Hymns, Etc. - John D. Horman&Mary Nelson Keithahn

CURRENT OFFERINGS

Musical Dramas

Mary Nelson Keithahn and John D. Horman have been writing musical dramas together for more than a decade. Four have been published by other houses: Paul & Co. (Choristers Guild, 1990), The Song of Ruth (Abingdon, 1996), They Sang A New Song (Voice of the Rockies, 2000), and By The Sea (Choristers Guild, 2001). They decided to publish several other musical dramas in reproducible formats through Hymns, Etc. to meet the needs of churches who are looking for works with biblical integrity, well-crafted music and lyrics, and relevance to today's world. Since Abingdon has taken The Song of Ruth out of print, they are also offering it now in a reproducible format.

When Mary and John write a musical drama based on material from the Bible, they try to be faithful to their sources, drawing characters, situations, humor, and even some of the words from the biblical accounts. Their two trips to the Holy Land have helped them in terms of the geographical, historical, and cultural settings of the stories they use. In addition, they look for ways to connect the stories of God's people to life today. As a result, their musical dramas can be correlated easily with biblical studies in weekly or vacation church school and/or congregational worship.

All of the Keithahn-Horman musicals have been tried out in several different situations: A broadly-graded (grades 4-9) music, art, and drama camp; an ecumenical, multigenerational production in a local community; and a local church production with older children and youth. Cast size is flexible; minor roles can be combined or expanded as needed. There are parts for soloists, ensembles, chorus, instrumentalists, dancers, and even non-singers. Production notes include suggestions for choreography, costumes, and set. The scores have been professionally engraved for easy reading.

Each musical is available in single reproducible copies. The charge for a preview copy is $25,which may be applied toward the $100 fee for permission to reproduce enough copies of the score for local church use. Please make checks payable to Hymns, Etc. LLP, and mail them to Hymns, Etc. LLP, PO Box 220, Belle Fourche, SD 57717. For more information, contact Hymns, Etc. at this address: marynk@hymnsetc.com.

CALLED TO BE FRIENDS

Called to Be Friends: A Musical for Lent and Holy Week or General Use.

An Intergenerational Musical for Children, Youth, and Adults, with Keyboard, Flute, Orff Instruments, and Handbells, with Production Notes for Set, Props and Special Effects, Costumes, and Choreography. (Engraved Score)

Set in Jerusalem at the time of the Last Supper, Called to Be Friends draws on accounts of this event in the Gospels of Luke and John. In the prologue, Jesus sends his disciples on ahead to make arrangements for an upper room where they can celebrate the Passover meal. Three women and their servants follow with food for the supper. When Jesus arrives he finds James and John vying for positions of honor at the table. Chiding them, he washes the feet of the disciples, encouraging them to follow his example of servant-hood. At the end of the meal, Jesus breaks bread with the disciples and shares the cup with them. Then he tells them that, although he has asked them to serve one another, from now on he will call them “friends,” not servants. Time is suspended as the disciples wonder aloud about what Jesus means. In the five scenes that follow, they recall occasions when Jesus demonstrated what it means to be a friend: The wedding in Cana, the raising of Lazarus, the encounter with Zacchaeus, the healing of the disabled man at the pool of Bethesda in Jerusalem, and the conversation with the Samaritan woman at the well. In the epilogue, time moves on again. The Last Supper ends with further comments by Jesus on what it means to be a friend and a hymn of thanksgiving. Then the disciples and rest of the cast follow Jesus out to the Garden of Gethsemane on the Mount of Olives. Except for the role of Jesus, this is an ensemble work for a cast that can expand or contract as needed. The songs are mostly unison, but include some two, three, and four part sections.

This musical was written for our Music, Art, Drama, and Dance camp in 2004, at the request of the dean who wanted a new approach to Maundy Thursday that he could use in First Congregational United Church of Christ in Rapid City, SD the next spring. The musical proved to be a moving introduction to the Maundy Thursday Communion Service. It was directed, staged, and lighted by three members with professional experience in musical theater, and their creative interpretation is described in the Production Notes.

Isaiah's Dream

A Musical for All Ages Words by Mary Nelson Keithahn and Music by John D. Horman. Scored for Piano, Flute, Handbells, and "Rock-a-Phone," with Production Notes for Choreography, Costumes and Set. (Engraved Score)

Isaiah's Dream is set during Sukkot (Succoth), the fall harvest celebration of the Jews, as God's people are joyfully going up to the Temple in Jerusalem with their offerings. A priest named Isaiah* watches them with mixed feelings. He is happy that they share his joy in worship, but sad that their faith does not result in obedience to God's laws. When he goes into the Temple to pray for his beloved Jerusalem, he hears angel voices singing God's praises and is overwhelmed by a sense of his own shortcomings and fear of God. It is then that he hears God's call to be a prophet and answers, "Here I am. Send me."

Isaiah's struggle to get the people to trust and obey God in a time when they are surrounded by enemies and tempted to rely on armies and riotous living rather than God is the basis for the rest of the play. Scenes include Hezekiah's counsel to King Ahaz with the trembling knees, his protest march to make his point to King Hezekiah (much to the embarrassment of his wife), his encounter with the powerful and wily envoys from Assyria and Babylonia, and his encouragement of King Hezekiah's building of a water tunnel into Jerusalem. The play ends with Isaiah's dream of peace for Jerusalem and the world.

Although the play has a serious and relevant message, it is not without humor. The script, songs, and choreography allow cast members to act, rather than simply recite their parts. Four of the numbers may be used individually in liturgical settings: A Thanksgiving processional, a "Sanctus," a psalm tone and antiphon, and an anthem setting of a hymn for SATB choir and congregation.

Approximate performance time: 45-50 minutes.

* A historical note: Isaiah of Jerusalem, whose name means "Yahweh Saves," lived in the 8th century BC and held a respected position in Jerusalem, either by royal birth, his priestly profession, or both. He saw himself as a prophet and called his wife the "prophetess." They had two sons whose names had symbolic meanings related to his prophecies. Isaiah referred to God as the "Holy One of Israel" who would could be trusted to be faithful to the covenant made with the Hebrew people. His writings are found in the first 39 chapters of Isaiah, but most events in his life are told in 2 Kings 15:32-20:21 and 2 Chronicles 26-32

JOURNEY

A musical drama for all ages, with piano, flute or oboe, tympani, trumpet, handbells, and opt. shofar, with Production Notes for Set, Costumes, Lighting, Props, and Special Effects. (Engraved Score)

Journey tells the story of what happened to the Israelites during the forty years between their escape from Egypt and their arrival at Mt. Nebo, across the Jordan River from the Promised Land. As they wandered in a barren desert and mountainous area, the Israelites slowly began to understand who God (Yahweh) was and what God asked of them. They made mistakes and had to live with the consequences. They had to learn how to work together in order to survive. Most of all, they had to learn to trust God and the laws God gave them. Their journey in the wilderness was a journey of faith that would continue as they went on to occupy the land they had been promised. The main characters are Moses, Aaron, and Miriam. Three Chroniclers serve as narrators. Scenes include jubilation after the escape, complaints in the desert, sending out of the spies, giving of the law, the making of the golden calf, and the farewell of Moses. The songs are arranged mostly for unison voices, but there are some two, three, and four part sections. One song, “May Yahweh Bless and Keep You,” is a setting of the familiar benediction can be readily used in worship. Performance time is about 45 minutes.

This musical was first produced for a summer camp setting in 2005. Many of the scenes were based on lectionary readings that fall, and First Congregational United Church of Christ in Rapid City, SD used one of the scenes in Sunday worship. At Warner Memorial Presbyterian Church in Kensington, MD, John worked with the pastor and director of Christian education at his church in coordinating fall church school and congregational worship with a production of the musical.

Love Ever With Us

Words by Mary Nelson Keithahn and Music by John D. Horman.
Scored for Piano and Handbells. (Manuscript)

Love Ever with Us is the story of a good-intentioned pastor who decides to construct a Nativity scene outside the church to remind the busy members of the congregation of the real meaning of Christmas. The plan backfires, however, when a pole near the church casts the shadow of a cross on the manger. People are upset with this connection for various reasons and demand that the creche be removed. The pastor retreats to the church study in dismay, wishing that people could forget all about Christmas and start afresh to understand its meaning. Exhausted, the pastor falls asleep writing the Christmas Eve sermon, and has a dream in which that wish comes true. As the pastor tells the people of Jesus' birth and why it was important, they become characters in the story and act it out, as a "play within a play." The pastor awakes on Christmas Eve morning and hurries to get everything ready for the service that evening. As people arrive, it is obvious by their actions that they have shared the pastor's dream and been changed by this experience. They are finally ready to celebrate the true meaning of Christmas: "Babe in the manger, man on the cross, Love ever with us, sparing no cost."

This drama was inspired by a real-life incident reported in the news media some years ago and a poem, "The Cross Is Lifted," by Indian poet Chandran Devanesen. It illustrates our reluctance to move beyond the "busy-ness" of the season to the real meaning of Christmas. Several traditional refrains and hymn fragments are incorporated into the score, and some individual songs may be used as seasonal anthems.

Approximate Performance Time: 40 minutes

WHAT THEY SAID ABOUT LOVE EVER WITH US...
"....we were able to do the musical in place of regular worship on Sunday morning. [We had] an introit, offertory, and lighting of the Advent candle before the play started.....I used our adult choir as the singing carolers, ......and the kids from 1st grade thru 9th grade! .... I think the way that the audience was "hit" was perfect. They saw a little of themselves in the gossips, or the business men, or the busy ones. I just love the way you brought the present and the past together.....Jared is singing "Bethlehem, the House of Bread" this evening for the candlelight service. We are having a mini-Nativity scene before the service starts." --Julie Peterson, Worship Chairperson and Choral Director, United Methodist Church, Staples, MN.

On This Rock

Words by Mary Nelson Keithahn and Music by John D. Horman.
Scored for Piano, Orff-style Tuned Percussion Instruments, and Handbells, with Production Notes for Choreography, Costumes, and Set. (Engraved Score)

On This Rock is based on Acts 9:32-11:18. The disciple Peter is a guest in the home of Simon the Tanner in Joppa when a strange vision helps him understand that Christ welcomes, accepts, and affirms all who believe in him. At the same time, Cornelius, a Roman centurion, is encouraged by an angel to send for Peter to tell him more about Jesus. Peter goes to Caesarea, recognizes the faith of Cornelius, and baptizes him and his household. He does this, despite the fact that Jewish Christians are bound by the laws of Moses not to associate with Gentiles. When the council of Jewish Christians summons him to Jerusalem to explain his actions, Peter recalls his vision, affirms the spiritual gifts of Cornelius and his household, and convinces the council that the doors of the church should be open to all who repent and believe in Jesus Christ, no matter who they are or how they live. The characters include Peter, Cornelius, Aeneas, Dorcas, and Simon the Tanner, as well as others mentioned but not named in the biblical account (the widows, the angel), and several additional characters (Julia and her maid Rhoda, the wife of Cornelius) added for dramatic effect.

The score includes solos and choral parts, as well as speech, vocal, and dance ensembles, set to a piano accompaniment enhanced by Orff-type tuned percussion instruments and handbells. The cast wears colorful biblical costumes. The set is the Mediterranean seaside, with Joppa at one side and Caesarea Maritima on the other.

Approximate performance time: 30-35 minutes.

Shepherds Wanted

Words by Mary Nelson Keithahn and Music by John D. Horman.
Scored for unison chorus, soloists, ensembles, and piano, with opt. handbells, flute, and Orff instruments. Engraved score.

Shepherds Wanted is a musical drama exploring the biblical concept of "Shepherd" as it applies to the mission of the Church in today's world. It draws on the writings of the prophets, Psalm 23, and the Gospels, and involves the cast in creating improvised contemporary skits within the framework of the last song. The theme of the musical makes it appropriate for Lent, Good Shepherd Sunday, events related to undershepherd programs such as the Stephen Ministries, and for times when the "shepherd" role of the church is emphasized.

The story begins when shepherds arrive on the hillside and make camp for the night. They sing a psalm together before they lie down to sleep. A shepherd takes the first watch with his grandchildren. A falling star reminds the old man of another bright star he had seen long ago, and he tells the children about what happened on that night and in the years to come: the shepherds' longing for the shepherd-king God had promised them through the prophets; the coming of Jesus, the Good Shepherd; and Jesus' call to Peter and the others to care for his flock when he is gone. As the children ponder that call, the shepherds assume the role of contemporary Christians and show how they care for one another today in several short, improvised skits within the framework of a hymn, "There Is A Need for Shepherds."

The musical, which may be used in place of the sermon at a service of worship or as a separate production, is suitable for either large or small churches. It has a pastoral setting that can easily be created in the chancel or on a stage. The cast can include children, youth, and/or adults as the musical lends itself especially well to multi-generational groups. The characters wear biblical headpieces and drapes over plain clothing, exchanging them for contemporary costume touches for their improvisations. Actors may want to add extra props for their improvised skits. Detailed suggestions for producing the musical may be found in the Production Notes that are included with the score.

Approximate performance time: 35-40 minutes.

WHAT THEY SAID ABOUT SHEPHERDS WANTED...
"Shepherds Wanted" was received very well and I was delighted with every aspect of it. We have a small congregation with not enough youth in any one age group to form a choir. However, a musical such as this allows several in elementary, middle school, high school, plus adults to put it on....We have many volunteers in our church, so it was great to give large posters to 16 of them (Boy Scouts, Christ's Kitchen, Missions, Sunday School teachers, Salvation Army, etc.) At the interludes [in the last number] first 4, then 4, then 8 stood up with their posters. Most were in my adult choir, and it was very easy to practice.....The length [was] good....We liked the music--simple, tuneful, and memorable." --Ruth Williams, Choral Director, First Presbyterian Church, Victoria, TX.

The Song of Ruth

Words by Mary Nelson Keithahn and Music by John D. Horman.
Scored for Piano, handbells, and flute, with suggestions for choreography and other production notes. (Engraved Score)

Originally published by Abingdon Press, this musical drama based on the Book of Ruth is now available from Hymns Etc. It has been successfully used with broadly-graded, youth choir, and multigenerational choirs in local church, camp, and ecumenical settings. The story line follows the biblical story of Naomi and her Moabite daughter-in-laws who find themselves widowed and destitute in their grief. Naomi decides to return to her native Bethlehem as the famine she and her family had fled has ended. She urges Orpah and Ruth to stay in Moab with their families. Orpah agrees, but Ruth insists on returning to Judah with Naomi, even though she will be an outsider. When they arrive in Bethlehem it is the spring harvest season, and Ruth is able to support them by gleaning in the grain fields of Boaz, a relative of Naomi's husband. When the harvest is over Naomi sends Ruth to ask Boaz to follow the laws of levirate marriage and take her as his wife, that they might provide another son for her. A closer kinsman has prior claim, but Boaz succeeds in persuading him to refuse the offer. Boaz and Ruth are wed, and do indeed produce a son for Naomi who is destined to be an ancestor of King David.

The musical has strong parts for girls: Naomi, Ruth, Orpah, and the Wise Woman of Bethlehem. The male roles were written with changing boys' voices in mind. There are other opportunities for smaller solos, some wonderful choreography for the scene between Boaz and the Kinsman at the city gate, a hora-type wedding dance, and two psalm settings (Psalm 146 and 113) that can be adapted as individual anthems for worship.

In the Jewish community, the Book of Ruth is always read at the Feast of Weeks (Shavuot) which Christians call Pentecost, so it makes a good musical to use at the end of the choir year. Others have found it appropriate to use for Mother's Day.

Approximate Performance Time: 40-45 minutes

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Hymns, Etc.
4212 Carmel Point
Rapid City, SD 57702
Tel/Fax: (605) 716-2141
E-mail: marynk@hymnsetc.com