œœ # #œœ æ æ æ œ œŒ Ó æ æ æ œ œŒ æ æ æ ˙ æ æ æ ˙ æ æ æ w ‰ œrŒ #œ Œ Ó Œ ‰œbj bœœ bbœœœ

b œ bœ œ

œ Œ Œ ‰bœj bœœ bbœœœ b œ bœ œ

œ

fff harsh, piercing, calling out the lies, interrupting the spell None

œœœœœœœœ œ œœœœœœ ˙ œœœœœœ œ œ ˙

None.

f ofthatmatters.soothed, falling under the spell

3 3 & ‹ ? ? & > ∑ ∑ ∑ ∑ ∑ ? >

I

mp play My soothed, falling under the spell

I

mp play My soothed, falling under the spell

3 & & & # # & > div. & > div. B > ? > 3 ? div. >

3 ? > 3 ?

= 120 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4 4 4 3 4 4 4 2 4 4 4 2 4

Cymbals sticks … > ∑ ∑ ∑ ∑ ∑ ∑ / … > ∑ ∑ ∑ / Snare Drum> & The PLAYERS are not threatened, they continue their pacifying spell. & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ & ∑ ∑

Œ Ó Œ ‰œbj bœœ bbœœœ bJœ œ j œ Œ Œ ‰œ b J bœœ bbœœœ b J œ œ J œ Œ Œ ‰œ b J bœœ bbœœœ J œ œ J œ ##œ œ ##œœ œ ˙ ˙ ˙ ˙ #œœ#œœ œ nœ n Œ Œ Œ w ˙ w w ˙ ˙ w #œ #œ¿˙ n ˙ w w ˙ ˙ w œ œ¿ Œ ¿˙ n ˙ æ æ æ w w æ æ æ w w æ æ æ ˙ ˙ æ æ æ ˙ ˙ æ æ æ œ w bœœ bbœœbœœ #œ #œ¿ Œ æ æ æ w æ æ æ w æ æ æ ˙ æ æ æ ˙ æ æ æ œ œ bbœœbbœœbbœœ œ bbœœœ œ #œ #œ¿Œ æ æ æ w æ æ æ w æ æ æ ˙ æ æ æ ˙ æ æ æ œ œ bbœœbbœœbbœœ œ bbœœœ œ #œ #œ¿Œ Ó æ æ æ w æ æ æ w æ æ æ ˙ æ æ æ ˙ æ æ æ ˙ Œ #œœ#œœ¿Œ #œœ#œœ ¿ ¿Œ #œœ#œœ¿Œ Ó ˙ ˙ w w ˙ 139 issuu version for perusal only

mp play My p p p ff p p ff p p ff p o ff ff ff p o

bœ œ bœ œ bœR≈‰Œ Œ

‰ bœj bœ œ bœ œ bœR≈‰Œ Œ

‰ bœ J bœ œ bœ œ œ R≈‰Œ Œ

œœœœœ Œ Œ œœœœœœœœœ œœœœœœ ˙

J‰Œ Ó ‰ œœ œ œœ œ #œ J ‰Œ Œ ‰ œœ œ œœ œ #œJ‰Œ

œœœ œ œœ # œœœ œ œœ #œ R ≈‰Œ Œ

Œ bœœœbœbœœ œœœ œ œ R ‰ Œ

The LAW tries again to quiet the HISTORIAN, evading their own guilt.

SPIRAL 9: THE CLIMATE REFUGEE

Before the PLAYERS can respond, the CLIMATE REFUGEE takes the spotlight—desperate to be heard by the AUDIENCE.

b œ J œœ J œ bœœœœœJœ b œ J ˙ b˙ œœœœbœœœœœœœœœbœœœœœ

˙ œœœœJœœ J œœœœœœJœœ J ˙ ˙ ˙ b˙

œ j‰ ‰ œ j‰‰‰ œ j‰ œ j‰‰‰ œ j ‰ œ j‰‰‰ œ j#œj ‰‰‰ œ j‰ ‰ œ j‰‰‰ œ j

Œ ‰œj‰œj‰ ‰ ‰ œj‰œj ‰‰ ‰ œj‰œj‰‰ ‰ œ

for perusal only

œ J bœ Jœ b œ œ J b˙

‰œ b œ J‰‰‰œ b œj‰‰‰œ b œj‰‰‰œ b œ œjœbjœ œ œj‰œ b œ œjœbjœ œ œj‰ bœ œ œ J bœ J œ œ œ J œbœœœœœ

‰ œ œ J‰‰‰œ bœJ‰‰‰œ bœ J‰‰‰œ œ nœ J œ Jœ œ œ J‰œ œ œ J œ Jœ œ œ J‰œ œ œ J œ Jœ œ œ J b˙

#œj‰j‰j‰ j‰j‰j‰ j‰j‰ j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ œ j‰ œ j‰ œbœ b˙

‰œj‰œj‰‰‰œj‰œj‰‰‰œj‰ œj‰‰‰œj‰œj‰‰ ‰œj‰œj‰‰‰œj‰œj‰‰ ‰œj‰œj‰‰ ¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰ ¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰ ¿j‰¿j‰¿j‰¿j‰¿j‰¿j‰ ¿j‰¿j‰¿j‰ æ æ æ ˙

‰œj‰œJ‰‰‰œj‰œJ‰‰‰œj‰ œ J‰‰‰œj‰œJ‰‰ ‰œj‰œJ‰‰‰œj‰œJ‰‰ ‰œj‰œJ‰‰

‰

J‰

J‰‰‰ œ J‰ œ œ b J‰‰‰ œ bœJ‰ bbœœ J‰‰‰œ bœ

œ J bœ Jœ b œ œ J‰œ b bœ œ J bœ Jœ b œ œ J b˙

#œj‰j‰j‰ j‰j‰j‰ j‰j‰ j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ J ‰ J‰J‰ œ J‰œJ‰ œ bœ b˙

#œj‰j‰j‰ j‰j‰j‰ j‰j‰ j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ œ j‰ œ j‰œbœ b˙

#œj‰j‰j‰ j‰j‰j‰ j‰j‰ j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ œ j‰ œ j‰ œœ b b˙

#œj‰j‰j‰ j‰j‰j‰ j‰j‰ j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ œ j‰ œ j‰œbœ b˙

#œJ‰ j ‰ j ‰ j ‰ j ‰J‰J‰J ‰J‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ j‰j‰j‰ œ j‰ œ j‰œbœ b˙

refusing the PLAYERS, firing back at them with urgency

f

Eve

ry - sec ond - tick d

f refusing the PLAYERS, firing back at them with urgency

Eve

ry - sec ond - tick

f refusing the PLAYERS, firing back at them with urgency

Eve

ry - sec ond - tick

SPIRAL 10: EVERYONE

Before the PLAYERS can regain the spotlight, a floodgate of rage and fear opens… Sycamore scorching, ash flying, desert sun beating—CRACK. CRACK. CRACK. Light hits three people in the AUDIENCE: THE FIELD WORKER, THE ELEMENTARY SCHOOL TEACHER, and THE WEATHERMAN. They each carry an object that relates to their part.

œ bnœœ nœ n æ æ æ #n˙˙ æ æ æ ww

œ œ n j‰ æ æ æ ˙˙ #n˙˙ æ æ æ ww ww æ æ æ ww ww æ æ æ ww ww

œ #œœnœ # œ #œœœœ ##œœ # œœœ # ≈

œ #œœn˙ # #œ #œœœœ#œ#œ#œœœ # ≈

œ #œœn˙ # #œ #œœœœ ##œœ # œœœ # ≈

œ œœ#˙ #œ #œœœœ#œ#œ#œœœ # ≈

œ œœ#˙

Œ #œ#œœœœ ##œœ#œœœ # ≈

œ œœ#˙ #œ #œœœœ ##œœ # œœœ # ≈

œ œ œœ#˙ ‰ #œœ#œ#œ œœ n œœ#œœ ##œœ n œœ # ‰

œ œ œœ#˙ ‰ #œœ#œ J ‰ ‰ œ J #œ œœ n œœ # œœ ##œœnœœ # ‰

œ œ œœ#˙ ‰ #œœ#œ J ‰ ‰ œ J #œ œœ n œœ # œœ ##œœnœœ # ‰ œœœ#˙ ‰ #œœ

Œ œœ ##œœœ#œœœ ##œ Œ

Œ #œ #œœ œ œ #œ #œœ

repeat as fast as possible ( = q. )

repeat as fast as possible ( = q. ) &( = q ) >

&( = q ) > repeat as fast as possible ( = q. ) &( = h ) > repeat as fast as possible ( = q. )

&( = h ) >

repeat as fast as possible ( = q. ) & as fast as possible ( = q. ) & as fast as possible ( = q. ) & as fast as possible ( = q. )

B as fast as possible ( = q. )

B as fast as possible ( = q. )

B as fast as possible ( = q. )

B as fast as possible ( = q. )

? > repeat as fast as possible ( = q. )

? ( = q ) >

? ( = h ) >

? ( = h ) >

? ?

repeat as fast as possible

repeat as fast as possible

repeat as fast as possible

r≈‰ ‰ œr≈‰≈ œ r œ r≈‰ ‰‰ ‰ ≈ œ r œ r≈‰‰œr≈‰≈ œ r œ r≈‰ ‰‰‰≈ œ r œ r≈‰‰œr≈‰≈ œ r œ r≈‰ ‰Œ

œr≈‰ ‰‰‰≈œr œr≈‰ ‰‰ ‰ ≈œrœr≈‰‰‰‰≈œrœr≈‰ ‰‰‰≈œr œr≈‰‰‰‰≈œr œr≈‰ ‰Œ

bœr≈‰ ‰‰‰≈œrbœr≈‰ ‰‰ ‰ ≈œrœbr≈‰‰‰‰≈œrœbr≈‰ ‰‰‰≈œrbœr≈‰‰‰‰≈œrbœr≈‰ ‰Œ ‰ nœ J œœ œ œœ œ

bœr≈‰ ‰œbR≈‰≈œrbœr≈‰ ‰‰ ‰ ≈ œ rbœr≈‰‰œbR≈‰≈œrœbr≈‰ ‰‰‰≈ œ rbœr≈‰‰œbR≈‰≈œrbœr≈‰ ‰Œ

Œ ‰≈œr‰œr≈≈œr‰œr≈≈œr‰

œr≈‰ ‰‰‰≈œr œr≈‰ ‰‰ ‰ ≈œrœr≈‰‰‰‰≈œrœr≈‰ ‰‰‰≈œr œr≈‰‰‰‰≈œr œr≈‰ ‰Œ Œ ‰≈œr‰œr≈≈œr‰œr≈≈œr‰

œ œ œ œ œbb œ bbœr≈

œ J

œ œ nœœ nœ

œ œ n # œ œ w w #œ œœ b œ r≈

J ˙ #œnœœ # ≈

#œ #œnœœ # r≈

œ J œ nœœ b nœœ w #œ nœœ b bœr≈ #œ J ˙

#œ nœœ b bœr≈ #œ J ˙

œ

#œ

œj ˙ J

œœ b œ r≈

#œœœ#r≈ œ J ˙

œœ b œr≈ œ J ˙

nœ œ œ ≈ #œ œnœœr≈ #œ J œ œœ b bœŒ

œ œ œ bbœœ nœ ≈ #œ œ œ œ œbb œ œ r≈ #œ J œ nœœ b œ Œ

##œœœœ n# #œœ ≈ œ œ œ œ œ œ R œ r≈ #œ J œ œœ b nœ Œ

#œ#œœ # ≈ #œ nœbœœbr≈ nœ J œ #œœœ # Œ #œ

œ#œœ≈ #œ nœnœœr≈ œ J œ œœ # œŒ bœ

œœ b bœr≈ œ J ˙ œ#œœ≈ #œ nœbœœr≈ nœ J œ #œœ ##œ Œ bœ

œœ

gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.

Œ

˙ ‰ #œj

r œr≈‰

‰ œ jn˙ œ j ‰ ‰

œ J bœ œ J ‰ ‰

C Tpt.

B. Tbn.

Perc. 1 Cym.

Perc. 2 B. D. Br.D.

Law/ Artist

q = 120

sfz fff sfz fff sfz fff sfz fff

sfz fff sfz fff sfz fff sfz fff

sfz fff sfz fff sfz fff sfz fff

sfz fff sfz fff sfz fff sfz fff

sfz fff sfz fff sfz fff sfz fff

sfz fff ppp fff sfz fff ppp fff

sfz fff ppp fff sfz fff ppp fff f comegliss.

Teacher

Pno.

-come be fff fff

q = 120

Vln. I

Vln. II

gliss. gliss. gliss. gliss. sfz fff sfz fff sfz fff sfz fff

gliss. gliss. gliss. gliss. gliss. gliss. gliss.

sfz fff sfz fff sfz fff sfz fff

gliss. gliss. gliss. gliss. gliss. gliss. gliss. sfz fff sfz fff sfz fff sfz fff

Vla. Vc. Cb.

gliss. gliss. gliss. gliss. gliss. gliss. sfz fff sfz fff sfz fff sfz fff

gliss. gliss. gliss. gliss. gliss. gliss. gliss.

gliss. gliss. gliss. gliss. gliss. gliss. sfz fff sfz fff sfz fff sfz fff

gliss. gliss. gliss. gliss. gliss. gliss. gliss.

sfz fff sf

gliss.

bœ ‰≈

bœR≈‰Œ

bœ ≈ œœnœbœ ‰≈ nœœœ b bœR≈‰Œ

≈ #œœ#œœ ‰≈

#œ r≈‰Œ

œr≈œœœœ‰≈œœœ œr≈‰Œ

œr≈œœœœ‰≈œœœ œr≈‰Œ

œ≈œœœœ‰≈œœœ œr≈‰Œ

Œ bœœ n b˙ œœ n b˙ bœœœbœbœ bR

r≈‰Œ

bœœœ œ œ r≈‰ ‰ ‰ ‰ ≈ œ r œ r≈‰ ‰ ≈ œ r œ r≈‰ ‰ ‰ ‰ ≈ œ r œ r≈‰ ‰ ‰ ‰ ≈ œ r Œ Œ ‰≈œr œr≈‰ ‰ ‰ ‰ ≈œr œr≈‰ ‰ ≈œr œr≈‰

With a final kick, THE ACTIVIST, HISTORIAN, and CLIMATE REFUGEE join in the revolt. Unleashing against the PLAYERS, uniting as one.

Œ ‰ ≈ œ r#œr≈‰ Œ ‰ ≈ œ r#œr≈‰ Œ ‰ ≈ œ r#œr≈‰ Œ ‰ ≈ œ r#œr≈‰ ‰ ≈ œ r

œ r≈‰ Œ ‰ ≈ œ r œ r≈‰ Œ ‰ ≈ œ r œ r≈‰ Œ ‰ ≈ œ r œ r≈‰ Œ ‰ ≈ œ r œ r≈‰ Œ ‰ ≈ œ r œ r≈‰ ‰ ≈ œ r

œ r≈‰ ‰ ‰ ‰ ≈ œ r œ r≈‰ ‰ ‰ ‰ ≈ œ r œ r≈‰ ‰ ‰ ‰ ≈ œ r œ r≈‰ ‰ ‰ ‰ ≈ œ r œ r≈‰ ‰ ‰ ‰ ≈ œ r œ r≈‰ ‰ ≈ œ r

œr≈‰ ‰ ‰ ‰ ≈œr œr≈‰ ‰ ‰ ‰ ≈œr œr≈‰ ‰ ‰ ‰ ≈œrœr≈‰ ‰ ‰ ‰ ≈œrœr≈‰ ‰ ‰ ‰ ≈œr œr≈‰ ‰ ≈œr

Like a howl, something electric ZAPS the stage. Suddenly the ACTIVIST shoots forth with a megaphone, fed up with the bullshit.

I protest on Fridays at the CEOS.

He+ called the cops on me last week!

He+ sits in his garden, smiling, hiding from the truth! He+ drinks tea in his lawn chair while our throats go hoarse from screaming!

He+ passes biscuits to us through the wrought iron fence, like party favors for a party none of us fucking wanted to go to! He+ waves from the porch of his+ two-million-dollar home while telling you that he’s+ the one that wants dialogue, he’s+ the one who wants change, he’s+ the one- he+- he+He+ called the cops on me last week, and the week before that, and the week before-

J ≈ œœ ˙ bœ ‰ nœ Rbœœ ‰

œœ b œ≈œœœ J ≈œœ ˙ bœ ‰ nœ Rbœœ‰

œœ b œ≈œœœ J ≈œœ ˙ bœ ‰ nœ Rbœœ‰

œœ b œ≈œœœ

Œ ‰œœœr≈‰ ‰œœœr≈‰ Œ Œ œœœ≈œœœœœœœœœœ‰ œœœœœœœœœœœœ ‰œœœr≈‰

Œ ‰œœœr≈‰ ‰œœœr≈‰ Œ Œ œœœ≈œœœœœœœœœœ‰ œœœœœœœœœœœœ ‰œœœr≈‰

Œ ‰œœœr≈‰ ‰œœœr≈‰ ¿¿¿¿¿¿¿¿œœœ¿¿¿¿¿¿¿¿¿œœ¿¿¿¿¿¿¿¿¿¿¿¿œœ ¿¿œœœr≈‰

Œ Œ #œœ œœnœ b #œœ n œœ b ‰ œ e œ e b b œ e R≈‰ ‰ œœbœR≈‰

Œ Œ #œœ œ nœœ b #œœ n œœ b ‰ œ e bœ b œ e R≈‰ ‰ œœbœR≈‰

Œ Œ #œœ œœnœ b #œœ n œœ b ‰œœbœnR≈‰ ‰œœbœR≈‰

Œ Œ #œœ œ nœœ b #œœ n œœ b ‰œœbœnR≈‰ ‰œœbœR≈‰

Œ Œ #œœ œœnœ b #œœ n œœ ‰œœbœR≈‰ ‰ œœbœR≈‰

Œ Œ #œœ œœnœ b #œœ n œœ ‰œœ

‰ Œ #œ #œ nœ nœœ#œœœr≈‰

#œœ#≈Œ ‰ bœ J#œœ‰ Œ œ œ #œœ#≈Œ #œœ‰ Œ œ œ#œœ # ‰#œ J œœ#œœ‰ Œ œ #œ œ #œœ#œnœ œ R≈‰

#œ#œ≈Œ ‰ œ J œœ n ‰ Œ œ #œ #œ œ≈Œ œœ n ‰ Œ œ #œ #œ œ ‰ œ J œœ œœ n ‰ Œ œ #œ œ #œœ#œœœr≈‰ ‰œœœr≈‰

¿≈¿‰ ¿jŒ ¿ ≈¿‰ ¿j≈¿j≈ ¿≈¿‰ ¿ j ¿ ≈¿‰ ¿j≈¿j≈¿≈¿‰ ¿ j ¿¿ ¿ ≈¿‰ ¿j≈¿j≈ ‰œœœr≈‰

¿¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿¿¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿¿ ¿ ¿j‰Œ ‰œœœr≈‰ œ #œ≈œœ‰ œ #œJŒ œ #œ ≈œœ‰ œ #œJ≈ œ œ J≈ œ #œ≈œœ‰ œ #œ J œ #œ ≈œœ‰ œ #œJ≈ œ œ J≈œ#œ≈œœ‰ œ #œJŒ œ #œ ≈œœ‰ œ #œJ≈ œ œ J≈

œ #œ≈œ œ ‰ œ #œ JŒ œ #œ ≈œ œ ‰ œ #œ J≈ œ œ J≈ œ #œ≈œ œ ‰ œ #œ J œ #œ ≈œ œ ‰ œ #œ J≈ œ œ J≈ œ #œ≈œ œ ‰ œ #œ JŒ œ #œ ≈œ œ ‰ œ #œ J≈ œ œ J≈

¿≈¿ ‰ ¿jŒ ¿ ≈¿ ‰ ¿j≈¿j≈ ¿≈¿ ‰ ¿ j ¿ ≈¿ ‰ ¿j≈¿j≈ ¿≈¿ ‰ ¿ j ¿¿ ¿ ≈¿ ‰ ¿j≈¿j≈ ‰ ¿¿¿ r≈‰

¿≈¿ ‰ ¿jŒ ¿ ≈¿ ‰ ¿j≈¿j≈ ¿≈¿ ‰ ¿ j ¿ ≈¿ ‰ ¿j≈¿j≈ ¿≈¿ ‰ ¿ j ¿¿ ¿ ≈¿ ‰ ¿j≈¿j≈ ‰ ¿¿¿ r≈‰

¿≈¿‰

œ R≈‰ Œ Œ

R≈‰ Œ

œ R≈‰ Œ Œ œ R≈‰ Œ

œ R≈‰ Œ Œ bœR≈‰ Œ

≈¿‰ ¿ j Œ ¿ ≈¿‰ ¿j≈¿j≈ ¿ ≈¿‰ ¿j≈¿j≈ ¿ ≈¿‰ ¿j≈¿j≈¿ ≈¿ ‰ ¿j≈¿j≈¿ ≈¿‰ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

œœ œ≈œœœ J ≈ œœ ˙ œœ b œœ œœ œœ w

œœ œ≈œœœ J ≈ œœ ˙ œœ b œœ œœ œœ w

œœ œ≈œœœ

powerful low range pitchfff (disregard balance)

powerful low range pitchfff (disregard balance)

powerful low range pitchfff (disregard balance)

fff disregard balance

fff disregard balance

fff disregard balance

&

powerful low range pitchfff (disregard balance)

powerful low range pitchfff (disregard balance)

powerful low range pitchfff (disregard balance)

The PEOPLE continue to morph further into one entity—trading objects as their perspectives multiply.

United against the PLAYERS, the PEOPLE let go of their personal fears and take up each other’s text—morphing into a collective. Physicalizing this, they start to swap objects—carrying each other’s weight.

fff yelled through bullhorn

Haveyouseendirtstarve?

fff yelled through bullhorn

ALLPARTSAREN'TEQUAL

fff yelled through bullhorn

Istheworldendingnow?Soon?When?

fff yelled through bullhorn

Restassuredthelawcannotsaveyou

SorrymomIsaidIwouldnotcussonair

Clickclick

Restassuredthelawcannotsaveyou

(ossia sim. as before in all yelled passage) & ossia (sing in given range with speech-like quality)

fff yelled through bullhorn

Shellwantsyoutoforget

fff yelled through bullhorn

Thefuturebelongstothosewhoplaytheirpartthebest

Halftheskywasblackhalftheskywasblue

Shiftallsinsontome

Thefuturebelongstothosewhoplaytheirpartthebest

Ibegyoucherishslowness

220 issuu version for perusal only

powerful mid range pitchfff (disregard balance)

æ æ æ æ æ æ ¿

powerful mid range pitchfff (disregard balance)

æ æ æ æ æ æ ¿

powerful mid range pitchfff (disregard balance)

œ r æ æ æ ¿ ¿ æ æ æ Y

æ æ æ æ æ æ ¿

Infighting begins as the collective grows overwhelmed. They start to fight over objects—wanting to be free of each other’s burdens. œœ 1 æ æ æ ¿ ¿ æ æ Y

#œr æ æ æ ¿ ¿ æ æ æ Y

c. 12s Tickanothertickanotherburn æ æ æ Y

Thefuturebelongstothosewhoplaytheirpartthebest æ æ æ #˙ æ æ æ ¿

CRACK. Suddenly a wave lifts the ACTIVIST æ æ æ #˙ æ æ ¿

above the melee. The RIOT freezes—silent. Tired, THE ACTIVIST sings. œœ 1 æ æ æ ¿ ¿ æ æ æ Y

p ful.ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ? § > ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ & ( = q + e. ) non vib. > & ( = q + e. ) non vib. > B ( = q + e. ) non vib. > ? ( = q + e. ) non vib. > ? ( = q + e. ) non vib. > /

œ r æ æ æ ¿ ¿ œœœœœœœœœ æ æ œ œ r œœ æ æ æ œ œœœœœ œ r œœ œœ œœœœœ œ œ r Y Y Œ ‰œ J #œ œ Jœœœ#œœ ˙ œœ œœ œ J œœ J œ Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y æ æ æ w æ æ æ ˙ ÚÚ ÚÚ ÚÚ ÚÚr ÚÚ ÚÚ ÚÚ ÚÚr æ æ æ Y Y ¿ ¿ r #w w ˙ w w w æ æ æ Y Y ¿ ¿ r #w w ˙ w w w æ æ æ Y Y ¿ ¿r w w ˙ w w w æ æ æ Y Y ¿ ¿ r w w ˙ w w w æ æ æ Y Y ¿ ¿ r w w ˙ w w w æ æ æ Y æ æ æ ¿ æ æ æ ¿ ¿

q

> 3

repeat, faster and higher in pitch each time, aggressive

repeat, faster and higher in pitch each time, aggressive

?

/ as before

/ as before

/ as before

CRACK. From afar, an ELDERLY DANCER approaches the edge of the stage—STOMPING…. Revealing that the “cracks” of Earth we’ve been hearing all along are really the dead trying to reach the living…

DOOM SCROLL 1: BAD NEWS

&

& & & &

‹ & ‹ ? ? ? *) Asterisked text should be replaced per production with bad news about recent climate disasters and oil spills around the world. / ? b ( = q + e. ) > ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ? § ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ ÚÚ & >> ( = q + e. ) > & ( = q + e. ) > B 3 ( = q + e. ) ? >>>> ( = q + e. ) > ? >>>> ( = q + e. ) > / æ æ Y ˙ ˙ æ æ ¿ œ œ œœ œr æ æ æ ¿ ¿ æ æ æ æ æ Y ‰ æ æ ¿ œr æ ¿ ¿ Œ œ #œœœœœ # w æ æ æ Y æ æ æ æ æ ¿ #œœ æ æ æ ¿ ¿ æ æ æ Y æ æ æ æ ¿ œ r æ æ ¿ ¿ æ æ æ æ Y æ æ ¿ œ r æ æ æ ¿ ¿ æ æ œ æ æ œ æ æ œ æ æ œ œ r æ æ æ œ æ æ œ æ æ œ æ æ æ œ œ r æ œ æ œ æ œ æ œ œ r w w Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y æ æ æ w æ æ æ ˙ ÚÚ ÚÚ ÚÚ ÚÚr ÚÚ ÚÚ ÚÚ ÚÚr w w æ Y Y æ ¿ ¿ æ ¿ ¿ æ ¿ ¿ æ ¿ ¿ ¿ ¿ r w w æ æ Y Y  j Y Y ¿ ¿ r w w ¿ ¿ æ æ æ ¿ ¿ ¿ ¿ ¿ ¿ æ æ æ Y Y ¿ ¿r w w Y Y ¿ ¿ ¿ ¿ ¿ ¿ æ Y Y ¿ ¿ r w w Y Y æ æ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ æ æ ¿ ¿ ¿ ¿ r æ æ æ Y æ æ æ ¿ æ æ æ ¿ ¿ 221 issuu version for perusal only

( = q + e. ) >

( = q + e. ) >

( = q + e. )

( = q + e. )

DeadlyfloodingwipesoutentireneighborhoodsinLibya*

Summerof2023wasNorthernHemisphere'shottestinrecordedhistory*

200barrelsofoilspilledintheUK*

RecordheatsparksoneofthedeadliestwildfiresinChile'shistory*

CycloneMochadevastatesMyanmar*

SouthSudanandRwandaexperienceworstfloodinginyears*

hope, resolute

Thefutureisuncertainandthat'shopeful.

trying to stay positive, verging on manic

BritishdesignedsolarspacefarmcouldbeorbitingEarthby2035*

ArcticminingsiteinNorwayreturnedtonatureinoneofthebiggesteverrestorationprojects*

SouthAfricangovermentsuedoverairpollution*

USyouthswinlandmarkclimatecaseinMontana*

Stockholmbanspetrolanddieselcarsnextyeartolowerpollution*

CaliforniasuesShellExxonandotheroilcompaniesoverclimatedeception*

NGOssueThailand'sgovernmentforfailingtoprotectthemfromclimatedamage*

Indonesiancitizensfileclimatelawsuiteagainstpollutingcementgroup*

CRACK. The DANCER’s stomps grow—encouraging the uproar.

Thefutureisuncertainandthat'shopeful

panicked

CRACK. The DANCER’s stomps silence the riot. The ACTIVIST emerges, dazed.

pp fu

The

dazed, optimism wavering ture - isun800,000litersofoilspilledinthePhilippines*

CycloneFreddyravagesMalawi, Mozambique, Madagascar, andZimbabwe*

DeadlyfireengulfsMaui, Hawaii*

OilspillinRussia'snorththreatensmajordamage*

EvacuationsorderedaftermonsoonfloodinginIndia*

TropicalstormhitsJapan, Guam, thePhilippines, andTaiwan*

RecordrainleadstolandslidesinSãoPaulo*

HighstakesUNoperationunderwayinYementoavertcatastrophicoilspill*

-cer -tain, andthat's hope

p ful, - I

pp think.

disregard balance

fff disregard balance

fff disregard balance

fff disregard balance

fff disregard balance

fff disregard balance

CRACK. The DANCER’s stomps grow—encouraging THE PEOPLE not to give up. DOOM SCROLL 4: GOOD NEWS Suddenly good news rushes back in—flooding THE PEOPLE with optimism.

Thefutureisuncertainandthat'shopefulIthink

fff desperate, hyper positive

Brazil'sAtlanticforestundergoesrestorationproject, recovering500,000acres*

fff

Net-zero-emissionslawpassedinSwitzerlandusheringinnewpathtoclimateneutrality*

fff

TheOceanCleanupProjectreportssignificantreductioninplasticwasteinthePacific*

fff

SeveralmajorcitiesinSwedenpledgetoachievecarbonneutralityby2030*

Over50countriesestablishlargestmarineprotectedareaeverinAtlanticOcean*

AformerdumpinggroundinCleveland, Ohiohasbeenturnedtosustainablefarmland*

Theelectricvehicleindustryexperiencearecordbreakingyeardecreasingglobalemissions*

Nairobi, Kenyalowersitspollutionbycreating117squarekilometergreenoasis*

CRACK. The DANCER’s stomps grow—whipping THE PEOPLE into a fury.

DOOM SCROLL 5: SHELL NEWS However, a flood of bad news crashes down on THE PEOPLE again—this time focusing on Shell itself… It unites the PEOPLE in a rage and draws their attention back to THE PLAYERS.

… & (through bullhorn) 3

Fed up, suddenly THE ACTIVIST and THE HISTORIAN shoot out of the riot—overwhelmed with collective memory of protests around the world.

(open, no bullhorn)

(open, no bullhorn)

(through bullhorn) 3

(open, no bullhorn)

(open, no bullhorn)

(open, no bullhorn)

(open, no bullhorn)

(open, no bullhorn)

United into a revolting body, THE PEOPLE roar forth with violence—overcome with collective rage.

fff bullhorn, aggressive, fast as possible

226 issuu version for perusal only

˙ ˙ æ æ æ Y Œ ‰œ J œ œ œ œœ æ æ æ ¿¿ æ æ æ ¿

œ bœ J œ œ J bœ ¿ J æ æ æ ¿

& 3 3 & # # 3 3 & >>> # > > # > # > 3 3

œ œ J œ œ J œ J œ œ œ bœ ¿ J ˙ ˙ æ æ æ Y Œ ‰œ J œ œ œœœ œ æ æ æ ¿ ¿ æ æ æ ¿

œ J œ #œ J œ ¿ J æ æ æ ¿

3 & >>>> > > > 3 3

3 ? / … > / Cymbal … > …> & 3 3 & & & (bullhorn)3 & ‹

p open

(through bullhorn)

-perspray, pusheddown.

open TICKburn

fff bullhorn oh

fff bullhorn

p open burnTick

3 & ‹ ? ? ? & ? & # > > b > > #

p open

fff bullhorn oh oh

oh p open

p open

fff bullhorn, aggressive, fast as possible oh

p open TICKburn

fff bullhorn, aggressive, fast as possible oh

p open TICKburn

fff bullhorn oh

p open

fff bullhorn oh

p open burnTick

fff bullhorn oh

p open

fff bullhorn oh

p open burnburn

fff bullhorn oh oh

TICKanotherTICKburn

p open TICKburn

p open TICKTICK

> > & > > > B unis. >

div. > unis. > ? >

> > ? >

> > /

p open 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4 3 4 4 4 3 4 2 4 3 4 2 4 4 4 3 4

œ œ J œ œ J œ Jœ œbœœ ¿ J ˙ #œœ œœ œœœœ ˙ æ æ æ Y #œœ#œœœ Œ ‰‰œnJœ æ æ æ ¿¿ æ æ æ ¿ œ œ#œœœ Œ Œ nœ ¿ J æ æ æ ¿ œ œ œ œ Ó Œ nœœ b œ ¿ J œ œ J #œœ œœ nœœœœ æ æ æ Y ˙ œ#œ œ œœ Œ ‰‰ œ J œ æ æ æ ¿¿ æ æ æ ¿ œ œ œ œ œ Œ Œ bœ ¿ J æ æ æ ¿ œbœœ bœ Œ œ œ bœ ¿ J ˙ ˙ æ æ æ Y Œ ‰ œ j ˙ æ æ ¿¿ æ æ æ ¿ Œ ‰ œ j ˙ ¿ J æ æ æ ¿ Œ ‰ œ j w ¿ J æ æ æ œ œ j æ æ æ ˙ æ æ æ œœ æ æ æ œ œ j Œbœœ#œœ œœ œœœœ w Œ œ œ œœ ˙ Œbœœ bœ ˙ Œ œ œ œ Jœ œ b˙ b˙ Y n˙ Y b˙ Y nw b˙ b˙ Y n˙ Y b˙ Y nw b˙ b˙ Y Œ œ œœœ ˙ Œ œ œ œ ˙ nw Œ œ œœ # œ œœ œœœœ w n˙ Y ˙ Y Œ ‰œ œœœœ ˙ ˙ ˙ Y b˙ Y w b˙ ˙ Y ˙ Y b˙ Y w ˙ ˙ Y ˙ Y ˙ Y w ˙ ˙ Y ˙ Y ˙ Y w ˙ ˙ ˙ ˙ ˙ ˙ Y Y ¿ ¿ œ œ ˙ ˙ œ J ˙ ¿ ¿ œ œ j ˙ ˙ œ J ˙ ¿ ¿ œ œ j ˙ ˙ œ J ˙ œ œ#œ ˙ ˙ Y Y ¿ ¿ œ ˙ ¿ ¿ œ j ˙ ¿ ¿ œ j ˙ œ œ#œ ˙ ˙ ˙ ˙ Y Y ¿ ¿œ œ ˙ ˙ ¿ ¿ œ œ b bJ ˙ ˙ ¿ ¿ œ nœ J w w ˙ ˙ Y Y ¿ ¿ #œ ˙ ¿ ¿ #œ J ˙ ¿ ¿ #œ J w ˙ ˙ Y Y ¿ ¿ œ ˙ ¿ ¿ œ J ˙ ¿ ¿ œ J w æ æ æ ˙ æ æ æ œœ æ æ æ œ œ j æ æ æ œ œ j

p open

fff bullhorn oh fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp fff mp

f fff f fff f fff f fff f fff

f fff f fff f fff f fff f fff

f fff f fff f fff f fff f fff

f fff f fff f fff f fff f fff

f fff f fff f fff f fff f fff disregard balance fff go, go, go, go, go,

fff bullhorn

futureTICKbelongs

fff bullhorn

futureTICK

tothoseTICK whoplay TICKTICK partpart TICKTICK

tothose whoplayTICK theirtheir partTICK TICKTICK

ff bullhorn go, go, go, go, TICKTICK go, go, go, go, go, TICKTICK

fff bullhorn

futureTICKbelongs

futureTICKbelongs

toTICKthose whoTICKplay theirTICK partpart TICKTICK

lower and slower each time

With great ease, the PLAYERS steal back the spotlight—abruptly cutting off the riot. Like a heavy syrup, they sedate the PEOPLE—draining them of their power. Determined not to be manipulated, the riot roars forth again… But the PEOPLE have lost strength. Their text starts to degrade as they lose power—struggling to be heard.

The PLAYERS easily steal back the spotlight again. Fed up, they show their teeth for the first time—mocking and deflating the PEOPLE. Refusing to be silenced, THE PEOPLE roar forth again—but they’ve lost more power. As if discovering wounds on their body, another text begins to seep into their cries.

o A

as heavy as cement, the banality of evil

as heavy as cement, the banality of evil

-boutletting - us do whatshall be done. A

as heavy as cement, the banality of evil

-boutletting - us do whatshall be done? A

-boutletting - us do whatshall be done.

ppp p

TuhTuhTuhTuhTuhTICKssssoletmmmmeenjjjjjoyanothothother

ppp mf

TuhTuhTuhTuhTuhllllletmmmmeenjjjjjoythissss

ppp p

TuhTuhTICKananananannnotherssssollllletmmmmmeennnjjjjoy

mf ppp p

TICKuhkuhkuhanotherrrrrllllllletssssommmme

TuhTuhanananananllllletmmmmmeennnjjjjoy

Kuhkuhkuhanotherrrrrllllllletssssommmmethisss

mf ppp p

TuhTuhTuhthothothotherlllletlllllet

lllletTICKuhkuhkuhkuhnnnuhnuhnuhmmmmmme

nanananaKuhkuhssssssoennnnjjjoy

TuhTuhsssssonnuhnuhnuhlllletennnnjoyyymmmme

TuhTuhTuhthothothotherlllletllllletthisss

ppp

ppp

ppp

TuhTuhsssssonnuhnuhnuhlllletennnnjoyyymmmme

nananananllllletmmmmmeennnjjjjoylassst

lllletnnnuhnuhnuhmmmmmmethissssennnnjoy

nanananakuhkuhlllllletennnnjjjoyonnnelasssst-

sssssonnuhnuhnuhlllletennnnjoyy

Kuhkuhkuhlllettuhtuhlllletmmmethissssonnne

thothothotherllllletletthissssmmmmeonnnnelasssst

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

solllletmmmmmeennnnjoythis onnnnelasttimmmmme

elongating the closed consonants

sung, slowly, slower each time, elongating the closed consonants

solllletmmmmmeennnnjoythisonnnnelasttimmmmme

sung, slowly, slower each time, elongating the closed consonants

solllletmmmmmeennnnjoythis

sung, slowly, slower each time, elongating the closed consonants

solllletmmmmmeennnnjoythis onnnnelasttimmmmme

sung, slowly, slower each time,

sung, slowly, slower each time, elongating the closed consonants

solllletmmmmmeennnnjoythis onnnnelasttimmmmme

sung, slowly, slower each time, elongating the closed consonants

solllletmmmmmeennnnjoythis onnnnelasttimmmmme

The PLAYERS SPIN THE WHEEL—putting an end to the riot and sending all the PEOPLE out of the light.

Slowly, the PH balance in the air shifts… As if EARTH was swallowing the PEOPLE whole. Cracked open like a geode… Straining for breath… The PEOPLE all realize that they’re dying. An unsettling state of limbo begins. Slowly everyone joins in the prayer as it ripples through them like a wave. Looking around for the last time, they let go of their megaphones—leaving their voices vulnerable and bare. It sounds like a last prayer before sleep—a goodbye kiss to the way things were.

Unscathed, the PLAYERS watch them evaporate.

avoiding reality, re-living the feeling of hiding on the computer

door

shuts, I sit.

avoiding reality, re-living the feeling of taking flight

door

THE HISTORIAN and CLIMATE REFUGEE slowly notice the DANCER watching them… Seeing the DANCER triggers a haze in the HISTORIAN / REFUGEE, as though there was a text that they already knew…

p in a haze, struck with a glimpse outside of time

I

p in a haze, struck with a glimpse outside of time

don'tthinkit endswhen it ends. I

don'tthinkit endswhen it ends.

THE DANCER begins to move in slow circles around the outer edge of the stage… Looping around the PEOPLE… Hypnotic…

Thefirst thingyou see isall

shuts,I rise. Thefirst thingyou see

avoiding reality, re-living the feeling of tunneling into dirt

door

shuts, Idescend. - Thefirst thing isalldark,

q = 30

pp

The CONSUMER / PILOT / LABORERS’ fantasies fade, all that’s left is now. The DANCER circles. THE PEOPLE are overcome with the weight of the past, present, and future.

p dread growing themirage - fool you, you

let

ppp think: god,whathavewedone?

p dread growing themirage - fool you, you

let

ppp think: god,whathavewedone?

ppp think: god,whathavewedone?

you

dread growing themirage - fool you, you

let

ppp think: god,whathavewedone?

in here there'sonly - peace god,

ppp whathavewedone?

let

dread growing themirage - fool you, you

ppp think: god,whathavewedone?

dread growing themirage - fool you, you

let

ppp think: god,whathavewedone?

ppp whathavewedone?

up here there'sonly - peace god,

ppp whathavewedone?

downhere there'sonly - peace god,

ø q = 30

Then, the weakness comes.

Suddenly the CLIMATE REFUGEE, LABORER, and FIELDWORKER lose their breath. They drop their objects. BANG. BANG. BANG.

Perc. 2

The DANCER suddenly runs, catching their bodies right before they fall to the floor. Like blood soaking into soil, the DANCER takes their weight… THE CEO and THE GOVERNMENT watch—stoic, unfeeling… But cracks start to form in THE LAW’s veneer. Upset, THE LAW/ARTIST tries to stay in character and play their part… Suddenly THE ACTIVIST, PILOT, and TEACHER lose their breath. They drop their objects. BANG. BANG. BANG. Going limp, they slowly sink to the ground. Again, the DANCER approaches them. Slow. Slow… The DANCER suddenly runs, catching their bodies before they fall to the floor.

DANCER RUNS TO CATCH PEOPLE

cresc. as dancer runs

THE PEOPLE LOSE THEIR BREATH AND DROP THEIR OBJECTS drag superball

/ ∏ ∏ ∏ ∏ gliss. down as each person wilts sim.

Tam-t. mallet

/

crunch unpitched wind chimes in hand drag superball &

cresc. as dancer runs

∏ ∏ ∏ ∏ gliss. down as each person wilts

? Ú

?

…

inside the piano, highest register flurries of intermittent pizz., gradually increase frequency ÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ

DANCER APPROACHES PEOPLE SLOW. SLOW. SLOW...

/

Upset, the LAW/ARTIST tries to stay in character and play their part… Play their part… Suddenly the CONSUMER, PILOT, and HISTORIAN lose their breath. They drop their objects. BANG. BANG. BANG.

DANCER RUNS TO CATCH PEOPLE

B.D. mallet

cresc. as dancer runs

/ ∏ ∏ ∏ ∏ gliss. down as each person wilts

Tam-t. mallet

/

cresc. as dancer runs

∏ ∏ ∏ ∏ gliss. down as each person wilts

…

THE PEOPLE LOSE THEIR BREATH AND DROP THEIR OBJECTS

They slowly sink to the ground. Again, the DANCER approaches them. Slow… The DANCER runs, catching their bodies before they fall to the floor.

DANCER APPROACHES PEOPLE SLOW. SLOW. SLOW...

drag superball

…

crunch unpitched wind chimes in hand drag superball &

inside the piano, highest register flurries of intermittent pizz., gradually increase frequency ÍÍÍÍÍÍÍÍÍ

? Ú

?

/

DANCER RUNS TO CATCH PEOPLE

B.D. mallet

cresc. as dancer runs

/ ∏ ∏ ∏ ∏ gliss. down as each person wilts

…drag superball

SPIRAL 11: THE ARTIST

Distraught, THE ARTIST breaks character as the LAW. They fall into the abyss of their own despair.

after player C1

>

fade quickly, after 1 second > &

fade quickly, after 1 second >

fade quickly, after 1 second > &

fade quickly, after 1 second >

fade before 2nd scream

fade before second scream

fade out before "before"

fade out before "before"

fade out before "before"

fade out before "before"

fade out before "before"

fade out before "before"

fade out before "before"

fade out before "before"

fade out before "before"

SPIRAL 12: THE PAST

Slowly, THE DANCER leads in children of THE PAST. They enter like the approach of a dream: mesmerizing and frightening. It feels like seeing inside the hollow of a tree—concentric rings of time flowing through them.

one at a time, next singer starts once singer before gets to the first "kitchen", repeat 3x

slowing down each time, spending more time each time on mm

Suddenly the echoes merge into one voice, cutting through the mist. Like mirror images across time and space, they stare down the AUDIENCE and the PLAYERS. But… THE CEO and THE GOVERNMENT remain unaware. Their only witness is the ARTIST.

after 10 seconds, as fast as possible, slowing down each time, spending more time each time on mm (same pitch)

after 7 seconds, as fast as possible, slowing down each time, spending more time each time on mm (same pitch)

,

after approx 5 seconds, repeating in your own time

ff (continue "lala" until end of breath)

ff (continue "lala" until end of breath)

Shellalalalalalala

ff (continue "lala" until end of breath)

Shellalalalalalala

/

/

/ &

/

And then, like skating out onto a thin, frozen pond… The voices shrink. Light. & all kids B

pp delicate, like skating out on thin ice

is a pile of be-lo-ved dirt in eve ry - - home town - thatis there

is a pile of be-lo-ved dirt in eve ry - - home town - thatis

Suddenly a new KID enters, breaking the dream. They are dressed as THE FUTURE CEO. They can't see or hear any of the dead.

Suddenly two KIDS transform out of the PAST, as though called forward into a vision of the FUTURE. Picking up discarded objects, they are reincarnated into THE FUTURE LAW and THE FUTURE GOVERNMENT.

Uniting into THE FUTURE PLAYERS, the three kids sing together—an eerie vision of what’s to come if nothing changes.

jŒ

But suddenly… CRACK. The DANCER, the kids of THE PAST, and the dead all stomp—refusing to silently stand by as the cycle repeats. Their stomps start an avalanche…

*) If either FUTURE GOVERNMENT or FUTURE LAW takes the ossiaand sing in unison with FUTURE CEO, both singers should take the ossia.

q. = 70 The Game: Round One

THE GAME: ROUND ONE

Suddenly all THE FUTURE PLAYERS slam down the chairs. The game starts. THE FUTURE PLAYERS begin to happily walk in a circle around the chairs as they sing. Separate rules divide the groups. While THE FUTURE PLAYERS can walk close to the chairs, THE FUTURE PEOPLE must circle around the middle of the stage while balancing their objects… As though circumstances kept the two groups apart, putting them on unequal paths. Still, it seems like just a lovely kids’ game… The dead remain on the outer edge of the stage with the DANCER. Watching.

q. = 70 The Game: Round One

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bersdefiant, threateningmf

The dirt re mem- bers-

It’s revealed that not only do THE FUTURE PLAYERS have an unfair advantage due to their proximity to the chairs… They are predetermined to always find a seat. They cannot lose. THE FUTURE PEOPLE, however, must sprint all the way across the stage towards the chairs— competing against each other for the few seats that are left. It feels like watching a twisted, miniature version of Act II all over again.

CRACK. During the mad race THE DANCER, kids of THE PAST, and the dead stomp—attempting to disrupt the game.

In this round, two FUTURE PEOPLE end up without seats. Instantly, they drop their objects. BANG. BANG. Going limp, they slowly sink to the ground as life leaves them.

Just like in Act II, the DANCER slowly approaches the fallen kids.

Suddenly, the DANCER runs, catching them before they fall to the floor.

The DANCER takes their weight—carrying them to the edge of the stage… Out of the light.

And we realize… This isn’t a silly children’s game at all. THE FUTURE PEOPLE are playing for their lives.

THE ARTIST/LAW is terrified. Frozen. Unsure how to stop it. Steering attention back to the game, THE CEO and THE GOVERNMENT suddenly remove FIVE CHAIRS from the circle… Like parents at kids’ party, they control the rules.

THE GAME: ROUND TWO

THE FUTURE PLAYERS start to sing again, prompting the second round. The tone shifts as the game grows frenetic.

& & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & & ? & Glockenspiel hard mallets / Bell Tree / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑

& & & ?

B ? ? bœ œjœjœ Œ œ œ J Œ bœ œ J b˙ œ ‰œ b œ J b˙ œ ‰œ b œ J bœJœ b œ œ bœ œ jœœœj œ bœ œ jœœœj œ bœ œ jœœœj œ bœ œ jœœ œ j œ bœ œ jœœœj œ bœ œ jœœ œ j œ bœ œ jœœœj œ bœ œ jœœ œ j œ bœ œ jœœ œ j œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ ‰‰œ b J bœJœ b œ ‰‰œbjœjœ Œ ‰‰ œ j Œ œ œ b b ‰ œ œ ˙ b˙ Œ œ œ b b ‰ œ œ ˙ b˙ Œ œ œ b b ‰ œ œ œ œbbbœœbœœœœ œ œ œ n ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 283 issuu version for perusal only

6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8

The

mf frenetic, strained, growing ugly futuremf frenetic, strained, growing ugly

mf q. = 80 The Game: Round Two mp pp mp pp mp pp mp pp mp pp mp pp mp pp

In this round five FUTURE PEOPLE end up without seats. Instantly, they drop their objects. BANG. BANG. BANG. BANG. BANG. Going limp, they sink to the ground as life leaves them. Again, the DANCER slowly approaches the fallen kids. Suddenly, the DANCER runs—catching their bodies before they fall.

The DANCER takes their weight—carrying them to the edge of the stage… Out of the light. Steering attention back to the game, THE CEO and THE GOVERNMENT remove ONE CHAIR from the circle…

?

THE GAME: ROUND THREE

THE FUTURE PLAYERS start the final round. The game feels discordant as the pressure to survive intensifies. As before, THE FUTURE PLAYERS circle the chairs. Two FUTURE PEOPLE remain, struggling to carry all the discarded objects. They see that there are only FOUR CHAIRS left— enough only for the FUTURE PLAYERS and one of them. It feels like the future is already certain… Like they’re doomed…

œ‰Œ ‰ bœ J ˙ ‰ bœ J ˙ ‰ bœ J ˙

˙ œbœ ‰ bœ j bw w bœ r≈≈ œ r œ œ œ ˙ œ#œ ˙ ‰ #œ j ˙ ‰ #œ j ˙ ‰ œr‰bœœ b bw ‰ #œrœ#œ‰Œ ‰bœjŒ ‰bœjŒ ‰bœjŒ

‰ œ r œ œœ æ æ æ w æ æ æ w œr≈≈

r œ œ‰Œ Œ œ œ Œ œ œ Œ œ œ Œ ‰ œ r œ œ‰Œ ‰ œjŒ ‰ œjŒ ‰ œjŒ

Œ #œ

b bw ‰ #œrœnœ‰Œ ‰ œ J Œ ‰ œ J Œ Ó ‰ œ r œ œœ æ æ æ w æ æ æ w œr≈≈ œ r œ œ‰Œ

œ Œ Ó œ œ Œ Ó ‰ œ r œ œ‰Œ ‰ œjŒ ‰ œjŒ

Œ #œ#œœ #˙ #˙ w ‰ #œ R œnœ‰Œ

Œ #œ #œœ # #œ œœ#œœ#œœœ # ‰ #œ R œ œ‰Œ

Œ #œ#œœ #˙ #œœ#œœœœœ # ‰ #œrœ œ‰Œ

Œ œ#œœ # #w w ‰ #œrœnœ‰Œ

Œ œ#œœ #˙ #œœœœ#œœœ # ‰ œ R œ œ ‰Œ

Œ #œ#œœ #w w ‰ #œ R œ œ‰Œ

Ó Œ #œ œœ # #w w ‰ #œ R œ œ ‰Œ

Ó Œ #œ#œœ

Ó

CRACK. THE DANCER, the kids of THE PAST, and the dead gather around the LAST FUTURE PEOPLE. Stomping. Encouraging them to disrupt the game and move past their assigned parts.

The dead free the LAST FUTURE PEOPLE from their objects—easing their burdens… Their stomps grow as Earth speaks through them. It’s a wave from the bottom of the ocean— glaciers crumbling—waterfalls bursting—it has no name—it has no shape—it has no time—it’s a voice they know—it’s a voice they’ve forgotten.

Realizing they’re not alone, the LAST FUTURE PEOPLEstart to STOMP along with the dead—uniting against the rigged game.

On your own dissonant pitch, starting in a low powerful register, repeat this figure higher and faster each time

On your own dissonant pitch, follow the contour of the line in a low or high powerful register hold for the length of your breath ff

On your own dissonant pitch, starting in a high powerful chest register, repeat this figure higher and faster each time ff

On your own dissonant pitch, starting in a low powerful register, repeat this figure higher and faster each time so by the end of the arrow you're in a high chest voice

line in a high, powerful register, hold for the length of your breath

q = 110

q = 210

ff p

fff fff fff fff o fff

fff fff fff fff fff

fff fff fff fff o fff disregard balance

fff fff fff fff mp fff fff

f don't blossom f fp fff f p remem -

gliss.

gliss. gliss. bers - - - - -

gliss.

gliss. gliss. bers - - - - -

remem -

remem -

remem -

remem -

remem -

remem -

remem -

remem -

gliss.

gliss. gliss. bers - - - - -

gliss. gliss.

gliss. gliss. gliss. gliss. bers - - - - -

gliss.

gliss. gliss. bers - - - - -

gliss.

gliss. gliss. bers - - - - -

gliss.

gliss. gliss. bers - - - - -

gliss.

gliss. gliss. bers - - - - -

gliss.

gliss. gliss. bers - - - - -

remem - bers - - - -fff

Frightened and desperate to regain control of the game, THE FUTURE PLAYERS spin the wheel… Revolting, THE LAST FUTURE PEOPLE, THE DANCER, and the DEAD all stampede towards the wheel. Bolstered, THE ARTIST/LAW joins them. Together, they disassemble the wheel and circle of chairs—breaking apart the rigged game. Breathless, they all face the AUDIENCE—waiting to see what part they’ll choose to play, and what rules they’re willing to break.

But before we reach any conclusion…