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.
Let My People Come (backstory)
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 encapsulated 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.
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.
Let My People Come (backstory)
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 encapsulated 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.
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Let My People Come |
Let My People Come - The international, award-winning, hugely successful, iconic musical with a 43-year history (and anniversary!).
Book, Music & Lyrics by Earl Wilson, Jr.
Produced and Directed by Phil Oesterman
Musical Director: Billy Cunningham
Choreographer: Ian Naylor
Act 1:
Opening Number - SCREW
{Mirror] Whatever Turns You On
Give it To Me’Giving Life’The Ad’Fellatio 101
I’m Gay
Linda, Georgina, Marilyn & Me
Dirty Words
I Believe My Body
Act II:
The Show Business body Knows
Take ME home With You
Choir practice
And She Loved ME
Pointing
Doesn’t Anybody Love Anymore
Let My People Come
Side note: A second album was recorded in French but never released because the producer of the album was convicted of a crime and his materials were confiscated. The album does exist and was orchestrated by:
Book, Music & Lyrics by Earl Wilson, Jr.
Produced and Directed by Phil Oesterman
Musical Director: Billy Cunningham
Choreographer: Ian Naylor
- Grammy Nominee for Best Score from an Original Cast Album, 1974. Gnostic Music.
- Original Cast Album: Libra Company recorded April 29, 1974, LR 1069
Act 1:
Opening Number - SCREW
{Mirror] Whatever Turns You On
Give it To Me’Giving Life’The Ad’Fellatio 101
I’m Gay
Linda, Georgina, Marilyn & Me
Dirty Words
I Believe My Body
Act II:
The Show Business body Knows
Take ME home With You
Choir practice
And She Loved ME
Pointing
Doesn’t Anybody Love Anymore
Let My People Come
Side note: A second album was recorded in French but never released because the producer of the album was convicted of a crime and his materials were confiscated. The album does exist and was orchestrated by:
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
Past 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 45nd anniversary celebration in 2019 that will include major productions and an international tour. 
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Let My People Come... A Pictorial.
Sam David Management
www.SamDavidManagement.com
www.SamDavidManagement.com