Bobbie's Aria from the opera "And the Winner Is. ."

What follows is the libretto for Bobbie Wentworth's aria from the opera "And the Winner Is," composed by Daniel Steven Crafts with libretto by Thomas B. Woodward. We hope to have the video of this aria as well as Tony's aria and the closing duet by Bobbie and Tony posted in the near future. If you want more information about the opera, contact Tom Woodward, 13 Calle Loma, Santa Fe, NM 87507; 505-474-4229 or 505-231-9829 cell.

During their wait offstage for Bobbie Wentworth’s appearance before the cameras, Tony and Bobbie have been involved in serious flirting with one another; but when, on camera, Tony asks Bobbie when she first became interested in the Ms. American Pageant, Bobbie responds, “It was about five months after my sex change operation.” Chaos ensues. When things die down a bit Bobbie reveals that her real talent is not baton twirling, but hiding her disability:

BOBBIE’S ARIA

Tony, I was thinking.

Twirling a baton, playing a piano, singing "It's a Wonderful World,"

or even overflowing, amply overflowing a one piece bathing suit.

None of that really has anything to do with becoming something like,

something like an adequate example

(to audience)for girls like you.

So I thought to myself:

“Self, how would it be if this year's Ms. American

were the exact same person,

no kidding, the exact same person

as Ms. Disability of the U.S. of A?”

Think of it, Tony. Wouldn't that be

a real inspiration to the American people

who need inspiration

from the likes of you and me?

Oh, Tony, the indignity, the utter indignity of it all.

Ms. Alaska, North Dakota and Utah and Maine,

they and the others are all feeling the same.

What I just heard from backstage

is a slowly developing rage

and it's erupting, corrupting the stage.

Look, I dare you to look at Ms. Alaska.

She's as pissed off as pissed off can be.

She has just come to realize

that to compete for the pageant's prize,

she had to have a boob job

and newly capped teeth and then,

the anorexic dieting for months upon end!

Oh,Tony, Alaska came to me, nearly in tears

while dressed in that gown from her neighborhood Sears.

She said, "If I" - that's her speaking, and really not me -

"If I were to win this thing,

the plain girls from everywhere

are soon going to think that they must have boob jobs

and teeth capped as well

and fake being brain dead

to be a real woman and not suffer Hell.”

So, calm yourself, Tony, forget about your pay.

Come stand here beside me.

This may be a new day.

Your sponsors have vanished and your producer's away.

It's time for the future to finally hold sway.

Oh Tony, this could be a real inspiration.

Oh, Tony, my leg hurts so much when I try

when I try, when I try to stand up

and look presentable, surrounded by glitter and such.

But my heart sings . . sings so gladly

when I think of my family,

my mother, my sister, my homophobic aunt.

May we, maybe together . . .

Oh, give me your arm.

Sing, sing, sing for our country an inspiring new song.

May you in the audience and you in your home

stand up as you can in your dress, jeans, or sarong!

Sing, sing, sing with our voices an inspiring new song.

May you in the audience and you in your home

stand up as you can in your dress, jeans, or your thong.

Dare to sing, sing, sing a new song!

Closing Duet from the opera "And the Winner Is. ."

            As Bobbie’s disability becomes more and more obvious, the two sit down and Tony confesses that he has not always been honest with Bobbie. He reveals that his name has not always been “Tony.” “Antonia?” Bobbie responds. “Yes, Bobbie, Antonia.” The two then see the possibility of a life together.

CLOSING DUET

REFRAIN (BOBBIE & TONY)

I have a dream. The dream of a lifetime

and that dream of a lifetime is mine.

TONY

O Bobbie, I love you.

Our hearts will entwine.

BOBBIE

Thanks to our surgeons, you now can me mine.

TONY

No longer in hiding,

our lives as transgender;

BOBBIE

Who could ever have guessed

our hearts were so tender?

Tossing small minds’ expectations

into a Kitchen-Aid Blender.

REFRAIN

TONY

Can you forgive me my flirting,

my behavior so rude?

                        BOBBIE

My fuss about nicknames,

I'm shocked at how crude.

All that talk about "Oscar"

and the size of my bust. . .

TONY

All is forgiven!

It was mutual lust.

REFRAIN

BOBBIE

O Tony, I love you.

Our love will entwine.

TONY

And after that special dinner

and several glasses of wine. .

BOBBIE

Well-bodied and lame,

full-bodiced and plain.

We're not who we were -

and at last with no shame.

TONY

Oh, Bobbie!

BOBBIE

Oh, Tony! You are my hero.

TONY

You are my heroine.

BOBBIE

Your struggles so human.

TONY

Your courage divine. . .

I'm dying to hold you

and call you my own.

BOBBIE

So what's keeping you, Tony?

Don't mind the frills on my gown!

REFRAIN

Crisis Intervention Network - Program to Reduce Gang Violence

Please note: The following information is meant to share with you the details of The Crisis Intervention Network, a highly successful comprehensive gang program that dramatically decreased gang fatalities in Philadelphia for over a decade. If you want the magazine article, "Crisis Strategy Works: 12 Years Prove It," or a copy of the advertisement that led to this program, email Tom Woodward)

As noted in the magazine article, “Crisis Strategy Works: 12 Years Prove It,” deaths from gang violence dropped 66% in the first year of this program and then averaged slightly over 2% in the following eleven years of the program. 

 Ron Bloomberg

The Crisis Intervention Network was also adopted by city of Los Angeles on a limited basis in the 1990s. However, the pilot program proved to be too successful, because when fatalities dropped significantly within a twelve month period, the City of Los Angeles in its wisdom withdrew further funding -- and since root causes of gang violence (joblessness, lack of parental discipline, etc.) had not been dealt with, there were few lasting effects from the pilot program..

My own involvement with the problem of gang violence began when I created the ad, “Hail, hail, the gang’s been here. What the heck do we care?” and received a massive response from the ad. After working with community people for seven years, Bennie Swans, Larry Rawls, and I created the Crisis Intervention Network. The results of our success and a breakdown of the components of the network are enclosed along with a copy of the initial advertisement and an article that describes the initial and on-going success in greatly reducing the incidence of gang violence.

If after reviewing these materials, you want to explore more about the program, please contact me or Tom Woodward, my Associate:.
       Ron Bloomberg - Ronbloom2@aol.com - Tom Woodward - TBWSalinas@aol.com

REDUCING GANG VIOLENCE:  

THE CRISIS INTEVENTION NETWORK

This program of Crises Teams was successful in reducing gang violence significantly in Philadelphia. After one year of the crises teams hitting the streets, gang fatalities amazingly were cut by over 60%. That figure quickly fell to just over 2% and remained so for over a decade.

CRISIS TEAMS:   The heart of The Crisis Intervention Network is a number of six member gang worker teams, living in the area they work, equipped with cars and cell phones, and on call 24/7. These teams are given three months of skilled mediation training before hitting the streets. The key component of these Crises Teams is accountability built in from top to bottom. The tasks of the Crises Teams are:

MEDIATION: This is the primary component of the program. The teams are not involved in apprehension: once a violent act has been committed, that is strictly police business;

FORMING AND MAINTAINING GANG COUNCILS:  Treaties are established and rigorously scheduled meetings are held to iron out disputes that arise. Crises Teams are given the responsibility to see that gang leaders show up for these meetings and that treaties do not fall apart;

COMMUNICATION:  Police gang units, schools, community leaders, neighborhood groups,  parents’ councils, churches and synagogues, and recreation centers all have roles to play in the prevention of gang violence. They all should be on the same page: it is the job of the Crises Teams to see that they are;

ANTICIPATING VIOLENCE, the key to preventing violence. Once a gang member gets in his car to shoot a rival gang member, it is too late. Keeping the flow of information going so Crises Team members can quickly mediate something that went down at school or in the streets is imperative;

WORKING WITH THE PROBATION DEPARTMENT:  This is a huge factor in whether violence escalates or diminishes. At any given time a number of gang members are released from prison and then return to their neighborhoods. These “older heads” can have enormous clout as to which direction a gang will take. The Probation Department has some sway over these individuals and in many cases the Crises Teams working with parole officers can help turn those being released from prison into a positive factor.

The selection of the Crisis Team members has to be vigorous. Applicants must have respect in the community in which they work. They must have street smart intelligence, organizational skills, and be dedicated to keeping kids alive.

Innovation is a further key to the success of the program. Creative approaches are needed in dealing with an irrational problem. Certainly a wider view of the world should be given to gang members and there is a great deal of talent in the city that is rarely called  upon to help in these situations – universities, the entertainment and business communities, and professional sports teams can be called upon to contribute ideas, strategies and resources. 

Toward a Minimalist Anglican Covenant

Toward a Minimalist Anglican Covenant

An expansion of the Chicago-Lambeth Quadrilateral

1. Of Christian Belief
   
   1. The Holy Scriptures of the Hebrew and Christian Covenants (also known in the Church as the Old and New Testaments) set forth the revealed Word of God.†¹
      
   2. The Nicene Creed is the sufficient statement of the Christian faith.†
      
   3. There are two essential Sacraments: Baptism and the Supper of the Lord, ministered with unfailing use of Christ's words of institution and of the elements ordained by Him.†
      
   4. The summary of the Law, which may be discerned in the Torah2, as emphasized by Jesus3, is the foundation of all essential ethical teachings in the Hebrew Covenant, in the Christian Covenant, and of the Church.
      
2. Of the Whole Church
   
   1. Within the Church there is but one Body and one Spirit, one hope of our calling, one Lord, one Faith, one Baptism, one God and Father of us all.
      
   2. The mission of the Church is to restore all people to unity with God and with each other in Christ.
      
   3. Spiritual leadership of the Church resides in the Historic Episcopate, locally adapted in the methods of its administration to the varying needs of the nations and peoples called into the unity of God's Church.†
      
3. Of the Anglican Communion
   
   1. The principal liturgies of the Church in the Anglican tradition are those found in the Book of Common Prayer.
      
   2. Within the bounds herein previously set forth the Anglican Communion understands that God's way is often beyond human comprehension, that doctrinal understanding is therefore elusive, and while disagreements within its traditions about inherently imperfect formulations of doctrine are common, divisiveness rooted in such matters is not appropriate.
      
   3. Institutional leadership of the Anglican Communion and of each of its provinces is a shared responsibility of the clergy and the laity.
      
   4. Each bishop in the Anglican Communion serves in one province of the Anglican Communion, conforms to the polity of that province, and does not function as an ordained minister outside of the diocese or province of service without specific invitation from the bishop with local jurisdiction.
      

 

Footnotes

1. * Daggered items are adaptations of the principles in the Chicago-Lambeth Quadrilateral
   
2. * Deuteronomy 6:5, Leviticus 19:18
   
3. * Matthew 22:37-40, Mark 12:29-34, Luke 10:25-37
   

A 15 Minute Play About Forgiveness

A MATTER OF LIFE OR DEATH

CAST OF CHARACTERS:

HARRY: a male clerk of any age.

SUSAN: a troubled young woman, between 25 and 35 years old.

WARD: a middle-aged man, dressed and groomed well.

TIME: Daytime – the present.

PROPS: A cell phone for Harry. A life-sized cutout of a

clean-cut man.

TIME: Daytime – the present.

SCENE: A tobacco (or similar)shop with a counter and a bench

for customers who are waiting. HARRY is speaking on

his cell phone.

For permission to perform this play, contact Tom Woodward, 13 Calle Loma, Santa Fe, NM 87507. (505) 231-9829. The play works well as a stand alone play or as a sermon.

HARRY (talking on phone)

OK, OK. That one didn't work, so here’s another. There was this guy who was close to death and he was on this makeshift bed just off the kitchen - and the smell of freshly baked chocolate chip cookies is in the air and his kids are surrounding him on every side. With what little energy the guy has left before he dies, he asks his daughter if she would please bring him a couple of those chocolate chip cookies. Just when she returns with the cookies and he reaches out to take one, his wife swoops down, jerks the cookies away and scolds him, saying, "Don't you dare eat those cookies – they’re for the wake!" . . . So that was just pretty good? . . OK, you want my best. . . So here we go. Sarah Palin and these two alligators walk into a bar. .

SUSAN walks into the store and begins to browse at the rear of the stage.

HARRY (Cont'd.)

Look, someone just came in. Let me get back to you. . . That's right, Sarah Palin and two alligators. Hold that thought. . .

HARRY (Cont’d, turning his attention to SUSAN)

Oh, Hi. Welcome to the store. . . Can I help you?

SUSAN (caught by surprise)

Will you say that again?

HARRY

Why? Do you have a hearing problem?

SUSAN

No, I just need to hear those words again.

HARRY

Sure. Can I help you?

SUSAN

I don't think so.

HARRY

I say "Can I help you?" not once, but twice -- and you tell me you don't think so?

SUSAN

I mean I don't know.

HARRY

You don’t think so? You don't know? What’s next?

SUSAN

I mean I'm not doing very well.

HARRY

You’re feeling sick?

SUSAN

Worse.

HARRY

That means you’re depressed?

SUSAN

Worse.

HARRY

That means you’re feeling hopeless?

SUSAN

Worse.

HARRY

That means. . .Suicide?

SUSAN (nodding her head "yes")

Suicide.

HARRY

There went my afternoon.

SUSAN

Your afternoon? What about me?

HARRY

I’m sorry. Why? Why suicide?

SUSAN

Why not?

HARRY

Why not? You've got your whole life ahead of you.

SUSAN

That's why.

HARRY

That's why? Because you have your whole life in front of you?

SUSAN

I can't take it any longer.

HARRY

It must be pretty bad.

SUSAN

It is more than pretty bad.

HARRY

And not just bad. .now.

SUSAN

That's right - not just bad now!

HARRY

Never ending?

SUSAN

That's it! Never ending - and it's time to put an end to never ending.

HARRY

But never ending is just beginning.

SUSAN

Cute.

HARRY

Seriously, are you telling me that you can't take it for another. . .what? Month? Week? Day?

SUSAN

Try half an hour.

HARRY

"Half an hour."

SUSAN

Cute. Very cute.

HARRY

What was that?

SUSAN

Cute. Very cute, Asshole!

HARRY

Bingo!

SUSAN

Bingo?

HARRY

Bingo! You just climbed out of yourself.

SUSAN

I don't know what you mean.

HARRY

Just for an instant, with that splendid little piece of sarcasm, you left your little corner of self-pity -- and joined the real world.

SUSAN

This is not self-pity -- it's really bad!

HARRY

What could be that bad?

SUSAN whispers in HARRY’S ear. HARRY listens thoughfully, then looks directly at SUSAN.

HARRY

You’re right. That’s bad. In fact, that’s really bad … but look, I’ll forgive you for $100.

SUSAN

You’ll forgive me for $100? Are you making fun of me?

HARRY

Am I making fun of you? No, I'm not making fun of you. I said I would forgive you for $100 and I will. And if that is making fun of you, OK. I’ll forgive you for $500.

SUSAN

You’ll forgive me for $500?

HARRY

Do you want to hear me say it again?

SUSAN

O God, No. I just don't understand.

HARRY

It's simple: I've got what you need - and you've got . . .

SUSAN

$500.

HARRY

The amount is not so important.

SUSAN

But you just. . . .

HARRY

I said, "The amount is not important."

SUSAN

Then what is important?

HARRY

That you know it doesn't come easy - that it's worth something.

Long pause while SUSAN pulls something out of her purse.

SUSAN

Here's the $500 . . . but what difference does it make if you forgive me!

HARRY

Well, who else is there?

SUSAN

The people I hurt.

HARRY

Sorry. If they forgive you - that's for them. . . not you. If they forgive you, that allows them to go on with their lives. It really has nothing to do with you.

SUSAN

Can you say that again?

HARRY

Honey, I'm not sure I said anything that smart the first time.

SUSAN

Are you saying that if they forgive me - that lets them go on with their lives? But it doesn't do anything for me?

HARRY

Right.

SUSAN

But that doesn't seem fair.

HARRY

That doesn't seem fair?

SUSAN

No. It's not fair.

HARRY

What's not fair about it?

SUSAN

Well, for one thing, they are forgiving ME . . .but I don't get anything out of it! I'm not part of it!

HARRY

Exactly!

SUSAN

I don't get it.

HARRY

Exactly! You don't get it. They can't give it to you.

SUSAN

So I'm stuck.

HARRY

You’re not stuck, you’re. . . .No, I take that back. You’re stuck. . . But maybe there is something that can loosen that up a bit.

SUSAN

I don’t see how.

HARRY

Look. Bear with me for a while . . just for a short while, because I don’t want you to think I’m crazy. So let me tell you about a friend of mine.

SUSAN

“A friend of yours?” Sure. Where have I heard that before?

HARRY

OK, Susan, let me tell you my story – which is not an easy thing for me. . .

SUSAN

What did you say?

HARRY

About it not being easy for me?

SUSAN

No. You called me by my name. How could you know my name?

HARRY

Don’t worry about it.

SUSAN

Don’t worry about it? What in the Hell is going on here?

HARRY

Look, we’ll get to that in good time, but there is some really hard stuff that comes first. And this is going to be awkward for me.

SUSAN

Awkward for you? Not so fast, Hot Shot. First you offer to forgive me for $100, then $500 . . . as though you were. . . and then you seem to know my name without my telling you. I repeat: What in the Hell is going on here?

HARRY

We’ll get to that. But first. . .how shall I start this? . . (seriously pondering how to proceed) I’ve often wondered what it would be like to be God.

SUSAN

Are you going to talk to me about religion? Cuz if you are, I’m out of here.

HARRY

No, I’m not going to talk to you about religion. This is the nitty-gritty that comes before religion – and, fair warning, it’s not very pretty.

SUSAN

I’m uneasy already. Look, you’ve got five minutes – and then I’m out of here.

HARRY

Do you see these lines on my face?

SUSAN

The tracks that tears make?

HARRY

Yes, the tear tracks. They weren’t always there. I started out with something so beautiful, so full of hope and promise – and a lot of that still survives.

SUSAN

Is this going to be a sad story?

HARRY

Given what you are considering, I think you can handle it.

SUSAN

Not if this is some kind of grandiose stall for time.

HARRY

I won’t be long. To tell it all would be more than you. . or I could handle. . . Do you know the name “Matthew Shepard?”

SUSAN

Wasn’t he that gay guy in Montana who was – how do they say it? – crucified on a barbed wire fence outside the town?

HARRY

And these numbers on my arm – do you know what they mean?

SUSAN

Is that the combination to your safe deposit box?

HARRY

A long way from that. This is the number the Nazi’s tattooed on the arm of Hannah Klein, wife of Isaac, mother of Aaron and Deborah. I watched her standing naked in the cold outside a

crematorium, cradling her babies in her arms, trying to comfort them as they were herded into the cement structure where they would be gassed to death.

SUSAN

The Holocaust.

HARRY

The Holocaust. Do you know how many Isaacs, how many Hannahs and Aarons and Deborahs wore these numbers?

SUSAN

Too many.

HARRY

Way more than too many – millions more than too many! And do you know why?

SUSAN

I must have heard, but I can’t imagine why.

HARRY

It was because they had my name.

SUSAN

You’re losing me. Are you telling me that your name is Hannah Klein?

HARRY

Hannah, Isaac, Aaron, Deborah Klein. Klein and also Cohen and Greenberg, Bloom and Katz and … (painfully) Yes, that is my name.

SUSAN

You said you wouldn’t talk about religion; but if you are talking about God, there is so much that is good in the world.

HARRY

Don’t get me wrong, Susan. I love the gratitude, the songs, the prayers and all that; but the pain: the terrible, unrelenting pain and the . .. darkness just seem to overwhelm it all.

SUSAN

But that was a long time ago.

HARRY

Sixty four years ago – that may be a long time for you, but I feel it like today. And all this is not just then, but now. In the Sudan, Dafur, Nigeria, Argentina, and even in Juarez, five hours south from where we are standing just this minute. And if that’s too far to drive, it’s happening on your own block.

SUSAN

My own block? What are you talking about?

HARRY

You know Phyllis Chesney, three doors down?

SUSAN

The nice woman who had the miscarriage.

HARRY

The miscarriage after her husband knocked her teeth out and stomped on her stomach because she wouldn’t have sex with him the way he wanted it before he went to work.

SUSAN

Oh, my God! I didn’t know.

HARRY

Don’t get me wrong, Susan. The world is a place of incredible beauty and such heroism and loving kindness; but, but, but how can even the most beautiful gesture make up for the horror

faced by Matthew Shepherd, Phyllis Chesney, by the Hannahs and their children? And on a slightly different level, by you?

SUSAN

But. . .but . . .

HARRY

Tell me, Susan. Tell me how many birthday parties with helium balloons and party favors does it take. . to make up for just one Hannah and her children?

SUSAN

I’m sorry. I don’t understand. . . I’m overwhelmed.

HARRY

And so am I. I am overwhelmed.

SUSAN

But those soft, kindly lines on your face?

HARRY

Do you know what thought preoccupies my mind? Do you know what single thought … preoccupies my mind? (whispers in SUSAN’S ear.) . .

SUSAN

No!

HARRY

Yes.

SUSAN

“Suicide?” You?

HARRY

I think about it every day.

SUSAN (after stunned silence)

But you – whoever you are – you can’t. . .

HARRY

It’s not that I can’t – I won’t.

SUSAN

You won’t? Why not?

HARRY

Because. . . because in a strange way, I suppose, knowing the extent of my guilt in allowing all that – and accepting that … that opens, that gives the depth and the urgency to my compassion for those who struggle so hard.

SUSAN

Are you telling me that you are God?

HARRY

Am I God? Do I look like some kind of Cosmic Teddy Bear overflowing with mushy, sentimental Hallmark love . .who is unwilling to hold anyone, any country – even your own – accountable for anything?

SUSAN

Then you’re not God.

HARRY

Did I say that?

SUSAN

I am really confused.

HARRY

Confused is the best place to start.

SUSAN

So who are you?

HARRY

For right here? Right now? Susan, it doesn’t matter who I am. I’ll take care of that. What matters right here, right now is what you do with your own pain and guilt -- and your incredible personal beauty.

SUSAN

I don’t know about the beauty, but I think I can understand something about the pain and the guilt – that they don’t need to be the end.

HARRY

Not the end, but the beginning.

SUSAN

Of what?

HARRY

As they say, Susan, God only knows. But I can tell you one thing: those who are in deepest deficit need you. They need you -- in all you can bring -- more than anything, anyone else.

SUSAN

But, but . . .I don’t understand. And you just keep confusing me more and more.

HARRY (with emotion building)

Susan. Susan, listen to me. Let your pain – even your self- inflicted suffering – be the deepening. . .not the block. . to your heart.

SUSAN

But I’m so. . .

HARRY

Look, who would you want beside you in your deepest distress: Gregory Goody-Goody or Disappointing Old Fart, which is me?

SUSAN

That’s easy.

HARRY

And of your friends in dire need – who do they need, a Cindy Crawford model of perfection or a tarnished young woman named Susan? … They need you.

SUSAN

Because I’ve stood on the edge?

HARRY

Because of your own wounds.

SUSAN

But. . but. . I think I understand, but then you just keep confusing me more and more.

HARRY

Look, Susan, I need to go next door for a few minutes. Can you handle things here for a few minutes?

SUSAN

But I don’t know how things work here.

HARRY

You’ll do fine. Trust me.

SUSAN

Sure, just like an hour ago.

HARRY exits. WARD enters.

SUSAN (Cont’d.)

Can I help you?

WARD

Will you say that again?

SUSAN

Why? Do you have a hearing problem?

WARD

No, I just need to hear those words again.

SUSAN

Sure. Can I help you?

WARD

I don't think so.

SUSAN

I say "Can I help you?" not once, but twice and you tell me you don't think so?

WARD

I mean I don't know.

SUSAN

I know, Ward, I know.

WARD

What did you say?

SUSAN

Don’t worry about it. We’ve got more important things to talk about. . .

SUSAN and WARD find a place to sit. She takes his hand in hers and they begin talking to one another. HARRY reappears quietly and watches as the lights fade.

- THE END -

Synopsis of the Gonzo Opera “And the Winner Is. . .”

Composed by Daniel Steven Crafts

Libretto by Thomas B. Woodward

The opera opens as Tony, the host of the Ms. American Beauty Pageant, wrestles with the self-doubts brought about possible imminent success in his aria "It's Every Man's Dream."

As the aria ends, the next to last contestant in the pageant, Ms. Tennessee, comes on stage with her puppet to perform her Talent part of the pageant. As she begins the duet, "Dove il mio orecchio," her puppet, given voice by an off-stage tenor, joins her in the romantic (and highly comic) duet.

During the following commercial break, the pageant's final contestant, Bobbie Wentworth, joins Tony in the wings as both wait to go onstage. There is an instant chemistry between the two and they quickly begin flirting with one another. The flirting escalates until the two are on camera and Tony asks Bobbie when she first became interested in the Ms. American Pageant and receives an answer he doesn't expect.

As Tony attempts to establish order, Bobbie continues to break taboos – as when she notes that her real talent for the pageant is not her baton twirling act, but hiding her disability. In her aria, "Sing an Inspiring New Song," she wonders "Wouldn't it be wonderful if Ms. American of 2011 and Ms. Disability of 2011 were the same person?"

The shocks and surprises continue as the Pageant moves from chaos to inspiration and then romance. Having won each other's affections, Bobbie blows kisses to the television audience as Tony helps her offstage.

The opera is composed by Emmy-winning composer, Daniel Steven Crafts. The libretto is based on an original play by Tom Woodward and written by him. If you are interested in further information about the opera or in producing it, please respond to Thomas B. Woodward, 13 Calle Loma, Santa Fe, NM 87507.

The Major Prophets in One Hour - notes

What is a Prophet?

Rabbi Abraham Heschel used to tell the following story to describe the calling of the people of God and of individuals to be prophets: Once upon a time there was an agricultural kingdom which prospered year after year. Everyone had plenty to eat and everyone was happy. But then, one year it was discovered that whoever ate that year's grain became crazy - really crazy.

Aware of the terrible crisis, the King and Queen gathered the wise men and women of the realm and met with them around the clock for several days. Then they called the kingdom together for a very important message. When the kingdom was gathered, the royal family began "It is clear that we are in a terrible, terrible crisis; but we have our response. From the kingdom, we are setting aside twelve men and women. They will eat last year's grain while the rest of us will be eating this year's grain. The twelve will serve a very important function. Their mission will be to remind the rest of us that we are, indeed, crazy."

There is no higher calling. But now, on to the three "major prophets," Isaiah, Jeremiah and Ezekiel.

THE MAJOR PROPHETS

THE CALLING OF THE PROPHETS: each called with a powerful vision and a commissioning.

ISAIAH (calling 742) His calling is described in Isaiah 6:1-5, 6-10. Some of the elements of that call are an overwhelming experience of Holiness (his words are reflected in the Sanctus) and a piece of burning coal applied to his lips (cleansing). Later, like Jeremiah, Isaiah believes he was called from mother's womb 49:1-3

JEREMIAH (calling 626) Calling: 1:4-8, 9 (reflected in Psalm 139) like Isaiah verse. 5 "touch my mouth." He complains that he is too young and unexperienced and, given God's charge, Jeremiah was totally unsuited temperamentally (the experience of the fool is described at: 1:10

Elements of his call:: like Ezekiel, Jeremiah "eats God's words," Is this reflected in the Collect: that we might read, mark, learn and inwardly digest Holy Scripture?

EZEKIEL (calling 593) His calling: 2:1-2; 3:1-3: elements of his call include a strong and bizarre experience of Holiness, as with Isaiah a piece of coal is applied to his lips, and he describes the power of the Spirit. Like Jeremiah, Ezekiel eats God's words.

CHARACTERISTICS OF THE THREE PROPHETS

ISAIAH: He was an artistocrat and very aware of foreign realities -- much like a Teddy Kennedy or our own Bill Stewart. His language is majestical -- some of the most eloquent in all of Scripture. He also has an almost unique vision of the whole of humanity under the love and mercy of God -- his phrase is that Israel is to be a light to the nations, bringing them into the wholeness intended for the People of God.

JEREMIAH: he began his ministry at an early age – not with the same sense of awe (as Isaiah and Ezekiel). On the other hand, he struggles and wrestles with God -- much like an Ann Sexton or John of the Cross.

Much of the book of Jeremiah is "biography," written down by his secretary Baruch. Some of the best of the book are his confessions, prayers, and inner reflections. He has an intensely personal relationship with God – exhibiting deep faith in God as well as intense anger at God for what he experiences as betrayal. Another way of considering this is the tension between his own personal inclinations (wanting to party with his friends) and his deep sense of vocation.

His stress on personal experience of faith helped define a new foundation for faith after the Exile.

EZEKIEL: his message is defined by vision of absolute holiness, otherness of God – the last part of Ezekiel is very similar to the Holiness Code (Leviticus 18ff.).

Ezekiel was a pastor and fiercely protective of his flock – also bound to speak against them. His tirade against the Watchmen (pastors) who do not attend to the deeper needs of their people is searing.

THE BOOK OF ISAIAH: its setting is when Uzziah was King 783-742 – Judah was at its most powerful; but Uzziah becomes proud and attempts to usurp power of priesthood. Confronted, he becomes leper and the power and influence of the nation goes into decline. There are two quite different people and time periods in the two major sections of the book, identified as I Isaiah 1-39; II Isaiah 40-

I ISAIAH The setting for Isaiah's prophesies is the nation's interest in political intrigue/alliances. Isaiah sees all of this as a betrayal of God's rule and protection. For him, the world is in God's hands – it is folly to enter into alliances. Thus, he rails against

-- reliance on world power – rely not on weapons, but on God.

-- subservience to nation like Assyria – which will mean accepting their gods and cults.

-- alliance with Assyria meant involvement in her military operations.

King Ahaz - in treaty w/ Assyria for protection:he was willing to compromise religious principles to curry favor.

King Hezekiah wants alliance with Egypt – Isaiah, to illustrate futility of such dependence, walks naked through the streets of Jerusalem. .

For Isaiah, problem is not foreign policy, but the inner state of the nation.

Two Stages in I Isaiah: disaster is coming and a remnant will return Isaiah 33:15. Then from the remnant, there will be redemption for all nations. God's covenant will be not only with people, but with Zion and with the land.

Of special interest: Apocalyptic vision of Messiahnic Banquet Isaiah 25.6f. which is not just for Israel.

II ISAIAH 40-66 Doom is no longer relevant and there is the promise of Return.

High Points of II Isaiah:

His description of the character of God 40:1-5, 40:11; v12f. and creation ex nihilo (42:).

Description of the calling of the military man, Cyrus as instrument of God in freeing the Jews from captivity. Cyrus, a foreigner, was first to be referred to as "Christ" 45:1ff.

Vision – which is reflected in what we sing in Handel's Messiah.

His descriptions of the the Suffering Servant (read during Palm Sunday and Holy Week) – is this Isaiah? the Jewish people/nation? One to come? This suffering is not a penalty – but a privilege, sacrifice.

Light to the Nations (here it is God, not Isaiah, talking to Israel)

God said to Jeremiah: "I appointed you as a prophet to the nations," to Isaiah: "I appointed you as a light to the nations." 49:6. This vision of our being Light to the nations 42:6-7, 42:1-4

JEREMIAH b. 650 in Anathoth, 4 mi. north of Jerusalem, called to be prophet 626.

Jeremiah's mentors were Isaiah, Hosea, Amos and Micah (quotes Habbakuk's words of struggling with the notion that the evil seem to go unpunished)

Lived through Josiah's Reform 621, but found it dealing with externals only - and thus inadequate.

Heschel – p. 105 for description (3/2)

Much of Jeremiah is introspective:

loneliness 15:15-18

psychological 20:4-11. Abraham Heschel notes that Jeremiah's words about betrayal are better translated as a virgin being seduced/a married woman being raped.

Internalizes religious faith – out of faith comes practice. This is a big step from religion as obedience to rules.

Jeremiah's sense of God's initiative. Like Ezekiel, at the end Jeremiah has a well defined belief in Grace.

Jeremiah's high moral sense: 22:13-19 29:7f.

Baruch – when Jeremiah could not appear in public because of threats on his life, he enlisted Baruch 36:4-8 to take down his speeches and deliver them. Baruch also chronicles the inner life of Jeremiah, as well.

1In first part of Jeremiah, he preaches wrath: all are l under condemnation. 2:8: later, those who repent will be saved. 7:5-7

Speaks of the Fatherhood of God 3:19

Restoration: 29:10f It is God who has sent Jews into exile – and God who called Persian military leader to free them.

High Points in Jeremiah

1. My favorite image: Cisterns 2:13f.

2. Morality: 22:13-19 very similar to the prophet Amos. Later, he counsels those in exile not to rebel against Babylonians, but to find their lives where they are. 29:7f.

3. What do you do as you are trying to exit your country before it is overrun? Jeremiah buys property! 32.6ff

4. Jeremiah's Book of Hope, chapters 30-33 (motto of OT 30:3) This forms much of the basis the teaching of Paul & Jesus.

The Big Oops: a delightfully humorous piece: 34:8-11. everyone suddenly becomes religious – so what happens?

Notion of Grace: 31:1-6 v. 3

Jeremiah elucidates the theme of OT "in spite of everything, I have remained faithful."

The most important part of the Book of Jeremiah: The New Covenant 31:31-33, v. 4

EZEKIEL: The structure of the book: Judgment: 1-24; Hope 25-32; Restitution of Israel 33-48 (Chapter 40f. similar to Leviticus 19ff. Holiness Code.

Themes:

1. As pastor of exiles – felt responsibility for each individual

2. Certainty of ruin of Jerusalem & Judah as a result of their idolatry and moral iniquity.

3. Judgment is not disciplinary or redemptive – it is simple punishment.

4. Promise of Restoration and Renewal. Powerful notion of the New Covenant - 11:17-20 based on Grace - an interpolation of Jeremiah.

5. Individual Responsibility - huge step forward in Hebrew religion: 18:1-9; 20f. (especially verse 23)

6. High Doctrine of Holiness (we are to be holy because Yahweh is holy)

7. Restoration of Israel: God takes initiative, doesn't wait for our repentance.

Vision of the Dry Bones 37:1-14. Note that the dead are soldiers.

Yahweh, the Good Shepherd 34:11ff. God is gathering flock from everywhere.

Gift of New Heart/New Spirit 36:25-27, 31. Truly Majestic!

8. Restoration Complete only if God lives in midst of people 40-48

Plans and dimensions for new Temple

Priests in charge of Temple (no foreign helpers as before)

Emphasis on the Cult (very much in the Priestly tradition).

What Is Gonzo Opera?

GONZO OPERA

A Manifesto

by Daniel Steven Crafts

What is Gonzo Opera?

1) First of all, despite its subject matter, it is real opera, and not a parody of the genre as are many works in the last few years that call themselves "opera." It uses beautiful classically-trained voices and allows them to demonstrate all the marvelous attributes of traditional vocal technique. The Gonzo style is full of melody (something sorely lacking in most contemporary opera)—memorable melody that shows off the voices in the best possible light.

But…

2) Gonzo Opera takes as its subject matter outrageous comedy/satire, subjects heretofore completely foreign to opera. It is as contemporary as the movies. No pathetic, dying heroines here. Shannon Wheeler's Too Much Coffee Man was made into an opera with great success. It was not so much the traditional opera audience who came to see it, but Shannon's audience (the 20-40 year olds). This was the first of the Gonzo operas.

3) Gonzo Opera is designed to be portable and inexpensive to produce. This should prove a boon to smaller opera companies as

a) It attracts a new, young audience (which all companies are crying out to do) and,
b) It can be produced with simple sets, and a small combo of instrumentalists (as opposed to a full orchestra).

Opera as an art form, desperately needs a swift kick in the pants—the same kind that was given it by the verismo movement in the late 1800s. When the overwhelming percentage of works in standard repertoire are 100-300 years old, something is severely wrong. One need only compare the quantity of good and memorable new operas from the second half of the 20th century with the second half of the 19th. The 21st has so far fared little better.

My Opera

"And the Winner Is. . ."

Composed by Daniel Steven Crafts, Libretto by Thomas B. Woodward

The opera opens as Tony, the host of the Ms. American Beauty Pageant, wrestles with the self-doubts brought about possible imminent success in his aria "It's Every Man's Dream."

As the aria ends, the next to last contestant in the pageant, Ms. Tennessee, comes on stage with her puppet to perform her Talent part of the pageant. As she begins the duet, "Dove il mio orecchio," her puppet, given voice by an off-stage tenor, joins her in the romantic (and highly comic) duet.

During the following commercial break, the pageant's final contestant, Bobbie Wentworth joins Tony in the wings as both wait to go onstage. There is an instant chemistry between the two and they quickly begin flirting with one another. The flirting escalates until the two are on camera and Tony asks Bobbie when she first became interested in the Ms. American Pageant and receives an answer he doesn't expect.

As Tony attempts to establish order, Bobbie continues to break taboos – as when she notes that her real talent for the pageant is not her baton twirling act, but hiding her disability. In her aria, "Sing an Inspiring New Song," she wonders "Wouldn't it be wonderful if Ms. American of 2011 and Ms. Disability of 2011 were the same person?"

The shocks and surprises continue as the Pageant moves from chaos to inspiration and then romance. Having won each other's affections, Bobbie blows kisses to the television audience as Tony helps her offstage.

For production information, contact Tom Woodward, 13 Calle Loma, Santa Fe, NM 87507. For information about Mr. Crafts, see his web site: www.dscrafts.net.