FLY TO PARADISE

The title should be apparent on different levels and take on different

meanings for different audience members. However, the most
obvious theme is flying or moving from one place to another, better
place using key words of fly, flying and paradise.

FIELD LAYOUT/STAGE
The field will have a stage on side 1 near the front and vertical panels on side 2
in the back. This will set up a visual divide and also provide a pathway to
motivate or fly from these two corners.

PROPS AND EQUIPMENT

Allusions to wings, feathers, birds, and flight should be evident throughout the
guard costume and equipment. We have three different props/equipment at our
disposal throughout the production

LONG BIRD WING https://www.youtube.com/watch?v=VDHiNQCZtXA

This prop can be used in a multitude of ways and can suggest the
bending, flexing and the movement of a wing

FLOCK OF BIRDS White bird/fabric on long, flexible poles that can be

extended over the head to simulate a dove/seagull flying. Many
performers holding these will simulate a flock

WINGS https://www.youtube.com/watch?v=mipPYYk3-7g&t=31s
:00-:30
SOURCE MUSIC AND LINKS
One Day Ill Fly Away https://www.youtube.com/watch?v=W4ROfyCjJeE

Hand of Fate Instrumental from the movie Signs

https://www.youtube.com/watch?v=YFGK2RFUQLs

Benedictus from Mass for Peace Karl Jenkins

https://www.youtube.com/watch?v=_kTffgdNhNw

Im Alive Adam Watts https://www.youtube.com/watch?v=x2PJK--A700

Fly to Paradise Eric Whitacre

https://www.youtube.com/watch?v=Y8oDnUga0JU

SOURCE MUSIC TEXT/LYRICS

One Day Ill Fly Away

I follow the night
Can't stand the light
When will will I begin
My life again?
One day I'll fly away
Leave your love to yesterday
What more can your love do fot me?
When will love be through with me?
Why live life from dream to dream
And dread the day when dreaming ends

Im Alive
Call me what you want
I'm alive, I'm alive
Can't kill what is done
Even if you tried
Listen while you hear
I'm alive, I'm alive
See into my eyes
Everything's inside
mmmmmmmmMMMmm
Call me what you want
I'm alive, I'm alive
I'm alive, I'm alive

Fly to Paradise
And all she ever thinks about
Is being any other place than this
'Cause she remembers having wings
But she's forgotten what it's like to feel
A paradise of bliss

And all I want to do is fly

Just fly
And all I want to do is fly
Just fly

And all she ever thinks about

Is memories of soaring through the sky
'Cause she remembers having wings
But she's forgotten what it feels like to fly

And all I want to do is fly

Just fly
And all I want to do is fly
Just fly
 GABRIEL
Gabriel The Messenger God is My Strength
John Rutter type of music?
Gabrielli 3 part introduction or trumpet trio?

In Abrahamic religions, Gabriel (Hebrew: Modern Gavri'el, ,

Jibrl) is an Jibrl or, Tiberian Garl, God is my strength; Arabic:
archangel who typically serves as a messenger sent from God to certain people.
In the Bible, Gabriel is mentioned in both the Old and New Testaments. In the
Old Testament, he appeared to the prophet Daniel, delivering explanations of
Daniel's visions (Daniel 8:1526, 9:2127). In the Gospel of Luke, Gabriel
appeared to Zecharias, and to the virgin Mary foretelling the births of John the
Baptist and Jesus, respectively (Luke 1:1138). In the Book of Daniel, he is
referred to as "the man Gabriel", while in the Gospel of Luke, Gabriel is referred
to as "an angel of the Lord" (Luke 1:11). Gabriel is not called an archangel in the
Bible, but is so called in Intertestamental period sources like the Book of Enoch.
In the Roman Catholic, Anglican, Lutheran, Eastern and Oriental Orthodox
churches, the archangels Michael, Raphael, and Gabriel are also referred to as
saints.[5]

Gabriel's horn[edit]
The trope of Gabriel blowing a trumpet blast to indicate the Lord's return to Earth
is especially familiar in Negro spirituals. However, though the Bible mentions a
trumpet blast preceding the resurrection of the dead, it never specifies Gabriel as
the trumpeter. Different passages say different things: the angels of the Son of
Man (Matthew 24:31); the voice of the Son of God (John 5:25-29); God's trumpet
(I Thessalonians 4:16); seven angels sounding a series of blasts (Revelation 8-
11); or simply "a trumpet will sound" (I Corinthians 15:52).[13]
The earliest known identification of Gabriel as the trumpeter comes in the year
1455 in Byzantine art, as an illustration in an Armenian manuscript showing
Gabriel sounding his trumpet as the dead climb out of their graves. [14] Two
centuries later comes the first known appearance of Gabriel as the trumpeter in
English culture, in John Milton's Paradise Lost (1667):[13][15]
Betwixt these rockie pillars Gabriel sat
Chief of the Angelic guards (IV.545f)...
He ended, and the Son gave signal high
To the bright minister that watch'd, he blew
His trumpet, heard in Oreb since perhaps
When God descended, and perhaps once more
To sound at general doom. (XI.72ff).
 RAPHAEL
Raphael The Healer God is My Strength

Raphael (Standard Hebrew , Rfl, "It is God who heals", "God

Heals", "God, Please Heal") is an archangel of Judaism, Islam and
Christianity, who in the Christian tradition performs all manners of
healing. In Islam, Raphael is the fourth major angel; in Muslim
tradition, he is known as Israfil. Raphael is mentioned in the Book of
Tobit, which is accepted as canonical by Catholics, Orthodox, and
some Anglo-Catholics, and as useful for public teaching by Lutherans
and Anglicans. Raphael is generally associated with the angel
mentioned in the Gospel of John as stirring the water at the healing
pool of Bethesda.

MICHAEL
Michael The Warrior Leader of Armies The
Protector Leader of the Army of God

Michael Michael is mentioned three times in the Book of Daniel, once

as a "great prince who stands up for the children of your people". The
idea that Michael was the advocate of the Jews became so prevalent
that in spite of the rabbinical prohibition against appealing to angels
as intermediaries between God and his people, Michael came to
occupy a certain place in the Jewish liturgy.
In the New Testament Michael leads God's armies against Satan's
forces in the Book of Revelation, where during the war in heaven he
defeats Satan. In the Epistle of Jude Michael is specifically referred to
as "the archangel Michael". Christian sanctuaries to Michael
appeared in the 4th century, when he was first seen as a healing
angel, and then over time as a protector and the leader of the army of
God against the forces of evil. By the 6th century, devotions to
Archangel Michael were widespread both in the Eastern and Western
Churches. Over time, teachings on Michael began to vary among
Christian denominations.
The Book of Revelation (12:7-9) describes a war in heaven in which
Michael, being stronger, defeats Satan:[13]
there was war in heaven. Michael and his angels fought against the
dragon, and the dragon and his angels fought back. But he was not
strong enough, and they lost their place in heaven.
After the conflict, Satan is thrown to earth along with the fallen
angels, where he ("that ancient serpent called the devil") still tries to
"lead the whole world astray".[13]

In late medieval Christianity, Michael, together with Saint George,

became the patron saint of chivalry and is now also considered the
patron saint of police officers, paramedics, firefighters and the
military.[35][88]
In the General Roman Calendar, the Anglican Calendar of Saints,
and the Lutheran Calendar of Saints, the archangel's feast is
celebrated on Michaelmas Day, September 29. The day is also
considered the feast of Saints Michael, Gabriel, and Raphael,
Archangels (General Roman Calendar), or the Feast of Saint Michael
and All Angels (Church of England).[84]

RECOGNIZABLE HYMN TUNES IN PUBLIC DOMAIN Either quoted briefly, used

as transition material or combined in various ways and various keys (Charles
Ives)

A Mighty Fortress (ala Do Not Go Gentle)

Doxology (Praise God from whom all Blessings Flow)

Amazing Grace
Be Thou My Vision

It is Well With my Soul

 All Hail the Power of Jesus Name

Joyful, Joyful we Adore Thee

Battle Hymn of the Republic

Sarah McLachan Angel

Gabriels Oboe Flute solo and duets?

Ava Maria

RECOGNIZABLE VISUAL MOTIFS IN DRILL AND IMAGERY

Halo

Angels Wings

Crosses

Harp

Satan imagery Pitchfork, trident

COSTUMING IDEAS AND IMAGERY

Band Uniform insert?

Guard

Wings both alluded to and literal?

http://imakewings.co.uk

ARCHANGEL
SHOW OUTLINE
SHOW IN 3 BROAD ACTS

GABRIEL The Messenger

RAPHAEL The Healer/Comforter

MICHAEL Leader of Army of Angels

THESE NOTES ARE NOT

COMPLETED.

STAGE

ACT 1 GABRIEL (1:20)

Introduce Coven (trio of guard), Musical soloist
Suspense, Foreboding, Narration, Intrigue
Music
Phrase 1 Crash of Thunder.then front ensemble enters softly. Lots of
intrigue and ominous colors from the front.
Phrase 2 Narration enters (low British/Scottish actor)
Phrase 3 Musical soloist or duet/trio enters
Begins to build as winds enter the stage from behind props/sides/front.
Build tempo and volume facing backfield.
Turn to front in silent 8 counts or so (narration again here?)
FIRST IMPACT Full tutti brass staged front for BIG first statement.

Visual
Begins with no performers visible. As the front ensemble/narration begins, the
coven of guard and soloist is revealed. Winds/Battery enter field from all
directions to build into first impact First unison guard featured

ACT 2 RAPHAEL (2:30)

Energetic, youthful, heroic warrior, virile
Music
Up-tempo portraying victorious warrior in combat.
Want to set-up a brass section double tonguing sectionwe can do a
trumpet/mello/baritone double tonguing feature.
We have 2 All-State mellophones that could be used as a call and response type
of call to war
In the last 1/3 of the piece, we could have a soloist cadenza that is reminiscent of
the opening, creates some variety and gives us a chance to catch a breath
before the ending (this worked really well for us this year in our opener)
End with tempo bump.4/4 to feeling of accel. to end
Visual
The moveable trees are moved either out of the way OR to a back corner
together to set up the Scene 4 entrance.
Weapons (Rifle and Saber) and Flags
Drill could perhaps incorporate symbolisms of Crests, Shields, etc.

ACT 3 MICHAEL (2:10)

(Castle of murder/betrayal)
Isolation, Separation, Solitude, Loneliness
Music
Ballad - should invoke the turn of the story. Must portray love, seduction and
also the betrayal, murder, etcperhaps ending with her suicide?
Continue to use soloists, duets, etc
Should climax with a lush statement
Ends softly but unresolved? (ends with Lady MacBeths death?)

Visual
If the Castle Faade is used, we could utilize this space for a lot of the ballad?
Try to end with the battery and some guard in the forest ready to start the next
scene.
Could definitely have the crown as a visual motif here. Perhaps the climax could
be a huge crown that is off centered with the guard slicing it into two parts
something that would portray that MacBeth has assumed the throne, but it is
doomed.

Scene 4 THE FINAL BATTLE TOMORROW

THE WOODS ADVANCE THE FOREST
ATTACKS (2:00)
Music
I would LOVE to have the battery and the forest to start moving while the ballad
is finishing.
Battery introduction then into full battle type of feel with a lot of side to side, winds
to battery statements that convey an attack and counter attack.
We could put space for some battery features2 bar spaces that would allow
some variety and features.
Building up to Trombone feature (20-24 trombones) with a couple really good
Bass Trombones
Perhaps the Trombones vs. the rest of the ensemble?
Ends with full out running and playing (we could end the show here with
audience on their feet!)
Visual
The woods start advancing as the ballad is ending. Battery and guard or winds
moving the trees are start to take the stage for the final battle.
Depending on the orchestration, we could have battery vs. weapons then side 1
vs. side 2, etc.
Lots of room for symbolism as well here in the drill design in terms of shields,
crests, swords, blocks moving through each other, etc.
We would like to end with a challenging, memorable ending

Scene 5 (Possible Coda) PROPHECY FULFILLED

OUT, OUT (MacBeth quote) (:40)
Music
Short coda that recalls the beginning with musical theme and soloist
Narration returns to conclude the production
Return of opening sounds and colors from the front
Right after the last word is spoken, CRASH of thunder like opening of show
Visual
Bookend the show with revisiting opening stage where wind players are off stage
front or side
3 guard featured like beginning
On final CRACK of Thunderwhat would be our visual hook? What surprise?
What memorable, iconic moment?

GENERAL THOUGHTS:

This could be the literal retelling of MacBeth, but in our version we tell it more from
the perspective of the Coven (3 witches at beginning)?

The narration could be a mixture of Shakespeare quotes and also changed so the
perspective is from the Coven.as if the coven told the story to Shakespeare and he
transcribed it.

The narration might be better if done by a womans voicelike she was one of the
coven telling the story?

Starting and ending the show with the CRACK of thunder should work well.

What is the FINAL thing that happens at the last CRACK of thunder? What effect,
trick, etc?
Scottish flare the original text is Scottish. What if we had a student who played
bagpipipes? If the narrator had a Scottish accent, could we end the show with the
bagpipe player playing from the forest, castle or leading off into the fog in the back
corner? Would that be unsupported to just throw that in at the end?