Eric Sirota

FRANKENSTEIN, based on Mary Shelley’s novel, is a sweeping romantic musical about the human need for love and companionship.

FRANKENSTEIN (music, book & lyrics by Eric B. Sirota), is a new two-act sweeping romantic musical about the human need for love and companionship. Published in 1818, Mary Shelley’s Frankenstein recently celebrated its bicentennial year, and this work honors its source material.

Having lost his mother at a young age, Victor Frankenstein seeks to end human mortality and arrogantly enters territory beyond his control. While he enjoys unconditional love from Elizabeth, he grants none to his creation.

DETAILED SYNOPSIS (with song placement)
ACT I
Prologue:
The prologue is a flash forward to the beginning of the final scene. In Victor's Lament, he intends to destroy his notebooks so that no one will follow in his footsteps.
Scene 1: Parlor of the Frankenstein home
In "Victor's Coming Home", his father, best friend Henry and sweetheart Elizabeth excitedly anticipate Victor's return, having completed his studies at the university. Offstage, Victor's younger brother William is asleep. Justine, his nanny in whom Henry has some interest, joins them in the parlor. Victor arrives and in "Through the Seasons", Elizabeth and Victor rapturously express their joy in being reunited, and Victor anticipates setting up his own laboratory to continue his scientific work. Everyone joins in a toast to Victor’s return; Victor proposes to Elizabeth, which she accepts.

Scene 2: Outside - A short time later
Elizabeth has been writing a lot, but she keeps its content secret from Victor. Victor explains to Elizabeth his quest for the secrets of life, and believing he has found the answer, rushes off to his laboratory. (Once in a Dream).

Scene 3: Victor's laboratory - minutes later
Victor completes and tries to vitalize his creation, but is initially unsuccessful (Working). The sound of thunder in the distance gives him an idea. In "God in Heaven", he first calls on the Almighty to assist; But then thinks of himself as the creator, equal or greater than God. Lightning strikes and as the Creature slowly comes to life, his muscles spasm and Victor sees his creation become hideous looking (Heartbeat). Victor flees his laboratory in horror, leaving the Creature alone.
We learn later, that the Creature awakens and ventures out into the world alone. He is either shunned or attacked. By watching a family, he learns the language and how people live. He then returns to his birthplace to seek out his maker. He encounters William and while trying to silence his screams, accidentally kills him. Justine is convicted of William's murder and hanged.

Scene 4: Parlor of the Frankenstein home - A year and a half later
Following the deaths of William and Justine, life has eventually returned to some degree of normalcy for everyone, except for Victor, who does not know what happened to the Creature, and fears the unthinkable. Nevertheless, Victor and Elizabeth have announced their new wedding plans; as the wedding was postponed due to the tragedies. His father enters with the guest list and in a reflective moment (More Than a Mother) Elizabeth recalls how, as an orphan, Victor's mother had brought her into their home, and then years later died from an illness caught while tending her. Elizabeth has always felt responsible for Victor's loss. Father exits and Henry bounds in. He notices all the eligible girls on the list. Elizabeth sings of her concern over Victor in "Scared, Silent, Scare". Henry finds Victor depressed, and in "Life Must Go On", Henry tries to lift his spirits. They exit for dinner.

Scene 5: Parlor of the Frankenstein home - That night
Night falls. The Creature enters through the patio door. Victor returns from dinner and the Creature relates to him what transpired after being abandoned (Narrative). The duet "Why Have You Created Me" follows, and they are interrupted by Elizabeth at the door. The Creature hides, and in the "Trio", Victor and Elizabeth sing a love duet, with the Creature contrasting their happiness with his loneliness. After Elizabeth leaves, the Creature entreats Victor to create him a mate (Day of Wrath). Victor, moved by the Creatures supplication, decides to return to his laboratory and make him a mate.

ACT II
Scene 1: A short time later.
In the parlor, Elizabeth is writing late at night, and Victor’s father comes down awaked by a dream. Elizabeth sings about her writing (I Write by Candlelight). Victor is outside and they begin the duet (Here, In My Heart) separately; Then Elizabeth hears rustling and goes outside where she finds Victor, and they finish the duet together, as they sing of their love and approaching marriage.

Scene 2: Victor's Laboratory
Victor is working on creating a female companion for the Creature who anticipates his bride awakening (I Can Dream Too). Victor weighs his responsibility to his creation versus that to mankind and fears the creation of a race of monsters. He stops work on the female and an altercation ensues. Henry hears noise from the lab and does not heed Victor's calls to stay out. Upon seeing the Creature, he draws his gun. The Creature pushed him back, and contacting some equipment, Henry is electrocuted. Victor then flings the unfinished bride from the table and orders the Creature to leave. As the Creature departs, he vows to return on Victor's wedding night.

Scene 3: Bridal Suite at an Inn - A few months later
The Innkeeper and his Wife are readying the room as they sing about marriage (Wedding Night). Elizabeth and Victor enter and sing a reprise of their duet. Victor goes to the changing room, and Elizabeth sings of her excitement (Heartbeat-reprise) and we learn that she has been writing about passionate and physical love, that she is finally about to experience for herself. Then Elizabeth goes to the changing room as Victor, remembering the Creature's threat, leaves to check the surroundings. When Elizabeth comes out, she finds the Creature in the room. Elizabeth is not afraid of him, as she sees her Victor inside of him. In the duet, "Elizabeth Forgive Me" the Creature, though realizing that she has not wronged him, is compelled to kill Elizabeth in order to wreak vengeance on Victor. The Creature leaves and Victor rushes in, throwing himself in despair over Elizabeth’s lifeless body.

Scene 4: Victor's laboratory - A short time later
The only thing left is to destroy his creation and evidence of his experiment, even though Victor realizes (I Tried to Fly) that the human quest for knowledge and eternal life will one day lead another along the same path. The Creature enters and in the duet, "Evil Fiend", the Creature mocks Victor's suffering. Victor shoots and wounds the Creature, who strangles him. The Creature first addresses his lifeless creator and then the Almighty in "Creator's Creator". Not wanting anyone to continue Victor's work, he destroys the lab and himself.

A widowed artist is thrust back into the life of his childhood girlfriend, his first love, his muse, a musician who spurned him over 50 years ago, and who now suffers from Alzheimer’s.
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Music, memory, an old flame and Alzheimer's - You just hope for a good day.
It’s about the power of music to rekindle memory and awaken the mind.
Undying love . . . too young to appreciate . . . now in spite of Alzheimer’s, she remembers it is there . . . it stayed alive in her heart.
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It’s about, Sam, an artist, a widower after losing his wife of 50 years. After a year, Sam still has not regained his will to paint, or do much of anything, much to his children’s dismay.
It’s about a woman, who as a child, instilled the love of music in her friend. But she gave up the cello and music, and gave up that young man who loved her. She moved on with her life and eventually he (Sam) did too.
Now, 50 years later, Suzanna has Alzheimer’s, and her children would do anything to hear their mother speak their names.
Suzanna’s husband visited her daily, but when he suddenly dies, Suzanna begins to deteriorate rapidly. Looking for anything to spur their mother’s memory, Suzanna’s children find in the attic, a portrait of Suzanna painted by Sam when they were very young. They locate Sam using the internet.
At first reluctant, Sam begins to visit Suzanna. While some memories are painful to recall, the good ones outshine the bad. Sam begins to paint again. He regains his purpose in life, brings joy to Suzanna, and helps her children. There is no cure, and the best that is hoped for are more good days than bad. The show’s uplifting ending occurs on Mother’s Day, which turns out to be a good day.

Another theme which runs through the show is the importance of arts education. While Suzanna and her husband had taught their children well, music and art were neglected. She perhaps was afraid of her children going in that direction as a career. Suzanna’s daughter, Sophie’s husband, an actuary, starts spending time playing in a band, and this ‘mid-life crisis behavior’ as she considers it, irks her to the point of her virtually separating from him, as she spends time out of town in her parents’ house, and asks her husband not to come.
Meanwhile, Sam and his wife had established a small scholarship fund given every year to an art and a music student pursuing that in college. Sophie’s interaction with Sam leads her to understand the passion in an artist, and allows her connect to and reunite with her husband, as she herself tries her hand at painting.
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Synopsis (1-page)
Sam (74), an artist, is a widower after losing his wife, Alicia, of 50 years. His children are dismayed that after a year, Sam still has not regained his will to paint or do much of anything.
Suzanna (72), a recent widow is in the Alzheimer’s ward of a nursing home. Her children are David (45) and Sophie (53). Sophie is somewhat estranged from her husband, Paul, an actuary, who started playing guitar in a band. She is unhappy that David moved their mom into a nursing home. Suzanna has been deteriorating rapidly, not even knowing her children’s names.
Going through old boxes in their parents’ house, hoping to find things to spur memories, Sophie and David find a painting of their mother at age 12, holding a cello. They never knew this about her and music was never part of their family’s lives. The portrait is signed by Sam and they track him down on the internet and visit him. Upon seeing the portrait Sam initially tells them he didn’t know her well; But he did. Sam asks himself, is she “a ghost or an angel?” and realizes he must go to her; But with trepidation, since it could lift him from his darkness or open old wounds. Telling Sophie the truth, he arranges to visit Suzanna. He brings the painting to Suzanna, and looking into his eyes she begins to cry. She gets frustrated and agitated, remembering pieces, but not coherently.
Sophie, still not happy about their mom being in the nursing home, is taking over organizing things from David, who is annoyed that his work in taking care of their parents is unappreciated.
With Suzanna, Sam plays cello music (Saint-Saëns’ The Swan) from his iPhone and reminds her how she would play the cello as he painted. She begins to remember, moving her arms, like she is bowing the cello. She asks him to paint here with her. In a short moment of lucidity, she remembers the night they spent together; But moments later doesn’t know who Sam is.
Sam brings the easel and paints, and imagines Suzanna, healthy again. He questions whether he is betraying the memory of his departed wife. Realizing that Suzanna will never again be whole and with “Is she a ghost or an angel?” repeating terrifyingly in his head, he cries out that he dare not love again, cannot paint again, and rushes out, much to her children’s dismay.

ACT-II: Sam’s children are concerned about this latest turn of events and try to convince him to not give up. But it is when Sam reads an un-mailed letter brought to him by Sophie, that Suzanna wrote to him 50 years ago, he immediately decides to return to her. Sam had needed to forget her to move on; but she never forgot him. In Suzanna’s room, with music playing, Sam begins to paint again, as Suzanna’s memories begin to flow.
Sam arranges for musicians to perform for the nursing home residents and organizes art classes for them. David appreciates how his sister arranged Suzanna’s room and Sophie realizes that having her stay here was the right choice. When Sophie accompanies Sam to a concert, she sees the passion of the musician and feels a need to see her husband. Unknown to her, Paul has already arrived in town. She hears Paul sing a love song he wrote for her and they are reunited.
Sam recognizes Suzanna is not a “ghost” from his past, but his living angel, inspiring him once again as she once did. On Mother’s Day, with music playing, Sam paints a portrait of Suzanna, with her children added beside her. She has moments of greater lucidity as he repeats their names over and over for her. When her children arrive, she greets them by name. While they know that it is only a moment, not always to be repeated, they are overjoyed. Sam learns he has a new granddaughter, named Allie, after Alicia. Her children present Suzanna with a cello. and Suzanna begins to play “The Swan”. Realizing that there will be good days and bad days, and we hope for the best, Sam notes that “Today . . . was a good day.”

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DETAILED SYNOPSIS (with song placement)

Prologue: The ensemble sings the first part of Sundown.

Scene 1: Suzanna and Phil’s house
Suzanna (72), a recent widow is in the Alzheimer’s ward of a nursing home. Her husband of 53 years, Phil, had cared for her at home until he suddenly died. Their children are Sophie (53) who lives in Baltimore apparently somewhat estranged from her husband Paul, and David (45) who lives locally with his family. After their father’s death, David, who had helped his father care for Suzanna at home, had moved her into the nursing home. Sophie is not happy with that decision.
Sophie wishes her mom could still live in her house, while David, having done much of the work to help while she lived there, knows that is not possible. Going through old boxes in their parents’ house, hoping to find things to spur memories, Sophie and David find a painting of their mother at age 12, holding a cello. They never knew this about her and music was never part of their family’s lives. The portrait is signed by Sam Rogowski. They Google him, and learn that he was only two years older than their mom, and grew up in the same small town. He had talent as a child, but there was no art in his high school. Later in life, he founded an organization to keep art in the schools, and funded annual scholarships for a painter and a cellist. They find that he lives nearby and go to visit him.

Scene 2: Sam’s home Sam (age 74) is sitting alone in a dimly lit room. Sam, an artist, is a widower after losing Alicia, his wife of nearly 50 years. After a year, Sam still has not regained his will to paint or do much of anything, much to his children’s frustration. (Empty House) His daughter, Anne, who lives nearby (age 40) arrives at Sam’s home and opens the window shades. We learn that Sam and Alicia had funded annual scholarships for college-bound students, one in art and one in music. (Anne is married with children. His son Michael, is married with a son and lives out of town.)

Scene 3: Suzanna’s room at a nursing home:
Since Phil’s death, Suzanna has been deteriorating rapidly. Her children are at a loss for what to do and her caregiver at the nursing home, Margaret, suggests finding things from her youth that might spur memories. She explains to Sophie and David about sundowning which occurs in Alzheimer’s patients late in the day; as the other characters sing about their own pain. (Sundown)

Scene 4: Sam’s home
Upon seeing the portrait, Sam initially tells them he didn’t know her well; but he did.
When alone, in “A Ghost or an Angel” we learn of a close friendship, turned to love and then loss. “She was a friend, for years stood by me and more than friends, as friendship rose above.
From her I gained a love of music, and loving her, I learned to love.
Inspired me to be an artist; If not for her, I'd not have found my light.
Then she chose a different world and left me. Left me broken, and not all right.”
Sam realizes that he must go to her, but with trepidation, since it could lift him from his darkness or open old wounds. Telling Sophie the truth, he arranges to visit Suzanna.

Scene 5: Lobby and Suzanna’s room at the nursing home
As Sam arrives, Sophie and David are leaving, distraught as Suzanna doesn’t know their names. In Oh, Mama!, they tell Margaret how their parents gave everything to them, and taught them well, except for music, the thing that was absent in their education. In stories she read to them as children, she inserted their names in place of the name of the characters; and they are pleading that she remember them.
Sam brings the painting to Suzanna, and looking into his eyes she begins to cry. (That’s Me) She remembers pieces, but not coherently. She remembers that her father loved that painting; Her father loved Sam; She loved Sam; She sent Sam away. She becomes very agitated. Margaret suggests that Sam just sit with her. Margaret notices that Sam connected with something strong inside her, and when Suzanna falls asleep, inquires about their relationship. (Feelings of My Youth)

Scene 6: Suzanna and Phil’s house
Sophie, still not happy about their mom being in the nursing home, is taking over organizing things from David, who is annoyed that his work in taking care of their parents is unappreciated.
Sophie has somewhat estranged herself from her husband, Paul, an actuary, who started playing guitar in a band; She is spending time at her parents’ house, while Paul is in Baltimore. David is maintaining a good relationship with his brother-in-law.

Scene 7: Suzanna’s room at the nursing home
Sam speaks to his son Michael whose wife is 8 months pregnant. With Suzanna, Sam plays cello music on his iPhone (The Swan by Saint-Saëns) and reminds her how she would play the cello as he painted. She begins to remember, moving her arms, like she is bowing the cello. She asks him to paint here with her. In a short moment of lucidity, she remembers the night they spent together; but moments later, doesn’t know who Sam is. (The Swan).

Scene 8: Rest area on turnpike
Paul has brought work files for Sophie and some if her clothing and they meet halfway at a highway rest area. Sophie had been missing the evenings they spent working together, since Paul has been spending time with his friend in the band. (“I Don’t Get Him”)

Scene 9: Sam’s home
Sophie comes to help Sam as he prepares painting supplies to bring to Suzanna’s. He sets up an easel for the first time in a long while and tries to get Sophie to try her hand at it, putting a brush in her hand. (“Feel”) He is trying to encourage her to relax and not think, as he guides her. Before emotions and sensuality take over, Sam stops.

Scene 10: Suzanna’s room at the nursing home
Sam brings the easel and paints, setting up in Suzanna’s room while everyone else is at lunch. Sam imagines Suzanna, healthy again. He questions whether he is betraying the memory of his departed wife. Realizing that Suzanna will never again be whole and with “Is she a ghost or an angel?” repeating terrifyingly in his head, he cries out that he dare not love again, cannot paint again, and rushes out, much to her children’s dismay. (Act-I Finale)

ACT-II
Scene 1: Paul and Sophie’s bedrooms
Late that night. Sophie is in bed, alone unable to sleep. Paul is asleep alone at home. Sophie misses Paul and calls him. (Sundown - reprise)

Scene 2: Suzanna’s room at the nursing home
Suzanna is alone at night. She is only partially awake, dreaming and remembering bits of memories about Sam. Her thoughts are disjointed. (Suzanna’s Night)

Scene 3: Sam’s home
Sam’s children are concerned about this latest turn of events and try to convince him to not give up. (You Can’t Just Walk Away) But it is when Sophie brings to Sam an un-mailed letter that Suzanna wrote to him 53 years ago, he immediately decides to return to her. Sam had needed to forget her to move on; but she never forgot him. (Dear Sam)

Scene 4: Suzanna’s room at the nursing home
With Suzanna in her room Sam puts on cello music and begins to paint again as Suzanna’s memories begin to flow. (Dreams We Left Behind)

Scene 5: Lobby at nursing home
Sam arranged for musicians to perform for the nursing home residents and organizes art classes for them. Sam invites Sophie to this year’s scholarship awardee’s recital in New York. David appreciates how his sister arranged Suzanna’s room and Sophie realizes that having her stay here was the right choice. Sam learns that Suzanna and Phil had, unknown to him, purchased one of his paintings, which had hung over Suzanna’s desk.

Scene 6: Concert Hall in NY
At the concert, Sophie sees the passion in the cellist’s playing and the fire in her eyes, as they were seated close enough to hear her breathing. She now understands the heart of a musician, and asks Sam to bring her back to the house right away. She wants to get her car and drive to Baltimore that night, to her husband, Paul.

Scene 7: Suzanna and Phil’s house
When Sophie arrives at her parents’ house, her husband is there with David. Paul had come up from Baltimore. She hears him at first unnoticed, playing a love song he wrote for her. (Dearest Sophie). She enters as it concludes and in each other arms are reunited. (Love Renewed).

Scene 8: Suzanna’s room at the nursing home
In the early evening in Suzanna’s room, looking out the window Sam sees the evening star and begins to paint it, although the picture evolves into a painting of Suzanna. (Evening Star on a Mostly Cloud Night) Sam recognizes Suzanna is not a ghost, but his living angel, inspiring him once again as she once did.

Scene 9: Lobby at nursing home
Margaret and the staff are preparing for the busy Mother’s Day. (Mother’s Day is Coming)

Scene 10: Suzanna’s room at the nursing home
Early on Mother’s Day, with music playing, Sam paints a portrait of Suzanna, with her children added beside her. She has moments of greater lucidity as he repeats their names over and over for her. (Remember) When her children arrive, she greets them by name. While they know that it is only a moment, not always to be repeated, they are overjoyed. Sam’s son calls to tell him he has a new granddaughter, named Allie, after Alicia. Her children present Suzanna with a cello. She caresses its neck and when Paul starts to play the accompaniment on his guitar, Suzanna begins to play “The Swan”.
Realizing that there will be good days and bad days, and we hope for the best, Sam notes that “Today . . . was a good day.” (Final Scene)
The ensemble sings the title song. (A Good Day)

“Your Name On My Lips” - A lifetime of art and music joined in one key.
A romance about following one’s passion with obsession and commitment.
“Your Name On My Lips” is an original story, with a contemporary, classically-infused score.
A self-taught painter, struggles to get into an art institute; while fighting to hold onto the love of his life, as the materialistic world tugs them apart.
With a contemporary, classically-infused score, “Your Name on My Lips” will transport you back to when love was earnest, feelings deep, and romance unabashedly unapologetic.
True art. True love.
Suzanna, a cellist in high school, is college bound. Without the benefit of art education in high school, Sam, a gifted painter, now struggles to get into an art institute; while fighting not to lose Suzanna, the love of his life.
Art plays a major role in the plot; But the story is about love, and passion, obsession and commitment.
A childhood friendship turns to romance. College for Suzanna means change. When apart, Sam’s Fantasy-Suzanna (played by another actress), keeps Sam true to Suzanna and inspires him, enabling him to reach his goal. While Suzanna, in love with Sam, is a dynamic real character who evolves in a way that Fantasy-Suzanna cannot.
While Sam is the protagonist (because the audience gets inside his head), Suzanna is a complex, empathetic and conflicted character, with whom we can relate.
This show is not written with the expected “world view” of someone looking back to youth, older, wiser, maybe weathered and cynical. The "world view" here is that the young characters' feelings are real, powerful and valid, and warrant the soaring passionate music.

Brief Plot Synopsis: Lights up: An art studio; A 21-year-old artist on the verge of success, is immobilized.
Back 7 years . . . Sam, an artistically talented boy, is enamored with young Suzanna. Their relationship matures and blossoms into intense romance. But she goes away to college, while Sam, cannot. He never had formal training as an artist, since the arts program was cut in his high school. Initially content with a job as a house-painter and making art in his spare time, Sam puts himself on a path to get into an art institute.
Catalyzed by her college experience (including a growing relationship with a fellow student,) Suzanna’s “wants” change;
Sam’s focus and feelings are steadfast, even in the face of setbacks.
With visions of his future with Suzanna propelling him upward, and a Fantasy-Suzanna, played by another actress, present with him as his muse in Suzanna’s absence, Sam’s art reaches new heights, becoming truly inspired.
Then, in the climax, just when his career gets its big break, Sam learns he has lost Suzanna, forever. She’s made a choice that excludes Sam from her future no matter how much she still loves him.
Sam is immobilized in spite of his opportunity. Yet Fantasy-Suzanna re-appears once more, to tell him . . . actually a self-realization, that the woman he desires has not really been Suzanna for years; she lives in someone else “out there”. He heads out, to achieve success as an artist and to meet the true love of his life.

DETAILED SYNOPSIS (with song placement)
(Small working class town and college. Before today’s instant electronic communication;
i.e. late 1970’s - early 1980’s)

ACT I – In his studio, Sam, a 21-year-old artist on the verge of success, is immobilized as his dreams for the future have been shattered. (“Right Past That Door”)
8 years earlier: We see Sam visiting sleeping Suzanna in a hospital.
Later that year: At Suzanna’s 12th birthday party, we meet George, an arrogant rich kid, and Sam (14), an orphan living with his great-aunt, down the block. Suzanna wishes for simple things, but also that she will end up with her favorite boy, Sam. Her mother’s wishes for her daughter are first health, a college education which she herself did not have the opportunity for, and a successful career; as well wealth and the more of the material things that her own husband could not provide. (“Birthday Wish”) Sam’s gift is a portrait of Suzanna. As Suzanna plays the cello, for which she has a passion, her father is moved by the way Sam has portrayed his daughter. (“Father’s Eyes”)
5 years later: Not college-bound, Sam is a housepainter, while his passion is art. Due to lack of arts funding in his high school, the possibility of a career as an artist was not on his horizon. Suzanna is a high school senior. Her classmates, succumbing to stereotypes of artists, assume that Sam drinks and does drugs. Sam proclaims that he needs no such help to create a spark inside himself; Suzanna creates that spark inside him. (“True Art”) Sam kisses Suzanna. Their relationship had been platonic till then, as Sam had been afraid to risk their friendship by taking that step. Suzanna responds, “My heart is yours”, as they finally recognize and act on their mutual desire and passion for one another. While Suzanna doesn’t want to go “all the way” at this time, their love is real and they pledge to fall asleep with “Your Name on My Lips”.
Suzanna graduates high school and is excited about college. On the day before leaving, she gives Sam the portrait he had painted of her. (“Each Night”) She is not taking her cello, as she has all but given it up. She plans to spend the night with Sam; and lied to her parents about her whereabouts, but assures Sam that she is not ashamed of him. They spend a passionate night together. In the morning, watching her still asleep, Sam recalls that when she was seriously ill as a young child, it was then he realized that he could not bear to live his life without her. Motivated by Suzanna’s excitement about school and still feeling the need to be worthy of her, he makes up his mind to apply to art schools, for which he’d need a scholarship. (“Still an Angel) Suzanna wakes. To prevent the winds of fate from pulling them apart while she is away, they renew their pledge to fall asleep with “Your Name on My Lips”.
Arriving at college, Suzanna pines for Sam, as her roommate, Beth, suggests she should drop her high school boyfriend who is beneath her. (“Wondering”) Beth gets Suzanna to come to a campus party, where she meets Phil, a wealthy sophisticated student, in whom she has no interest. A band made up of students from a science/engineering fraternity, and functioning as a “Greek Chorus”, is performing “Magnetic Moment”. Later, Suzanna becomes intrigued, as Phil, who has a general aviation pilot license, describes the technicalities involved in flying and his exhilaration in taking to the air and Suzanna takes him up on an invitation. (“Flying”)
As Sam writes to Suzanna about his dreams for the future, Fantasy-Suzanna appears to him. She picks up the cello that Suzanna left behind, and Sam begins to paint her; Simultaneously at college, Suzanna goes to a party with Phil and others, and experiments with drugs. (“Fantasy”) Suzanna feels conflicted, having Sam at home waiting for her, and the possibility of a relationship with someone like Phil; (“Sam is There”) Just then, Sam makes a surprise visit and tells her about his plans to apply to school; she is delighted, and they spend some time alone together.
As the year progresses, Phil has another girlfriend. Suzanna has become very excited by economics and has been writing to Sam less often. He sends Suzanna a painting for her dorm room, as he senses her distance. (“Like a Seagull”) Sam gets accepted to an art program, but without a scholarship, so he can’t attend; He is upset and Fantasy-Suzanna appears and calms him, encouraging him to redouble his efforts for the following year; She asks Sam to love her; but he is aware that she is only a fantasy and tells her to leave. She says she’ll return when he needs her. Suzanna has a good summer job at school and won’t be back for the summer. Jack can’t understand Sam’s total commitment to Suzanna. (“I Don’t Get Him”);
Sam is writing to Suzanna, frustrated over her absence when she walks through the door. At the last minute she got a summer job as a personal assistant to George’s father, at his bank. Her relationship with Sam seems to have cooled somewhat and things are a little tense; But she assures him that they are still together. Suzanna’s boss needs his house repainted, and she brings the work to Sam. Sam is able to start that job sooner than expected, and while painting a bathroom on the upper floor, dreams he is “Painting a Cathedral”. He is excited about the income this extra work will bring, which would allow him to put away money so he could attend art school even without as scholarship; and especially that Suzanna is home for the summer and they can get their relationship back on track.
After a work lunch, George stops home to pick up something, accompanied by Suzanna. They do not realize that Sam is upstairs. She expresses her passion for finance, and in helping society. George asks about her relationship with Sam, and she says that they are “just friends”. Sam is hurt by Suzanna’s words, and mistakes her passionate talk about work with an interest in George. George expresses his lust for her and tries to kiss Suzanna, and is aggressive when she rebuffs him. Sam storms down the stairs confronting him, and George punches Sam. Sam tells Suzanna to leave and then beats up George, who tells Sam he’ll never get work in this town again. Suzanna’s father wants to pummel George, but his wife reminds him that George’s father is his employer. Suzanna returns to campus for the rest of the summer, taking another job there. Sam declares that he will not give up on his art, or Suzanna. (“Act-I Finale”)

ACT II - Suzanna sends a gift of expensive brushes to Sam, along with a letter apologizing for what she said, and reassuring him. (“Dear Sam”) Kate, who went with Sam as his date to his art exhibit opening, (because Suzanna was not around during the summer), stops by Sam’s place, and almost seduces him, but is interrupted by an art dealer at the door. The art dealer buys some of Sam’s paintings and gives his some career advice. While preparing his paintings to go, he says goodbye to his “friends”, his “children”, recognizing that as a professional he must sell his work and paint anew. (“Farewell, My Paintings”) Kate wants Sam and intends to get his affection. (“If He Paints Me”)
Back at school, Phil, who has only been friends with Suzanna, gives Suzanna an expensive necklace for her birthday, and she reluctantly removes the necklace Sam had given her for graduation, as the fraternity band plays “Joules/Jewels”. Simultaneously, Kate is trying to seduce Sam, but Fantasy-Suzanna appears and thwarts her. Kate recognizes that she was up against Sam’s fantasy of Suzanna.
On Thanksgiving weekend, Suzanna and Sam go for a walk; (“Just Walk With Me”) Their relationship is uneasy. Sam becomes upset with her when her purse drops and a bag of cocaine falls out. A police officer arrives and when asked whose it is, Sam claims that it is his, not wanting Suzanna’s college career to be put in jeopardy. He is reluctantly arrested by the officer, who knows Sam and suspects the truth. George, who alerted the police, gloats. Suzanna’s parents forbid her to ever see Sam again. When Suzanna tells her parents that the drugs were hers, her mother tells her to remain quiet. The officer and public defender try to convince Sam to tell the truth. (“No Girl is Worth It”) In his cell, Sam calls out to Suzanna who is not there. Suzanna, feels guilty, and now Fantasy-Suzanna appears to Sam in her stead. (“Summoning Suzanna”)
Sam gets released on a “Miranda” technicality. Sam is frenzied and impassioned as he paints. (“The Night Is Burning”) He impulsively makes a trip to see Suzanna at school, but she is away for the weekend, and Beth gets to know Sam before he leaves. Beth tells Suzanna she would treasure “A Love Like That”. Suzanna becomes increasingly focused on a career in finance and the acquisition of wealth (“I Know What I Want”), while partying with Phil, but with Sam always on her mind.
As Sam is getting his applications ready, his painting is even more inspired. He tells Jack he’s certain that in a few years Suzanna and he will be together; Spending his life without her would be “Unimaginable”. Fantasy-Suzanna is now with Sam as his model and muse. Jack, who didn’t quite understand Sam, finally “sees” Fantasy-Suzanna. Questioning whether it is good to remain with Sam, as she is only an illusion; she notes that Sam’s paintings are real, and his art is reaching new heights with her as his muse. (“Painting His Fantasy”)
The “Greek Chorus” science fraternity band plays “Gravity (is pulling me down)” as Phil and Suzanna go back to her room, drunk. Phil has fallen in love with Suzanna, and even though she is with him, he wonders if he will ever have the place in her heart that Sam has. (“Your Eyes Light Up”)
Suzanna is upset about her parents’ impending divorce. In a soliloquy, Suzanna angsts over the choice she must make. (“My Choice”)
Sam learns he has received a full scholarship to an important art institute in NY. (“True Art Reprise”) While Fantasy-Suzanna pleads with him not to go to her, Sam rushes to Suzanna at school to tell her the news and ask her to join him, at least for the summer. But Suzanna, has headed to the airport with Phil at night; and Joe realizes that the plane may not be air-worthy.
In a hospital, Suzanna is calling Sam’s name. She tells Sam that she is dying, and begs his forgiveness, saying she never stopped loving him, and asks that he never forget her. Her eyes close with Sam’s name on her lips. He cries out, bringing in the doctor. (“Hospital Scene”)
The doctor says she’s only resting, and has been delirious, since being shaken in a rocky landing. Sam sees a ring on her finger. Her parents return to the room as Suzanna awakens. Sam learns Suzanna is pregnant. She had decided to marry Phil with whom a relationship has developed, albeit sooner than she might have otherwise have done. Suzanna’s deep feelings for Sam are clear, but so are her choices. Although Suzanna begs him not to, Sam knows he must leave and is embraced by her father, as he departs. (“Hospital Scene”)
Returning to the opening scene, Sam is despondent. He cannot imagine a future without Suzanna. To Sam's surprise, Fantasy-Suzanna appears again. She tells him that as a child she was Suzanna; but she has for some time been someone else. Suzanna has grown into a woman different than Sam had imagined her to be. His own dreams, which are still inside him, may yet be fulfilled. She bids him to continue on, pack his bags and go to NY to pursue his career. The woman of whom he dreams, lives in someone else - someone real - out there. Then Fantasy-Suzanna vanishes. With his bags packed, Sam begins to take the portrait of Suzanna with him, but stops and leaves it behind, as he heads out the door, to achieve success as an artist and to meet the true love of his life. (“Finale”)

Leaving one’s parents, infertility and the search for truth, set against a background of xenophobia; 3000 years ago, but particularly relevant today where “fear of the other” easily translates into hatred.
Set in ancient Mesopotamia, Go, My Child is an original account of the early lives of familiar biblical characters.
The first act is set in the xenophobic metropolis of Ur, controlled by harsh rulers. Young precocious Sarai inspires inquisitiveness in her young friend, Abram.
Sarai, the daughter of a scribe, who was taught to write, becomes a teacher and marries Abram. She is the woman who molded the man, who changed the world.
Narrowly escaping death and forced to flee Ur, his extended family ends up in the welcoming town of Charan, where Act-II is set.
Surrounded by children, but unable to conceive a child of her own, Sarai’s pain grows each month; and nothing Abram can do can help.
Their childless life, with Abram as a shepherd, gives him the time to ponder the world. The arrival of a mysterious refugee with shocking news from Ur, drives the climax.
It is the unity of humanity that leads Abram to conclude the oneness of god, who he is only just beginning his quest to find. To attain their goals, they must move out from under his parents’ roof. Sarai and Abram journey westward to restart their lives in an unknown land, as the curtain falls.
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DETAILED SYNOPSIS WITH SONG PLACEMENT “Go, My Child”
Setting: Ancient Mesopotamia
Act I – Ur
After the Prologue, the curtain rises on the Bazaar in a xenophobic metropolis (City of Ur). Precocious Sarai, the daughter of Arad the scribe, comes to the Bazaar for the first time, meets Abram and they immediately become friends. Abram’s parents, Terach, an artisan and idol maker, and his wife, Tifania, are selling their wares. After a long day, Terach and Tifania sing a Lullaby to their children about a legendary, idyllic, far-away land called Canaan. The priests notice a crack in the great statue of Arak, and ask Terach to repair it before it is generally noticed at the annual sacrificial ceremony (God of Stone).
In Terach's shop, young Sarai points out the inanimateness of the statues, and as Abram and Sarai dance, they accidentally break some (They Can't Boogie). When Abram tells his father that the big idol punished the little ones, Terach tells Abram that he knows that is not true, since they are not gods. He too had once pondered the universal truths, but unlike young Abram and Sarai, he has a family to worry about. (It's a Living)
A stranger passing through Ur is shunned by most, but welcomed by Sarai's parents. (Stranger in Our Midst)
Years pass, and Sarai, a young adult, is a teacher, singing about Lamech's sons, one who invented musical instruments, and one who invented weapons. (Yuval and Tubalcain) Abram and Sarai are given permission to be marry. (Standing Here Before Me). Abram dreams of being a shepherd. Sarai loves the power she has in shaping children’s minds. As the stars appear, Sarai and Abram contemplates the great unknowns (What Is Out There). A celebration is heard in the distance (Party at the Ziggurat).
Seeing her sister-in-law, Milcah, with children, Sarai looks forward to motherhood (I Can't Wait to be a Mother) as she prepares for her wedding.
Ur enters a time of crisis with an impending war against invading armies and a human sacrifice is deemed necessary. Guided by Arak's choice, the priests select a name. (Arak Protect Us)
The procession begins (Sacrifice) and the priests show up at Terach's home to take possession of their youngest boy of age, Lot. When his father, Haron, interferes, he is killed in Lot's stead. Terach's family, now all in danger, must leave Ur quickly, and argue over where to go. (Leave Ur) Tifania lament's the loss of her son. (Tifania's Lament) Sarai must now say farewell to her parents (Sarai's Farewell). Terach's family hastily prepares to leave Ur, for the unknown land of Canaan. (I Have to Leave). They exit just before a mob enters their home.

Act II - Charan
On the way to Canaan, Terach's family comes to Charan, a small town. The people of Charan are welcoming (Stay in Charan). Nahor and Milcah find the town very appealing. (I Could Live Here). Terach's family rests in Charan, but before long, have settled there. Milcah and Nahor have many children and become entrenched in the community. Abram and Sarai remain childless. Abram wants to continue on and Terach tells him he may go, but Abram is reluctant to separate from his parents.
Abram and Lot have become shepherds. Pastoral Scene opens with a lone shepherd boy quietly looking after his sheep; a mysterious character who appears in other scenes. Abram and Lot's sheep have multiplied greatly and they compete for grazing land with the sheep of the native Charanian, Rathal. A dispute ensues and Abram and Lot agree to take their sheep to a farther away grazing area. Tranquility is again restored.
Lot and a maiden Tamila befriend each other. (Well Scene) He opens up, and talks about his father's death at the hands of the priests of Ur. Tamila and he begin to connect, but she cut it off realizing that she is on the verge of falling in love, while she is betrothed to another. Lot is left alone, at the well.
A stranger wanders into town (Stranger from Damascus), and is greeted first by Lot. He claims to be from Damascus, but Lot recognizes his accent as that of the priests of Ur. Uncovering his face confirms his identity, resembling the priest who killed his father. The stranger denies it. Although Tifania points out that this man is much too young to have been the one who killed Haron, Lot is overcome with vengeance and tries to kill him, until he is restrained by others. The stranger admits that he was a priest from Ur, and his father was likely the one who killed Haron. Ur had been overrun by invaders who killed all the priests; he alone escaped. They destroyed Arak's statue and replaced it with their own god. The populace was unharmed, and Sarai's family was safe. Lot realized that he almost killed an innocent man, and that the vengeance he sought already occurred. With nowhere to go, and wanting to forget that he ever came from Ur, the stranger is invited by Terach to stay with them, and in gratitude, the man offers to become his servant. His name is Eliezer, and now he will be called Eliezer of Damascus. He suggests that Abram take another wife, since she has not born a child, a notion which Abram harshly dismisses.
Abram offers to return with Sarai to Ur, near her family, but Sarai could not face them, childless. In Sarai's Soliloquy (I've Taught So May Children), she rejects the multitude of gods and magic charms suggested to help her conceive. Finding himself alone with Sarai, Luban makes an advance, which she rejects. Abram and Eliezer discuss the fallen gods of Ur and in Abram's Soliloquy he ponders the universal truths, concluding the unity of mankind, truth, and an existent, but yet unknown God.
Abram's shepherds again complain about the agreement with Rathal. At night, asleep in their bedroom in Terach's house, Abram and Sarai both have similar dreams, which they relate to each other, in which they are called on to leave their home and travel to a new land, with a promise of blessing. (The Dream)
Sarai and Abram finally decide to continue on to Canaan on their own, if necessary. Terach and Tifania, now too old to be pioneers cannot travel. Nahor, with an extended family well established in Charan, stays, and will care for his aging parents. Lot, still unmarried and looking for adventure chooses to join them. (Charan-reprise).
With no ties in Charan, Eliezer will join them and along with Lot, Abram and Sarai prepare to depart (I have to leave- reprise). Terach gives his blessing (Go My Child) reiterating many of the words from Abram and Sarai's dream, as they leave for Canaan.
The finale is a reprise of "Bringer of rain . ." , sung in the opening number, and again in Abram's Soliloquy, now reprised by the whole ensemble as we see Sarai with a Child.

A Day at the White House: The Sparx Brothers Go To Washington . . . - a new musical
(book & lyrics by Vin Morreale Jr.)
(music by Eric B. Sirota)

Imagine the Marx Brothers in Washington, with a Groucho-like character as president and surrounded by the likes of Abbott & Costello, the 3 Stooges and other early 20th century classic comedians.
A romantic comedy where two career government staffers find themselves in the Sparx White House.

See the mayhem when characters resembling the classic comedians of the early 20th Century are together on one stage, each with their unique brands of comedy stylings; thrown against the backdrop of the ultimate slapstick zaniness – the American political establishment.
After a close national vote is deadlocked in Florida, Crenshaw Sparx (resembling Groucho Marx) is appointed President of the United States, surrounded by all the clowns, comedians and con artists that not-so-subtly reflect today’s political environment.

It is a full-length musical (running time about 100 minutes) with 16 songs. Currently scored for piano. It can be performed with a minimum cast of 7 (4-5 men; 2-3 women). It can be performed with a unit set.
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The composer, Eric Sirota, met Vin Morreale, a highly produced playwright when they were paired to work together on a 12-minute work at the West Village Musical Theatre Festival in 2012. Over the next few years, Sirota became established in the musical theatre world, writing music, book and lyrics, with productions of full-length musicals including Frankenstein, which has been running for almost 3 years Off-Broadway at St. Luke's Theatre (with a pause for COVID). In 2018, Sirota and Morreale returned to A Day at the Whitehouse and expanded it as a full-length musical.

It has not yet been produced, but was recently recorded as a podcast, which can be found in its entirety here: https://EricSirota.com/WhiteHouse

SETTING: The Oval Office

SONGS
- ACT ONE
A Change In The White House
This Is Where It Starts
Obfuscation
What Would George Washington Think?
More Than The Sum of Her Parts
The Climes They Are a’Changing
Climes refrain
This Is Where It Ends
- ACT TWO
The Life Of A Politician
I’m In Love With My PC
Love At First Grope
Questions
Regulations
Truth Is A Relative Thing
More Than The Sum of His Parts
Lordy How We Try And Fool Ya
Change In the White House Refrain
- EPILOGUE
Change In the White House Refrain

The action takes place at the well in a small town in ancient Mesopotamia. Lot, a young shepherd who was orphaned at a young age, (and happens to be the nephew of the biblical character Abraham) and a maiden, Tamila, befriend each other, as they each come to the well at odd times to be alone from the crowds. They both share their personal thoughts and Lot opens up, and talks about his father's death. Tamila and he begin to connect and are on the verge of passion, but she cuts it off realizing that they are beginning to fall in love, while she is betrothed to another. Lot is left alone.

It is 10 minutes, but can be extended with a prologue to 13.
It is a self-contained story, but also became a scene in the full-length, "Go My Child"