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Philip Venables

THE FAGGOTS AND THEIR FRIENDS

BETWEEN REVOLUTIONS

music theatre

Text: Ted Huffman

2023 Copyright:RicordiBerlin-

Partitur

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The Faggots and their Friends Between Revolutions was co-commissioned and co-produced by Factory International, Festival d’Aix-en-Provence, Bregenzer Festspiele, Southbank Centre London, the Holland Festival, the Ruhrtriennale and NYU Skirball Theater.

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First performance

29th June 2023

HOME Theatre, Manchester part of the 2023 Manchester International Festival.

Cast:

Kerry Bursey, Jacob Garside, Katherine Goforth, Kit Green, Conor Gricmanis, Deepa Johnny, Mariamielle Lamagat, Eric Lamb, Themba Mvula, Yandass Ndlovo, Yshani Perinpanayagam, Meriel Price, Collin Shay, Joy Smith, Sally Swanson.

Director: Ted Huffman

Music Direction: Yshani Perinpanayagam

Choreography & Costume Design: Theo Clinkard

Set Design: Rosie Elnile

Lighting Designer: Bertrand Couderc

Sound Design: Simon Hendry

Dramaturg: Scottee

Costume Collaborator: Sophie Donaldson

Stage Manager: Bonnie Poole

Deputy Stage Manager: Sorcha Roise

Duration

Flexible depending on the piece one makes out of this material. The ﬁrst production was around 95 minutes (including EMPIRE).

Cast

The cast is ﬂexible in both skill set and number. Casting choices will depend on the staging one wants to make and the amount of instrumental doubling available in the people you have.

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It is crucial that everyone sings, speaks, moves and plays instruments, in a non-hierarchical staging.

There are no character roles, and therefore none of the casting or vocal requirements imply any gender requirements.

Everyone is a story-teller; everyone is an equal soloist; everyone is on stage and participating; everyone is performing the show from memory.

As an illustration, the ﬁrst production featured a cast of 15:

1. A narrator ﬁgure with cabaret experience who also sings and plays piano (and led KEYS)

2. A narrator ﬁgure with dance experience

3. Soprano, doubling handheld percussion

4. Mezzo-soprano, doubling handheld percussion

5. Counter-tenor, doubling Harpsichord, Hammond Organ and Theorbo

6. Tenor 1, doubling Piano and handheld percussion.

7. Tenor 2 + Archlute

8. Baritone, doubling piano and percussion

9. Baroque Violin, doubling Harpsichord and Tin Whistle

10. Flute (piccolo, concert ﬂute, bass ﬂute)

11. Saxophone (soprano, alto, baritone), doubling tin whistle

12. Harpist, playing lever-harp and mediaeval harp, doubling Practice Chanter, Piano, Hammond Organ, Flute and Percussion

13. Accordion (a portable folk-style piano accordion with stradella bass only)

14. Viola da Gamba, doubling Tubular Bells.

15. Music Director, playing Harpsichord, Piano, Organ, doubling Flute and Percussion.

All cast members are required to play some percussion (e.g. VICTORY) and most are required to play open strings on a violin (FAIRIES)

Everyone’s voice, and instruments are ampliﬁed.

Performance Conditions

The piece may only be performed under the following conditions:

1. The whole cast is staged with movement; there is no separate musical ensemble, no conductor, no pit.

2. Everyone plays, sings and speaks from memory. (Reference scores are permitted on the keyboard instruments.)

Instrument list

This is the minimum list required, but of course many extras were added in the ﬁrst production such as mediaeval harp, guitalele, mouth harmonica, suspended cymbal, leg bells, nipple gong in G.

3 Flutes, piccolo, bass ﬂute, tin whistles in D and B-ﬂat, baroque violin, at least 10 beginner violins muted with practice mutes or blu-tac, soprano alto and baritone saxophones, baroque lever harp, a portable folk-style piano accordion with stradella bass only, Viola da Gamba, Archlute, Theorbo, Harpsichord (5 octave F to F), Piano (e.g. inexpensive old upright bar piano with a nice tone, with a sustain pedal that can be wedged down), Hammond Organ.

Percussion: tambourine, bell tree, handheld frame drums, small–medium orchestral bass drum with marching harness and drum cradle and a variety of beaters, plastic bucket drums for all the cast with a drumstick each, a large wooden mallet, large Tam-Tam with a variety of beaters, (children’s) chromatic glockenspiel with a good tone, cabasa or maracas, claves, megaphone, Practice Chanter in B-ﬂat or C, wine glass tuned to F#, a cassette boombox with audio out jack, resonant chimes in B-ﬂat, B, C, C#, D (ideally Suzuki Tone Chimes, but a vibraphone can substitute), metronome (analogue wooden pyramid style), Tubular Bells (full set).

PLAYING SCORE (modern pitch)

Philip Venables / Ted Huffman

The Faggots and their Friends Between Revolutions

based on the book of the same name by Larry Mitchell and Ned Asta (1977)

PROLOGUE (Nocturne)

A lone person on the stage is humming a song to themselves. Perhaps some fragments of lyrics come out. Perhaps one or two others sort things out on stage, attend to instruments, discreetly tune up, set up, turn on lights, etc.

fragments — perhaps first humming, then with words. ad lib.

™ Voice

It'sbeenalongtimeIt'sbeenalongtimeIt'sbeenalongtimeAndwearestillnotfree

It’sbeenalongtime sincethelastrevolutions andthefaggotsandtheir friendsarestillnotfree.

very slow and spacious, atmospheric, improvising as if finding/inventing a melody. Gradually embellish and fill out. (This is a guide only.) Decorations before the beat p

It’sbeenalongtimesincethelast revolutionsandthefaggotsand theirfriendsarestillnotfree.

Therestillexistsafaintmemory ofthepastwhenthefaggotsand theirfriendswerefree.

(another pianist takes over) &U

Thememory livesinthe faggots’bones.

Itappearsatnight whentheirbones arequietest.

Whenthememoryvisits them,thefaggotsknow thattheymustﬁndeach otherinordertosurvive.

Sowhilethemenaresleeping,theyemergefromthe cornersofthedevastatedcityandtheygosearchingfor otherfaggotsinthehiddenplaces—inalleywaysand abandonedpiersandemptyparksandunlitwarehouses.

Andthere,inthemoonlight, thefaggotswillenactthe ritualofthebriefencounter.

Spoken

Piano

Someone calls from off stage / in the distance, and makes their way to stage. Another responds after a while. They find each other.

Theritualbegins whentwoormore faggotsmeet.

Voices (sung or whistled) / Ocarinas / Recorders

CALL

HARPSICHORD: start from beginning of piano material on previous page, extemporise

very slow and spacious, atmospheric, improvising as if finding/inventing a melody. Gradually embellish and fill out.

Atﬁrst,theritualresemblesastrange dance.Stepbystep,inchbyinch,the faggotsgraduallydrawnearer.

Theirbodieshavesecretmethodsto recognizeeachother.Vibrations,passed throughtheeyesandthethroughthetips oftheﬁngers,allowthemtodetecttheir ownkindinthesmallestdetails:

Acasuallook acrossastreet.

Theraiseof aneyebrow.

Theturnof aheel.

Theﬂick ofawrist. & follow piano (cont.) & (cont.)

Cast Vox Organ

& (cont.)

Eyecontact,lightning-quickatﬁrst,originatingfrom theeyesofthefaggots,beginstopenetratedeepinto theirpupils,andtheseglances—liketinymissiles —willgrowbolderandbolder,untilthemoment whenneitherfaggotﬂinchesandtheyarelockedinto athousandtinyexplosionsofeachother’sgaze.

thousandtinyexplosionsofeachother’sgaze.

Whenthefaggotsﬁnallytouch,the eventproducessuchahigh,clear energy,that,foramoment,the faggotswillforgettheworldofthe men.

hummed or wordless

Theenergyofthissound travelsupthroughthe faggots’spinalcolumn, liftingthem,

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Pno

Cym

lifting theirrib cages, sending everycellof theirbodies towardsa crescendo,

quickening their breath, energy through theirveins, dilating pupils, soft,liftingthemintoan ecstatic communion, untilthefaggots, unableto withstandthe pleasureany longer,will exchangethe magicalcockﬂuid.

lifting them lifting them lifting them lifting them lifting them lifting them liftingthemintoan ecstatic communion,

Hpsd

(follow speaker 2)

Optional: Suspended Cymbal

(RH: follow speaker 2)

slowly, like Satie

(cont.)

(repeat ad. lib.)

ad lib. (melody is guidance only)

Oncetheenergysubsides,forafewtenderminutes,theywill strokeeachother’stiredbonesinmemoryanddeﬁance. Nonameshavebeenexchanged,nonumbers;theyhavewhat theycamefor.Theyhavethismoment;thisimmutable evidenceoflovebetweenstrangers.

Sincethemenhavedeclaredpleasureillegal,thefaggotsconsiderittheirsacred pleasuretoengageinindiscriminatepromiscuoussexuality.

Thefaggotssecurespaceswherealloftheirfriendsarewelcome.Tworules governthesespaces. First,allmustremainquietsothesoftsexualnoisescanbe heard.Second,it'sjustasgoodtogetasitistogive.

(different speaker:) Whereverlargegroupsof thefaggotsandtheirfriends gathertogether,they performforeachother.

(could be off stage?)

(another speaker:) Thefaggotsandtheir friendslovetoperform foreachother.

(another speaker:)

Theydressupinelaborate costumeswhichthey makethemselvesandthey singandtellstories.

(more speakers:)

Thefaggotsand theirfriends lovetoperform foreachother.

Theytelleachotherthesestoriesoverandoverso thatthepastisneverlost.Andsothattheones whocamebeforethemareneverforgotten.

D7G‹7D7G‹7E¨Œ„Š7(„ˆˆ9)A¨(„ˆˆ9)/E¨

(all speakers, loudly & joyously:)

Thefaggotsandtheir friendslovetoperform foreachother.

Thestoriesofthedead faggotsareimprintedin thebodiesofthefaggots, wherethemencannotgo.

SINGERS: Swingle-Style, articulated, boppy, 'da-ba-da-ba-dum'

(two or three players)

(find figurations like this for the chords given, any convenient voicings)

overblown, almost pitchless air sound c.f. Four Seasons Winter, icy

Four Seasons Winter sul pont., icy

(to Cast Voices)

Could be double on voice second time round

Mandolin / Ukelele / Toy Guitar (slide on one finger)

(loco)

> Four Seasons Winter sul pont. ad lib, icy. tremolo?

Archlute / Theorbo

BEDTIME STORY

The cast settles down for a story. Whispers / gentle "ssshh" ripple through the group (perhaps in between the vocal phrases). Or, deep breathing, Someone improvises on the Archlute and sings to themself. (q=c.88)

wordless, intimate

fill in chords

Lute/ Thbo.

Onceuponatime,beforetheﬁrst revolutions,thefaggotslivedingentle harmonywitheachotherandtheirworld.

Theylovedthewomen andthewomenloved them. therewasno suchthingasa man.

A second person picks up a Theorbo or Archlute and joins the first lutenist, singing and playing

Butthen, oneday, suddenly and strangely, someofthe faggotswere overtakenby amysterious infectionof themind.

Firsttheycut downthetrees whichprotected theotherfaggots fromthewind andrain.

Thenthey burnedthe earthwhich fedthe others.

Thenthey killedthe younganimals andatethem themselves. & wordless but with consonants for definition (wordless) U

p leggiero

Lute/ Thbo.

Youcouldsensetheirmistrustas soonasyougotneartoanyofthem. They smelled offear.

Theybegan hoarding objects— —brightthings andsharpthings andanythingrare.

barriolage or pizz. add 9? add 7 or 9?

Andthen—oneday— theystoppedtouching theotherfaggots.

tutti: TheMen & & ?

Andatthatmoment—themomenttheydenied themselvestheirgreatestpleasure—theybecame

? (arco)arpegg.

Thefaggotstriedtheirbesttohelpthemen.Butthe menwouldn'tlisten.Themendidn'twanttobecured.

Theydrovethefaggotsaway. Themenwouldonlyspeakwith eachother.Theywouldsitalone,farfromthefaggots,watching.

Waiting. WatchingandWaiting.

S.Sx

Theircrimesagainsttheothersbecamemorenumerousand moredemonic.Astimewenton,moreofthefaggotsbecame menandsomorebecameimplicatedinself-loathing.

breathe ad lib.(miss out a beat here or there)

gradual cresc.

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(always spoken in the gaps)

One day, themen attacked. Theyattacked theunsuspecting womenwholove women. They attackedthe faggots.

8va ad lib.

one or both hands, ad.lib. (ossia: just play the accents)

Several people drumming and/or stamping feet in q

bellows shake, in iiq As much sound as possible. Omit LH bass notes if preferred.

33 33

Harpsichord & Piano (RH 8va, LH 8vb)

big aggressive chords, ad lib. (as much sound as possible)

Theyattacked anyonewith anotherskin color.

S.Sx

Organ

Drum

Acc

Hpsd & Pno

VdG

They attacked thepoor. They attackedthe displaced.

Thegentle. Theyset ﬁretothe ﬁelds. They poisoned thewells.

They attacked anyone unlikethem.

ALL VOICES hummed / wordless CAST join in ad lib. (breathe freely)

(calmer)Afterthemen triumphed,allthatwasotherfrom themwasconsideredinferiorand thereforeworthyonlyofabuse andcontemptandextinction.

(angry)Themen decidedwhowas tobehated:

thosewhorefusedto beover-worked,

thosewholoved theirownkind.

Low voices: hummed / wordless CAST join in ad lib. (breathe freely)

(tutti:)

Thesearetheonesthe mendecidedtohate.

(organ hold very quietly for a few bars of weeeping song then fade out

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A-Lt

WEEPING SONG (Lute song)

Choose any melancholic lute song in D minor. The lutenist finds a tune to themselves, playing chords and maybe humming bits of it or singing under their breath, gradually getting into the song as they play. They wander around upstage, singing this song during the following chorus & speaker section.

Spk

Cast Vox Acc

LUTE SONG continues. The chorus sings with accordion over the top of the Lute Song. Someone should lead the chorus. The speak speaks each line with each chord, and the chord finishes with each spoken line. Perhaps others in the cast play small toy accordions or concertinas too.

Theﬁrstrevolutions destroyedthegreat culturesofthewomen.

Thenthemenbeganto enslavethewomenand forcedthemtosignthe marriagecontracts.

Whole cast except speaker and Tenor: wordless singing

Thefaggotswho survivedleft theirhomes. Theyran.

Theyﬂed insmall boats. They escaped acrossﬁelds.

Theyhidin basements andattics.

Thefaggotswho didnotsurvive werehunted.

Thefaggotswhodid notsurvivewere murderedinsecret.

Thefaggotswho didnotsurvive weremurdered inplainsight.

(no text, wordless chorus only)

Bloodshedand devastationenteredthe bonesofthefaggots andtheirfriends.

Bloodshedanddevastation enteredthebonesofthefaggots andtheirfriendsanddrovethe memoryofharmonyaway.

Thefaggotsandthe womenwholovewomen wouldnotbeseenagain forathousandyears.

Storiestoldofthese timesareofheroic actionandsilentwaiting andterrifyingdefeat.

more join? or solo speaker? (longer)

LUTE SONG continues to a natural end, or until offstage. (longer)

Storiestoldof thesetimesmake thefaggotsand theirfriendsweep.

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THE SECOND REVOLUTIONS

(hold humming from end of Weeping song, fade out when spoken text starts

pp languid

Same as material at beginning

As beginning. Gradually embellish and fill out (this is a guide only). Decorations before the beat. Hum or sing bits of the tune under your breath.

p lightly

slowly if poss. with cello mute or wooden clothes peg.

pp languid

Thesecondrevolutions,morethanathousandyearslater,mademanyofthepeoplelesspoorandasmallgroupofpalemenveryrich. Themenbuiltshipsthatcarriedthemacrossoceansinsearchofmoreriches. Theywrotebookspraisinginventionandreasonandfairness. Butthemenremainedenchantedbyplunderanddestruction. Sotheirinventionservedonlycruelty,theirreasonservedonlytheirambition,andtheirfairnessservedonlythemselves. the accordionist speaks:

remembering, sunlight breaking the clouds. Embellish and fill out (this is a guide only). Decorations before the beat.

last repetition (stop)

the pianist speaks:

Withcraftinessandwitthefaggotsandtheirfriendsareable toliveinthistime,someincomfortandsomeindeﬁance.

Themenareeasilydeceivedandsothefaggotsandtheirfriendsﬁndnearlyenoughtoeatandnearlyenoughtime tofuckandmorethanenoughtimetothinkaboutwhatitmeanstobealiveasthethirdrevolutionsarebeginning.

"third revolutions"

PART ONE

RAMROD

Someone wears an orchestral bass drum on a harness (e.g. marchine band style), ferociously beats a regular rhythm and recites or sings this text in chest voice, loudly. The cast gradually joins in the bold text, singing/chanting in chest voice. It is visceral.

ThefaggotsandtheirfriendsliveinRamrod.

Ramrodisthelargestcityinthelandofthemen.

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Ramrodisknowntoitsneighborsfortheparanoiaofitsleaders.

Ramrodisknowntoitsneighborsfortheduplicityofitsbusinessmen.

Ramrodisknowntoitsneighborsfortheperversityofitsjusticesystem.

Ramrodisknowntoitsneighborsfortheﬂexibilityofitsmorals.

Ramrodisknowntoitsneighborsforthebrutalityofitscorruption.

Ramrodisknowntoitsneighborsforthehighcostofcheapmaterials.

Ramrodisknowntoitsneighborsforthelowcostofskilledlabor.

Ramrodisknowntoitsneighborsfortheabundanceofitsmisery.

Ramrodisknowntoitsneighborsforthescarcityofitsgenerosity.

Ramrodisknowntoitsneighbors...

suggestion for the unison chorus (in any suitable key)

Someone rings bell to interrupt the singing/speaking and then blows a referee whistle: another game starts. 3 2 2 2

Ramrod - isknowntoitsneighbors -

Everyone starts racing around the stage.

At least four piano players (perhaps doing a lap of the stage before starting again at the bottomg of the keyboard):

ossia chords

(hold or wedge down pedal until end of scene) play 8ths or 16ths or chords or glissandi

# # #

n n

Next Player starts from bottom (i.e. after 1 bar)

continue to top of piano, then run around piano to start again and so on for additional players

Themenbelieve that success onlyresults fromneverbeingable togetwhatyouwant. Theybelievethateverythinggood isperpetuallyoutofreach. one line each:

cont.

Eachman constantlycompareshimself totheothers andthereforeeachman alwaysﬁndshimselfinadequate

cont.

Theyrunaround tryingto betheﬁrst ortherichest orthestrongest orthemostpotent.

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Heis, inhisownmind neverﬁrst, neverrichenough, neverstrongenough, neverpotentenough.

out of breath, getting slower:

Noneofthiscomparison leadstohappiness, butthenthemen donotlook forhappiness. Toreplacehappiness, themenﬁlltheirheads withdreamsofcontrol andstrength andconquest. Theyﬁlltheirbodies withmeat andpainkillers anddirty air.

Andtheymake mess andugliness andfear everywhere.

One person at piano (2nd person plays bass cluster) (pattern repeats down 4th each bar)

someone hits a Gong or Tam Tam (wins)

Andwhen theygettired theysit witheachother andthey lament howlittle theyare appreciated andhow hard they try and how nothing ever works out quite as they plan.

(x=56) (voice and piano together)

PAPERS BALLET

Someone rings bell and speaks to start a new game; a dream ballet.

Themenwhorule Ramrodlovepapers. & Levers: all § except these: ad lib.

q=84—96, lush

Suggested Running order, but use the material as desired for whatever ballet you stage: 17: harp, glock, spoken text 17: harp, soprano, glock 18: harp, soprano, glock, flute

ThemenwhoruleRamrodlovepapers.Theylovetosignthem,toﬁlethemandmovethemaround.

Themenbelievethatcertainpapersaresacredanddisplaythem.Theybuypapersfromeachotherandtheylockpapersup. Theystoretheminhugeundergroundhidingplacessoothermenwhoaretheirenemiescannothavethem.Theymake otherssitendlesslyinairless,tallbuildingsmakingnewpapers.

last time only

mpportamento, decorate/variation ad lib.

men

whoruleRamrod - love pa pers. The men

With children's glockenspiel, ad lib.

2nd and/or 3rd time only, decorate ad lib.

Ifenoughmenwhothementhinkareimportantmensignapaper,itbecomeseitherfamousandisputonguardeddisplayoritbecomes importantandishiddenawayandgossipedandspeculatedaboutendlessly.

Ifamancanaccumulateenoughofthecorrectpapershecanbecomepowerful.Thenhehiresothermentowatchoverhiscorrectpapers.

whoruleRamrod - love pa pers. Theybelieve - thatthe

papers - are sa cred. Theywritethem andthey

8va ad lib.

Hp printthemandtheyhoardthem andmintthem. Theystorethem invaults sotheir rall. a tempoa tempo

Bossanova rhythm might start around here?

rivals - can'twinthem. Theybuythem andtheysellthem andsometimes

they

smellthem. Themen whoruleRamrod

A.Sx

Pno

PAPERS BOSSANOVA

This song may be a competing song that starts up and takes over in a bossanova style (piano, palm-muted guitar, claves, cabasa, sax, flute, voice)

Perc q=132

A9(„ˆˆ13)E9(„ˆˆ13) B‹7(„ˆˆ9)

Accordion / Violin melody or Papers Song might start around here?

PAPERS SONG

This song may be a competing song that starts up and takes over in a folkish style (fiddle, accordion, tambourine, etc.)

2nd time: whole cast joins in with song — perhaps a 4th higher

ThemenwhoruleRamrod - lovepapers. - Theybelieve - thatthepapers - aresacred. - They

writethemandprintthemandhoardthemandmintthem.Theystoretheminvaultssotheirrivals - can'twinthem.They

buythemandsellthemandsometimes - theysmellthem.ThemenwhoruleRamrod

lovepapers.

MACHINES

Someone rings bell and playing a clapping game (Pat-a-cake) with another cast member.

Fast (h=126—144)

Spk Themennevertalkabouthowtheyfeel. Theypretend - tobemachines -

Spk

Theypretend - tohavereplace - -a -ble parts: fromtheir

Spk kneestotheirkidneys,theirmindsandtheirheartsAndwhensomething - within - amanwearsout

Spk theotherswilltestitandpullitapart. - Theyenjoy -

Spk seeing - howmuchother - mencanwithstand - before - theybreakdown - orturntosand.

Spk Theypretend - tosaytheproperwords andto

Spk movetheproperway Theyfollowinstruc - -tionsandedictsandcom

Spk mands andtheyrarely - havetheirownsay. Because

Grandiose, free

War f -renandhisFuckpole. - Ramrod - mostpara - -noid

War f -renandhisFuckpole.mf Heistheleader - ofRam f -rod mf because - heis themost f para - -noid

War f -renandhisFuckpole. - Ramrod - mostpara - -noid

War f -renandhisFuckpole. - Ramrod - mostpara -

mostvicious - manintheland.

andtherefore - themostvicious - manintheland. The

mostvicious - manintheland. mostvicious - manintheland. mostvicious - manintheland.

mostvicious

manintheland. mostvicious

leader - ofRamrod - isamannamedWarren - andhisFuckpole. - Heistheleader - ofRamrod -

Yesheis!

land. The f leader - ofRamrod - isaman named

Yesheis!

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Yesheis!

Yesheis! Yesheis!

Power - andmight! manintheland.

Power - andmight! manintheland. therefore - the most vicious - manintheland.

Power - andmight! manintheland.

Power

andmight! manintheland.

Power

andmight! manintheland.

Someone rings the bell, then speaks, then plays the Pipe. Repeats indicated where required for text.

Ramrodhas anempire.

(Gamba:)

Ramrodhasanempire. They'venothaditlong andalreadyit'sshabby anddisreputable.

Practice Chanter or Rauschpfeife in Bb or C

continue drone and decorate, ad lib.

(C minor, or C major with flattened 6th and 7th)

Optional to wear leg bells also, and mirror the tambourine rhythm

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(Violin:)

Everyday,thefaggotscanfeelRamrod’s empiredisintegratingasthemenlose thingstheyneverownedintheﬁrstplace.

ad lib. Cmajor or minor with flattened 6th & 7th

continue similarly, decorating ad lib.

(Sax:)

Thefaggotsandtheirfriendslivebestwhilethe men’sempiresarefalling.Whenanempireis falling,themenbecomesobusythattheyhave notimetopolicethefaggotsandtheirfriends.

continue similarly, decorating ad lib.

Whentheempirefails,asitdoesinevitably,tosupporttheirviolence,therichmensendtheirtaxcollectorsouttostealthepeople’swork; theysellthepeoplemachineswhichdonotworkandsecuritythatisnotdependable;theysendtheirthugsouttotakepeacefulnessaway fromthepeople.Themoretherichmencanstealfromortakefromorselltothepeople,themoreviolencetheycanbuy.

Oncetheempireisgone,though,themengolookingforsomeonetoblameandthefaggotsandtheirfriendsoftengetchosen.Thentimes getbadagain.

Thisdeadlycyclerepeatsitselfagainandagain…

ad lib., for example

inflections of C mode:

Tambourine and/or Leg Bells

/ (on the offbeats of the vocal line)

ad lib., for example inflections of C mode:

Andwhenitcrumbles - theycanfeeladesp'rate - needto

Andwhenitcrumbles - theycanfeeladesp'rate - needto f

Refrain

cheatandsteal.

Whichistheon- lywaythattheycankeeptheirpow'rand

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Whichistheon-

Refrain Verse 682

holdtheirsway.

Fordeepwithin - theirsickened - mindstheyunder - -stand that

(refrain ad lib.)

men'sworldcrumblesmoreaway. - Andwhenitcrumblestheycanfeeladesp'rate - needtocheatandsteal.Which

istheonly-waythattheycankeeptheirpow'randholdtheirsway.Fordeepwithin - theirsickened - mindsthey

under - -standthatfortune - ﬁndsawaytoreapwhattheyhavesown,andsotheytremble - allalone. - The repeat ad lib., getting faster

under - -standthatfortune - ﬁndsawaytoreapwhattheyhavesown,andsotheytremble

THE KEYS (sing-a-long)

Someone rings the bell, introduces this song to the audience, invites them to sing along, plays chords and sings. Other instruments join as desired.

InRamrod - theonly - waytotellthesanefromtheinsane - isby

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whohasthekeys.Thesanehavethekeysandtheinsane - donot.Thekeyslockthedoorsthatkeeptheinsane - in-

InRamrod

isbywhohasthekeys.Thesanehavethe

InRamrod - theonly - way totellthesanefromtheinsane - isbywhohasthekeys.The

sanehavethekeysandtheinsane - donot.Thekeyslockthedoorsthatkeeptheinsane - inside. - Butto

VICTORY

Someone rings the bell to interrupt the Sing-a-long. They start drumming on buckets. More join. One or more people might join in independently on tin whistles or small recorders.

q=112, march

Small Tin Whistles in multiple keys (e.g. Bb, C, D) & ‹ join in ad lib., transpose if needed

p sub. 2 4

repeat for each letter

Sing or shout any pitch (clusters) Could also be accompanied by keyboard instrument clusters

repeat ad lib.

repeat block for each line of text

Themenwanteveryone torememberandcommemorate onlytheirmomentsofvictory. Themenhopeonlytheyhavesuchmoments. Intheirhands,history becomesachronicleofwarsand statesplendourandbrutality. (—)

(complete last repeat then stop)

(repeat as needed for text)

FAGGOT WISDOM

The cast is exhausted... they lie down and rest.

gentle and spacious (q=60—72)

hummed gently, first one person, then others join, blossoming to wordless singing, perhaps one or two start to sing words,

Three times during spoken text

Themenwanteveryonetorememberandcommemorateonlytheirmomentsofvictory.Themenhopeonlythey havesuchmoments.Intheirhands,historybecomesachronicleofwarsandstatesplendourandbrutality.

Thefaggotsknowbetter.Theyknowthatit’scategoriesinthemindandgunsintheirhandswhichkeepus enslaved.Theyknowthatoneman’svictorymeansthedefeatofothersandthatsomemen’sexcessmeansthat othersgohungry.Thefaggotsrefusetocelebratethemen’slies.

PART TWO

TUNING

The ensemble takes the cue to tune during this monologue. (mics off)

Theorbo should use this moment to tune top 6 courses down to 415Hz.

BEDTIME STORY (reprise)

Any voice, can be sung in any key

hummed, then sung, or fragments in the background — intimate, ad lib.

It'sbeenalongtimeIt'sbeenalongtimeIt'sbeenalongtimeAndwearestillnotfree

Themenhaveneverlikedthefaggots.Soforalongtimethefaggotshidfromthem.Unacknowledged,they servedthemen.Theycreatedtheirmasterpieces,educatedtheirchildren,cookedtheirfood,arrangedtheir gardens,plannedtheirhouses,workedintheirfactoriesandrubbedtheirbacks.Thefaggots’energywasused anddrainedbythemen.

Andthen—slowly—thefaggotstaughteachotheratrick.Theylearnedhowtobeactiveinfrontofthemen withoutidentifyingwiththemen.Theylearnedhowtodothingsforthemenwithoutbeingusedbythemen. Theylearnedhowtosmileinsideastheyperformedthemen’suselesstasks.Theylearnedhowtolaughno matterwhattheoutcomeoftheiractionsforthemenwere.

Thenthefaggotscouldcreatethemen’smasterpieces,educatetheirchildren,cooktheirfood,arrangetheir gardens,plantheirhouses,workintheirfactoriesandrubtheirbackswithoutcaringhowitallturnedout.

repeat if required

the Lutenist starts playing the chords of the Faggots Lullaby (next page), and keeps playing these, extemporising, until they speak the text at the beginning of The Faggots Lullaby, and then start singing.

another speaker:

Thefaggotscultivatebeautyandharmonyandpeacesincethesearethestatesthatthemendonoknowabout.Theluckyfaggots liveinthemostbeautifulplacesandmakeloveinthemostbeautifulplacesanddanceinthemostbeautifulplaces.Sincethemen areblindtobeauty,theydonotknowthattheluckyfaggotsliveinthemostbeautifulplaces.Andtheluckyfaggotsdonottell them.Instead,theyasktheunluckyfaggotstocomeandjointhem.

THE FAGGOTS

The lutenist, at the appropriate point in the cycle of playing the chords, starts singing the song immediately after speaking this text:

Thefaggotsliveinaworldinvisibletothe

On p acorner - ofthecity - isahouse

Onacorner - ofthecity - isahouse: old, ela - -borate -

vinescover - theporches. - Onacorner - ofthecity - isahouse:

they'vefreely - given - theirbodies - toall oftheothers. - On

corner - oftheci ty - isahouse:

whensleepcomes, they

holdeachother - untiltheyhardly - know whereoneofthemstopsandtheother

THE FAIRIES

ThefairieshaveleftRamrodforgood.They don'tliveamongthemen.Theyliveinthe forestandonthemountainside.

Whenthefaggots - visit - the

When

thefaggots - visit - thefairies - it'slikeenter - -ingawonder - -fuldream.The

When

thefaggots - visit - thefairies - it'slikeenter - -ingawonder - -fuldream.The

When

gradually decorate but keep the open string character and the pulse

earth isgentle - andnourish - -ing andthefairies - treatherwithcare. They

earth isgentle - andnourish - -ing andthefairies - treatherwithcare.

(continue decorating)

nighttheysing anddance andfuckanditisso con-stantly - astound - -ing

thatitallseemstothefaggots - andthefairies - likeasweet sweet dream.

When mf thefaggots - visit - thefairies - it'slikeenter - -ingawonder - -fuldream.The

Vln

Inspringandsummer, - theplants growandtheliving - thingsarethankful -

Vln

winter, - theymove into - log houses - wheretheymedi - -tate andfuck bytheﬁre.

Theylearnedtobuildtheloghouses - fromthegentle - people - ofthisland.

pp MS

Vln

Thegentle - people - are pp gonenow. The sotto voce men,whenthey free time, slower41 1169 ppp MS camecen-turies - ago - slaughtered - allofthem. o rall. 1175

Whereverthefaggotssettletheywantittobenearthewomen. It'sfromthewomenthattheylearnwisdomandmagic.

Vamp with introduction

(chant continues when no word indicated)

A singer gathers the cast and tells a mysterious story.

for p sotto voce athousand - yearsthewomen - didnottrustthe

Theorbo top 6 courses tuned at 415Hz (sounding a semitone lower than written) (tuned during tuning section at start of Part 2)

thatthefaggots - werenotthemen. Andslowly - slowly - the

slowly -

Theyexchanged - infor - -mation - about - howtodefeat

The mf ﬁrst—thatwewillgetourasses - kicked,thesecond— - thatwewillwin. The

The mf ﬁrst—thatwewillgetourasses - kicked,thesecond— - thatwewillwin.

win.The mf ﬁrst—thatwewillgetourasses - kicked,thesecond— - thatwewillwin.

The mf ﬁrst—thatwewillgetourasses - kicked,thesecond— - thatwewillwin.

lessyouneed. the mf more cresc. yousharethelessyouneed.The

The mf moreyousharethelessyouneed.Themore cresc. yousharethelessyouneed.The

lessyouneed. The

The

moreyousharethelessyouneed.Themore cresc. yousharethelessyouneed.The lessyouneed.The

moreyousharethelessyouneed.Themore cresc. yousharethelessyouneed.The

omit notes where needed to breathe.

moreyousharethelessyouneed.Themoreyousharethelessyouneed.Themoreyousharethelessyouneed.

moreyousharethelessyouneed.Themoreyousharethelessyouneed.Themoreyousharethelessyouneed. moreyousharethelessyouneed.Themoreyousharethelessyouneed.Themoreyousharethelessyouneed.

(miss out bracketed notes if required)

theirsecrets - their their

Andtheylearned slowlythatthemoretheysharedthe

potions - theirspaces. -

potions - theirspaces. - the moretheysharedthe theirspaces.

potions - theirspaces. - theylearned slowly - themoretheysharedthe

Themoretheysharedthemoretherewas.The

The mf cresc.

moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.The

moretherewas The mf cresc.

moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.The

The mf cresc.

moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.The

moretherewasThe mf cresc.

moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.The

moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.Themoretheysharedthemoretherewas.

moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.Themoretheysharedthemoretherewas. moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.Themoretheysharedthemoretherewas. moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.Themoretheysharedthemoretherewas. moretheysharedthemoretherewas.Themoretheysharedthemoretherewas.Themoretheysharedthemoretherewas.

andthewomen - wouldsitanddrinke-

wondered - ifthemenareweaker - Theywondered - whatcouldmakethemweaker - They

wondered - if theyaredo- ingalltheycantomakethemen rit.

wondered - if theyaredo- ingalltheycantomakethemen

The

knowthattheywillwin.Thewomen

women - knowthattheywillwin.Thewomen - knowthattheywillwin. They

women - knowthattheywillwin.Thewomen - knowthattheywillwin. They f

women - knowthattheywillwin.Thewomen - knowthattheywillwin. They

They f

women - knowthattheywillwin.Thewomen - knowthattheywillwin. They f

knowthatthedaysoftheruleofthemenarecoming - toanend.

Someone (a different speaker) brings a cassette boombox into the middle of the stage, playing techno (track supplied with hire materials). They speak:

The boombox is plugged into the theatre PA; it is suddenly very loud. Space is made for dancing.

Tostimulatetheirlust,theysnifftheancientpowdersandliquids.

Cast Vox The f faggots - lovetofuckandsuckinbathrooms, - inparks,intrucks,inwarehou - -ses,under - bridges,q=138 53 1326

Dancing Continues. At some point: Sung or shouted, whole cast, free pitch (chaotic/joyous):

Cast Vox neartraintracks,infront ofwindows, - inparking - lots,ondanceﬂoors,in thebarn,inthekit1331

Cast Vox -chen,onﬂoors,oncarpets, - insteamy - rooms,in swirling - pools,under1335

54 / Whenthefaggotsandthequeensgettogether,theydanceuntil theirheadsspin.

& & & &

Cast Vox softlights,inbeds,thefag ff -gots makeloveto eachother1338

Suddenly the volume is really loud and immersive for the audience, using surround speakers ideally.. Everyone on stage joins in with the techno, dancing, fucking, and playing instruments (e.g. baritone sax)

Improv with techno: Too Many Zooz style. This should be unaplified and only just audible over the techno. √

B.Sx f sub.

BATTAGLIA

Someone stops the music suddenly. Everyone freezes. Recit., colla voce, urgently. 1343

Onawarmandrainy - night,thefaggots - andtheirfriends were

ad lib something like this (could also be a gliss?)

arpeg. leggiero

Techno starts again (loud). Reprieve of party / dancing / playing. (The freeze frame is briefly unfrozen.)

1347

Someone stops the music suddenly.

-lythemenwithgunsappeared - atthe

loud knocking: this is best achieved by forcefully hitting a wooden table with a large wooden mallet. (Placing a tambourine on the table alongisde gives a good effect) 1353

door

Thefaggots - andtheirfriends f scrambled - outinto - the

big gliss gesture (also inside the piano?)

gliss ad lib., mostly upwards

thequeensthequeens were p

ofjustsurvi - -ving, theyweretiredofrunning

S&MS, stagger breathing >

mp floating, senza vib.

two alternatives: top line — floated/ghosted quietly bottom line — fuller voice

Wine Glass(es) tuned to G optional keep sound going

Nipple Gong in G optional

longenough - for mp thequeens togetoutinto - thestreetsThe p faggots - andtheirfriendscould