For many of us, listening to women-loving-women songs is a spiritual experience. That is because somehow it makes us feel seen, puts a sense of hope into our world as well as daydreams of romance. We can understand the challenges and the regret or guilt that comes with disappointing others and ourselves, them for not being who they wanted us to be and for us, not being who we are for far too long. Holly Near’s Simply Love album narrates a story that I might envision as a musical theatre production, and I really wish someone would ask me to write it and then hold the casting call (yeah, I’d want to be in it too, so save me a part). I offer some of my thoughts on two central songs in the would-be musical in hopes of sacred liturgy on a potential stage.
Simply Love has 28 songs and was released (according to Spotify) in 2000. I think the synopsis would be surrounding Cassandra, in a loving relationship with her partner, reflecting on her journey to this place of authenticity. I can imagine how it might be living one’s live in an exploratory way and coming to new revelations later in life.
Continue reading “If Holly Near’s Simply Love Album Were a Musical by Elisabeth Schilling”
“Where is my mother? I am thirsty.”
Hamilton The Musical, the newest sensation to hit Broadway is sweeping the nation. It is being touted as a fresh new way to produce a Broadway play, introducing hip hop and rap into the lexicon of musicals. From the very beginnings, Hamilton has been turning heads, moving mountains, and making waves. Its unorthodox lyrics and beats help to give life to key American historical figures. The sick beats of the music are only part of why Hamilton is storming the nation. Of the 10 principle cast members, only one is a white male (in the role of mad King George). Hamilton is a racially diverse cast; one that is very rare amongst the streets of Broadway. Black and Latino actors play key American figures like Hamilton, Washington, Jefferson, Burr, and Madison.
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