Bob Dylan’s First Musical Had a Satan of a Time
It gave the impression of a high-quality concept on the time — pair two poetic giants of various generations and get them to collaborate on reinventing an American basic.
The 12 months was 1969. The producer Stuart Ostrow and the director Peter Hunt already had successful present on Broadway with “1776.” Now they had been setting their sights on “The Satan and Daniel Webster,” Stephen Vincent Benét’s basic 1936 story about Jabez Stone, a New Hampshire farmer who sells his soul to the satan, has second ideas, and enlists the orator and statesman Daniel Webster to argue his case earlier than a jury composed of American villains. The story had been tailored right into a 1939 opera and a 1941 film, however by no means a musical.
Archibald MacLeish, the three-time Pulitzer Prize-winning poet and creator of the Tony Award-winning play “J.B.,” which reimagined the Guide of Job, would write the ebook. The composer and lyricist could be Bob Dylan — a long time earlier than he proffered his songbook to Twyla Tharp for 2006’s “The Instances They Are A-Changin’” and to Conor McPherson for “Woman From the North Nation.” (That present’s Broadway run was interrupted by the pandemic.)
“Stuart had this concept that we’d get the oldest poet of notice and the youngest poet of notice to work collectively,” Hunt recalled in a dialog earlier this 12 months, earlier than he died at 81 from problems of Parkinson’s illness.
“I assumed coupling the Republic’s poet laureate and America’s balladeer was a novel invitation to younger and outdated audiences,” Ostrow added in a current e-mail.
“Scratch” took its title from the title the satan calls himself in Benét’s story. MacLeish supplied a deeply-considered meditation on the character of fine and evil, obliquely asking whether or not the beliefs upon which America was based may endure within the time of Richard Nixon and Vietnam.
The present could be the “reverse of a musical,” MacLeish wrote to Ostrow in papers now held by the Billy Rose Theater Division of the New York Public Library; “it could be a “ballad play,” that includes an actor in fashionable gown who would sing songs and function conduit between the viewers and the motion onstage.
As for what this twentieth century troubadour would sing, properly, that was Dylan’s job.
MacLeish proposed some track titles — amongst them, “Crimson Arms,” “Decrease World,” “New Morning,” and “Father of Night time,” and Dylan, who’d wearied of the limelight and was making an attempt on new personas, began writing on spec.
The poet effused over Dylan’s preliminary contributions. “These songs of yours have been haunting me — and thrilling me,” he wrote to Dylan. “‘New Morning’ marries the opening as if they’d been supposed for one another.”
However Dylan and MacLeish had been separated not solely by age however by background, fashion, temperament, and sensibility. MacLeish divided his time between his western Massachusetts dwelling and a personal membership in Antigua, and was the product of boarding colleges and Ivy League universities. Dylan, a extra instinctive, much less deliberative artist, was the Minnesota-born son of a Jewish equipment retailer proprietor, and was, as he averred on “Tough and Rowdy Methods,” his newest album, “born on the mistaken aspect of the railroad monitor, like Ginsberg, Corso and Kerouac.”
A disagreement over lyrics to “Father of Night time” epitomized the distinction between the 2 visions. Dylan’s track was filled with oppositions (“Father of day, Father of evening/Father of black, father of white”). MacLeish favored the melody however thought the track ought to remark extra solely on the character of evil; he urged different lyrics: “Father of evening, father of dread/Father of chilly within the void overhead/Father of serpent underneath the stone/Father of worry at midnight alone.”
As relayed in Dylan’s fanciful 2004 memoir, “Chronicles: Quantity One,” a gathering between the septuagenarian MacLeish and the 20-something Dylan — with the elder poet discoursing on Sappho, Socrates, Dante and John Donne — reads like deleted dialogue from the scene in “Buying and selling Locations,” when Eddie Murphy’s street-smart con man finds himself improbably welcomed into the house of blue-blooded Dan Aykroyd.
Inevitably, the inventive course of on “Scratch” devolved; the story of how that occurred differs relying on who’s telling it.
“I backed out of the manufacturing,” Dylan wrote within the liner notes to “Biograph,” his 1985 assortment of outtakes, bootlegs, and previously-released materials. “It was nothing actually, sort of like a misunderstanding I supposed.”
Then later, in “Chronicles”:“I knew that I couldn’t have something so as to add to the message of [MacLeish’s] play. He didn’t want my assist anyway.”
In his 2005 memoir “Current on the Creation: Leaping within the Darkish and Going Towards the Grain,” Ostrow, a quadruple Tony winner whose Broadway profession spanned 4 a long time, takes challenge with Dylan’s model of occasions, to say the least. He presents the long run Nobel Laureate as a monosyllabic dolt and poseur who froze within the presence of a real man of American letters and spent his time at MacLeish’s dwelling pounding brandy, then conking out.
“The one impression the celebrated people singer had made was a nasty ring from his brandy snifter on the MacLeish’s 1785 cherry desk,” Ostrow wrote.
Regardless of his early enthusiasm, MacLeish soured on Dylan’s contributions. “Dylan proved incapable of writing new songs,” he wrote in a 1970 letter.
In an e-mail, Ostrow put it extra bluntly: “Dylan couldn’t collaborate.”
Maybe. However, seeing as Dylan had simply launched “Nashville Skyline,” which featured a duet with Johnny Money, and, two years earlier, had labored with the Band on recordings that might change into generally known as “The Basement Tapes,” the reality appears extra particular: Dylan may collaborate when he felt prefer it, simply not with Archibald MacLeish.
Ostrow and MacLeish thought of presenting “Scratch” with songs that Dylan had already recorded, however when the present opened at Broadway’s St. James Theater on Might 6, 1971, it did in order a straight play, starring Patrick Magee as Daniel Webster, Will Geer as Scratch, and Will Mackenzie as Jabez Stone.
With out the balancing voice of a recent songwriter, it registered as pompous and outdated, characterised by what Gadget Clock critic Walter Kerr referred to as “echoes of a vanishing fashion.”
“It has a vacuum the place its artwork needs to be,” wrote his fellow critic, Clive Barnes.
The actress Joanne Nail, who made her Broadway debut in “Scratch,” believes that MacLeish was “too married to his phrases,” which landed with audiences higher out of city.
“We had performed previews in Boston and other people liked it there as a result of it was about their space of the nation, their historical past,” she defined just lately. “However after we got here to New York, Will MacKenzie and I assumed it may be too lengthy, and a number of the dialogue was not going to fly. So, we went to Peter Hunt and advised him, however Archibald didn’t need to change something.”
The present closed two days later.
“It was conceived as a musical, ergo it failed,” Ostrow stated merely, by e-mail.
As for Dylan, months earlier, he had launched “New Morning,” a group of a dozen new songs, together with the title monitor and his model of “Father of Night time.” It was, Greil Marcus wrote within the Instances, “his finest album in years.”
Subsequent in Unopened: Patti LuPone’s first-act ballad grew to become an ordinary, however the present it got here from by no means did.
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