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wonOMUlIlC
An Easter Musical
COMPANlON MATERIALS
Choral Book
Cassette
Compact Disc
Accompaniment Cassette*
Accompaniment Compact Disc**
Practice Trax
Studio Orchestration
Bulletins
Poster
3010232012
7019280501
7019280595
3014212083
3019280583
3010046677
3010333250
9018553018
9018553026
PERCUSSION
VIOLIN*
VIOLA*
CELLO*
ARCO BASS
RHYTHM
HARP
WOHOMI/SIC
Synopsis
As the musical opens, we see the apostle Paul, along with Silas, being judged
guilty of blasphemy and treason in Philippi, for which they are flogged and sent to jail.
Trailing in the shadows is a slave fortune-teller, Verenia, who only moments earlier was set
free of a demonic spirit by Paul, much to the constemation of her master, a purveyor of
fortunes-for-money.
In jaU, their fellow prisoners question Paul and SUas conceming the kind of "lOng"
about whom they were preaching. The rough-hewn Marcus, their leader, expresses
sarcasm that the two preachers follow a "dead" lOng, one who had received punishment
usually reserved for "scum of the earth"-crucifixion. Bis questions give Paul a platform
from which to teH the story of Jesus Christ, while we see many of the scenes from Christ' s
life come to life onstage.
Hiding just outside the jaU, Verenia listen s with great intent, compelled to know the
Source of the power that set her free. When she is discovered by the jailer, Lucius, she
accepts imprisonment rather than banishment, just so she can hear more.
Story by story Marcus begins to see that the King called Jesus regards him just as
highly as He does anyone else. Even so, his life of abuse and skepticism steel him against
accepting this love. Finally, even his hardened heart cannot resolve logically the story of
Christ as the Lamb, slaughtered for him. He is struck by such a love so unconditional,
finally dec1aring his acceptance of and allegiance to the peasant King w.ho died for love.
One by one, the other prisoners follow the witness of Marcus.
Suddenly, a tremendous earthquake shakes the prison, breaking open the door.
Certain that the prisoners will escape and that he will be executed, Lucius prepares to take
his own life. Paul stops him, pointing out that no one is leaving, and shares with him this
same Christ. Lucius had secretly listened to Part of Paul' s accounts, and this final act of
trust convinces him to ask Paul how he, too, can know Christ.
As the musical concludes with a triumphant celebration of the physical resurrection
of Christ, we are struck by the dual sense of that miracle, seeing before us the evidence of
broken, human lives transformed by the Easter love of Christ through the unashamed
witness of two believers.
'f'
T ABLE OF CONTENTS
in order ofperformance
Synopsis .............................................................. 5
Overture ............................................................... 13
::s
Dramatic locus and a compelling story. This may be the greatest dramatic focus
Claire Cloninger has achieved in her many Word musicals. Richly colorful characters,
engaging and memorable, move the beloved Baster story along from several unique
perspectives, through a story-within-a-story structure (see Synopsis and Production
Notes). Members of the audience may well identify with the despondency of the slave girl,
Verenia; the cynicism of the thief, Marcus; the despairing monotony of the jailer, Lucius; or
the victorious confidence of the apostle Paul. Claire has framed this story within the
borders of a Philippian jail, yet also has provided for it to come to life onstage for the
audience. With the invaluable contributions of dramatic consultant Deborah Craig-Claar,
Who Will Call Him King 01Kings is a remarkable Baster presentation.
Musical majesty and excitement. Only Bob Krogstad could have brought to this
story the theatrical rnajesty it needed. His orchestral and choral scores of beauty and
grandeur grant this work a compelling and inspiring scope, joyous to rehearse and thrilling
to hear. His exciting arrangement of the title song, Who Will Call Him King 01Kings, will
linger in your mind and heart long after the musical's conclusion. The transcriptionists have
translated his scores into accompaniments that are faithful and playable, yet rich in color
and choral support.
Orchestral cues marked. An added bonus in this book is the indication of certain
orchestral cues during most of the non-choral passages. These cues will most often relate to
those instruments and players usually available to the church orchestra. They facilitate the
more exposed musical passages being heard with greater musical definition as well as aural
color and interest, for they help the keyboard players avoid doubling those lines (subject to
to the personnel in the church's orchestra and the director's wishes). As another use for the
cues, they could also be assigned to a synth pi ayer.
Two script options. There are two script options within this book: the fully-staged
dramatization, heard on the recording, and a narrated version, useful for churches desiring
a concert presentation. The full dramatization script is interspersed with the music pages.
The narrated version follows the music pages. The Production Notes, also following the
music pages, will be found to be a thorough help to a successful presentation.
Word Music is proud to have been associated with this creative team, deeply
thankful for their months of effort. We are equally grateful for the support teams
engravers, transcriptionists, recording talent, and production staff-who brought this
musical to its finished state. Mostly, however, we are honored to have another opportunity
to present a musical affirmation of the kingship and deity of Jesus Christ. May it be His
Spirit that dominates your preparation and presentation of Who Will Call Him King 01
Kings.
WORDMUSIC
...,....
11
10
these musicals: "How can you come up with a new approach, especialiy
when you are working from the same story that's been told for nearly two
thousand years1"
never tire of the story, or the good news it proclaims (whether Easter,
unfolds before you. That is not to say that the telling becomes easy, for
when you consider all of the perspectives one might take in presenting the
story of Christ's earthly ministry, the task is nothing less than formidable.
And for those of you desiring something less than a day-long pageant (1),
fitting the highlights of Christ's life into a compelling story of less than one
from the New Testament, and all of us would love to teH that pan of the
grappled with a different, and, 1 think, unique, approach: telling the story
writers (in lyrics, music and drama) who contributed so generously of their
God-given talents in the fresh telling of this story. For the solid support we
writers feel from Word Music, my special "Thanks!" And to sweet Claire;
the elements of tbis story, and be able to mold orchestral and choral
harmonies and moods to fit the texture of the moment is a great privilege
To those ofyou reading this (and who we trust will become a pan of
this musical and dramatic experience), 1 can only hope that what is
contained between these covers will reach you in a fresh and vital way. This
story must be told; the world must hear of our risen Lord! May our attempt
at telling tbis magnificent story bring honor and glory to Ris name!
..
'P
13
Overture
Original Music
BOB KROGSTAD
Arr. by Bob Krogstad
.J =ca. 69
Fr. Horn
>
.....;0-___
___-0-___
-------
___
-------
Picc.
----------------~
Brighter
.J
= ca. 130
14
15
>
,
I
>
>
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.,
\11if
>
Trb.~
F.H.!T ...
0.
/0
Llegato
"r
-------
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mp
-------
--------
VOlCE:
The magistrate will decide.
>
With separaton
(crowd reactions)
...-"'O""
-----------------1
"'0""___
____
------
"'O""
'---------------~
~
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------
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pp
:
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17
16
GUARO:
MAGISTRATE:
GUARO:
VERENIA:
OVERTURE
SCENE 1
At approximately measure 13 ofthe Overture, a commotion is heard at the back of
the auditorium. The characters ofPAUL and SILAS are being dragged up the aisle toward
the stage by PHIUPPIAN GUARDS. A small but noisy CROWD isfollowing behind,
some accusing, some defending the prisoners.
CROWD:
CROWD:
ANTONINUS:
Music Begins
WHENINROME
ANTONlNUS:
MAGISTRATE:
him)
MAGISTRATE:
19
18
Music begins. ANTONINUS turns cruelly and exits, leaving VERENIA in tears.
PAUL and CHOIR sing ttWhen in Rome"
ANTONlNUS:
MAGISTRATE:
CROWD:
(ad libs)
MAGISTRATE:
MAGISTRATE:
VERENIA:
LUCIUS removes PAUL and SILAS from the scene. MAGISTRATE exits. The
CROWD also exits, noisily. Only VERENIA and ANTONINUS remain in the courtroom
or street area. (See Production Notes for options iffull choir is costumed.)
VERENIA:
VERENIA:
VERENIA:
21
20
@]
Ob'l
WheninRome
Verse
BILL WOLAVER
Chorus
JANET McMAHAN
and JULIE ADAMS
CLAIRE CLONINGER
Freely
=ca. 84
(ANTONINUS continues)
/.h.
mp
100
CID
B\/D
poco accel.
sub.p_--_ _
-&
\
CID
Dm
PAUL: Solo
mf [EJDm
If
I'm
'------------------~
CID
"
Fl.r
liII
-'
what's
more,
.. ~!'
el
guilt
y-
mp
GID
"ilI
111
For
I
I
a - gain; _ _
1 woulddo it
el
:
\
CID
..
f\
FID
Dm
;::r
T~OI'OI
11
01
01
r=L1
T,-,OI'OI
22
23
[2D
Dm
"
'"
"---....""
1 serve a King who came __ to bring
.
"
CID
r1
I I
r.;
:
CI
1III
1III
ti
1III
CI
1III
ti
1III
CI
Much brighter
G
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00
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~---------(I
CHOIR Ullison
ANTONINUS: There!
"
....
~~
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1=
l 1
f
-(11
~.
>
~_-41>-
~
~
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f"'"'-
Rome,
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aJ
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Rome,
o
and when in
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tII
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>
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>
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r-
This is
:; :;::;
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F/A
>
Em 7
A(n0 3)
-e
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aJ
F/A
.J = ca. 160
Rim!
aJ
f\
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):
Em
"
CI
Em 7
tIIi
Am
aJ
r
must fol - low
and
That's treason!
"
free - dom, _ _
r.;
B~ID
C/D
.........
aJ
B~ID
(Crowd reactiolls)
-j
~.
r-
"
-(11-
,.-..
i""""=q
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....
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7.
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This is Rome,_
....---..,
ID
and
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........
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E 7sus
Am
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24
25
2nd time lO Coda-$
Rome,
y ou
Em/O
do as the Ro - mans
02
do, _ _
you
Em 7 Am
nothing of this king you serve. But Caesar is king here. And more than
A little more!
do as the Ro - mans
do! __
a king, he is viewed by his subjects as a godo Best you remember that. Guilty as
divo
Am
Drn7
Em1
Am
Em7 Am
Em 7
F/A
Em
F/A
Em1
Am
Em 7
F/A
Em
Em7
F/A
NC
sub.
mp
D.S. al Coda ~
charged!
t's Phillipi! MAGISTRATE: Phillipi is a province of the Roman
U/lis.
and pe<idliing
Thisis
D.S. al Coda
Am
* Piano-argo!! (or symh) may divide labor to play Ihe themate motifs.
Em 7
F/A
Em
F/A
Em7
Am
Em1
F/A
Em
F/A
Em 7
27
26
-$-CODA
,...,-...,
"
r--l
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el
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as
Ihe
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:
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Dm7
do! _ _
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:t:
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:
=
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:::::::::--.. .-:::::
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el
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:
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el
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..-=.
Fm 7
Eb m7
NC
I I I
el
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This is Rome,_
-...--~
Fm 7 Bbm
---
...... ..p..'--"'..p..
.......
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el
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........,
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Accented!
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el
~-... ""
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......--.."
do as the Ro - mans
-/9-.
Ab/Bb
L-J
ff
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Bb m
CIII
-....,
el
.
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=
::;
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Gb
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is
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Em 7 Am
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div
el
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---.. ...
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-r
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l 1 I
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28
29
MAGISTRA TE: Lucius, guard
(Crowd reactions)
,"
'='
<
Fm
J)b/O
--
:go:
....
~.
NC
~t>:go~
cJ
........
.........
..lI.L
_-&
=
VERENIA: No! please, sir, 1 beg merey for these meno
>
of the prison at PhillipL.
~~
-&
<
"
>
:u::
- )fmf
~-
--
cJ
mp
--
......
.........
........
-&-
-&-
-&
----
""--
----
>
two prisoners - Paul of Tarsus and Silas, his aeeompliee - into your eustody
t.
>'------------------~
8vb
- -
--------
-&-_____
___-&
"
\~
f
(VERENIA begills
speaking over sustailled Ilote.
~~~
~.
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.--:;
L J
cJ
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........
.......
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-------
-&-__
----------------~
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mf
-o
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"p.
-e
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mp
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-o
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,
----,.1
31
30
One
lone
Iy_ life,
where
tum, _ _ __
MARK GERSMEHL
CLAIRE CLONINGER
= ca. 66
mf
r
VERENIA: The man Paul
Iy_life,
one
who knows the secret of each heart, and draws near to us when we need comfort.
out mean - ing
or
pur
pose_
B_
33
32
E
VERENIA: Oh, if there realIy were such a God. 1 must find this rnan Paul.
--;:
God,
The
D.S. al Coda ~
Anguislzed .f
LI
-eJ
F1.~
/
1- ln
II
"-
\-;r
I
Dmaj7
E/D
G2/B
:f!:~~
ture's_
too
lone - Iy _ _
to
face
... ..
.Lo
!:
(drumfill)
-e"
Gmaj7/B
LI
lA
-$-CODA
fu
"LI1
J.
mf
..
on_
rny_own.
Q)
--=====
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--;:
NC
m:p
"'J
a - lone!
lone,
II
"-
fI
"
..J
?
E
rit
E7suS
Ir-
rito
ll&- .
T~
mf~
1~
II
II
---./
God,
- Iy care_
..J
(~
!:"
A2 SUS
one
lone - Iy life_
t!:~t!:
~,.
.f!.."
-e-
Stgs.
mf:
II
"
bout
,11
J.
mp
)
2nd time to Coda-$
1 }n
a - lone?
-;r
(sp ok en )
y
malta rito
r.-..
a-Ione!
"-
II
..;-
<
ol
rI_
-r
r.-..
I
...
malta rito
I
"
r.-..
-e-
34
35
SCENE 2
After llOne Lonely Life" VERENIA exits. "Courtroom" props, if any, should be
removed in the blackout. Lights come up on prison set. PRISONERS are in huddled in
LUCIUS:
PAUL:
(to PAUL and SILAS as they enter) The flogging was simply
MARCUS:
PAUL:
1 see.
MARCUS:
PAUL:
PRISONER #3:
PAUL:
SILAS:
MARCUS:
SILAS:
MARCUS:
"regulation" )
PAUL:
LUCIUS:
This prison, sir, is the Lord 's provision for rny friend
and me this night. And so we bless Him for His
hospitality. . . . and we thank you for yours.
(shaking his head at PAUL's reply) You what??? Lunatics!
LUCIUS:
. LUCIUS puts PAUL and SILAS in the prison, closes the door and turns the key.
He exlts. As he does, the audience sees (or has earlier seen) that VERENIA hasfollowed
them.. She mCIY, be seen one oftwo ways: one way is that she is seen hiding in the corridor
outsu1e the pnson (seen through bars on prison door). For this effect the prison door must
be designed with bars.
'
Another way ~s that she s~ips into t~e prison in all the commotion surrounding
PAUL and SILAS bemg pushed m and qUlckly moves behind either a rock some other
item being stored there, or perhaps clings against a dark wall, away from the others. PAUL
and SILAS move to the center of the jaU, and suddenly from the shadows the PRISONERS
begin emergingfrom their groups and surround the newcomers.
MARCUS:
PRISONER #1:
MARCUS:
PAUL:
Well, yes ... If you can call them that ... We are too
acquainted with Roman "justice" ... Don't remind me
PAUL:
37
36
JANET McMAHAN-W1LSON
and JULlE ADAMS
Arr. by Bob Krogstad
CLAIRE CLONINGER
.l =ca. 70
F.H.
PRlSONERS:
A little brighter
.l::: ca. 84
A/F~
Bm
Bm
A/~
Bm
A/~
Bm
A/~
Bm
A/F~
A/F#
Bm
A/~
Bm
A/F# Bm
A/F#
Bm
(laughingly, ad libbing)
Right!
Ves! Like us! .. etc.
PAUL, SILAS and PRISONERS sing uA Difierent Kind 01 King"
Bm
(Prsoners)
MEN unison
Bm
Bm
>
*
Em
Bm
A/F#
Bm
A/F#
T
I
38
Bm
Em/C#
39
PAUL
mf..". -fL
:
What kind ofking
dies wound
ed
and
J=ca. 78
In a relaxed tempo
F#
!one?
o'
of Kina
kind
mf 1+
SILAS
..".
:
A
.,...
dif f'rent
'"
col
kind of man:
~
kind of
<
Gently
Bm
Em
Bm
Em
.p..
has
no
one
to
be - friend him,
no
ar
my
to
de-
-"
......
..........,
kind of man:
WiIl-ing to be hum-bled,
Em7
Omaj7/F#
rallo PAUL
,.
(~
m:p
A dif f'rent
'"
..
.. =t
r-i
fend him,
Bm
no king-dom and no
Em7
throne?
will - ing
F#
not
to
say
F#7
r
rallo
=======-_
mp
Dmaj7/F#
'"
..,.
F#7
word,
02
A6
.<fIIJl!
-iJI
==-
I
-111
t\.
Bm
-<11
F#7(#5)
F#7
-,
..,
PAUL and SILAS
Em 7
F#7(#5)
I.
SILAS
MEN
be bruised,
-f!! ..,
L-J
will- ing to
DUET
l.-J
l.-J
What kindofking
r-'i
-f!!
dif-f'rent
r1
..... .,...
Omaj7
AlO
Bm/A
,.
n'
n~'"
..". -fL
Bm
I
dif-f'rent
..... .,...
..... .,...
'",
A6
Bm
to
..,
'"
stand
and
be
02
a-bused,
l)6/F#
So
40
41
Em 7
in - stead
of
crowns?
kind of King. _ __
Em/C~
F~7
Bm/A
F#7SUS
Gmap
A/F~ Bm
Bm
A/:Ftl
Whal kindofking
is
put
to
death
so
cru-el-Iy,
what man
of
might and
>
Em
>
Em
Bm
>
~DUET
PAUL and SILAS U/iSOIl
a - mong
the
rallo
com-mon-ers? __
maj-es-ty
Bm
Em
Bm
A/F#
wouldchoose to
lay them
down?
mf
A dif - f'rent
Bm
F#
rallo
=====
42
43
mp
choose
kind of
.l\.ll~g,._ _ _ __
A/G
Gmaj7
Gmaj1lp1l
pIl7
Bm
mp
SILAS
dif - f'rent
A/B Bm
PAUL freely
PAUL
-"'.
Both
-fL
-(11-
11if. .fL
L::.':J rit.
f')
kind of King.
Bm/A
,~
<
and
be
a- bused
So
ev - 'ry
chance
---
r O
11
r-i
-(11-
to
-fL
dif-f'rent
.
I .
m!P';'"
-fL
....
~
'" Prisoners do not sing here.
rito
kind
of
King!
1';\
1';\
~"
r.
m ol!ore.
1';\
B2
"
".
:
stand
Em 6/F#
Gmaj1
A/G
1';\
<ti
v1": +
r
1';\
r 1 I"J
mpl~
~
! ~~
~
1';\
..n 1
:tt-H..:.,
1';\
........
-u
=--
44
45
SCENE 3
After "A Difierent Kind ofKing."
MARCUS:
PAUL:
MARCUS:
PAUL:
You are not the first to laugh at him. And you will not
be the last. (the prisoners quiet down at the tone of authority in
Paul's vOlee) But to those who believe in Him, He gives
the power of Iife. On those who receive Him as their
King, He bestows forgiveness and merey and grace.
The pain of the past is wiped away, and the lonely
places of the heart He filIs with love.
VERENIA:
Lights dim on prison seene. Spot on PAUL. .PRISo.NER~ gather around him and
are seated. VERENIA stands or sits outside the eell m heanng dzstanee.
PAUL:
PAUL:
SILAS:
Anyone?
VERENIA:
VERENIA:
Ves, sir. PIease forgive me. 1 feel that you have been
imprisoned on my account. You had no one to defend you.
PAUL:
PRISONERS are quiet and listening now. VERENIA has moved closer . ..
almost out into the light.
Music Begins
During the preeeding narration and song, lights e?me up qn a Jerusalem str~et seene.
The eharaeter ofJESUS is surrounded by PEOPLE. He zs speakmg to them, laughmg ando
interaeting in a warm and genuine way. Durin$ this scene several CHILDREN come and su
eomfortably in his lap or stand close around hzm.
itA Crown ofHosannas" immediately follows. (The aeeompaniment traek eontinues.)
A CROWN OF HOSANNAS
PAUL:
47
46
A W onderful Story
(Narrative)
Original Music
BOB KROGSTAD
"
~~
J =ca. 66
Cl. L
jlv
......
mp
..
ji""
!!
-r:
~-=-
11ff
,,...
/:
;'-cP"
Bs.CI.
==r
"f
flD "1 L 1 J
"f
J.
---
sub.
....-::::--,..-:;;:;
mp
n!f
.J
Copyright 1991 WORD MUSIC (a divo ofWORD, INC.)
AH Rights Reserved. Intemational Copyright Secured.
48
49
"
CLAIRE CLONINGER
..,
.g.'
.al
KATHY FRIZZELL
strong.
. lO
mf".
MEN unison
.J =ca. 76
$+ .
.,)
'"
+~+
I~
<
II
lVOMEN mison
.al
hope in
divo
-;r
""
His
love__
....
...,..--..
divo
(
~
-4
is the pow - er
..
I
......--,
uns.
+
that
heals __
us,
And
-(II-~
-.-&
-(11
===
--....,
C/G
F/A
C2/E
1""""""" I
"
...
.,)
<
Copyright 1991 WORD MUSTC (a divo ofWORD. INC.)
Al! Rights Reserved. Internatiol1al Copyright Secured.
G/B
'"'_tIJI.
..
~T
I
-'
rFi"""",
-'
r--l
....
:
C/B'
b..
And
fIII,--,"'
a song. _ _ _ _ _ _ __
B,2
L...-J
Iike Ihe
'--'
i.
G2/B
n.
'--"
W..
F/A
F/A
Cl
G2/B
i-.J
"
""
mf
His
j'
.. ..
Like the
I.........J
G/B
F/A
lo the
----.
-...;
FlIA
loco
riv - er iI flowed_
Like a
...
'"
...
,+
....
...
:..'--"~
"'+
h
'--"
-4
50
51
liQ]div.
'--"
unis.
Dm7
C/E
D/FlI
Gsus
to His
is the
chil - dren,
G/F
div
f'l
uns.
"--""
pow er of Je - sus
that
frees us to
------
Bythe
C/E
Dm7(4)
Dm1
Em 7
al
to
F/A
el
G7/B
$'"
.......
...
I.......J
G2/B
~
"'.
~
to
...
.
I
--
................
<
S --
I
"
......
.
F2/A
To
uns.
... ..
al
D.S. al Coda ~
trust
a - lone.
And He
Cmaj9
F/C
B_2
in His grace,_
divo
F/A
to
calI
on His name!
~
Al
E-/G
D.S. al Coda ~
F/A
53
52
-$cODA
Sweetly
CHfLDREN
~ 11ft
Reach
ing
out
to
ev
mp
Gen
tle
'ry
with
child
His
love
divo
le - sus,
00_________________________________________
Ah _ _
mp
-&
'----------------
divo
lone. _ _ _ _ _ _ _ _ _ _ __
Ah_ _
ttCODA
Am
Cmaj9
C9 sus
A2 SUS
Am 6
Em
Am
C7
Broadening
ti
al
meek
and
mild,
dear
est
Friend
we've
known;
ti
With
al
:
G
C2/E
11
t
<
Am7
m-J
al
. .
Dm7
~-~
".
G7/B
C2
~~J
I
1 tJ
G61B
~
='
His
love
lone!
D 7 sus
54
55
With
And
His
His
love
love __
...---...
Jone,
is the
pow - er
that heaJs__
us,
His
love
this
Jove_ _
,.--...
,.....--....
G2
G'
lone,
reach - ing
and
For
With
is the
pow - er
of
Je
that
sus
,...--..
JJ!./F
M/G'
G2
MsuslG' A'/G'
JJ!./F
"---'
Reach - ing
brings us
out
peace_
JJ!./F
that
this world's__
nev
lone;
er known;_
E.7/G
A-sus
out__
frees
AlE
us
to
live__
as
His
By the
own _ _
By the
Fm7
57
56
r--1
nif
..J
pow - er
of
His __
a -
love
The
lone,
uns.
...-.,
(;l.
""
pow - er
of
His __
love
a - lone,
,..--..,
:
~
The
of
er_
His
Fm/A'
NC
"
..J
(11
.. \:::::::1"
:t~:t
,.........,
."
r--1
...
"
0,6/A~
:o'>2/F
:o'>maj9/F
:o'>
.,.. :
\:::::::1'"'
<
..
"
.....
:t
.~
((11
r--1
>
rito
..J
pow
er
of
His __
love
a - lone.
divo
"
rt.
--=======
ff
.~
el
pow - er
of
His __
love
lone,
divo
,.--..,
--.
E'm7
,.
.
(
~
rnif
...
........
0;6/A>
---.
.'-"~
."
:t
By
the
:f:
f:
love
:o'>
.--,
lone, _ _ _ _ _ _ _ __
unis. ____
.n..
0~6/A~
E~m7
love
nif
"'-""""
pow
f""""""'"
.....
B'm7
>
A;/B~
Ob
L-.d
::v
.--,
>
::
NC
:o'>
:0'>6
:o'>maj1
:o'>/F
58
59
A Crown of Hosannas
CLAlRE CLONINGER
. d out "Hosanna..
1"
direetly into the jaws of Jerusalem, and aH along the way the erowds ene
JANET McMAHAN
and JULlE ADAMS
j =ca. 76
They threw down flowers and branehes and bows before Him as they sang His praises. But only He
E'
M/E.
B./E.
A'IE>
E.
B>/E'
E>
y people had been waiting for an earthly king Iike Caesar, a king with armies
understood that they were praising Him not for who He was, but for who they had hoped He would be.
and weapons and erowns. Now, as the rumors of Jesus spread throughout the eountryside,
Excitedly
CHOIR unison
f __-'
tri -
61
60
.......
ti
I-'.
...
Glo
um - phant,
""
bring-ing
A~E~
"
<
..
A~E~
E~
MIE'
iIt
..
. .o
E'
MIE' B'
"y
:J:~
...
---
:;r
---
---
r
)
~
land;
Cm
B'/D
"
ing
B'sus
'"
....
B7
.,
~:
To
-:J:
:;j:
""
fII
D/A
D7A
J.I
Cm
FIlA
B,2sus
.,;--
Wear-ing
. . Lo"
Iot&
.
o
?J:
~?J:
--,
:::
"iII
divo
I l
unis.
:J=
.f!L
D7
.
I
En - ter, O King
"
:f:
mis.
1'-
."..
of
kings,
""
411
........
" ...
D7
Gsus G
C/G G
=
'1lI
crown
of
:::
=1
T:::
"iII
B'sus
D7
C/G G
::
::
-al
Gsus G
-1
Em/D
:
-::f-al-
wear-ing a
div" - t "
Em
I.
of
Jj
-aI-~ ~
~ o
:;j:
.,
~~
po
crown
JI
ti
.:
..
Gsus
"
.:
l'
B'
.~
<
::
Cm
--=i1-'
-"
A'
I
":;j:
stand.
..f!L
to
~ ~
...
Lift-ing a light,
div.,. ,. -t . .
y:
us strength
~
"
J J ..'..
::
divo
B'
y:
--
.~
....
.......
.g.:
Jj
A'/E'
E'
.,
"
E~
,.
ri-ous Son,
Em7
A7
we
A7sus
-4"
..
-al
bring; _ __
Dsus
63
62
l I
-r
and hon - or
and
pow'r
-&-
...
.(IL
r-
J.I
"
.J
Glo - ry
#: -&-
...
111'
shall be
..
"
G!B
Your peo
~
v
.,-
.J
sing,
...
.(IL
.J
....
of
$:
1'-
:r:
1'
D7
e/G
Ii
wait - ing,_ _ _ __
Gsus
r---,
.J
...
..
C:J
En ter, O Kinll"
unis.
~
?- ""
:::
111'
11
:::
.~.
111
mf.
,
:i
divo
of
kings!
day; _ _ _ _ _ __
.....--------..
,
f
Am7
e
.11
"
I
:
.J
.,
~.
this
11'
Un/S.
crown
r---,
<
...
a
Ii
"
Wear-ing
"
"
.,
J.I
"
-CJ.'
-di
t\
Am 7
Em
pIe
....
song
D/F~
<
the
.J
-CJ.
...
'"
rn
r
:1-
Dsus
D7
D7sus
I.
.. ..,
t\
.,
..
T.
""
lo.
Eb
I
,----
:;'-'
mp
--::::
111
-.........
:!-o ........
-!lo -.11'--4
> >
--:I"'"
:
101"'"
:
-.111
>-
10:
.~[~
...::.1
>
... -;11
Your
64
65
glo
ry,
En - ter
our hearts,
En - ter,
mp
En - ter,
Bbsus
"
Bb
..J
come and
r'
re - ceive
our
. ...
~
~~
.fIL
Ab
"
D/A
..J
King,
.,;;
<
Gsus
...
en - ter,
... ... .
--'"
:J:~
~.
::: :: ....
:::
01
f83l-$cODA
t..::::J ll<d'IV.
"
t::L...
en
AlG
ter,
of
King
~+
J.t&.
en - ter,
..
'lI
King,
AlG
>
D.S. al Coda ~
King,
AlG
I
Wear-ing
AlG
II
G
Cm
.
T
Bigger!
...
01
::
lIi
di~
~=====================::::::::::
~.
G(no 3)
-$cODA
1;
..J
G(no 3)
>
mf
R..
~~:
>
.
:
,.
King,
.. aICoti,a ~
DS
::
AlG
Bb
G(no 3)
>
>
.
-;r
I
>
>
>
"
66
67
SCENE 4
After "Crown ofHosannas" lights go down on Palm Sunday scene and up on
prison. LUCIUS has been awakened by the telling of the story. As VERENIA hears
LUCIUS:
LUCIUS acts as though he is leaving, but stays outside the cell where VERENIA
had been hiding, to hear "chapter two" ofPAUL's story.
(to VERENIA) Are you aH right, miss?
SILAS:
(storming in angrily) Can't aman get a night's sleep in
VERENIA:
MARCUS:
LUCIUS:
PRISONERS:
MARCUS:
PAUL:
VERENIA:
PAUL:
(speaking ad lib, unable to hide their interest in the story) Not yet,
Music Begins
LAMB TO THE SLAUGHTER
He turns to exit, but hears VERENIA sneeze. He spies her outside the cel!.
LUCIUS:
(taking VERENIA by the wrist and pulling her out into the light)
LUCIUS:
VERENIA:
LUCIUS:
VERENIA:
PAUL:
MARCUS:
PAUL:
SILAS:
PAUL:
68
69
.,
CLAlRE CLONlNGER
By the end of "Lamb to the Slaughter" VERENIA has moved closer to the
cross. The rest of the PRlSONERS have followed her. Some are right behind her,
while others hang back at a distance. The only one to resolutely resist is MARCUS.
He begins tofollow, butforces himselfto pull back. He stands alone at the
opposite side ofthe stage,facing out, steeling himselfagainst the emotion that is
drawing him to believe. "Lamb to the Slaughter" segues into uReprise: A Different
Kind of King." (Tape track should not stop.)
NC
,.
<
:
Uf,
-==
mf
8va~
___ __________ _
....
pp
sub.
I.
mf
1.-
,t;;
8~
______ ________
1.
----
~-e
-6
::"
'1
mf
-/:
-e
8va
_ ________ _
\~
)
~
~,
"----'"
-e-______________-~-e-'---__________----,
_____
ii
q~~
::........
______________________ J
:::::::-.:
sfz :
"1
mf
mp
:
,-,-e-___
-e-e8va ______________
_
-------------~ '--------------~
-
_1
71
70
CHOIR (restrainedJ
unis. mp
With - out
word
You
heard
the
and
sen - tence,
With
cross
You
car - ried
the
cross
Fm
Cm7
Ihose
who wound-ed
I)!.2!F
])O !F
bleed,_
mp
Fm
B>m/F
mf
-e-
-e
'-----------------~
of-fered no
de
fense,
With
out
word
You
bore
With on - Iy love
their
for
mf
Fm
-e-
-e
---------------------~
mp
divo
tor
ture-
their
E'!G
llllis.
y ou walked the
tempt;
road
lo
Cal
1)'._-------
mpllllis.
Cm/E>
Fm
E> ])Omaj7
])06
73
Firm/y
72
f
You be
ter, O Lord,_
and
Cm 7
C7 suS
"
"
.........,
@TI
lJ
I.,..-.J
.,.)
carne
our
sac
!'l
fIL
~maj9
"
r:!!:
Fi
Bbm7
Bbm
~6
..
b,.-'- V
"
11 "
11
11
11
"lI
;.
::
....
"
"
::
::
b........J
~JEb
::t1l
"
sword
~~
n~
~3--,
..
E'
"---'"
-:::::
~
"
-el"
mp
-eI,--,
mf uns.
10
die
for
us,
for
us,
went
ter, O Lord,_
giv ing
:~
Ti fice, __
~~
or
Your
life
for
our lives; __
lo
Forthe
die
mp
uns.
B'm/F
Fm
A'/~
~6
A'
Ab/C
B'm7(4)
~maj9
E'(no 3)
74
75
~
--;
(JI
domed
e!
You
and
man;
Lord.
--........
"...--
NC
.:
"
=1
..
1..
1-&
'1
t/i
-&
-&
""
...
'I1F
--:n:-
.,
~u
'---------_..---"
--,::
mp
Un/S.
With
e!
With
pound - ing
mp~
-fIL
force
the
nails
were
IIIJ
-fIL
'"
.,
mp
driv - en
cried
to
heav-en,
"My
God,
wherehave You
nifj)
...
Fm
:ct
'~
Fm
Cm?
...
....
..,
~~~
..u..
--
..u..
--
-&
-&
'--------------~
..
"
e!
nn
hands,
.,
-(If-
Like
cru
;..
el
barbs
the
thoms
'"
-fIL
""
:i .,
-J
:j
)
~\
"
'"
. ;
...
:
111
gone?"_
in
"
--
..u..
..u..
-
-&
-&
'------------------~
..
....
You begged,
D'2/F
D'/F
Fm
76
77
..
D.S. al Coda ~
:::::=-
CLAIRE CLONINGER
they don't_ know_
they've
what
done." _ _ _ _ _ __
j =ca. 69
D.s. al Coda
C7 sus
Cm/E'
JANET McMAHAN-WILSON
and JULIE ADAMS
Arr. by Bob Krogstad
VERENIA: Reflectively
mp
-$CODA
~I
kind
*
Lord.
---
dif - f'rent
---
--....
----.
of
MEN uns.
mp
A
Am 2
dif - f'rent
kind
of King,
Am
NC
-$CODA
;,.
\ -J
J J
mp
1 1 J J
r 1 1 T T
.J
J)hmaj7
:
I
:
- 0 _ _ _
nt.
---
-o-
-----
::::
.--'-:
rf
WilI - ing to
a
Am 2/F
Am2/F
Arn/E
Drn7
* Includes prisoners.
be hum - bled,
E7(#5)
E7(~9)
78
79
say
a word to
stand and be
a -busedmp
So
06
Am
Cmaj1/E
F2
Dm7
06
Am
MARCUS:
Sll.AS:
PAUL:
MARCUS:
I'm sorry, but 1 can't believe you. It's too late for me.
1 know my Iife. 1 know what I've done and what 1
have beco me.
,..
el
divo
ev
"
#:
el
mf
-~
L...........J
a
chance
to tum
;.:
-,J-
.....
'"
ti
dif f'rent
and choose
F6
E7(ds)
#fJ=
---='1
i1
to Him
F2
OlE
:f
,..
Dm'
'ry
E7
I
-(!)..
rito
a dif-f'rentkind of King!
F Em7 Dm7
E 7sus
- - .._---------------- - - - - - - - - - - - - - - - - - - - - -
81
80
MARCUS
m:p
IJ!J Thoughtfully
(Marcus Solo)
for
caus
es,
for
JANET McMAHAN-WILSON
and JULIE ADAMS
AIT. by BolJ Krogstad
CLAIRE CLONINGER
Moderately slow
NC
J =ca. 72
king-dorns or
for
thrones,
For
and
no - ble rnen
wo
rnen
for
LBs.CL
1
=
F2/C
1
--=======
or - phans all
a - one;
He
F6
served
he
roes
whode
for
His char - i
ty,
But
how can
C2/E
be - lieve
C/E
it-
that
82
C2
F/C
a tempo
G/B
G7
die
for
G/B
rall.
dare
for
me? _________________________
r
~~C2
for love of
G7
me,
be
for love of
me,
F/C
a King was
G/B
G7
eru
ci
@]NC
..
How can it
die?
You
say He knows
F/C
me? _______________
-FIC.
would choose lO
mp atempo
Csus
to
man
it
rall.
F/C
a tempo
be-
::
How can
to hope one
my
r
fied?
How can 1
weak - ness,
my
an ger_
and my pride,
y ou say He sees
the
@]
G/F
Dm6/F
un - der-stand sueh
love
G/F
from
One
Dm6/F
I've
C/E
...---....::::::=
F2
rall. NC
rail.
mp
Howcould 1
wretch-ed ness
of
who 1
am
in
side;
And
yet He chose
this
84
C2
F/C
85
C9/E mf Fmaj9
B~maj1/C
road of pain,
this
of_ ag -
cross
ny,
C2/E
how can
be
Am
C/E
And
G/B
NC
D.S.al Coda
rallo
lieve
it-
He
did it all
for
me?
How can it
rallo
=====-
11
This page
intentionally
NC
F/C
dare
to hope one
C~C.
Man
F/C
F2/A
would choose to
die
G7
for
me? _________________
=====--
G.
rlt.
left blank.
87
86
PAUL:
SCENE 5
After "How Can It Be?"
VERENIA:
MARCUS:
PAUL sho~ld pa~e only b,:ieflyfor the track to resume, then proceed whether it
has or noto To achleve a tlght startmg cue on the resumption ofthe track the sound
operato~ should note that t'!ere is an approximately 4-second gap betwee~ measure 12 and
~(4. Jf us!,ng the Accompan!ment c.0mpa~t Disc, advance to track number 41 while in
Pause, and the mUSlC wlll start lmmedlately upon pressing "Play."
The CHOJR sings "Who Will Call Him King ofKings?"
PAUL speaks the lines below beginning at measure 84.
PAUL:
MARCUS:
PAUL:
MARCUS:
Eternal life?
PAUL:
PAUL:
IELECTIVE "PAUSE" I
The Sound Operator should be prepared to PAUSE the track before the
earthquake segment, to allow for possible audience applause (per discussion
and agreement with the director).
PRISONERS:
PAUL:
~hat 'Yas
IS movmg
VERENIA:
LUCIUS:
SILAS:
PAUL:
SILAS:
121
SIlAS:
Dur~ng t~final. chorus, all PRISONERS join in enthusiastically. The audience sees
the. con~erslOn wzth thezr own eyes. Measure 108 ends with a grand pause, after which the
przson lS shaken byan "earthquake."
MARCUS:
89
88
MARCUS:
LUCIUS:
MARCUS:
LUCIUS:
PAUL:
Slowly
NC
(speaks boldly as a new believer Jor the first time) We have met
Vln.
~:
)
f
J = ca. 66
PAUL: Marcus, trust me...
~ ...
:(!::'
...
-&
~r~
:/.11.
",-&
r""1
L!3S. Cl.
=.
..J
IN MY HEART 1 BELIEVE
... ~
mp
FI.
!TI] Dia/ogue
Sligbtly raster
J = ca. 72
r--I
1';;\
mp
~C0J'r;ig~t 199~, this arr. 1991 by Gentle Ben Music (adro. by Word Music)
91
90
WOMEN unison
Smoothly
mp
In
where,
but
not
there!
1 1
Fm 7
Cm9
Cm 2/B'
Cm9
the
in
the
tomb_ __
Aggressively
mp
.,
1 1
f
And
fair; _ _ _ _ __
Cm2/B~
Cm9
to
.....
I
A~maj9
E~
pray, _ _
a - round_
be - gan_
.fL
r"""i
80_
a - fraid;
E~/G
B~
E~/G
B~/C
....
\--l
the earth
Fm7/B~
el
grave,
as
shake
at an emp - ty
11
11
11
"
they gazed_
Cm9
Fm7
as
unis.
#?
+'
....,__;-9
>-"'--'
>-"'--'
>
to
93
92
divo
divo
-------
Ah _ _
00___________________________________
>
the air,
Who will
is
call
of Peace?_
Him Prince
not
B~9/D
B+
Gm7
Cm
rallo
unis.
and you could hear
them
Such a Won - der
divo
fui Coun
se! - or,
Might
y God!
here"
a tempo
.uns.
Who will call Him King
of kings?_
mi
of lords?
Who will call Him
Fm/El> El>
NC
King?
'Cm
Dmaj9
Cm9
11
.. 122
94
95
>
that 1 am a-live!" _ _ _ _ __
as
Cm9
Cm/B'
1 J
1 J
divo
A~maj7
their
eyes,
di-ant
Crn2
They
unis.
ran
white!
>could fly,
"TheLord
is
was
Cm
-====::::::=
as fast_
unis.
(no rall.)
cry,
And with
a voice_
be - fore
-e
E'/G
them
their
96
97
@]
of kings!_
,....--...
of 10rdsL
of kings,_
and
of lords!.
Cm
divo
We
B+
will
call
Him Prince
Cm
G7/B
Gm7
unis.
of Peace!_
We
Fm 7
Fm 7/Bb
G7/B
sel - or,
y God!
call
Him Prince
Cm
ulIis.
will
Gm7
divo
Cm
sel - or,
of Peace!_
Might
y God!
98
99
PAUL: And now we know tha! Jesus Iives, and for those of us who believe in Him, !here will
Broadly
rallo
Optional voices
Afew SopranoslTenors
-======::::::--,.
,--:::::
rallo
F/A
F/A
say: _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
of kings!.
-;:::::::::-::::::======::~ ~
be no deatb. There will be \ife, abundan! and eterna]. To us wbo believe, He gives new purpose and bope,
and freedom frorn every kind of bondage and every prison of tbe soul.
[2TI
G7/B
Cm
Gm/BI
A'
Fm
Fm 9/E'
BI/D
AI/C
Bb7 /D
101
100
l wil! call
Him
l will cal!
King!
Him
lords!
divo
unis.
will
call
Him Prince
..--..
B'
Gm
F/A
Gm/F
E'maj7
B'2/D
BI/C B'
of Peace! _ _
divo ,.--...
II
ff
King
Optional:
Sound operator
pause track
~~===========~~ for applause. //
of
Dm GlmaF/
NC
>
//
>~
sel - or,
Might
God!
Broadening
>~
- sel - or,
Might
y God!
(Earthquake scene)
m.p **
Shh ...
NC
Slowly
ff
o:::p
o:::p
o:::p
o:::p
~
-------------a.:>~
Hit any upper-regis/er
/lo/es wilhforearm.
The more iI
AW
**
103
102
In My Heart I Believe
sus
is
the
Son
of
sus
is
the
Son
of
KURTKAISER
Arr. by 80b Krogstad
CLAIRE CLONINGER
J =ca. 64
Fm7
end o/Solo
con
with my mouth
be-Iieve,_
God.
with my moulh
be-lieve,_
"
.,
Je - sus
fess:
I
"
.,
Je - sus
fess:
E~9
E~7sus
the Son
God,
-*'
~ 4-~
-G
IFmaj7
B'm7/E'
A'
A~2sus
of
God,
IFmaj1
I~:
In my heart
B~9/D
~~r
IFmaj9 Cm?
...
-I:HI
...,
be-lieve,_
divo ,...-....
uns .
B2/D'
In my heart
[J~ ~.,
.,
of
Fm Fm9/B
"
B7
IFmaj1
C7/G
God.
A~
Ihe Son
is
1 con
--is
A~6/C
B'7/D
Fm/E'
Fm
E'/G
A'
God.
A2
E/G~
be-Iieve,_
FIlm
F#m/E
105
l2sl
CONGREGATION andPAUL
raIl.
L.:.:J
A little slower
f
In
rall.
con - fess: _ _ _ _ _ _ __
my
heart
unis.
In
be-lieve,.
my
heart
uns.
Eb6 /F
of_
God, _ _ _ _ _ __
God,
the Son
rall.
of God,_
A little slower
B7/D~
Dmaj7
with
my
mouth
con
unis.
will
--
r~,
sus _ _
call
Him
King
----
God.
of kings,_
with
my
mouth_ _ _
,,-...
uns.
/-::
=:::::::::
Gm/F
C7/E
Bb/C
C9
A2 A
--,
107
106
is
sus
Je
fess:
the
of
Son
m:p
He
of
Gm
Gm?
Cm?
is the
of
Son
F?
Cm?/F
Gm Bbmaj7/F
mp
mf
I
~I
mf
is the Son
sus
Je
God,
I_~---,
~I
I
Je
God,
of
sus, _ _ _ __
the Son
of
pl3
F9
I
C?/E
Gm2
Gm?
Cm?
).
,\~~:~~~:~~:~.~~~4~~~.1~~~~1~~~~~~~~~:~~~
I
I~
God: _ _ _ _ _ _ _ _ _ __
Je
sus!
109
108
ris'n
CHARLES WESLEY
to
le
lu
a!
Victoriously
-e
8va - - -
--======:= []
Al-Ie-lu - ial
Christ is
- - - - - __ ..1
>
ris - en!
Sons
of
men
and
an - gels
say:_
Al
>
r
CHOIR alld COllgregation
Triumphantly
f
Christ
the
Lord
is
Raise
divo
your
joys
and
tri - umphs
high,
'--.,;
le
ial
110
ums.
'J
"
~
al
lu
14
I
-
Sing,_ ye_heav'ns
ial
1~
uns. __
.--....
-(#
'"
-<1
and
earth
re
ply:_ _
mi
c:
1 ti
J 1 IJ
re - deem - ing
work
is
lu
a!
Fought
the
---...
&rilltP &
Love's
111
done, _ _
Al
fight,
bat
le
----..
"
r'
al
<
~"
.........,
Vit
JI
.....
7=CI
==~
CI"'eI
:::-
..
....
f\
...
-*
.. r
...
'"
the
tle
won, _ _
in
vain
mi
Death
G/F
for
112
113
Us.
"
.,)
I I
bids
Him
rise,
---
""
-t
C/E
.,)
@]
--;:
I
1
--
Em 7
Am
....
1>.
....
D7
....
"
iHI
01
r'4
..----
..--....
.r--.
"
-4i
.
.
:;;
..,.
-r-
C ...ill.. C
_D
G/F
PcJ!
...
'"
where
Christ
has
led,~
=divo
El
le
le
+...--~.IV.
..
--
1"""'"
-4i
r
-4i
El
ral~
- d
:;;
-4i
..
I
El
.=41
Al
le
lu
ia!
Fol - I'wing
our
ex
Al
le
lu
ia!
Fol - I'wing
our
ex
ia!
unis . ..-
-a.
~o
Ab7/C
F/C
I
.. hl b';;:-~~
-<I
now
i"""'""'~
we
I)!,
"
o
o
Soar
f1J
C/G
led,
.h... F Dm 6 ..c... F6
.
"
has
.UlliS.
lu
.l
-f2-
G9/F
Christ
AI-Ie-Iu - ia!
...--.
Fmaj1
:t
tJfIo
.,)
-4i
Al
Al
.---...
now where
!.-J
dise, _ _
1 1
tJfI
"
C7
C/E
-.;r
___'h"
........
.........,
G/F
Par
we
- ..,
o - pened
Soar
rallo
...;
G7
Fmaj7/G
Cm 6/Eb
i""==o=o
Christ_ has_
rallo
t..
Broadly, Majestically
Afew sopranos (descant)
ia!
.",-----......
r'4
lu
Am/E
'"
.,)
r ___
-1
..,
le
Bm
.--,
-;;;or
unis.,.~___
"
Al
Asus Am
.
~.
:;;
~o
J),7/F
115
114
U/lis.
(foin Choir)
ia!
".
alt - ed_ Head, _ _
le
Al
al
Iu
>
alt - ed
Head,_ _
Adim 7
le
Al
ia!
Iu
B>m
Ours_
the_ _
cross,
grave,
the
the
skies,
]JI.
rJ/F
Ab/G'
]JI.7
G'
Ab9/G'
A7/Gb
CHOIRonly
divo
Made
Iike
Him,, _ _ _ __
like
Him
we
rise, _ _ __
b
(CHOIR only)
unis.
Al
uns.
NC
>
>
le
divo
lu
ia!
Ar - le -
Al
le
Al
ia!
lu
le
lu
~
,
:r
"
A~sus
r}/A~
~~
~'
.... .!','"
"""<
~~
.,;
~~~~
E~m/r}
/~I
\
f
.,;
ia!
r}
~~
IIJ)
ffJ
:
rIP-
..
c::.....
r:-.
"! "t
.: : >..-----r:-.
Ci
'1- "!
~
.:
::n:
118
119
PRODUCTION NOTES
(FULL DRAMATIZATION)
space. And all production elements must work together consistently to keep the focus on
the appropriate scene. There are a number of production options available in achieving
these goals.
BY DEBORAH CRAIG-CLAAR
GENERAL
Who Will Cal! Him King 01 Kings is a story-within-a-story. It uses selected scenes
from the life of Jesus Christ as a flash-back device witbin the dramatic story of Paul and
Silas' s experiences in Philippi, as recorded in Acts 16:11-40. This dual nature of the
dramatization prescribes a number of creative necessities: the "Christ" scenes and songs,
and the "Philippi" scenes and songs, must be separately created yet share the same physical
A1though different choirs may choose different staging plans, one choice remains
critical in achieving the full dramatic impact of tbis musical: The group of prisoners must
remain distinctive from the rest of the choir throughout the production. Not only are the
prisoners the central dramatic device that binds the production together, they also are the
characters that undergo the transformation from cynical skeptics to new believers. This
transformation has been carefully plotted tbroughout this musical in stages and, for the
audience to receive the strong impact of this change; the prisoners must remain visibly and
audibly consistent.
Therefore, since the prisoners should not sing any of the life-of-Christ songs
(unless it can be done from the dark), and since the vocal demands on the prisoners are
mnimal (only A Different Kind 01 King calls for their participation), the director is
encouraged to take advantage of this situation by using men who normally are not part of
the choir but who might enjoya project such as this, whether singers or not. (See later
notes for vocal options regarding their song.)
The s~all crowd that participates in the Magistrate's trial at the beginning of the
production can easily be chosen from the general choir. They have plenty of time after that
scene to rejoin the choir before His Love Alone. If the choir is small enough that these
crowd members may be "recognized," consider having a simple costume change for them
during tbis interval of time.
If male performe~s are especially scarce in your situation, a director might double
cast the male speaking parts from the trial scene (Guard, Magistrate, Antoninus) with the
principal characters in the largely-mimed scenes from the life of Christ (peter, Judas,
Roman soldier, etc.) However, no prisoner should be double-cast with another part.
The general choir can either be fully costumed to represent the crowds in the
Jerusalem scenes, or they can remain as non-costumed, neutral background figures (in the
10ft or on risers), who chorally help tell the story. If the choir remains a neutral group,
small groups of characters (again, possibly non-choir personnel) will act out the Jerusalem
scenes. In the absence of theater lighting and dimining capabilities, the non-costumed
group must remain still, thus helping to focus visual attention on the scene that is active.
CAST
120
121
SILAS
Silas should be younger than Paul. This pan could even be played by a mature teen,
if he is the most qualified. The character of Silas looks up to Paul as a leader and "hero."
Silas should be an actor, and sings a duet with Paul.
room. The song His Love Alone, Gethsemane and the scene of the women at the tomb
might be staged in the garden area. The Magistrate's trial and other passion tableaus, such
as the Last Supper or Judas' betrayal, might be enacted in the stone area.
MARCUS
Marcus should be played by a man with considerable acting ability, as he must
portray a change of character during the course of the musical-from a cynical, worldly
thief to a sincere believer. Marcus should be portrayed by a good singer, able to put across
the dramatic solo, "How Can It Be?" He could range in age from the twenties to fifties.
Choose your best actor/singer option.
that IS spoken from thlS set, and should allow adequate room for movement and interaction
between Paul and .the prisoners: Suc~ a s~de set must also have an upstage door. This set
would alS? necessItate t?e Magls~ate s tnal sequence be staged downstage in one of the
areas, deslgnated by a sImple charr and crude "witness stand."
VERENIA
This option is much less desirable than the first, lor ir diffuses the audience' s
psychologicallocus (and thus the sense olimponance attached)from a central area to a side
area:!t is mentioned ~ere onlylor those churches lor whom large-scale pageantry is a
tradztzonal pan 01 thelr Easter presentation, andlor which pageantry the available main
Verenia should have singing and acting qualifications. She should have a youthful
appearance, as she is often referred to as a "girl." She should be able to portray a wide
range of emotion, and should possess a somewhat vulnerable quality.
LUCIUS
Lucius could be played by an older man, or one made up to look older. He puts on
a gruff exterior, but is basically good-heaned undemeath. The part of Lucius requires
acting only, no singing.
MAGISTRATE
PRISONERS
PHILIPPIAN GUARDS
SET
Three separate areas of the performing space should be designated. There is not
time to change sets back and forth, and the flow of the production would be harmed even if
there were. The prison should be placed center stage, and two smaller areas can be
established on either side. The prison should be constructed to resemble an earthen cave or
dungeon. A heavy-looking door with bars can be placed at the back ofthe set. It should be
hinged to swing away from the prison, and should have adequate room behind it for
entrances and exits. Be sure there are plenty of crates, trunks, stones, etc. within the prison
on which the prisoners may sit.
The prisoners will stay on this set for the duration of the performance. The two side
areas can be used for all additional scenes: One area might resemble an exterior garden with
foliage, and the other might be a more austere area, with stone pillars to suggest a street or
Optional StaginF Place the Jerusalem set covering the majority of the stage, and the
pns~n area off to one .slde. The director should be very cognizant of the amount of dialogue
The three crosses should ideally be mounted for the entire production placed
upstage and possib~y "over" the ~rison area, so that the prisoners can tum and ea sil y
approach them. 1?IS .also helps V1sually connect the idea of the eanh prison and Calvary.
Whatever set opUon IS used, fill out the set with a sky background.
LIGHTING
Th~ produc~on wi~ be greatly aided by the use of area lighting. This will allow the
scene that IS not acnv~ to dim out co.mpletely. If full theater lighting is not possible, the use
COSTUMES
The costumes for all characters are first-century traditional dress in Palestine and in
the Roman provinces. A good clothing reference book will provide basic guidelines. Two
excellent re~ources are: Historie Costumes lor the Stage, by Lucy Banon (Walter H.
Baker, ~ublisher, 1935). Th~s ?ook is consid~red the "Bible" of historic costuming. If it is
n?t availa~le on th~ market, 11 IS probably avrulable through public and university libraries.
Lme drawmgs are mcluded. Costumes Through the Ages, by James Laver (Simon and
Schuster, Publishers, 1967). (This book includes over 1,000 line drawings of costumes.)
122
123
Several principIes should be remembered for this particular production:
.., First, there should be a c1ear distinction between the costumes of the prisoners
and those in the Jerusalem scenes. In addition to wearing darker and drabber colors, the
prisoners' clothing should be "distressed," i.e., slightly torn, soiled or wom.
.., Second, help achieve the needed visual focus for the lead characters through the
choice of color for their costumes. Keep the fabrics in solid colors and surround them with
costumes of complimentary buf different colors. (For instance, if the prisoners are in
shades of brown, grey and beige, Marcus might be in forest green.) Avoid bright or
contemporary colors, fabrics with a sheen, and any material with small patterns or different
colors.
.., Third, use head cloths and other head pieces sparingly; avoid them altogether for
the lead characters. They great1y restrict and even hide facial expressions.
SPECIAL EFFECTS
Earthquake. A sound effect for the earthquake called for at the conclusion of the
song Who Will Cal! Him King ofKings is recorded on the accompaniment tracks at the
point where it occurs. A keyboard representation of that music is in the choral book.
Additional effects may be achieved using one of several methods:
.., Use a pre-recorded sound effect from a cornmercial sound-effects tape or compact disc;
.., Use tympani, or play the two lowest pedal s of the organ simultaneously, using a
16' or 32' stop (These two options could also be combined.)
Remember that earthquakes are not so much heard as felt. The prisoners must create
the fuIl physical effect of the earthquake through their reactions. Their reactions should not
be directed toward swaying, stumbling, or falling as they should be fear, grabbing one
another, clinging to a walI, partially dropping to the ground, or things such as thal.
Cell door flying open. Hinge the door so that it swings upstage (away from
audience) and away from the prison. Therefore, when it opens, it will help mask what is
behind t. Secure a rope to the lower comer and, at the appropriate moment, an unseen
stagehand can slowly pulI the door open, securing it offstage by tying off the rope.
Crucifixion. Many churches have already established staging this very difficult
sequence, and can use what has worked for them before. Here are sorne suggestions for
churches with more limited technical capabilities or space:
.., Erect crosses with one-dimensional silhouettes of men hanging from them. Light
up a sky effect behind them and the crosses will appear as black shadows.
.., Create three-dimensional mannequins (cloth or plastic) which are attached to the
crosses, then tum them around so that the effect is one of viewing Calvary from the back of
the hill. This allows Mary, John, and others to stand at the apex of the hill and "look into"
the face of Christ, their faces (and reactions) being seen by the audience.
.., Establish the stage area as the "foot of Calvary ," as everyone looks up to the
imaginary crosses as if they were somewhat aboye the audience area. The focus now
becomes the crowd's reaction to the crucifIxion, rather than the physical crucifIxion itself.
Overture
When in Rome
A small crowd brings Paul and Silas down the aisles of the sanctuary, beginning
around measure 13 of the Overture, but beginning later if your sanctuary size is such that
you don't need as much time as is alIowed before the Magistrate speaks. It is suggested that
he speak at approximately measure 47 .
This crowd can remain the only stage characters used in "When in Rome " or the
larger c~oir can. be involv~ as i~ they are townspeople gradually "drawn into" th~
cornmotIon. This latter optlOn will be more believable if the trial is enacted as though it is
occurring outside on an open street.
125
124
A Crown of Hosannas
There is no break between tbis song and the one prior to it. The crowd or choir can
either surround Christ with palm branches where He is on the stage, or, depending on
accessibility, the entire group can process through the sanctuary, retuming to the
performance area by the conclusion of the song. Depending upon sound amplification
considerations, a director might consider sending only Christ and a handful of crowd
players out into the sanctuary, leaving the majority of choir on the stage to sing.
.. During Paul's dialogue preceding the ~ong (" ... After the pomp and ceremony
were over ... "), the Last Supper could be enacted, with Judas standing and leaving
abroptly when Paul mentions u one of His closest friends betrayed Him . ... " If all
twelve disciples cannot be used, a director might consider staging only the footwashing
scene, using just a few disciples.
.. During the first verse of Lamb to the Slaughter, Jesus can be shown praying in
Gethsemane, then being arrested and led to a place near the base of Calvary.
.. During the first choros, Jesus can be mocked, a crown of thorns placed upon His
head, the crosspiece placed upon His shoulders, and His walk up Calvary can begin. If the
man playing Jesus is going to actually be put on the cross, this entire first choros may need
to be devoted to putting Jesus on the cross.
.. During the second verse, Jesus is seen in agony on the cross.
.. The final choros should occur just after Jesus has died. The scene is one of
stillness and sorrow.
Who
wm
?uring this song, the prisoners slowly and individually emerge from their reflection
their new belief. Pace this so that the fun group does not reach
tbis pomt until the final chorus after Paul' s narration. The events of the song might be
enacted in the following manner:
tO'phY~ICally ~ommunicate
.. Dm;ing the fust verse several women enter the garden area, discovering the empty
At the
stage, or
the lmage could remam vocally with the choir.
to~b (may elther be actually constructed or indicated more simply and abstractly).
lyn~al reference to th~ angels, a group of angels could be lit in another area of the
o The resurrected an~ gl?rified Jesus should be lit at the apex of Calvary during the
first choros. He would remam lIt throughout the remainder of the songo It is not truly
necessary to move e~pty crosses, although if silhouetted bodies were attached to them they
must be removed.d~nng How ~anIt Re? In the absence ofthe ability to do the removal in
darkne.ss, the decIslon to use sllhouetted bodies in the fust place should possibly be
reconsldered.
: During the second choros, depending upon your stage size, the women from the
to:n~ mlght ac~ually move ~mong sm~ groups of choir members to spread the news. If
tbis IS not posslble, help build to the chmax by having the full choir join the song by
degree~. If they hav~ be.e~ seated or ~ave. been kneeling during the crocifixion sequence,
~hey will now stand mdl:'ldually, pacmg lt so that the full choir is standing by the choros
Just before Paul's narratlon.
.
.. The focus during the fmal choros (after Paul's narration) sbifts back to the
w?o n.ow join in as welL This is a most triumphant section of music! If there's
any spectallightmg effect that can be withheld for such a moment, it should be used now.
It should be repeated later during the final song .
pnsoner~,
My
1 Believe
. During the earthquace that immediately follows Who Will Cal! Hm King of Kings,
the pnsoners must react believably to the sound effect. (It is strongly suggested that no
attempt be made .to .use actual chains with the prisoners, or to pantomime their falling off,
no matter how Blbhcally accurate. In addition to the noise and impairment of movement it
would be an effect that is very difficult to stage successfully.)
,
. !he dialo~e that follows that song must be delivered with great sincerity and
Paul smgs the first choros of In My Heart 1 Relieve, moving naturally among
the ~nsoners. On the second ~horo,s, ~e .is first j.oined by Marcus, then Verenia, and finally
LuclUs..As the choro.ses contmu~, mdIVldual pnso~ers continue to join--clasping hands,
~~bra~mg, .an~ movmg forward m a bold affmnatlon of their new faith. The choir also
Jom,s, m a slffillarly spontaneous manner, The entire cast should then encourage the
audlence to stand and join the final chorus.
.
slmpl~clty.
126
127
EDITOR'S NOTE: TIs version ofthe script will accornmodate churches preferring
to stage this musical in a concert setting. The choir may be in robes ?r ?ther formal attire.
This narration is written from the perspective of Verema, the slave grrl m the fuIl
dramatization script. In certain segments, the choir wiIl need to play th~ role of cro:vd .
members, and individuals from within the choir will need to assume bnef charactenzatlOns
from within the choir.
This narration can also be performed in costume as a dramatization. A stage set or
backdrop would be optional; Verenia may j~st appe~ in c.ostu~e ~d speak fr~m a ce~tral
area. More effective, however, would be a snnple BIble-tImes mtenor or extenor, addmg
historical color and realismo
These lines should be found to be well within the abilities of certain members of your
choir.
through the streets to the court of the Magistrate. Angry voices filled the
air with threats and accusations.
Verenia' s dialogue eontinues, uninterrupted. Choir voiees begin-see fines
These two men, bewildered but not angry, were pushed back and
forth among the crowd. 1, myself, was thrown into the frenzy, with people
At every street corner, it seemed more and more people joined the
crowd. They heard words Iike "treason" and "blasphemy" and they fell in
blindly. The crowd grew noisier and angrier as we approached the court of
justice; 1 wondered if we would even get there. When we did, we saw that
many people had run ahead of us and were waiting just outside the court.
They were demanding these men be tried by the Magistrate. 1 heard sorne
CHOIR MEMBERS : (SJwut ad fib fines during Verenia' s dialogue. Phrases sueh as any or
Make way! ... Let us through! ... Clear the way! ... They don 't
belong here! ... Take them to the court! ... They are preaching a false
religion! ... Throw them in prison! ... It's treason against Rome! . . . .Only
Caesar is our king! . . . .Take them to see the Magistrate! . . . .We have no
need of these men! ... Why ha ve they come here? ... They speak against
Roman law! ... False god! ... This is no place for their kind! ... We follow
Caesar! ... etc.
vorCE PROM CHOIR: (clearly heard over the others, at approximately measure 37, or
following Verenia' s last fine if after that)
OVERTURE
The narration sJwuld start around measure 7, but start it so that the seeond paragraph begins
at approximately measure 11.
VERENIA:
1 have told my story many times, yet each time it seems new. It is all
1 have of value, and to keep it 1 must give it away. So 1 give it now to you.
For among you here there may be one who wiII come to call Him King of
kings.
The place was Philippi, in the time of Claudius Caesar. A vicious
mob was forming. Two men, strangers to Philippi, were being dragged
VERENIA:
128
129
CROWD:(ad libs)
"It's not true, sir!" 1 cried out. "U anything, they have freed me
from a spell, from a terrible bondage." But, once again, no one would
listen.
"Who is bringing charges against these two?" the Magistrate asked.
And that was when my owner stepped forward.
"1 am, your excellency," he answered.
Music Begins
WHEN IN ROME
(Paul and Choir)
"My name is Antoninus. 1 am the owner of the slave girl Verenia,
your excellency. For years she has earned money for me by telling
fortunes. She has a gift of seeing into the future-and a very profitable gift
it has been, 1 might add. Now this man, Paul of Tarsus, comes to Philippi
proclaiming a false god and enticing the citizens of Philippi to believe as
He does. While in the process of this first offense, he indulges in a
second. He has cast sorne sort of spell on my slave which has rendered her
useless to me. Today, in the presence of these witnesses, he spoke directly
to the spirit in Verenia. And in the name of his false god, he caHed it out of
her! It is gone, your excellency! She can no longer teH fortunes. He has
robbed her of her gift, and he has robbed me of my livelihood! 1 beseech
you, excellency, to imprison this man Paul and his accomplice."
Members of the eMir sMuld be assigned the dialogue within uWhen in Rome." They may
speakfrom within the ehoir. Verenia does not interaet with them visual/y.
ANTONINUS: (during measures 36-44)
.
Lucius, guard of the prison at Philippi. 1 release these two
pnsoners-Paul. of !arsus and Silas,. his accomplice-into your custody, to
be ~ogge~ ~nd Imprlsone~ fo~ the penod of six months. (erowd noises from
eMlr, ad bbzng agreement wlth hlS decision)
VERENIA:
"NO!" 1 cried out to the Magistrate. "Please, sir," 1 said, "1 beg
MAGISTRATE:
Take them away! (more agreement and tauntingfrom ehoir, gradually quieting)
.
Then Lucius, ~he aging prison guard, dragged Paul and Silas away,
wat~ the mob ~ollowlIl:g close behind. And 1 was left alone with my master.
1 .trled to explam to hlm the gratitude 1 felt toward these men Paul and
Sllas.
'
:'They have retur~ed my life to me," 1 said. But he laughed cruelly,
an~ sald that 1 had no hfe now-no reason for living. Without my gift of
tellmg fortunes, 1 was of no value to him or anyone else. He said 1 was not
even worth the food it would take for him to keep me alive. With that, he
turned and left me standing there, stunned. For the first time in my life 1
'
was totally alone.
There-he's admitted it! He's guilty, and so is his friend! Didn't you
hear him say he serves another king? That's treason!
CROWD: (general uproar and agreernent into measure 45)
130
131
Music Begins
Music Begins
He was a King who could have saved Himself, but chose instead to
die friendless and alone for the sins of all people.
Marcus quickly had to reaffirm his dubious leadership, making a joke
of Paul's explanation . .. something about 'hard to follow' and 'harder to
swallow'. His men feH right in line.
#1 MALE VOrCE FROM CHOIR:
We've seen crucifixions before, and they are reserved for the scum of
the earth ... like us! (men in choir laugh and agree, as if the prisoners)
ICHOIR sings
CROWN OF HOSANNAS
"Crown ofHosannas" immediately follows ((His Love Alone"
(Accompaniment track should not stop).
VERENIA:
(over intro of ((Crown of Hosannas") As PauI continued, my heart could
har~ly hold the wonder of his words. He told of the journey of Jesus into
the Jaws of Jerusalem, as he put it. He described the crowds that gathered
along the way. These people had long awaited the coming of an earthly
king, wit.h armies and weapons and crowns. They thought Jesus would be
such a kmg. And so they threw down palm branches befo re Him and cried
"Hosanna!" But in the midst of their adoration, Jesus understood that they
132
133
were cheering for the kind of king they believed He would be, and not for
who He really was.
By now it seemed that the prisoners were becoming more and more
caught up in the story. Sorne of them had even b~gun. to shout "H?sanna!"
along with Paul and Silas. There was so much no~se, m fac!, that It
awakened old Lucius, the prison guardo 1 heard hilO scurrymg along the
corridor and 1 hid again in the shadows.
"Could that have been singing that awakened me?" he growled at the
prisoners. "And what have any of you got to be singing about?" he asked.
Marcus, the thief, explained that the two ~ew priso~ers were telling
the story of Jesus Christ, the King who could brmg new IIfe to ~very heart.
1 almost thought 1 saw a spark of interest in the face of old LuclUs. Surely
.
a lOan his age could use new life, 1 thought. But he only warned the
prisoners that if any more stories were to be told, they had better be qUlet
ones. The room became very quiet ... and that was when 1 sneezed.
Lucius turned quickly and spied me hiding in the shadows.
"Ah! The little slave girl fortune teUer," he cried. "Well, well, this is
a first. You're the first person who has ever attempted to break into my
jail."
1 told hilO that 1 wanted to be near Paul and Silas, that they had been
kind to me.
"Have it your way," he said. And with that he thre~ me in with .the
others locked the door and stomped off. Silas asked me If 1 was all nght,
and 1 'told hilO that not only was 1 not hurt, but that 1 didn't mind being
thrown in with them. 1 said, "1 am glad to come closer. 1 want to k.now
more about your God. Please continue. Didn 't He know He was gomg to be
killed? Why wasn't He more careful?"
and humility. This was the very purpose for which He had come to earth.
Jesus, the Son of God, was sent to be the perfect offering for the sins of
all.
Music Begins
He, the innocent One, was sent to die for the guilty." Then he looked
at ea~h one of us as he said: "For you, Marcus . . . for you, Verenia . . .
fo~ Sdas ... for me ... for everyone of us here. But at a time when His
fnends should have stood for HilO, they let HilO down. One betrayed HilO
to the authorities. Another denied he knew His name. Jesus could ha ve
called down the armies of heaven. He could have saved Himself. But He
chose instead to walk through His last day on earth like a lamb to the
slaughter."
ICHOIR sings uLamb to the Slaughter" I
.
The same soloist as before sings this solo. Optionally, the women of the choir may
smg the solo part, and the men the answering parto
VERENIA:
A great hush had fallen over the prison now. Every lOan was silent.
Some had shed teaes as they saw in their minds the scene of His
crucifixion. Sorne were stiIJ puzzled by the meaning of such love, and
others were amazed. For a moment, no one spoke. Then the voice of
Paul answered, "yes, He knew what was in store for Him. Even so,
when He was arrested He didn't put up a fight."
Marcus the thief was outraged and amazed at this. "Why not?" he
asked. "Why didn't He' fight back. He had done nothing wrong ..Surely
someone would have saved HilO." As Marcus spoke, 1 was surpnsed to see
that the cynicism in his face was slowly disappearing, and in ~ts place was.
an expression of compassion and concern. 1 wondered-could It be that thls
angry thief was beginning to believe in Jesus, too?
Paul looked into our puzzled eyes and began to speak. "Jesus knew
what lay ahead of HilO," he said. "Still He chose to go through the torture
(Marcus's Solo)
"You talk as though He died especially for me. That's not possible" he
'd "H e d'd
,
sal.
I n ' t even know me," Silas broke in, "He does know you,
Marcus. He knew who you would be before you were even born. He knows
you now-tonight. Everything in your heart-the sin, the failure, the
regret. He went to the cross so that you could have a new beginning."
1 think that Marcus almost believed hilO. Finally, though he said
"1'10 sorry, but 1 can't believe you. It's too late for me. 1 know' my life.' 1
134
135
sound operator should be prepared to "Pause" the trackfor audience applause afier measure
and before the earthquake sounds (measure 109) that immediately fol/ow (per discussion and
agreement with the Director). A short space exists on the track to assist with this.
Music Begins
The "Pause" in the accompaniment track that is used m the fully dramatlZed
version (after meas. 12) should be ignored in this version-let the track runo
This also applies to live accompaniment (ignore the fermata at meas. 13)
VERENIA:
By this time 1 had begun to believe in the love of Jesus .. But Marcus
still could not comprehend the fact that Jesus could ~ove him. He c?ul~ not
believe in the promise of a new Iife. Sadly he hung hls head and s8ld ID an
anguished voice, "Don't you understand? There is no new Iife for me. Once
a thief, always a thief."
"You mean you don't believe that Jesus could forgive a thief and
love him, Marcus?" Paul asked.
"1 don 't," Marcus answered.
was
one
that
him
Paul then told Marcus about something that happened when Jesus
crucified. He said to him, "Two thieves died next to .Jesus that ~ay,
on either side. One of those thieves asked to be forglven. I!e beheved
Jesus was King, and because of his belief, Jesus forgave hlm and gave
the keys to new Iife-eternal Iife."
Poor Marcus-he was still confused! "How can a dead king give
Iife?" he asked. "You've already said that they killed Him."
Paul smiled broadly then and said, "Oh, Marcus, don't you see? The
story is not over yet. It's only just beginning!"
ISJ!()IR sings "Who Will Call Him King of Kings" I
In the interlude ofthis song, Verenia (narrator) should speak the fines indicatedfor Paul, as
fol/ows:
Suddenly the ground was moving! The walls of the prison were
bling, our chains were loosed and the prison door was thrown open.
prisoners cried out in fright. (her voice calms) But 1 tried to calm them
"Do not be afraid," 1 said. "It's God. God has shaken the ground
us to release His servants Paul and Silas."
Right then, Lucius rushed in, terrified that we might escape. "Do not
ve!" he shouted. "If even one of you escapes, my life will be worth
lotlung." PauI assured him that he and Silas were staying. Not only that,
the most amazing thing happened. Marcus and the other prisoners
for this drama. Though they are simple and shon, they must be delivered with
focus and expression, as if the NARRATOR is real/y telling the audience this truth.
Paul's reply was simple. "Believe in the Lord Jesus Christ and you
shalI be saved, you and your household."
IN MY HEART 1 BELIEVE
The building effect of this chorus-as it occurs in the ful/y dramatized version-
may be duplicated through the use offirst a soloist (perhaps the narrator Verenia, if she
And now we know that Jesus lives. And for those of us who believe
in Him there will be no death. There will be life, abundant and eternal. To
us who believe, He gives new purpose and hope and freedom from every
kind of bondage-from every prison of the soul.
sings), then afew designated singers, next adding thefull choir, andfinal/y adding the
congregaton.
.301 0232012
SATB
CLON INeER/KRoeSTAD
OVEHTlI RE
WHEN IN ROME
ONE LONELY LlFE
A DIFf'EHENT KIND OF KI Ne
HISLOVE ALONE
A CROWN OF HOSANNAS
LAMB TO THE SLAUe HTER
IN MY HEART
11(
I,'e OF KINeS
\E
RESURR ECTION FI NA LE
WOHD /lfU81C