John Downey, Jenny Kallick, Lew Spratlan

ARCHITECT

John Downey, Jenny Kallick, Lew Spratlan

CAST LIST

(in order of appearance)

Momus, fallen god and trickster baritone*

Louis I Kahn, architect & nomad tenor

Frank E. Brown, archeologist & teacher baritone*

Woman, architect & muse soprano

August Komendant, structural engineer & friend baritone*

Jonas Salk, research scientist & healer baritone*

*The baritone roles may be performed by one singer to dramatic advantage.

ARCHITECT

Track 1. Prologue

The Trickster’s Complaint

Two separate worlds are visible during the pre-show and prologue:

Momus, in the garb of an outsider and surrounded by his acolytes, paces with impatience as he recounts his unfair treatment at the hands of Jupiter. The silent chorus of acolytes follows Momus, echoing his actions in movement and expression.

Louis I. Kahn’s architectural office, lit in backlight at first, exudes a flurry of work and intense debate between Kahn and his young female associate.

MOMUS

You need to understand.

Jupiter cast me from Olympus.

I am Momus, the cleverist of gods,

Exiled – sent to earth – where I did not seek to go.

Whether I could keep the flame,

The godly sign, divine insignia,

Was hotly debated by all the gods.

Hoping to win the day,

I convinced mortals to make magnificent buildings,

To glorify the gods.

Soon man shared my desires.

He, too, sought the flame and fire.

Woman waited.

Though she knew his many selves, she trusted.

Track 1. Prologue cont.

The Trickster’s Complaint

Man hoped to capture the light,

A jewel in space -- with a Wink.

But not all our planets obey space and time.

In the end, the gods were not appeased

And the mortals – oh, how they suffered.

The wild pursuit of unending flame and light possessed us all.

But it must be remembered –

I was exiled -- sent to earth, where I did not seek to go.

Mortals and immortals alike blame me.

SCENE 1 – SEEKING THE FLAME

Track 2

Scene 1. Journey -- To Rome

ELectro-Acoustics

They say I bring trouble

I only did what was asked,

Perhaps too well.

Perhaps I’ll trick you too.
SCENE 1 – SEEKING THE FLAME cont.

Track 2

Scene 1. Journey -- To Rome

ELectro-Acoustics

Momus transforms himself into Frank E Brown, a professor of archeology.

Employing his powers to enchant, Momus/Brown entices Kahn to travel with him to a vision of ancient Rome, abandoning the demands of his architectural firm and the equally pressing emotional ties to his young associate. Kahn’s much beloved rug, used for naps, is rolled up and slung over his shoulder as he leaves, giving him an incongruous appearance. His business suit and trademark bow tie contrast oddly with the traveling rug, suggesting the appearance of a wanderer or nomad.

Track 3

SCENE 1A. Discovery

Ritual & Space

Aria & Duo for Brown (Momus) and Kahn

A vision of Roman ruins appears, giving off an aura of being haunted. Kahn and Brown walk about separately but within earshot of one another.

BROWN (in the manner of a lecture)

The ruins of Rome are Ritual and Space

In Ritual life finds order

And Space must embody that order

Sacred incantation rules the construction

Let this space be for worship

The enclosure completed by this ritual act.

Track 3 cont.

SCENE 1A. Discovery

Ritual & Space

BROWN (gesturing to point out these features)

Columns and arches

Terraces and parapets

A clinging mantle of shadow

A luminous center of light—

Duty, and discipline, and decorum

From brick and concrete and stone

Sacred spaces to embrace the cosmos.

KAHN (in reverie, to himself)

The Ruins are my future…

BROWN

The ruins of Rome are Ritual and Space

KAHN (his reverie continues)

Space has tonality.

BROWN

Let this space be for worship.

KAHN (ever more assuredly)

And I imagine myself

Composing a space.

BROWN

The ruins of Rome are Ritual and Space.

Track 3 cont.

SCENE 1A. Discovery

Ritual & Space

KAHN (and even more assuredly)

Lofty and vaulted

With tones, narrow and high

Graduated silver

From light to darkness.

KAHN (moved to recall lines from Edgar Allen Poe’s 1833 Ode to Rome)

“Rome’s crumbling walls; these tottering arcades;

These mouldering plinths; these sad, and blacken'd shafts;

These vague entablatures; this broken frieze;

These shattered cornices; this wreck; this ruin. “

BROWN (approaching and giving encouragement to Kahn)

The ruins of Rome are Ritual and Space.

KAHN (continuing Poe recitation)

“These stones, alas! -- these grey stones—

We rule the hearts of mightiest men: — we rule

With a despotic sway all giant minds.

We are not desolate — we pallid stones.”

KAHN/BROWN (reciting Poe together)

“Not all our power is gone; not all our Fame;”

KAHN

“Not all the magic of our high renown;”

Track 3 cont.

SCENE 1A. Discovery

Ritual & Space

BROWN

“Not all the wonder that encircles us;”

KAHN/BROWN

“Not all the mysteries that in us lie;”

BROWN

“Not all the memories that hang upon,”

KAHN

“And cling around about us now and ever,”

KAHN/BROWN (exultant)

“And clothe us in a robe of more than glory.”
TRACK 4

Scene 1B. Kahn’s Credo

The Flame

Aria for Kahn

Kahn works out his ideas for building sacred spaces. Momus & his acolytes, staying out of Kahn’s way, listen with satisfaction to his statement of commitment.

KAHN (as if in a trance)

“First you have a sanctuary

And the sanctuary is for those who want to kneel.

Inside this sanctuary is the question

And inside is the flame.

Around the sanctuary is an ambulatory

And this ambulatory is for those who are not sure

But who want to be near.

And inside is the flame.

Outside is a court

For those who want to feel the presence of the chapel.

And inside is the flame.

And the court has a wall. (with enjoyment)

Those who pass by the wall

Can just wink at it.

Just Wink …

TRACK 4 cont.

Scene 1B. Kahn’s Credo

The Flame

KAHN

And inside is the flame.

The fellow who first discovered fire (passionately)

Hid it in his cloak.

The flame burned his cloak

And burst into the open.

When dust settles, the Chapel gives the Sun its Shadow (exhausted)

And the treasury of the shadow preserves the flame.”

And inside is the flame. (with fervor & commitment)

Kahn retreats, feeling the weight of the commitment he has made and the sacrifices he must make to fulfill this commitment.

The light changes.

Visible again in Kahn’s office, his associate is alone. She works on blueprints and projects, while attending to the mail.

TRACK 5

Scene 1C. Waiting

So Many Selves

Aria for Woman

Woman (to herself)

I work while I wait.

But he travels.

He seeks a light to guide him.

Now he writes,

“I have captured the flame and its sound.”

So they have also captured him.

The flame will guide him and his many selves.

Woman now reads aloud, at first dutifully, an e.e. cummings poem enclosed in Kahn’s letter:

WOMAN (with concentration)

So many selves,

So many selves (so many fiends and gods

Each greedier than every) is a man

(so easily one in another hides;

yet man can, being all, escape from none).

Woman (repeating & reflecting)

So many selves,

(so easily one in another hides;

yet man can, being all, escape from none).

TRACK 5 cont.

Scene 1C. Waiting

So Many Selves

Woman (increasing emotion)

So huge a tumult is the simplest wish

So pitiless the massacre the hope

Most innocent

WOMAN (repeating & reflecting)

So pitiless the massacre the hope

Most innocent

WOMAN (with a tone of mystery)

(so deep’s the mind of flesh

And so awake what waking calls sleep).

WOMAN (repeating & reflecting)

(so deep’s the mind of flesh

And so awake what waking calls sleep).

WOMAN (with strongest emotion, almost out of control)

So never is most lonely man alone

(his briefest breathing lives some planet’s year,

his least unmotion roams the youngest star)

how should a fool that calls him “I” presume

to comprehend not numerable whom?

Track 6

Numerable Whom

Electro-Acoustic

Woman turns back to her work, still troubled, as the office disappears from sight.

SCENE 2 -- WHITE NIGHT

Track 7

Scene 2A. Reunion

Mix It Right

Duet for Tenor and Baritone

In a comfortable sitting room, perhaps a club, Kahn & Momus, now transformed into August Komendant -- brilliant engineer & old friend – drink and reminisce.

KAHN (slightly self-pitying)

Dear August, why does everyone pull me down, criticizing without understanding?

KOMENDANT (somewhat impatiently)

You are a dreamer not a fighter …

KAHN (defensively, then more friendly)

We have always work together like brothers and countrymen.

We share the memories of those Estonian white nights, stony beaches, and meals of little red potatoes

KAHN/ KOMENDANT

… and delectable lestakala flounder. (they laugh in friendship & enjoy the memory)

Track 7 cont.

Scene 2A. Reunion

Mix It Right

KOMENDANT (mock scolding)

It’s true

But, you call me August, if you liked my advice

Doc, if you questioned what I advise, and

Komendant when you disagree.

KAHN (again defensively, but progressively more inebriated)

Still, I never questioned that you understand what concrete wants

KAHN/KOMENDANT (mock religioso)

We share our love and respect for Concrete

It is a delicacy like our Estonia flounder.

KOMENDANT /KAHN (playful)

Concrete – Concrete – Concrete -- Concrete – Concrete –Concrete

KOMENDANT (swaying to the beat of the music)

Mix it right and cure it with the right vibrations.

KOMENDANT /KAHN

Concrete – Concrete -- Concrete – Concrete

Mix it right and cure it with the right vibrations.

KOMENDANT /KAHN

Concrete – Concrete -- Concrete – Concrete

Concrete – Concrete -- Concrete -- Concrete

Track 7 cont.

Scene 2A. Reunion

Mix It Right

KOMENDANT

Mix it right and cure it with the right vibrations.

KOMENDANT/KAHN

Mix it right and cure it with the right vibrations.

KOMENDANT

Then time will make it strong

Its beauty will increase.

KAHN/KOMENDANT (competitively)

Concrete – Concrib-badeet-deet

Concrete – Concrib-ba-dih-ba-deet

Concrete – Concra-dib-ba-deet-deet

Con-con-cra-deet -- Concra-dib-ba-deet-deet

KOMENDANT

Mix it right and cure it with the right vibrations.

KOMENDANT/KAHN

Mix it right and cure it with the right vibrations.

KOMENDANT

Let the cranes carry it forth

For buildings that will glow – Concrete!

Track 7 cont.

Scene 2A. Reunion

Mix It Right

KOMENDANT/KAHN (over the top)

Concrete – Con-crib-ba-deet Con-crib-ba-deet-deet

Con-crib-ba-dib-ba-dee-ba-deet -- ba-dib-ba-doo-ba

Concrete – crib-ba-con-crib-ba-deet

Con-crib-ba-dib-ba-deet—deet -- Con-crib-ba-doo-ba-dib-ba-deet – Cree-dib-ba-doo-ba

KAHN

Mix it right and cure it with the right vibrations.

KOMENDANT/KAHN

Mix it right and cure it with the right vibrations.

KOMENDANT/KAHN (again, nostalgic)

Like the pebbled Estonian beaches

It will remain forever.

KAHN (imploring, as Komendant prepares to leave)

Don’t forget me August

Your genius has made my buildings your buildings

KOMENDANT (firmly)

I must go! I cannot delay

KAHN (in his own thoughts)

… has made my buildings -- your buildings

Track 7 cont.

Scene 2A. Reunion

Mix It Right

KOMENDANT (insistent)

I must go!

KAHN (somewhat pleading)

… my buildings -- your buildings

KOMENDANT

I must …

KAHN (interrupting with ardor)

But you understand why we must not hurry.

KOMENDANT (making his exit)

Still I must go. I mustn’t be late.

KAHN (spoken)

Go.

KAHN (with solitary determination)

Delays and promises unfulfilled have brought trouble to my life.

But it is not from weakness or hesitation.

I believe that quick decisions are wrong and block the way to beauty and art.

Track 8

“Unfulfilled”

Electro-Acoustic

Kahn exits, filled with conflict, yet determined.

The scene returns to nighttime in the architecture office and to Kahn’s assistant, who appears desolate & weary. Blueprints are scattered around in a disorganized fashion. Momus only observes at first, then decides to participate, transforming himself into a vision of Kahn, and seduces her in ghostly fashion.

Track 9

Scene 2B. Rejection

So Pitiless

Aria for Soprano

WOMAN

M – m – ah -- ma – -- many selves … (deeply felt, in her expressive personal language)

m-ah oooh –ah -- -- fiends, gods, greedy ma –sss

so pitiless …

(a beckoning call announces the presence of Momus appearing in Kahn’s image)

ah … uh … oooooooo….ah (sensing Kahn’s presence)

zhahbo zhahbo … yah-oo

beebah (beckoning in return)

… zheebah ah-oo …. oo – m – (reaching exhaustion)

Scene 2B. Rejection cont.

So Pitiless

Aria for Soprano

M – m – ah – (as in the beginning but calmer)

… hope most innocent … ss… ah- ooo (again more animated but less despairing)

. . . so never, never is most lonely man alone … (strongly assertive)

ah ee – ah ee ah uh mo (expressing the full measure of her passion and longing)

m …. (devastated, yet with clarity of feeling)

Track 10

Never Alone

Electro-Acoustic

Having reached the depths of despair after her moment of ecstasy, Woman determines to find some peace with her circumstances. She exits.

Momus now understands that he has brought great suffering both to Woman and to Kahn. He transforms himself into Jonas Salk, a wise physician, committed to healing and the union of science and art.

Scene 3 – SOUNDING SPACES

Track 11

SCENE 3A. Healing

Danger Lures Us Forward

Aria and Duet for Tenor and Baritone

Kahn arrives at the building site to meet Salk with whom he will collaborate to make a laboratory. Hoping to fulfill their mutual desire to build a space that enables community and a joining together of science & art, they offer each other encouragement and friendship.

SALK (warmly & confidence)

Dear friend, dear artist, your arrival gives me hope.
Can you build for me a lab’ratory of peace and of stillness?
Where Picasso may come to visit and wish to stay?

KAHN (tentative, exhausted)

Hope lies in dreams,

SALK (encouragingly)

And in the courage of one such as you.

KAHN (taking to his new companion)

I hear what you dream.
Your song knows the past and knows what children desire.

SALK (reassuring)

Your building will give us answers as it grows.

SCENE 3A. Healing cont.