Development
and History of Can’t Say I Do • A Domestic Musical Dramedy
by Peter Alexander and Kevin Yell
Peter and Kevin began work on Can’t Say I Do in the fall of 2000, and
since then it has evolved through several titles and many rewrites. While
they started with the concept of writing a musical about “gay marriage,”
that concept quickly evolved into a musical about family and marriage in
America with distinct “gay” overtones.
With the concept in place, they began by drafting character profiles and
histories, including Enneagram designations for each character. During the
first year two complete outlines were created and several musical numbers
where sketched, some fully developed. During the second year informal scene
readings took place and many of the current songs began to take shape, but
the show did not begin to develop into anything like its complete form until
mid-2003.
From the beginning the creators wanted the show to be versatile. Inter-racial
casting was to be encouraged, and the gay couple, “Alex and “Chris,”
were named and written so that they could be cast as women with a minimum
of rewriting, (pronouns etc.)
On March 28th, 2004, after numerous informal readings, Peter and Kevin produced
the first staged reading of the show, then called Two Words, Three Letters
at Holy Names College, (now University). The cast for this reading was Gina
Green (Carol), Dianne Terp (Margaret), Eric Starker (Chris), Ian Enriquez
(David), Stephen Pauley (Sam) and Peter Welch (Alex).
In preparation for this first staged reading Peter sought out and received
arranging advice from Darcy Danielson (music director at Oregon Cabaret
Theatre), Bob Sunshine (accompanist for the first staged reading), and Jonathan
Earmin. Kevin had taken several scenes to a series of writers’ workshops
with Tanja Shaffer (Let My Enemy Live Long, Baby Taj).
Kevin and Peter took part in a live feedback session with the audience directly
following the staged reading and received written critique from many of
the 100-person audience. Theaterworks dramaturge, Vicki Rozell, was among
those in attendance and volunteered written critique as well as a few hours
to review the merits and needs of the piece.
During the following year, in preparation for the second staged reading,
Kevin and Peter consulted an additional dramaturge, Lenny Pinna and composer/dramaturge,
Craig Bohmler (Enter the Guardsman, Mountain Days.) Some songs were replaced,
a few added, and almost all radically revised.
The second staged reading of what had become, Just Two Words, took place
at San Francisco City College on January 22nd & 23rd, 2005. New scenes
and story elements proved popular with the audience members, many of whom
had attended the first public reading. The cast for this reading included
Gina Green (Carol), Shelly Johnson (Margaret), David Curley (Chris), Sung
Park (David), Doug Mallon (Sam), and Brandon Williamscraig (Alex). During
the preceding months Peter received additional arranging assistance from
Daniel Lockert, who served as music director and accompanist for the 2005
staged readings, both of which were performed with piano/vocal scores written
as reductions of the orchestral ideas Peter was formulating.
Since the second staged reading two songs have been cut, one added, and
several have received revisions. The script was shortened and tightened
to further enhance and focus the dramatic flow, and a new plot element,
of potential deportation for “Alex,” was added. Additionally we
have discovered the show’s title, “Can’t Say I Do.”
Peter has completed the orchestration for Act I and is currently focused
on the orchestrations for Act II. The “orchestra” is a small chamber
ensemble to include piano, cello, and a wind player or two to provide flute,
clarinet, and alto saxophone.
Synopsis
Act I
Act 1 Scene 1
Chris enters to answer the phone and hear from his sister Carol that she
is pregnant. Chris’ enthusiasm at the prospect of becoming an uncle
is not matched by Carol’s response. Carol is frightened and has concerns
for how a new baby might affect her Masters studies in social work and her
relationship with her boyfriend (the baby’s father) David. Their conversation
is cut short when Alex, Chris’ partner, arrives home. Chris relays
the news to Alex, and uses the opportunity to suggest, again, that he and
Alex should marry. Alex playfully reminds Chris that they are not legally
able to marry in “Did I Forget to Say.” Chris complains that he
is “always the bridesmaid and never the bride” while he sings
the “White Wedding Blues.”
Act 1 Scene 2
The next Sunday. David is clearly excited by the prospect of becoming a
father as he and Carol prepare for Sam (Chris and Carol’s father) to
arrive for lunch. In support of Carol’s uncertainty, David agrees to
withhold the news about the baby from Sam. However, Sam arrives having already
learned of the pregnancy from Chris. Sam wants the couple to do the “right
thing” only if it is for the “right reason.” He and David
share thoughts and wisdom while singing “Horse and Cart.”
Act 1 Scene 3
Over coffee, Alex and Carol discuss her fears about marriage and pregnancy.
Alex, originally from South Africa, reveals that his foreign-owned company
is to be “taken over” by an American competitor, which might leave
him with no option but to return to South Africa. Alex leaves Carol with
the advice that until she knows what is best, she should do nothing. In
her attempt to accept this advice she begins, “Waiting for Time.”
Lights Up: Alex arrives home and breaks his news to Chris. Chris tries to
be optimistic, yet the scene ends with Alex, Chris and Carol singing “Waiting
for Time,” each for their own reasons.
Act 1 Scene 4
Two weeks later Margaret (Chris and Carol’s mother) calls from her
home in Missouri only to learn that Carol is out, and have David let slip
that Carol is pregnant. Margaret manages to invite herself to the Bay Area
for July 4th and to give David more than enough advice before her reprise
of “Horse and Cart.”
Act 1 Scene 5
About one month later. Sam visits Chris and Alex as he attempts to help
resolve their crisis by trying to help Alex find a new job. David arrives
as Chris is leaving. Chris is upset to the point of activism, which amuses
Alex greatly. David, Alex, and Sam reminisce while comparing relationships
to dance. Alex and Sam share their wisdom about marriage and relationship
with David in “The Commitment Calypso.”
Act 1 Scene 6
July 3rd. Carol and Margaret discover some commonality and home truths after
a day of mother-daughter bonding through shopping and discussing what it
means to be “Mothers and Wives.”
Act 1 Scene 7
The fireworks fly on July 4th when the whole family returns to Alex and
Chris’ to conclude their celebration. Chris is a bit tipsy. David and
Carol have to leave. Margaret feels the need to leave the room when Chris
insists that he should be allowed to marry like everyone else. Sam follows
Margaret off to apologize for Chris. Reluctantly, Alex informs Chris that
he has decided to return to South Africa. He wants Chris to return with
him, explaining that they will be able to marry in South Africa. Chris,
overwhelmed by this sudden prospect of change and new challenges, sings
“Independence.”Intermission
Act II
Act 2 Scene 1
Later that week. Sam arrives at Carol and David’s to say goodbye to
Margaret. He hopes that they might find a new understanding in order to
support their children in a more united way. Margaret blames Sam for all
the troubles of the family and leaves, slamming the door on him. He sings
“Mothers to Us All.”
Act 2 Scene 2
Early September. While walking in the park, David expresses his desire to
marry Carol in the clever guise of, “You Don’t Need Me.”
Alex and Chris join them and are asked to be Godfathers to the baby, to
be named Walter. With the realization that Alex and Chris may have left
the country by the time of the baby’s arrival, they all sing of possibilities
and to Walter’s future in “Ice Cream Quartet.” Margaret arrives
at her home in Missouri to discover a phone message from Carol revealing
the name of the baby. Margaret explores her own regrets in “The Lonely.”
Act 2 Scene 3
November. Carol and Chris have each received marriage proposals from their
respective partners. They commiserate about the unfortunate circumstances,
consequences and options and reprise the “White Wedding Blues.”
Act 2 Scene 4
Simultaneously, Alex and David are revealing their feelings; Alex to a therapist
and David to his men’s group. Their revelations are punctuated by the
singing of “Bennett Therapy.”
Act 2 Scene 5
Two weeks before Christmas. Sam and Carol are together wrapping presents.
Sam reminisces about Margaret’s pregnancies and sings to Carol and
the unborn Walter, “Lullaby.”
Act 2 Scene 6
The day after Christmas. Chris and Alex are resting among their packing
boxes. Alex gives Chris the ring that Chris has been waiting for all these
years, serenading him with “You Are My One.” The same night David
negotiates a “betrothal” with Carol, pending the legalization
of gay marriage in the USA. Thus “You Are My One” becomes a quartet.
Act 2 Scene 7
Two days after Walter is born. Chris, Alex, Sam, and Margaret await Carol,
David and Walter’s arrival from the hospital. Margaret informs Sam
of her plans to return to the Bay Area to be near the family. After toasting
the new arrival and thanking Carol and David for their show of solidarity,
Chris invites everyone to his and Alex’s wedding in South Africa. Margaret
complains that her son is moving to Africa just as she’s moving back
to be with her family, and asks, “When will we ever be together again
as a family?” To which Chris replies, “At our wedding - if you
come.” (Blackout) The whole family reprises “The Commitment Calypso”
during the bows.