Six Theater Songs


Six Theater Songs


Includes songs from House to Half, Together, I Hear America Singing, and A Woman in Morocco.

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  • House to Half, from the musical revue House to Half
  • I've Never Wanted Anyone Before, from the musical Together
  • (And Then) I Let Him Go
  • I Believe in Song
  • Remember How it Was? from the musical I Hear America Singing
  • Love Comes With a Knife, from the opera A Woman in Morocco


House to Half was completed on November 5th, 1980 in Madison, Wisconsin. With lyrics by Ed Flesch, it served as the opening number of a revue of the same name produced by the UW-Madison Opera and directed by Karlos Moser. The show ran for five performances during January 1981.

I’ve Never Wanted Anyone Before is drawn from the musical Together, for which I contributed book, lyrics, and music in July and August 1976 in New Berlin, Wisconsin. I revised the song at Yaddo during September 1998, adding a B section and a bridge, after playing and singing the original (juvenilia) version on a dare for New York theatrical producer and arts advocate Harold Reed, who commissioned a revised version, which I introduced at a private salon at his home later that fall.

During winter 2013 and the early months of 2014 I wrote the score, lyrics and book on commission from the Skylight Music Theater in Milwaukee, Wisconsin for I Hear America Singing, which had a month-long commercial run during March 2014. Three songs are included from that musical, (And Then) I Let Him Go, based on the folk tune Liza Jane, Remember How it Was? (a duet in the show, revised to be a solo song for this collection), and I Believe in Song, which I revised slightly to serve as a concert number for an October 2015 90th birthday concert for Ned Rorem presented at the Curtis Institute of music in Philadelphia.

Follows a song from the 2015 opera A Woman in Morocco, a verismo two act noir relaying the story of a young American writer who comes to Morocco during the late 50s to write about human trafficking and falls prey to a pair of unscrupulous men whose illegal activities she is on the verge of discovering. Love Comes With a Knife reoccurs throughout the opera at key moments, emanating from an onstage shortwave radio and sung by a nightclub singer named Minerva Mudd. The lyric is adapted from a poem by the great 13th century Persian poet Jalāl ad-Dīn Muhammad Rūmī.