Brigadoon Mystery Conspiracy Theory


This was my view while conducting Brigadoon at the Kirkland Performance Center in September 2007. Several people asked me for an explanation of the wired contraption you see in the middle of the photo. One child in particular spent most the show trying to figure it out and had some great guesses about it.

The item lying on top of the stage is a stage microphone used to capture overall ambience from the chorus. There are normally three of these across the stage – Left, Center, Right. The sound designers will use these to bring up ambience during large crowd scenes or chorus musical numbers.

The grey item taped in the center with the larger cord extending from it is just a camera. For many scenes in Brigadoon the choir sings from backstage and it was difficult for them to see me for timing. So the sound techs put the remote camera in place and the choir watched me backstage on a monitor. The chorus said the monitor had a little of a fisheye lense effect and made my hands look gigantic, but for keeping time it worked very well.

We had used the same concept during another run of Brigadoon, but the lighting was poor and the chorus couldn’t see me well in the monitor – and boy could I tell from the pit. Timings were not together. You can use a simple computer camera to do this – make sure to check lighting under show conditions so viewers can easily see directions from conductor.

And to the boy who was convinced it was not just a camera – well…..MAYBE it’s actually a launch button I can press to launch a spaceship.


View from Conductor’s podium looking at audience
Kirkland Performance Center, Kirkland, WA.


Musicians in the orchestra pit (read Dark Scary Cave of Doom) at Kirkland PAC


French Horn and Trumpet in Kirkland Orchestra Pit.


Happy Bunny Ransom


Muahaha! My friend from the Great White North just sent me this. Now you need to realize that I recently posted an entire gallery of Happy Bunny graphics, and also conducted Brigadoon (including bagpiper) wearing a kilt – So this is all that craziness combined. Thank you!

Comments on Brigadoon 2007

I don’t normally post comments about shows I work on because it seems a bit haughty with me being part of the production team. But Brigadoon 2007 at McIntyre Hall really is a fine production. On the music end, the orchestra is really incredible. Not too far a stone’s toss from a 5th Avenue pit group.

This is one of my last shows in Skagit County before I go back on the road and I hope friends and local theater folk have a chance to see this production. This show does great honor to McIntyre Hall and to local theater folk who put their heart and soul into the arts.

And to the McIntyre family of Skagit – I don’t know you, but your generostiy in creating McIntyre Hall is helping to propel Mount Vernon, WA and surrounding areas into rich fertile soil for up and coming artists.


Wonderful! Such a beautiful time we had!
Thoroughly enjoyable;hope you will do more in this great theatre
This was by far the best performance I’ve seen in the area.
This is the kind of show I dreamed McIntyre Hall was built for.
Enjoyed it completely!
Terrific! What a great production for the community!
Magical! I love the story, the dancing, singing, and message.
I really enjoyed combining professional and local talent. Fantastic idea! Keep up the good work!
Very professional–good scenery and acting

Brigadoon Comes to Skagit Valley


Troy Wageman and Megan Chenovick from Brigadoon

Mists of the Highlands Reach Skagit
by Bev Crichfield – Skagit Valley Herald

 Mount Vernon, WA – Welcome to the Scottish Highlands, where the mists of the moors hide a magical town called Brigadoon, and weary travelers can spend a day enjoying good music, friendship and even find the ever-elusive true love of their lives.

But be careful — it can only happen one day out of a century.

Everything about the Broadway musical “Brigadoon” is enough to make a woman swoon, said Brenda Mueller, director of the Lyric Light Opera’s production of the 1947 Lerner and Loewe classic set for three weekends in July at McIntyre Hall in Mount Vernon.

“You cannot find any more beautiful music from a musical than in ‘Brigadoon,’” Mueller said, while preparing to lead the chorus through a scene last week during rehearsals.
The romantic storyline continues to satisfy the imaginations of audiences years after it was written, Mueller said. “It’s magical. There’s the mists of the Highlands; you enter it and it just sweeps you away.”

The production is the perfect fit for the Scottish-themed lineup of events throughout July in Skagit Valley, Mueller said. Lyric Light Opera is collaborating with the Skagit Valley Highland Games, set for July 14-15 at Edgewater Park in Mount Vernon.

Part of that collaboration has meant a few professional bagpipers who will compete in the games have offered to add the uniquely Highland sound of their instruments to the 23-member orchestra, which includes violins, woodwinds and a more classical style of music than most Broadway musicals.

Although it’s usually performed as a typical stage musical, Brigadoon has been considered borderline opera, and sometimes is performed by opera companies, Mueller said.

Standing in the hallway of the church where the 45-member cast was rehearsing last week, opera singer Megan Chenovick, who plays the female lead Fiona, said she was excited by the opportunity to do some “classical” singing for her part.

“There’s some great music and so many standards that people are going to recognize,” Chenovick said, including the romantic “Come To Me, Bend To Me,” and “The Love Of My Life.”

Some of the tunes were so well-written that there isn’t much a singer has to do to make them new and fresh, said Tim Glynn, who plays the young, energetic Charlie.
“ ‘Come To Me, Bend To Me’ makes me feel so not needed,” Glynn said. The emotions that flow out of the lyrics and music are enough by themselves to sway an audience, he said.

Glynn is one of five professional performers hired by Lyric Light Opera for the $100,000 show. Those leads come from Seattle and have performed with such large theater companies as the 5th Avenue in Seattle and the Village Theatre in Everett and Issaquah.

Many cast members in the Stanwood-area based group are from Anacortes, Arlington, Bellevue, Camano Island, Marysville and Mount Vernon.

“Brigadoon” is the second big Lyric Light Opera production since the group was formed in 2006 out of the remnants of the Northwest Civic Light Opera. It’s a larger, more elaborate — and costly — endeavor than the group’s first show last July, “Annie Get Your Gun.”

And despite the hiring of five professional performers, Mueller said she’s sticking firmly to the group’s aim to provide opportunities for local young theater hounds to learn the ins and outs of theater production.

The professional actors were hired on the condition that they serve as mentors to other, less-experienced members of the cast — an arrangement that’s already reaping benefits, Mueller said.

“We have a high level of excellence in our shows, and this is a part of that,” Mueller said.

She said she’s trying to stay as true as possible to the Scottish tradition.

Despite its Scottish backdrop, the real story of “Brigadoon” is based on a fairy tale from Germany, written by Friederich Gerstacker, about a mythical cursed village. In 1947, when the musical was written for Broadway, the United States had just come out of World War II and American audiences weren’t fond of Germany. So the location of the story and its character names were changed to reflect a Scottish theme.

But the fairy tale edge was kept mostly intact.

In the story, two New Yorkers, Tommy Albright and Jeff Douglas, travel to the Scottish Highlands and get lost during a hunting expedition. They hear faint music, and follow it through the heavy mist to a village where everything harkens back to a simpler time. The foreign visitors arrive just in time to witness the wedding of Charlie and his fiancée, Jean.

Through the day they meet a list of colorful characters: The aggressively lovelorn Meg, who’s searched high and low for a husband; Harry Beaton, who is in love with the beautiful Jean; Angus McGuffie, who employs Meg and the gentle and good-hearted Fiona.

Oh, and did we mention that Fiona is beautiful? That goes without saying — this is, after all, a fairy tale at heart.

As the day goes on, Tommy finds himself falling in love with Fiona. The mystery of the village is revealed, too. Turns out, a parish priest 200 years prior to their arrival made a pact with God to make the village disappear only to become visible once every 100 years to protect it from the evils of the outside world. If someone leaves the village, it will disappear into the mist forever.

As the story continues, the future of the village is threatened, jealousy leads to tragedy, and Tommy and Fiona discover they’re a perfect match.

“The reason I like ‘Brigadoon’ so much is that there’s such a really broad emotional spectrum,” said Ryan Edwards of Arlington, who plays the jealous and self-absorbed Harry Beaton. “They explore a lot of difficult emotions that makes the play sentimental, a bit moody, tragic and a bit elated, in back-to-back scenes.”

Aside from the rigorous dancing that incorporates hopping, twirling and some ballet — a totally new challenge for Edwards — the other big challenge for the cast has been adopting an authentic, but intelligible, Scottish brogue.

“I didn’t know anything about the Scottish accent (before the show),” said Jeannette d’Armand of Seattle, who plays the bubbly and flirtatious Meg.
“You don’t dress up, you dress oop,” she added, laughing.

Then there’s the constant rolling of the “Rs,” that keeps the actors constantly thinking about their words, she said.
“But it’s been fun for me — something new to learn,” she said.

Brigadoon 2007 – Lyric Light Opera of the Northwest


Brigadoon opens again July 7-9 and 14-16 at the Kirkland Performance Center, Kirkland, WA.
Previously Brigadoon had opened July 13, 2007 for a three week run at McIntyre Hall, Mount Vernon, WA. Click the Brigadoon poster for full size image. July 13-15, 20-22, 27-29 2007 (Fri-Sat-Sun). Conrad Askland will be conducting a fine orchestra for this show – hope you can make it.

Troy Wageman (5th Avenue Theater)
Megan Chenovick (Skagit Opera)
Tim Glynn (5th Avenue Theater)
Jeanette D’Armand (5th Avenue Theater)
Kevin Pitman (Village Theater)

Some Orchestra Score Musical Terms

Some of the musical terms used in the original orchestra score for Brigadoon.

  • Mosso – Rapid. Meno mosso, less rapid. Piu mosso, more rapid.
  • Morendo – gradually dying away
  • Colla Voce – Follow the voice. A directive to the musican (normally accompanist) to perform the indicated passage in a free manner following the tempo and style of the solo performer.
  • L’istesso tempo – The same tempo. An indication in a composition that directs that the beat remains constant when the meter changes. In the case of 2/4 to 6/8, the meter is still counted with two beats per measure but the tempo or speed of the beat stays the same. All that has changed is the subdivision of the beat from the duplets of the 2/4 to the triplets of the 6/8.
  • Tenuto (ten.) – Tenuto can mean either hold the note in question its full length (or longer, with slight rubato) or else play the note slightly louder. In other words, the tenuto mark is sometimes interpreted as an articulation mark and sometimes interpreted as a dynamic mark. When it appears in conjunction with an accent mark, it is of course taken as an indication of articulation, and, conversely, when it appears in conjunction with a staccato mark, it is taken as an indication of a slight dynamic accent. When it appears by itself, its meaning must be determined by its musical context. In rudimental (drumline) drumming, the tenuto marking is traditionally interpreted by giving the marked note a slight accent or emphasis.
  • Lento – slow
  • Piu – More. Used with other terms, e.g. piu mosso, more motion.
  • Ancora – repeat
  • Ancora piu lento – Repeat more slow
  • Giocoso – playful
  • Strepitoso – boisterous
  • Mesto – sadly
  • Brigadoon – Piano Part

    So the mystery is finally solved about the Piano part in the orchestration for the Brigadoon musical.

    I just received my scores. The piano part is “boom-chucks” during the cut time pieces, glissandos into sections and occasional celeste parts. I wouldn’t say it’s an essential part, but definately will add to the rhythm section.

    The official Brigadoon orchestration calls for the timpani player to double on snare and brushes – there is no dedicated trap set drum part.

    For my orchestra I split the rhythm section up like this:

    Percussion – Timpani, snare drum, cymbals
    Percussion – Bells (have keyboard player cover bell parts from percussion score)
    Piano – Have piano player play the piano part lightly as written.

    If you listen to the CD soundtrack of Brigadoon, you’ll hear the piano come in and out, especially on the glissandos. My assumption is this was orchestrated at a time when dedicated rhythm section and trap set drummers weren’t the norm yet in Broadway orchestra pits. If it was orchestrated today I think it would lean towards a regular drum kit, with a couple keyboard players covering bells and accentuating rhythms.

    If you’re conducting this show you’re probably using the piano/vocal reduced score – know that the piano part in the orchestration is not a doubling of the reduced piano score – it mainly focuses on rhythm and light chord flourishes.

    Brigadoon Music Orchestration

    This is the full orchestration list for Brigadoon performance with orchestra. There is also a stage band orchestration available (but not as cool as using the orchestra).

    Our upcoming presentation of Brigadoon uses the full classic orchestration (because we’re just cool like that).


    2Â Â Â Â Violin I
    1 Â Â Â Violin II
    1 Â Â Â Viola
    1 Â Â Â Cello
    1 Â Â Â Bass

    1 Â Â Â Flute – Piccolo
    1 Â Â Â Oboe
    1 Â Â Â Clarinet I
    1 Â Â Â Clarinet II
    1 Â Â Â Bassoon

    1 Â Â Â Horn
    1 Â Â Â Trumpets I & II
    1 Â Â Â Trumpet III
    1 Â Â Â Trombone

    1 Â Â Â Percussion:

    * Timpani (2 Drums)
    * Snare Drum (Brushes & Sticks)
    * Bass Drum
    * Field Drum
    * Tom Tom
    * Cymbals
    * Glockenspiel
    * Chimes
    * Temple Blocks

    1 Â Â Â Piano & Celeste (Piano-Conductor’s Score sent with rehearsal material)

    Spoken Accents for Theater

    What makes an accent real, and what makes it phony? What is really a Southern accent in the United States and what is someone doing a vocal caricature. What is a true cockney accent and what mistakes do Americans typically make with English accents on stage?

    I have no idea. But here is a variety of information on accents for you to investigate further. Listen particularly to rhythm, intensity and articulation.


    Example of a Scottish Accent:

    Listen to accents from all over the world to compare spoken word accents. What a great tool for studying speech. These recordings are real people, not stereotypes. A great reference for real world speech accents. On this website, each recording is someone from a different part of the world saying the following paragraph:

    Please call Stella. Ask her to bring these things with her from the store: Six spoons of fresh snow peas, five thick slabs of blue cheese, and maybe a snack for her brother Bob. We also need a small plastic snake and a big toy frog for the kids. She can scoop these things into three red bags, and we will go meet her Wednesday at the train station.


    Listen in to the diverse voices of the United Kingdom, Channel Islands and Isle of Man – from Shetland to Penzance. Eavesdrop on Rotarians in Pitlochry and Travellers in Belfast. Drop in on skateboarders in Milton Keynes. Overhear pigeon fanciers in Durham.

    The clips are drawn from the Voices recordings – which capture 1,200 people in conversation. Some of the clips are people talking about language – slang, dialect, taboo words, accents. Other clips cover all sorts of subjects and simply offer a flavour of how we talk today.

    “I think the US has always had a more of an emphasis on mobility which is why there hasn’t been a core of accent speakers to build a distict accent. Regional accents are changing in the UK now and in the south most of the old accents are dying out.”


    Ever been baffled by the bard? Vexed by his verse? Or perplexed by his puns? London’s Globe theatre thinks it has the answer: perform Shakespeare’s plays in Shakespeare’s dialect.

    The Globe, London (pic Donald Cooper)
    The Globe will stage Troilus and Cressida for six weeks

    In August the theatre will stage an “original production” of Troilus and Cressida, with the actors performing the lines as closely as possibly to the play’s first performance – in 1604.

    By opening night, they will have rehearsed using phonetic scripts for two months and, hopefully, will render the play just as its author intended. They say their accents are somewhere between Australian, Cornish, Irish and Scottish, with a dash of Yorkshire – yet bizarrely, completely intelligible if you happen to come from North Carolina.

    For example, the word “voice” is pronounced the same as “vice”, “reason” as “raisin”, “room” as “Rome”, “one” as “own” – breathing new life into Shakespeare’s rhyming and punning.

    Why are the accents a particular place like they are?

    Separate development accounts for some accent variation. But sometimes we need to talk about the first generation of speakers of a particular language brought up in a new place. The first children to grow up in a new place are very important. The children who grow up together are a ‘peer group’. They want to speak the same as each other to express their group identity. The accent they develop as they go through their childhood will become the basis for the accents of the new place. So where does their accent come from?

    The first generation of children will draw on the accents of the adults around them, and will create something new. If people move to a new place in groups (as English speakers did to America, Australia and New Zealand) that group usually brings several different accents with them. The children will draw on the mixture of accents they hear and create their own accent out of what they hear. The modern accents of Australia are more similar to London accents of English than to any other accent from England — this is probably because the founder generation (in the eighteenth century) had a large component drawn from the poor of London, who were transported to Australia as convicts. The accents of New Zealand are similar to Australian accents because a large proportion of the early English-speaking settlers of New Zealand came from Australia.

    The mix found in the speech of the settlers of a new place establishes the kind of accent that their children will develop.
    I’ve always wondered about accents and why we (North Americans) don’t sound like our British or (Insert country of origin) ancestors? When people moved over here from Europe they would have sounded British or whatever to start with, but obviously today they don’t.There are many different accents within the British Isles, and it’s likely that they have changed over the last centuries. Remember also that not all the ancestors of North Americans came from Europe.

    I’ve always wondered about accents and why we (North Americans) don’t sound like our British or (Insert country of origin) ancestors? When people moved over here from Europe they would have sounded British or whatever to start with, but obviously today they don’t. How long does this process of dialect/losing or gaining accent take? And why does it happen? I suppose it has to do with language evolving and regional influences. It’s odd but people from the South Shore of Nova Scotia sound to me like they could be from Maine…..very similar accent…I love accents.

    A Scottish accent reading Robert Burns poem “My Love Is Like a Red, Red Rose”

    Brigadoon Musician Page

    brigadoonposter.JPGUPDATED 06/28/07 – Please check for updates.

    Brigadoon Musicians – this is your official page with all the info you need for our 2007 run with Lyric Light Opera of the Northwest. Please bookmark – all changes and updates will be done on this page.

    Read about Brigadoon on Wikipedia

    OPENING NIGHTS – July 13 and September 7 – 5pm call time to run music.
    General Call Times for Orchestra – 6pm for Fri-Sat – 12:30pm for Sun (90 minutes before curtain)
    July 13-15, 20-22, 27-29 McIntyre Hall, Mount Vernon, WA
    September 7-9, 14-16 Kirkland Performing Arts Center, Kirkland, WA
    Fri./Sat. 7:30pm, Sun 2pm – for both venues.

    *NOTE* Our weekday “optional” rehearsals are not optional for musicians, they are optional for me to call.

    July 12 Thurs – 6pm-11pm Dress Rehearsal – McIntyre Hall
    July 11 Wed – 6pm-11pm Dress Rehearsal – McIntyre Hall
    July 7 Sat – *CANCELLED*
    July 5 Thurs – 6-10pm – Run thru with Cast – MVPres
    *NEW* July 3 Tuesday – 6-9pm MVPres – Will call sections that need work
    June 30 – *CANCELLED*
    June 28 Thurs – 6-10pm – Songs with Cast MVPres
    *NEW* – June 26 Tuesday – 6-9pm MVPres – Will call sections that need work
    June 23 Saturday – 10am-3pm – Orchestra at MVPres
    June 16 Saturday – 10am-3pm – Orchestra at MVPres
    *Note* – September 6 Thursday – 6-11pm – Kirkland Dress Rehearsal

    (Cut starts at first designation, orch. enters at second marking)
    7 – Bonnie Jean – Repeat B to repeat sign for Verse 1, 2, 3.
    7A Dance – Cut G-L, Cut N-Z, Cut 6-8
    NEW 8 – At G repeat back from B-D, then on to G. At end Attacca to 8b.
    8A Rain Scene – Cut All
    NEW 9 – Love of My Life – Repeat first 2 bars. Cut verse 3 (B to repeat 3rd time), in other words repeat from B to repeat sign 3x only instead of 4.
    11A Dance – Cut D-J (also cut pickups into D).
    NEW 14b added (not in score) – Lundie Scene music TBD.
    16 Entrance of the Clans – Tacet F-End (Bagpipes play here)
    19 Sword Dance and Reel – Cut F-O (NOT Q “cue” but O “oh”)
    NEW 22 – The Chase – STOP and cut from two measures before Y, including pickups.
    NEW 22A – Scene Change – At end, jump back to #22 (Chase) and play from two before Y (including pickup) to end.
    NEW 24 – Glen Scene Opening – Repeat first four measures of “A”.
    NEW 24A – Repeat first two measures.
    NEW 25 Funeral – Tacet WHOLE SONG. (Bagpipes play, timpani enter at end by cue)
    NEW 27 – Scene Change – Vamp Boogie Woogie section 8 bar phrase, end of vamp we’ll continue to play the last three bars. In other words, vamp the 8 bars from the cut time Boogie Woogie section until cued to wrap it up with the last three bar closer.
    NEW 29 Scene Change – Cut last six bars (bagpipes will take over).
    31 Exit Music – Have all songs prepared. We’ll probably end up doing #3 “Almost Like Being In Love”.

    Percussionist Notes
    15 – Play chimes starting 6 measures from end. Will be cued over music. Should sound like church wedding bells. Sparse hits, use your judgement – just alludes to wedding bells.
    17 – End of 17 as music has stopped. Drum roll – When Mr. Lundie says “Ay lad, ye’re married” then play full on wedding bells solo. Both will be cued.
    25 – Funeral – Play snare roll under first part with bagpiper. Then bagpiper plays solo with dancer. At end of dance as they exit you will play light timpani hits – will be cued. End section will be: hit – hit – long roll – several hits (all soft as cued).

    BAGPIPES Notes
    16 – Play “Itchy Fingers” style when timpani stops. Will be obvious. Orchestra stops and timpani plays solo for 4 bars, then you come in. This is the “Entrance of the Clans”.
    25 – FROM STAGE – Funeral – You enter on the last chord of 24b (Dance music) and play a Funeral Procession with a snare roll under you. Make a definite stop, then begin the Funeral Dance (solo dancer will perform to your music). You will exit stage with funeral procession.

    MVPres – Mount Vernon Presbyterian Church – 1511 E. Broadway, Mount Vernon, WA 98273
    McIntyre Hall – 2501 East College Way, Mount Vernon, WA 98273
    Kirkland Performance Center – 350 Kirkland Ave Kirkland, WA 98033


    06/12/07 – Scores are in! Pick up at MV Pres.


    1) Musicians need to wear all black clothing for shows.
    2) Musicians need clip-on music stand lights, stands will be provided

    Produced by Lyric Light Opera of the Northwest.

    Getting to Kirkland Performance Center

    350 Kirkland Ave
    Kirkland, WA 98033

    By car:

    From Interstate 405 North and South:
    Take Exit 18 and go west toward Kirkland on 85th Street to Third Street. Turn left on Third. Turn left into the parking garage under the Kirkland Library just after the Kirkland Transit Center. Kirkland Performance Center is one block east next to the outdoor swimming pool.

    From State Route 520 Eastbound:
    Take the Lake Washington Boulevard exit, driving north along this boulevard for about two miles to downtown Kirkland. Turn right at Kirkland Avenue, which is the first light you reach in downtown Kirkland. Drive two blocks, and turn left on Third, making an immediate right into the parking garage under the Kirkland Library. Kirkland Performance Center is one block east next to the outdoor swimming pool.

    From State Route 520 Westbound:
    Take the 108th Avenue NE exit and continue north on 108th Avenue for about two miles. This street becomes Sixth Street South; drive to the four-way stop at Kirkland Avenue and turn left. The theatre is one block ahead on the right. The parking garage is located just beyond the theatre, on the right, under the Kirkland Library.

    Free four hour parking for Kirkland Performance Center is available in the Municipal Garage underneath the Kirkland Library. The library is located at the corner of Third Street and Kirkland Avenue just west of Kirkland Performance Center. Please do not park in any of the lots around the theatre belonging to other businesses.
    By bus:
    The Kirkland Transit Center is one block west of the theatre. Major bus routes include 230, 231, 234, 251 and more. Call METRO at 206-553-3000 or visit for more information.

    Brigadoon Cast List Posted

    Â The Brigadoon Cast List has been posted at the Lyric Light Opera of the Northwest website. Please visit that link for updated casting information.

    Cast List as of 02/19/07Â

    Thank you to all who auditioned for Brigadoon! And, congratulations to those who made the cast list:

    Tommy Albright – Troy Wageman
    Understudy – John Hepola

    Fiona MacLaren – Megan Chenovick
    Understudy – Natalie Howell

    Jeff Douglas – TBA
    Understudy – TBA

    Meg Brockie – Jeanette d’Armand
    Understudy – Laurie Miller

    Charlie Dalrymple – James Scheider

    Mr. Lundie – Bob Nydeger

    Harry Beaton – Ryan Edwards

    Jean MacLaren – Natalie Howell
    Understudy – Elisa Fuller

    Jane Ashton – Elisa Fuller

    Archie Beaton – John Hepola

    Mary Beaton – Laurie Miller

    Andrew MacLaren – Clarence Holden

    Anne MacLaren – Kathleen Kernohan

    Bonnie MacGuffie – Kelly Pollino

    Angus MacGuffie – Tom Mueller

    Frank (the Bartender) – TBA

    Kate – Ashley Rinas

    Sandy Dean – Kristina Howell

    Maggie – Stacy Lazanis

    Fishmonger – TBA

    Francis – Emma Asgharian

    ***PLEASE NOTE: Actors with understudy roles are double-cast in other roles. ALSO: Roles of men and women of the town may be switched around as we begin rehearsals and I am able to try out people in the various roles. Regardless of this, those people who are given speaking roles will have one of the men/women’s speaking roles.


    Anna Jenny
    Trina Jenny
    Sarah Jenny
    Luke Thompson
    Erin Hemenway
    Kalli Roberts
    Elizabeth Sunderland
    Kris Hemenway
    Sarah Holcomb
    Debbie Wolf
    Kelli Bates
    Jonathan Wolf
    Katie Hudak
    Christine Wolf
    Jordan Rinas
    Robin Carpenter
    Ali Rinas
    Juanita Kolbeck
    Tess Gribin
    Lauren Lippens
    Abi Rinas
    Sarah Howell
    Kelli Niemeyer
    Bianca Campbell
    Kristina Niemeyer
    Kelli Denike
    Rebecca Wright
    Calli Johnson
    Francis Roane
    Caitlin Edwards
    Launi Kucera
    Alex Hollingsworth

    Brigadoon Auditions

    Brigadoon Auditions 2007
    Lyric Light Opera of the Northwest

    All roles needed! All lead roles, supporting roles, ensemble members, townspeople, etc.  Please prepare a song and to do some cold reading. A monologue is optional. Please see below for a detailed list of characters.

    Auditions for Brigadoon:
    Saturday, January 27th
    10am – 4pm

    Sunday, January 28th

    Location:Â Camano Senior and Community Center
    606 Arrowhead Rd.
    Camano Island, WAÂ 98282

    Wednesday, January 24th

    Thursday, January 25th

    Friday, February 2nd

    Location:Â TPS Office & Studio 4
    4th Floor, Seattle Center House
    305 Harrison
    Seattle, WA 98109

    For auditions at TPS (Seattle), please call Brenda at (360) 387-3948,
    or email her at to schedule an appointment.

    Call Backs:

    Saturday, February 3rd
    10am – 2pm

    Location:Â Camano Senior and Community Center
    606 Arrowhead Rd.
    Camano Island, WAÂ 98282

    Rehearsals begin in April, and are planned on Monday and Thursday evenings. In May, we plan to add a weekend rehearsal every other week.

    List of Characters Needed

    Andrew MacLaren
    Father of Fiona and Jean, a hearty soul. He is a bit pompous and has a loud gruff voice.

    Angus MacGuffie
    Seller of eggs, milk and cream in MacConnachy Square.

    Archie Beaton
    A kind looking Scot 40-60 yrs. old, and seller of plaids and wool.

    Charlie Dalrymple
    A sandy-haired youth in his twenties, he is betrothed to Jean. A Dancer.

    Fiona MacLaren
    Graceful and altogether lovely, she is about twenty-two. She is bright, has a gentle sense of humor and  is completely frank to the point of being quite often disarming.

    A New York bartender

    Harry Beaton
    Archie’s son. A young man with a dark personality. Harry is in love with Jean MacLaren.

    Jane Ashton
    New York, she is in her twenties, chick, very attractive, though maybe a bit severe; engaged to Tommy.

    Jean MacLaren
    Attractive, shy and diffident, she is about 18. She is betrothed to Charlie Dalrymple. A Dancer.

    Jeff Douglas
    From New York. In his 20’s-30’s, retiring and good natured with a dry and sarcastic sense of humor.

    A friend of Jean’s.

    Sandy Dean
    A Scottish child, a seller of Candy.

    Meg Brockie
    20’s-30’s. An outgoing, bubbly young woman who is very interested in men, and while she is forward with them, she is still basically friendly and honest and loved by the townspeople.

    Mr. Lundie
    The wise old sage of the village. He is the schoolmaster, and loved and revered by all the townsfolk for his wisdom and insight. He is gentle, deep-thinking, slow moving and thoughtful.

    Tommy Albright
    A handsome young man from New York, 20-30, engaged to Jane, but attracted to Fiona. He is warm and charming, open, honest and unassuming.

    The Brigadoon ensemble consists of a number of named characters with small speaking parts. The music is very fulfilling for the singer, with lots of lush and important musical numbers throughout the show.

    Music for Robert Burns Supper – Toast to Lassies and Laddies

    You may copy, distribute and perform these two pieces freely, I just ask that you link to this page so people come here for the source material.

    More info on Scottish Poet Robert Burns and the annual Burns Supper.

    Choir music for A Toast to the Lassies (Male Choir -Tenor/Bass) and a Toast to the Laddies (Female Choir – Soprano/Alto) created for the 16th Annual Robert Burns Scottish Evening presented by the Celtic Arts Foundation of Skagit County, Washington on January 20, 2007.

    Both songs were received very well on their debut. The Toast to the Lassies is straight ahead Burns poetry, and our new response The Toast to the Laddies filled the room with laughter.

    Toast to the Lassies Burns Dinner Choir Music MP3 – Audio
    Toast to the Laddies Burns Dinner Choir Music – Audio

    Vocalists on the recording include Ruth Haines, Kelly Pollino, Rebecca Wright, Natalie Howell, Judy Sjernen, John Haines and Evan Erickson.

    Lyrics by Robert Burns
    The Henpecked Husband – 1788

    Curs’d be the man, the poorest wretch in life,
    The crouching vassal to a tyrant wife!
    Who has no will but by her high permission,
    Who has not sixpence but in her possession;
    Who must to she, his dear friend’s secrets tell,
    Who dreads a curtain lecture worse than hell.
    Were such the wife had fallen to my part,
    I’d break her spirit or I’d break her heart;
    I’d charm her with the magic of a switch,
    I’d kiss her maids, and kick the perverse bitch.

    Note – Last word omitted on recording. Men’s chorus can motion with hands in a “ta-da” fashion on the beat of that nasty “b” word. Also over enunciate the word “switch” and everyone will know what word should have been there. A good way to present authentic Robert Burns coarse material in mixed company. The word has a different feel to it now than it did in Burns’ time, and I think it offends modern sensibilities. Your choice on how to perform.

    Lyrics by Conrad Askland – 2007
    (An updated response to and similiar metre for Robert Burns “The Henpecked Husband”.)

    A toast to the Laddies for the very best in life,
    And a few concerns from your lovely wives.
    It seems to us you’ve misplaced your thinking cap,
    Why when you’re lost won’t you just ask for a map?
    When you hear us talking do not act like we’re dull,
    And could you just one time give up the remote control?
    You should know when we ask you about our behinds,
    We expect a sweet reply that’s gentle and kind.
    Remember that we know the form that God hath wilt,
    So stop exaggeratin’ bout what’s beneath yer kilt!

    Rumor Mill – Brigadoon is NOT Pre-Cast

    Rumor mills in theater are nothing new. I wanted to clear the air and let people know that the Lyric Light Opera of the Northwest production of Brigadoon is NOT pre-cast. At this point all roles are open and will be decided at auditions.

    We do have a Scottish choir rehearsing for a concert, but this is not a casting of the Brigadoon chorus. It’s a sort of Brigadoon preamble and I appreciate the opportunity to get better versed on Scottish music styles.

    Just had our first rehearsal for our Scottish choir in preparation for performing at the Celtic Arts Foundation January 20th Lincoln Theater (Mount Vernon, WA) event. The sound was incredibly beautiful, I think we were all pleasantly surprised. If this is any indication of the quality of music we will have for the show then I can reasonably predict that this production of Brigadoon will be a very professional presentation that any trained singer would be proud to be a part of.

    There is talk of a first run of auditions to happen in January with later auditions in April – this is still up in the air so please visit the Lyric Light Opera of the Northwest website for audition updates. If there is a first run of auditions before April it is strongly suggested you make those if interested in being part of the Brigadoon cast. This show will run at McIntyre Hall and at Kirkland Performance Center in July and September 2007.

    This show is BIG. I will make it rock to the best of my abilities.

    Brigadoon MP3 Music Clips

    brigadoon-album-cover.jpgI found Brigadoon sample MP3 music clips online at Yahoo shopping. Don’t know how long this link will work but thought I’d post it for easy reference. It is the 1991 studio cast of Brigadoon. These are not full clips, just samples to give you the feel of the songs. I don’t know if they are actually MP3 files, but play with Windows media player. I am calling them MP3 because that’s what I search for when looking for clips.

    Scottish Music for Robert Burns Dinner

    rburns1.gifUPDATE: Check out free new music to perform at your Burns Dinner!

    Mount Vernon, WA – Vocalists welcome to join us as we prepare music for the Robert Burns supper at Lincoln Theater, Mount Vernon WA, on January 20, 2007. Robert Burns is the national bard of Scotland from the late 18th century and the supper is an evening of music and poetry in his honor. Read my page all about the History of Robert Burns and the Burns Supper.

    Rehearsals from 7-9:30pm on Sunday 1/7, Sunday 1/14 and Friday 1/19 at Mount Vernon Presbyterian Church (corner of Broadway and 15th). We have at least 20 voices in the group already and invite you to join us if you like good choral music and/or Scottish music.

    Toast to the Laddies – Men Only – Song in Production
    Toast to the Lassies – Women Only – Song in Production
    Bonnie Mary of Argyle – Men Only Quartet
    Brigadoon Entrance – Full Choir
    I’ll Go Home With Bonnie Jean – Full Choir and Tenor Solo
    My Love is Like a Red, Red Rose – Full Choir
    A Scottish Tribute – Full Choir

    We will perform at two seperate locations: the actual dinner location and then at the Lincoln Theater to open Act I and Act II of the presentations. World class guitar players will also give presentations. The choir is sponsored by Lyric Light Opera which is gearing up for it’s presentation of Brigadoon at McIntyre Hall in July 2007.

    Robert Burns – Scottish Poet 1759-1796

    robertburns.jpg*Update: Check out new music I’ve written specifically for the Robert Burns Supper!*

    I am preparing music presentations for a local Robert Burns dinner. It is a long tradition of poetry and art in tribute to the Bard of Scotland. I like to research everything I do, so here is information I’ve found along the way.

    Robert Burns (January 25, 1759 – July 21, 1796) was a poet and a lyricist. He is widely regarded as the national poet of Scotland, and is the best-known of the poets who have written in the Scots language, although much of his writing is also in English and a ‘light’ Scots dialect which would have been accessible to a wider audience than simply Scottish people. At various times in his career, he wrote in English, and in these pieces, his political or civil commentary is often at its most blunt.

    Robert Burns wrote the poem Auld Lang Syne which we still sing today.

    Visit the Official Robert Burns website with information about his literary works, Scottish song lyrics and how to host a Robert Burns dinner. Also visit the Wikipedia Robert Burns page. Also the Robert Burns Club World Federation. Wikipedia details on a Burns Supper.
    A Burns Supper Guide
    burnsburnssup.jpgThe annual celebratory tribute to the life, works and spirit of the great Scottish poet, Robert Burns (1759-1796). Celebrated on, or about, the Bard’s birthday, January 25th, Burns Suppers range from stentoriously formal gatherings of esthetes and scholars to uproariously informal rave-ups of drunkards and louts. Most Burns Suppers fall in the middle of this range, and adhere, more or less, to some sort of time honoured form which includes the eating of a traditional Scottish meal, the drinking of Scotch whisky, and the recitation of works by, about, and in the spirit of the Bard.

    Every Burns Supper has its own special form and flavour, though there are probably more similarities than differences among these gastro-literary affairs. Individual tastes and talents will determine the character of your Burns Supper. Some celebrants may contribute the composition of original songs or poems; some may excel at giving toasts or reciting verse; while others may be captivating storytellers. A particular group of celebrants will, over time, develop a unique group character which will distinguish their Burns Supper celebration from every other.

    Our core group has been meeting for 14 years. We started off on a whim, without any notion of traditional form, other than the idea that we would eat haggis, read Burns, and drink whisky (not necessarily in that order). An itinerary evolved that has lots of traditional elements, but leaves room for personal or topical additions. Feel free to add a few unique conventions of your own.

    With a little bit of planning anyone (well, almost anyone) can enjoy a Burns Night celebration. All that’s needed is a place to gather (gracious host), plenty of haggis and neeps to go around (splendid chef), a master of ceremonies (foolhardy chairman), friendly celebrants (you and your drouthy cronies), and good Scotch drink to keep you warm (BYOB). With these ingredients, at least a few celebrants will be able to make prattling fools of themselves, trying to do justice to the words and spirit of Robert Burns. And if everyone brings along a wee dram and a bit of poetry, prose or song then each, in turn, may become an object of mirth and amusement to the gathered throng. Be prepared to enjoy yourself beyond all expectation. With good cheer and gay company we all may, in short, be able to ring in the Bard’s birthday fou rarely.

    I’ve found that most people, although they may be unaware of it, love to attend Burns Suppers. They may feel a little intimidated at the idea of attending a participatory event, but are attracted by the idea of a ribald literary soiree. (They may perceive a Burns Supper to be some sort of droll intellectual exercise – it has hip cachet and doesn’t sound too threatening.) These people are often wonderfully appreciative guests and end up having a great time. And therein lies a dilemma for all Burns Supper organizers: Motivating guests to be active participants, rather than passive appreciators. Everyone should feel comfortable taking part with verse, anecdote or song, but they may need a little help and encouragement. So as a Burns Supper chairman it is highly recommended that you come prepared with plenty of literary ammunition with which to arm any unprepared, or reluctant, celebrants. It helps if you know your guests and can match them with a suitable reading. Better still, you may be able to gently motivate them, in advance, by including an informal listing of sources along with your charming (I’m sure) Burns Supper invitation. Hopefully that, along with the good vibes and good whisky, will be all the encouragement anyone will need to lower their inhibitions to a level that Burns, himself, would appreciate.

    Four samples of poems by Robert Burns:

    To a Mouse

    (Whilst ploughing on a November day, Burns ruined the nest of a field mouse. He ponders why the creature runs away in such terror)

    Oh, tiny timorous forlorn beast,
    Oh why the panic in your breast ?
    You need not dart away in haste
    To some corn-rick
    I’d never run and chase thee,
    With murdering stick.

    I’m truly sorry man’s dominion
    Has broken nature’s social union,
    And justifies that ill opinion
    Which makes thee startle
    At me, thy poor earth-born companion,
    And fellow mortal.

    I do not doubt you have to thieve;
    What then? Poor beastie you must live;
    One ear of corn that’s scarcely missed
    Is small enough:
    I’ll share with you all this year’s grist,
    Without rebuff.

    Thy wee bit housie too in ruin,
    Its fragile walls the winds have strewn,
    And you’ve nothing new to build a new one,
    Of grasses green;
    And bleak December winds ensuing,
    Both cold and keen.

    You saw the fields laid bare and waste,
    And weary winter coming fast,
    And cosy there beneath the blast,
    Thou thought to dwell,
    Till crash; the cruel ploughman crushed
    Thy little cell.

    Your wee bit heap of leaves and stubble,
    Had cost thee many a weary nibble.
    Now you’re turned out for all thy trouble
    Of house and home
    To bear the winter’s sleety drizzle,
    And hoar frost cold.

    But, mousie, thou art not alane,
    In proving foresight may be in vain,
    The best laid schemes of mice and men,
    Go oft astray,
    And leave us nought but grief and pain,
    To rend our day.

    Still thou art blessed, compared with me!
    The present only touches thee,
    But, oh, I backward cast my eye
    On prospects drear,
    And forward, though I cannot see,
    I guess and fear.

    The Banks of Doon

    (This song tells of a tragic love affair – not one of the poet’s. A respected young lady of rank had borne a child without the sanction of the Church; forsaken, she died of remorse)

    Ye banks and braes of bonny Doon,
    How can ye bloom so fresh and fair,
    How can ye chant, ye little birds,
    While I’m so weary, full of care ?
    You’ll break my heart thou warbling bird
    That flitters through the flowering thorn,
    You remind me of departed joys,
    Departed – never to return.

    You’ll break my heart, thou bonny bird,
    That sings beside thy mate,
    For so I sat, and so I sang,
    But knew not of my fate.
    Oft did we roam by bonny Doon,
    To see the rose and woodbine twine,
    Where every bird sang of it’s love,
    And fondly so did I for mine.

    With lightsome heart I pulled a rose,
    So sweet upon it’s thorny tree,
    But my false lover stole my rose,
    And ah! He left the thorn with me.
    With lightsome heart I pulled a rose,
    Upon a morn in June,
    And so I flowered in the morn,
    And so was ruined by noon.
    To a Haggis

    (Haggis is a wholesome savoury pudding, a mixture of mutton and offal. It is boiled and presented at table in a sheep’s stomach)

    All hail your honest rounded face,
    Great chieftain of the pudding race;
    Above them all you take your place,
    Beef, tripe, or lamb:
    You’re worthy of a grace
    As long as my arm.

    The groaning trencher there you fill,
    Your sides are like a distant hill
    Your pin would help to mend a mill,
    In time of need,
    While through your pores the dews distil,
    Like amber bead.

    His knife the rustic goodman wipes,
    To cut you through with all his might,
    Revealing your gushing entrails bright,
    Like any ditch;
    And then, what a glorious sight,
    Warm, welcome, rich.

    Then plate for plate they stretch and strive,
    Devil take the hindmost, on they drive,
    Till all the bloated stomachs by and by,
    Are tight as drums.
    The rustic goodman with a sigh,
    His thanks he hums.

    Let them that o’er his French ragout,
    Or hotchpotch fit only for a sow,
    Or fricassee that’ll make you spew,
    And with no wonder;
    Look down with sneering scornful view,
    On such a dinner.

    Poor devil, see him eat his trash,
    As feckless as a withered rush,
    His spindly legs and good whip-lash,
    His little feet
    Through floods or over fields to dash,
    O how unfit.

    But, mark the rustic, haggis-fed;
    The trembling earth resounds his tread,
    Grasp in his ample hands a flail
    He’ll make it whistle,
    Stout legs and arms that never fail,
    Proud as the thistle.

    You powers that make mankind your care,
    And dish them out their bill of fare.
    Old Scotland wants no stinking ware,
    That slops in dishes;
    But if you grant her grateful prayer,
    Give her a haggis.

    Bess and Her Spinning Wheel

    (Sweet are the thoughts that savour of content)

    I’m happy with my spinning wheel,
    And happy with my wool to reel,
    From head to toes it clothes me fine,
    And wraps so softly me and mine.
    I settled down to sing and spin,
    While low descends the summer sun,
    Blest with content, and milk and meal,
    I’m happy with my spinning wheel.

    On every hand the brooklets wend,
    Up to my cottage by the bend,
    The scented birch and hawthorne white,
    Across the pool their arms unite,
    Alike to screen the birdie’s nest,
    And little fishes cooler rest:
    The sun shines kindly where I dwell,
    Where smoothly turns my spinning wheel.

    On Lofty oaks the pigeons croon,
    And echo out their doleful tune;
    The linnets in the bushes raise
    Sweet songs that rival other lays.
    The crakes among the clover run,
    The partridge whirring in the sun,
    The swallows swooping for their meal,
    Amuse me at my spinning wheel.

    With small to sell and less to buy,
    Above distress, below envy,
    Oh who would leave this humble state,
    For all the pride of all the great,
    Amid their flaring, idle toys,
    Amid their cumbrous noisy joys ?
    Can they the peace and pleasure feel
    Of Bessie at her spinning wheel ?

    MP3 My Love Is Like a Red, Red Rose
    O, my Luve’s like a red, red rose,
    That’s newly sprung in June.
    O, my Luve’s like a melodie
    That’s sweetly play’d in tune.

    As fair as thou, my bonnie lass,
    So deep in luve am I;
    And I will love thee still, my dear,
    Till a’ the seas gang dry.

    Till a’ the seas gang dry, my dear,
    And the rocks melt wi’ the sun:
    I will love thess till, my dear,
    While the sands o’ life shall run:

    And fare thee well, my only luve!
    And fare thee weel, a while!
    And I will come again, my luve,
    Tho’ it ware ten thousand mile.

    Type: Poem

    Cauld blaws the wind frae east to west,
    The drift is driving sairly;
    Sae loud and shill’s I hear the blast-
    I’m sure it’s winter fairly.

    Chorus.-Up in the morning’s no for me,
    Up in the morning early;
    When a’ the hills are covered wi’ snaw,
    I’m sure it’s winter fairly.

    The birds sit chittering in the thorn,
    A’ day they fare but sparely;
    And lang’s the night frae e’en to morn-
    I’m sure it’s winter fairly.
    Up in the morning’s, &c.
    The Song Of Death
    Scene-A Field of Battle. Time of the day-evening. The wounded and dying of the victorious army are supposed to join in the following song.
    Type: Song
    Tune: Oran an aoig.
    MP3 Song of Death Melody

    Farewell, thou fair day, thou green earth, and ye skies,
    Now gay with the broad setting sun;
    Farewell, loves and friendships, ye dear tender ties,
    Our race of existence is run!
    Thou grim King of Terrors; thou Life’s gloomy foe!
    Go, frighten the coward and slave;
    Go, teach them to tremble, fell tyrant! but know
    No terrors hast thou to the brave!

    Thou strik’st the dull peasant-he sinks in the dark,
    Nor saves e’en the wreck of a name;
    Thou strik’st the young hero-a glorious mark;
    He falls in the blaze of his fame!
    In the field of proud honour-our swords in our hands,
    Our King and our country to save;
    While victory shines on Life’s last ebbing sands, –
    O! who would not die with the brave!

    The Soldier’s Return

    Type: Song
    Tune: The Mill, mill, O.

    When wild war’s deadly blast was blawn,
    And gentle peace returning,
    Wi’ mony a sweet babe fatherless,
    And mony a widow mourning;
    I left the lines and tented field,
    Where lang I’d been a lodger,
    My humble knapsack a’ my wealth,
    A poor and honest sodger.

    A leal, light heart was in my breast,
    My hand unstain’d wi’ plunder;
    And for fair Scotia hame again,
    I cheery on did wander:
    I thought upon the banks o’ Coil,
    I thought upon my Nancy,
    I thought upon the witching smile
    That caught my youthful fancy.

    At length I reach’d the bonie glen,
    Where early life I sported;
    I pass’d the mill and trysting thorn,
    Where Nancy aft I courted:
    Wha spied I but my ain dear maid,
    Down by her mother’s dwelling!
    And turn’d me round to hide the flood
    That in my een was swelling.

    Wi’ alter’d voice, quoth I, “Sweet lass,
    Sweet as yon hawthorn’s blossom,
    O! happy, happy may he be,
    That’s dearest to thy bosom:
    My purse is light, I’ve far to gang,
    And fain would be thy lodger;
    I’ve serv’d my king and country lang-
    Take pity on a sodger.”

    Sae wistfully she gaz’d on me,
    And lovelier was than ever;
    Quo’ she, “A sodger ance I lo’ed,
    Forget him shall I never:
    Our humble cot, and hamely fare,
    Ye freely shall partake it;
    That gallant badge-the dear cockade,
    Ye’re welcome for the sake o’t.”

    She gaz’d-she redden’d like a rose –
    Syne pale like only lily;
    She sank within my arms, and cried,
    “Art thou my ain dear Willie?”
    “By him who made yon sun and sky!
    By whom true love’s regarded,
    I am the man; and thus may still
    True lovers be rewarded.

    “The wars are o’er, and I’m come hame,
    And find thee still true-hearted;
    Tho’ poor in gear, we’re rich in love,
    And mair we’se ne’er be parted.”
    Quo’ she, “My grandsire left me gowd,
    A mailen plenish’d fairly;
    And come, my faithfu’ sodger lad,
    Thou’rt welcome to it dearly!”

    For gold the merchant ploughs the main,
    The farmer ploughs the manor;
    But glory is the sodger’s prize,
    The sodgerpppp’s wealth is honor:
    The brave poor sodger ne’er despise,
    Nor count him as a stranger;
    Remember he’s his country’s stay,
    In day and hour of danger.

    Versicles, A.D. 1793

    The Henpecked Husband

    Type: Poem

    Curs’d be the man, the poorest wretch in life,
    The crouching vassal to a tyrant wife!
    Who has no will but by her high permission,
    Who has not sixpence but in her possession;
    Who must to he, his dear friend’s secrets tell,
    Who dreads a curtain lecture worse than hell.
    Were such the wife had fallen to my part,
    I’d break her spirit or I’d break her heart;
    I’d charm her with the magic of a switch,
    I’d kiss her maids, and kick the perverse bitch.

    The Fall Of The Leaf

    Type: Poem

    The lazy mist hangs from the brow of the hill,
    Concealing the course of the dark-winding rill;
    How languid the scenes, late so sprightly, appear!
    As Autumn to Winter resigns the pale year.

    The forests are leafless, the meadows are brown,
    And all the gay foppery of summer is flown:
    Apart let me wander, apart let me muse,
    How quick Time is flying, how keen Fate pursues!

    How long I have liv’d-but how much liv’d in vain,
    How little of life’s scanty span may remain,
    What aspects old Time in his progress has worn,
    What ties cruel Fate, in my bosom has torn.

    How foolish, or worse, till our summit is gain’d!
    And downward, how weaken’d, how darken’d, how pain’d!
    Life is not worth having with all it can give-
    For something beyond it poor man sure must live.

    Type: Poem

    Of all the numerous ills that hurt our peace,
    That press the soul, or wring the mind with anguish
    Beyond comparison the worst are those
    By our own folly, or our guilt brought on:
    In ev’ry other circumstance, the mind
    Has this to say, “It was no deed of mine:”
    But, when to all the evil of misfortune
    This sting is added, “Blame thy foolish self!”
    Or worser far, the pangs of keen remorse,
    The torturing, gnawing consciousness of guilt-
    Of guilt, perhaps, when we’ve involved others,
    The young, the innocent, who fondly lov’d us;
    Nay more, that very love their cause of ruin!
    O burning hell! in all thy store of torments
    There’s not a keener lash!
    Lives there a man so firm, who, while his heart
    Feels all the bitter horrors of his crime,
    Can reason down its agonizing throbs;
    And, after proper purpose of amendment,
    Can firmly force his jarring thoughts to peace?
    O happy, happy, enviable man!
    O glorious magnanimity of soul!

    Type: Song

    O raging Fortune’s withering blast
    Has laid my leaf full low, O!
    O raging Fortune’s withering blast
    Has laid my leaf full low, O!

    My stem was fair, my bud was green,
    My blossom sweet did blow, O!
    The dew fell fresh, the sun rose mild,
    And made my branches grow, O!

    But luckless Fortune’s northern storms
    Laid a’ my blossoms low, O!
    But luckless Fortune’s northern storms
    Laid a’ my blossoms low, O!

    Type: Poem

    In Politics if thou would’st mix,
    And mean thy fortunes be;
    Bear this in mind,-be deaf and blind,
    Let great folk hear and see.

    On A Suicide

    Type: Poem

    Earth’d up, here lies an imp o’ hell,
    Planted by Satan’s dibble;
    Poor silly wretch, he’s damned himsel’,
    To save the Lord the trouble.

    No Churchman Am I

    Type: Song
    Tune: Prepare, my dear Brethren, to the tavern let’s fly.

    No churchman am I for to rail and to write,
    No statesman nor soldier to plot or to fight,
    No sly man of business contriving a snare,
    For a big-belly’d bottle’s the whole of my care.

    The peer I don’t envy, I give him his bow;
    I scorn not the peasant, though ever so low;
    But a club of good fellows, like those that are here,
    And a bottle like this, are my glory and care.

    Here passes the squire on his brother-his horse;
    There centum per centum, the cit with his purse;
    But see you the Crown how it waves in the air?
    There a big-belly’d bottle still eases my care.

    The wife of my bosom, alas! she did die;
    for sweet consolation to church I did fly;
    I found that old Solomon proved it fair,
    That a big-belly’d bottle’s a cure for all care.

    I once was persuaded a venture to make;
    A letter inform’d me that all was to wreck;
    But the pursy old landlord just waddl’d upstairs,
    With a glorious bottle that ended my cares.

    “Life’s cares they are comforts”-a maxim laid down
    By the Bard, what d’ye call him, that wore the black gown;
    And faith I agree with th’ old prig to a hair,
    For a big-belly’d bottle’s a heav’n of a care.
    Love For Love

    Type: Poem

    Ithers seek they ken na what,
    Features, carriage, and a’ that;
    Gie me love in her I court,
    Love to love maks a’ the sport.

    Let love sparkle in her e’e;
    Let her lo’e nae man but me;
    That’s the tocher-gude I prize,
    There the luver’s treasure lies.