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 uses underscoring as much as songs or production numbers as an equally important part of the drama.
For this same reason, some of the selections here are in "draft" form since the actual production would largely determine the work's actual length and direction. Below are a few of the 13 musical numbers in the series.
30,000 torch-bearing citizens amass to witness the "Grand Opera" execution of two "criminals," one being Arabella’s fiancé, James Casey, whom she is marrying as a condition for him to receive Last Rights, while in an adjacent hall new converts to the Committee take the "Oath of Allegiance" as outside, the gallows and choir are being prepared.
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 necessary, 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 and follows him through the bustling downtown and wharf to his arrival at the Daily Bulletin where he is to begin his first day as editor in chief. In the final section here, he imagines himself passing a church cemetery with Ned’s future gravestone marking "Death by Consumption," then rounding the corner to his office, he envisions couples with children along the street awed by his celebrity. (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.
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. The lofty yearnings of the lyrics belie the subtext of the scene, however, which is a magical dance of courtship as they chase each other through the grounds pretending to only be interested in the celestial show. Sung by Nacre and Matt Zarley.
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. 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 Nacre.Follow this song in the script.
Arabella arrives at Ned's home, frantic for him to do something to stop the Committee's arrest of her fiancé who she is to marry in a week. But being three times more poet than judge at this point, himself facing indictment, the only comfort Ned can proffer is a poem he has just penned about the importance of remaining hopeful in insufferable times—ideals Arabella insists are far easier to admire than live. In the excerpt here, which enters as the music approaches the last verse, Ned is finally able to break through her melancholy by placing flowers from the vase on the grand piano in her arms as a bouquet and the doily under it over her head like a veil, and spinning her around where, at the climax of the music, she finally sees herself in the mirror—a bride! It is her first smile in days. (Script pp. 56-58) By the end of the piece, renewed hope has set in and Ned breaks into a sprite, Irish dance in which Arabella willingly joins him. Sung by Matt Zarley and Nacre.
Arabella’s singing of the Canticle of the Sun by Francis of Assisi. It is during this sequence, which takes place in the mission quadrangle and is predicated on the pedantic Nobcraft’s mocking the story of the Saint’s sermon to the birds, that Nobcraft experiences an epiphany about his own character—which changes everything. Beginning as a solo and evolving into a duet, then trio and quartet, the excerpt here 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 through the Quadrangle…” and concludes just after it has become a chorus at the climax, and Nobcraft cannot help but shed a tear, “the first since mother’s death,” he laments. (Script p. 168)
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, who is believed secreted there. 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.
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).
Nacre is an award-winning singer/composer from Montreal, Quebec renowned for her beautiful, pure, heavenly voice often heard in original compositions which are mostly atmospheric and ethereal in nature and feature carefully crafted vocal lines without lyrics. Rooted in the classical tradition with an emphasis on the Baroque period, over the past year she has been doing studio work for composers from around the globe. In December of 2019, she won the Silver Medal for Female Vocalist at the 2019 Global Music Awards in London for her soundtrack to SITTING ON THE MOUNTAIN. That film went on to win the Best Aerial Cinematography award at the Canadian Cinematography Awards in January of 2020 and an additional "Honorable Mention" for the soundtrack at the Los Angeles Film Awards that same month. In December 2020, Nacre released her latest album, LEVITATION which displays a wide variety of styles, among them an intriguing crossover track combining New Age atmospherics with Gregorian Chant (see Track #11, VICTIMAE PASCALI LAUDES on the album). For more information, visit https://nacre-music.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
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