Preliminary Demo Tracks
Conceived for film, The Vigilance is not a Broadway musical in any usual sense of the term. Its score is cinematic in approach and sound, and as in any film, uses underscoring as an equally important part of the drama, as much as songs or production numbers.
Late into the night, the two leading support characters, Yankee and Arabella, both fugitives from the Vigilance Committee, are recounting their unfortunate childhoods when they are suddenly interrupted by a spectacular meteor shower (script p. 127). The lofty yearnings of the lyrics, however, belie the real subtext of the scene, which is a magical dance of courtship as the two chase each other through the mission quadrangle pretending to only want to chase the celestial show. Sung by Julie Garnyé and Matt Zarley.
Based on the popular minstrel play of the time, this incarnation, a play-within-the-play, takes place in the crowded Metropolitan Saloon in Santa Barbara as part of a pep rally by the Vigilance Committee to stir up support to capture the elusive Ned McGowan, believed to be secreted there (script p. 140). The play is structured as a series of humorous vignettes (the variations), each a send-up of some aspect of the gold rush, and is intended to be intercut with the frenzied hunt for Ned that erupts mid-performance and spills out into the streets of the city. Ned is only able to escape with the help of a notorious, flamboyant bandito who disguises Ned as a Franciscan friar and escorts him straight through the frenzied mobs rushing to and fro in hot pursuit.
Arriving late into the windy night at the Mission Dolores after her newlywed husband has just been executed by the Vigilance Committee, Arabella seeks refuge in Sister Dominica’s chambers. When the nun opens her wardrobe to retreive a nightgown, Arabella is stunned to see her torn and disheveled appearance in the mirror and thus begins this autobiographical song of woe (script p. 84). Not long after this first part, however, while changing into her nightgown, the wind outside increases markedly, blowing open the window and sending a mysterious scroll from atop the wardrobe onto the floor unfurled before them–a harbinger of things to come. Sung by Julie Garnyé.
Having just been appointed Secretary of the Vigilance Committee and now editor of the Daily Bulletin, Hubert Nobcraft (think "high concept" character somewhere between Cyril Ritchard’s Captain Hook and Alan Rickman’s Snape) suddenly finds himself with unimaginable power. In this song, he searches his conscience, religion and historical precedent to justify using any ploy, including deception, to accomplish what he feels is best for society–-and on a more personal note, to destroy his poetic nemesis, the "drunken Catholic," Ned McGowan. One of the more complex sequences in the story, his transformation in this piece from benign volunteer to convicted fascist, begins in St. Mary’s Church (script p. 40) and follows him through the bustling downtown and wharf to his arrival at the Daily Bulletin where he begins his first day on the job as editor in chief. In the final section presented here (script p. 44), he passes a church cemetery and imagines seeing Ned’s future gravestone as he has determined that concocting rumors about Ned is perfectly fine as long as the end justifies the means. And in the concluding moments, he envisions passing couples with children awed by his celebrity as he walks down the street to his office. (Note: Throughout the score, trills are used to underscore the symbolism of birds in the story. In this piece, however, they are intended as a grotesque mockery.) Performed by Tim Fullerton.
Arabella’s singing of the Canticle of the Sun by Francis of Assisi. It is during this sequence that the pedantic Nobcraft experiences an epiphany--from which everything changes. The excerpt picks up with the song’s central section where it has evolved into a quintet (script p.166 “Once again Arabella bids the group to follow her back into the Quadrangle…” and concludes just after the climax, where he has shed a tear, “the first since mother’s death,” he laments. (Script p. 168)
Music underscoring the final sequence at Fort Gunnybags. The music enters right after Coleman makes his surprise decision not to go to war (“Against the United States? Are you insane!” script bottom p.193). Occasional outbursts of Justice! can be heard from the growing mob outside. The second part of the excerpt (which begins with ascending 3rds ) enters just after Dominica tells Nobcraft, “There is always a greater reality” p. 196) and continues to climax under Nobcraft’s realization of Ned and decision to let him go, then subsequent encounter with the wind-strewn leaves and concludes with his return to Dominica’s cell and the unexpected discovery of the bird (solo violin) and its "sermon."
Talent in the above demos
Tim Fullerton (as Hubert Nobcraft)
Aside from his appearance in the theatrical short above, Tim's most recent roles are as Judge Turpin in SWEENEY TODD with the Actors Theatre of Indiana and Carmel Symphony Orchestra opening February 2020, and as Fredrik in A LITTLE NIGHT MUSIC with the Sacramento Theatre Company opening April 2020. Prior to these, he appeared as Sam in MAMMA MIA with the Oregon Cabaret Theater (OCT) in Ashland, Oregon, and prior to that in the same role in an extended run with the Pacific Conservatory Theater (PCPA) in Santa Maria, California. Other performance credits include HENRY IV pt. 1, LES BLANCS, AS YOU LIKE IT, NORA, CYMBELINE, TIMON OF ATHENS (Oregon Shakespeare Festival), MACBETH and THE MIKADO (Utah Shakespeare Festival), OTHELLO and THE WINTER'S TALE (Shakespeare Santa Cruz), HUNCHBACK OF NOTRE DAME, NEWSIES, JULIUS CEASAR, PIRATES OF PENZANCE, MAN OF LA MANCHA (PCPA), THREE MUSKETEERS THE MUSICAL and VICTOR VICTORIA (American Musical Theatre), A CHRISTMAS CAROL and REUNION (Fords Theatre), CAT ON A HOT TIN ROOF (San Jose Stage).
Julie Garnyé (Arabella)
Julie is an actress, singer, voiceover artist, writer and director. She can usually be seen as Bulda/Queen Iduna in FROZEN Live at the Hyperion Theatre at The Disneyland Resort in Southern California. She just recently finished starring in a national tour of the hit Broadway musical, COME FROM AWAY about the small town in Newfoundland that welcomed 7,000 grounded passengers after the 9/11 shutdown of air traffic in North America. She is also currently recording her first album, entitled "JULIE GARNYE- & - THE WRITERS". The album will feature the work of 15 of her favorite composers and lyricists, including luminaries Stephen Schwartz, Jennifer Nettles (of the band SUGARLAND), Alan Cumming, Jason Robert Brown, Paul Adelstein, Georgia Stitt, John Bucchino, folk star Christine Lavin, Laurence O'Keefe & Nell Benjamin and the incomparable Lance Horne. Additional career highlights include Grizabella (National Tour of the musical CATS), Aldonza (MAN OF LA MANCHA - PCPA Theatrefest) and her three appearances at The Hollywood Bowl, including LES MISÉRABLES, CHICAGO and MAMA MIA! For a complete bio, please visit Julie Garnye.com
Matt Zarley (Yankee)
Matt began his career at 12 years old starring in national commercials and, subsequently, made his theatrical debut at 17 years old in CATS, at that time, the youngest to ever perform in the mega blockbuster. After a year and a half of touring the country with the feline hit, his career led him to Broadway where, still just a teenager, he made his Broadway debut in A CHORUS LINE. Zarley has appeared in numerous shows including CHICAGO, and the title roles in both JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT and The Who’s TOMMY on Broadway. He has also had the pleasure of performing with Whitney Houston, Reba McEntire, Chaka Khan, Vanessa Williams, Brandy, Usher and Olivia Newton-John, among many others. For Matt's complete bio, please visit MattZarley.com