(For production by Professional Groups, College/University Groups, Community Groups, High Schools, ALL Church Groups, Youth Theatres)
Some of us have the notion that the Mormon pioneers saw the world in bold strokes of black and white, while moderns squint through myriad shades of gray. In writing this play the authors found that the pioneers reflected a rainbow of passions, fears, dares and enormous presumptions. This is not the story of one family, or even one company. This is the story of all of the “Saints” brought across the plains by one man John Brown. It is through his memory, and the actual journals of the traveling pioneers, that this vibrant musical comes to life. There are bright moments of hope and moments of dreary tragedy punctuated by a fantastic musical score that weaves throughout the dialog scenes and reinforces character and plot.
- 1 Unit Set.
- 75 Characters can be doubled to 19M 8W 1TeenBoy 2G, or a company of 20. Other doubling arrangements are possible.
- About 2:15
- ORDER #2052
Available for ALL producing groups!
“Come away knowing a good deal more about the pioneers and appreciating their sacrifices on a deeper level. Surprisingly funny…this is a story difficult to tell, yet well worth the recitation.” –Sharon Haddock, Deseret News.
“The play is a must see.” — Benson Parkinson, Association of Mormon Letters.
“Our stake just produced the Trail of Dreams and both my daughter and I were in the cast. We would like to purchase keepsake copies of the script. We dearly loved the Trail of Dreams and it was a delight to perform. The members of our stake were moved and impressed with the story and music.”
“Our stake in Bakersfield, CA had a fantastic time putting on The Trail of Dreams!!” — Janna Hart, Bakersfield Stake, 2017
“James Arrington, Marvin Payne, and Steven Kapp Perry have taken a fistful of true stories, a powerful cast of twenty, the passion of pioneer dreams, and woven the years of the Mormon exodus into a magical, musical tapestry of laughter, tears, and joy. Come away down the Trail of Dreams!”
The Trail of Dreams cast recording won the 1999 Pearl Award for “Best Soundtrack of the Year,” and Steven Kapp Perry was nominated as “Songwriter of the Year” for his work on this project.
The newest production produced by Utah Valley University and performed at the SCERA Showhouse in Orem, Utah garnered the following review:
TRAIL OF DREAMS is about “Ordinary People,” but is no ordinary musical
November 18, 2015 by Callie Oppedisano
OREM — “In history, truth is often stranger, more exciting, more tragic, and more miraculous than any fiction that could be manufactured. This is especially true, perhaps, for stories of the Mormon exodus of the nineteenth century, when thousands of people left their homes and traveled across land and sea to settle West in the Salt Lake Valley. The Trail of Dreams, a musical about that exodus, written by James Arrington, Marvin Payne, and Steven Kapp Perry (who also wrote the music) uses historical documents to convey the pathos and triumph of those Mormon pioneers that risked all to make that trek. Directed by James Arrington and produced by SCERA and Utah Valley University, this production of The Trail of Dreams hits all the right notes in its story of faith and doubt and human attempts to control eternal destiny.
The musical opens with Marvin Payne as John Brown (his real great great grandfather), who guided Mormon pioneers on their exodus, making the trek more than a half-dozen times. He is just beginning a dream in which he relives the experiences from his different years as a trail guide all at once. Pioneers from 1848 and 1856 come side by side in the visions of his slumber, an act of dramaturgy that enables the high and low points of all Mormon treks to come together in a single move westward to Salt Lake that takes place during the course of the musical. The “characters” in the play, who are real historical figures, help him open his dream, each stepping forward to take a journal of their experiences from the front of the stage. Also assisting him on his journey of memory is Angela Hopewell, played by Dianna Graham, a self-described “midwife of sorts” who turns out to be an angel of death (and new life) and who ushers various characters in the play from their earthly lives to their heavenly ones.
It is Angela that serves as antagonist to John Brown’s protagonist. It is she that he fights as he tries to preserve the life of the pioneers under his charge, to control their destiny in spite of the omnipotent power that controls all. But, ultimately, as John Brown relives the tragic deaths that occurred during the Mormon exodus from cold, hunger, sickness, and accident, he comes to realize their place in the story of a “whole people.” By the end of the play, he willingly dances with Angela as the characters once again step forward with their journals to emphasize how their individual stories contribute to the legacy of the LDS Church.
As a piece of contemporary Mormon theatre, The Trail of Dreams could also be considered a contributing story to a larger narrative. In using passages and paraphrases from the journals of actual pioneers, it joins other plays about nineteenth century Mormonism such as City of Joseph: An Historical Musical of Nauvoo and the Manti Mormon Miracle Pageant. It also joins the ranks of such Mormon musicals as Utah: America’s Most Spectacular Outdoor Musical Drama in its attempt to tell the Mormon story in the quintessential genre of the American musical where humor and pathos run parallel and into each other. There are the typical romance numbers with husbands and wives dreaming of a better future and professing their love such as “A Box for my Dream,” and “I’ll Love Whatever’s Left of You.” So, too, there are the rather incongruous humorous numbers strategically placed for comic relief, such as “Oxology,” a number in which the female characters pretend to be delightfully stubborn oxen that are uncooperative when the menfolk attempt to yolk and direct them.
The music throughout The Trail of Dreams is satisfactory and pleasant to the ears, though there are, perhaps, only two or three numbers that are memorable in terms of lyric and score, of which “Oh, Zion!” stands out. It is the performance of the songs and the book that make this musical worth hearing and seeing. The great passion of Payne as John Brown is met and matched by the rest of the cast that owns the legacy of the characters they represent. Shannon Eden as Caroline Grant and Chris Higbee as Jedediah Grant, for example, bring a perfect pitch of devotion to their faith and to each other. In addition, the ensemble cast comes together to portray a myriad of historical figures, changing quickly from one to the next with spirit and speed that leaves no lull in the production.
James Arrington’s direction is, in fact, very brisk. The two-and-a-half hour show moves speedily across the plains and over the Rocky Mountains. There is also considerable attention to detail, a good bit of physicality, ample humor, and strategic stillness. He writes that The Trail of Dreams is the last show he is directing prior to his retirement, and it does give off an aura of an opus. Visually, Arrington is assisted by the excellent, minimal stage design by Stephen Purdy in which the dream-world of John Brown is created by simple earth-toned blocks moved and stacked by characters as necessary with the stage bordered by great sheets of paper, stylized as aged pages of journals. Within this border characters come to life in costumes capably designed by Carla Summers in the manner and suggestion of the mid-nineteenth century. Lastly, Kristen Bradley’s choreography is fitted for the song and space, simple and unassuming.
In a musical like The Trail of Dreams, it would be remiss not to mention the extent to which the audience plays an important part in the performance experience. I am a non-Mormon, but I have deep Mormon roots, and my ancestors made the exodus portrayed on stage. I was greatly aware that the great majority of the audience was viewing the play as their own historical and religious inheritance. This often happens in historical Mormon theatre, and when it does, there is always an added energy to the performance as spectators become co-creators in the production. In the world of theatre idealism, this is often the goal, and if you have never felt this experience, your chance may be now. The Trail of Dreams at SCERA has much to offer.”
- The Perusal Pages File (in PDF format) can be read by clicking TrailOfDreamsPERUSAL It contains the first act of the three act script.
- Original Cast CD — Order from stevenkappperry.com for $15.98 (See MUSIC DEMOS below)
- ACT ONE
- Overture / Opener
- I Had A Son
- It Began
- A Box For My Dreams
- Watch The Sparrows Fly
- Oxology” Bit #1
- Oxology” Bit #2
- Angels / Come To The Valley
- Nearer My God To Thee / A Box For My Dreams
- ACT TWO
- Rolling On
- Ordinary People” #1
- Ordinary People” #2
- Lead Kindly Light
- One Step Ahead
- Wings To Fly
- One Step
- ACT THREE
- Overture / Statistics
- Blood On My Hands
- Digging Deep
- The Ballad of Rocky Ridge
- I’ll Love Whatever’s Left Of You
- In Another Place
- On Big Mountain
- Oh Zion & Come Away (Finale)
SONG SAMPLES (from the Original Cast Album)
All of the music demo files of the Original Cast Album are available for partial Demo or full paid download through this LINK
PRODUCTION MATERIALS AVAILABLE
- Performance License Application: No production rights can be granted until this application is filled out and sent to us. This is a filler form that after you click “SUBMIT” will send directly to our email address. Response averages 2-3 business days.
- Script in PDF format — Order #2052a : $30.00 (from which you will be authorized to copy for your production)
- Piano-Vocal Score in PDF format — Order #2052c1 : $25.00 (from which you will be authorized to copy for your production)
- Piano-Vocal Score in PRINT format — Order #2052c2 : $10.00 We have a limited number of printed and bound versions of the PVS (an exact copy of the PDF) which we will sell for $10.00 each, if you prefer that. You may not photocopy these scores, but must purchase the number you desire.
- First Performance Amateur/Educational Royalty — Order #2052d : for the only performance or the first performance in a series of related performances. (QUOTED ONLY UPON APPLICATION)
- Second Performance Amateur/Educational Royalty — Order #2052e : for the only performance or the first performance in a series of related performances. (QUOTED ONLY UPON APPLICATION)
- Professional Royalties will be quoted upon application
- PerformanceTrak CD — Order #2052j: $200.00 flat rental fee. (Includes a track listing with instructions)
- American Heritage School, American Fork, Utah — March 2020
- Bakersfield California LDS Stake — October 19, 20, 20, 21, 2017
- Appleton Wisconsin YSA Stake — July 2016
- Utah Valley University (artwork at left) — 2015
- Newton Kansas LDS Stake — 2014
- American Heritage School in American Fork — 2013
- Eugene Oregon Santa Clara Stake — 2012
- S.C.E.R.A. Showhouse Indoor Theatre, Orem Utah — 1998
- Premiere Professional Production at the Valentine Theatre in American Fork, Utah and Utah Valley State College, Orem Utah — 1997
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