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STEVIE: LIFE IN THE KEY OF WONDER _____________________________ Book by

Stefan Farrenkopf Songs by Stevie Wonder and others

DRAFT ONE

October 4, 2016 Adapted from In The Key of Wonder of June 28, 2016

Copyright © 2016, 746 Cherry Wood Place by Stefan Farrenkopf Gahanna, OH 43230 Phone: (614) 595-9800 E-mail: [email protected]

LIST OF LIVE MUSICAL NUMBERS

1. “Contusion” (Stevie Wonder)

2. “I Wish” (Wonder)

3. “Please Mr. Postman”* (Georgia Dobbins, William Garrett, Freddie Gorman, Brian

Holland, and Robert Bateman)

4. “You’ve Really Got a Hold On Me”* (Smokey Robinson)

5. “Do You Love Me”* (Berry Gordy, Jr.)

6. “Fingertips Part 2” (Clarence Paul and Henry Cosby)

7. “The Mooche”* (Duke Ellington and Irving Mills)

8. “Take The A-Train”* (Billy Strayhorn)

9. “One O’clock Jump”* (Count Basie)

10. “In The Mood”* (Wingy Manone, Andy Razaf, Joe Garland)

11. “When The Saints Go Marching In”* (trad.)

12. “It Don’t Mean A Thing (If It Ain’t Got That Swing)”* (Ellington and Mills)

13. “Sir Duke” (Wonder)

14. “Uptight (Everything’s Alright)” (Wonder, Sylvia Moy, Cosby)

15. “Superstition” (Wonder)

16. “Living For The City” (Wonder)

17. “Love’s In Need Of Love Today” (Wonder)

18. “You Haven’t Done Nothing” (Wonder)

19. Medly:

Portions of

a. “I Just Called To Say I Love You” (Wonder)

b. “Part Time Lover” (Wonder)

c. “That’s What Friends Are For” (Burt Bacharach and Carole Bayer Sager)

d. “Skeletons” (Wonder)

e. “Jungle Fever” (Wonder)

20. “Singed Sealed Delivered I’m Yours” (Wonder, Lee Garrett, Syreeta Wright, Lula Mae

Hardaway)

* Portion or fragment only

Stevie: Life In the Key of Wonder

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SCENE 1 Houselights dim and the stage is dark. SFX fade up: sounds of Detroit, 1950: traffic, industry, neighborhoods, a train. TITLE CARD is projected:

Once Upon a Time

Projection crossfades to

in the Motor City Projection crossfades to:

1950 Beneath the sound effects is the sound of hissing. It gets louder as the other sounds fade out. The hissing gets louder. It is quite loud now. It ends abruptly as: ISO light comes up, center stage. LITTLE STEVIE is in the light: white t-shirt, jeans, Chucks. No glasses. He is still. A boy runs across the stage in a white t shirt and jeans. As he passes near the ISO, BAND plays MUSIC CUE 0.5

BAND (KEYBOARD ONLY)

The first five notes of “I Wish.”

As the boy runs off the stage, the music stops.

END MUSIC CUE 0.1 MUSIC CUE 0.2

BAND (KEYBOARD, BASS, HIGHHAT)

The first nine notes of the “I Wish” motif.

Two figures, again children, again in white t’s and jeans, run across the stage the other way. END MUSIC CUE 0.2

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STEVIE is confused now. He cocks is head, turning, listening. One last time, groups of kids run from both directions as MUSIC CUE 0.3

BAND (FULL) Plays the intro motif to “I Wish”(16 notes) The last couple kids to run by knock STEVIE down and out of the ISO. Full stage lights come up suddnely and the music shifts abruptly to MUSIC CUE 1:

“CONTUSION”

Synopsis of Dance:

The narrative of this dance is STEVIE’s confusion, discovery, and then frustration at his inability to see and experience the world. The CHORUS is not antagonistic toward him; just ambivalent. They have their own things to do. There is a lot of movement in this piece, especially long crosses as people come and go in their busy lives. Consider including trappings of the day-to-day: briefcases, shopping carts, etc. All should be period early 1950s.

When the lights come up we see the DENIZENS dressed in the trappings of a stereotypical populace: suits, dresses, leisure wear, uniforms.

IN DANCE: The DENIZENS are in tableau, some as individuals, some as pairs, some in groups – families, co-workers - all frozen in the midst of activity. At each of the motifs in “Contusions” intro (roughly :00, :04, :08, :12, :16) the tableaus change. STEVIE is increasingly aware of activity around him. When the main theme begins, the DENIZENS move through life with increasing activity. Their numbers grow. The guitar/synth hook represents the activity of the DENIZENS. The Wurlitzer groove between hooks serves as STEVIE’S increasing confusion and fear.


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As the main groove returns (at 1:40), the DENIZENS become aware of STEVIE. They try to assist in his confusion, but he is frightened and runs or stumbles from each attempt. They can’t reach him. At the melodic shift at 2:10, the DENIZONS give up, but not without sympathy. They can’t get through to him – what can they do? The returning guitar/synth hook at 2:15 is a return to their rapid day-to-day activities. However, the KIDS return. They bring STEVIE into the dance. He dances with them, and they with the DENIZENS, until STEVIE is a part of the wider world. There is joy and fun and energy in their dance, in the key of life. The adults exit, leaving STEVIE with THE KIDS.

END MUSIC CUE 1 MUSIC CUE 2

“I WISH”

Synopsis of Dance:

This is STEVIE having fun and being a kid, becoming himself in the neighborhood. Scenes from the lyrics should be acted out as much as possible (when appropriate, suggested by underlines in the lyrics.) Through the dance, though, there should be increasing conflict between THE KIDS and ADULTS, and especially between STEVIE and a dancer representing HIS MOTHER.

MALE VOCALIST LOOKING BACK ON WHEN I WAS A LITTLE NAPPY HEADED BOY THEN MY ONLY WORRY WAS FOR CHRISTMAS WHAT WOULD BE MY TOY EVEN THOUGH WE SOMETIMES WOULD NOT GET A THING WE WERE HAPPY WITH THE JOY THE DAY WOULD BRING

Enter MAMA.

SNEAKING OUT THE BACK DOOR TO HANG OUT WITH THOSE HOODLUM FRIENDS OF MINE GREETED AT THE BACK DOOR

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WITH BOY THOUGHT I TOLD YOU NOT TO GO OUTSIDE TRYIN' YOUR BEST TO BRING THE WATER TO YOUR EYES THINKIN' IT MIGHT STOP HER FROM WOOPIN' YOUR BEHIND

Big synchronized dance I WISH THOSE DAYS COULD COME BACK ONCE MORE WHY DID THOSE DAYS EV-ER HAVE TO GO I WISH THOSE DAYS COULD COME BACK ONCE MORE WHY DID THOSE DAYS EV-ER HAVE TO GO CAUSE I LOVE THEM SO

For the next verse, a spirit of abandon and fun is more important than literal depiction of the scene

BROTHER SAYS HE'S TELLIN' 'BOUT YOU PLAYIN' DOCTOR WITH THAT GIRL JUST DON'T TELL I'LL GIVE YOU ANYTHING YOU WANT IN THIS WHOLE WIDE WORLD MAMA GIVES YOU MONEY FOR SUNDAY SCHOOL YOU TRADE YOURS FOR CANDY AFTER CHURCH IS THROUGH SMOKIN' CIGARETTES AND WRITING SOMETHING NASTY ON THE WALL (YOU NASTY BOY) TEACHER SENDS YOU TO THE PRINCIPAL'S OFFICE DOWN THE HALL YOU GROW UP AND LEARN THAT KINDA THING AIN'T RIGHT BUT WHILE YOU WERE DOING IT-IT SURE FELT OUTTA SIGHT I WISH THOSE DAYS COULD COME BACK ONCE MORE WHY DID THOSE DAYS EV-ER HAVE TO GO I WISH THOSE DAYS COULD COME BACK ONCE MORE WHY DID THOSE DAYS EV-ER HAVE TO GO

During the extended horn break that closes the song, STEVIE, HOODLUMS, and PLAYMATES dance various activities of youth and fun. END MUSIC CUE 2

The music ends abruptly, in the midst of a measure, as the KIDS and HOODLUMS, engaged in hijinks are interrupted by MAMA, who glares at them, coming between STEVIE and THE KIDS. MAMA drags STEVIE by his ear back to his ISO.


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Other lights fade.

Silence. STEVIE is in the ISO.

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SCENE 2 SFX: Static, old-time radio shifting stations. A smaller ISO fades up DSL. In it is a radio, 1950s style. The static resolves on a tinny recording of “Money (That’s What I Want)” by Barrett Strong. STEVIE finds his way to the radio. He picks it up and fiddles with the knob. SFX: Static, and tuning in to “Shop Around” by the Miracles STEVIE likes this very much. SFX: Static, and the radio tunes to The Miracles “Who’s Loving You”. STEVIE finds an electrical cable running from the back of the radio. He puts the radio down and holds the cord, following it in a long, serpentine route around the stage. A large sign flies in: “Hitsville U.S.A.”

Typeface and color should match the above.

PROJECTED TITLE CARD:

1961

Projection crossfades to:

Little Stevie in Motown As Stevie follows the cord, the static returns intermittently, tuning into various pre-1961 Motown hits: “Bad Girl” by The Miracles, “Bye Bye Baby” by Mary Wells, “I Want a Guy” by The Supremes. He reaches a door. He opens it and the music stops. Across from the door is a candy machine of the early 1950s.


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This is large candy machine, with the pull levers, similar to an old cigarette machine. (This machine exists! It was in the Motown offices then and it still is. I can’t find a picture of it online, but it’s similar to this one.)

STEVIE approaches the candy machine. He finds a coin in his pocket, inserts in into the machine and pulls a lever. SFX of a candy bar falling through the machine into the tray. Strings of running lights fly in from the ceiling in an echo to the “snakepit,” Motown’s iconic Studio A, with microphone cords running from the ceiling.

Hard to see the mic cables here, hanging from the ceiling of Studio A

At this point we see dances to portions of Motown hits from 1961 – 1963, each one cued by a trip to the candy machine. For each one, STEVIE gets drawn in a little more.

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STEVIE pulls a candy bar from the tray, which starts: MUSIC CUE 3

“PLEASE MR. POSTMAN”

Not much narrative here. This is a dance number celebrating the song. STEVIE watches. He taps his foot, enjoying

WAIT OH YES, WAIT A MINUTE MR. POSTMAN WAIT WAIT MR. POSTMAN PLEASE MISTER POSTMAN, LOOK AND SEE OH, YEAH IF THERE'S A LETTER IN YOUR BAG FOR ME PLEASE, PLEASE MR. POSTMAN YOU KNOW IT'S BEEN A LONG TIME OH, YEAH SINCE I'VE HEARD FROM THAT BOYFRIEND OF MINE THERE MUST BE SOME WORD TODAY FROM MY BOYFRIEND SO FAR AWAY PLEASE MR. POSTMAN LOOK AND SEE IS THERE A LETTER, A LETTER FOR ME I'VE BEEN STANDING HERE WAITING MR. POSTMAN SOOO, SO PATIENTLY FOR JUST A CARD, OR JUST A LETTER SAYING HE'S RETURNING HOME TO ME. PLEASE MR. POSTMAN, MR. POSTMAN LOOK AND SEE OOH, YEAAH IF THERE'S ALETTER IN YOUR BAG FOR ME YOU KNOW IT'S BEEN SO LONG OH, YEAH SINCE I HEARD FROM THAT BOYFRIEND OF MINE

END MUSIC CUE 3 After a mere portion of the song, the music ends abruptly. The dancers freeze. STEVIE is confused but excited. He suddenly realizes what to do.


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STEVIE returns to the candy machine, pulls another coin from his pocket. Insert coin. SFX of candy falling through machine (same sound effect cue as before.) STEVIE takes out the candy. MUSIC CUE 4

“YOU’VE REALLY GOT A HOLD ON ME”

The dance here is reminiscent of the Miracles moves. STEVIE gradually learns to dance along. By the end of the number he’s getting pretty good.

I DON'T LIKE YOU BUT I LOVE YOU SEEMS THAT I'M ALWAYS THINKING OF YOU OH, OH, OH, YOU TREAT ME BADLY I LOVE YOU MADLY YOU'VE REALLY GOT A HOLD ON ME YOU'VE REALLY GOT A HOLD ON ME, BABY I DON'T WANT YOU, BUT I NEED YOU DON'T WANT TO KISS YOU BUT I NEED TO OH, OH, OH YOU DO ME WRONG NOW MY LOVE IS STRONG NOW YOU'VE REALLY GOT A HOLD ON ME YOU'VE REALLY GOT A HOLD ON ME, BABY I LOVE YOU AND ALL I WANT YOU TO DO IS JUST HOLD ME, HOLD ME, HOLD ME, HOLD ME

END MUSIC CUE 4 Silence again and the dancers freeze. This time STEVIE knows what to do. He returns to the candy machine. Coin in.

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Lever pulled. SFX of candy falling. STEVIE pulls candy out, and: MUSIC CUE 5

“DO YOU LOVE ME”

This time STEVIE takes the lead in dancing with them.

DO YOU LOVE ME? (I CAN REALLY MOVE) DO YOU LOVE ME? (I'M IN THE GROOVE) NOW DO YOU LOVE ME? (DO YOU LOVE ME NOW THAT I CAN DANCE?) WATCH ME, NOW (WORK, WORK) AH, WORK IT OUT BABY (WORK, WORK) WELL, YOU DRIVING ME CRAZY (WORK, WORK) AH, JUST A LITTLE BIT OF SOUL, NOW? (WORK) NOW I CAN MASH POTATOE (I CAN MASH POTATOE) I CAN DO THE TWIST (I CAN DO THE TWIST) TELL ME, BABY, DO YOU LIKE IT LIKE THIS? TELL ME (TELL ME) TELL ME DO YOU LOVE ME? DO YOU LOVE ME, BABY? NOW DO YOU LOVE ME? (DO YOU LOVE ME NOW THAT I CAN DANCE?) WATCH ME, NOW

END MUSIC CUE 5 abruptly on “WATCH ME NOW.” Dancers freeze, facing STEVIE with their weight forward. We “watch him now.” Silence. There’s some tension. This one feels big. The candy machine has moved to center stage. STEVIE approaches the machine. He looks at the dancers around him. Something feels different now. He reaches in his pocket for a coin. He doesn’t have one. He checks all of this pockets as a MAN IN A SUIT approaches him. This is our nod to the role of Berry Gordy. He hands STEVIE a coin and exits.


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STEVIE hesitates. He puts the coin in the candy machine. He pulls the lever. SFX: Similar to the previous sound, but slower, larger, and with reverb: something powerful and magical falling through the machine and into the tray. STEVIE pulls from the tray a harmonica. He holds it up; it catches the light. It shines. He brings it to his mouth and tries a few trial notes.

BAND (HARMONICA) Plays a few notes as dancers mimes playing. As STEVIE starts to hesitatingly plays the harmonica, the DANCERS leave the stage. Through the following, the hanging lights and “Hitsville U.S.A.” sign disappears MUSIC CUE 6

“LEARNING FINGERTIPS” This is a start-and-stop working out of “Fingertips,” STEVIE learning how to be a performer. Notes, runs, trial melodies. Gradually, the “Fingertips” motif becomes recognizable The music gradually starts to find its groove. STEVIE is joined on stage by dancers with overcoats and suitcases. The circle around him and dance him off the stage.

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SCENE 3 PROJECTED TITLE CARD:

1963

Crossfade to Little Stevie on the Road

VIDEO:

As the video plays, the stage becomes Hitsville USA’s Motortown Revue, including the sign and the white chair, brought onto stage by a dancer in a white suitcoat and black pants in synchronization with the video. The chair sits center stage as the video continues. The video continues through the introduction and Stevie’s bongo solo as a tour bus moves across the front of the stage. It moves across the Revue stage, leaving dancers behind. As Stevie stands in the video, so he is standing on the Revue stage. END VIDEO as the BAND takes over playing, with YOUNG MALE VOCALIST MUSIC CUE 7:


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“FINGERTIPS (PART 2)”

This dance depicts the Motortown Revue playing in various cities throughout the US. PROJECTED TITLE CARDS indicate various cities. Changes can be indicated by a lowering of the lights or a cross of the bus. Cities include Philadelphia and Chicago (with further research to come.) Some DANCERS are part of the revue, some are members of an enthusiastic AUDIENCE.

EVERYBODY SAY YEAH (YEAH!) SAY YEAH (YEAH!) SAY YEAH (YEAH!) YEAH, YEAH, YEAH, YEAH! JUST A LITTLE BIT OF SOU-OU-OU-OU-OUL YEAH YEAH YEAH YEAH YEAH YEAH CLAP YOUR HANDS JUST A LITTLE BIT LOUDER CLAP YOUR HANDS JUST A LITTLE BIT LOUDER I KNOW ? YEAH EVERYBODY HAD A GOOD TIME SO IF YOU WANT ME TO IF YOU WANT ME TO I'M GONNA SWING THE SONG, YEAH JUST ONE MORE TIME WHEN I COME BY JUST ONE MORE TIME WHEN I COME BY SO BE ADVISED (?)

ANNOUNCER

(Live, or from the video) How about it? Let's hear it for him, huh? Little Stevie Wonder. Take a bow, Stevie.

STEVIE – and his audience – can’t get enough. He returns and keeps dancing.

YOUNG MALE VOCALIST

COME ON! GOODBYE GOODBYE GOODBYE GOODBYE GOODBYE GOODBYE GOODBYE I'M GONNA GO, YEAH I'M GONNA GO, YEAH

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BUT LET’S GO SWINGIN' ONE MORE TIME END MUSIC CUE 7 As the BAND hits a final chord: SFX of a young crowd going crazy. Motortown Revue Stage disappears. The sound of cheering ends with an echoing reverb, fading into the past.


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SCENE 4 STEVIE’S ISO comes up again, center stage. STEVIE sits behind a piano. DANCERS remain, dimly lit, watching him, waiting for his next big hit. “Hitsville USA” sign flies back in, and we are back in Studio A. PROJECTED TITLE CARD moves across the screen from SL to SR

1963

SFX (not BAND): “Workout Stevie Workout” We hear a medly of recordings of Stevie songs that did not hit. As a portion of each song plays, more and more dancers leave the stage. STEVIE is frustrated. TITLE CARD from SL to SR:

1964 SFX: “Castles in the Sand” SFX: “Hey Harmonica Man” More DANCERS leave. TITLE CARD from SL to SR:

1965 SFX: “Kiss Me Baby”

As final DANCERS leaves, piano is removed and we notice MAN IN A SUIT on the stage, our Berry Gordy from Scene 2.. MAN IN SUIT lingers, watching, and is the last to leave the stage. STEVIE is alone on stage. Silence. Uninspired. Then, from a far distance, we hear MUSIC CUE 8.1

BAND “The Mooche”

A beat, and then STEVIE reacts, stirring slightly, looking up. What is this?

The music gets closer.

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With Ellingtonian flair, enter SIR DUKE from upstage. His dance slides with the music. He is grace and class in his top hat, tails, a cane. There is a bright red kerchief in his breast pocket, the first bright color we have seen on stage. SIR DUKE approaches STEVIE, who hides in his crouch again. With a gesture, SIR DUKE fades the music out.

END MUSIC CUE 8.1

Silence and stillness as SIR DUKE contemplates STEVIE. A beat, but eventually STEVIE’S curiosity gets to him. He shifts. Hesitantly, he brings up his head. SIR DUKE reaches into a pocket and places on STEVIE a pair of sunglasses with bright red lenses. Rose-colored glasses. This startles STEVIE. He doesn’t know if he likes this. SIR DUKE reaches into another pocket. Accompanied by the opening arpeggios of “A Train.”

MUSIC CUE 8.2

BAND Opening chords of “Take The A-Train”

SIR DUKE showers STEVIE with red confetti. Pause. Nothing. SIR DUKE showers STEVIE again. MUSIC CUE 8.3

BAND

Opening chords of “Take The A-Train”

STEVIE begins to feel, well. . . wonder. SIR DUKE smiles. With another gesture, he cues:

MUSIC CUE 8.4

BAND “One O’clock Jump”

Enter THE COUNT, all joy and smiles. Nice suit. Orange tie.


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THE COUNT dances to his music as he approaches STEVIE and showers him with orange confetti. STEVIE becomes more enchanted. He moves to his feet.

SIR DUKE gestures again, changing the music to MUSIC CUE 8.5

BAND “In The Mood”

Which ushers in MILLER, in a suit with a green highlight. He approaches STEVIE, who is becoming enthused, and showers him with green confetti. The pace gets faster as we go. Just as MILLER releases the confetti, SIR DUKE gestures and changes the music. . .

MUSIC CUE 8.6

BAND: “When The Saints Go Marching In”

. . . bringing on SATCHMO, his highlight and confetti bright yellow. As SATCHMO enters, SIR DUKE leaves his place by STEVIE’S side to walk upstage. From upstage, SIR DUKE gestures, changing the music to his own. . .

MUSIC CUE 8.7

BAND “It Don’t Mean A Thing”

. . . to which SIR DUKE escorts LADY ELLA, dressed in a blue dress, to a now exuberant STEVIE. She showers him with blue confetti. All of the INFLUENCES begin showering STEVIE with their various colors. It is a gleeful scene, and the mix of all of the music, now playing simultaneously, is a joyful cacophony.

STEVIE is covered and surrounded by colors now. With a grand gesture, SIR DUKE brings the music to an end. The INFLUENCES stop immediately, leaving STEVIE, dancing alone, to catch on a bit late. THE INFLUENCES are charmed and amused by him.

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SIR DUKE – and only SIR DUKE - is aware of the live band. He looks at them and gets the attention of the MUSICAL DIRECTOR. SIR DUKE counts off the next song by tapping his cane in tempo four times.

MUSIC CUE 9:

“SIR DUKE” Synopsis of Dance:

Through this number, the chorus of INFLUENCES introduce an exuberant STEVIE to the world of sound and beauty. Led by SIR DUKE, they teach STEVIE to dance.

At first it is only the INFLUENCES that we’ve met, but as the song progresses, other INFLUENCES arrive and join in. Style and references to MARVIN GAYE, SAM COOKE, perhaps others, and most certainly RAY CHARLES.

During the opening horn hook, the primary INFLUENCES should do a signature dance move. These steps should be the same for each time the hook repeats, so we can see STEVIE’S progress. The first horn hook (:00), SIR DUKE does the move alone. On the first repeat (:08), the other INFLUENCES join him in the move. The dance. STEVIE doesn’t watch, but he can feel what is happening around him, and he is eager to participate.

MALE VOCALIST:

MUSIC IS A WORLD WITHIN ITSELF WITH A LANGUAGE WE ALL UNDERSTAND WITH AN EQUAL OPPORTUNITY FOR ALL TO SING, DANCE AND CLAP THEIR HANDS BUT JUST BECAUSE A RECORD HAS A GROOVE DON'T MAKE IT IN THE GROOVE BUT YOU CAN TELL RIGHT AWAY AT LETTER A WHEN THE PEOPLE START TO MOVE

MALE AND FEMALE VOCALIST:

(Vocalists can sing together or trade off, here and at the next chorus.)

THEY CAN FEEL IT ALL OVER THEY CAN FEEL IT ALL OVER PEOPLE THEY CAN FEEL IT ALL OVER


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THEY CAN FEEL IT ALL OVER PEOPLE

During this horn break, the INFLUENCERS try to teach STEVIE dance steps similar to those used in the opening hook. STEVIE starts to catch on but is unsuccessful. His enthusiasm is unabated, however.

(VOCALIST should include the “Yeah” and “Ha ha!” of the recording, lip synced by SIR DUKE, who is encouraging STEVIE.)

Through the song, STEVIE grows more and more adept and joyful in the dance.

FEMALE VOCALIST:

MUSIC KNOWS IT IS AND ALWAYS WILL BE ONE OF THE THINGS THAT LIFE JUST WON'T QUIT BUT HERE ARE SOME OF MUSIC'S PIONEERS THAT TIME WILL NOT ALLOW US TO FORGET

(At the mention of each of the INFLUENCES in the next lines, a visual acknowledgement should be made to each:)

FOR THERE'S BASIE, MILLER, SATCHMO AND THE KING OF ALL SIR DUKE AND WITH A VOICE LIKE ELLA'S RINGING OUT THERE'S NO WAY THE BAND CAN LOSE

MALE AND FEMALE VOCALIST: YOU CAN FEEL IT ALL OVER YOU CAN FEEL IT ALL OVER PEOPLE YOU CAN FEEL IT ALL OVER YOU CAN FEEL IT ALL OVER PEOPLE YOU CAN FEEL IT ALL OVER YOU CAN FEEL IT ALL OVER PEOPLE YOU CAN FEEL IT ALL OVER YOU CAN FEEL IT ALL OVER PEOPLE

They ALL do the dance. STEVIE gets it and joins them exuberantly. It is glorious for everyone.

In the midst of the dance, THE INLUENCERS bring the piano back Possible cuts to song:

[YOU CAN FEEL IT ALL OVER YOU CAN FEEL IT ALL OVER PEOPLE

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YOU CAN FEEL IT ALL OVER YOU CAN FEEL IT ALL OVER PEOPLE YOU CAN FEEL IT ALL OVER YOU CAN FEEL IT ALL OVER PEOPLE YOU CAN FEEL IT ALL OVER I CAN FEEL IT ALL OVER-ALL OVER NOW PEOPLE CAN'T YOU FEEL IT ALL OVER COME ON LET'S FEEL IT ALL OVER PEOPLE YOU CAN FEEL IT ALL OVER EVERYBODY-ALL OVER PEOPLE]

END MUSIC CUE 9

All are joyful. Big group hug center stage, which opens to reveal a smiling STEVIE. He’s breathing hard and he clearly wants more. STEVIE listens, and reaches out to find his new friends. Instead, he finds the piano. He starts to play.


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SCENE 5 MUSIC CUE 10:

UPTIGHT (EVERYTHING’S ALRIGHT) PROJECTION OF TITLE CARD:

1966 Crossfade to:

Another Hit

Crossfade to:

And Back on the Road

A dance begins that gradually has STEVIE back on stage. Most of the other dancers end up being audience.

BABY, EV'RYTHING IS ALL RIGHT, UPTIGHT, OUT OF SIGHT. BABY, EV'RYTHING IS ALL RIGHT, UPTIGHT, OUT OF SIGHT. I'M A POORMAN'S SON, FROM ACROSS THE RAILROAD TRACKS, THE ONLY SHIRT I OWN IS HANGIN' ON MY BACK, BUT I'M THE ENVY OF EV'RY SINGLE GUY SINCE I'M THE APPLE OF MY GIRL'S EYE. WHEN WE GO OUT STEPPING ON THE TOWN FOR A WHILE MY MONEY'S LOW AND MY SUIT'S OUT OF STYLE, BUT IT'S ALL RIGHT IF MY CLOTHES AREN'T NEW OUT OF SIGHT BECAUSE MY HEART IS TRUE. SHE SAYS BABY EV'RYTHING IS ALRIGHT, UPTIGHT, OUT OF SIGHT. BABY, EV'RYTHING IS ALRIGHT, UPTIGHT, CLEAN OUT OF SIGHT. SHE'S A PEARL OF A GIRL, I GUESS THAT'S WHAT YOU MIGHT SAY, I GUESS HER FOLKS BROUGHT HER UP THAT WAY, THE RIGHT SIDE OF THE TRACKS, SHE WAS BORN AND RAISED IN A GREAT BIG OLD HOUSE, FULL OF BUTLERS AND MAIDS. SHE SAYS NO ONE IS BETTER THAN I, I KNOW I'M JUST AN AVERAGE GUY, NO FOOTBALL HERO OR SMOOTH DON JUAN, GOT EMPTY POCKETS, YOU SEE I'M A POORMAN'S SON. SHE SAYS GIVE HER THE THINGS THAT MONEY CAN BUY

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BUT I'LL NEVER, NEVER MAKE MY BABY CRY, AND IT'S ALL RIGHT, WHAT I CAN'T DO, OUT OF SIGHT BECAUSE MY HEART IS TRUE, SHE SAYS BABY EV'RYTHING IS ALRIGHT, UPTIGHT, CLEAN OUT OF SIGHT. BABY, EV'RYTHING IS ALRIGHT, UPTIGHT, CLEAN OUT OF SIGHT. BABY, EV'RYTHING IS ALRIGHT, UPTIGHT, AH AH AH AH, BABY, EV'RYTHING IS ALRIGHT, UPTIGHT, CLEAN OUT OF SIGHT. BABY, EV'RYTHING IS ALRIGHT, UPTIGHT, CLEAN OUT OF SIGHT.

END MUSIC CUE 10 STEVIE exits, with the audience of dancers going crazy, facing upstage.


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SCENE 6 PROJECTED TITLE CARD:

1966 – 1976 Crossfade to

Confronting a Divide

MUSIC CUE 11

“SUPERSTITION” As music starts crossfade to

1972

STEVIE is away. Enter from USL and USR a group of dancers in black suits, white shirts, black ties. Male and female, various races, this group is THE MEN. They march in, regimented, to the opening strains of “Superstition.” Through the dance, THE MEN march down the center of the stage, dividing the crowd into two. They place large signs US on either side (projected?) reading

USR: US USL:

THEM

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For typeface reference. The arrows would be powerful to include.

This is our representation of the segregated south (and US in general) It is symbolic. Dancers should NOT be separated based on race. The dancers in the suits, THE MEN, are general and symbolic as well, representing corrupt authority. However, a quick reference to arms extended with the peace sign, ala Richard Nixon, would not be out of place.

VERY SUPERSTITIOUS, WRITINGS ON THE WALL VERY SUPERSTITIOUS, LADDERS BOUT' TO FALL THIRTEEN MONTH OLD BABY, BROKE THE LOOKIN' GLASS SEVEN YEARS OF BAD LUCK, THE GOOD THINGS IN YOUR PAST WHEN YOU BELIEVE IN THINGS THAT YOU DON'T UNDERSTAND THEN YOU SUFFER SUPERSTITION AIN'T THE WAY VERY SUPERSTITIOUS, WASH YOUR FACE AND HANDS RID ME OF THE PROBLEMS, DO ALL THAT YOU CAN KEEP ME IN A DAYDREAM, KEEP ME GOIN' STRONG YOU DON'T WANT TO SAVE ME, SAD IS MY SONG WHEN YOU BELIEVE IN THINGS YOU DON'T UNDERSTAND THEN YOU SUFFER SUPERSTITION AIN'T THE WAY, YEH, YEH VERY SUPERSTITIOUS, NOTHIN' MORE TO SAY, VERY SUPERSTITIOUS, THE DEVIL'S ON HIS WAY THIRTEEN MONTH OLD BABY, BROKE THE LOOKIN' GLASS SEVEN YEARS OF BAD LUCK, GOOD THINGS IN YOUR PAST WHEN YOU BELIEVE IN THINGS THAT YOU DON'T UNDERSTAND THEN YOU SUFFER SUPERSTITION AIN'T THE WAY, NO, NO, NO


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END MUSIC CUE 11 Immediately into MUSIC CUE 12

THE MEN leave the stage. The DANCERS, now separated into US and THEM, perform and observe the scene of social strife described by the lyrics. Strike-throughs are recommended cuts.

“LIVING FOR THE CITY”

A BOY IS BORN IN HARD TIME MISSISSIPPI SURROUNDED BY FOUR WALLS THAT AIN'T SO PRETTY HIS PARENTS GIVE HIM LOVE AND AFFECTION TO KEEP HIM STRONG MOVING IN THE RIGHT DIRECTION LIVING JUST ENOUGH, JUST ENOUGH FOR THE CITY...EE HA! HIS FATHER WORKS SOME DAYS FOR FOURTEEN HOURS AND YOU CAN BET HE BARELY MAKES A DOLLAR HIS MOTHER GOES TO SCRUB THE FLOOR FOR MANY AND YOU'D BEST BELIEVE SHE HARDLY GETS A PENNY LIVING JUST ENOUGH, JUST ENOUGH FOR THE CITY...YEAH HIS SISTER'S BLACK BUT SHE IS SHO 'NUFF PRETTY HER SKIRT IS SHORT BUT LORD HER LEGS ARE STURDY TO WALK TO SCHOOL SHE'S GOT TO GET UP EARLY HER CLOTHES ARE OLD BUT NEVER ARE THEY DIRTY LIVING JUST ENOUGH, JUST ENOUGH FOR THE CITY...UM HUM HER BROTHER'S SMART HE'S GOT MORE SENSE THAN MANY HIS PATIENCE'S LONG BUT SOON HE WON'T HAVE ANY TO FIND A JOB IS LIKE A HAYSTACK NEEDLE CAUSE WHERE HE LIVES THEY DON'T USE COLORED PEOPLE LIVING JUST ENOUGH, JUST ENOUGH FOR THE CITY... LIVING JUST ENOUGH... FOR THE CITY...OOH,OOH [REPEAT SEVERAL TIMES] HIS HAIR IS LONG, HIS FEET ARE HARD AND GRITTY HE SPENDS HIS LOVE WALKING THE STREETS OF NEW YORK CITY HE'S ALMOST DEAD FROM BREATHING ON AIR POLLUTION HE TRIED TO VOTE BUT TO HIM THERE'S NO SOLUTION

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LIVING JUST ENOUGH, JUST ENOUGH FOR THE CITY...YEAH, YEAH, YEAH! I HOPE YOU HEAR INSIDE MY VOICE OF SORROW AND THAT IT MOTIVATES YOU TO MAKE A BETTER TOMORROW THIS PLACE IS CRUEL NO WHERE COULD BE MUCH COLDER IF WE DON'T CHANGE THE WORLD WILL SOON BE OVER LIVING JUST ENOUGH, JUST ENOUGH FOR THE CITY!!!! LA, LA, LA, LA, LA, LA, DA BA DA DA DA DA DA DA DA DA DA DA DA DA DA BA DA DA DA DA DA DA DA

END MUSIC CUE 11 The song has left the DANCERS sad, despondent.


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SCENE 7 STEVIE returns. He senses the separation and sadness in the crowd. In the next song, he brings comfort, and through the song the two groups, US and THEM, dance together. MUSIC CUE 12

“LOVE’S IN NEED OF LOVE TODAY”

GOOD MORN OR EVENING FRIENDS HERE'S YOUR FRIENDLY ANNOUNCER I HAVE SERIOUS NEWS TO PASS ON TO EVERY-BODY WHAT I'M ABOUT TO SAY COULD MEAN THE WORLD'S DISASTER COULD CHANGE YOUR JOY AND LAUGHTER TO TEARS AND PAIN IT'S THAT LOVE'S IN NEED OF LOVE TODAY DON'T DELAY SEND YOURS IN RIGHT AWAY HATE'S GOIN' ROUND BREAKING MANY HEARTS STOP IT PLEASE BEFORE IT'S GONE TOO FAR THE FORCE OF EVIL PLANS TO MAKE YOU ITS POSSESSION AND IT WILL IF WE LET IT DESTROY EV-ER-Y-BODY WE ALL MUST TAKE PRECAUTIONARY MEASURES IF LOVE AND PEACE YOU TREASURE THEN YOU'LL HEAR ME WHEN I SAY

DANCERS reunite. OH THAT LOVE'S IN NEED OF LOVE TODAY

LOVE'S IN NEED OF LOVE TODAY

DON'T DELAY DON'T DELAY

SEND YOURS IN RIGHT AWAY RIGHT A-WAY

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HATE'S GOIN' ROUND HATE'S GOIN' ROUND

BREAKING MANY HEARTS BREAK-ING HEARTS

STOP IT PLEASE STOP IT PLEASE

BEFORE IT'S GONE TOO FAR GONE TOO FAR

END MUSIC CUE 12 The DANCERS are together and unified again. There is happiness and love among them.


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SCENE 8 MUSIC CUE 13 With regimented marching, similar to that from “Superstition” in scene, the suited dancers, THE MEN, enter.

“YOU HAVEN’T DONE NOTHING”

Whereas in “Superstition,” the dance was directed from THE MEN to the DANCERS, this time, THE MEN are less successful in separating the crowd. The dance here begins being a rebuke from THE MEN to the DANCERS.

WE ARE AMAZED BUT NOT AMUSED BY ALL THE THINGS YOU SAY THAT YOU'LL DO THOUGH MUCH CONCERNED BUT NOT INVOLVED WITH DECISIONS THAT ARE MADE BY YOU BUT WE ARE SICK AND TIRED OF HEARING YOUR SONG TELLING HOW YOU ARE GONNA CHANGE RIGHT FROM WRONG 'CAUSE IF YOU REALLY WANT TO HEAR OUR VIEWS "YOU HAVEN'T DONE NOTHING"!

The tensions between the DANCERS and THE MEN is high. The DANCERS are starting to assert themselves through this verse. By the end of the bridge, they are gaining the upper hand

IT'S NOT TOO COOL TO BE RIDICULED BUT YOU BROUGHT THIS UPON YOURSELF THE WORLD IS TIRED OF PACIFIERS WE WANT THE TRUTH AND NOTHING ELSE AND WE ARE SICK AND TIRED OF HEARING YOUR SONG TELLING HOW YOU ARE GONNA CHANGE RIGHT FROM WRONG 'CAUSE IF YOU REALLY WANT TO HEAR OUR VIEWS "YOU HAVEN'T DONE NOTHING"!

The sense of unease increases, and the frustrations directed from the DANCERS to THE MEN start to spill over to each other. STEVIE isn’t noticing that the DANCERS are losing the sense of love.

JACKSON 5 JOIN ALONG WITH ME SAY DOO DOO WOP - HEY HEY HEY DOO DOO WOP - WOW WOW WOW DOO DOO WOP - CO CO CO DOO DOO WOP - NAW NAW NAW DOO DOO WOP - BUM BUM BUM

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DOO DOO WOP WE WOULD NOT CARE TO WAKE UP TO THE NIGHTMARE THAT'S BECOMING REAL LIFE

BUT WHEN MISLEAD WHO KNOWS A PERSON'S MIND CAN TURN AS COLD AS ICE UN HUM WHY DO YOU KEEP ON MAKING US HEAR YOUR SONG TELLING US HOW YOU ARE CHANGING RIGHT FROM WRONG 'CAUSE IF YOU REALLY WANT TO HEAR OUR VIEWS "YOU HAVEN'T DONE NOTHING"! YEAH

Things start to get a bit out of control, though. The DANCERS frustration has gone farther than STEVIE’s ability to control.

JACKSON 5 SING ALONG AGAIN SAY DOO DOO WOP DOO DOO WOP - OH DOO DOO WOP - CO CO CO DOO DOO WOP - SING IT BABY DOO DOO WOP - BUM BUM BUM DOO DOO WOP - UM SING IT LOUD FOR YOUR PEOPLE SAY DOO DOO WOP - UM UM UM

This song ends with a dance of violence, arms raised, DANCERS against THE MEN, but also DANCERS against other DANCERS. STEVIE realizes what is happening. He yells:

END MUSIC CUE 13

MALE VOCALIST (As if sung/yelled by STEVIE)

PEOPLE! The DANCERS freeze in positions of violence. MUSIC CUE 14

“HIGHER GROUND” Dancing this verse, STEVIE rebukes the DANCERS from their violence

. . .KEEP ON LEARNIN'


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SOLDIERS KEEP ON WARRIN' WORLD KEEP ON TURNIN' CAUSE IT WON'T BE TOO LONG

In this verse, STEVIE confronts the suited dancers. They eventually leave the stage in defeat.

POWERS KEEP ON LYIN' WHILE YOUR PEOPLE KEEP ON DYIN' WORLD KEEP ON TURNIN' CAUSE IT WON'T BE TOO LONG

Unity begins to return. Large ensemble dance. I'M SO DARN GLAD HE LET ME TRY IT AGAIN CAUSE MY LAST TIME ON EARTH I LIVED A WHOLE WORLD OF SIN I'M SO GLAD THAT I KNOW MORE THAN I KNEW THEN GONNA KEEP ON TRYIN' TILL I REACH MY HIGHEST GROUND TEACHERS KEEP ON TEACHIN' PREACHERS KEEP ON PREACHIN' WORLD KEEP ON TURNIN' CAUSE IT WON'T BE TOO LONG OH NO LOVERS KEEP ON LOVIN' BELIEVERS KEEP ON BELIEVIN' SLEEPERS JUST STOP SLEEPIN' CAUSE IT WON'T BE TOO LONG OH NO I'M SO GLAD THAT HE LET ME TRY IT AGAIN CAUSE MY LAST TIME ON EARTH I LIVED A WHOLE WORLD OF SIN I'M SO GLAD THAT I KNOW MORE THAN I KNEW THEN GONNA KEEP ON TRYIN' TILL I REACH MY HIGHEST GROUND...WHEW!

As the song comes to its conclusion, the dancers continue, but several of them find themselves downstage, spaced across the front of the stage, their backs to us. They continue to move and sway to the music, but they stay in their places. These dancers will be referred to as THE INFLUENCED.

TILL I REACH MY HIGHEST GROUND NO ONE'S GONNA BRING ME DOWN

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OH NO TILL I REACH MY HIGHEST GROUND DON'T LET NOBODY BRING YOU DOWN (THEY'LL SHO 'NUFF TRY) GOD IS GONNA SHOW YOU HIGHER GROUND HE'S THE ONLY FRIEND YOU HAVE AROUND

THE BAND KEEPS THE “HIGHER GROUND” GROOVE GOING.

PROJECTED TITLE CARDS:

With his music and his life

Crossfade to

Stevie helped bring the world together.

Crossfade to

Stevie wonder took what influenced him From upstage enter THE INFLUENCES: SIR DUKE, COUNT, MILLER, SATCHMO, and LADY ELLA. They join the dance, gradually moving forward.

To influence others TITLE PROJECTION fades.

STEVIE moves upstage, approaching each of THE INFLUENCED in turn. At each, he reaches into a pocket of the jacket and pulls out multi-colored confetti. He showers confetti on INFLUENCED NUMBER ONE, and instantly:

SFX: “Wanna Be Starting Something” (recorded. Use 5:30 – 5:45,)

Michael Jackson’s hit blasts loudly, cutting into the band’s live groove. INFLUENCED NUMBER ONE spins toward the audience and leads the chorus in Jackson influenced steps (not the Moonwalk), first alone, then with the CHORUS. This lasts only a few seconds. The cue ends and the “Higher Ground” groove is continuing. NUMBER ONE joins the chorus. STEVIE approaches INFLUENCED NUMBER TWO, showers confetti, and suddenly

SFX: “Wild Wild West” (recorded. Use 2:43 – 2:50)


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NUMBER TWO leads a few moves from Will Smith’s “Wild Wild West.” Ends abruptly. Still, the “Higher Ground” groove goes on. WONDER showers confetti on INFLUENCED NUMBER THREE:

SFX: “Gangsta Paradise” (recorded. Use :48 – 1:11)

And he leads a dance like Coolio. WONDER showers, and SFX: Busta Rhymes. Or John Legend. Or Usher. Or Erykah Badu.

Any number of major artists influenced by Stevie Wonder. Finally, WONDER approaches the figure at center stage, still with his back to us. From a different pocket, WONDER pulls out confetti. This time, it is not multi-colored. This time, it is purple.

SFX: “1999”

FINAL INFLUENCED leads the chorus in a dance to the intro of Prince’s “1999.” This goes a bit longer than the previous songs.

Return to “Higher Ground” groove. Big finish.

TILL I REACH MY HIGHEST GROUND

END MUSIC CUE 14

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SCENE 10 MUSIC CUE 15

“MEDLY OF HITS” PROJECTION OF TITLE CARD:

To the present Through the following medly, we see slides of Stevie Wonder throughout his life and career, interspersed with his various awards. The DANCERS dance to samples of Stevie’s major hits since his classic period. Possible selections include: “I Just Called To Say I Love You” “Part Time Lover” “That’s What Friends Are For” “Skeletons” “Jungle Fever” Throughout the medly and its dance, in addition to various images of Stevie’s career projected as title cards is text of each of the following: 1969 US Distinguished Service Award 1983 Induction Song Writers Hall of Fame 1986 W.C. Handy Award for "Outstanding Humanitarian Efforts" 1989 Induction Rock & Roll Hall of Fame 1996 Lifetime Achievement Award National Academy of Recording Arts & Sciences


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1998 Ambassador of Peace Award United Nations 1999 Kennedy Center Honor 2006 Lifetime Achievement Freedom Award Civil Rights Museum 2007 Lifetime Achievement Award National Civil Rights Museum 2008 Gershwin Prize Library of Congress 2009 UN Messenger of Peace United Nations END MUSIC CUE 15 VIDEO: STEVIE WONDER RECIEVES THE PRESIDENTAIL MEDAL OF FREEDOM

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Use 45:20 – 46:47


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SCENE 11 MUSIC CUE 16:

“SIGNED SEALED DELIVERED I’M YOURS” Synopsis of Dance:

An all out dance party. FULL COMPANY dances. Big fun.

LIKE A FOOL I WENT AND STAYED TOO LONG NOW I'M WONDERING IF YOUR LOVE'S STILL STRONG OO BABY, HERE I AM, SIGNED, SEALED DELIVERED, I'M YOURS

On the word “YOURS,” STEVIE, INFLUENCES, and the INFLUENCED toss confetti on other dancers.

THEN THAT TIME I WENT AND SAID GOODBYE NOW I'M BACK AND NOT ASHAMED TO CRY OO BABY, HERE I AM, SIGNED, SEALED DELIVERED, I'M YOURS

On the word “YOURS,” ALL DANCERS toss confetti on each other. HERE I AM BABY OH, YOU'VE GOT THE FUTURE IN YOUR HAND (SIGNED, SEALED DELIVERED, I'M YOURS)

On that last “I’m Yours,” DANCERS gesture to audience – we are yours, and we are all WONDER now. DANCERS encourage audience to clap along.

HERE I AM BABY, OH, YOU'VE GOT THE FUTURE IN YOUR HAND (SIGNED, SEALED, DELIVERED, I'M YOURS) I'VE DONE A LOT OF FOOLISH THINGS THAT I REALLY DIDN'T MEAN HEY, HEY, YEA, YEA, DIDN'T I, OH BABY SEEN A LOT OF THINGS IN THIS OLD WORLD WHEN I TOUCHED THEM THEY DID NOTHING, GIRL OO BABY, HERE I AM, SIGNED, SEALED DELIVERED, I'M YOURS, OH I'M YOURS

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On the word “YOURS,” the audience is showered with confetti.

OO-WEE BABE YOU SET MY SOUL ON FIRE THAT'S WHY I KNOW YOU ARE MY ONLY DESIRE OO BABY, HERE I AM, SIGNED, SEALED DELIVERED, I'M YOURS HERE I AM BABY OH, YOU'VE GOT THE FUTURE IN YOUR HAND (SIGNED, SEALED DELIVERED, I'M YOURS)

On the word “YOURS,” the audience is again showered with confetti.

HERE I AM BABY, OH, YOU'VE GOT THE FUTURE IN YOUR HAND (SIGNED, SEALED, DELIVERED, I'M YOURS)

The dance party extends out into the audience. I'VE DONE A LOT OF FOOLISH THINGS THAT I REALLY DIDN'T MEAN I COULD BE A BROKEN MAN BUT HERE I AM WITH YOUR FUTURE, GOT YOUR FUTURE BABE (HERE I AM BABY) HERE I AM BABY (SIGNED, SEALED DELIVERED, I'M YOURS) HERE I AM BABY, (HERE I AM BABY) HERE I AM BABY (SIGNED, SEALED DELIVERED, I'M YOURS) HERE I AM BABY, (HERE I AM BABY) HERE I AM BABY (SIGNED, SEALED DELIVERED, I'M YOURS)

END MUSIC CUE 14 WITH MASSIVE FINISH

CURTAIN CALL AND BOWS

“I WISH”

(Insturmental)

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