SUTTON FOSTER

IN

ORIGINAL BROADWAY CAST RECORDING

 SUTTON FOSTER
COLIN ALEXANDER JOSHUA
DONNELL GEMIGNANI HENRY
in

SUTTON FOSTER
COLIN ALEXANDER JOSHUA
DONNELL music
GEMIGNANI
by HENRY
book and lyrics by directed by
JEANINE TESORI
in
BRIAN CRAWLEY LEIGH SILVERMAN

music by
JEANINE TESORI
book and lyrics by
BRIAN CRAWLEY

music by book and lyrics by directed

directed by by
JEANINE TESORI BRIAN CRAWLEY LEIGH
LEIGH SILVERMAN
SILVERMAN
 CAST
(I N O R D ER O F A P P EA R A N C E)

Young Violet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emerson Steele

Violet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sutton Foster
Father . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexander Gemignani
Leroy Evans/Radio Soloist/Bus Driver 3/Bus Passenger . . . . . . . . . . . . . . . . . . . . . . Charlie Pollock
Preacher/Radio Singer/Bus Driver 1/Bus Driver 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Davis
Old Lady/Hotel Hooker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annie Golden
Flick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Henry
Music Hall Singer/Bus Passenger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anastacia McCleskey
Virgil/Billy Dean/Bus Driver 2/Radio Singer/Bus Passenger . . . . . . . . . . . . . . . . . . . . Austin Lesch
Lula Buffington/Almeta/Bus Passenger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rema Webb
Monty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Colin Donnell

Swings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jacob Keith Watson, Virginia Ann Woodruff

Standbys/Understudies. . . . . . . . . . . . . . . . . . . . . . . . . . . . Haven Burton, Emma Howard, Azudi Onyejekwe

ORCHESTRA
Conductor: Michael Rafter
Associate Conductor/Keyboard: Jason Michael Webb
Violin: Justin Smith
Cello: Emily Brausa
Guitars: Sean Driscoll, Matt Hinkley
Bass: Leo Huppert
Drums: Sean McDaniel
Keyboard: Shawn Gough

Orchestrations by Rick Bassett, Joseph Joubert, Buryl Red

Additional Arrangement for A Healing Touch by Jason Michael Webb

TIME & PLACE

September 1964, across the American South
 MUSICAL NUMBERS
D 1. Water in the Well. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Young Violet, Violet & Leroy Evans
I 2. Surprised. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet, Bus Driver & Old Lady
S 3. On My Way. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet & Company
C 4. M&Ms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
5. Luck of the Draw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Father, Young Violet, Violet, Monty & Flick
O 6. Question n Answer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monty & Violet
N 7. It was my mamas . . . . . . . . . . . . . . . . . . . . . . . . . . Monty, Violet, Flick, Young Violet, Father, Bus Driver 2 & Old Lady
E 8. All to Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet, Monty & Flick
9. Water in the Well (Reprise). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Young Violet, Monty, Flick & Father
10. A Healing Touch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preacher, Young Violet, Gospel Trio, Violet & Flick
11. I saw you writing in that book again. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flick & Violet
12. Let It Sing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flick
13. Theres your first miracle.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monty, Violet, Bus Driver 2 & Flick
14. Anyone Would Do. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hotel Hooker, Flick, Monty, Violet & Almeta
15. Wholl Be the One (If Not Me) . . . . . . . . . . . . . . . . . . . . . . Radio Trio, Flick, Young Violet, Father, Old Lady, Monty & Violet
16. Last Time I Came to Memphis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monty
17. Go to It. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flick, Monty & Violet
18. Lonely Stranger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Music Hall Singer, Hotel Hooker, Flick, Violet & Monty
19. Lay Down Your Head. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet

D 1. Anyone Would Do (Reprise). . . . . . . . . . . . . . . Violet, Music Hall Singer, Almeta, Hotel Hooker, Bus Driver 3, Monty & Flick
I 2. Hard to Say Goodbye. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flick & Violet
S 3. Little girl got it all figured out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flick & Monty
C 4. Promise Me, Violet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet, Flick, Monty & Young Violet
5. Raise Me Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preacher, Lula Buffington, Choir & Virgil
T 6. Down the Mountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet, Virgil, Young Violet & Father
W 7. In the Chapel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet & Preacher
O 8. Raise Me Up (Reprise). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet & Preacher
9. Look at Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet, Young Violet & Father
10. Dont try to quote to me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Father, Young Violet & Violet
11. Thats What I Could Do . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Father
12. I want to bless you. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet & Father
13. Surprised (Reprise). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet & Company
14. I tried to tell you. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Violet, Monty & Flick
15. Promise Me, Violet (Reprise). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flick, Violet & Young Violet
16. Bring Me to Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Full Company
Colin Donnell as Monty, Joshua Henry as Flick
 VIOLET
by Amy Sherman-Palladino

So, one day Im hanging with Sutton Foster, and she turns to
me and says, Im doing a one night concert of Violet at City
Center. You should come. Now, I would watch Sutton Foster do
a crossword puzzle, so of course I tell her Im there. Violet? Ive
never heard of Violet. And I consider myself fairly up to speed
on Broadway shows. Whats Violet? Sutton looks at me with her
fabulous fourteen-year-old tomboy Muppet face and says, Its
about a young girl who gets hit in the head with an axe. Well,
that sounds festive. She continues. Shes grown now and shes
taking a bus to a revival meeting to have a preacher heal her.
Okay, didnt really see that coming. I try to picture it. Visions of
an eleven-oclock dancing-axe number sort of a twisted riff on
Seven Brides for Seven Brothers materializes in my head. Sutton,
seeing right into my cynical soul, knows exactly what Im thinking.
She taps my arm. I know its hard to explain butthis girl, this
show, her journey, its justspecial. Sutton smiles. Trust me.

Well, theres almost no one in the world I trust more than Sutton
Foster. We had just spent the last year together doing a little
television show that bonded us forever, both by the thrill of creation
and the heartache of cancelation. Working with this Broadway
powerhouse actually restored my faith in show business and frankly
the world in general. I would follow her to the ends of the earth. So,
if she tells me its special, I figure she knows what shes talking about.

Violet was the first show that Jeanine Tesori ever composed. With
book and lyrics by Brian Crawley, it had a successful off-Broadway
run in 1997 but never transferred. And now they were doing it as
a one-night concert as part of the Encores! Off-Center series. One
night only, folks!

Now, I have a particular obsession with Jeanine Tesori. My

Sutton Foster as Violet husband, Dan, and I were major bicoastal Caroline, or Change
stalkers, although I guess youre not technically a stalker if
you bought a ticket to the show each time you saw it and
didnt follow anyone from the cast home in a disturbing
manner afterward. But we saw it a lot. And then we forced
every person we knew to see it. And when we ran out of
people we knew, we went out and met some more. And we
dont really like people, so thats a lot of commitment. But
that show was worth it. That music was worth it. Theres
good Broadway music, and then theres Tesori.
We couldnt get into the actual evening performance at
City Center. Too crowded. Apparently, I was the only one
who didnt know Violet. So, Dan and I went to the invited
dress rehearsal instead. Middle of a New York summers
day, we get to the theatre hot and schvitzy from the subway
ride and take a seat. The stage is bare. The actors are
standing, script in hand its a rehearsal, so the clothes
are comfortable. This has none of the razzle-dazzle of
Broadway. No fireworks, no giant puppets in the aisles.
Just some musicians and a cast. The lights dim, and then
Okay, now theatre is a magical thing. Its a clich to say it,
I know, but it is. Sitting in the dark watching something that
makes you forget, just for a moment, that every second that
ticks by is edging you closer to death, is a wonderful feeling.
If the show is great, that feeling can stay with you for a day or
two. And if the show is Violet, your world is rocked.
From the first notes of Water in the Well, something was
different. Violets a small show. Simple. A show about
people. About love, fear, disappointment and redemption.
It was stunning. And it was for one night only.
For one night only?! Dan and I look at each other. Are you
kidding me? Thats it? And then what? It goes away? Well,
screw that! What do we do? Who do we call? I mean,
look, Im in television. I eat disappointment for lunch. Im
used to the lovely losing. I expect the small, wonderful
character pieces to be pushed aside so someone can say
the bullet entered here, but this is Broadway! This is
where art wins, right?
Enter Roundabout Theatre Company on a big white horse.
Now, Roundabout is a company that not only prides itself
on having the most restrooms per visitor (check their
website), but more importantly they are a group dedicated
to taking risks. To mounting shows that dont seem shiny and
safe and easy, shows that dont fit in a Happy Meal. They
want to produce wonderful shows that should been seen.
Cause, lets face it, the world is doomed and the polar
bears are dying and the least that someone can do is give
the people Violet.
So, they did. They handed the keys to the American Airlines
Theatre to a murderers row of Broadway talent and let the
mayhem ensue.
Jeanine, Brian and director Leigh Silverman set to work
turning the old into new. They were brutal. Songs were
cut, new songs written, scenes tightened: everything was
meticulously honed. It was thrilling to watch the whirlwind
of energy. Leigh, a theatrical rock star whose intelligence
and incredibly positive work style created an environment
so supportive there was no fear of failure, coaxed every
moment out of Brians deeply funny and heartbreaking
words. Jeanine appeared and disappeared all over the
theatre, like a poltergeist with ADD, popping up, singing
every word, jumping on the piano to demonstrate an
impossible, bluesy riff. Like that, she commanded as
she put her hair in a ponytail for the fourth time and
disappeared again. Music director Michael Rafter, a sweet,
relaxed, smiley man over drinks, suddenly morphed into
musical theatres version of Full Metal Jacket, relentlessly
hammering home those tricky rhythms, those complex
harmonies, over and over and over. There would be no
stopping until it was
Perfect. Thats the thing about Violet. Its perfect. Sorry, but
it is. A perfect story with a perfect score and a character
at the center so emotionally powerful you have no choice,
you have to follow her. You have to love her. This show has
warmth and edge, and laughs and tears and energy. And
fun. Its a lot of freaking fun.
Its kind of amazing that a show written seventeen years ago
and set in the 60s could feel so relevant. But young women
today face unbelievable pressures from a hyper-drive
society and an overloaded media to look and act in certain
ways. Growing up feels faster and the rules are changing
constantly, but the same questions of who they are and
where they fit in still apply. They may not have an axe scar
in their head but they do have to stare at the Kardashians
an awful lot, so its kind of a wash.
The term girl power gets thrown around like confetti
these days. Ive dabbled in some girl power writing myself.
Usually it means the girl gets to save the guy at the end
and carry a gun in a really cute purse. Girl power in my
mind is the power to let girls be exactly what they are. Let
them be angry. Let them be resentful. And rebellious. Let
them be hard and soft and loving and sad and silly. Let
them be wrong. Let them be right. Let them be everything.
Because, they are everything. In so many ways Violet is
the quintessential girl-power show. With the quintessential
girl-power heroine. Shes someone who feels ugly and
cheated by fate, but at the same time shes determined
that her life will not be small. She will be happy. She has
hope and determination and strength. And because of that
strength, she finds beauty, and love, and acceptance, and
forgiveness, all without giving up one ounce of who she is.
Take that and put a cape on it.
The girl power takeover starts with an utterly fearless
performance by Sutton Foster. Yes, everyone knows Sutton
is the ultimate triple threat. But the work she does here in a
part she convinces us was written for her, though obviously
it wasnt is a game changer. Then theres the cast. Joshua
Henry, Colin Donnell, Alexander Gemignani, Ben Davis,
Annie Golden, Emerson Steele, Austin Lesch, Anastacia
McCleskey, Charlie Pollock, Rema Webb. I feel like you
have to name every single one of these amazing people
when you talk about this show, because its an ensemble
piece in the true sense of the word. Each person is specific.
Each person has a journey, a character and world they
created. Violet would not be what it is without these people
showing up eight shows a week.
So, after a long, long journey, here it is: a beautiful two-disc
(hey kids, its been supersized) recording immortalizing this
beautiful, weird, wonderful world, and the story of this girl.
So, whats left to say? In the words of my beloved Sutton,
Violet its just special. Trust me.
April 2014
Amy Sherman-Palladino is the Emmy-nominated creator,
writer and producer of Gilmore Girls and Bunheads.
 SYNOPSIS
With a ticket, a suitcase, and a heart full of expectation, Violet Karl waits for a
Greyhound bus in Spruce Pine, North Carolina. It is September 4th, 1964. For
a moment she sees herself as a young girl (Young Vi), carefree and singing a
folk song (Water in the Well), before her face was horribly disfigured in an
accident. A locals nosy question breaks Violets reverie, prompting her to look
forward to the healing she expects to receive from a televangelist in Tulsa that
will help her transcend her provincial little town (Surprised). As the bus departs
the station, the passengers muse as to where this journey might lead them (On
My Way).

The passengers pile off the bus to get some food at a rest stop in Kingsport,
Tennessee (M&Ms). In the grill Violet meets two poker-playing soldiers, Flick
and Monty. Flick is a black sergeant in his early thirties, Monty a younger white
corporal, a paratrooper. Both are bound for Fort Smith, Arkansas. Violet asks
to join their game, and as they deal her in, she privately recalls how her father
taught her to play (Luck of the Draw).

Back on the bus, Monty teases Violet about a preacher he obviously has no faith
in (Question n Answer). He takes a book she carries and plays keep-away
with it, which triggers Violets memory of the day she found the catechism in her
fathers bedside table. Later, in the Nashville station, Flick wants to know exactly
what it is that Violet wants to change. With the help of movie magazines she
shows the soldiers the physical features shed like best (All to Pieces), but they
offend her when their attention wanders. She sits apart from them as the journey
continues, recalling once again her younger self singing the folk song, which
turns out to have been the moment just before the accident (Water in the Well
[Reprise]). Violet daydreams an encounter between herself as Young Vi and the
Preacher (A Healing Touch).

As they are approaching Memphis, Flick seeks Violet out to apologize for
offending her earlier. He suggests she can take care of herself without the help
of the Preacher (Let It Sing). Stopping in Memphis overnight, the trio pass
a hooker on the way to a boarding house, where Almeta the landlady resists
housing a white woman until Flick slips her some money (Anyone Would Do).
While a song plays on the radio (Wholl Be the One [If Not Me]), Violet
dozes, seeing herself as Young Vi trying to dance with her father, then practicing
dancing with the old lady from the bus. Monty appears and dances with both
women in turn. Monty really has entered Violets room. He finds her book and
starts to read things Violet has written in it. She awakes and confronts him,
prompting Monty to explain himself (Last Time I Came to Memphis).
Ben Davis as the Preacher, Emerson Steele as Young Violet
Flick enters the room with some drinks to start the night off (Go to It). The
threesome venture out to a Beale Street music hall, where the sight of Flick dancing
with Violet attracts some unfriendly attention (Lonely Stranger). When Monty
moves in and makes a pass at Violet, Flick leaves the hall. Violet follows him back
to the boarding house; the landlady interrupts a tender moment between them.
In the middle of the night, Monty stumbles in through Violets unlocked door. He
wakes her, makes love to her, then falls asleep in her lap (Lay Down Your Head).
The music hall singer, the landlady and the hooker cap the evening with a trio
about unfulfilled desire (Anyone Would Do [Reprise]).

Violet travels with the men to Fort Smith the next morning, on her way to
Tulsa. Flick and Violet pledge to write each other, but Flick gets upset about the
events of the night before (Hard to Say Goodbye). Violet escapes to the bus
bathroom, where she rehearses what she will say to spurn Monty, afraid hell
otherwise reject her first. In the front of the bus Monty rehearses his own spiel,
at Flicks direction. But when it comes time to part, Monty instead asks Violet to
meet him on her return stop at Fort Smith (Promise Me, Violet). She promises
nothing, cleaving to her plan, and the bus pulls away. Alexander Gemignani as Father

In Tulsa, Violet surprises the Preacher in rehearsal with his choir (Raise Me Up).
He pawns her off on Virgil, a young assistant, and in her frustration she recovers
the memory of being carried in her fathers arms after the accident (Down the
Mountain). Soon she slips away from Virgil and returns to the televangelists empty
chapel. Violet takes out her catechism and empties slips of paper she has covered
with Bible quotes onto the altar (In the Chapel). When the Preacher discovers her,
she pleads with him to help invoke her miracle (Raise Me Up [Reprise]). When
nothing comes of this desperate attempt, she demands he see her for what she is:
scarred and hideous, a prodigy of pain (Look at Me). She looks to the heavens
for a moment; the Preacher is replaced by her father. They fight, until he apologizes
for what he has done (Thats What I Could Do). Aware that something about
herself has changed, Violet assumes it is her scar; she reboards the bus, convinced
she has had a miracle (Surprised [Reprise]).

When she gets out at the Fort Smith station, Monty is there waiting. His efforts
at sympathy make plain to her that her face has not changed at all. Crushed,
she rejects Montys invitation to marry him before he ships out to Vietnam.
Flick is also at the station and recognizes that Violet has changed, though her
scar has not. He entreats her to stay with him (Promise Me, Violet [Reprise]).
At first she refuses, but her younger self appears and stops Violet from
rejecting what she wants most. Violets healing is complete when she takes
Flicks hand and commits to a new life with him (Bring Me to Light).

BRIAN CRAWLEY
Rema Webb as Almeta Annie Golden as Old Lady
1. WATER IN THE WELL
YOUNG VI:
Mama, whys a man have eyes?
If I tell you, dont you tell
So he can try you on for size
Theres honey in the bushes, Lord
And water in the well
VIOLET:
A battered nose, a pimpled chin
Uneven eyes to take it in
YOUNG VI:
Mama, whys a man have hands?
If I tell you, dont you tell
Go ask your beau, he understands
Theres honey in the bushes, Lord
And water in the well
VIOLET:
I have to start the Preacher on the scar
That cuts a rainbow clear across my cheek
YOUNG VI:
Theres honey in the bushes, Lord
And water in the
LEROY EVANS:
Roscoe! Leroys got a hambone with your
name on it. You going someplace, Violet?
2. SURPRISED
VIOLET:
Is this a suitcase is it mine?
Am I waitin by the candy stand,
Beneath the Greyhound Station sign?
Have I got a ticket in my hand?
Stupid.
The people of Spruce Pine are stupid.
Lord, Ill call the whole trip off
If Leroy Evans looks me in the face
Nope, I win, hes terrorized
This town is a superstitious place
Next week, wont they be surprised
BUS DRIVER:
Get your tickets ready. This is the Memphis
bus, by way of Johnson City, Kingsport,
Knoxville, Nashville, and a buncha towns
no biggern this one. Tickets, please.
OLD LADY:
The Baltimore Catechism. A Catholic, in
these parts?
VIOLET:
No maam.
OLD LADY:
How you read it I dont know, with the
margins so full of writing!
VIOLET:
It was my mamas.
BUS DRIVER:
Move along, moooh. Miss.
VIOLET:
Mr. Wallace Weatherman
Give my scar another nosy look
In a week, youll be surprised
Got my healin planned out in my book
Next week, Ill come back disguised
He thinks well of himself, I can tell that.
But what does he have, really?
Lips? Thin. Cheeks? Flat.
I sure dont want mine like that.
Nose? Bent. Ears? Runts.
Got four eyes and he cant see once.
Nothing in his face for me
His hair though is it Cherokee?
Its black enough to be
I want my own as soft as a breeze
And also curlier, please
OLD LADY:
Do you mind if I sit here, dear? I like to
be up front, sos I can look out the front
winders. Otherwise I get dizzy, looking off
to the side
VIOLET:
Once I bet her eyes were green
Wonder how those eyes would look on me
Funny, if she recognized
Finders keepers, lady, wait and see
Next week, wont you be surprised
Praise God, it is started. September 4th,
1964.
Mama, your book says Its blessed to
pity
Mama, just look, Im a long ways from
pretty
Be an angel, Mama, help to save me
Make the Lord restore the face you gave
me
And I will praise his grace,
Rain or shine
When you see a brand-new face
When you see a brand-new face
When you see a brand-new face
And its mine
Wont you be surprised
Wont you be surprised
Wont you be surprised
Wont you be
OLD LADY:
You going far?
VIOLET:
Tulsa, Oklahoma.
OLD LADY:
I never been there. I hear the trees give
out. Oh! My goodness.
VIOLET:
Thats just why Im going. Get this scar
healed once and for all.
OLD LADY: Gives her skin such a tone YOUNG VI:
Course my mailman Vincent Finzer was Id take it any day And as Im goin along
born with a cleft palate, and he couldnt Praise God for everyone I meet Promises that cant go wrong
be any sweeter! While I, I am on my way
VIOLET:
VIOLET: My face is mean As I travel on my way
I wasnt born with this scar. It took an axe Eighty years
blade to split my face in two. Worth of tears BUS DRIVER:
Might scrub it clean First thing Ill do
As hers, and as strong Go to Sals Barbecue
Greasy, messy barbecue
3. ON MY WAY OLD LADY: Best Ive had
Eighty years
OLD LADY:
Worth of tears OLD LADY:
Well Im going to Nashville. The country- Ready or not,
Might scrub it clean,
music capital of the world? My son All those boys,
And strong
lives there and works in the cellophane Making noise
plant. Hes got three little boys not Grubby hands
VIOLET:
old enough to be in school yet. I dont Dirty toys
But Jesus, dont wait so long
know how I feel about a house full of
To make my face okay
children. FLICK:
ALL: Cant be so bad
VIOLET:
At last, the North Carolina border! Not the worst
Its hot in here Post Ive had
And I
Not so bad
OLD LADY:
VIOLET:
I had eight children myself. Stevie, the VIOLET:
I am on my way
youngest, I lost him to Korea. Harveys Red hairs a thought
the only other boy. The girls, of course, Really fine
Before another sunrise wakes me
are scattered to the winds, they made Not like mine
such beautiful brides. Sorry, dear.
VIOLET/OLD LADY/BUS DRIVER:
Before another night is gone ALL:
VIOLET:
No matter what
I hope you have a nice visit.
ALL:
Ill find out where this highway takes me BUS DRIVER:
OLD LADY:
You know I got to travel on Ill have me some pie
Its not a visit. I maybe will move. I tell
you what though, and I know you wont OLD LADY:
Left my troubles all behind me
think well of me for it, but I am right No better than squirrels
Back there when I climbed on board
tired of children.
Jordan Rivers where youll find me
Its wide, but not too wide to ford FLICK:
VIOLET:
Its bound to be dry
Look at her skin
VIOLET:
And as Im goin along VIOLET:
China-white, A head full of curls
I carry with me
Tissue-thin
Promises that cant go wrong
Look how the light VIOLET/YOUNG VI:
Cuts clear to the bone Like Judy Holliday
BUS DRIVER: ALL: YOUNG VI:
Wave goodbye, folks, to Carolina! M&Ms, Good & Plenty So I have to walk past a row of boys to
Stretch your legs and grab some Cokes get to it.
OLD LADY: Have a Tootsie Roll, or twenty
His wife thinks Im a dragonfly, Lord Get another packa smokes FATHER:
Youve got to help me find my way Apple cobbler, la mode Oh. Gimme that money you got saved from
Cupa coffee for the road? picking galax.
FLICK: Ill have some coffee for the road
Too bad we dont see eye-to-eye, Lord YOUNG VI:
We could pass the time of day FLICK: No Papa, thats my money! I earned it!
Youre at Fort Smith?
OLD LADY/FLICK: FATHER:
And as Im goin along MONTY: Were gonna play some draw poker. Itll
I carry with me Yup! learn you to add and subtract. And
pokerll give you something to do with
OLD LADY/FLICK/VIOLET: FLICK: the boys, when the time comes for that.
Promises that cant go wrong Swhere Im headed. Come on, lets grab a So, whats gonna win.
table. Lady, what is it you want?
VIOLET/YOUNG VI:
As I travel on
As I travel on my way
VIOLET:
To play. Long as its a legal deal. I get mad 5. LUCK OF THE DRAW
if Im cheated.
ALL: FATHER:
Left my troubles all behind me FLICK: You got your royal flush, your straight
Back there when I climbed on board And mean when youre mad. Im Grady flush, four-of-a-kind; full house, flush,
Jordan Rivers where youll find me Fliggins and they call me Flick. straight, three-of-a-kind; two pair, one
Its wide, but not too wide to ford pair, and high card least of all. Which
VIOLET: never hardly wins the pot. Not when
And as Im goin along Im Violet Karl. Spruce Pine. theres moren two playin.
I carry with me
MONTY: YOUNG VI:
VIOLET: Im Monty Harrill. From near to Raleigh. Whats the pot?
Promises that cant go wrong
As I travel on VIOLET: FATHER:
Why dont we play straight draw poker. Well get there.
ALL:
As I travel on FATHER: First you set the ante,
My way My God, Violet. Youre failing math. At Say a penny,
your school? That aint easy. Then before the deals begun
We both ante up our pennies
Not too many, just the one
4. M&MS YOUNG VI:
The teacher makes us do our figures on
the board. Lets see what your cards are
BUS DRIVER: All you gots a
Kingsport, Tennessee. Twenty minute rest FATHER: Pair of Queens and nothing more
stop. Anybody not back on the bus in 20 So. Once you bet, you get to draw some
minutes wont be going on to Memphis; Thats what lotsa Queens are for
not today.
A penny?
Thats a paira Queens YOUNG VI: FATHER/FLICK:
Im winning? Now how much did I win from you?
A nickel?
FATHER: YOUNG VI:
Theres the bet I saw Well, a straight can win Thirty-six cents!

Ill see you. Now fate intervenes YOUNG VI: MONTY:

Some say things happen by design But will it? Gimme a break. This is sposed to be a
By demand, decree, or law friendly game, not a killing.
I say most things fall in line FATHER:
By the luck of the draw Theres a famous saw FATHER:
Says you cant win unless youre in And 3.18 minus 36 cents is what?
A nickel is in this case Some say things happen by design
What you should bet By demand, decree, or law YOUNG VI:
Its a good bet, but I win I say most things fall in line Gimme the cards. Im dealing this one!
By the luck of the draw
YOUNG VI: FATHER:
Papa! YOUNG VI: You dont know the game yet
Lets stop this game right now, Ive
FATHER: Put enough in FLICK:
Three-of-a-kind. Three-of-a-kind beats two Thats the way its played, brother
pair. Now how much did I win from you? FATHER:
I was bluffn, but I win YOUNG VI:
YOUNG VI: I can play it
Eleven cents! YOUNG VI: First I deal a card or two,
Papa! Then I give you all my money
FATHER:
And 3.29 minus 11 cents is what? FATHER: MONTY:
Straight beats two pair. But you folded. Flicks gonna win,
YOUNG VI: Clean us out
Three dollars 18 cents. YOUNG VI: Take all our change
I dont even know the hands!
FATHER: FATHER/FLICK:
First step in teaching anything is to get FATHER: Hate to say it, but its true
your students attention. Violet!
FATHER/MONTY:
Looky what ya got here: You got your royal flush, your straight Guess Ill open with a nickel
Six and seven, flush, your four-of-a-kind
Then a nine and ten, no eight A full house, a flush, n a straight, n a YOUNG VI:
What you do is ditch this four and three-of-a-kind I will see that,
Pray to heaven for a straight Two pair, one pair, and no pair at all And Ill raise you straight away
But high cards never won a pot, that I
First you got to bet though, can recall VIOLET:
Maybe two bits, Ill raise you straight away
Which I raise you by a dime YOUNG VI:
See Im forcing you to match me Whats the pot? FLICK:
By a few bits at a time You got some guts
FATHER:
Its what you ante into.
YOUNG VI:
Takin candy from a baby
FLICK:
Must be hers.
6. QUESTION N ANSWER
FATHER/FLICK: FATHER: MONTY:
Guess Ill see ya Whatcha get? Someone sure has had some troubles;
A girl on a mountain alone
MEN: ALL: Nothing but her chores to do
Who taught you to play? Some say things happen by design No one near worth talkin to
By demand, decree, or law Feeling sorry for herself for being on her
FATHER: I say most things fall in line own
Two cards By the luck of the draw
VIOLET:
YOUNG VI: FATHER: You have all of the answers
I guess you go first? Call To the stupidest questions
But the truth is never so pat
FATHER: MONTY: Try and wrap your mind around that
Thats right, kid Kings
Someone sure has had it easy;
YOUNG VI: FLICK: A boy in the skin of a man
At your service, Pa Straight Thinks hes born a gift to women
Thinks hes irresistible
Now my card hope my lucks reversed YOUNG VI: Thinks what no one else has managed,
Flush hes the one who can
YOUNG VI/VIOLET:
Some say things happen by design MONTY: I got news for you, sweetie pie
By demand, decree, or law By the luck of the draw Im the one who can see youre lying
I say most things fall in line Better hope theres a doctor by
By the luck of the draw FATHER: When I reach for the pain youre trying
Baby, thats a royal flush. to hide
MONTY:
You got to bet to win. VIOLET: MONTY:
Royal flush. You think you know the answers
YOUNG VI/VIOLET: But you dont know the questions
Dee dee dee dee dime FLICK: Bet the truth would knock your ass flat
By the luck of the draw Try and wrap your mind around that
FATHER/MONTY:
See ya YOUNG VI: Things get pretty wicked out there
Is that good? Tulsa jes aint like your farm
FLICK: Best be careful now, ya hear?
See, and raise VIOLET:
By the luck of the draw
MONTY:
Whose play is it? FATHER/MONTY:
Ill be damned.
YOUNG VI:
You watch out! ALL:
By the luck of the draw!
Ugly, everywhere you look VIOLET: VIOLET:
What you ought to cultivates a healthy Stop it, it isnt funny. Flick! Help me! Come to say goodbye?
dose of fear
FLICK: OLD LADY:
And dont count on your TV padre for Grow up, Monty. Both of you. Why dont you stay the night with me and
nothin. Things are mean and ugly in this my boy. Harvey wont mind. Thats him
world I mean act ugly, do ugly, be ugly. VIOLET/YOUNG VI: out there, by the DeSoto? You can wash
Flickll tell you. It was my mamas. and change clothes and catch a new bus
tomorrow.
VIOLET: FATHER:
Act ugly, do ugly, be ugly. That could only But that doesnt make it yours. Where did VIOLET:
be the motto of a pretty boy. you get that? No, thank you. Im in a hurry to get to
Tulsa.
MONTY: YOUNG VI:
You think youre funny, dont you. Your bedside drawer. OLD LADY:
You got to overnight in Memphis anyway,
FATHER: why not spend that night here.
You got no business being in there! You
7. It was my mamas know better. VIOLET:
Why not spend it in Memphis.
MONTY: YOUNG VI:
Whatcha got here. Whats the big deal? You never talk about OLD LADY:
Mama. I bet she was pretty. Was she A girl alone. A girl maybe feels shes got to
VIOLET: pretty, Papa? prove something? Some people might try
Come on now! to take advantage.
FATHER:
MONTY: Violet, please! There are things in those VIOLET:
Oooh, stuffs falling out. pagesyoure too young for it. Next week, when Im pretty, I hope Ill
have that problem. Thank you, but no.
VIOLET: YOUNG VI:
Dammit to hell! But she was my age when she started OLD LADY:
writing in it. Young lady, dont you think youre being
MONTY: unrealistic?
Whats in the envelope, love letters? Oooh- FATHER:
oooh-oooh! It was different for her. VIOLET:
Excuse me?
VIOLET: YOUNG VI:
Damn you. Why, because she was pretty? Would you OLD LADY:
have loved her if she looked like me? I understand you maybe dont have too
MONTY: many opportunities for. Do you really
Look at what my Jesus has done BUS DRIVER 2: think these soldiers are the answer?
He make a dumb man speak Bus 322 to Memphis, making all local
A man speak dumb stops, will be leaving the Nashville sta- MONTY:
Lord Almighty, tion in 15 minutes. Connections are I musta missed the question. Dja hear a
Make a dead man come available in Memphis to all points west. question, Flick?
Passengers reboarding Bus 322 may
reclaim your seats at any time.
FLICK:
I dont think I did.
OLD LADY:
What I mean is, I had looks once. In the
end, it dont amount to much.
MONTY:
And you are living proof of that.
OLD LADY:
Sticks and stones! Sticks and stones.
VIOLET:
That was real nice of you, thanks.
MONTY:
I was helping you get rid of her.
VIOLET:
You call that help? Did you think I would
be impressed?
MONTY:
Why would I wanna impress you.
FLICK:
Whynt you just leave her be, soldier.
VIOLET:
I think the old lady is full of it. Looks
dont amount to much? Tell that to Ingrid
Bergman. She made a whole career offa
cheekbones. I could live with that. Or Elke
Sommers looks. Id take that hair. Twelve
years of ugly oughta be worth something.
MONTY:
You gonna mix and match?
VIOLET:
I cant tell you how its going to happen
exactly. But the Preacher says you have to
envision how you want your healing to go.
FLICK:
Sounds like you got a plan.
8. ALL TO PIECES Oh, with lips like those
Id look almost shameless
Oh, but add the nose,
VIOLET: Now Im pure and blameless
Id like a pair of Gene Tierney eyes. If Cyd Charisse isnt, thats how it goes
Try Montys mouth on for size I love er all, I love er all
A little fuller though I love er ah ah all to pieces!
A mouth so soft theres no end of I love er all, I love er all
romance I love er ah ah all to pieces!
MONTY: If I looked in the know
Whats a mouth got to do with romance? With a hint of mystry
Like a Brigitte Bardot
FLICK: With a darker histry
You got to ask, youll never know If I threw you a glance,
And I let it linger
MONTY: I could wrap you around my finger
I been with moren you, my friend
Oh, one of Bardots
FLICK: Why should she be stingy?
None of yours want seconds, though Oh, throw in her toes
Mine all come back for more Mine are just too dingy
Ill give the Preacher my mountain for those
MONTY: I love er all, I love er all
Yeah, to me. I love er ah ah all to pieces!
I love er all, I love er all
VIOLET: I love er ah ah all to pieces!
Boys, boys, boys!
I could be a leading lady
When Im in line for my miracle Present tense, and background shady
And the Preacher is all set to go Take an hour or two to go
I know just what Ill ask for From down-at-heel to tippy-toe
From no big deal
But Im not telling you, at least till you To the star of a picture show
stop squabbling and pretend youre
actually listening MONTY:
You should ask that preacher for some
MONTY: Ursula Andress legs.
Pretty please, Viii-lut, with sugar on top?
VIOLET:
VIOLET: I think my legs are fine.
If I had gypsy hair
And a face to match it MONTY:
No traces anywhere No, but, rising outa the ocean in that
Of a wayward hatchet white Dr. No bikini?
I could be Cyd Charisse
Shooting on location VIOLET:
In some far-off and tiny nation Whats the matter with my legs?
MONTY:
Nothing! Theyrelong.
VIOLET:
Then whyd you bring em up at all?
FLICK:
What you need is some Ursula Andress there.
VIOLET:
I cant believe you just said that.
FLICK:
Not that it matters to me
But you said a leading lady
Is what you wanna be
How else you gonna go
Light up a picture show?
VIOLET:
Give me just a minute though
To pillage my portfolio
Borrow Elke Sommers hair
And Judy Garlands pretty chin
Put Grace Kellys little nose
With Rita Hayworths skin
But Ava Gardner for the eyebrows
Bergman cheekbones
Under gypsy eyes
FLICK:
But look at that Lou Brock. His legs belong
10. A HEALING TOUCH
in a museum somewhere. And Bob
Gibson? The man has an arm of steel. PREACHER:
Watch out, everyone! Watch out, demons,
MONTY: the Lord is onto you tonight! Brose eesah
Thirty to go, like I said. vota leeva gran maysa sayla. Ora seesay-
la posh, brone base eesais vrone basha.
Elohim, elohim! Hes got me speaking in
tongues tonight! Glory be to God! Now
9. WATER IN THE WELL hold on, hes talking to me. There is a girl
(REPRISE) from hes giving me an N; yes, Jesus,
a C from North Carolina who can feel
MONTY: her facial scar beginning to heal. Is this
Say, Viii-lut, as long as youre gon be the girl with the scar? Well come on down
Brigitte Bardot, why stay in Tulsa? here, darling, tell us whats happened.
Why not go all the way to Hollywood,
Californ-i-ay. YOUNG VI:
God is with me, I can feel him!
YOUNG VI:
Mama, whys a man have eyes? PREACHER:
God is with you.
MONTY:
Long as youre pretty, Ill tell you what, YOUNG VI:
Ill go AWOL, Ill go right along with you. Yes he is!
Right, Flick?
PREACHER:
YOUNG VI: Tell the folks at home, where did that scar
So he can try you on for size come from.

I could shine like a moonbeam VIOLET: YOUNG VI:

On the silk of a ball gown You know what, Monty? Both of you. The old I was hit by an axe blade.
I could be someone lovely lady was right! You dont give two sticks
Turning heads on her first night in town about me. And I dont need your pity, I got PREACHER:
In town stockpiles of that. So drop dead. By the blade of an axe. And youve had it
All I need is someone how many years now.
To wonder, who is she YOUNG VI:
To ask how to meet me Theres honey in the bushes, Lord YOUNG VI:
And water in the well Ever since I was 13.
MONTY:
St. Louis? Nah. Mama, whys a man have hands? PREACHER:
If I tell you, dont you tell Since she was 13, friends. And are you
VIOLET: Go ask your beau, he understands ready for a healing touch?
To love me all to pieces Theres honey in the bushes, Lord
And water in the YOUNG VI:
MONTY: Yes!
Theyre eight games out with 30 to go. FATHER:
Violet, watch out! PREACHER:
Are you ready for Gods power as it is
 manifested in my hands?

YOUNG VI:
Yes!

PREACHER:
Are you ready to be healed?

YOUNG VI:
Yes!

PREACHER:
Oh Jesus, she believes she needs you! Praise
the Lord, for he has seen fit to raise thee up
and heal thee of thy scar!

GOSPEL TRIO:
Raise me up, Lord wont you raise me

PREACHER:
Doctors didnt help her. Operations didnt
help her. But suddenly shes healed by the
powera God.

GOSPEL TRIO:
I am on my way

PREACHER:
Turn to the camera and show the people that
beautiful smile. Do you realize youre shiver-
ing, child.

GOSPEL TRIO:
I am on my way

PREACHER:
Do you feel whats happening to you?

YOUNG VI:
I feel like Im flying!

PREACHER:
Because you are filled with the Holy Ghost
Spirit of God. And you know there is no dis-
tance with prayer.

GOSPEL TRIO:
I am on my way
PREACHER:
God is here!
I saw you writing in
11.
VIOLET:
Monty says Johnson could be sending you
that book again two to Vietnam.
GOSPEL TRIO:
Oh if you want him FLICK:
FLICK:
I saw you writing in that book again. Mmm-hmm. Course when you join the
PREACHER: Army, you know the risks goin in. I
God is there! VIOLET:
always make it a point to know what Im
I write down what I want to remember. getting into. How much you know about
GOSPEL TRIO: this TV preacher?
Oh if you need him FLICK:
VIOLET:
You write down me?
PREACHER: He works miracles, for a start. What. Dont
God is everywhere. VIOLET:
you believe in God?
Well, yeah. Even before I knew you; play-
GOSPEL TRIO: FLICK:
ing solitaire on the bus, how you drop
Oh wont you raise me up and on my way cards when you deal them, like a turtle I dont believe hes gonna come at me
laying eggs. Plop, plop, plop. You know, through a TV screen.
PREACHER:
I never knew a negro to talk to before;
You dont need to leave home for a we dont see too many in the mountains. VIOLET:
miracle, if you just match your fingers to Youre like a foreigner to me. You would if you needed to bad enough.
ours, on your television screen. Do you Remember the first time you looked at
feel Gods power coming through that FLICK:
me? Like youd seen worse things? Its
screen? Sing with me, sister. Is that what you see when you look at me. what I liked about you. Most people
though. I dont like mirrors, but I
PREACHER/YOUNG VI:
VIOLET:
stare into them sometimes, to prepare
Look at what my I see a man, I guess. myself for the things people say. Because
nobody can hurt my feelings if they tell
PREACHER/GOSPEL TRIO:
FLICK:
me what I already know. I never coulda
Jesus has done! Thats all I am, Vi-oh-lette. Just like left Spruce Pine otherwise.
anyone. Put that in your book.
PREACHER/YOUNG VI/VIOLET/ FLICK:
GOSPEL TRIO:
VIOLET:
So what do you need with this TV preach-
He made a dumb man speak No, I mean a man, like a grown-up. Like er. You came this far without him.
A lame man run my father. Confident, no-nonsense. I
VIOLET:
dont know about the name though.
PREACHER/VIOLET:
Flick? Whered you pick that up? Im gonna be to the Preacher what Goliath
Lord Almighty, was to David, a need so giant I will drive
FLICK:
him into action!
VIOLET:
Reform school.
Thank you for your son FLICK:
VIOLET:
Vi-oh-lette, let me tell you something. You
FLICK:
No! Whatd you do. gotta do what you gotta do, but in the end
Vi-oh-lette, you sleeping? you do it alone. You choose your road, then
FLICK:
you walk it, one step at a time.
VIOLET:
Honey, I was born. The rest took care of
Daydreaming. itself.
12. LET IT SING
FLICK:
Raise your foot, now thats the way
Youll be movin on today
Raise the other, put it down
Now youre headed into town
Whoa boy, you got left, right?
Oh boy, aint that right
Got some years ahead to go;
Youll go free if you take it slow
Whoa boy, you got left, right?
Oh boy, aint that right
Two kinds of people in this world,
Some say yes and some say no
Time to say what side youre on;
Eeny, meeny, miny, moe
Say yes, and your adventures start
Not always as expected;
Say no, you stay apart,
But you stay protected
You got to give yourself a reason to rejoice,
For the music you make counts for
everything
Now every livin soul has got a voice
You got to give it room, and let it sing
My family never had too much,
Made the best of every day
Ate what was on our plates, you know?
Never threw a thing away
We kept our nightmares on a shelf,
Our dreams were on the table
Pass em down, n help yourself
As long as you are able
My mama told me, Son, forget what
might have been
Give yourself a break, whatevers happening
Dont let your spirit, son, come closin in
You got to give it room, and let it, let
it sing
You got to give it room, and let it sing
You got to lift up your voice, and sing
Got some years ahead to go
Youll go free if you take it slow
Got some years, it wont be long
Youll be free to sing your song
Whoa boy, you got left, right?
Oh boy
Theres precious little, really, folks like
us control
But you can make your music from the
simplest thing
And youre the one has got to tend your
soul;
You got to give it room, and let it, let it sing
You got to give it room, and let it sing
You got to let it sing
You got to let it sing
You got to give it room, and let it sing
Theres your first
13.
miracle
BUS DRIVER 2:
Memphis, last stop. Check inside the
station for connection times.
MONTY:
I was thinking, Flick. How bout we get
a couplea rooms at that place you
showed me?
FLICK:
Sure. You wanna join us, Vi-oh-lette?
VIOLET:
I dont know. I dont think it would
be right.
MONTY:
Oh cmon, Viii-lut, I dare you to have
some fun. That would be the real
miracle. Right?
FLICK:
Whynt you go grab her a cab, Monty.

VIOLET:
I never said I was afraid to have any fun.

MONTY:
Didnt have to, it was written all over
your face.

VIOLET:
Its all right, Flick, hes just flirting. How
cheap is this hotel?

FLICK:
Under five.

VIOLET:
All right. But Im taking the 6 AM bus
outa here, with or without you two.

MONTY:
Theres your first miracle, right there. I
called it.

14. ANYONE WOULD DO

HOTEL HOOKER:
Hey there, soldiers, how are you?
Shes got two and I got none
And right now anyone would do

FLICK:
Forget about Elvis. Memphis is Beale
Street, and Beale Street is the blues!

MONTY:
Hows the bed. Comfy?

VIOLET:
As a roll of fence wire.

ALMETA:
It wasnt made to be stood on, miss.
Flick, have you seen the new ice
machine?
Anastacia McCleskey as Music Hall Singer, Annie Golden as Hotel Hooker
Charlie Pollock, Ben Davis, Austin Lesch as Radio Trio
FLICK: YOUNG VI: RADIO TRIO:
Down the hall, right? Papa? Papa, its me, Violet! Rooster go cock-a-doodle-ooo, cock-a-
doodle-oodle-ive
ALMETA: FATHER:
Let me show you.... Whatsamatter, you What am I doing here? MONTY:
crazy? This aint New York City, and if Ladies, ladies! Who here feels like dancing?
anybody finds out about that gal theres YOUNG VI:
gonna be trouble. Dont you recognize the farm? The flowers RADIO TRIO:
are new, I planted them myself. Rooster go cock-a-doodle-ooo, cock-a-
FLICK: doodle-oodle-ee
Almeta, come on now. Look at her. Aint FATHER:
nobody gonna think nothin. What use are flowers. OLD LADY:
Oh! Ive been dipped.
ALMETA: YOUNG VI:
I dont care if that scar goes from here to You remember what you taught me? RADIO SINGER:
her hush puppy, shes still white. Aright. Wake up, my dear, its a quarter to five
They can stay the night, but dont you RADIO TRIO: Wholl be the one, if not me
ever bring that gal back here again. Dance with me darlin
MONTY:
VIOLET: YOUNG VI: Little sister, care for a spin?
Maybe this was a bad idea. Wait!
RADIO TRIO:
MONTY: RADIO TRIO: Hear the rooster crow
Naaah. You wash up, come down the hall, Stand on my toes
well go get throw-a-baby-to-the-hogs Dance to the old-time me-lo-dee OLD LADY:
drunk. Do sumpn you can write about in Whos gonna love you do you suppose Go ahead, dear. Isnt he fine!
that book of yours.
RADIO SINGER: RADIO TRIO:
HOTEL HOOKER: Wholl be the one, if not me Cock-a-doodle-oh
Howd I get to be so blue?
Seems I dont have anyone OLD LADY: YOUNG VI:
When right now anyone would do Let him go, dear. Here, practice on me. Buton the bus

FLICK: YOUNG VI: OLD LADY:

Raise your foot now thats the way Its the old lady! Do you think my mama Honey, Im not on the bus now. I wish he
Youll be movin on today smelled like you? coulda seen me in my flash!
Raise the other, put it down
OLD LADY: RADIO TRIO:
I cant say, dear. But I know she would Whos gonna love you
have loved the smell of you. There is
15.WHOLL BE THE ONE nothing sweeter than a babys head. RADIO SINGER:
(IF NOT ME) Do you suppose
YOUNG VI: Wholl be the one
But is that all I get in this life. If the one is not me
RADIO SINGER:
Whos gonna lace your kid-leather shoes OLD LADY: OLD LADY:
Whos gonna bounce you on his knee What do you mean, dear? Man like that asks you to dance, you
Whos gonna heed your hullabaloos dance.
Wholl be the one, if not me
MONTY:
Whos that over there, little sister
LAST TIME I CAME TO
16. And so are you
You give a damn
MEMPHIS So what to do
OLD LADY: Here I am
The dancin dont last, but the memories MONTY: Here I am
do Last time I came to Memphis
RADIO SINGER:
All it took was two beers 17. GO TO IT
Had a girl on her back
Wholl be the one, if not me Her feet up by my ears
Hmm-mm, hmm-mm FLICK:
MONTY: What happened to you two? You were
Look at her, lying there all defenseless I like the kind of girlfriends gonna tell her to get ready.
like that. You pick up in a bar
Who know what to make of the promises MONTY:
YOUNG VI: But Flick, are you ready?
Barroom promises are
You shouldnt read that. Hmm-mm
FLICK:
MONTY: To do what?
Some barbecue, a couplea shots
Praise God for Memphis and for two Nobody asking no ones thoughts
new friends. Onea them is me! Maybe Someone who dont give a damn: MONTY:
youre dreaming about me. I hope were Thats what I come to Memphis for Get loaded
up to something. Thats all I want, and nothin more Get plastered
So here I am Its the principal skill
YOUNG VI: Weve mastered
The open door
I dont want to hear any more.
I aint a boy in the skin of a man FLICK:
MONTY: Go to it
Im more the steam that you let off
Theres a Gideon Bible in my room, and The Roman candle you buy by the road You bastard
inside it are a lot of dirty words some- That you cant wait to set off
body wrote. Its like something The truth is never so pat BOTH:
Try and wrap your mind around that We can do it again and again and again
VIOLET: and again
Its like something Montgomery would do. Last time I came to Memphis
Had this girl, kicked her out FLICK:
MONTY: I brought you a soda pop, Vi-oh-lette.
Then went back for the waitress
You think youre so smart. That chick could shout
MONTY:
VIOLET: Plus a little sumpn to spruce it up.
Thats why I come to Memphis
Smartern you. Thats what Memphis is for
If you come with a pulse VIOLET:
MONTY: Mmm. Peppery. Wheres that music com-
Then youre going to score
Youre fulla shit. ing from again?
Some smokin babes, a couplea shots
VIOLET: MONTY:
Nobody asking no ones thoughts
So what are you doing hangin around my Thats all they get, they know the scam Lets find out.
room for. You know what, they dont give a damn
So here I am Lets get boozy
Get hazy
Careful, Viii-lut, FLICK: You could be just anyone
Whoopsi-daisy What happened to Monty? When right now anyone would do
Go to it
Go crazy VIOLET: MONTY:
We can do it again and again and again I thought he was right behind us. You Fuck! Viii-lut?
and again wanna wait up for him?
VIOLET:
FLICK: What, what! Wheres Flick?
He can handle himself.
18. LONELY STRANGER MONTY:
HOTEL HOOKER: Flick? I could wake him up. Might get awful
MUSIC HALL SINGER: Its at that hour of the night crowded though. Whats at smell, licorice?
Hey, Im dyin If Im alone, Im not all right
Im dyin for what you got there Dont know what Ill do VIOLET:
Maybe Im lyin If I cant have you Anise. To keep my dreams sweet.
Im lyin but what do you care To hold till light
MONTY:
Lonely stranger VIOLET: Honey, you aint dreaming now.
No stranger than anyone here I mean, as big a city as Memphis isI
Im in no danger dont even have a lock on my door.
No danger, slong as youre near Should I be worried?
LAY DOWN
19.
Dont you leave me FLICK: YOUR HEAD
Dont ever go Theres somethin I been wonderin about.
Please believe me
VIOLET: VIOLET:
I know, I know, I know
What is it. Youre sleepy now that youve done your
Hey, Im dyin business, arent you. Theres nothing
Im dyin to do somethin wrong FLICK: keeping you awake, is there. Okay then,
Theres no denyin Does this ever hurt you? go ahead. Go to sleep on me.
Denyin strings it along
VIOLET: Lay down your head, and sleep, sleep
You just met me Only when the weather changes. Flick Ill be your pillow, soft and deep
Youll never stay Leave me your troubles, I will keep
Youll forget me ALMETA: Your days gone by, your days gone by
Some day If youre looking for your towels Flicks
Some day is on his bed. And I placed yours in your Lay down your head, and dream, dream
own room. Youre so much gentler than you seem
Lonely stranger Is there a chance you might redeem
No stranger to whats in my heart FLICK: My days gone by, my days gone by
Am I in danger Ill see ya in the morning.
In danger, lettin this start And oh, his breath is so warm
VIOLET: Mine is short, and my ears are ringing
HOTEL HOOKER: Goodnight then. Everywhere, my skin is singing
Howd I get to be so blue?
Seems I dont have anyone HOTEL HOOKER: Lay down your head, and sleep, sleep
When right now anyone would do Maybe theres a man outside my door I will be pleased, your soul to keep
Hey there, mister, how are you? Give yourself over to the deep
Of days gone by, of days gone by
DISC TWO VIOLET: VIOLET:
Ready or not, Montgomery. What gives you the right to be jealous?

1. ANYONE WOULD DO MONTY: FLICK:

Monty. Monty Monty Monty Mon. Youre What makes you think I am?
(REPRISE) doin that on purpose.
VIOLET:
MUSIC HALL SINGER: VIOLET: You heard me say I left the door unlocked.
By the time you come knockin What are you gonna do about it?
My lonely stranger FLICK:
No stranger than anyone here MONTY: Last I heard it couldnt lock.
No danger, slong as youre near You wait right here, Violet. You got a
Dont ever go surprise comin. VIOLET:
What did you expect, an invitation?
ALMETA: FLICK:
Maybe theres a stranger at my door Fort Smith is the last rest stop you get. FLICK:
Hey there, mister, how are you? You wanna get up and stretch? Forget it. I dont go for sloppy seconds
You could be just anyone anyhow.
Cuz right now anyone VIOLET:
Im OK. VIOLET:
HOTEL HOOKER: Sure seemed like you were ready to go
Whats to keep him waitin for? FLICK: last night.
You could be just anyone What happened to Monty?

ALL THREE: VIOLET:

Baby you may be the stranger at my door Hes out buying me candy and sodas, like
hes been doing all day.
ALMETA:
Maybe theres a stranger FLICK:
Right. Know why Montys buying it? Cuz
ALL THREE: he thinks thats easier n talking to you.
And right now anyone Theres a man you can count on.

MUSIC HALL SINGER: VIOLET:

Would do What do you know about it.

HOTEL HOOKER: FLICK:

Would do I know a plain girl when I see one, with
dreams dont make no sense.
ALMETA:
Oh, anyone would do VIOLET:
Maybe not to you.
BUS DRIVER 3:
Wake up, soldier boys. This is Fort Smith, FLICK:
Arkansas, through no fault of mine. The Dont you get it? Youre just a piece of ass
rest of us get 10 minutes to use the to him. And an easy one at that.
facilities.
 HARD TO SAY
2.
GOODBYE
FLICK:
Dont worry
Dont sweat it
Go do somethin wrong, then move along
Cuz it wont weigh on your mind
If you dont let it
It isnt hard to say
Im so sorry
I meant better
Hell its nothin new you put me through
Take the time now to spell out just why
In your first letter
It isnt hard to say goodbye
Montys not the point
Isnt now, never was
Your head does not know what you need
Your heart does
Dont worry
Dont sweat it
Dont know what he said climbin in your
bed
But it took him all the way
But you dont get it
Cuz anyone can say
Im so lonely
I want someone
Dammit, hes the kind you always find
Doin somethin to catch someones eye
Whos the real dumb one
It isnt hard to say goodbye
VIOLET:
You know what really bothers you?
Monty had the nerve to do
What you were only dreaming of
Montys just a boy, Flick, I know that
But I dont regret it
I did something fine
Ill remember forever
FLICK:
Montys not the point
FLICK:
Whats the difference. Were never gonna
Isnt now, never was see her again.
But you cant ever find your way
If your heart doesnt lead MONTY:
You dont know what you need I dont know. Maybe.
Your heart does
FLICK:
VIOLET: If you go back there, you better set her
Two kinds of people in this world down gentle. Shes not a one-nighter.
Some say yes and some say no
MONTY:
Im only learnin to say yes She might surprise you there. Anyway it
Im bound to make mistakes aint so easy for me. I take one look in
But Im bound to try them sad eyes, Im ready to promise her
I know you think Im no great shakes anything she wants.
But theres more to me than meets the eye
Goodbye FLICK:
Yeah but soons you break that promise,
If I was smart Id go back home itll hit her twice as hard.
But I dont give a damn
And Ill tell you why MONTY:
Im miles and miles from who I am Least I wont be with her when it hits.
For once Im not afraid or shy
Goodbye FLICK:
That what you think? Damn. I got no time
Im gonna miss you, Flick, a lot for a boy like you.
I wish you felt the same as I
Goodbye MONTY:
Nah, now wait a minute, Flick. Cmon,
youre right. What do I say?
3.Little girl got it all
figured out 4. PROMISE ME, VIOLET
FLICK:
VIOLET:
Little girl got it all figured out. Have a
You got my number, so call me
nice life. When its convenient for you
MONTY:
FLICK:
I better go back and get her.
Sit down.
FLICK:
VIOLET:
No! Leave her be.
Some night youre drunk and youre lonely
Got nothing better to do
MONTY:
Ill be sittin home, waitin to hear from you
If she dont come out, howm I gonna wish
her luck?
FLICK: MONTY: All I want is you
I got your number, Ill call you, I got your number so Youre not some beauty
That dont concern me
MONTY: BOTH: Ill be here for you
I got your number, Ill call you, What?
FLICK:
FLICK: VIOLET: Should I speak up
Expect to hear from me soon You got my number so call me Or let her go
Am I just caught up in a dream
MONTY: MONTY: Ive been waiting, for a lifetime
Expect to hear from me Expect to hear from me soon For someone simply
You never know, with the Army To look and see me
Might be your neighbor by June VIOLET:
Some night youre drunk and youre MONTY:
FLICK: lonely Ill be waiting
Good. By the roadside
MONTY: Make my lonesome dream true
Write me any time Under the spell of the moon
Youre so sweet
MONTY: VIOLET: Ive been waiting
Ill wait to hear from you Ill be sittin home, knittin somethin fittin Ill be waiting
Just waitin to hear from you
VIOLET: FLICK:
You werent so bad, for a soldier FLICK: The way that I see you
You werent the best or the worst Come on, Monty.
But when you started to cry, boy MONTY:
I tell you, that was a first MONTY: Promise me, Viii-lut
Promise me, Viii-lut
MONTY: Promise youll do this VIOLET:
Viii-lut! You doing all right in there? You Once your healings through You got yourself a good joke now
worried or something?
FLICK: MONTY:
VIOLET: Monty? Why wont you promise
Im fine! Its all the candy and the soda,
what do you expect? Isnt this your stop? MONTY: VIOLET:
Shouldnt you be getting ready to go? Come to this station You wanna set up the punchline
Any time Sunday
You got my number so Ill be here for you MONTY:
Ill be waiting, by the roadside Like I promised
MONTY: Any time, Ill make do
I got your number so Ive been waiting, for a lifetime VIOLET:
To get your sweet kiss Thats all I am, I know
VIOLET: So Viii-lut, promise
What? Cuz Ill be waiting for you I got your number, my darling
You look too good to be true
You got my number so Promise me, Viii-lut
Why wont you face me
MONTY: CHOIR: PREACHER:
Slow down, you know Im the best thing On my way, I am on my way Why not let him raise you up.
Has ever happened to you
PREACHER: CHOIR:
Im coming here Sunday. See you then, all I say, are you on, or are you in the way? Lord, wont you raise me up and on my
right? And you get off that bus! way
CHOIR:
VIOLET: On my way, oh I am on my way PREACHER:
Left my troubles all behind me Raise me up, Lord Let him fold you to his bosom, like a
Back there when I climbed on board Wont you raise me up and on my way favorite angel!
Jordan Rivers where youll find me
Its wide, but not too wide to ford PREACHER: LULA:
Cuz if youre in the way you better get out Oh, on my way, I am glory bound
FLICK: of the way tonight. How would you like Raise me up, oh
Leave the girl in peace! it, friends, if the Lord were to raise you
up tonight? LULA/CHOIR:
MONTY: Raise me up right off the ground
What the hell is wrong with you? CHOIR:
Raise me up, Lord LULA:
FLICK: Wont you raise me Give me the wings of an angel
You expect her to get to Tulsa and back Ill fly away
in two days? PREACHER:
Maybe you feel distant, maybe you feel far CHOIR:
MONTY: from God tonight. But he hasnt moved. Raise up, raise up
Ill be waiting, by the roadside Hes the same place he ever was. If you Raise up, raise up
havent heard him, maybe you havent Ill fly away
FLICK: been listening. If you havent seen him,
I got to let her go... maybe your eyes have been closed! Dont LULA:
worry, if you dont want him, he aint I want to fly like an angel
MONTY: coming.
And Ill call your name CHOIR:
CHOIR: Ill fly away
VIOLET/YOUNG VI: I am on my way
And as Im goin along I am on my way LULA:
And as Im goin along I am on my way Ill fly to you
I know youre with me
PREACHER: PREACHER:
But if you want him How many are ready to be healed this
afternoon? Raaaise your hands if youre
5. RAISE ME UP CHOIR: ready.
Oh, if you want him
CHOIR: LULA:
Im on my way, oh I am on my way PREACHER: Wont you raise up!
If you need him
PREACHER: CHOIR:
Are you on, or are you in the way? CHOIR: Raise up!
Oh, if you need him
Rema Webb as Lula Buffington
PREACHER: PREACHER: CHOIR:
When medical science fails you. When all Thats right, Lula. You go ahead and make Raise up your hands if you believe
the clinics, the hospitals, and the infir- it a prayer now.
maries in the world tuuurn you away. PREACHER:
LULA: Whats happened? Is this a woman who
LULA/CHOIR: Amen, pastor. could not walk? You never know who the
What do you do spirits gonna move. Lets say its a woman,
When my thoughts are troubled, and my in a wheelchair a moment ago, and Virgils
PREACHER: spirits are low gonna bring her onto the stage. You see
What do you do. When even the family When my urges sicken, and my sins whats happened? She could not walk, and
doctor shakes his head. amaze me now shes dancing! Engineer, I might start
I can depend on you, my Lord speaking in tongues at this point, if the
LULA/CHOIR: Because I know, I know, I know rapture hits. You just keep that spotlight
Raise up! You will on me, whatever happens. Then Im gonna
go to the Bible and open it, like Im gonna
PREACHER: Raise me read from it. Before we call it a night in
And says, Im sorry, Ive done everything He will this glorious chapel, I believe every cane
I can. Raise me will be broken, I believe every wheelchair
He will raise me will be abandoned, I believe every stretcher
LULA/CHOIR: Higher, he will will be overturned! And here is where Ill
Raise up! introduce the volunteer choir, fromVirgil?
Lift me up
PREACHER: Higher, Lord VIRGIL:
And says, theres not a pill in the world Raise me up Philadelphia, sir.
can help you now. I know one doctor you Lift me up
can surely depend on. Im on my way PREACHER:
From the City of Brotherly Love. Yall get
LULA: I want to fly like an angel ready. This is where yall start singin
What is his name? On my way again.
Ill fly to you
PREACHER: I am on my way CHOIR:
His name isnt John Hopkins. Oh no. His Raise me up, oh raise me, raise me up
name isnt Ben Casey. CHOIR:
You will raise me, you will raise me LULA:
LULA/CHOIR: Raise me up, raise me up Oh wont you raise me
His name is Jesus Im on my way, Im on my way
PREACHER:
PREACHER: PREACHER: Thats right. Raise yourselves up off
If you believe in Jesus, raise your hands! Praise the Lord. Jesus wants to heal you, to your seats! My Bible says, shout unto
Hallelujah! Now theres a woman right by comfort you, to make you prosperous and God with the voice of triumph. Raise
my side that God has called on to sing normal. He is a bone-healer, a fever-break- yourself up! Look at what Gods doing
his Biblical, scriptural music; whats your er, a cancer-ender, a tumor-disappearer. before I start laying hands on people!
name again, sister? Who here believes Jesus has the power to Imagine what hes going to do after I
heal? Raise your hands if you believe. start! Glory!
LULA:
Lula Buffngton. CHOIR:
Raise me up, oh raise me, raise me up
Wont you raise me, wont you raise me CHOIR:
Wont you raise me up Way!

LULA: LULA:
Oh wont you raise me up Yes! Yes! Yes, Lord!
Higher
Oh yeah
He places me onto solid ground,
Oh he lifts me up, hell turn your life around
6. DOWN THE MOUNTAIN
Hes a healer, hes a counselor VIOLET:
Let him do it for you like he done it for me I came to talk to the Preacher.

Oh, he woke me up this morning and VIRGIL:

started me on my way Nobody talks to him unless they talk to
If you know what Im sayin, say yeah! me first.

CHOIR: VIOLET:
Yeah! Youre so young. I need his blessing.

LULA: VIRGIL:
Yeah! Not to worry, maam. Well get you taken
care of in a jiffy.
CHOIR:
Yeah! YOUNG VI:
Papa, careful
LULA:
Yeah! FATHER:
Easy does it
CHOIR: Hold on, baby, there we are
And on
YOUNG VI:
LULA: How far?
Oh, I know some of you came here today
to forget about your worries FATHER:
Let em roll down the River Jordan Were halfway down by now
Well get you taken care of, somehow
CHOIR:
My God Almighty, show your mercy
God Almighty, please forgive me
LULA:
Hes wonderful, hes marvelous VIOLET:
He did it for me, and hell do it for you, I have something to show him.
and you
VIRGIL:
Oh, dear God Perhaps you could show me first.
Im on my way
VIOLET:
Okay, but only if you take me to him after.
Heres what I need. Ive written it all
down. My name. My one desire. All the
Bible verses which must speak for me.
YOUNG VI:
Theres the river
FATHER:
We can cross it
This might hurt you, be prepared
VIOLET:
Hello? Mr. Preacher? Anybody?
7. IN THE CHAPEL
VIOLET:
This is where the preacher stands
No ones left to testify for me
All I have are your words, Lord
To raise me up and set me free
VIOLET:
Maybe its vain to worry youre ugly,
but if youre worse than ugly? If youre
disfigured! Thats not vanity, thats
pain, pure and simple.
PREACHER:
But sister, your scar is already healed
though, right? Its not going anywhere.
You need to make your peace with that.

YOUNG VI: Lazarus. The withered hand. The ear 8. RAISE ME UP (REPRISE)
Im scared! of Malchus. The woman at the door
of Peters house. The healing pool of VIOLET:
FATHER: Bethesda. The crooked shall be made Give me the wings of an angel
I know, but dont you fret straight. Ill fly away
Well get you taken care of, yet
PREACHER: PREACHER:
Dont you fret Isaiah was talking about a valley, not a Are you with me, sister?
God forgive scar. What are you doing in my chapel.
Theres the doctors VIOLET:
Theres a light on VIOLET: Ill fly away
Hold on, baby, almost there I need your help. I want to fly like an, Ill fly away
Thank heaven for that moon
Well get you taken care of soon PREACHER: PREACHER:
So many people do, sister. But right now You cant just demand...
VIRGIL: Im exhausted. Come back another time.
My child, we must pray for your spirit. You got to go on home. VIOLET:
Ill fly to you
VIOLET: VIOLET:
Never mind my spirit. I cant, not tonight. I came here all the way PREACHER:
from North Carolina on a Greyhound bus! You cant just expect that...
VIRGIL:
All suffering has a purpose. PREACHER: VIOLET:
What do people think, Im a healing juke- Be quiet a second.
VIOLET: box? Drop a quarter in me and watch me
Maybe thats true, but it doesnt make go? Come to the service tomorrow, sister, PREACHER:
it right! like ever-body else. Why dont we kneel together...

VIRGIL: VIOLET: VIOLET:

Kneel with me. Lord, help us to remember
that you have a purpose in all things.
With me today is what was your name
again, sister? You come back here! Call
security! We got a scrambler.
Well which is it, a service, or a TV show? You had your chance!
Oh, wont you raise up!
PREACHER: Raise up your hands if youre ready
Im sorry, but theres nothing really wrong If youre ready
with you. Say: how many want a touch?
Say: how many wanna get healed?
Raise up
Say: I got the power to heal.
Raise up
You can talk now if you want.
What is his name?
You can save it all up if thats
better.
His name isJesus

PREACHER:
Jesus, sister. Why dont we kneel
together and pray for that inner
beauty.

VIOLET:
I am on my way

PREACHER:
Sister, I promise you, this is not
the way.

VIOLET:
On my way, I am on my way

PREACHER:
Im sorry, but I need to call my
security.

VIOLET:
Oh no, youre not going anywhere!

On my way, I am on my way
Raise me up, Lord
Wont you raise me up and on my
9. LOOK AT ME But God, give me something!
Something of my own,
Dont shudder
Look elsewhere
Something mine Lose interest
VIOLET: So I wont Act distant,
Look at me Be ashamed Embarrassed
No one will look at me When I find a man You better
No one will dare to spend Be careful
The time it takes to To look at me Cuz I wont
Look at me Why wont you look at me Accept this
To really look at me It was an accident, Not this time
What did I do to make Or was it really? Im almost there
You angry at me
YOUNG VI: God, I just want you to apologize
My God Look at me!
This is so hard

Look at me
VIOLET:
Goddammit, look at me Dont try to quote
10.
Look at me to me
Can you imagine VIOLET/YOUNG VI:
What its like when people This is your handiwork
Look at me FATHER:
The gift you gave me
Look at me Dont try to quote to me from the Book of
Is this the tender mercy FATHER:
Suffering.
That youre known for So what? Once I look at you, then what.
YOUNG VI:
Here I am, looking at you. Satisfied?
My God You dont know anything about it!
Dont be so hard YOUNG VI:
FATHER:
You act like its my fault.
Give me the wings I know its every page by heart!
Of an angel FATHER:
Dont pull back VIOLET:
Im not the one who up and decides one
Dont shudder day the woodshed is the place to play. Id like to see you try this face on before
Look elsewhere you dare speak to me of suffering.
Lose interest YOUNG VI:
Im almost there FATHER:
Im not the one who doesnt check to see
his blade is loose! What is it you want to hear?
This is where the preacher stands
Two kinds of people in this world VIOLET:
FATHER:
All I have are promises It wasnt loose, damn you. The shim came You know what I want to hear!
To raise me up and set me free out. Nobody checks the shim every time
FATHER:
he uses his axe.
Id like a pair of Gene Tierney eyes It was all my fault? Is that what you want
And Ava Gardners eyebrows YOUNG VI:
me to say? Well all right then. It was
And anybodys cheekbones I bet you check it now. all my fault. Im sorry, and theres an
A different mouth end to it.
Beneath a new VIOLET:
And better nose VIOLET:
Dont pull back
And please, the eyes There is no end to it. Not for me.
FATHER: 11.THATS WHAT I want to bless
12 .
Just tell me what you want, damn you. I
will do it; I will say it. What does it take. I COULD DO you
VIOLET: FATHER:
VIOLET:
The last twelve years of my life? Can you Each day, I got you out of bed I want to bless you, but thats not my job.
get those back for me? Can you take Saw that you were fed I would if it were up to me.
back all the frightened looks from little Thats what I could do
girls, the jeers their brothers flung at me, FATHER:
the words of Christian sympathy their Sundays, Id give you change to go Look at you. Just look at you!
parents spat in my face like boiling oil? To a picture show
Thats what I could do VIOLET:
FATHER: Thats all I knew to do Did I have a miracle?
You think the accident didnt leave its
mark on me? Youre the image of your mama FATHER:
Shes in everything you are I wish your mama could see you like this.
VIOLET: Youve got her eyes, youve got her smile
Not out for everyone to see and be sick- But your own spirit carried you this far VIOLET:
ened by! If I could Oh my God! Thank you! Did he fix the
Id take away your scar nose too? Or just the cheek?
FATHER:
What else could I have done? The accident Forgive me FATHER:
happened, I couldnt undo that. I got you Youre my only star Maybe shes watching us right now.
to the doctor as fast as I could. Look how bright,
Look how strong, VIOLET:
VIOLET: Look how beautiful you are I want to touch it but thats temptation. I
Yeah, a doctor whod been out drinking, should wait until its settled.
who sewed me up like a pair of old I raised you stronger, child, than me
shoes. And then you waited five years too Which youll always be FATHER:
long to try and make it right. Thats what I could do I am bushed!
FATHER: I raised you strong enough to start VIOLET:
But you know why Seein with your heart Papa, tell me, what do you see when you
Thats what I could do look at me?
VIOLET: Thats all I knew to do
You know what I think? You did it on The rest, I guess, is up to you FATHER:
purpose. You were afraid Id leave if I I could almost sleep forever.
were pretty, so you took care of that. You Child, is there someone who can make you
made damn sure no one else would come happy? You dont have to say. I under-
within a mile of me. stand. Keep a secret from your old man.
13. SURPRISED (REPRISE)
VIOLET:
Lucky my miracle turned out so gentle
Maybe the best ones appear accidental
I dont dare to check it in the mirror BUS DRIVER 4:
Give him time, to get the features clearer
But by the soldiers base,
Wait and see
When I show my brand-new face
When I show my brand-new face
When I show my brand-new face
Ill be Hell say, where is that mountain where
BUS DRIVER 4:
I said, tickets please, maam. BUS DRIVER 4:
VIOLET:
Mr. Wallace Weatherman! Remember me?
BUS DRIVER 4:
Names Johnson, maam. Says so right on
the badge.
VIOLET:
Lips? Full. Cheeks? High.
Now whos easy on the eye!
BUS DRIVER 4:
M&Ms, Good & Plenty 14.
Stretch my legs, and grab a Coke
VIOLET:
Nose? Thin. Face? Fine.
Monty might not know its mine.
BUS DRIVER 4:
Have a Tootsie Roll, or twenty
PASSENGERS:
When we stop Ill have a smoke
VIOLET:
Ill just stand there, Garbo-style
It might take him a little while
But then hell start to smile
PASSENGERS:
Ill have some coffee for the road
FLICK:
I been waiting since daylight, scared to
miss you, scared you might not
VIOLET:
Dont even know if he will be there MONTY:
Come with me to San Francisco, Viii-lut. I
made it! Special Forces wants me.
Fort Smith, Arkansas.
VIOLET:
VIOLET: Go away. Both of you. Dont look at me!
He doesnt even know yet Ive changed. Ill
have to explain myself, how this gypsy MONTY:
hair and juicy mouth is still Violet Karl! Well have a couple days together before I
go. See, I got to fly from San Francisco,
you live? Can I come there? Viii-lut, Im goin to Vietnam.
VIOLET:
Made good time crossin Oklahoma What? Flick! Not you
MONTY: FLICK:
Viii-lut, there you areI wasnt sure which Not me.
bus youd be on.
MONTY:
VIOLET: Nah, only Special Forces gets to go. And they
Monty? It was all I could do not to sneak only take the good soldiers, right? Just a
a look before I got here. Well? What do joke. Look, I found a ring in my Crackerjack.
you think? Ill get you a real one when we get to San
Francisco, I promise. So what do you say,
wanna hitch a ride on the Montymobile?
I tried to tell you VIOLET:
Please! Im so ashamed.
MONTY:
I tried to tell you what would happen. But MONTY:
you didnt wanna hear it. I didnt mean toOh please dont cry.
Thingsll be okay. It barely even counts
VIOLET: as a war. Flick, make her stop? Ill write
Wait! No! to you, Viii-lut. How bout that. Look, Im
gon miss you. Wish me luck.
FLICK:
Vi-oh-lette. VIOLET:
You be careful.
MONTY:
Sergeant Grady Fliggins. What brings you MONTY:
here. Anyway...
 PROMISE ME,
15. God, cant you leave me!
Im sorry
VIOLET (REPRISE) I cant stay with you

FLICK: FLICK:
Vi-oh-lette maybe you still But Vi-oh-lette, you can
feel a hundred miles from
who you are. I know you feel like nothings
changed
VIOLET: But look at you, youre dif-
Ive got to get back on the ferent
bus. Youre not the girl you were
When you began
YOUNG VI:
Dont pull back And look at me
Dont shudder Cuz when you look at me
Look elsewhere You see the man
Give me the wings Ive always wanted to be
Of an angel
Look at me
FLICK: Sweet Jesus, look at me
But I know who you are. And When you do Ill find
I know where you belong, The words to tell you
too. How I love you

VIOLET: Ive been waiting, for a

All alone on the side of some
goddamn mountain.
FLICK:
No, Vi-oh-lette. You belong
with me. I wish you coulda
seen the way you looked
when you first stepped offa
that bus.
lifetime
And now youre so near
Im gonna wait here
Until the wait is through
Promise me, Violet
VIOLET:
How can I promise?

VIOLET:
I wanted a pair of Gene
Tierney eyes
And Ava Gardners eyebrows
Or even just the cheekbones
But nothings changed
Its too late now
Im going home
FLICK:
Like I promised you
VIOLET:
Careful now, Grady
You better mean this
FLICK:
All I want is you
Ive been waiting
Scared to lose you
Scared my plan would fall through
Ive been waiting, for a lifetime
For someone simply
To look and see me
VIOLET:
Ive been waiting
Afraid to lose
How will I know youll never leave?
But maybe youre the one Ive waited for
The first one to simply
See me
The way that I see you
YOUNG VI:
Mama, whys a man have eyes?
If I tell you, dont you tell
VIOLET:
Flick. What do you see when you look
at me.
YOUNG VI:
Mama, whys a man have hands?
If I tell you, dont you tell
Go ask your beau, he understands
Theres honey in the bushes, Lord
And water in the well
16. BRING ME TO LIGHT
FLICK:
If I ask you to be with me by and by
Will you meet me tonight, love
If its too dark to see with the naked eye
Will you bring me to light
FLICK/VIOLET:
If I happen to stagger and fall behind
Will you help me to fight, love
Will you help me to walk, will you ease
my mind
FLICK/VIOLET/EARL: I want you with me
Will you bring me to light
If I tell you my heart has been opened wide
FLICK/VIOLET/EARL/OLD LADY: If I tell you Im frightened
Will you bring me to light If I show you the darkness
FLICK/VIOLET/EARL/YOUNG VI/BUS VIOLET/FLICK/MONTY:
DRIVER 4: I hold inside
I know you will try
YOUNG VI/FATHER:
FLICK/VIOLET/EARL/YOUNG VI/BUS Will you bring me to light
DRIVER 4/FATHER:
To help me find my way, love YOUNG VI/FATHER/MABEL/
OLD LADY/BUS DRIVER 4:
FLICK/VIOLET/EARL/YOUNG VI/BUS Will you bring me to light
DRIVER 4/FATHER/MABEL:
I wont wonder why ALL:
Will you bring me to light, light
FLICK/VIOLET/EARL/YOUNG VI/BUS
DRIVER 4/FATHER/MABEL/MONTY:
When nights are long
FLICK/VIOLET/EARL/YOUNG VI/BUS
DRIVER 4/FATHER/MABEL/MONTY/LULA:
If youll hold me till its light
YOUNG VI/BUS DRIVER 4:
Like a comet that catches you by surprise
EARL/MABEL:
Like a star in the night, love
FATHER/OLD LADY/LULA:
Like a baby the first time she opens her
eyes
ALL:
Will you bring me to light
Will you bring me to light
Will you bring me to light
To light, to light, to light, to light
Left my troubles
Back there when I climbed on board
Jordan Rivers where youll find me
Its wide, but not too wide to ford
And as I go, and as I go along
PRODUCTION CREDITS FOR PS CLASSICS, LLC:
Produced by TOMMY KRASKER TOMMY KRASKER, Executive Producer
Recorded and Mixed by BART MIGAL PHILIP CHAFFIN, A&R Director
Executive Producer: PHILIP CHAFFIN BART MIGAL, Staff Engineer
DEREK BISHOP, Art Director
Recorded APRIL 7, 2014 AT AVATAR STUDIOS, NEW YORK, NY ALLAN STEIN, Project Manager
ProTools Engineer: VICTOR MANCUSI ROBERT EDRIDGE-WAKS, Editorial Coordinator
Assistant Engineers: TYLER HARTMAN & THOM BEEMER MARK BAKALOR, Web Designer

Synthesizer Programmer: RICK BASSETT

Music Coordinator: SEYMOUR RED PRESS
Music Preparation: EMILY GRISHMAN MUSIC PREPARATION/
KATHARINE EDMONDS, EMILY GRISHMAN
Celebrating the heritage of Broadway and American popular song
Associate Managing Director: GREG BACKSTROM
General Manager: DENISE COOPER WWW.PSCLASSICS.COM
Production Stage Manager: KRISTEN HARRIS
Stage Manager: ROBERT WITHEROW
Company Manager: CARLY DIFULVIO ALLEN

Art Direction & Design: DEREK BISHOP

Production Photography: JOAN MARCUS

Publishing Credits:
THATS MUSIC TO MY EARS, LTD. (ASCAP) / BAYFIELD MUSIC (BMI)

The testifying language at the end of Raise Me Up comes

from REMA WEBB.

Violet opened on Broadway at the American Airlines Theatre on April 20,

2014. The production was enhanced with generous support from Amy
Sherman-Palladino & Daniel Palladino, David Mirvish, Barry & Fran Weissler,
Elizabeth Armstrong, and Mary Jo & Ted Shen. Violet originally premiered
Off-Broadway at Playwrights Horizons on March 11, 1997 and was initially
developed at the ONeill Theatre Center during the 1994 National Music
Theatre Conference.

Todd Haimes, Artistic Director

Roundabout gratefully
Harold Wolpert, Managing acknowledges partial underwriting support
Director
Julia C. Levy, Executive Director
for Violet from Gina
Sydney Beers, General Manager
and David Boonshoft.
in association with

Amy Sherman-Palladino and Daniel Palladino David Mirvish Barry and Fran Weissler
 Todd Haimes, Artistic Director
Terrific and heart-stirring. Harold Wolpert, Managing Director

Sutton Foster dazzles in a career-redefining Julia C. Levy, Executive Director

Sydney Beers, General Manager

performance, revealing the full range of her in association with

expressive gifts. If the time has come for Sutton Foster to

Amy Sherman-Palladino and Daniel Palladino David Mirvish Barry and Fran Weissler
Elizabeth Armstrong Mary Jo and Ted Shen

take her place among the first rank of Broadway performers, the
presents

Sutton Foster
moment also seems ripe for Violet to be acknowledged
Colin Donnell Alexander Gemignani Joshua Henry
as an enduringly rewarding musical.
The New York Times VIOLET
Based on the New York City Center Encores! Off-Center concert production
Music by Book and Lyrics by

What a wonderful trip it is! Jeanine Tesori Brian Crawley

Based on The Ugliest Pilgrim by Doris Betts
An exhilarating musical that with
Ben Davis Annie Golden Emerson Steele
purrs from start to finish. Austin Lesch Anastaia McClesky Charlie Pollock
New York Daily News Jacob Keith Watson Rema Webb Virginia Ann Woodruff
Set Design Costume Design Lighting Design Sound Design
David Zinn Clint Ramos Mark Barton Leon Rothenberg

A work of great beauty, resonance, and joy. Orchestrations

Rick Bassett
Music Coordinator
Seymour Red Press
Hair & Wig Design Dialect Coach
Charles G. LaPointe Kate Wilson
Production Stage Manager
Kristen Harris
Sutton Foster is riveting, Colin Donnell is terrific and Joseph Joubert
Buryl Red
Joshua Henry brings the house down! Casting Violet General Manager
Jim Carnahan, C.S.A. Denise Cooper
Production Management
Aurora Productions
Press Representative
Polk & Co.
New York Carrie Gardner, C.S.A.
Stephen Kopel, C.S.A.
Associate Managing Director of Marketing Director of Development
Director & Audience Development Lynne Gugenheim Gregory

**** Violet is reason to rejoice. Greg Backstrom

Founding Director
Gene Feist
Tom OConnor
Adams Associate
Artistic Director
Time Out New York Scott Ellis
Music Direction by
Michael Rafter

Is there any contemporary musical theater composer Choreography by

Jeffrey Page
more versatile than Jeanine Tesori? Now, Tesoris first (and Directed by

arguably finest) work, Violet, is getting a beautiful Leigh Silverman

Broadway revival. Rich and soul-stirring. Its Recording Produced by Recorded & Mixed by Executive Producer

impossible not to get swept up. Tommy Krasker Bart Migal Philip Chaffin

Entertainment Weekly
This album is made possible in part through the generosity of
Elizabeth Armstrong and Amy Sherman-Palladino & Daniel Palladino
Roundabout gratefully acknowledges partial underwriting support from Gina and David Boonshoft.
Playwrights Horizons, Inc., New York City, produced Violet Off-Broadway in 1997, and it was