ROLE

OF A LIFETIME
Bare: A Pop Opera


Music by DAMON INTRABARTOLO
Lyrics by JON HARTMERE

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 = 72

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             



   

 

 

            
3


3

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  
Ev 'ry thing's an act when you're pleas ing ev 'ry one. And

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         
  


       
Ped. continues throughout

       


5

          
he as sumes that role to such re nown. He

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      

          
   
    
              
7 3 3

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     
plays a per fect part, straight from his heart, know ing the risk he takes and

     
            
       
  





Damon Intrabartolo and Jon Hartmere

2

          


     
9

  
       
hop ing that the house is not brought down. The

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
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

  

 
            
11

  
3


          
role of a life time, it's liv ing a fan ta sy, a

    
            
     
           
 

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      

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13

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dra ma that you strug gle to e rase.


           
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       
     
      
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  
15 3

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 
Thoughts bat tle words o ver deeds, a war with such cas ual ties, all

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


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 


 


Damon Intrabartolo and Jon Hartmere

 3

    
          


17

                
played out be hind a smi ling face.

 
                        
       
    
 
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
               


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20

   
God, I need your guid ance. Tell me what it means to

             
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

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       
22


4 4

   

live a life where no thing's as it

             
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

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24


           
seems. Spend ing days in si lent fear, and spend ing nights in lone ly prayer,

              
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     


   

Damon Intrabartolo and Jon Hartmere

4

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26


      
hop ing that one day when you wake those feel ing won't be

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         
    


  


 
28

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there.

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   


             


       

 
            
30

  
3

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         
So con fused be cause I feel com plete with him. When

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

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    
          


32

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we're a lone it all some how makes sense. I

       
  
         
    
 

Damon Intrabartolo and Jon Hartmere

 5

             
       

34 3 3

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look in to his eyes for some com pro mise. Re mem ber the word for get, and


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  
3


 
3

            


    
36

     
try to bu ry some thing so in tense. You

   
    
                       
   
     
 

               



39

   
learn to play the straight man. your lines be come rou tine,

             
               

  

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     
41


4 4

   

nev er real ly say ing what you

  
          
            
    

Damon Intrabartolo and Jon Hartmere

6

                 
43


    
                  
mean. But I know the scene will change. White pic ket fen ces and a dog,

   
              



    

                   
45


                
a tro phy bride and child ren. God, I know that's what he wants.

          

                 
     

             

47


  
But, Ja son, what role do I play? Am I a sav ior or a phase?


    
 
 
  



        
     

                  


49

     
Am I here to damn you or to help you nav i gate this

         
            
                 
    

Damon Intrabartolo and Jon Hartmere

                
7

  
51



maze where con fu sion is a crime, so you fill your life with sound,

                   
           
     
       
     


                
 
53



and if you dance like hell you hope you'll nev er touch the ground?

          
                
          
     

           
     


55


What hap pens when the mu sic stops? In the si lence will he stay?

          
        

 
         


       

Damon Intrabartolo and Jon Hartmere

                
8

   



57

     
One day he'll real lize that these feel ings aren't go ing a way.

         
            

        
        





   

   
    
        



59


So we drive our selves in sane, spin ning cir cles in our souls

       

         

            
 
   

                
  


61



as we dance a round and play pre tend, then once a gain,

       
                 
        
      


    

Damon Intrabartolo and Jon Hartmere

        
9

     
63


re prise our roles.



    
  
       
    
                                  
    


Damon Intrabartolo and Jon Hartmere