AN EASTER MUSICAL

Written by Claire Cloninger

Drama Consultant: Deborah Craig-Claar

Arranged and Orchestrated by Bob Krogstad

wonOMUlIlC
 An Easter Musical

Written by Claire Cloninger

Drama Consultant: Deborah Craig-Claar

Arranged and Orchestrated by Bob Krogstad

Approximate Performance Time: 55 minutes

COMPANlON MATERIALS

Choral Book 3010232012

Cassette 7019280501
Compact Disc 7019280595
Accompaniment Cassette* 3014212083
Accompaniment Compact Disc** 3019280583
Practice Trax 3010046677
Studio Orchestration 3010333250
Bulletins 9018553018
Poster 9018553026

* The Accompaniment Cassette provides two complete accompaniment

options: Side One contains stereo tracks only and Side Two is in the "Split
Trax" format (left channel, instrumental; right channel, vocals minus solos)
** The Accompaniment Compact Disc is in stereo format and provides
maximum clarity and the truest music reproduction possible.
INSTRUMENTATION
FLUTE PERCUSSION
OBOE VIOLIN*
CLARINET VIOLA*
BASSOON CELLO*
BASS CLARINET ARCO BASS
ALTO SAXOPHONE RHYTHM
TENORSAXOPHONE HARP
FRENCH HORN 1,2
TRUMPET 1,2,3
TROMBONE 1,2,3
TUBA
*simplified parts included
Art Desgn by The Phillips Agency, DalIas

Piano Transcriptions and Music Engraving

by Bill Wolaver and Danny Zaloudik

Edited by Richard Huggins and Bob Krogstad

This symbol indicates a Irack number on Ihe Accompaniment

Compacl Disc. Selecling a given CD Irack number will slart Ihe
accompanimenl Irack al Ihe corresponding musical secHon indicated
in Ihe choral book.

WOHOMI/SIC
 Synopsis
As the musical opens, we see the apostle Paul, along with Silas, being judged
guilty of blasphemy and treason in Philippi, for which they are flogged and sent to jail.
Trailing in the shadows is a slave fortune-teller, Verenia, who only moments earlier was set
free of a demonic spirit by Paul, much to the constemation of her master, a purveyor of
fortunes-for-money.

In jaU, their fellow prisoners question Paul and SUas conceming the kind of "lOng"
about whom they were preaching. The rough-hewn Marcus, their leader, expresses
sarcasm that the two preachers follow a "dead" lOng, one who had received punishment
usually reserved for "scum of the earth"-crucifixion. Bis questions give Paul a platform
from which to teH the story of Jesus Christ, while we see many of the scenes from Christ' s
life come to life onstage.

Hiding just outside the jaU, Verenia listen s with great intent, compelled to know the
Source of the power that set her free. When she is discovered by the jailer, Lucius, she
accepts imprisonment rather than banishment, just so she can hear more.

Story by story Marcus begins to see that the King called Jesus regards him just as
highly as He does anyone else. Even so, his life of abuse and skepticism steel him against
accepting this love. Finally, even his hardened heart cannot resolve logically the story of
Christ as the Lamb, slaughtered for him. He is struck by such a love so unconditional,
finally dec1aring his acceptance of and allegiance to the peasant King w.ho died for love.
One by one, the other prisoners follow the witness of Marcus.

Suddenly, a tremendous earthquake shakes the prison, breaking open the door.
Certain that the prisoners will escape and that he will be executed, Lucius prepares to take
his own life. Paul stops him, pointing out that no one is leaving, and shares with him this
same Christ. Lucius had secretly listened to Part of Paul' s accounts, and this final act of
trust convinces him to ask Paul how he, too, can know Christ.

As the musical concludes with a triumphant celebration of the physical resurrection

of Christ, we are struck by the dual sense of that miracle, seeing before us the evidence of
broken, human lives transformed by the Easter love of Christ through the unashamed
witness of two believers.

Copyright 1991 WORD MUSIC (a divo 01 WORD, INC.)

Al! Rights Reserved. lnternational Copyright Seeured.
Printed in U.SA

No par! 01 this publieation may be reprodueed or transmilled in any form or by any means, eleetronie or mechanieal, ineluding
photoeopy, reeording or any informalion storage and retrieval system, withoul permission in wriling from the publisher.

Prinled by Davis Brothers Publishing Co., Ine. Waco, TX

'f'

T ABLE OF CONTENTS
in order ofperformance

Synopsis .............................................................. 5

Notesfrom the Publsher ........................................... 9

From Bob Krogstad ................................................. 10

From Claire Cloninger .............................................. 11

Overture ............................................................... 13

When in Rome ....................................................... 20

One Lonely Life ...................................................... 30

A Different Kind of King ........................................... 37

Bis Love Alone ...................................................... 48

A Crown of Hosannas .............................................. 58

Lamb to the Slaughter ............................................... 69

Reprise: A Different Kind of King ................................ 77

How Can lt Be? ...................................................... 80

Who Will Call Him King of Kings ................................ 89

In My Heart 1 Believe ............................................... 102

Christ the Lord Is Risen Today .................................... 108

ProductionNotes .................................................... 118

Concert Version Narration ..........................................126

::s

Notes from the Publisher

There are many outstanding facets to this Baster presentation:

Dramatic locus and a compelling story. This may be the greatest dramatic focus
Claire Cloninger has achieved in her many Word musicals. Richly colorful characters,
engaging and memorable, move the beloved Baster story along from several unique
perspectives, through a story-within-a-story structure (see Synopsis and Production
Notes). Members of the audience may well identify with the despondency of the slave girl,
Verenia; the cynicism of the thief, Marcus; the despairing monotony of the jailer, Lucius; or
the victorious confidence of the apostle Paul. Claire has framed this story within the
borders of a Philippian jail, yet also has provided for it to come to life onstage for the
audience. With the invaluable contributions of dramatic consultant Deborah Craig-Claar,
Who Will Call Him King 01Kings is a remarkable Baster presentation.
Musical majesty and excitement. Only Bob Krogstad could have brought to this
story the theatrical rnajesty it needed. His orchestral and choral scores of beauty and
grandeur grant this work a compelling and inspiring scope, joyous to rehearse and thrilling
to hear. His exciting arrangement of the title song, Who Will Call Him King 01Kings, will
linger in your mind and heart long after the musical's conclusion. The transcriptionists have
translated his scores into accompaniments that are faithful and playable, yet rich in color
and choral support.

Orchestral cues marked. An added bonus in this book is the indication of certain
orchestral cues during most of the non-choral passages. These cues will most often relate to
those instruments and players usually available to the church orchestra. They facilitate the
more exposed musical passages being heard with greater musical definition as well as aural
color and interest, for they help the keyboard players avoid doubling those lines (subject to
to the personnel in the church's orchestra and the director's wishes). As another use for the
cues, they could also be assigned to a synth pi ayer.

Two script options. There are two script options within this book: the fully-staged
dramatization, heard on the recording, and a narrated version, useful for churches desiring
a concert presentation. The full dramatization script is interspersed with the music pages.
The narrated version follows the music pages. The Production Notes, also following the
music pages, will be found to be a thorough help to a successful presentation.

Word Music is proud to have been associated with this creative team, deeply
thankful for their months of effort. We are equally grateful for the support teams
engravers, transcriptionists, recording talent, and production staff-who brought this
musical to its finished state. Mostly, however, we are honored to have another opportunity
to present a musical affirmation of the kingship and deity of Jesus Christ. May it be His
Spirit that dominates your preparation and presentation of Who Will Call Him King 01
Kings.
WORDMUSIC
 ...,....

\ 11
10

From Bob Krogstad

People frequently ask those of us actively involved in the creation of

From Claire Cloninger

these musicals: "How can you come up with a new approach, especialiy

Jesus Christ is constantly in search of the heart that will call Him
when you are working from the same story that's been told for nearly two

King. As Brennan Manning says in The Ragamuffin Gospel, "Jesus comes

thousand years1"

for those as outcast as tax collectors and for those caught up in squalid
1 suppose the answer is two-fold. In the frrst place, we honestIy
choices and failed dreams ... :' He comes to His own and so often His
own wiIl not receive Rim. But to whoever will call Him King and Lord, He
never tire of the story, or the good news it proclaims (whether Easter,

Christmas, or in-between). Furthermore, when one works with such

gives the power to become a cbild of God.
actively involved Christian s as Claire Cloninger, Deborah Craig-Claar, and

This is the story of what happens when a group of outcasts in a

Richard Huggins, the means of re-telling the story rather "miraculously"

unfolds before you. That is not to say that the telling becomes easy, for
Philippian jail hear of Jesus Christ for the first time from two fellow
prisoners. The cast includes such colorful characters as a slave girl-fortune
when you consider all of the perspectives one might take in presenting the

teller, a bitterthief, and a blustering prison guardo The action of the musical
story of Christ's earthly ministry, the task is nothing less than formidable.

And for those of you desiring something less than a day-long pageant (1),
includes the excitement of a trial before aRoman magistrate, and an
earthquake that shakes the prison walls. But the climax of the drama is the
fitting the highlights of Christ's life into a compelling story of less than one

hour is a monumental endeavor. AH of us have had OUT favorite moments

event the makes all heaven rejoice: A group of desperate people choose to
from the New Testament, and all of us would love to teH that pan of the
believe a story that sounds too good to be true, and a dirty prison cell
timeless story once again. To the credit of my collaborators, they have
becomes a tiny outpost of God's kingdom!
grappled with a different, and, 1 think, unique, approach: telling the story

A playwright could not ask for more exciting characters or events

from the perspective of two of Christ's followers, Paul and Silas.

than those found in Acts 16. Knowing that Paul was constant1y telling the
story of"... Christ and Rim crucified, ..." we can safely assume that he
1 must express my deep gratitude to the excellent ensemble of caring

was sharing his faith with his fellow prisoners. Perhaps the singing
writers (in lyrics, music and drama) who contributed so generously of their

mentioned in Acts 16:25 contained the same ideas (if not the same melodies
God-given talents in the fresh telling of this story. For the solid support we

writers feel from Word Music, my special "Thanks!" And to sweet Claire;
and lyrics) as the songs of this musical!
spontaneous (and thorough) Deborah; and our persevering executive

1 am so thankful for the brilliant arrangements of Bob Krogstad, the

producer and editor, Richard, my humble appreciation. To once again take

creative direction of Richard Huggins and the Word print team, and the
the elements of tbis story, and be able to mold orchestral and choral

irnagination and dramatic input of Deborah Craig-Claar. 1 pray that as you

harmonies and moods to fit the texture of the moment is a great privilege

and your choir present this work, many will come to call Rim King of
one 1 count highly when I'm associated with this team.

kings!
To those ofyou reading this (and who we trust will become a pan of

this musical and dramatic experience), 1 can only hope that what is

contained between these covers will reach you in a fresh and vital way. This

story must be told; the world must hear of our risen Lord! May our attempt

at telling tbis magnificent story bring honor and glory to Ris name!

'P ..
13

Overture
Original Music
BOB KROGSTAD
Arr. by Bob Krogstad
Broadly, not rushed .J =ca. 69
I Fr. Horn

> L Opt. tympani only (keyboard sustain Bb)

.....;0-___ ___-0-___ ___

------- -------
Picc.

----------------~

Brighter .J = ca. 130

* See Productioll Notesfor additional comments.

Copyright 1991 WORD MUSIC (a div. ofWORD, INe.)

AH Rghts Reserved. Intemational Copyright Secured.
14 15

>
> >

VOlCE: They are troublemakers, VERENIA: You're wrong! These are peaceful meno

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they don't belong her e.

F.H.!T ... ""+-f

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------- ------- --------

They've harmed no one. ANTONINUS: Quiet slave! VOlCE:

y ou have no right to speak. The magistrate will decide.

>
With separaton

(crowd reactions)

...-"'O""
-----------------1
"'0""___ ____
------ "'O""

'---------------~ MAGISTRA TE: Quiet! Quiet! ...

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16
Who Win Can Him King of Kings
Story and Script by Claire Cloninger
Editor's Note: The Production Notes may be found following the music
pages. They will yield many additional ideas that will help make for a
successful presentation.
OVERTURE
Claudius Caesar. (reactions) What's more, they have cast
SCENE 1
At approximately measure 13 ofthe Overture, a commotion is heard at the back of
the auditorium. The characters ofPAUL and SILAS are being dragged up the aisle toward
the stage by PHIUPPIAN GUARDS. A small but noisy CROWD isfollowing behind,
some accusing, some defending the prisoners.
CROWD: (ad lib remarks, such as:)
Stand back, make way! ... These men are outsiders
. . . . Where are you taking them? .. They're not
welcome in Philippi. ... We saw them yesterday at the
river. . . . The Magistrate will deal with their kind ...
VOICE OVER CROWD: (approximately measure 37) They're troublemakers-they
don't belong here!
VERENIA: You're wrong! These are peaceful men. They've
harmed no one.
ANTONlNUS: Quiet, slave. You have no right to speak!
VOICE FROM CROWD: The Magistrate will decide.
CROWD: (ad lib remarks)
Yes. Take them before the Magistrate. . . . They've
been teaching Hes to the people. . . They don 't
believe in the Roman gods. . . . These men teach a
false religion. . . .
The following scene could be acted out with simple props, spotlighted downstage
of the prison set. A judge's chair and a "witness stand" could be set up to crea te a
"courtroom."
MAGISTRATE: (approximately measure 47) Quiet!! Quiet!! Bring the
accused persons forward and 1 will hear the charges
against them.
Roughlya GUARD delivers PAUL and SILAS to aplace infrontofthe
(at measure 23) Paul of Tarsus-you and your friend shall
MAGISTRATE. Throughout this next section of dialogue there should be ad libbed crowd
reactions as if some of the people are hearing for the first time the reasonfor the commotion
to which they were attracted. Listen to the recordingfor a demonstration ofthis.
17
GUARO: These are the men, your excellency. They are
foreigners and troublemakers. This one is Paul, from
the town of Tarsus, and ihis is his (distastefully)
"associate," who goes by the name of SiRas.
MAGISTRATE: Exactly what has been the nature of their offenses, and
who are their accusers?
GUARO: They are enticing the people to believe in a false God.
(reactions) They are peddling a dangerous religion which
refutes the sovereignty of Rome and the deity of
a spell on this slave girl here. (reactions)
VERENIA: (strongly) It's not true, sir. If anything, they have freed
me from a spell, from a terrible bondage. You can see
for yourself that 1 am in. my right mind.
CROWD: (Ad lib scorn and laughter from crowd)
What does she know? . . . She's a slave girl.
She's been hypnotized . . . . Look at her. . . . Right
mind-ha! ... Throw them in prison ... .
ANTONINUS: (trying to quiet the crowd) Quiet! Quiet and let me speak!
Music Begins
WHENINROME
(crowd quiets down butvarious ones ad lib reactions)
1 have a personal interest in this case. My. name is .
Antoninus. 1 am the owner of the slave glrl, Verema,
your excellency. For years she has earned money for
me by telling fortunes. She has a gift of seeing into the
future-and a very profitable gift it has been, 1 might
add. Now this man, Paul of Tarsus, comes to Philippi
proclaiming a false god, and enticing the citizens of
Philippi to believe as He does. While in the process of
this flrst offense, he indulges in a second. He has cast
sorne sort of spell on my slave which has rendered her
useless to me. Today, in the presence of these
witnesses, he spoke directly to the spirit in Verenia.
And in the name of his false god, he called it out of
her! (crowd reactions of disbelief) It is gone, your
excellency! She can no longer teH fortunes. He has
robbed her of her gift, and he has robbed me of my
livelihood! 1 beseech you, excellency, to imprison this
man Paul and his accomplice. (several in crowd agree with
him)
MAGISTRATE:
not be denied a fair trial. What do you have to say in
your defense?
 19
18

Music begins. ANTONINUS turns cruelly and exits, leaving VERENIA in tears.
PAUL and CHOIR sing ttWhen in Rome"
ONE LONELY LlFE
ANTONlNUS: (over measures 36-44) There-he's admitted t! He's (Verenia' S Solo)
guilty, and so is his friend! Didn't you hear him say he
serves another King? That's treason!
VERENIA' s dialogue within song:
CHOIR voices general uproar and agreement into measure 45.
VERENIA: (measures 12-15) The man, Paul-he spoke of a God who
CHOIR sings measures 45-55, 1st time eares for every small sparrow, who knows the seerets
of eaeh heart and draws near to us when we need
SILAS: But this sn't Rome-it's Philippi! eomfort. (sings 2nd verse)
MAGISTRATE: Philippi is a provinee of the Roman empire, and VERENIA: (over measures 24-25) Oh, if there really were sueh a
peddling religion on street eorners is an offense God. 1 must find this man Paul. (continues and concludes
punishable by imprisonment. 1 know nothing of this her song)
king you serve, but Caesar is king here, and more than
a king-he is viewed by his subjects as a godo Best
you remember that. Guilty as eharged!
CROWD: (ad libs)
Guilty!. . . Take them away!. . . . Caesar is our
king! ... Throw them in prison!
CHOIR sings measures 45-55, 2nd time

MAGISTRATE: (speaking over outro music, measures 93-106) Lucius, guard

of the prison at PhiJippi ...
LUCIUS: (steps before the MAGISTRATE) Here, your exeeUeney.

MAGISTRATE: 1 release these two prisoners-Paul of Tarsus and

Sitas, his aeeompliee-into your eustody, to be
flogged and imprisoned for the period of six months.
VERENIA: (timed to be said at measure 107 ifpossible) No! (throwing
herself down before the MAGISTRATE) Please, sir, 1 beg
merey for these meno They have done nothing wrong!
MAGISTRATE: Take them away!
LUCIUS removes PAUL and SILAS from the scene. MAGISTRATE exits. The
CROWD also exits, noisily. Only VERENIA and ANTONINUS remain in the courtroom
or street area. (See Production Notes for options iffull choir is costumed.)

VERENIA: (to ANTONINUS) Oh master, these are not eriminals.

They are good meno They have returned my Iife to me.
ANTONlNUS: What life? You ignorant girl-they have robbed you of
your only purpose for living. Apart from your
prophetie gift, you are of no value to me or anyone
else. A girl with no skilI and no talent. Why, you're
not even worth the food it would take me to keep you
alive.
20 21
@] Ob'l

WheninRome

CLAIRE CLONINGER Verse

BILL WOLAVER
Chorus
JANET McMAHAN
and JULIE ADAMS
Freely J
=ca. 84 Arr. by Bob Krogstad
(ANTONINUS continues)

/.h.
mp

Brighter, in a strict tempo J 100

MAGISlRATE: "Paul of Tarsus.....
B\/D CID

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3

If free-ing this girl is a crime, I'm

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guilt y- what's more, 1 woulddo it a - gain; _ _ For
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Copyrghl1991 WORD MUSIC (a dv. ofWORD. INC.) \
AII Righls Reserved. Intematonal Copyright Secured. T "ilI 111 T~OI'OI T 11 T T 01 T 01 T,-,OI'OI
22 23
he serves another king? That's treason! (Crowd reactiolls)

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24 25
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nothing of this king you serve. But Caesar is king here. And more than
A little more!

SILAS: But this isn't Rome

do as the Ro - mans do! __

divo a king, he is viewed by his subjects as a godo Best you remember that. Guilty as
Am Em 7 F/A Em F/A Em1 Am Em 7 F/A Em F/A Em7

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 26 27
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28 29

MAGISTRA TE: Lucius, guard

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VERENIA: No! please, sir, 1 beg merey for these meno
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>
:u:: - )fmf ~-
"
of the prison at PhillipL. LUCIUS: Here, your ex:celleney. MAGISTRATE: .. .1 release those <
f
-
--
~
f :
cJ
mp
I

--
...... ......... ........

-&- -&- -&

---- ""--

two prisoners - Paul of Tarsus and Silas, his aeeompliee - into your eustody

---- They have done nothing wrong.

MAGISTRA TE: Take them away!

>

t. I ~

>'------------------~
8vb - -
-&-_____
-------- ___-&

to be flogged and imprisoned for the period of six: months. (Crowd reacts, exits with Pauto Sitas and Lucius. (VERENIA begills
speaking over sustailled Ilote.
" I

\~ ~~~ ~. ~ ~t>:go~ .--:; " I > I - -~

"p.
-e

\ cJ L J I I '1 ~
"'"'='"
..9 ~ \:.,J

f :
........ ........ .......
<
= mf
= mp
1';;\

I :
-&-__
------- __-& -&-

----------------~ -o
""-----------
-o
~ ,
-o

----,.1
30 31

One Lonely Life

(Verenia Solo) Iy_ life, where tum, _ _ __
One lone

CLAIRE CLONINGER MARK GERSMEHL

Arr. by Bob Krogstad

Slowly, in a steady tempo j = ca. 66

mf

r
VERENIA: The man Paul he spoke of a God who cares for every small sparrow,

Iy_life, one

who knows the secret of each heart, and draws near to us when we need comfort.
out mean - ing or pur - pose_ ~ A B_ ~

Copyright 1991 WORD MUSTC (a divo ofWORD. TNC.)

Al! Rights Reserved. Intematonal Copyright Secured.
32 33

E
VERENIA: Oh, if there realIy were such a God. 1 must find this rnan Paul.
D.S. al Coda ~
--;: LI ~
Anguislzed .f

God, Do You care,_ do_ You hear?_ The

-eJ
F1.~ O

/ "-
II a 1- ln J. "LI1 I ~ !:
\-;r mf
I
t
... .. =
I
\
.. t :f!:~~ ~ .Lo ~ -e-
"
(drumfill)

Dmaj7 E/D G2/B Gmaj7/B ~ Ir-

-$-CODA
E7suS rit A m:p NC B
lA LI a
fu - ture's_ too lone - Iy _ _ to face on_ rny_own. o
Q)
.
"'J
lone, a - lone!

, "-

..J
II fI

V
"

I I T~

ll&- .
rito
~
= mf~ :

? :

E 1~
--===== f @]
--;: II a
---./
God, are_ You there? _ And could You real - Iy care_ a
..J

II a 1 }n J. ,11
(~
:

)
mp
!:" t!:~t!: ~
I

.f!.." ~,. . -e- Stgs.

r U
f
2nd time to Coda-$ A2 SUS A T
mf:
(sp ok en )
a malta rito r.-..
" II
.
bout one lone - Iy life_ a - lone?
-;r y I

m
3
a-Ione!
r.-..
"- II a r -r I I ~

~
<
..;- T ...
malta rito
ol
rI_ I
r.-..
-e-
j : "
34
SCENE 2
After llOne Lonely Life" VERENIA exits. "Courtroom" props, if any, should be
removed in the blackout. Lights come up on prison set. PRISONERS are in huddled in
groups. LUCIUS enters with PAUL and SILAS.
PAUL: So, you are a thief, my friend?
LUCIUS: (to PAUL and SILAS as they enter) The flogging was simply MARCUS:
a part of the sentence. 1 have nothing against you
personally. I'm just a soldier of Rome following
orders. (the prisoners react with cynical expressions, as though
they have heard this "bit" before) The Magistrate gives the PAUL:
orders and 1 carry them out. It's as simple as that.
You'lI find that this prison is run strictly according to MARCUS:
regulation. (he chuckles a bit when he says the part about
"regulation" )
PAUL: This prison, sir, is the Lord 's provision for rny friend PAUL:
and me this night. And so we bless Him for His
hospitality. . . . and we thank you for yours.
PRISONER #3:
LUCIUS: (shaking his head at PAUL's reply) You what??? Lunatics!
My world is inhabited by criminals and lunatics. PAUL:
PAUL: The world in general is inhabited by criminals and
lunatics, sir. That is why my God became aman.
LUCIUS: Oh, (laughs) so your God beca me aman, did he? SILAS:
(convinced that PAUL is insane) Ves ... yes ... 1 can see
the sooner 1 lock you fellows u p the better! MARCUS:
. LUCIUS puts PAUL and SILAS in the prison, closes the door and turns the key. SILAS:
He exlts. As he does, the audience sees (or has earlier seen) that VERENIA hasfollowed
them.. She mCIY, be seen one oftwo ways: one way is that she is seen hiding in the corridor
outsu1e the pnson (seen through bars on prison door). For this effect the prison door must
be designed with bars. ' MARCUS:
Another way ~s that she s~ips into t~e prison in all the commotion surrounding
PAUL and SILAS bemg pushed m and qUlckly moves behind either a rock some other
item being stored there, or perhaps clings against a dark wall, away from the others. PAUL
and SILAS move to the center of the jaU, and suddenly from the shadows the PRISONERS SILAS:
begin emergingfrom their groups and surround the newcomers.
MARCUS: (sarcastically) Well, welI, what have we here? Two weary
travelers on the road of life. (begins poking at PAUL' s PAUL:
bundle) And what, 1 wonder, do they carry of value?
PRISONER #1: Surely, Marcus, you don't expect to find any valuables
in this place?
PRISONERS:
MARCUS: Of course noto But any thief worthy of his profession
must continue to practice his skills at every
opportunity, lest he lose his touch.
PAUL:
Al! PRISONERS laugh at MARCUS's ''joke.''
35
Ves, 1 am a thief. But, no, 1 am not your friendo
You'll find it doesn't pay to make friends in a place
Iike this.
1 see.
What dastardly crime, may 1 ask, have you two
(sarcastically) "vicious outlaws" committed to gain
entrance to our little band?
My friend, Silas, and 1 hav been imprisoned for
telling a story-a true story.
Since when is storytelling a crime in Philippi?
Our story is not popular with your authorities here
because it is the true story of a powerful King. It
seems that Caesar does not take kindly to stories of
other rulers and deities.
Not kindly at aH, I'm afraid.
What king is it you've been telling stories about?
The story we teH is of Jesus Christ, once called the
King of the Jews. He was crucified in Jerusalem.
Perhaps you've heard of Him?
(sarcastically) Oh, let me get this straight: this is a king
who was killed. Dead . . . is currently deceased. And
you two are His followers-the followers of a dead
king. How interesting! (chuckles from PRISONERS)
Well, (a little exasperated) it's true that He was dead, but
then ... (can' t find his way out) it's a HUle hard to
explain.
("rescuing" SILAS) Jesus Christ was crucified in the city
of Jerusalem by the Roman authorities. AH of us here
are "well acquainted" with the Roman authorities, 1
take it.
(ad libbing to PAUL' s obvious statement)
Well, yes ... If you can call them that ... We are too
acquainted with Roman "justice" ... Don't remind me
Well, Jesus Christ was a King who wore the clothes of
a peasant and Iived among the common men and
women.
 37
36

A Different Kind of King

Music Begins
CLAIRE CLONINGER JANET McMAHAN-W1LSON
and JULlE ADAMS
A DIFFERENT KIND OF KING
Arr. by Bob Krogstad

He was a King who could have saved Himself, but Moderately, in a solid four .l =ca. 70
chose instead to die friendless and alone, for the sin s (PAUL continues speaking.)
of all people. NC

PRISONERS look at ea eh other, shrugging, puzzled.

MARCUS: I'm afraid 1 find your story a IiUle hard to follow. And
even harder ... to swallow!! F.H. I

PRISONERS laugh at MARCUS's rhyme.

PRlSONER #2: I've never heard of this Jesus.

A little brighter .l::: ca. 84
Bm A/F~ Bm A/~ Bm A/~ Bm A/~ Bm A/F~ Bm A/F#
MARCUS: He couldn't have been much of a king if he ended up
on a cross. We've seen crucifixions here and, believe
me, they are reserved for the scum of the earth. Iike
us!
PRlSONERS: (laughingly, ad libbing)
Right!
Ves! Like us! .. etc.
PAUL, SILAS and PRISONERS sing uA Difierent Kind 01 King"
Bm Bm A/F# Bm A/~ Bm A/F# Bm

(Prsoners)
>
MEN unison *
f Bm Em Bm A/F# Bm A/F#

,. PriSOllers ollly or with mell of cJwir. See Productiollllotes.

Copyright 1991 WORD MUSTC (a divo ofWORD, INC.)

AIl Rights Reserved. Intemational Copyright Secured.
 T
38 I 39

Bm Em/C# F#
In a relaxed tempo J=ca. 78
PAUL
mf..". -fL o' '", ~ ..... .,... ..... .,... n'
:
What kind ofking dies wound ed and a - !one?
kind of Kina ~
a dif-f'rent kind of man:
SILAS mf 1+ ..". .,... ..". -fL n~'" ~ ..... .,...
:

A dif f'rent kind of a dif-f'rent

Bm Bm/A AlO Omaj7

'"
,. ~ ~ I r1
I
1 col ~ I I
Gently
<
I
.p.. -f!! r-'i
Bm Em Bm Em ( :
n

l.-J l.-J

What kindofking has no one to be - friend him, no ar my to de-

:
-"
...... L-J
- will- ing to be bruised,
..". -fL ... -f!! ..,
:
..........,
kind of man: WiIl-ing to be hum-bled,

Omaj7/F# Em7 F#7(#5) F#7 Bm A6 02 Dmaj7/F#

,. I.
(~ ..
I t\. I

DUET rallo PAUL m:p '" .. =t I

~ -, '" -iJI
==-
.<fIIJl!

r-i I I I I

SILAS
A dif f'rent ? :
.., -<11 -111 ..,.
'"
..,

PAUL and SILAS

Em 7 F#7(#5) F#7 Bm A6 02 l)6/F#
MEN
=
fend him, no king-dom and no throne? will - ing not to say a word, to stand and be a-bused, So
Bm Em7 F# F#7

r
rallo =======-_ mp
40 41
Em 7
=

What kind ofking wore rags in - stead of crowns?

ev- 'ry heart might have a chance lo tum lo Him and choose a dif-frenl kind of King. _ __

Em/C~ F~7

Brighter ..J = ca. 84

Bm/A Gmap F#7SUS Bm A/F~ Bm A/:Ftl

Whal kindofking is put to death so cru-el-Iy, what man of might and

>

f
Em Bm Em

> >

~DUET

PAUL and SILAS U/iSOIl

rallo mf
kind of king would walk a - mong the com-mon-ers? __

maj-es-ty wouldchoose to lay them down? A dif - f'rent

=
Bm Em Bm A/F# Bm

F#

rallo =====
42
43

: mp

a dif-frent kind of man: _ _ _ __

turo to Him and choose a dif - f' rent kind of .l\.ll~g,._ _ _ __
~

A dif-f'rent kind ofKing, _ _ _ __ a dif-f'rent kind of man: a dif - f'rent

Bm/A A/G Gmaj7 Gmaj1lp1l pIl7 Bm A/B Bm

r mp

SILAS PAUL freely

PAUL Both
: -"'. L::.':J rit. 11if. .fL

wilI ing not to say

- a
-(11- -fL f')

I :

kind of King.

,~
Bm/A
~ ~ --- -
A/G
~
Gmaj1

I
Em 6/F#

<
11

r-i
r O r. rito :
T
~ :
".

-(11- -fL m!P';'" -fL .... m ol!ore. 1';\

:
stand and be a- bused So ev - 'ry heart might have a chance to dif-f'rent kind of King!

. 1';\

I .
1';\

" ~ I 1';\
B2

<ti
-
r 1 I"J 1';\
..n 1

~"
.
r v1": + :tt-H-
mpl~
..:.,
=--
~ : - 1';\

~
1';\

'" Prisoners do not sing here.

- ! ~~ ........

-u
44
SCENE 3
After "A Difierent Kind ofKing."
MARCUS: So this is your story?
PAUL: Ves, my only story. I preach Christ and Him crucified.
A stumbling block to the Jews and foolishness to
Gentiles. But to those whom God has called, both
Jews and Greeks, Christ the power of God and the
wisdom of God.
MARCUS: WelI, maybe you don't be long in a prison after all ..
(pausing to set up his puneh line) a madhouse might be a
beUer place for the teUer of such a story. (PRISONERS
laugh) Christ, the peasant king who died for love?? Did
you really expect anyone to believe that??!! (He laughs.
PRISONERS laugh with him.)
PAUL: You are not the first to laugh at him. And you will not
be the last. (the prisoners quiet down at the tone of authority in
Paul's vOlee) But to those who believe in Him, He gives
the power of Iife. On those who receive Him as their
King, He bestows forgiveness and merey and grace.
The pain of the past is wiped away, and the lonely
places of the heart He filIs with love.
PRISONERS are quiet and listening now. VERENIA has moved closer . ..
almost out into the light.
Music Begins
The eharaeter ofJESUS is surrounded by PEOPLE. He zs speakmg to them, laughmg ando
A WONDERFUL STORY (Narrative)
interaeting in a warm and genuine way. Durin$ this scene several CHILDREN come and su
PAUL: (over musie) Isn't there anyone here who would Iike to
hear the story in its entirety? Isn 't there anyone 'who
would like to meet my King? (a hushed pause follows)
SILAS: Anyone?
VERENIA: (stepping forward, speaking loudly) 1 would like to meet
your King.
Everyone turns, surprised to see her there.
PAUL: You are Verenia, the slave girl I spoke to today.
VERENIA:
Ves, sir. PIease forgive me. 1 feel that you have been
imprisoned on my account. You had no one to defend you.
PAUL:
My God wiII defend me. I wiII not remain in prison a
minute longer than He de crees. But yes, I wilI forgive
you. Ido. And I invite you to stay and hear the story .
. of the peasant King who died for love.
45
VERENIA: Yes, please . . . continue.
Lights dim on prison seene. Spot on PAUL. .PRISo.NER~ gather around him and
are seated. VERENIA stands or sits outside the eell m heanng dzstanee.
PAUL: (in a warm, narrative fashion) Jesus Christ-t~e image o~ the
invisible God. The firstborn over all creahon. By Hlm
aH things were created: things in heaven and on earth,
visible and invisible, whether thrones or powers ?r
rulers or authorities; all things were created by Hlm and
for Him. He is before aH things and in Him aH things
hold together. This is the one, the very Son of God,
who carne to live among us.
In many ways He was a simple mano He wore the
clothes of a c~mmon laborer. His c10sest friends were
fishermen. He spoke plainly as He taught alI who would
listen of His Father's love. He was aman of gentle .
words, aman of peace, but not a weak mano .Far from d.
He was very powerful indeed. For Jesus Chnst had a
power no earthly king has ever possessed: (stronger) He
had power to heal the human heart.
(Musie from "A Wonderful Story" segues direetly into "His Love Alone" )
HIS LOVE ALONE
(Choir)
During the preeeding narration and song, lights e?me up qn a Jerusalem str~et seene.
eomfortably in his lap or stand close around hzm.
itA Crown ofHosannas" immediately follows. (The aeeompaniment traek eontinues.)
A CROWN OF HOSANNAS
PAUL: (Over musie) My people had been waiting for an earthly
king Iike Caesar. A king with armies and weapons and
crowns. Now, as the rumors of Jesus spread throughout
the countryside, many hoped that He would be such a
king.
As He followed His Father's will, Jesus was drawn
directly into the jaws of Jerusalem. And all along the
way the crowds cried out "Hosanna!" They threw down
fIow'ers and branches and boughs before Him as they
sang His praises. But only He understood that they were
praising Him not for who He was, but for who they had
hoped He would be.
The CHOIR sings {fA Crown ofHosannas"
46 47

A W onderful Story
(Narrative) Original Music
BOB KROGSTAD
Arr. by Bob Krogstad
PAUL: (continuing) Isn't there anyone ...
VERENIA: 1 wou!d Iilee...
J =ca. 66
" Jo!
Pensively

.
, r

~~ ...... .. !! -r:
~-=-
Cl. L jlv ji"" ;'-cP"
~
mp = 11ff
t :
,,...
I
/: -
-
Bs.CI.

t
==r

"f flD "1 L 1 J

PAUL: You, you are ... VERENIA: Yes, sir...
1 "f J.

PAUL: My God wil1...

(This meas. piallo Oll/Y)

VERENIA: Yes, please ...

PAUL: Jesus ChriS, he...

sub.
---
mp
Segue ro "His Lave Alolle"
....-::::--,..-:;;:; ::::::::::::...

n!f poco a poco accel.

.J
Copyright 1991 WORD MUSIC (a divo ofWORD, INC.)
AH Rights Reserved. Intemational Copyright Secured.
48
49

His Love Alone "

.al .g.' .., '" ...
CLAIRE CLONINGER
KATHY FRIZZELL strong. Like a riv - er iI flowed_ lo the ones who be -lieved_ Him, Like the
Arr. by Bob Krogstad MEN unison mf". .. .. - ""

----.

PAUL: (continuing) For Jesus ChriSI had... . lO heal Ihe human heart! -...; I.........J
.J =ca. 76 FlIA G/B G2/B

-
F/A C

I I I I I , I I I I I

~

loco

~ .,) $+ . +~+ '" I~ W.. fIII,--,"'
<
j'
I . n.

II I i-.J L...-J

lVOMEN mison
mf
wind thru the trees,_ Iike Ihe hope in a song. _ _ _ _ _ _ __
His

C Cl F/A F/A

I b.. rFi"""",
"

:
~ I
.
I I I

} .al
'--'
I l -' ~T +
=
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I

l
'--"
..
-'
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i. divo
- ~ r ......--, uns.
love touched the world_ with a pow - er, .
a pow - er both gen - tle and
-;r .... "" '"'_tIJI.
love__
-4 +
heals __
~ +

..
And His is the pow - er that us, And
divo .... ...,..--.. -.-& -(II-~
C G2/B B,2
- -(11
C/B'

~
:

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r
- ===

F/A C/G
--....,

C2/E
I

J 1 (
" 1""""""" I

.,) ... I ... ,+ ... :..'--"~ "'+

<
Copyright 1991 WORD MUSTC (a divo ofWORD. INC.) .... . h
Al! Rights Reserved. Internatiol1al Copyright Secured. ~ : . .
I I '--" -4
50 51
liQ]div.

'--"

brings us a peace_ that this world's_ nev - er known;_

For this love_ is the to His chil - dren, to the weak and the lost_ and the lame;.
unis. divo

Dm7 C/E F D/FlI Gsus G G/F

f'l div
uns.
al ... .. . + T T ................

~
"--""
pow er of Je - sus that frees us to live_ as His own - To all who are will - ing to o pen their hearts,_ to
------ Bythe
...... ~

uns. : .
F
F2/A F/A G7/B
S --
el G2/B
I.......J
- y

C/E Dm7(4) Dm1 Em 7

I ...
I "
I I
~
~ l ~ "'.
.
~ al $'" ....... ... I I I
<

~ :
.
I
. . --
I I I

D.S. al Coda ~

trust in His grace,_ to calI on His name!

pow - er of His_ love a - lone. divo
And He ~

2nd time fa Coda -(/t D.S. al Coda ~

B_2 F/A Al E-/G F/A
f6/G C Cmaj9 F/C
 53
52

-$cODA
Sweetly
CHfLDREN ~ 11ft
Reach ing out to ev - 'ry child with His love a
mp divo
Gen - tle le - sus,

00_________________________________________ Ah _ _
-& mp
'---------------- divo
lone. _ _ _ _ _ _ _ _ _ _ __

Ah_ _

ttCODA F
Am A2 SUS Am 6 Em Am D 7 sus
C Cmaj9 C9 sus C7

Broadening

ti

al
.
meek and mild, dear - est Friend we've known;
ti

With His love a lone!

al

:
G

C2/E Am7 Dm7 G G7/B C2 C G61B

m-J ~-~ ~~J

~
11 ".

t al
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f . . I

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54
55

With His love a Jone,

With His love a lone, reach - ing

And His love __ is the pow - er that heaJs__ us, and

For this Jove_ _ is the pow - er of Je sus that
...---... . ,.--...
,.....--.... . ,...--..

G2 G' JJ!./F
M/G' MsuslG' A'/G' G2 JJ!./F

"---'

Reach - ing out with His love _ _ a lone;

out__ with His love,_ By the

brings us a peace_ that this world's__ nev er known;_

frees us to live__ as His own _ _ By the

JJ!./F E.7/G A-sus AlE Fm7

56 57

f I ~ r--1 I
. nif
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pow - er of His __ love a - lone, The

uns.
...-.,
~
I

(;l.
"" lone, _ _ _ _ _ _ _ __
pow er_ of His love a

pow - er of His __ love a - lone, The

unis. ____
.n..
,..--.., nif
: .
~ "'-"""" r I
NC
Fm/A' 0,6/A~ :0'>6 :o'>maj1 :o'>/F
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,.........,
~ r--1 ~
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pow er of His __ love a - lone.
divo
f

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--======= ff
el .~

pow - er of His __ love a - lone, By the

love a
divo
,.--.., :f: f:

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58
59
A Crown of Hosannas . d out "Hosanna..
direetly into the jaws of Jerusalem, and aH along the way the erowds ene 1"

CLAlRE CLONINGER
JANET McMAHAN
and JULlE ADAMS
Arr. by Bob Krogstad

With motion, in two j =ca. 76 They threw down flowers and branehes and bows before Him as they sang His praises. But only He
E' M/E. B./E. E. A'IE> B>/E' E>

y people had been waiting for an earthly king Iike Caesar, a king with armies
understood that they were praising Him not for who He was, but for who they had hoped He would be.

and weapons and erowns. Now, as the rumors of Jesus spread throughout the eountryside,

Excitedly
CHOIR unison f __-'

010 - ri-ous One, en - ter our gates tri -

Copyright 1991 WORD MUSTC (a divo ofWORD, INC.)

AH Rights Reserved. Intemational Copyright Secured.
 60 61

ti I
.......

I = Jj
1

I-'.
o
o ~ 1

~ ,. v 1 ]
I
um - phant, Glo - ri-ous Son,
a
+ ... bring-ing us strength to stand. Wear-ing
: . o "" ,

J J ..'.. ~ ..f!L .,;--

~ . . Lo" Iot&

A~E~ E~ A~E~ E~ MIE' E' MIE' B' E' A'/E'

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divo
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unis. I l divo

come to our wait ing land; Lift-ing a light,

.
o

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div.,. ,. -t . .
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62 63

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 64
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66 67

SCENE 4
After "Crown ofHosannas" lights go down on Palm Sunday scene and up on
LUCIUS acts as though he is leaving, but stays outside the cell where VERENIA
prison. LUCIUS has been awakened by the telling of the story. As VERENIA hears
had been hiding, to hear "chapter two" ofPAUL's story.
LUCIUS coming, she slips back into the shadows.

SILAS: (to VERENIA) Are you aH right, miss?

LUCIUS: (storming in angrily) Can't aman get a night's sleep in

this place? (incredulous) Could I possibly have been

VERENIA: Ves, I'm fine. I don't even mind being locked in. In
awakened by the sound of singing? And what, may I
fact, I'm glad. I want know more about your God. Do
ask, have any of you got to be singing about?
continue, please. He was on His way to Jerusalem.
MARCUS: The two new prisoners have been entertaining us with
MARCUS: Didn't He know He was going to be killed?
the story of a peasant king who died for love. Most

amusing. You should sta y for chapter two.

PAUL: Ves, He knew alright. But He was aman who followed
God's plans, not His own.
LUCIUS: (interested) A king who died for love? (trying to disguise

his interest) Um, er, what would I care about such

VERENIA: What about His friends--couldn 't they have saved Him
fiction? No, no. I've been put through quite enough
from the danger? (Prisoners react to her question agreeably)
for one evening. I'm afraid your Httle story hour is

over, thank you very much!

PAUL: Well Pm afraid His friends didn't know enough about
PRISONERS: (speaking ad lib, unable to hide their interest in the story) Not yet,
please. . . . How will we know the ending? . . . He was
just getting to the interesting parto ... Let him
continue, please!
LUCIUS: (reluctantly) Alright, very well, very well. I only know
that chapter two had better be quieter than chapter one!
He turns to exit, but hears VERENIA sneeze. He spies her outside the cel!.
LUCIUS: (taking VERENIA by the wrist and pulling her out into the light)
Now what? Who ha ve we here? You're the girl who
caused aH the trouble this afternoon. The slave girl
fortune teller. How in the world did you get into this
prison?
VERENIA: I followed close behind you earlier tOday, sir. Please
don't turn me out. I ha ve been disowned by my master
and I have nowhere to go.
LUCIUS: Well, I must say-this is a first. In all of my career as
a prison guard, you are the only person who ever
attempted to break INTO my jail.
VERENIA: I didn't know where to go. These men, Paul and
Silas-they have been kind to me.
what was reaJly going on to save Him. They didn't
understand until much later. You see, God's perfect
plan for Jesus did not look to the human eye like a
plan of victory, for it contained betrayal, denial,
torture and death. (Verenia and prisoners react) But this is
why He carne.
Music Begins
LAMB TO THE SLAUGHTER
Jesus, the Son of God, was sent to be the perfect
offering for the sins of aH. He, the innocent One, was
sent to die for the guilty, (looking at each one whom he
names) for you, Marcus . for you, Verenia ...
for Silas . . . for myself . . for every one of us here.
VERENIA: How did it happen? When?
PAUL: After the pomp and ceremony were over and the
crowds had disappeared, Jesus and His followers
shared a simple meal together in a borrowed room.
Later that night, one of His closest friends betrayed
Him to the authorities (astonished reactions from the others)
and the Roman guards were sent to take Him away.
MARCUS: Didn't He try to escape?

LUCIUS: These men, as you call them, are lunatics and
criminals. They are enemies of the Empire and the
lowest of the lowlife in this land. But if you are
determined to be associated with them, I can easily
accommodate you. (He unlocks the cell and throws her in with
the ot~ers) Now-Iet that be the last I hear from you 'til
mornmg.
PAUL: No, no, He didn't.
SILAS: He was innocent, but He offered no defense.
PAUL: He walked through the agony of His last day on earth
like a lamb to the slaughter.
CHOIR sings "Lamb to the Slaughter"
68 69
Lamb to the Slaughter
By the end of "Lamb to the Slaughter" VERENIA has moved closer to the
cross. The rest of the PRlSONERS have followed her. Some are right behind her,
while others hang back at a distance. The only one to resolutely resist is MARCUS.
He begins tofollow, butforces himselfto pull back. He stands alone at the
opposite side ofthe stage,facing out, steeling himselfagainst the emotion that is
CLAlRE CLONlNGER

~
., ,.
Somber, not rushedJ - 84
NC
PAUL: He, he innocent One,...
GREGNELSON
Arranged by 80b Krogstad

drawing him to believe. "Lamb to the Slaughter" segues into uReprise: A Different <
p mf -== sub. pp mf
Kind of King." (Tape track should not stop.) . 1 I. 1.- I.
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REPRISE: A DIFFERENT KIND OF KING 8va~
___ __________ _ "----'"
(Verenia and Prisoners)

:
:

8~ ______ ________ _ ________ _

VERENIA: How did it happen?... m PAUL: After he pomp and ceremony...

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END CUE:...His last day
-------------~ '--------------~
8va ______________ _
- - - - - - - - -
I

_1
on earth like a lamb
to the slaughter.

Copyright 1991 WORD MUSIC (a divo of WORD, INC.)

AH Righls Reserved. Intemational Copyright Secured.
70 71

CHOIR (restrainedJ

unis. mp

With - out a word You heard the sen - tence, and With wea - 1)' arms the cross You car - ried the cross where You would bleed,_
mp

Fm B>m/F Fm Cm7

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With on - Iy love for Ihose who wound-ed
of-fered no de fense, With out a word You bore their
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---------------------~
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their vi - o -lence and con tempt; y ou walked the road lo Cal 1)'._-------
tor ture-
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 Firm/y 73
72
f

As a larnb to the slaugh ter, O Lord,_ You be

bat - t1e was won_ with abro - ken heart_ and not with a shie1d_ or

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As a larnb to the slaugh sword As a larnb to the slaugh . ter You rneek . Iy
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10 die for us,
went O
our lives; __ Forthe lo die for us,
ter, O Lord,_ giv ing Your life for
uns. mp

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74 75

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e! domed You and pierced the per - fect man;
Lord.
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With tear-filled eyes You cried to heav-en, "My God, wherehave You gone?"_
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With pound - ing force the nails were driv - en in

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With mer - cy still You begged, "For - give them
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76
77
D.S. al Coda ~ ..
= :::::=- Reprise: A Different Kind of lng
CLAIRE CLONINGER JANET McMAHAN-WILSON
and JULIE ADAMS
they don't_ know_ what they've done." _ _ _ _ _ __ j =ca. 69 Arr. by Bob Krogstad

D.s. al Coda ~
Cm/E' C C7 sus

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VERENIA: Reflectively
mp

-$CODA
A dif - f'rent kind of a dif - f' rent
~I * MEN uns.
mp

Lord.

: --- --....
--- ----. Am 2
A dif - f'rent
Am
kind of King,

NC
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-----
a dif-f'rent kind of Man:
Am 2/F Arn/F Am2/F Arn/E Drn7 E7(#5) E7(~9)

* Includes prisoners.
Copyright 1991 WORD MUSIC (a divo ofWORD, INC.)
Al! Rights Reserved. Intemational Copyright Secured.
78 79

UHow Can lt Be?" immediately lollows "Reprise: A Different Kind 01

King" (Tape track should not stop.)
will - ing not to say a word to stand and be a -busedmp

HOW CAN IT BE?

So
(Marcus's Solo)
Am 06 F2 Cmaj1/E Dm7 Am 06
MARCUS: (over musical introduction) You talk as though He died
especialIy for me. That's not possible. He didn't even
know me.
Sll.AS: That's not true, Marcus. He did know you. He does.
PAUL: Sil as is right. He knew who you would be before you
were even born. He knows you now-tonight.
Everything in your heart. The sin, the failure, the
,..
regrets. He went to the cross for those things, so that
you could ha ve a new beginning.
el ~

I :
divo n ~
,.. r i1 ti I
a dif f'rent MARCUS: I'm sorry, but 1 can't believe you. It's too late for me.
1 know my Iife. 1 know what I've done and what 1
have beco me.
~ -~
~
L...........J Spotlight on MARCUS as he sings "How Can It Be?"
ev 'ry heart might have a chance to tum to Him and choose

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a dif-f'rentkind of King!

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- - .._---------------- - - - - - - - - - - - - - - - - - - - - -

81
80
MARCUS m:p IJ!J Thoughtfully
How Can Jt Be?
(Marcus Solo) He rnight have died for caus es, for

JANET McMAHAN-WILSON
CLAIRE CLONINGER and JULIE ADAMS
AIT. by BolJ Krogstad

1
Moderately slow J =ca. 72
NC MARCUS: You talk as though ...

p
king-dorns or for thrones, For no - ble rnen and wo - rnen for

LBs.CL

SILAS: That's not true ... PAUL: Silas is right...

1
=
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F2/C

1 1
or - phans all a - one; He might have died for he - roes whode

--======= f

MARCUS: I'rn sorry but...

F6 C2/E C/E

served His char - i ty, But how can be - lieve it- that

Copyright 1991 WORD MUSIC (a divo ofWORD, INC.)

AH Rights Reserved. Intemational Copyright Secured.
82
C2 F/C G/B G7
a tempo
G G/B
rall.

dare to hope one man would choose lO die for me? _______________
me? _________________________
for How can it

r :: rall.
mp atempo
J

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a tempo
F/C G7 Csus C
-FIC. C F/C @]NC
..
be- for love of me, aMan would choose to die? How can it You say He knows my

J J J =
J
F/C G/B G7
r
be for love of me, a King was eru ci fied? How can 1 weak - ness, my an ger_ and my pride, y ou say He sees the

2nd time to Coda~

@] Dm6/F C2/E C/E Dm6/F C/E
G/F G/F
...---....::::::=
F2 rall. NC
mp

un - der-stand sueh love from One I've nev - er seen? ____ Howcould 1 wretch-ed ness of who 1 am in side; And yet He chose this

f rail.
84
85
F/C C2 B~maj1/C C9/E mf Fmaj9

road of pain, this cross of_ ag - O - ny, And how can be

r r r
C2/E C/E Am G G/B NC D.S.al Coda

rallo

lieve it- He did it all for me? How can it

rallo =====- 11

This page
intentionally
F/C NC F2/A G. G7
rlt. left blank.

dare to hope one Man would choose to die for

C~C. F/C C

me? _________________

=====-- p
86
SCENE 5
After "How Can It Be?"
VERENIA: Marcus, listen to me. 1 believe that what these men are
saying is true. Today Paul spoke with amazing power,
calling on the name of Jesus, and 1 was set free. Now
1 can begin a new life.
MARCUS: Don't you understand? There is no "new life" for me.
Once a thief, always a thief.
WHO WILL CALL HIM KING OF KINGS
PAUL speaks the lines below beginning at measure 84.
PAUL: (speaks slowly, with great intensity) Marcus, trust me. There
is no heart so dark that the Light of Jesus Christ won't
shine there. Listen to me, aIl of you. The same day
that He was crucified, there were two other crosses on
that hill. Two thieves died there. Thieves like you,
Marcus. One on ea eh side of Him.
MARCUS: (bitterly) Well, if they were thieves they deserved it.
PAUL: Yes, yes. You and 1 might say that a thief should
always get what he deserves. But our King has a
different sense of merey. You see, one of those thieves
put his faith in Jesus Christ before his death. Jesus
forgave him and gave him the keys to eternal life.
MARCUS: Eternal life?
He has the power to forgive our sins and give us a new
PAUL:
life.
IREMINDER: PAUSE THE TRACK AFTER MEASURE 121
Sound operators using the Accompaniment Compact Disc should use "Pause"
instead of "Stop," to avoid the trackfor this song starting completely overo
SIlAS: It doesn't matter what we've done or beco me.
PAUL: Thieves and priests-fishermen and kings. We're all
sinners in need of forgiveness. Don't you see,
Marcus? He loves you-He wants you to have new
life, alife that never ends.
MARCUS: (slowly, deliberately) If all this is true, then Jesus Christ
must have been the Son of God. (with despair in his voice)
But even if He was, what difference does it make now?
(a little angry) They've already killed Him. You said so
yourself. And how can a dead king promise me a new
life?
87
PAUL: Marcus. 1 know my story seems lo ha ve ended in
tragedy, but .. IRESUME TRACKI . it's not over
yet. It's only just beginning.
PAUL sho~ld pa~e only b,:ieflyfor the track to resume, then proceed whether it
has or noto To achleve a tlght startmg cue on the resumption ofthe track the sound
operato~ should note that t'!ere is an approximately 4-second gap betwee~ measure 12 and
~(4. Jf us!,ng the Accompan!ment c.0mpa~t Disc, advance to track number 41 while in
Pause, and the mUSlC wlll start lmmedlately upon pressing "Play."
The CHOJR sings "Who Will Call Him King ofKings?"
PAUL: And now we know that Jesus Uves. And for those of
us who believe in Him there will be no death. There
will be life, abundant and eternal. To us who believe
He gives new purpose and hope and freedom from '
every kind of bondage-from every prison of the souI.
Dur~ng t~final. chorus, all PRISONERS join in enthusiastically. The audience sees
the. con~erslOn wzth thezr own eyes. Measure 108 ends with a grand pause, after which the
przson lS shaken byan "earthquake."
IELECTIVE "PAUSE" I
The Sound Operator should be prepared to PAUSE the track before the
earthquake segment, to allow for possible audience applause (per discussion
and agreement with the director).
PRISONERS: (in a panic, ad lib Unes)
~hat 'Yas it? .. What's happening? .. The ground
IS movmg . . . Help us!
VERENIA: (above their voices) Don't be afraid. It's God! God has
shaken the ground beneath us to release His servants
Paul and Silas! See, the prison door has been thrown'
open.
LUCIUS: (rushes in, desperate) Don't move! Any of you! Stay right
w~ere you are! If .even one of you escapes, my life
wlll. be worth nothmg. Rome will have my head. (in a
p.amc, reaches for his sword) 1 might as well take my own
lIfe.
SILAS: (Moving to LUCIUS) No, no.
PAUL: (to LUC~US) Easy, easy now, my friendo Calm down.
Everythmg's all right.
SILAS: There's no need to harm yourself, my friendo As you
can see, we're not going anywhere.
 89
88

Who Win Call Hinl King of Kings

Not going anywhere? (looking at the other prisoners) And
LUCIUS:
what about the rest of yOU. Words and Music by
GREG NELSON, BOB FARRELL,
(looking around to "poll" the group. They all nod agreement.) We and SANDI PATTI HELVERING
MARCUS: Arr. by Bob Krogstad
will stay with Paul and Silas.
Slowly J = ca. 66
LUCIUS: Why? What's happened here? NC PAUL: Marcus, trust me...

... ~ ~
Vln.
(speaks boldly as a new believer Jor the first time) We have met :(!::' ~ ... -&
...
MARCUS:

~:
the God of Paul and Silas . . . and have chosen to
follow Him. (The other prisoners echo their agreement.)
~r~
",-&

LUCIUS:
1 must confess to you: 1 have be en hiding just outside
the gate there in the dark, and 1, too, have heard the
)
p
:/.11.
r""1 =. i
story of Jesus Christ. (deciding to take a risk) Tell me
f :
I
I
please, sir-what must 1 do to receive the new life that L!3S. Cl. ..J
He gives?
MARCUS: WeIl, if they were thieves ...
Believe in the Lord Jesus Christ, as these people have, PAUL: Yes, yes ...
PAUL: and you too will be saved. You and your family.

IN MY HEART 1 BELIEVE ) mp

CHRIST THE LORD IS RISEN TODA y

MARCUS: Eterna! Jife...
C#m ri
FI.

END CUE: 1 know my story

PAUL: He has the power... seems to have ended in tragedy,
but... (music starts) Sligbtly raster J = ca. 72
!TI] Dia/ogue 1';;\
r--I

mp

~C0J'r;ig~t 199~, this arr. 1991 by Gentle Ben Music (adro. by Word Music) I
;: .USIC (a dlv. of WORD.lNC.) / Surnmerdawn Music / Sandi's Songs Music
II RIghts Reserved. International Copyright Secured. Used by Permission.
 91
90
WOMEN unison
Smoothly mp :

In

where, but Je - sus' bod y was not there!

1 1
Cm9 Fm 7

Cm9
Cm 2/B'

the tomb_ __ the

cold des - pair they had laid Him in

Aggressively

mp
., 1 1 And as they gazed_ at an emp - ty grave, the earth a - round_ be - gan_ to
f unis.

Fm7 Cm9

fair; _ _ _ _ __ Third mom - ing came, as

of their Mas - ter

11 11 11

shake and they were 80_ a - fraid;

Fm7/B~
Cm2/B~ A~maj9
Cm9

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to
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~

I
\--l - >-"'--'
 93
92
divo divo

00___________________________________ -------
Ah _ _
>
Who will call Him Prince of Peace?_

But voic - es of an - gels filled the air, their shouts pro-c1aimed,_ "He is not

B~9/D

B+ Cm Gm7

rallo

unis.

and you could hear them

divo Such a Won - der fui Coun se! - or, Might y God!

here"

a tempo

.uns. mi
Who will call Him King of kings?_ Who will call Him Lord of lords?
Who will call Him King?

Fm/El> El> NC 'Cm Dmaj9 Cm9

11
 .. 122 Q

94
95
>

He told them, "00 and tell the world_ that 1 am a-live!" _ _ _ _ __

as

Cm9 Cm/B' A~maj7

1 J 1 J

divo f

>-
They ran as fast_ could fly, "TheLord is was their
Stand - ing there be - fore their eyes, di-ant unis.

Crn2 Cm

-====::::::= unis. (no rall.)

160 1Witll ~rgency!

= ums.
cry, and you could hear_ them

white! And with a voice_ they had heard be - fore

-e

E'/G
96
@] 97

We will call HimKing of kings!_ We will call Him Lord of 10rdsL

,....--... We will calI Him King of kings,_ and we will caIl Him Lord of lords!.

Cm

divo

We will call Him Prince of Peace!_

We will call Him Prince of Peace!_

Fm 7 Fm 7/Bb G7/B Cm
B+ G7/B Cm Gm7 Gm7

unis. ulIis. divo

=
Such a Won - der - fuI Coun - sel - or, y God!
Such a Won der - fuI Coun sel - or, Might y God!

Cm
98
99
PAUL: And now we know tha! Jesus Iives, and for those of us who believe in Him, !here will
Broadly
~ Optional voices
rallo ~ Afew SopranoslTenors

-======::::::--,.
,--::::: rallo

F/A F/A

say: _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
will caIl Him King of kings!.
-;:::::::::-::::::======::~ ~
.

be no deatb. There will be \ife, abundan! and eterna]. To us wbo believe, He gives new purpose and bope,

and freedom frorn every kind of bondage and every prison of tbe soul.
[2TI f

And the peo

Bb7 /D
G7/B Cm Gm/BI A' Fm Fm 9/E' BI/D AI/C
100 101

~ ~
l wil! call Him King! l will cal! Him

..QQ

Such a Won - der - fuI eoun

lords!
unis. divo ..--..
B' F/A Gm Gm/F E'maj7 B'2/D BI/C B'

will call Him Prince of Peace! _ _ Such a Won - der - fuI eoun

divo ,.--...

ff II

Optional:
King of Sound operator
pause track
~~===========~~ for applause. //

Dm GlmaF/ NC
Broadening .J!!!i..n choir parts) >
//
>~

sel - or, Might y God!

Broadening
>~ =

- sel - or, Might y God! (Earthquake scene) VOleES: What s that. .. m.p **

Shh ...

NC
Slowly

p f ff

o:::p o:::p o:::p o:::p

~
Hit any upper-regis/er -------------a.:>~
/lo/es wilhforearm. The more iI AW
clashes (and crashes) , the betler!
** llllended as a sound effec/, made by choir. SOl/lid begills brighlly, Illen darke/ls and lowers as mOlllh closes.
 103
102

In My Heart I Believe
sus is the Son of
KURTKAISER
CLAIRE CLONINGER
Arr. by 80b Krogstad

Slowly, with expression J =ca. 64 sus is the Son of

Fm7

end o/Solo

be-Iieve,_ with my mouth con

God. God.

be-lieve,_ with my moulh 1 con God.

A~ IFmaj1 B2/D' IFmaj7 B'm7/E' A' A~2sus M
Fm/E' B'7/D A~6/C B7
A' E'/G Fm

~
:
"
.,
.
fess: Je - sus --
is Ihe Son
~
of God,
.
In my heart be-lieve,_
divo ,...-....

--
I uns .
" . .
I
.,
fess: Je - sus is the Son of God, In my heart be-Iieve,_
C7/G Fm Fm9/B IFmaj1 B~9/D
E~7sus E~9 M IFmaj9 Cm? A2 A E/G~ FIlm F#m/E
~
I
" :
\ ., [J~ ~., f 4 ~ 4-~
f I~: ~~r
~ .
I i
: . .
-*' -G
... -I:HI ...,
~
Copyright 1991 WORD MUSIC (a divo ofWORD, INC.)
AH Rights Reserved. International Copyright Secured.
 105

CONGREGATION andPAUL
raIl. L.:.:J
l2sl A little slower
f

In my heart be-lieve,.

con - fess: _ _ _ _ _ _ __
rall. unis. f

In my heart

uns.

Eb6 /F

of_ God, _ _ _ _ _ __
God, the Son of God,_ rall. f A little slower

FIlm FIIm 9/E Dmaj7 B7/D~

with my mouth con

unis.

will call Him King of kings,_ with my mouth_ _ _

r~,
sus _ _ God.
-- ---- ,,-...
uns.
/-::

=:::::::::
Gm/F C7/E Bb/C C9

A A2 A

--,
106 107

fess: Je sus is the Son of

m:p

of He is the Son of

Gm Gm? Cm? Cm?/F F?

Gm Bbmaj7/F

mp

mf =
I
God, Je sus is the Son of
: mf I_~---,

~I
I

I I
~I
y
I
God: _ _ _ _ _ _ _ _ _ __ Je sus!
God, Je sus, _ _ _ __ the Son of

C?/E Gm2 Gm? Cm? pl3 F9

).
I

I~
I

,\~~:~~~:~~:~.~~~4~~~.1~~~~1~~~~~~~~~:~~~
108 109

Christ the Lord Is Risen Today

~
ris'n to le lu
CHARLES WESLEY From Lyra Davidica a!
Arr. by Bob Krogstad

Victoriously

-e
~
8va - - - - - - - - __ ..1
--======:= [] >

~ ~ '--.,;
Al-Ie-lu - ial Christ is ris - en! Sons of men and an - gels say:_ Al le u ial
>

CHOIR alld COllgregation

Triumphantly f

Christ the Lord is

Raise your joys and tri - umphs high,

divo

* See Production Notes

about the accompaniment
Art. Copyright 1991 WORD MUSIC (a divo of WORD, INC.) lor measures 9 - 17.
All Rights Reserved. Intemational Copyright Rcservcd.
 111
110
c: ---...
&rilltP &
~ (Chor only- Congregaton remains standing.)
'J
ums. ........., mi
"
al ~
I
~

14 1 ti J 1 IJ J
Sing,_ ye_heav'ns and earth re ply:_ _ Love's re - deem - ing work is done, _ _ Al le
lu - ial

1~ uns. __ .--.... -(#

----..
:
I

,
<
"
al
r'
I

Vit - .. '" .... -<1

... -* .. r
JI f\ ~

~" :
...
..... 7=CI ==~ :::- '" ~
CI"'eI

lu a! Fought the fight, the bat - tle won, _ _

mi

Death in vain for -

G G/F
112
113
1 Us.
" I /
-;;;or I
.,)
I I I I I I Broadly, Majestically
bids Him rise,
-t
Al
unis.,.~___
-
r ___
le - lu
.",-----......
- ia!
rallo
Afew sopranos (descant)
f
""
: ---

--
C/E G Asus Am Bm Em 7 Am Am/E Cm 6/Eb D7 Fmaj7/G G7

" -
1 -1 r'4 I rallo
Soar we now where
CHOIR (ami COl/gregatio!!)
Christ has led,

I .,)
I

1
I

I
..,

s
'"

r 1>.
t..
.... "....
T
I
r AI-Ie-Iu - ia!
j : Soar we now where Christ has led,~

.... ...; .
1 I
1 iHI 01
1 D
@]
--;: .--, i""==o=o
- .., r'4 =divo
.,) - !.-J
Christ_ has_ o - pened Par - a - dise, _ _ Al - le

___'h" Al - le - d ral~
: ..---- ..--.... .r--. .---... ...--. -f2- -r-
~
... +...--~.IV.
........., ........
G/F C/E C7 F Fmaj1 G9/F G/F C ...ill.. C .h... F Dm 6 ..c... F6
_D ..

" 1 1 1 1 --
E
1"""'"

~ -.;r

I
tJfI

~
-4i
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.
~

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.
T

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PcJ! -4i

r I
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-4i El :;; -4i .. El .=41 Al le lu ia! Fol - I'wing our ex

" f .UlliS.
o

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I I Al le lu ia! Fol - I'wing our ex
lu - ia!

:
f1J unis . ..-
-a. ~o
I)!, J),7/F

C/G G C F/C Ab7/C

j
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1

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I 1

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o
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 115
114
U/lis.

(foin Choir)
ia!

".
alt - ed_ Head, _ _ Al le Iu al

>

alt - ed Head,_ _ Al le Iu ia!

Adim 7 B>m (Congregatan joi/ls on melody)

Ours_ the_ _ cross, the grave, the skies,

J
Ab/G' rJ/F ]JI. ]JI.7 G' Ab9/G' A7/Gb

~ CHOIRonly
divo

Him,, _ _ _ __ like Him we rise, _ _ __

Made Iike
b
(CHOIR only)
unis. divo

Al le lu ia! Ar - le -
uns.

NC

> >
 Al le lu ia! Al le - lu
~
~
,
:r
~

r}/A~ A~sus M

~~
.... .!','" """<

I ~' ~~
"
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~~~~
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.: : >..-----r:-.

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rIP-
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IIJ)

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118
PRODUCTION NOTES
(FULL DRAMATIZATION)
BY DEBORAH CRAIG-CLAAR
A Note from the Publisher
The most important ingredient in staging the Who Will Call Him King 01 Kings
dramatization is how the prison scenes are staged. It is in them that the broad ministry of
Christ focuses down to the lves of individuals, and in so doing translates the essence of
the Easter celebration for all mankind. Ifyou seek pageantry, though, rest assured that
there is ample opportunity for it here, and the Production Notes will suggest many ways it
can be inel uded.
What pageantry you do-for example, which of the scenes from Christ's ministry
you stage and how extensive or minimal the scenes are-is in large part up to you. In many
cases, Deborah lists more than one option for your consideration. This will allow you to
customize the pageantry of Who Will Cal! Him K/ng 01 Kings to your resources, as well
as fitting it around the prison seto While detailed how-to's regarding basic pageantry
methodology are not witbin the scope of these notes, one excellent resource among many
for pageantry scenes will be found in Word Music's The Prom/se, an Easter musical that
contains many fully-staged scenes from the life of Christ, complete with prop listings and
other helpful information. Sorne of those scenes could be adapted for use here.
The set drawing you will fmd herein is but a conceptualization that will help you get
an ide for a plan that will work for your church. It demonstrates the combining of tbree
staging areas, about which more is said below. Necessarily, the area for the crosses is
compressed into the area aboye the prison set. Other options for the crosses will be found
in these notes.
We are grateful to Deborah Craig-Claar for keeping our focus on the heart of this
story and for her diligent and thorough efforts in advising us-sometimes challenging us
from the outset as to how to make the dramatic ingredients work. We are also grateful for
the way she has combined her professional training and expertise with her years of
experience in church music dramas to produce a staging scheme that is achievable and that
has at its heart a desire that people see Christ first and foremost, and what He can do in
their lives.
WORDMUSIC
GENERAL
Who Will Cal! Him King 01 Kings is a story-within-a-story. It uses selected scenes
from the life of Jesus Christ as a flash-back device witbin the dramatic story of Paul and
Silas' s experiences in Philippi, as recorded in Acts 16:11-40. This dual nature of the
dramatization prescribes a number of creative necessities: the "Christ" scenes and songs,
and the "Philippi" scenes and songs, must be separately created yet share the same physical
119
space. And all production elements must work together consistently to keep the focus on
the appropriate scene. There are a number of production options available in achieving
these goals.
A1though different choirs may choose different staging plans, one choice remains
critical in achieving the full dramatic impact of tbis musical: The group of prisoners must
remain distinctive from the rest of the choir throughout the production. Not only are the
prisoners the central dramatic device that binds the production together, they also are the
characters that undergo the transformation from cynical skeptics to new believers. This
transformation has been carefully plotted tbroughout this musical in stages and, for the
audience to receive the strong impact of this change; the prisoners must remain visibly and
audibly consistent.
Therefore, since the prisoners should not sing any of the life-of-Christ songs
(unless it can be done from the dark), and since the vocal demands on the prisoners are
mnimal (only A Different Kind 01 King calls for their participation), the director is
encouraged to take advantage of this situation by using men who normally are not part of
the choir but who might enjoya project such as this, whether singers or not. (See later
notes for vocal options regarding their song.)
The s~all crowd that participates in the Magistrate's trial at the beginning of the
production can easily be chosen from the general choir. They have plenty of time after that
scene to rejoin the choir before His Love Alone. If the choir is small enough that these
crowd members may be "recognized," consider having a simple costume change for them
during tbis interval of time.
If male performe~s are especially scarce in your situation, a director might double
cast the male speaking parts from the trial scene (Guard, Magistrate, Antoninus) with the
principal characters in the largely-mimed scenes from the life of Christ (peter, Judas,
Roman soldier, etc.) However, no prisoner should be double-cast with another part.
The general choir can either be fully costumed to represent the crowds in the
Jerusalem scenes, or they can remain as non-costumed, neutral background figures (in the
10ft or on risers), who chorally help tell the story. If the choir remains a neutral group,
small groups of characters (again, possibly non-choir personnel) will act out the Jerusalem
scenes. In the absence of theater lighting and dimining capabilities, the non-costumed
group must remain still, thus helping to focus visual attention on the scene that is active.
CAST
Character descriptions written by Cla/re Cloninger
PAUL
The role of Paul is the key roe in the musical. He should be portrayed as a kind
man, with an enthusiastic and evangelical faith. This role could be played by a broad range
of types. He could range in age from 30 to 50. He should be a good singer and actor, with
a voice and personal presence that carry.
!
120
SILAS
Silas should be younger than Paul. This pan could even be played by a mature teen,
if he is the most qualified. The character of Silas looks up to Paul as a leader and "hero."
Silas should be an actor, and sings a duet with Paul.
MARCUS
Marcus should be played by a man with considerable acting ability, as he must
portray a change of character during the course of the musical-from a cynical, worldly
thief to a sincere believer. Marcus should be portrayed by a good singer, able to put across
the dramatic solo, "How Can It Be?" He could range in age from the twenties to fifties.
Choose your best actor/singer option.
VERENIA
Verenia should have singing and acting qualifications. She should have a youthful
appearance, as she is often referred to as a "girl." She should be able to portray a wide
range of emotion, and should possess a somewhat vulnerable quality.
LUCIUS
Lucius could be played by an older man, or one made up to look older. He puts on
a gruff exterior, but is basically good-heaned undemeath. The part of Lucius requires
acting only, no singing.
MAGISTRATE
Requires acting ability. No singing. Should be portrayed as forceful with a
LIGHTING
booming voice that cuts through the confusion of the crowd.
PRISONERS
scene that IS not acnv~ to dim out co.mpletely. If full theater lighting is not possible, the use
Minor speaking roles called foro
of2~3 follow-spots wlll.als~ approXIm~te ~he lighting procedures. Renting or borrowing
PHILIPPIAN GUARDS
Speak a few words as they bring Paul and Silas in.
If theatricallighting is available, the prison light should be cool and shadowed as
LIFE OF CHRIST SCENES
As needed for the life of Christ scenes you choose to depict.
. Another effective lighting moment would be achieved by having severallighting
SET
Three separate areas of the performing space should be designated. There is not
time to change sets back and forth, and the flow of the production would be harmed even if
there were. The prison should be placed center stage, and two smaller areas can be
established on either side. The prison should be constructed to resemble an earthen cave or
dungeon. A heavy-looking door with bars can be placed at the back ofthe set. It should be
hinged to swing away from the prison, and should have adequate room behind it for
entrances and exits. Be sure there are plenty of crates, trunks, stones, etc. within the prison
on which the prisoners may sit.
The prisoners will stay on this set for the duration of the performance. The two side
areas can be used for all additional scenes: One area might resemble an exterior garden with
foliage, and the other might be a more austere area, with stone pillars to suggest a street or
121
room. The song His Love Alone, Gethsemane and the scene of the women at the tomb
might be staged in the garden area. The Magistrate's trial and other passion tableaus, such
as the Last Supper or Judas' betrayal, might be enacted in the stone area.
. Optional StaginF Place the Jerusalem set covering the majority of the stage, and the
pns~n area off to one .slde. The director should be very cognizant of the amount of dialogue
that IS spoken from thlS set, and should allow adequate room for movement and interaction
between Paul and .the prisoners: Suc~ a s~de set must also have an upstage door. This set
would alS? necessItate t?e Magls~ate s tnal sequence be staged downstage in one of the
areas, deslgnated by a sImple charr and crude "witness stand."
This option is much less desirable than the first, lor ir diffuses the audience' s
psychologicallocus (and thus the sense olimponance attached)from a central area to a side
area:!t is mentioned ~ere onlylor those churches lor whom large-scale pageantry is a
tradztzonal pan 01 thelr Easter presentation, andlor which pageantry the available main
stage area is required.
The three crosses should ideally be mounted for the entire production placed
upstage and possib~y "over" the ~rison area, so that the prisoners can tum and ea sil y
approach them. 1?IS .also helps V1sually connect the idea of the eanh prison and Calvary.
Whatever set opUon IS used, fill out the set with a sky background.
Th~ produc~on wi~ be greatly aided by the use of area lighting. This will allow the
fleXIble or follow-spot hghnng would slgruficantly enhance this production.
opposed to the warm, bright light of the exterior scenes.
I~struments mounted on the floor upstage ofthe prison door (fresnels or PARs) so that
hght can "pour forth" when the door flies open during the earthquake. A sunrise effect
useful during t~e resurrection music ar;td scenes, can be realized if stage personnel can ~et
to these same light fixtures unseen, usmg colored gels and repositioning the fixtures' focus
to the backdrop.
COSTUMES
The costumes for all characters are first-century traditional dress in Palestine and in
the Roman provinces. A good clothing reference book will provide basic guidelines. Two
excellent re~ources are: Historie Costumes lor the Stage, by Lucy Banon (Walter H.
Baker, ~ublisher, 1935). Th~s ?ook is consid~red the "Bible" of historic costuming. If it is
n?t availa~le on th~ market, 11 IS probably avrulable through public and university libraries.
Lme drawmgs are mcluded. Costumes Through the Ages, by James Laver (Simon and
Schuster, Publishers, 1967). (This book includes over 1,000 line drawings of costumes.)
122
Several principIes should be remembered for this particular production:
.., First, there should be a c1ear distinction between the costumes of the prisoners
and those in the Jerusalem scenes. In addition to wearing darker and drabber colors, the
prisoners' clothing should be "distressed," i.e., slightly torn, soiled or wom.
.., Second, help achieve the needed visual focus for the lead characters through the
choice of color for their costumes. Keep the fabrics in solid colors and surround them with
costumes of complimentary buf different colors. (For instance, if the prisoners are in
shades of brown, grey and beige, Marcus might be in forest green.) Avoid bright or
contemporary colors, fabrics with a sheen, and any material with small patterns or different
colors.
.., Third, use head cloths and other head pieces sparingly; avoid them altogether for
the lead characters. They great1y restrict and even hide facial expressions.
SPECIAL EFFECTS
Earthquake. A sound effect for the earthquake called for at the conclusion of the
song Who Will Cal! Him King ofKings is recorded on the accompaniment tracks at the
point where it occurs. A keyboard representation of that music is in the choral book.
Additional effects may be achieved using one of several methods:
.., Use a pre-recorded sound effect from a cornmercial sound-effects tape or compact disc;
.., Use tympani, or play the two lowest pedal s of the organ simultaneously, using a
16' or 32' stop (These two options could also be combined.)
Remember that earthquakes are not so much heard as felt. The prisoners must create
the fuIl physical effect of the earthquake through their reactions. Their reactions should not
be directed toward swaying, stumbling, or falling as they should be fear, grabbing one
another, clinging to a walI, partially dropping to the ground, or things such as thal.
Cell door flying open. Hinge the door so that it swings upstage (away from
audience) and away from the prison. Therefore, when it opens, it will help mask what is
behind t. Secure a rope to the lower comer and, at the appropriate moment, an unseen
stagehand can slowly pulI the door open, securing it offstage by tying off the rope.
Crucifixion. Many churches have already established staging this very difficult
sequence, and can use what has worked for them before. Here are sorne suggestions for
churches with more limited technical capabilities or space:
.., Erect crosses with one-dimensional silhouettes of men hanging from them. Light
up a sky effect behind them and the crosses will appear as black shadows.
.., Create three-dimensional mannequins (cloth or plastic) which are attached to the
crosses, then tum them around so that the effect is one of viewing Calvary from the back of
the hill. This allows Mary, John, and others to stand at the apex of the hill and "look into"
the face of Christ, their faces (and reactions) being seen by the audience.
.., Establish the stage area as the "foot of Calvary ," as everyone looks up to the
imaginary crosses as if they were somewhat aboye the audience area. The focus now
becomes the crowd's reaction to the crucifIxion, rather than the physical crucifIxion itself.
123
WITHIN-SONG STAGING SUGGESTIONS
Note that stage directionsfor the dramatic sequences between
songs will be found mostly within the body ofthe script.
Overture
When in Rome
A small crowd brings Paul and Silas down the aisles of the sanctuary, beginning
around measure 13 of the Overture, but beginning later if your sanctuary size is such that
you don't need as much time as is alIowed before the Magistrate speaks. It is suggested that
he speak at approximately measure 47 .
This crowd can remain the only stage characters used in "When in Rome " or the
larger c~oir can. be involv~ as i~ they are townspeople gradually "drawn into" th~
cornmotIon. This latter optlOn will be more believable if the trial is enacted as though it is
occurring outside on an open street.
One Lonely Life
As the crowd disperses after the previous song, consider either taking the smaller
cro.wd comp~etely off~tage (with Paul: Sila~, ~ucius, etc.). If no flexible lighting exists by
which Verema can be Isolated as she smgs, It IS an acceptable theatrical device to have the
fuIl choir (if you have used your full choir in costume on the stage) simpl y turn their backs
toward the area from which Verenia sings her solo or to have them partial1y tum (in
profIle), and stand looking downward. This makes them into a "neutral" body. This will
help create the sense of intimacy demanded by the song.
A Different Kind of King
. The sarcasti~ attitude.of t~e prisoners toward Christ, established in the previous
dialogue, must be displayed m thIS song as welL The questions asked in the verses should
be sung by the prisoners with robust cynicism. The answering part found in the second
cho:u s should be sung b~ the men in the choir on1y (as indicated in the choral book);
durmg. that chorus th~ pnsoners would retain their individual, disdaining looks, although a
few mIght appear a bIt more thoughtful, indicating their early interest in the story.
His Love Alone
As Paul ~egins his speec.h which introduces this song, he should be slight1y set
apart from the pnson, both phYSICally and with light. If theatricallighting exists, various
~arts ~f a fr?zen tableau of Jesus's interacting with people and children might be gradually
lIt dunng this speech. The scene then activates as the song begins. The scene can involve
s?ch event~ from ?esus's e~ly ~istry as teaching, praying, or healing. The choir can
el!her be drrectly mvolved In thlS scene or can sing from the background as Jesus interacts
Wlt~ a small number of p~ple. Jesus is joined by a number of children during the closing
pomon of.the songo The chIldren can be the actual children singing the children's part, or
they can srmply play out the scene while other children sing.
 125
124

A Crown of Hosannas Who wm Can Him King of Kings

There is no break between tbis song and the one prior to it. The crowd or choir can
?uring this song, the prisoners slowly and individually emerge from their reflection
either surround Christ with palm branches where He is on the stage, or, depending on
tO'phY~ICally ~ommunicate their new belief. Pace this so that the fun group does not reach
accessibility, the entire group can process through the sanctuary, retuming to the
tbis pomt until the final chorus after Paul' s narration. The events of the song might be
performance area by the conclusion of the song. Depending upon sound amplification
enacted in the following manner:
considerations, a director might consider sending only Christ and a handful of crowd

players out into the sanctuary, leaving the majority of choir on the stage to sing.
.. Dm;ing the fust verse several women enter the garden area, discovering the empty
Lamb to tbe Slaughter
In the scene preceding this song, there should be a visible and audible change in
the prisoners. Although they are not yet fully convinced, they have been noticeably moved
by the story they have heard so faro And although he hides his interest well behind his gruff
exterior, Lucius has also been affected, thus motivating his decision to hide outside the
door to hear the remainder of the story.
Paul's narration preceding Lamb to the Slaughter is too short to truly facilitate the
to~b (may elther be actually constructed or indicated more simply and abstractly). At the
lyn~al reference to th~ angels, a group of angels could be lit in another area of the
stage, or
the lmage could remam vocally with the choir.
o The resurrected an~ gl?rified Jesus should be lit at the apex of Calvary during the
first choros. He would remam lIt throughout the remainder of the songo It is not truly
necessary to move e~pty crosses, although if silhouetted bodies were attached to them they
must be removed.d~nng How ~anIt Re? In the absence ofthe ability to do the removal in
darkne.ss, the decIslon to use sllhouetted bodies in the fust place should possibly be
reconsldered.

enactment of the various Passion scenes leading to the crucifixion. Therefore, it is

: During the second choros, depending upon your stage size, the women from the
suggested that the following sequence be followed:
to:n~ mlght ac~ually move ~mong sm~ groups of choir members to spread the news. If
.. During Paul's dialogue preceding the ~ong (" ... After the pomp and ceremony
were over ... "), the Last Supper could be enacted, with Judas standing and leaving
abroptly when Paul mentions u one of His closest friends betrayed Him . ... " If all
twelve disciples cannot be used, a director might consider staging only the footwashing
scene, using just a few disciples.
.. During the first verse of Lamb to the Slaughter, Jesus can be shown praying in
Gethsemane, then being arrested and led to a place near the base of Calvary.
.. During the first choros, Jesus can be mocked, a crown of thorns placed upon His
head, the crosspiece placed upon His shoulders, and His walk up Calvary can begin. If the
man playing Jesus is going to actually be put on the cross, this entire first choros may need
to be devoted to putting Jesus on the cross.
.. During the second verse, Jesus is seen in agony on the cross.
.. The final choros should occur just after Jesus has died. The scene is one of
stillness and sorrow.
Reprise: A Different Kind of King
Verenia and the other prisoners have observed the crocifixion sequence and now
move toward the crosses. There should be a sense at this time that the past and present
scenes almost "merge." The full choir should freeze at this point, "arresting" the Calvary
scene and assuring that the visual focus now goes to the prisoners. If theatricallighting is
possible, slowly dim the Calvary scene so that it is a silhouette during the following
sequence.
How Can It Be?
Although still in the prison set, Marcus should be lit with a spotlight. The rest of the
prisoners should be introspective and reflective about the relevance of the story to their own
lives. Only Verenia, Paul, and Silas should focus their attention on Marcus.
tbis IS not posslble, help build to the chmax by having the full choir join the song by
degree~. If they hav~ be.e~ seated or ~ave. been kneeling during the crocifixion sequence,
~hey will now stand mdl:'ldually, pacmg lt so that the full choir is standing by the choros
Just before Paul's narratlon.
. .. The focus during the fmal choros (after Paul's narration) sbifts back to the
pnsoner~, w?o n.ow join in as welL This is a most triumphant section of music! If there's
any spectallightmg effect that can be withheld for such a moment, it should be used now.
It should be repeated later during the final song .
My 1 Believe
. During the earthquace that immediately follows Who Will Cal! Hm King of Kings,
the pnsoners must react believably to the sound effect. (It is strongly suggested that no
attempt be made .to .use actual chains with the prisoners, or to pantomime their falling off,
no matter how Blbhcally accurate. In addition to the noise and impairment of movement it
would be an effect that is very difficult to stage successfully.) ,
. . !he dialo~e that follows that song must be delivered with great sincerity and
slmpl~clty. Paul smgs the first choros of In My Heart 1 Relieve, moving naturally among
the ~nsoners. On the second ~horo,s, ~e .is first j.oined by Marcus, then Verenia, and finally
LuclUs..As the choro.ses contmu~, mdIVldual pnso~ers continue to join--clasping hands,
~~bra~mg, .an~ movmg forward m a bold affmnatlon of their new faith. The choir also
Jom,s, m a slffillarly spontaneous manner, The entire cast should then encourage the
audlence to stand and join the final chorus.
Cbrist tbe Lord Is Risen Today
. The full cast an~ audience)oins .together singing this final song. The crosses or the
glonfied Jesus can be lIt once agam dunng this final sequence.
126
WHO WILL CALL HIM KING OF KINGS
Concert Version Narration
WRITIEN BY CLAIRE CLONINGER
EDITOR'S NOTE: TIs version ofthe script will accornmodate churches preferring
to stage this musical in a concert setting. The choir may be in robes ?r ?ther formal attire.
This narration is written from the perspective of Verema, the slave grrl m the fuIl
dramatization script. In certain segments, the choir wiIl need to play th~ role of cro:vd .
members, and individuals from within the choir will need to assume bnef charactenzatlOns
from within the choir.
This narration can also be performed in costume as a dramatization. A stage set or
backdrop would be optional; Verenia may j~st appe~ in c.ostu~e ~d speak fr~m a ce~tral
area. More effective, however, would be a snnple BIble-tImes mtenor or extenor, addmg
historical color and realismo
Narrator Characterization Description
Verenia, the Narrator, carries the bulk of the dialogue. Since she is speaking as a
person looking back at a series of events in her past, she could be portrayed by a woman of
any age. The role requires drama tic ability .. Though her lines mayo ~e pe~ormed ~s a
"dramatic reading," using a podium, she will need to b~ very famIhar wIth ~hem morder to
be convincing as this character, as well as hold the musIcal together dramattcally.
Verenia, the singer, does not have to be the same persono This will t:ee .you t~ ?ast
your best actress or dramatic speaker in the narrator part, regardless of her smgmg abIhty.
However, if she can also sing, feel free to have her do both.
A few other brief lines are called for to be spoken by members within the choir.
These lines should be found to be well within the abilities of certain members of your
vorCE PROM CHOIR: (clearly heard over the others, at approximately measure 37, or
choir.
following Verenia' s last fine if after that)
The musical begins with Overture. rf using the soundtrack, be prepared to adjust
the volume while Verenia speaks.
VERENIA:
OVERTURE
The narration sJwuld start around measure 7, but start it so that the seeond paragraph begins
at approximately measure 11.
VERENIA:
1 have told my story many times, yet each time it seems new. It is all
1 have of value, and to keep it 1 must give it away. So 1 give it now to you.
For among you here there may be one who wiII come to call Him King of
kings.
The place was Philippi, in the time of Claudius Caesar. A vicious
and the deity of Claudius Caesar. What's more, they have cast a spell on
mob was forming. Two men, strangers to Philippi, were being dragged
this slave girl here." At that he turned to me.
127
through the streets to the court of the Magistrate. Angry voices filled the
air with threats and accusations.
Verenia' s dialogue eontinues, uninterrupted. Choir voiees begin-see fines
below-underneath her voiee, with voiees being added throughout.
These two men, bewildered but not angry, were pushed back and
forth among the crowd. 1, myself, was thrown into the frenzy, with people
pulling at me and taunting me.
At every street corner, it seemed more and more people joined the
crowd. They heard words Iike "treason" and "blasphemy" and they fell in
blindly. The crowd grew noisier and angrier as we approached the court of
justice; 1 wondered if we would even get there. When we did, we saw that
many people had run ahead of us and were waiting just outside the court.
They were demanding these men be tried by the Magistrate. 1 heard sorne
say that he was on his way. 1 had never been so terrified.
CHOIR MEMBERS : (SJwut ad fib fines during Verenia' s dialogue. Phrases sueh as any or
al! ofthefollowing would be appropriate)
Make way! ... Let us through! ... Clear the way! ... They don 't
belong here! ... Take them to the court! ... They are preaching a false
religion! ... Throw them in prison! ... It's treason against Rome! . . . .Only
Caesar is our king! . . . .Take them to see the Magistrate! . . . .We have no
need of these men! ... Why ha ve they come here? ... They speak against
Roman law! ... False god! ... This is no place for their kind! ... We follow
Caesar! ... etc.
These men are troublemakers!
"Vou're wrong," 1 said. "These are peaceful men." 1 tried to reason
with them, but 1 was only a slave and no one would listen to me. This mob
wanted justice-Roman justice. Swept along a wave of vengeance, we soon
found ourselves standing before the Roman Magistrate himself. Forcefully
he called the crowd to order.
. "Bring the accused persons forward," he demanded. "Who are they,
and what are their offenses?"
An officer of the court then said, "This is Paul, fl'om the town of
Tarsus, and this is Silas, his accomplice. They are foreigners and
troublemakers. They are enticing the people to beJieve in a false godo They
are peddling a dangerous religion which refutes the sovereignty of Rome,
128
129

CROWD:(ad libs)
"It's not true, sir!" 1 cried out. "U anything, they have freed me
from a spell, from a terrible bondage." But, once again, no one would . Guilty!
. ...
, Take them away! ... Caesar is our klng'. . .. Th row
th em m pnson.... etc.
listen.
ICHOIR sings measures 45-54 [2nd timell
"Who is bringing charges against these two?" the Magistrate asked.
And that was when my owner stepped forward. MAGISTRATE: (at measure 93)
. Lucius, guard of the prison at Philippi. 1 release these two
"1 am, your excellency," he answered. pnsoners-Paul. of !arsus and Silas,. his accomplice-into your custody, to
be ~ogge~ ~nd Imprlsone~ fo~ the penod of six months. (erowd noises from
Music Begins eMlr, ad bbzng agreement wlth hlS decision)
WHEN IN ROME VERENIA:
(Paul and Choir)
"NO!" 1 cried out to the Magistrate. "Please, sir," 1 said, "1 beg

"My name is Antoninus. 1 am the owner of the slave girl Verenia, merey for these mene They have done nothing wrong!"

your excellency. For years she has earned money for me by telling MAGISTRATE:
fortunes. She has a gift of seeing into the future-and a very profitable gift
it has been, 1 might add. Now this man, Paul of Tarsus, comes to Philippi Take them away! (more agreement and tauntingfrom ehoir, gradually quieting)

proclaiming a false god and enticing the citizens of Philippi to believe as VE~NIA: (as erowd quiets)

He does. While in the process of this first offense, he indulges in a

second. He has cast sorne sort of spell on my slave which has rendered her . Then Lucius, ~he aging prison guard, dragged Paul and Silas away,

useless to me. Today, in the presence of these witnesses, he spoke directly wat~ the mob ~ollowlIl:g close behind. And 1 was left alone with my master.

to the spirit in Verenia. And in the name of his false god, he caHed it out of 1 .trled to explam to hlm the gratitude 1 felt toward these men Paul and

her! It is gone, your excellency! She can no longer teH fortunes. He has Sllas. '
robbed her of her gift, and he has robbed me of my livelihood! 1 beseech
you, excellency, to imprison this man Paul and his accomplice." :'They have retur~ed my life to me," 1 said. But he laughed cruelly,

an~ sald that 1 had no hfe now-no reason for living. Without my gift of

Members of the eMir sMuld be assigned the dialogue within uWhen in Rome." They may tellmg fortunes, 1 was of no value to him or anyone else. He said 1 was not

speakfrom within the ehoir. Verenia does not interaet with them visual/y. even worth the food it would take for him to keep me alive. With that, he

turned and left me standing there, stunned. For the first time in my life 1

ANTONINUS: (during measures 36-44) was totally alone. '

There-he's admitted it! He's guilty, and so is his friend! Didn't you ONE LONELY LIFE
hear him say he serves another king? That's treason!
(Verenia' S Solo)
CROWD: (general uproar and agreernent into measure 45)
Soloist sings UO ne Lonely Lije." Verenia (narrator) speaks the internallines within the songo
ICHOIR sings measures 45-54 [1st timell VERENIA:
Sll..AS: (At measure 55) Night w~s closing in by now. 1 felt terrified. For years 1 had
drea~ed of. bemg free .. But there, standing outside the court of the
But this isn't Rome. It's Philippi! Maglstrate m th~ gathering darkness, 1 reaJized that freedom without love is
MAGISTRATE: unbearable l~nehness. That was when 1 decided to find Paul and Silas no
matter what Il took. '
Philippi is a province of the Roman empire, and peddling religion on
street corners is an offense punishable by imprisonment. 1 know nothing of By aSki?g passing strangers for directions, 1 was able to make my
this king you serve, but Caesar is king here, and more than a king-he is way to the prlson where Paul and Silas were being held. And when one of
viewed by his subjects as a godo Best you remember that. Guilty as the guards was leaving, 1 slipped through the gates unnoticed.
charged!
130
Inside I could hear voices coming from a cell below. I recognized
one of the voices as Paul's. Silently I followed the sound until I stood in
the shadows just outside the cell where Paul and Silas had been chained
with a number of other meno I listened with amazement. Already, Paul and
Silas were telling the other prisoners about their God and King, Jesus
Christ, who had been crucified in Jerusalem for the sins of all people.
Though they had just been imprisoned that very afternoon for telling this
same story, here they were-telling it again! An angry thief named ~arcus,
and his cellmates, were ridiculing Paul's every word.(spoken in a tauntmg
manner) "Tell us more about your dead king," they said.
Paul did not give in to their obvious taunts. Calmly, confidentIy, he
told them that Jesus Christ was a King who wore the clothes of a peasant,
who Iived among the common men and women.
Music Begins
A DIFFERENT KIND OF KING
As I drew nearer, he began to speak. And when he did, it seemed
(Men and Male Duo)
that his eyes took on a special light. 1 will never forget the words he said
He was a King who could have saved Himself, but chose instead to
die friendless and alone for the sins of all people.
Marcus quickly had to reaffirm his dubious leadership, making a joke
of Paul's explanation . .. something about 'hard to follow' and 'harder to
swallow'. His men feH right in line.
#1 MALE VOrCE FROM CHOIR:
I've never heard of this Jesus!
#2 MALE VOrCE FROM CHOIR:
We've seen crucifixions before, and they are reserved for the scum of
the earth ... like us! (men in choir laugh and agree, as if the prisoners)
IMEN and MALE DUO sing " A DIFFERENT KIND OF KING" I
For the purpose ofthis concert presentation, the singing parts ofPaul and SUas
should be assigned to two men, who perhaps also singfrom a microphone that is
somewhat removed from the rest of the choir, as if you were drawing a visual contrast to
match the contrast in the lyrics. Ifyou wish to preserve the ((role" ofthe doubting
prisoners, measures 43 to the end may be sung by only the two men (the second man
singing the lower stave.)
VERENIA: (following song)
As Paul and SHas described the humility and compassion of their
King, the prisoners continued their cynicism, for most of them-Iike me
had never known much kindness from the world. The idea of a King who
died for the love of all people was foreign to them.
131
Music Begins
HIS LOVE ALONE ]
But Paul, undaunted by their mockery, only asked again, "Wouldn't
anyone like to know my King?"
I could stand by no longer. I stepped from the shadows where they
could all see me. "1 would like to know your King," 1 said boldly.
"Verenia," Paul said, recognizing me at once as the slave girl he had
rescued. I asked him to forgive me, for 1 feIt he had been imprisoned on
my account with no one to defend him. "1 do forgive you," he said simply.
"And do not worry-my God will defend me." Then, with great tenderness,
he asked me to stay and hear the story of Jesus Christ, the peasant King
who died for love."
that day about his King:
'''Jesus Christ-the image of the invisible God, the firstborn over aH
creation. By Him all things were created: things in heaven and on earth
visible and invisible, whether thrones or powers or rulers or authorities' all
things were created by Him and for Him. He is before all things and in Him
~II things hold together. This is the One, the very Son of God, who carne to
hve among uso In many ways, He was a simple mano He wore the clothes
of a common laborer. His closest friends were fishermen. He spoke plainly
as He taught all who would listen of His Father's love. He was aman of
gentle words, aman of peace, but not a weak mano Far from it. He was
very powerful indeed. For Jesus Christ had a power no earthly king has
ever possessed: He had power to heal the human heart."
ICHOIR sings ((HIS LOVE ALONE" I
CROWN OF HOSANNAS
"Crown ofHosannas" immediately follows ((His Love Alone"
(Accompaniment track should not stop).
VERENIA:
(over intro of ((Crown of Hosannas") As PauI continued, my heart could
har~ly hold the wonder of his words. He told of the journey of Jesus into
the Jaws of Jerusalem, as he put it. He described the crowds that gathered
along the way. These people had long awaited the coming of an earthly
king, wit.h armies and weapons and crowns. They thought Jesus would be
such a kmg. And so they threw down palm branches befo re Him and cried
"Hosanna!" But in the midst of their adoration, Jesus understood that they
132
were cheering for the kind of king they believed He would be, and not for
who He really was.
ICHOIR sings uCrown of Hosannas" I
VERENIA:
By now it seemed that the prisoners were becoming more and more
caught up in the story. Sorne of them had even b~gun. to shout "H?sanna!"
along with Paul and Silas. There was so much no~se, m fac!, that It
awakened old Lucius, the prison guardo 1 heard hilO scurrymg along the
corridor and 1 hid again in the shadows.
"Could that have been singing that awakened me?" he growled at the
prisoners. "And what have any of you got to be singing about?" he asked.
Marcus, the thief, explained that the two ~ew priso~ers were telling
the story of Jesus Christ, the King who could brmg new IIfe to ~very heart.
1 almost thought 1 saw a spark of interest in the face of old LuclUs. Surely
a lOan his age could use new life, 1 thought. But he only warned the .
prisoners that if any more stories were to be told, they had better be qUlet
ones. The room became very quiet ... and that was when 1 sneezed.
Lucius turned quickly and spied me hiding in the shadows.
"Ah! The little slave girl fortune teUer," he cried. "Well, well, this is
a first. You're the first person who has ever attempted to break into my
jail."
1 told hilO that 1 wanted to be near Paul and Silas, that they had been
kind to me.
"Have it your way," he said. And with that he thre~ me in with .the
others locked the door and stomped off. Silas asked me If 1 was all nght,
and 1 'told hilO that not only was 1 not hurt, but that 1 didn't mind being
thrown in with them. 1 said, "1 am glad to come closer. 1 want to k.now
more about your God. Please continue. Didn 't He know He was gomg to be
killed? Why wasn't He more careful?"
Paul answered, "yes, He knew what was in store for Him. Even so,
when He was arrested He didn't put up a fight."
Marcus the thief was outraged and amazed at this. "Why not?" he
asked. "Why didn't He' fight back. He had done nothing wrong ..Surely
someone would have saved HilO." As Marcus spoke, 1 was surpnsed to see
that the cynicism in his face was slowly disappearing, and in ~ts place was.
an expression of compassion and concern. 1 wondered-could It be that thls
angry thief was beginning to believe in Jesus, too?
Paul looked into our puzzled eyes and began to speak. "Jesus knew
what lay ahead of HilO," he said. "Still He chose to go through the torture
133
and humility. This was the very purpose for which He had come to earth.
Jesus, the Son of God, was sent to be the perfect offering for the sins of
all.
[ Music Begins
LAMB TO THE SLAUGHTER ]
He, the innocent One, was sent to die for the guilty." Then he looked
at ea~h one of us as he said: "For you, Marcus . . . for you, Verenia . . .
fo~ Sdas ... for me ... for everyone of us here. But at a time when His
fnends should have stood for HilO, they let HilO down. One betrayed HilO
to the authorities. Another denied he knew His name. Jesus could ha ve
called down the armies of heaven. He could have saved Himself. But He
chose instead to walk through His last day on earth like a lamb to the
slaughter."
ICHOIR sings uLamb to the Slaughter" I
REPRISE: A DIFFERENT KIND OF KING
(Verenia and Men)
uReprise . .." immediately follows ULamb to the Slaughter"
(The accompaniment track should not stop.)
. The same soloist as before sings this solo. Optionally, the women of the choir may
smg the solo part, and the men the answering parto
VERENIA:
A great hush had fallen over the prison now. Every lOan was silent.
Some had shed teaes as they saw in their minds the scene of His
crucifixion. Sorne were stiIJ puzzled by the meaning of such love, and
others were amazed. For a moment, no one spoke. Then the voice of
Marcus broke the silence.
Music Begins
HOW CAN IT BE?
(Marcus's Solo)
"You talk as though He died especially for me. That's not possible" he
'd "H e d'd
sal. I n ' t even know me," Silas broke in, "He does know you,
,
Marcus. He knew who you would be before you were even born. He knows
you now-tonight. Everything in your heart-the sin, the failure, the
regret. He went to the cross so that you could have a new beginning."
1 think that Marcus almost believed hilO. Finally, though he said
"1'10 sorry, but 1 can't believe you. It's too late for me. 1 know' my life.' 1
know what I've done and what I've become."
134
ISOLOIST sings "How Can It Be?" I
Music Begins
WHO WILL CALL HIM KING qF KINGS . . (After the song-and any applause--over the earthquake sounds at measure
The "Pause" in the accompaniment track that is used m the fully dramatlZed
version (after meas. 12) should be ignored in this version-let the track runo
This also applies to live accompaniment (ignore the fermata at meas. 13)
VERENIA:
By this time 1 had begun to believe in the love of Jesus .. But Marcus
still could not comprehend the fact that Jesus could ~ove him. He c?ul~ not
believe in the promise of a new Iife. Sadly he hung hls head and s8ld ID an
anguished voice, "Don't you understand? There is no new Iife for me. Once
a thief, always a thief."
"You mean you don't believe that Jesus could forgive a thief and
love him, Marcus?" Paul asked.
"1 don 't," Marcus answered.
Paul then told Marcus about something that happened when Jesus
was crucified. He said to him, "Two thieves died next to .Jesus that ~ay,
one on either side. One of those thieves asked to be forglven. I!e beheved
that Jesus was King, and because of his belief, Jesus forgave hlm and gave
him the keys to new Iife-eternal Iife."
Poor Marcus-he was still confused! "How can a dead king give
Iife?" he asked. "You've already said that they killed Him."
Paul smiled broadly then and said, "Oh, Marcus, don't you see? The
story is not over yet. It's only just beginning!"
ISJ!()IR sings "Who Will Call Him King of Kings" I
In the interlude ofthis song, Verenia (narrator) should speak the fines indicatedfor Paul, as
fol/ows:
VERENIA: (over music at measure 84)
And now we know that Jesus lives. And for those of us who believe
in Him there will be no death. There will be life, abundant and eternal. To
us who believe, He gives new purpose and hope and freedom from every
kind of bondage-from every prison of the soul.
ICHOIR CONCLUDES THE SONGI
135
sound operator should be prepared to "Pause" the trackfor audience applause afier measure
and before the earthquake sounds (measure 109) that immediately fol/ow (per discussion and
agreement with the Director). A short space exists on the track to assist with this.
. Her voice should rise with emotion and urgency.)
Suddenly the ground was moving! The walls of the prison were
bling, our chains were loosed and the prison door was thrown open.
prisoners cried out in fright. (her voice calms) But 1 tried to calm them
"Do not be afraid," 1 said. "It's God. God has shaken the ground
us to release His servants Paul and Silas."
Right then, Lucius rushed in, terrified that we might escape. "Do not
ve!" he shouted. "If even one of you escapes, my life will be worth
lotlung." PauI assured him that he and Silas were staying. Not only that,
the most amazing thing happened. Marcus and the other prisoners
among themselves-they had made a decision. Though they
could have escaped, one by one they stood behind Paul and Silas,
ng to stay."
"We have met the God of Paul and Silas," Marcus told Lucius, "and
wish to follow Him."
OId Lucius shook his head in awe. He spoke then in a quivering
"1, too, have heard the story of Jesus Christ as 1 stood outside in the
and Iistened. Tell me," he asked, "what must 1 do to receive the
life that He gives?"
The NARRATOR should note that the next two fines comprise the concluding
for this drama. Though they are simple and shon, they must be delivered with
focus and expression, as if the NARRATOR is real/y telling the audience this truth.
Paul's reply was simple. "Believe in the Lord Jesus Christ and you
shalI be saved, you and your household."
IN MY HEART 1 BELIEVE
The building effect of this chorus-as it occurs in the ful/y dramatized version-
may be duplicated through the use offirst a soloist (perhaps the narrator Verenia, if she
sings), then afew designated singers, next adding thefull choir, andfinal/y adding the
congregaton.
The next songfol/ows immediately. The track should not stop.
CHRIST THE LORD IS RISEN TODAY
 .301 0232012 WHO WILL CALL HIM KING Of' KINGS CLON INeER/KRoeSTAD SATB

OVEHTlI RE

WHEN IN ROME

ONE LONELY LlFE

A DIFf'EHENT KIND OF KI Ne

HISLOVE ALONE

A CROWN OF HOSANNAS

LAMB TO THE SLAUe HTER

REPRISE. A DIFFERENT KI ND OF KIN e

HOW CAN IT BE

WHO WILL CAL! I I,'e OF KINeS

IN MY HEART 11( \E

RESURR ECTION FI NA LE

WOHD /lfU81C