A Note from Librettist Sandra Seaton
When I began to write about a young man soon to leave prison for parole, I knew ahead of time that I was writing for Josh’s voice. I wanted to dress Joshua Blue’s voice, the voice of this young man (YM), in something new. To start, I talked with my sister Brenda about the prison world. She hadn’t been to prison herself, but she contacted a few friends who had been there. I was able to tap into their experience. Because it was 2021, I couldn’t help thinking about the isolation of the coronavirus. I imagined Josh being in a room by himself, limited by the restrictions of the virus. I looked up images of prison wires and found one called concertina, a musical reference and the wire that keeps YM imprisoned.
Much of what I learned and researched is not in the libretto. It forms the subtext, the powerful engine that lies beneath the words. The libretto is the tip of the iceberg.
YM’s simplicity, directness and efficiency mark a man who has to marshal his energy; big talk gets noticed in prison by guards or other prisoners and could be dangerous. As a result, YM doesn’t use a lot of words to express himself. I wanted to leave room for Carlos’s music.
Because the limitations of the space create tension, YM is in a constant battle to see if he can handle his small world. Everything is controlled and repetitious, even the monotony of working in the kitchen and baking the bread, a daily job a part of him looks forward to. When YM is driven to repeat his routines, Jamar choreographs them all and Carlos is there to set them to music.
Note that YM doesn't say he doesn't belong there himself. Perhaps he feels he does now, but he won't tomorrow when he will have paid his debt. I wanted the listener to infer his good qualities through observation which in turn allows a listener to root for him and his release instead of resenting or doubting the presence of those qualities. But YM doesn't overdo it, never once talks about being virtuous. Even the things he dreams of doing are simple things (washing his own clothes, baking his own bread) that most in the developed world take for granted. YM is not only efficient and direct, but honest where honesty is hardest; that is, with himself. His humility, empathy, his honesty and discernment, his appreciation of nature, are good qualities—simple gifts. His alertness to the presence of the bluebird shows he isn't worn down or dead in his soul.
I was thrilled to see my words, Carlos’s music, Josh’s voice, Jamar’s choreography, Lloyd’s dance artistry, all come together.
—Sandra Seaton
Libretto: The First Bluebird in the Morning
Peach Orchard Hill. I still dream about it. Nothing but death everywhere. In front of me, in back of me. Before we left that day, I looked down one more time. Saw things again, the way I hadn't seen them before. A patch of flowers, ol' teacup blue. I could see it, feel it. That little bit of life.
—The Will
The first bluebird
In the morning
Flew over the barbed wire.
Flew in then out
Again and again
Over the barbed wire.
I see you, Blue Bird.
I see you.
Dressed for your flight
with your blue feathers
and your long wings.
Here in the joint.
Here in this place.
There’s a definite routine.
A certain time
A gray time
A time to get up
A gray time
A time to get dressed.
March to the kitchen.
(Stomping sound. Change in tone)
To knead the bread.
Here In the joint. (Another change in tone. As if pleading for understanding)
Here
Here
I see you, Blue Bird
Dressed in your finery.
I see you.
Your wings are long.
Come morning, come morning
I'll shed these gray clothes
Come morning.
My time is up.
I’ll find my good suit, wash my own clothes,
Bake my own bread
Come morning. Come morning.
Come morning.
Come morning
We’ll fly away.
Copyright © Sandra Seaton, 2020