RED DOOR

This is a lyric sung in chorus at two different times by members of the Minter family, the decaying aristocratic clan whose home is invaded by a revolutionary in my show, THE ANARCHIST GIRL. In the context of the musical, it is a poem written by Jack Minter, the family patriarch, an aged former scientist, philosopher, statesman and poet. It is imagist verse, written in the style of William Carlos Williams, and unlike any other lyric I’ve written for a musical. It is intended to represent the fragmentary thoughts in the brain of a man suffering from dementia but at the same time stand on its own as an evocative and concrete verbal and musical object. –J. Linn Allen

RED DOOR” from

THE ANARCHIST GIRL

RED DOOR.
ON THE RED DOOR.
ON THE RED DOOR OF THE SHED
THE NEW BRASS LATCH
SHINES AS SHE EMERGES
FRAMED IN SHADOW.
THE NEW BRASS LATCH
SHINES ON THE RED DOOR
OF THE SHED
AS FRAMED IN SHADOW
SHE EMERGES.
SHE EMERGES FRAMED IN SHADOW
FROM THE RED DOOR OF THE SHED
AS THE NEW BRASS LATCH
SHINES AND SHINES AND SHINES.

GOD’S WILL

The death and destruction wrought in the name of gods is litanized in this sardonic screed by Ted, the morose male lead in THE ANARCHIST GIRL, which is about how we respond in a world where everything seems to be going wrong—a world all too contemporary. After the woman—the anarchist girl–who has restored his interest in life proves to be a fraud, he takes out his anger on mindless religious zealotry. –J. Linn Allen

GOD’S WILL” from

THE ANARCHIST GIRL

SOMETIMES GOD WORKS IN AMAZING WAYS
HIS MANY WONDERS TO DISPLAY
SO THAT ALL CAN SEE THEM
LATELY HE’S BEEN USING ALL HIS MIGHTY FORCE
TO MAKE HIS MESSAGE BRIGHT AS DAY
WREAKING HIS HAVOC RIGHTEOUSLY HERE AND YONDER
GIVING THE SMACK TO THE SLACK
RAINING HIS RETRIBUTION DOWN ON THE FAITHLESS
MAKING THEM PLEAD TO COME BACK
HEAPING SOULS ON PYRES PILED SMOKING SKYWARD
NEVER CEASING
FIERCE POLICING

SAY YOU DON’T LIKE BLACKS OR BROWNS OR PINKS
OR YELLOWS COLORING YOUR LAND
HERE’S ADVICE THAT’S HANDY
PRAY GOD ERASE THEM WITH NO TRACE
FROM YOUR SPACE
SOON HE’LL PLOUGH THEM UNDER
HE’LL UNLEASH THE THUNDER
FROM HIS HOLY PALACE
HIGH IN THE SKY
HE WILL DESTROY THEM
JUST PRAY
AND SAY TO DYING MEN
TO STOP THEIR CRYING
FOR GOD’S WILL CAN’T BE DENIED
HE’S OUR GUIDE
AND HIS JUDGMENT IS SUBLIME
CHOOSING HIS TIME
ALWAYS THERE ON OUR SIDE.

FOR ALL THE GOOD AND ALL THE EVIL THINGS THAT HAPPEN
ALL OF THE GLADNESS AND GRIEF
WHETHER YOUR LIFE BRINGS YOU JOY OR UNENDING SORROW
NO NEED TO CHANGE YOUR BELIEF
THIS PRONOUNCEMENT SERVES TO COVER ALL OCCASIONS
IT IS GOD’S WILL
LET GOD’S WILL BE DONE
HIS WILL IS PERFECT

IF YOU CAN’T WAIT FOR HIS HAND TO STRIKE
AND YOU’RE IMPATIENT WITH DELAY
YOU CAN TAKE SOME ACTION
CLAIM THAT YOU’VE BECOME THE CHOSEN ONE
HIS SERVANT
GOD’S CRUSADING SOLDIER

CLAIM YOU’VE SEEN THE WRITING
BLESSING YOU FOR SMITING
SAY YOU GOT THE ORDER
TELLING YOU TO MURDER
IT’S SO THRILLING
AND FULFILLING
CHANNELING GOD’S WILL

FAMILY MOMENTS

This song is sung by a brother, Ted, and sister, Stevie, who have a relationship of both intense attachment and acid rivalry at the same time. They are from a wealthy, intellectual but dysfunctional family which is under siege and in the process of breaking up, perhaps to be renewed in a better way, perhaps to be extinguished. I always liked the song for its bittersweet awareness of how ragile and crucial the sweet times in life can be. –J. Linn Allen

“FAMILY MOMENTS” from

THE ANARCHIST GIRL

STEVIE

FAMILY MOMENTS SHOULD BE SWEET,

COMMON PLEASURES PASSED AROUND:

DID WE SHARE SUCH MOMENTS?

TALKS THAT NEVER MISS A BEAT,

WALKS ON OLD FAMILIAR GROUND

WERE THERE MOMENTS LIKE THAT?

TED AND STEVIE

IF WE DID, THEY CAME AND WERE GONE —

NOTHING REAL YOU’D WANT TO RELY ON

TED

SILLY GAMES ON RAMBLING TRIPS,

KNOWING LOOKS THAT MADE US GRIN,

FLASHING BY SO QUICKLY.

WORDS THAT SPRANG TO ALL OUR LIPS,

STORIES WHERE WE ALL CHIMED IN:

I CAN’T SAY WHAT THEY WERE.

TED AND STEVIE

STILL WE WANT TO SAVE SOUVENIRS —

THREE OR FOUR IN OUR MINDS WE CAN TREASURE

ALTHOUGH WE WISH THEY’D MEAN SOMETHING MORE

AND THEY WEREN’T JUST SHAPES FADING IN A DUSTY ALBUM

                         STEVIE

YES I CAN SEE

MEMORIES BUT SO VERY FEW

MOSTLY THINGS WENT BADLY ASKEW

TED

SADLY FOR ME

TENSION SEEMED TO RULE

I FEARED I WAS A FOOL

SO I COPED BY BEING COOL

TED AND STEVIE

FEELINGS HAD TO BE SUPPRESSED

NOTHING WRONG COULD BE CONFESSED

FAMILY SECRETS LEFT UNGUESSED

BUT OH YES, I RECALL SOME GOOD TIMES

LITTLE SCENES BACK THEN I CAN CHERISH.

SO WHY DOES THE BAD

SPREAD OVER ALL WE HAD?

TED AND STEVIE

THERE WERE MOMENTS, BUT SO RARE.

NOW AND THEN I WONDER WHERE

THEY ALL WENT OR IF I CARE.

SHOULD I SIMPLY JUST ACCEPT

THEY WERE ONCE THERE.

AS CLOSE AS CAN BE

I don’t recall ever writing a lyric before that deals with the idea of god, but here is a case where the characters seem to demand it. In this song from my newest show, IN THAT DAWN, Tom, a confused searcher for something to believe in, is trying to comfort his partner, Cecilia, a lapsed Catholic who has come to believe god hates her. The lyric is true to the characters, but I think it also expresses a universally felt emotion. – J. Linn Allen

PEOPLE ARE READY TO TELL YOU GOD LOVES YOU

I’M NOT SO CERTAIN THAT’S TOTALLY TRUE

BUT I’M PRETTY SURE YHAT IF ONE PERSON LOVES YOU

SOMETHING LIKE GOD IS THERE LOVING YOU TOO.


IT ONLY TAKES ONE THAT YOU CAN REACH OUT TO

IN TIMES WHEN YOUR SOUL AND YOUR HEART START TO FREEZE

THE SAME ONE YOU ALWAYS DEPEND ON FOR COMFORT

WHEN DARKNESS COMES DOWN ON YOU LIKE A DISEASE

YOU’RE LOST AND YOU DON’T EVEN KNOW HOW YOU GOT THERE.


BUT YOU KNOW THAT YOU’VE GOT HELP–WITHOUT ASKING PLEASE

WHEN YOU’RE SURE OF GOODNIGHT WITH THAT SAME GOODNIGHT KISS

WHEN YOU WAKE WITH THE TOUCH OF THAT SAME STEADY HAND

THE WORLD BECOMES BRIGHTER WHEN SOMEONE WALKS IN

THEN YOU KNOW LOVE IS WITH YOU WHEREVER YOU STAND.


I’M NOT THAT MUCH OF A SPIRITUAL PERSON

I DON’T THINK THAT FAITH HAS A SURE GUARANTEE

BUT I’D BET THAT WHENEVER I GIVE YOU MY LOVE

THERE’S MORE COMING OUT THAN JUST ME.

AND IF THAT’S NOT GOD, IT’S AS CLOSE AS CAN BE.

I KNOW IT’S AS CLOSE AS CAN BE.

I KNOW IT’S AS CLOSE AS CAN BE.

WOMAN FOR THE WORLD

This lyric, from my musical JANE AND ELLEN AND MARY, is an exchange between social work pioneer and Nobel Prize-winning peace activist Jane Addams and her oldest friend, Ellan Gates Starr, as both near the end of their lives. Jane is ruing her lifelong failure at fully embracing a close personal relationship. Ellen, who once desperately wanted that relationship with Jane, has come to realize that Jane could only have poured her love into a general benevolence for humankind. In writing it I was working out the puzzle that some people—some great people—are not quite made for personal love.

ELLEN

YOU HAVE LIVED YOUR LIFE,

IT CANNOT CHANGE

WHAT YOU DID OR DIDN’T DO

YOU CAN’T REPLACE OR REARRANGE.  

JANE

I WAS ALWAYS LOOKING

FAR BEYOND

OCCUPIED AND SELF-ABSORBED,

I NEVER BOTHERED TO RESPOND    

I KEPT APART  

INSTEAD OF LOVING FULLY THOSE RIGHT NEXT TO ME

WHO SHOULD BE CLOSEST TO MY HEART

I PLAYED THE ROLE OF WOMAN FOR THE WORLD

ELLEN

THE MILLIONS IN THE WORLD WHO LOOK TO YOU

DON’T NEED A WOMAN LOVING ONE OR TWO

THEY WANT THE JANE WHOSE ARMS ARE OPEN WIDE

THEY NEED THE SAINT TO BE THEIR GUIDE.

JANE

I’M NOT AS STRONG OR WISE OR WARM

AS ALL THOSE MILLIONS MAKE ME OUT TO BE

I’VE BEEN WEAK AND I’VE BEEN WRONG.  

AND NOW I WON’T BE ANYTHING FOR LONG

                         ELLEN

BUT WE NEED HER!

THAT ONE AND ONLY JANE

WHO’S ALWAYS READY FOR THE FIGHT

NO MATTER WHAT THE ODDS OR PAIN  

WE NEED TO KNOW

YOU KEPT THE FAITH, YOU DIDN’T FALTER AT THE END

THAT’S THE JANE I NEED

THAT’S THE JANE –

STANDING FOR WHAT’S RIGHT!

FOLLOWING THE LIGHT  

A WOMAN FOR THE WORLD.

YOU MUST BE THAT JANE

JANE

I MUST BE THAT JANE

I AM THAT JANE

A WOMAN FOR THE WORLD

ELLEN

YOU MUST BE THAT JANE

JANE

I AM THAT JANE

ELLEN, JANE

A WOMAN FOR THE WORLD

MOM AND DAD

Not infrequently I catch myself speaking, acting or thinking in a way passed on somehow (genetics, learned behavior patterns?) from one of my parents. I’m sure everyone has this sensation. And sometimes the two clash, catching me in waves coming from different directions. That’s the dilemma of Ted in the 1950’s-set musical DAD AND MOM, which he lays out in the show’s opening song, with the spectral help of his mom, Bitsy, and his dad, Zach.–J. Linn Allen

“Mom and Dad” from the show DAD AND MOM

TED

YOU ARE YOUR MOM AND DAD—IT’S A TRUTH WELL KNOWN.

THEY ARE ALWAYS THERE INSIDE YOU AND YOU’RE NEVER ALONE.

BUT WHICH ONE AND WHEN, AND TO WHAT DEGREE?

DOES IT VARY WITH WHOM OR WHERE YOU HAPPEN TO BE?

DOES ALL THIS SPECULATIONS MATTER?

AREN’T I REALLY THE ONE

THAT’S RESPONSIBLE FOR ALL THAT I HAVE THOUGHT AND I HAVE DONE?

YOU WOULD THINK SO. THAT’S SUPPOSED TO BE THE ADULT WAY.

BUT MY ACTIONS CONFUSE ME AND CONFOUND ME EVERY DAY

AND I FEEL THESE BIG FINGERS

THAT ARE POKING ME AND PRODDING ME

LIKE PLIABLE CLAY.  

Enter Zach, who grabs Ted’s arm.

ZACH

SON, YOU’VE GOTTA UNDERSTAND THE VALUE OF A DOLLAR

STAND ON YOUR OWN TWO FEET AND DON’T BACK DOWN.

THE WORLD DOESN’T GIVE A DAMN FOR WHAT YOU THINK YOU THINK

AND A MAN’S GOTTA KNOW HOW TO HAVE A COUPLE LAUGHS

AND HOW TO DRINK, DRINK, DRINK.

TED

DRINK?

Enter Bitsy, grabbling Ted’s other arm.

BITSY

TEDDY, MY DEAR, SEE HOW FLOWERS BLOOM IN TIME.

FIRST EARLY MARCH WITH SNOWDROPS AND CROCUSES,

THEN STARTING APRIL WITH THE DAFFODILS AND TULIPS.

AFTER COME THE PEONIES IN LATE MAY OR JUNE

AS IF NATURE KEPT THE BEAT TO A LONG-RUNNING TUNE.

They pull on him, dancing with him together and in turn.

                         TED

NOT WHAT YOU’D CALL WELL MATCHED. IN FACT A TWO-CAR WRECK.

A BOAT THAT STARTED LEAKING FROM THE TIME THEY STEPPED ON DECK.

I’M A MAN, WITH A MORE OR LESS MALE POINT OF VIEW.

AND MY STYLE AND TRAITS AND LIKINGS OFTEN COPY DAD TOO

LIKE FEDORA HATS AND STUBBORNESS AND JOHNNY WALKER RED

            AND BULLYING BLUSTER WHEN THE STRESS GOES TO MY HEAD

BUT MY MOTHER WAS THE GIVER OF MY COMFORT AND MY FOOD

            AND SHE’D OPEN UP THE WORLD WHEN IN HER TALKATIVE MOOD,

WITH A FLOWING STREAM OF WARMTH AND OF PLEASANT CHAT

ABOUT THE HUMOR OF THIS AND THE MARVEL OF THAT.

BITSY

LAST NIGHT WE ATTENDED THE MOST INTERESTING PLAY

CALLED DEATH OF A SALESMAN—VERY SAD AND PROFOUND.

IT MADE ME THINK A LOT ABOUT OUR VALUES TODAY

AND HOW WE SPEND OUR LIVES, SO I COULDN’T HELP BUT WEEP.

OF COURSE HALF WAY THROUH YOUR FATHER WENT TO SLEEP.

ZACH

LISTEN, KIDDO, FOR YOUR INFORMATION,  

FANCYPANTS WORDS WON’T CUT IT WITH ME.

YOU THINK THAT YOU’RE SMARTER THAN EVERYONE ELSE.

BUT ALL YOU’VE GOT IS A HELL OF A NERVE.

  IN THE END YOU ONLY GET WHAT YOU DESERVE.

TED

ALL THESE PIECES AND SPLINTERS ARE DRIVING ME NUTS,

SO I’VE GOT TO WAKE UP AND GET MY WHEELS OUT OF MY RUTS.

SOMEHOW SORT OUT THE FORCES AND THEN CALCULATE THE SUM

THAT EQUALS THE AGGLOMERATED MAN I’VE BECOME.

TED, ZACH, BITSY

THE POSESSED, CROOKED, COMINGLED MOM AND DAD PERSON

I’VE (HE’S) BECOME.

“CHANGES EVERY DAY”

This song (which can be heard on the Music & Videos page of this website) marks the climax of The Anarchist Girl, when an ingrown brother and his sybaritic sister, who have been wasting themselves in different ways, resolve to move beyond their static, self-involved lives and enter a perilous world where nothing is certain. To me this is a choice that continually faces almost all of us, in small ways and large. –J. Linn Allen

STEVIE

YOU CAN MAKE LIFE A PARTY

YOU CAN MAKE LIFE A SHOW

ALWAYS THE FIRST TO GET THERE AND THE LAST TO GO

 IT’S A LIFE I KNOW

LATELY IT SEEMS A LIFE I COULD OUTGROW

I’VE WORKED TO SHAPE MY IMAGE

LAUGHING AND UNAFRAID

BIDDING A QUICK GOODBYE TO EVERY MESS I MADE

ALL THE DEBTS UNPAID

LATELY THERE’S BEEN THIS VOICE I CAN’T EVADE  

SAYING IT’S TIME TO CHANGE BEFORE MY TIME BEGINS TO FADE

TED

YOU ARE CHANGING JUST LIKE ME

YOU’RE SEARCHING FOR A CLUE

TO FIND SOME SENSE IN WHO YOU ARE,

A PURPOSE YOU CAN CLING TO

YOU MAKE YOUR CHOICE  

BUT CAN’T BE SURE

IF WHAT YOU CHOOSE IS TRUE  

PERHAPS WE FIND THAT CERTAIN PATH  

IT’S ALWAYS HARD TO TELL

WE CARRY TRUTH INSIDE OUR HEARTS

BUT OFTEN FALSEHOOD AS WELL  

WE STAKE OUR LIVES,

WE MAKE OUR BEDS,  

MAKE HEAVEN OR MAKE HELL

BUT WHEN WE FEEL

THAT WE’VE BEEN CALLED

WE CAN’T IGNORE THE SOUND

WE KNOW THAT IT’S THE TIME TO TURN AROUND

STEVIE

I’VE ALWAYS LIKED TO PARTY

I’VE ALWAYS LIKED TO PLAY

BUT WHEN THE PARTY’S DONE YOU HAVE TO TAKE A CHANCE.

TRY A DIFFERENT DANCE

CHANGING TO MEET THE CHANGES ON THE WAY

TED

WE’LL GO OUT THERE

WE’LL TAKE A CHANCE

YOU AND ME

STEVIE

OR FIND ANOTHER PARTY

TED

NO…WE’LL FIND A WAY TO CHANGE THINGS

STEVIE

AND IF WE FAIL AT LEAST WE KNOW WE’VE GIVEN ALL WE CAN

TED

THE WORLD IS CHANGING ALL AROUND    

STEVIE

AND WE CAN’T LIVE JUST GETTING BY

TED

            WE’LL FACE WHATEVER COMES

STEVIE

           WE’LL TRY TO FIND SOME ANSWERS    

TED

           AND IF DEATH COMES?

           IF DEATH SHOULD PLAY A PART

STEVIE

          THEN DEATH IS PART OF HOW WE LIVE

TED

          A PART WE CHOOSE FOREVER

STEVIE

          THERE’S ALWAYS DEATH

           IT’S ALWAYS PART OF WHAT WE DO

TED

           WE STEP OUTSIDE

           WE DIE OUTSIDE

STEVIE

           AND THAT IS HOW

           WE LEARN TO LIVE

TED

           WE TEST LIFE OUT

           WE TRY IT

STEVIE

           THE TESTS ARE ALWAYS CHANGING  

TED, STEVIE

WE MEET OUR FATES

WE UNDERSTAND

 THERE ARE NO GUARANTEES

            AND IF WE DON’T MAKE CHANGES YET

             IF HOPE IS ALL WE GET  

             WE’LL GO WITHOUT REGRET  

             SO WHAT ELSE CAN WE SAY?

TED

  LIFE CHANGES EVERY DAY

STEVIE

WE’RE CHANGING EVERY DAY

TED, STEVIE

WE CHANGE THINGS DAY BY DAY.