THE BALLAD OF DOWNTOWN JAKE
(a contemporary music drama - for mature audiences)
Created by PVCC Faculty members Dr. Lois Roma-Deeley and Dr.
Christopher Scinto
Directed by PVCC Faculty member Andrea Robertson
March 12th, 13th, 14th @ 7:30pm; Sunday March 15th @ 2:00pm.
$8‐$15 Admission.
Video Preview:
THE BALLAD OF DOWNTOWN JAKE is
set in the shadowy jazz scene of the late 1950’s. On the road to success, Jake
Delmonico, once crowned the greatest saxophonist America has ever heard, takes
several dark turns, which threaten his life and, ultimately, his music. Each of
the main characters—hustler, jazz man, singer, waitress—and even the one
hovering Angel—struggle with themselves and the world they find themselves
living in. Jake’s addiction to drugs has resulted in the deaths of his children
and the near ruin of his music. Harry Jones tempts Jake, again and again, with
heroin. Sugar Baby’s unrelenting grief and emotional overdependence on Jake has
pivoted her life toward drugs, alcohol and prostitution. As the Civil Rights
movement is stirring, Jasmine is beginning to confront her own anger over
injustice. At each and every turn, the Angel refuses to give up hope for these
souls of “the imperfect now.” The spirits of Johnny Dae, Charlie “Bird” Parker
and other jazz greats appear in various ways to offer comfort and not a small
amount of warning. Lust, betrayal, longing and love make the journey these five
characters take a treacherous one, marked by addiction, redemption, hope and
one last shot at fame.
"What a journey this has been!" says Lois
Roma-Deeley, who wrote the lyrics and book for the show. “After nearly 10 years
of collaborating with composer Christopher Scinto on this project and now
working with such outstanding artists, I am thrilled to see the fusion of music
and poetry, story and character, struggle and hope, come to life on stage. The
total effect is pure magic!"
Composer and musical director Christopher Scinto says, “The
musical score for JAKE is heavily influenced by the blues and small combo jazz
of the 1950s, which are fused together with musical conventions found in opera
and musical theater.”
“The opportunity to direct a new work is a rare and
wonderful one,” says Andrea Robertson. “Having the chance to turn to the
playwright and composer and say ‘what if we tried this?’ or ‘can you clarify
this character choice?’ is amazing; usually as a director you are feeling
around in the dark, guessing as best you can what the playwright meant or
wanted.”
--
