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THEME AND OVERVIEW
SATB: The Musical tells the story of a group of stereotypical church choir members who discover that the collective sum of their humanity is worth far more than their individual imperfections and challenges.
The foundational principles of Christian love and acceptance go head to head with racism, political ideology, extra-marital affairs, capitalism, sexual identity, mental health issues, and preserving traditions in this most unusual love story.
SYNOPSIS
Church choir members arrive for rehearsal in the upbeat opening number Do Re Mi Fa So What? as they await the arrival of their new pastor and worship leader, Pastor Trent Callahan. Trent and his dutiful and loving wife, Claire, arrive at the church in time for rehearsal and the choir quickly begins complaining about all of the problems they have experienced since the church split in the song In Our Own Way. While Trent is a dynamic and get-by musician, his hopes are soon crushed under the weight of numerous challenges. He regrets having left his former position in a larger and much more stable West Coast appointment as he sings the poignant ballad Prayer of the Pastor. Their marriage is suddenly on the rocks when Trent discovers that Claire is hiding a secret. Meanwhile, a polished and attractive attorney and member of the choir, Cat, forms a fast and unlikely bond with Trent. They realize that they have far too much in common in their personalities and careers and share a friendly and flirtatious duet in Nothing But Disaster. Conflict escalates between Trent and Claire when she is forced to reveal that she is pregnant with a baby that he never wanted and that they didn't plan for. Claire contemplates her to raise her child alone in the ballad Pastured Wives.
Act One brings the classic stereotypical personalities to the fore. Shea's self-righteousness leaves many in her wake, making her the most obvious passive-aggressive antagonist in the story. Charles, the unflappable capitalist who rivals Shea in ego, demonstrates that he has a much greater capacity for compassion. Cat is wildly intellectual, witty, and a strong belter and is terrified of being rejected by the other choir members. Malik is intentionally the only person of color written in the show so that his character can single-handedly bring attention to the undercurrent of racism. His presence in this church setting fails to make sense until we discover that Malik is Shea's adopted son. Ben, a loving father and middle school teacher, is being viciously cut out of his daughters' lives by his ex-wife. As a result, he struggles with concepts of self-worth. Harold is the seasoned older character whose ideas are antiquated but whose wisdom is timeless. Quiet and introverted Dorian carefully reveals her scars through her overly apologetic nature and simple and unassuming dialogue. The end of Act One results in all characters clashing in Not So Silent Night. Shea battles Malik over race and openly accuses Trent and Cat of having an affair. Cat is forced to reveal that she is a lesbian. Ben learns that he will miss seeing his children again on Christmas and that his ex-wife has plans to remarry. Harold desperately tries to keep the building and relationships from crumbling. Charles, who is typically oblivious to what is around him, continues to work on his solo despite Dorian becoming injured. By the end of Act One, hurt, animosity, and anger send all of the characters to their respective corners while all interpersonal conflicts come to a head in Not So Silent Night which ends with Dorian sitting alone singing four lines of O Little Town of Bethlehem a capella.
Act Two opens with Harold counseling Trent at the parsonage. He encourages him to fight for his marriage and to put Claire first in Be Her Man. Dorian suddenly interrupts this gentle moment with unsettling news about Ben. The choir gathers to rally around Ben after attempting self-harm. As a result of the chaos and the change in how she is being treated by others, particularly Trent, she begins to question if it is more important to be accepted by people professing to be Christians, or to be loved by God in the powerful John 3:16. Ben returns and announces that he is going to an inpatient facility and Charles surprises Ben with a generous gift to financially help him through that expensive and necessary chapter. Malik delivers a sincerely emotional and power-packed monologue about being black in a white world. Shea learns to listen to Malik and to consider how her lack of consideration for others and implicit bias is alienating her from everyone. Charles stumbles into this most heated scene and the three characters sing No Robes which begs for the church, and its members, to strip down their pretenses. The closing takes place on Christmas Eve as Trent attempts to hide the fact that he desperately misses his wife. Malik, in his consistent authentic way, urges Claire to consider returning to Trent. In his sermon, Trent reminds people that above the mess of conflict, strife, inconvenience, and division, God is love, we are meant for love, and we are enough as we are. The finale This Is My Bethlehem punctuates the fact that we each have our personal road to journey, but that the journey can become more bearable if we walk together in compassion.
SATB refers to the four sections of choral music: Soprano, Alto, Tenor, and Bass. The title is a metaphor for the musical's theme that the sum of our collective voices is far more powerful than individual parts, though the best music depends on the individual to contribute. Harmony cannot work if people fail to listen. And, in the end, surrounding it all is a God poised as the author of infinite love and compassion, but removed from denominations and religious branding. Despite our imperfections, choices, and limitations, we are enough simply because we are. Love covers all, we are enough, we are loved.
PRODUCTION SPECS
Set: The set can be as simple and easy to change as possible, or you can make it as complicated as you wish. This musical relies on good storytelling and strong vocals/composition, not set design. Therefore, the theater can do as much, or as little, as they are capable.
Choreography: There are no dance opportunities in this show. This is an ensemble show for actors and singers.
Costuming: Modern day. Clothes should reflect the characters' personalities.
Props: Minimal props, nothing obscure. Examples include folders, music, chairs, filing cabinet, etc.
ORDER OF SHOW
ACT ONE
Scene One: Choir room (Do Re Me Fa So What? and In Our Own Way
Scene Two: Parsonage (Prayer of the Pastor)
Scene Three: Shea scene change monologue #1 (no song) - The Altar Guild
Scene Four: Choir room (Nothing But Disaster)
Scene Five: Choir room (Do Re Me Fa So What? reprise)
Scene Six: Parsonage (Pastured Wives)
Scene Seven: Shea scene change monologue #2 - Advent By Candlelight
Scene Eight: General area preparing for a dinner event (Not So Silent Night)
ACT TWO
Scene One: Parsonage (Be Her Man)
Scene Two: Shea scene change monologue #3 - SATB 101 (this can be moved to between scenes five and six if you want more time to change to a more decorated set)
Scene Three: Choir room (John 3:16)
Scene Four: Choir room (No Robes)
Scene Five: Choir room (Do Re Mi Fa So What? reprise)
Scene Six: Church on Christmas Eve (This Is My Bethlehem)