Dreaming Away ~
Thinking in Musicals!
by
Earl Wilson, Jr.
I seem to be thinking in musicals a lot lately. I write musicals as a profession and so it is not that crazy an idea that I would be “thinking in musicals”, but I find it hard to think in other ways… like reality. You see, thinking in musicals always has a nice sweet or sour hue, often a moral point, and if you’re lucky… a conclusion about life. (And musicals often have a happy ending,unlike Life.)
And most of the time, musicals are a nice way to get a message across. Some musicals don’t have much to say… they just lighten the spirit. But the good ones — the really important ones (How important can a musical really be?) — well, they inspire us by their observations, and by their hummmm-able melodies and memorable lyrics.
And most of the time, musicals are a nice way to get a message across. Some musicals don’t have much to say… they just lighten the spirit. But the good ones — the really important ones (How important can a musical really be?) — well, they inspire us by their observations, and by their hummmm-able melodies and memorable lyrics.
PROPERTIES by Earl Wilson, Jr.
Let My People Come
The award-winning, hugely successful, iconic musical with a 40-year history (and anniversary!).
LET MY PEOPLE COME, A Sexual Musical is a musical revue about human sexuality, with music and lyrics by composer Earl Wilson, Jr. (originally produced, directed, and dirtied by the late Phil Oesterman). As a musical revue, there is no story line. Each song stands on it’s own. First previewing on January 8, 1974 at New York’s famous Village Gate night club, the musical became a truly phenomenal success around the world becoming, at the time, the highest grossing off-Broadway musical in history. The sexual musical gained notoriety because of the explicit lyrics of the songs and the occasional full frontal nudity of the cast. The good-natured spoof of human hypocrisy about sex incapsulated the sexual liberation emotion of the day and the songs expressed current popular attitudes as in such numbers as: I’M GAY, I BELIEVE MY BODY WHEN IT TALKS TO ME, and DOESN’T ANYBODY LOVE ANYMORE. I’M GAY became a kind of anthem and the original cast recording of it was found on many local Juke Boxes in gay clubs during the time.
It was well known that audience members often returned to see it over and over again bringing their friends with the attitude of “You just won’t believe this!”. Initially, critics were not invited to review the musical, but feature stories, notably in The New York Times, Women’s Wear Daily, and Playboy Magazine [with mention on the cover] gave the revue the positive buzz that made it a hit. Subsequent productions were launched in Los Angeles, San Francisco, London, Paris, Madrid, Amsterdam, Toronto [played for eight years!], Philadelphia [played for 10 years!] and all of Canada, Africa… etc.
LET MY PEOPLE COME, A Sexual Musical is a musical revue about human sexuality, with music and lyrics by composer Earl Wilson, Jr. (originally produced, directed, and dirtied by the late Phil Oesterman). As a musical revue, there is no story line. Each song stands on it’s own. First previewing on January 8, 1974 at New York’s famous Village Gate night club, the musical became a truly phenomenal success around the world becoming, at the time, the highest grossing off-Broadway musical in history. The sexual musical gained notoriety because of the explicit lyrics of the songs and the occasional full frontal nudity of the cast. The good-natured spoof of human hypocrisy about sex incapsulated the sexual liberation emotion of the day and the songs expressed current popular attitudes as in such numbers as: I’M GAY, I BELIEVE MY BODY WHEN IT TALKS TO ME, and DOESN’T ANYBODY LOVE ANYMORE. I’M GAY became a kind of anthem and the original cast recording of it was found on many local Juke Boxes in gay clubs during the time.
It was well known that audience members often returned to see it over and over again bringing their friends with the attitude of “You just won’t believe this!”. Initially, critics were not invited to review the musical, but feature stories, notably in The New York Times, Women’s Wear Daily, and Playboy Magazine [with mention on the cover] gave the revue the positive buzz that made it a hit. Subsequent productions were launched in Los Angeles, San Francisco, London, Paris, Madrid, Amsterdam, Toronto [played for eight years!], Philadelphia [played for 10 years!] and all of Canada, Africa… etc.
By the time the critics were invited (after more than a year of previews
in New York City) there were many favorable comments including:
“Never a dull moment! You name it, they've got it. It’s fun!” London Evening News
“There is an ingenuousness and an adolescent giddiness about this show. The evening is awash with simulated ecstasy.” Gussow/TIMES
“Brilliant theater, brilliant music — a show business miracle.” L.A. Herald-Examiner
“One of the biggest hits of the year!” Klemesrud / TIMES
“It has broken box office records and made off-Broadway history!... Proves sex and nudity are hotter than ever…
You could also call it innocent and charming.” Rex Reed
“The phenomenon of ‘Let My People Come’ continues to grow! A recent visit revealed a lot of new faces and bodies). The show is as fresh as ever!” Pacheco / After Dark
“Hottest Musical in town — Lively foot-stomping music… It draws from every social category…TRIUMPHANT.” Women’s Wear Daily
“A smash hit… first rate score… exceptional” Allan Wallach / NEWSDAY
“There is an ingenuousness and adolescent giddiness about this show. The evening is awash with simulated ecstasy!” Gussow / TIMES
“Brashly, brazenly mesmerizing!” Vogue Magazine
“An authentic run-away hit… A show business phenomenon” London Sunday Times
“A hit… Sold-out houses… cheerful, funny, outrageous.” Carol Kramer / CHICAGO TRIBUNE
“Brilliant theater, brilliant music — a show business miracle!” L.A.Herald-Examiner
“An emancipated satirical romp… a rollicking and joyous musical revue…” AFTER DARK
“An engaging plea for people to love one another and not be intolerant… it makes ‘Hair’ and ‘Oh Calcutta’ as pallid as Manet’s ‘Picnic on the grass’”. Ann Holmes / HOUSTON CHRONICLE
“’Let My People Come’ can be described by a simple four letter word — Love.” Genesis Magazine
“There is an ingenuousness and an adolescent giddiness about this show. The evening is awash with simulated ecstasy.” Gussow/TIMES
“Brilliant theater, brilliant music — a show business miracle.” L.A. Herald-Examiner
“One of the biggest hits of the year!” Klemesrud / TIMES
“It has broken box office records and made off-Broadway history!... Proves sex and nudity are hotter than ever…
You could also call it innocent and charming.” Rex Reed
“The phenomenon of ‘Let My People Come’ continues to grow! A recent visit revealed a lot of new faces and bodies). The show is as fresh as ever!” Pacheco / After Dark
“Hottest Musical in town — Lively foot-stomping music… It draws from every social category…TRIUMPHANT.” Women’s Wear Daily
“A smash hit… first rate score… exceptional” Allan Wallach / NEWSDAY
“There is an ingenuousness and adolescent giddiness about this show. The evening is awash with simulated ecstasy!” Gussow / TIMES
“Brashly, brazenly mesmerizing!” Vogue Magazine
“An authentic run-away hit… A show business phenomenon” London Sunday Times
“A hit… Sold-out houses… cheerful, funny, outrageous.” Carol Kramer / CHICAGO TRIBUNE
“Brilliant theater, brilliant music — a show business miracle!” L.A.Herald-Examiner
“An emancipated satirical romp… a rollicking and joyous musical revue…” AFTER DARK
“An engaging plea for people to love one another and not be intolerant… it makes ‘Hair’ and ‘Oh Calcutta’ as pallid as Manet’s ‘Picnic on the grass’”. Ann Holmes / HOUSTON CHRONICLE
“’Let My People Come’ can be described by a simple four letter word — Love.” Genesis Magazine
Cities and Tours
New York - 4 productions
London - 2 productions
Paris
Amsterdam
Madrid
Sydney
Christ’s Church, New Zealand
Maseru, Lesotho, Africa
Boston
Baltimore
Chicago - 2 productions
Houston
Los Angeles
San Francisco
Philadelphia - 10 years
Toronto - 8 years
Montreal
Seattle
Miami
Ft. Lauderdale
Washington, D.C.
2 Canadian National tours
London - 2 productions
Paris
Amsterdam
Madrid
Sydney
Christ’s Church, New Zealand
Maseru, Lesotho, Africa
Boston
Baltimore
Chicago - 2 productions
Houston
Los Angeles
San Francisco
Philadelphia - 10 years
Toronto - 8 years
Montreal
Seattle
Miami
Ft. Lauderdale
Washington, D.C.
2 Canadian National tours
The original cast album was nominated for a Grammy
in the category of “Best Score from an Original Cast Album”.
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The musical continued to be performed until 1990.
In 2012, the next generation of LMPC came into being when young directors became aware of this iconic statement about the sexual revolution of the 1970’s and wanted to bring it back. A successful production was launched in Chicago. Composer Earl Wilson added some new material and updated the original score to be more in line with the current sexual trends. Audiences responded as excitedly to the new production as before to the iconic and funny songs of the past: DIRTY WORDS, FELLATIO 101, CHOIR PRACTICE and the song that speaks for itself: COME IN MY MOUTH. LET MY PEOPLE COME is currently in the planning stage for a 42nd anniversary celebration in 2016 that will include a major production and international tour. |
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Let My People Come... A Pictorial.
Sam David Management
Yes! The Musical.
A Suspended-time Meeting
Between BARACK Obama and Dr. MARTIN Luther King, Jr.
Between BARACK Obama and Dr. MARTIN Luther King, Jr.
YES!, The Musical is a thought-provoking look at what has come to be known as the period of THE CHANGE, the time from Barack Obama’s inspirational keynote address at the 2004 Democratic National Convention to the Present. This “Change” has been experienced by all Americans as we came to terms with the possibility of the First African-American President. The story of YES!, The Musical, is told through an imaginary conversation between the Spirit of Dr. Martin Luther King, Jr. and the young Senator Barack Obama as he waited in the wings to deliver his life-changing speech. Their imaginary conversation touches on the history of African-Americans as well as the bonding of the spirits of these two men, the examination of the strengths and courage required to face the enormous challenge that lay ahead and that seemed insurmountable. The history of this period will long be told with facts and figures, personal accounts and biographies, analysts of every stripe who will either praise it or destroy it. But the spirit and passion of the time… the drama of the journey… the actual effect on the people who lived it … the stresses on the soul may best be captured and offered as a unique educational opportunity…through music.
And the music may be the way in which the “Feeling” is passed down to coming generations in the extraordinary score from this show.
And when we all look back on it, perhaps the one word we will recall was how we all felt as to what was possible, do-able, inevitable…
YES! A Musical about THE CHANGE. We all need to be part of the continuing effort to develop our Humanity in what is becoming a universal acknowledgement that we are all part of THE CHANGE. This attitude effects everything we do as human beings and provides a way to start seeing our future and how we can make it the future we want. Please join us. Finding the way to effect THE CHANGE is everybody's job. My contribution is YES!
YES! fosters the idea of THE CHANGE, which refers to the change in attitude between groups of people, especially Americans, who have been seeing each other in negative [NO] terms. These groups have spent generations in bad mouthing each other and doing harm to each other; in race relations, in sexual identification, and generally refusing to acknowledge that THE OTHER has any place in normal American society.
There is no OTHER.
We are all THE OTHER.
YES! calls attention to these realities through theatre and music. They are universal concepts each expressed in their own unique style.
Scholars will analyze THE CHANGE for generations to come in books and articles, television and films... But YES! will reflect this important time in history through theater and music with gorgeous,memorable songs that will be sung for years to come.Core Values: Honesty, Tolerance, Kindness, Openness, Non-discriminatory, Adventursome, Practical, Positive, Accountable, Work Ethic, Non Prejudicial, All Inclusive.
Great Purpose: To be an imaginative and creative element in the ongoing journey starting with Barack Obama’s Keynote Address at the 2004 Democratic National Convention that has become known as THE CHANGE… and to promote the musical and the songs in all media to remind the public of the good feelings that the movement brought to the world… and can continue to do so.
Envisioned Future: A Musical that inspires the continuation of the concept of THE CHANGE throughout the media world… to become intricately associated with the movement by providing the musicalized “backstory” in the form
of a “What If…” situation.
YES! will be developed into A Concert, A Musical, A Film, A Book and a product line: “YES!… to THE CHANGE”. This product vehicle might be a way of promoting small companies (especially in ghetto communities and with educational opportunities for young people in those communities). The idea is to continue the message of THE CHANGE and to create opportunities to create positive ? for minority people.
The Big Guy in the Sky
An original musical about four iconic show business personalities from The Golden Age of Show Business… with all original new music.
Core Values: Honest, Open, Mindful of the Past, Celebratory of our Heritage, Educational.
Great Purpose: To promote the idea that Talent can be handed down to future generations and the idea of Living Life To The Fullest through interacting with people…”Live Your Life Like You Mean It”
Envisioned Future: The musical and the individual songs will be played and appreciated worldwide.
Core Values: Honest, Open, Mindful of the Past, Celebratory of our Heritage, Educational.
Great Purpose: To promote the idea that Talent can be handed down to future generations and the idea of Living Life To The Fullest through interacting with people…”Live Your Life Like You Mean It”
Envisioned Future: The musical and the individual songs will be played and appreciated worldwide.