Lilacs in the Valley

By

Daris and Donna Howard

arranged by
Dan Lee
 with arrangements also by
Daris and Donna Howard

Copyright ©1997 by Daris Howard
All Rights Reserved
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    I would like to give those reading or performing this musical a bit of insight into it.   The musical is about the family of Jonathan Harriman Hale.  It was taken from the journals, news articles, and oral histories of this family.  I chose this family because I am a descendant of Jonathan, making it easier to do the research.  I had ancestors on both the Mormon trail and the Oregon trail, but the Mormon movement is the best documented, has the most journals, and is the easiest to write about.  Though this is about the Hale family, it could be about many a pioneer family.  It is not meant to follow the Mormon movement, but to give a feel for the sacrifice of the western movement and similar sagas such as the pilgrim migration to the new world.
    Many of these people were trying to escape persecution of oppressive governments or persecutions because of their religion.  Others were trying to escape economic hardships and find a new life.    All were trying to find a better world to raise a family or to start over.  Even though the setting is the Mormon trail much of the story line could have been with any people seeking a better life.
    Writing this musical has helped me understand and love those of all time periods who have sacrificed that I might have a better life.  I also wanted to make this a musical because it’s main purpose is to convey what these people were feeling.  The medium of music can portray feelings in ways words alone can not.  Because of the magnitude of this project I have drawn on the talents of others, especially my sweet wife, to help bring out the music and script as I envisioned it.
     Jonathan Harriman Hale, Olive Boynton Hale, their family, and many of the others were real people.  However, many of them had similar names so I changed some names to make the musical less confusing.
    I have also changed the ages of some of the characters.  The musical covers approximately 10 years.  The main characters were given  ages at which they don’t change a lot physically over that time period.  Also some parts needed to be cast older to have more mature actors.
    Though most of  the main events of the musical are actual events, some of the events actually occurred  in different places from where they are depicted.  Working with a stage and limited sets requires grouping many events so they appear to happen the same day or near the same time.
     There are also some fun things taken from oral histories I have included or expanded on in the musical.  Oral histories indicate that Alma was a bit of a prankster.
    I couldn’t find anything written about this, but feel that many of the oral histories, though not as exact as written ones, carry a lot of truth that brings out the character of these men and women.  Often the journal entries are very factual, but give little insight into the character of the individuals.  Oral histories, handed down through the years, are often better indicators of what a person was really like.  Because I wanted the musical to show the feelings and thoughts of these people, I went to sources where I could get those feelings and thoughts.
    After getting as much insight into each individual as I could, I took that understanding and tried to sense how that person might respond in a given situation.  This was very important to me. I did not want to show these men and women as superhuman, but as living, loving, individuals.
    I hope those seeing or acting in the musical, as well as those wonderful men and women who have gone before us, will forgive the liberty I took in the changes I made.  I tried to keep the events that occurred as factual as I could while fulfilling my main purpose to help people see as they saw and feel as they felt.  I wanted all participants, both the actors and the audience, to feel the sorrow and suffering, sense the courage and strength of these pioneers,  and with those feelings, make a renewed dedication to find greater strength within themselves.
         I hope you enjoy the musical.               
                 Daris Howard


            Notes about the family and others:   
    Olive’s sister, Clarissa,  married Henry Harriman.  I want to make it clear that Henry Hale is in no way a reflection of Henry Harriman, even though the children did have an Uncle Henry who helped them cross the plains.  Bishop Hoagland was a real man, but built into his character are the characters of Henry Harriman, Jonathan’s cousin  Heber C. Kimball, and the real Bishop Hoagland.  Henry Harriman and Heber C. Kimball were a great strength to the children.
    Henry Hale and Gertrude Schultz are not real people taken from the histories I have read; they are a composite of people I have known in my life.
Dedication - I would like to dedicate this musical to my sweet wife and children; they are my inspiration.  They were patient as I spent untold hours researching and writing.  My wife, Donna,  spent many hours at my side, helping with things beyond my own talent to make the finished work much better than it would have been otherwise.  Also, I make a special dedication to our sweet baby, Tracy, whom we were expecting, but lost just a few days before Christmas while I was writing this musical.  As we continued to work on the script and music, the tender feelings we felt for her helped us understand what some of our ancestors must have felt.  In particular I dedicate to Tracy “Rest Well, My Baby,” which came to me the evening we found out we had lost her.
                  Daris Howard

Lilacs in the Valley (Cast)
If there are too few people to fill all of the parts some people can play multiple parts.  For example, Joseph Smith is on for only a bit of the first scene.  He could play other characters later on with some makeup, beards, or other changes. *The men who play the two gold prospectors, Dr. Smith, Joseph, and Bron could be other men in the cast.  If there are plenty of men, the men who play these parts could be part of the company with some changes in clothes and appearance.   Mary Rose’s lines could be said by Agnes Walker.
Men & teenage young men {Minimum=11 - more is better.}
Woman & teenage young ladies {Minimum=6 - more is better.}
Children {Minimum=3, Solomon about 6, two girls about 8-10 - more is better.}
Jonathan Hale Family
Jonathan Hale - Father. Jonathan is in the age range of 45-50.  He is a serious but very kind, caring man.
Olive Boynton Hale  - Jonathan’s wife.  Sweet, loving wife and mother.  About 45-50 years old.
Alma Hale - A young man, late teens.  He begins the musical at a supposed age of 14 and is about 24 at the end.  With this in mind, he will need to be a young man who can look both ages.  He is also a quite a prankster, but has a loving heart.
Emily - Meant to be a young girl of about 6 years.  She has some singing parts and some other important parts so she might need to be a bit older, possibly even up to 10, but still look as young as possible.  Having her hair in braids might help her look younger.   She is sweet, but mischievous.  She knows how to take Alma’s teasing and give it right back.
Aroet (ah-ROW-it) Hale  - Alma’s brother and slightly older.  He will need to look from 16 to 26.  He is a lot more serious than his younger brother.
Rachel - About 15 years old. Understanding and loving.
Solomon  - about 5 years old.  Not many speaking parts, but must be old enough to play his part seriously.
Clarissa - Baby to about 3 years old.  It might work if she can toddle on in one scene, or be carried on, so the audience can love her.  If no child is available a doll could be used.
Henry Hale - Jonathan’s brother.  He is a man of about 35.  He has to be someone who can ham up his part and have a lot of fun.
Other Men in the company and town
Miles Walker - A man of about 40 - 50 years old.  He is Martha and Frank’s father and Jonathan’s friend.
Bishop William Hoagland - A man of  40-50 years.  He is the leader of the group from Winter Quarters to the Salt Lake Valley.
Lucas Hoagland - A young man, about 19 years of age.
Frank Walker, Tom , Andrew - These are young men of about 18 or 19.
Jim - A very old man in the company.  Walks with a cane, but is very feisty.  He is almost deaf and speaks in a loud voice.
*Bron Schultz - Gertrude’s cousin.  He is a foreigner and speaks with an accent, possibly German. Any age from about 20-50.
*Joseph Smith - 38 years old. On for only one short scene.
*Two Gold Prospectors - Any age from about 18 - 50.  A bit rough and unshaven.  On for only one short scene.
*Dr. Smith - Middle-aged man.  On for only one short scene.

Other Women in the company and town
Martha - A young lady of about 17.  She needs to be able to look about 14 at the beginning of the musical to about 24 at the end.   She is a quiet, but a supportive young lady and wife.
Gertrude Schultz - A big (or at least forceful) woman with a strong foreign (possibly German) accent.  She is tough and bossy, but likes to thinks she is weak and feminine.
Agnes Walker - Miles’s wife.  A no-nonsense kind of woman.  About 40 -50 years old.
Olive Whittle - About 19 years old.  Marries Aroet.
Mary Rose - A lady of high class.  Could be anywhere from 20 to 50.

Other Children in the company and town
Emily(2) - Alma’s daughter.  Needs to be about 6.
Jonathan(2) - Alma’s son.  Needs to be a young boy about 4.  He has no lines.  He just follows Emily(2) on and off the stage.
James - Boy about 6.  Son of Aroet.  This part could just be referenced if need be, since he has no lines.
Olive(3) - Daughter of Aroet.  About 4.  This part also could just be referenced if need be, since she has no lines.

 In the very last scene, if you have children available,  you could use three children about 6 or 7 years old to be Henry’s triplets.  The script says two boys and a girl, but this line could be changed according to the cast available.  Gertrude should come in with about eight children plus two bundles representing babies. (Many children here really adds to this part.) The children should range in age from seven down.  It would be good to have a few children in the group scenes as well.  Children could be used in multiple parts if dressed differently.

Others - It will add greatly if there are others who are part of the chorus, filling in as other members of the company.

Lilacs in the Valley Act I:

Time Line
Scenes 1-4:          Nauvoo, Illinois -  June 1844
Scenes 5-6:          Nauvoo, Illinois - Early May 1846
Scenes 7-9:        Winter Quarters - July 1846
Scenes 10-11:    Winter Quarters - September to October 1846
Scenes 12            Winter Quarters - Spring 1847

Act I    Scene 1
In the background is a mural showing the city of Nauvoo, Illinois.  Either the river or the temple on the hill could be part of it.  Stage left  is the inside of the Jonathan Harriman Hale home with the  walls facing downstage.  One door  opens into center stage and one door  opens upstage.
    Gathered in the cabin are Joseph Smith, Jonathan Hale, Alma Hale, and Henry Hale.  Joseph and Jonathan are sitting.  Alma is standing by the door and Henry is standing to the other side of the house.  As the curtains open, Jonathan and Joseph are in the middle of a discussion.

Joseph: On order of Governor Ford, we are going to disband the Nauvoo Legion, and Hyrum and I are going to surrender for trial in Carthage.

Jonathan: But Joseph, that will leave us vulnerable like it did in Far West.  The armies marched in and did anything they wanted to us.

Joseph: I know, Jonathan, but I don’t feel we should fight.

Jonathan: Alright.  I’ll help disband my unit, then I’ll accompany you to Carthage.

Joseph: No Jonathan, General Dunham might need you to help with plans for the Nauvoo Legion.

Jonathan: But who’s going to protect you in Carthage?  It’s full of people who hate you and have sworn your death.

Joseph: I know.  Governor Ford has ordered the Carthage Greys to protect me.

Jonathan: {rising and showing great alarm} The Carthage Greys?  Most of them are your enemies!  That’s like swearing the wolves to guard the sheep!

Joseph: {rising and bringing Jonathan close to express his vision of events ahead} I know,

Jonathan.  This people will leave Nauvoo and move to the Rocky Mountains.  I will not be with them.   Moses was shown the Promised Land but not allowed to enter, and that is how it will be with me. {Turning to leave} I must go take care of other things now.{Joseph then begins to depart.  He pauses at the door and puts his hand on Alma’s shoulder.} Alma Hale, you’re a good young man.  Remember to keep your sense of humor through all your challenges.  Sometimes it will be the only thing that will get you through. {Then laughing} But, don’t go tumbling any more of the governor’s men into the mud.

Alma: {Somewhat embarrassed} Yes, Joseph.

{Joseph then exits the house and goes offstage left behind the house.}

Jonathan: {Turning to face Henry} Henry, I’ll need you to help me gather our Cohort of the  Nauvoo Legion.  I want you to ride around to every man, tell them to meet at the town square at 10 o’clock, and to bring their arms.

Henry: {in a loud commanding voice, saluting} Yes sir, Jonathan. I’ll do it!

Jonathan: Stop that saluting.  You’re my brother, for pete’s sake.

Henry: {in a more subdued voice} Jonathan, what do you think Joseph meant when he said he won’t be going to the Rocky Mountains with us?

Jonathan: I think Joseph knows he’ll be killed if he goes to Carthage, but Joseph will do what is asked of him, no matter what.  It takes a great man to do that.  Now, Henry, go sound the call.

{After this, Alma quietly slips out and then does a mad dash offstage right, while Henry gets his rifle and slowly exits and saunters out onto stage, giving a few seconds offstage to Alma.}

Alma: {casually comes back on stage} Got your horse ready, Uncle Henry.

{Henry nods and continues offstage right.  From behind the house, upstage left, Emily enters carrying a watering can.}

Alma: Hi, Emily, come watch some fun.

{Emily has a quizzical expression, but comes over to Alma and looks offstage right in the direction Alma is looking.  Suddenly they hear Henry scream. There is a lot of commotion, and then it is quiet.  Alma is doubled up with laughter, and Emily stands with an amused smile on her face.  Jonathan steps outside.}

Jonathan: What was all that racket?

{Alma, at the sound of his father’s voice, suddenly becomes quiet and tries to hold back a smile.  Henry comes in carrying a lead rope and/or a saddle blanket with the back side of the saddle blanket full of burrs.}

Henry: {glaring at Alma} Some low-down hooligan put burrs under my saddle, and old Bess threw me a good 20 feet high.  I’m lucky to be alive.

Jonathan: {looking at Alma} Alma Helaman!  {Turning to face Henry} You all right, Henry?

Henry: Yes, {again turning to glare at Alma} no thanks to a certain prankster.  It takes more than a throw to the ground to hurt Henry Hale.  {He glares at Alma’s and stomps offstage right.}

Alma: {to Emily} He must have landed on his head.  {He and Emily break into laughter.}

Jonathan: {In a loud voice} Alma Helaman!   {This brings the laughter to a quick halt.} I don’t need your pranks at a time like this.  I’ll deal with this later.

{Alma looks a bit ashamed and embarrassed.  Jonathan goes back into the house and is busy writing at the table.}

Alma: {Turning to Emily} Hey, Em, where are you going with the watering can? To water your lilacs?

Emily: Yes.

Alma: You sure take good care of the lilacs.

Emily: Mother gave them to me.  She said that she hasn’t been back home to Boston since she and Father left.  The lilacs are all she has from there. {In a very proud tone, acting as though Alma wouldn’t be trusted.} And she gave them to me to take care of because she trusts me.

Alma: I just like the flowers.

Emily: The flowers look like little stars, and they’re all together like a family.

{It is important to emphasize this phrase because it is important later on.}

Alma: Who told you that?

Emily: Mother.

Alma: Stars all together like a family.  I like that. {pause} Do you want me to help you water them?

Emily: No!  Last time you watered me, not the lilacs!

{Music starts}

 Alma: {In an overly sweet voice, putting his arm around her and leaning his head her way} Oh,Emily, don’t you trust me?

Emily: {with an emphatic voice, maybe pinch his cheek} No!

Alma: {laughs} Can I help it if the can slipped?

Emily: It’s a good thing it did slip or you wouldn’t have gotten any water at all on the lilacs.

{Alma laughs again.  Jonathan goes offstage left before the song starts.}

( 2. You Make Me Smile ) {This song and the actions with it should be a bit of a teasing between the two of them.}
Alma: You make me smile. Everybody needs a sister like you.
You make me laugh at all the funny things you say and do.
You are the sunshine of my life.
You are the stars that light up my dark nights.
You take my saddest day  and turn it all away
And make everything turn out all right.
Emily: You make me smile. Everybody needs a brother like you.
You make me laugh, at all the funny pranks I see you do.
You make my worries all seem light
When I’m wrapped up in your arms so tight.
You take my tears each day and wipe them all away,
And make everything turn out all right.
Alma: You make me smile.  There will never be another like you.
Emily: You make life fun.  I’d rather be with you than anyone.
Alma: You bring so much love to my life.  No one could ever make my life so grand.
Emily: You can make a great day be better anyway,
Together: You  make life good like no one can.  You are the sunshine of my life.

{As the song ends, Alma is kneeling on one knee with his arm around Emily.}

Emily: I’d better go get the lilacs watered.

{Emily leaves stage right.  Jonathan comes back on stage and comes out of the cabin carrying his rifle.}

Jonathan: Alma, I want you to stay here and watch over your mother.  Don’t let Emily or any of the others come down to the town square.

Alma: Do you expect some fighting?

Jonathan: No, but I don’t want to take any chances.  If Aroet comes home, send him over.

Alma: Can’t I come and let Aroet stay here?

{Emily enters unnoticed  by the two and stands motionless upstage right.}

Jonathan: Last time we had a state official in town you loosened all the straps on the harness of his buggy.  When he laid the whip to his horse she high-tailed it out of town, dropping the buggy and rolling him into the mud.

Alma: {looking a bit sheepish} Well, Joseph laughed.

Jonathan: Oh, yes.  I’ve heard a thousand times how Joseph said the only bad part was that he had to keep a useless government official in town while our men rounded up the horse.  However, that does not excuse such behavior.

Alma: Sorry, Father.

Jonathan: Alma, I’m so afraid that someday your pranks are going to get you into real trouble.  If Joseph hadn’t taken such a shine to you, I think there are a few times you would have been flogged.  Now, you stay here. {Begins leaving and then pauses.}  And Alma, try not to get into any trouble.

{Jonathan leaves stage right.  Emily sneaks up quietly behind Alma who is deep in thought.}

Emily: {Trying to speak in a deep voice like her Father to scare Alma.}  And try not to get into trouble.

{As Alma jumps, Emily laughs.}

Alma: You little eavesdropper.

{Gertrude, a big woman with a foreign (possibly German-type) accent enters from stage left calling loudly from behind the house.}

Gertrude: ’enry!  Oh ’enry!  Oh, ’i Alma and Emily.  ’aff you seen your uncle?

Alma: {With finger to lips} Shhh.  Someone might hear you.

Gertrude: {A bit more subdued and scared.}  Vy? Are dere some mob people around?

Alma: {Taking her by the arm and then checking both ways to make sure no one is listening.}  No. Someone might hear you call him my uncle.

{Alma then breaks into boisterous laughter and Emily joins him.}

Gertrude: {In a mad, haughty tone} You’re a naughty boy and you’re teaching your sister bad tings too.  Vy, vy... you don’t deserve to ’ave ’im for an uncle.

Alma: Why Sister Schultz, that’s the nicest thing you ever said to me.  It’s a sad man that does deserve him as an uncle.

Gertrude: {now a bit flustered} Dat is not vut I meant.  I meant ’e is a goot man, and you are a naughty boy to alvays play yokes on ’im.

Alma: {laughing} By the way, just why are you looking for him?

Gertrude: I ’eard that some mob might be a-comin’ and I need a goot, strong man to protect me.

Alma: Well I’ll tell Henry that you want him to find you one.

{Alma starts laughing again.}

Gertrude: {Grabs Alma by the ear and pulls him up onto his tiptoes, then wags her finger at him.}  You mind some day, Alma ’Elaman ’Ale, dat sensus of humorous of yours is going to get you into trouble.

{Gertrude stomps out back behind the house backstage left swinging her arms to look like a tank.}

Alma: {shaking his head as if to straighten out a stiff neck}   It’s no wonder Uncle Henry is still single; with a woman like Gertrude after him.  Now I know why they call her the second Nauvoo legion.

{Martha enters from stage right, obviously dressed  too pretty for a regular workday.  Emily, walking offstage right, passes her, stops, eyes her over, imitates her walk, then continues off.}

Martha: Alma, did you hear the news?  They’re disbanding the Nauvoo Legion.

Alma: I know.  Joseph said we weren’t to fight.

Martha: I think that’s very frightening.  After we surrendered in Far West, Missouri, we were left unprotected.

Alma: What scares me more is that Joseph is going to Carthage for trial.

Martha: Oh, Alma!  I hope he’ll be all right.

Alma:  Me too.  He has always been so kind to me.

{Martha gets up close to Alma and he puts his arm around her as she leans her head against him.  Aroet enters from behind the house stage left carrying an armload of wood  and they quickly break apart.  Aroet just gives a bit of a smile but says nothing.  Emily enters upstage right, unnoticed, carrying a bucket that is a bit too big for her.  She stops upstage and sets it down, still unnoticed by the others.}

Alma: Oh, {stammering} hi, Aroet.  We were talking about the disbanding of the Nauvoo Legion.

Aroet: {Smiling.}  I can see that. {Then doing a double take} Disband the Nauvoo Legion!  What in the world are you talking about?

Alma: Father said you were to ride to the town square immediately. {slyly} But of course, if you’re too busy, you could stay here and I could go for you.

Aroet: Not on your life!  

{Aroet quickly stacks the wood by the house and rushes off downstage right.}

 Emily: Nice try, “mister drop-the-government-official-in-the-mud.”

{Martha giggles and smiles.}

Alma: {Turning to face Emily.} Oh, right.  I’m the one who always gets blamed, but you helped me.

Emily: {Acting innocent.} Sure, but everyone knows that someone as sweet me wouldn’t do something like that unless my older brother talked me into it.

Alma: Oh, you think so.  {He then proceeds to chase her around the water bucket with Emily squealing in delight.  When he catches her, he tickles her.}

Emily: All right, I give, I give.

Martha: {laughing} Well, I’d better get back home and do my chores.

Emily: Dressed like that?

Martha: { embarrassed}  No, I’ll change first.

{Emily snickers as Martha exits stage right.}

Emily: {to Alma} I think she likes you.

Alma: Oh. I hadn’t noticed.  {Emily goes back and picks up the bucket and starts to carry it awkwardly in front of her.  Alma sees it is way too heavy for her and goes to help.}  Let me help.

Emily: No thanks, I don’t feel like getting wet today.

Alma: Oh, Em.

{He reaches down and takes the bucket from her and she only half struggles to keep it.  He carries it in front of the curtains and is followed by Emily who is carrying a watering canister.  He goes to stage right in front of the curtains where there is a lilac bush.   Curtains close.}

{Act I  Scene 2}

Alma: The lilacs sure are pretty.

Emily: They’re Mother’s and my favorite flower.  She says the blooms in the springtime  remind her that life is starting out new again.

Alma: Well, they remind me of you.

{Music for “Lilacs in the Springtime” starts.}

( 3. Lilacs in the Springtime)
Alma:
Lilacs in the springtime remind me of you
Every time they open up and bloom.
Vigorous and full of life for all to see,
Sweet and pretty like you seem to be.
But you can never judge a book by its cover.
You can never tell a flower by its stem.
On the outside you’re a sweet little flower,
But a prankster is lying deep within.
Lilacs in the springtime remind me of you
Every time they open up and bloom.
Vigorous and full of life for all to see,
Sweet and pretty like you seem to be.
And I don’t know how I could ever live without you.
I don’t know how I could make it through a day.
You always have a radiance about you
That helps me to smile every day.
Lilacs in the springtime remind me of you
Every time they open up and bloom.
Vigorous and full of life for all to see,
Life is happy when you’re here with me.

{As the song ends Alma picks Emily up and set her in the water bucket.}

Emily: I’ll get you!  

{She chases him across and offstage left with Alma laughing as he goes.}

{Act I  Scene 3. Curtains open.  The stage is somewhat dark to indicate twilight, with a lit hurricane lamp on the table.  There is a soft target light on the cabin.  Jonathan is sitting at the table, very forlorn-looking, head in hands.  Olive (the mother) enters from the door facing upstage carrying a baby and puts her hand on Jonathan’s shoulder.}

Olive: Jonathan, you seem troubled.

Jonathan: I worry for Joseph.  He’s been in Carthage for days, surrounded by those who have sworn an oath to take his life no matter what the law says.

Olive: Surely the Lord will protect him.

Jonathan: Sometimes in this life we are required to pay the ultimate price for what we believe in.

{Rachel enters from stage left with Solomon}

Rachel: Mother, Solomon was crying.  I don’t think he’s feeling well.

Solomon: Mother, I feel sad.

Olive: {Putting one hand on Solomon.} Why do you feel sad?

Solomon: I don’t know.  I just got a scary feeling on me.

{Olive pats him and he lays his head against Rachel.  Alma enters with Emily from stage left.}

Jonathan: {Getting just a bit flustered.} Now what do you two need?

Emily: I don’t know, Father.  I just don’t feel right.

Olive: Are you sick?

Emily: No.  It’s more like when our puppy died.

{Alma puts his arm around her to comfort her.  Aroet enters from stage left.}

Jonathan: Not you too, Aroet.

Aroet: I heard all the commotion and came to see what was going on.

Jonathan: Nothing is going on except the whole family is supposed to be getting ready for bed, and instead you’re all here.  Let’s read some scriptures and maybe we’ll all feel better.  Aroet, will you hand me the Bible? {Aroet hands it to him.} Thank you.  Well, let’s just let it fall open and read something.  Let’s see Job 13 verse 13, “Hold your peace, let me alone, that I may speak, and let come on me what will.  Wherefore do I take my flesh in my teeth, and put my life in mine hand?” {Then choking on the words} “Though he slay me yet will I trust in him ...”

{Everyone goes quiet. There is a bit of a pause.  Jonathan rises and stares off into space, worried.  From stage right  there is a lot of commotion.  Miles Walker comes running on stage.}

Miles: Jonathan!  Jonathan!  {He runs farther on stage while still yelling.}  Jonathan!  Jonathan!

{Jonathan runs to the door and flings it open and steps out.}

Jonathan: Miles, what are you doing out this time of night?

Miles: {Breathlessly} They’ve done it, Jonathan. A mob attacked the jail and killed Joseph. {Those in the house start to cry or gasp.} Do you want me to round up the men?  I’m sure General Dunham will want to attack.   We could hit Carthage by sunup and teach those devils a lesson they would never forget!

Jonathan: Round up the men; but we will not be fighting.  Joseph made us promise that we would not fight.  Go!

{Miles runs back across and off - downstage right.  As Jonathan comes back to the cabin, Alma rushes past him and runs off downstage right.}

Jonathan: Alma!

Olive: Jonathan, let him go.  He really loved Joseph.  This will be hard for him.

Jonathan: It will be hard for all of us.  I think I’ll go talk to him.

{Jonathan goes out the door and exits off downstage right.  The curtains close.}

{Act I  Scene 4:  Alma comes on stage right in front of the curtains and drops down on his knees with his head in his hands.  By the jerking of his body you can tell he is crying though he is quiet.  Soon Jonathan enters.  Alma looks up and sees his father and stands, trying not to show he’s been crying and turns away from his father.}

Jonathan: Alma.

{Alma turns deliberately to face his father.}

Alma:{With anger, sadness,  and frustration in his voice.} Why, Father?  Why did you and the other leaders disband the Nauvoo Legion? The men could have defended Joseph.  They were the best fighting force in the state, better than that lying Governor’s militia.

Jonathan: {kindly} I know, son.  But Joseph told us to disband and surrender the state arms.

Alma: {mellowing} But why?  Surely he knew this was going to happen.  He talked like he did.
{music begins}

Jonathan: Yes, he seemed to know, but Joseph was willing to give his life for his friends and what he believed.

Alma:  I don’t understand.

( 4. Joseph, My Friend )
Jonathan:
A friend like him is hard to find.
He always was brave, good, and kind.
With strength and courage he lived true
To what he knew he must do.
Joseph, my friend, I love you.
It’s hard not to have you near.
It’s hard to go on without you.
We’ll hold your mem’ry dear.
You are God’s own; may he welcome you home,
And help us continue too.
When someone that you love is gone,
It seems hard to keep moving on.
Some day we’ll all see Joseph again,
And be glad that he’s our friend.
Joseph, my friend, I love you.
It’s hard not to have you near.
It’s hard to go on without you.
We’ll hold your mem’ry dear.
You are God’s own; may he welcome you home,
And help us continue too.

{As the song ends give about 5-10 seconds for the mood.  Henry enters from stage left.  He is carrying a gun that has been bent into an L shape so it goes at almost a 90-degree angle.  (This gun could be made of wood painted with a metal color or be bent metal pipe.)}

Henry: Oh, Jonathan.  There you are.  Well, I’m ready to go fight.

Jonathan: {Almost breaking into a smile.} With that?

Henry: They made me surrender the other gun.

Jonathan: Why didn’t they take this one?

Henry: The man collecting the weapons didn’t want it.  He said now he knowed why Mormons was always shooting themselves in the foot.

Jonathan: How did it get so bent?

Henry: Well, a certain unnamed someone { motioning in Alma’s direction} came over to help me clear rocks off my land and decided he needed a pry bar.

{Alma just looks away.}

Jonathan: Come on, Henry.  Let’s get down to the town square and meet with the men before they do something foolish.  {As they start to walk offstage right Henry marches off like an awkward soldier.  Jonathan stops and  puts his hand on his son’s shoulder.}  Will you be all right, son?

Alma: {Still holding back the tears} I’ll be fine.

{Jonathan exits. Alma pauses. #5 “Joseph, My Friend (scene change)” music begins with cymbal roll.  Alma stands to follow his father offstage.  Martha runs on stage left followed by Emily.}

Martha: {With great grief in her voice} Oh, Alma!

{Both Martha and Emily run to Alma.  Martha throws her arms around his neck and Emily throws her arms around his waist.  They stand there for about five seconds as the music rises; then as they exit stage right, the music softens, but continues to play through the scene change.}

{Act I  Scene 5:  Curtains open.  The scene is much the same except it is wintry.   This is Nauvoo in early spring.  Olive is sweeping her house, which is now almost bare of furniture.  Agnes Walker, Martha’s mother, followed by the other women (minus Gertrude) enter downstage right and Agnes knocks at the door. (The women ought to be wearing shawls or something for the weather.) }

Olive: Come in.

Agnes: {Entering} Well, Olive Hale.  What are you doing?  We’re minutes from leaving Nauvoo and you’re sweeping and cleaning your house?

Olive: Yes, Agnes.  I wanted it clean before I left.

Agnes: You didn’t sell it, did you?

Olive: No.

Agnes:  The mob plans to just come in here and just take over our homes.  I hear your husband even put your’s up for sale for $10.

Olive: Yes.  He said even if it was only $10, they could feel good about purchasing it instead of stealing it by driving us out.

Agnes: And you didn’t get any takers either?

Olive: No, not a one.

Agnes: And neither did we.  Why should they pay a dime when they can get it for free?  It’s a rottenshame, that’s what it is.  Well, you wouldn’t find me cleanin’ my house.  If they want to take it away for nothin’ they can darn well clean it themselves.  I haven’t cleaned it in weeks, just to spite them.

{Nauvoo music starts}

Olive: I can’t stand the thought of leaving it dirty for someone else.  I want them to know it was a home of love and a home that was loved.  {Olive hands the broom to Agnes. They step out and Olive gently closes the door.}  It was a place where we loved the Lord and raised our family.   “Nauvoo” means “the city beautiful” and although we must leave I want to leave it beautiful.  I want it to be a legacy to the faith, virtue, and love of this people and of those who led them.

( 6. Nauvoo, the City of Joseph )
Olive:
Nauvoo, Nauvoo, Nauvoo our home
Nauvoo, Nauvoo, we love you.
We will always dream of your bright gleam
Nauvoo the beautiful.
{ The women start to sing, and the children and men, all but Henry who is with Gertrude, and Aroet and Bishop Hoagland who have gone west, gradually file in from different parts of the stage taking positions with their families and join in.  Alma comes in with Martha.}
This is Nauvoo, the city of Joseph.
Nauvoo, a city built to God.
In this sparkling city by the river
We raised our hands praising God.
Here we all raised our fam’lies,
Built a temple on the hill,
And though we’re forced to leave our homes here
God’s hand will be with us still.
Nauvoo, Nauvoo, Nauvoo our home
Nauvoo, Nauvoo, we love you
We will always dream of your bright  gleam
Nauvoo the beautiful.
Nauvoo, we love you.

{As the song ends the group all starts to fade sadly off stage right, leaving Jonathan, Olive, and Miles alone.}

Miles: The last group is about to start ferrying across the river. You’d better hurry.

Jonathan: We’ll be right with you.

{Miles goes offstage right.}

Olive: {Turning back to look at their home.}  I can’t believe we’re leaving, Jonathan.

Jonathan: {putting his arm around her} Neither can I.  Somewhere out west there’s a place we can live in peace. Joseph talked about how Isaiah said, “the mountain of the Lord’s house shall be established in top of the mountains... and all nations shall flow unto it.”  The problem is, it’s still winter, and our people are hardly prepared to face winter outside of Nauvoo.

From stage left behind the house Gertrude enters dragging Henry.  Henry is wearing the ugliest coonskin cap available.}

Gertrude: ’enry’s been helping me load my things.  He is so big and strong. {With this she pats his shoulders and Henry puffs out his chest.  Then she slaps him on the back and knocks the air out of him.}  Vell, are you all ready to leaf?

{From upstage right, not seen by the others, enter Alma, Martha, and Emily and stop quietly upstage at Alma’s signal.}

Jonathan: Just about.  We’re just saying our last good-byes to Nauvoo. {He turns to look at Henry.} 

Henry, where did you get that ridiculous-looking hat?

Henry: I got it from the man who bought my house.
Jonathan: {In great surprise.}  You sold your house?  You’ve got to be kidding!  We couldn’t  sell ours.

Henry: {Acting real proud} Yeah, well I done sold mine.

Jonathan: You sly dog you.  How much did you get for it?

Henry: {Acting a bit embarrassed.} Well, uh, I got this coonskin cap.

{Those on the front of the stage laugh while those on the back smile and cover their mouths because Alma motions for them to be quiet.}

Jonathan: You sold your home for a coonskin cap?

Henry: Yeah.  What did you get for yours?

Jonathan: Well,  nothin’.

Henry: Then, I got a better deal than you.  ‘sides, the feller that bought my house was a real mountain man.  He said if I was headin’ west I needed to think and act like a Westerner.

Olive: {Holding her nose and looking at the cap.}  I hope that’s not how Westerners smell.  You sure he didn’t pay you to take that thing away?

{Alma has been whispering to Emily and signaling to her.  She swings wide around by the house and comes downstage so that she keeps Henry’s attention away from Alma, and so Henry’s back stays toward Alma.}

Henry: No way.  This is a Rocky Mountain original.

Emily: Uncle Henry, what’s that animal on your head?

Henry: This, young lady, is a genuine coonskin cap, taken from a coon in the Rocky Mountains.

Emily: {Holding her nose.}  I think you ought to give it back to the coon.

{Alma sneaks up behind Henry and jerks the hat off his head.  He throws it on the floor and starts to stomp it mercilessly.  Everyone else watches in horror.}

Jonathan: Alma!

{Alma stops and turns to face Henry.}

Alma: Wow, Uncle Henry, that thing was sneakin’ up on your head.  But no need to worry, I  killed it for you.

Henry: Alma Helaman Hale, you two-bit, ornery little hooligan!

{As Henry steps toward Alma, Martha moves up beside Alma, and Gertrude grabs Henry to calm him down.}

Alma: That’s a fine thing to say to someone who has just saved you from a skunk attacking your head.

Henry: {In a demeaning angry tone, reaching down and picking up the cap and shaking the smelly thing in Alma’s face (a bit of talcum powder might add a nice touch.)} For your information, Mr. Alma Hale, that  was my original Rocky Mountain coonskin cap that you just demolished.

Alma: {coughing} Well it sure smells like a skunk.  Why were you wearing it - to scare off neighbors or attract bears?

Jonathan: Alma!

Henry: I know when I’ve been insulted.  Gertrude and I are headin’ for the river.
{Henry and Gertrude start offstage right.}

Alma: Good!  Make sure you wash that skunk cap while you’re there. {pause} Of course that might kill the fish.

Jonathan: Alma!

Henry: {Turns to Jonathan} I know where there’s a good willer tree if ya ever need one.
{He glares at Alma and with that he walks off with Gertrude.}
Jonathan: Alma, how many times have I told you not to torment your uncle?  Why do you always have to ...

{He is cut off in mid sentence by a scream from Henry offstage followed by a scream from Gertrude.  Everyone but Alma bolts for stage right but just as they reach the side of the stage Gertrude comes dragging Henry across the floor by the feet.  She drags him to where he can be seen well and drops him.  She then leans over and starts to slap his face quite roughly.}

Gertrude: ’enry!  ’enry! Speak to me!  {Still whacking him.}  Oh ‘enry!  Say something!
{Alma is starting to back off the stage left, behind the house.}

Jonathan: Gertrude!  Gertrude!  {Strongly grabbing her shoulder to get her to stop whacking Henry}  Gertrude, what happened?

Gertrude: {panicky} Vell, ’enry vent to get on ’is ’orse and, vell, someone ’ad undone de strap and ’e fell on his ’ead.

{Alma turns to make a dash for upstage left, behind the house, but is stopped by his father’s voice.}

Jonathan: Alma!  Alma, come here!  {Alma slowly comes back, but keeps a bit of distance from his father.  Martha looks on, very worried.  Henry starts to revive.  As he starts to sit up, Gertrude gets excited.}

Gertrude: Oh ’enry!  {She gives him a big hug and a shake, upon which Henry lets out a groan, and when she releases him he flops onto his back.}

Jonathan: Alma, what do you know of this?

Alma: Know of what, Father?

Jonathan: Don’t play innocent with me!  You know very well what!  Did you do anything to the strap on Henry’s horse?

Alma: Well, Bess looked like she could hardly breathe and I thought a bit of rest might do her good, and...

Gertrude: {Turning to face Alma from her kneeling position.} So it vas you who tried to kill my poor’ enry!  

Henry:  I can ...  

{Henry tries to sit up.  He gets about up and Gertrude puts her hand on his chest and pushes him back down.  Martha gets behind Alma as a sign of support.}

Alma: Well, I was...

Gertrude: You know you could ’ave killt ’im!

Henry: {Starting to sit up again.}  I can ...  

Gertrude: {Looking at Henry.} You stay out of dis.  {She puts her hand on his chest and pushes him down again. Looking at Alma again.}  Did I not tell you dat you vould get in trouble vun day?  {She rises to face Alma.}

Henry: {Starting to sit up again.}  I can ...

Gertrude: {Looking at Henry again.}  I said for you to stay out of dis.  {She put her foot on Henry’s chest, who is only part way up,  and pushes him back down.}

Alma: Well, I was just ...

Gertrude: You vas just trying to ’urt the man I luff.

{With this Henry sits bolt upright.}

Henry: But I can ...

Gertrude: {Turning to face Henry again, this time a bit agitated.}  Dis doesn’t concern you.  {She puts her hand on his face and again strongly throws him flat on his back.  She turns to face Alma again.}  I tell you Mr. Alma ’ale, you is messing vith the wrong person vhen you mess vith me.

Henry: {sitting up again} I can ...  {Gertrude, not even looking at Henry this time, again puts her hand on his shoulder and pushes (throws) him to the floor.}

Gertrude: {Now stepping over Henry and advancing toward Alma, who starts to back up with Martha behind him.  Gertrude is wagging her finger in his face.}  I may look like a skinny veakling {to this Alma shakes his head},  but you make me mad and I can be meaner den a mudder bear vit a puppy!

Henry: {Sitting up.}  You mean a cub.

{Everyone turns to look at Henry.  Gertrude glares at him.  He glances at the others staring at him and then back at Gertrude, and he drops back down flat on his own.}

Gertrude: {Looking back at Alma.}  Just don’t you push me too far, mister!   {With that she stomps off stage right.}

Henry: {Sitting up and checking to see if  the coast is clear.}  I can stand up for myself!

Gertrude: {Appears again.}  Oh, I ’most forgot you, my poor, poor ’enry.    

{With the sight of Gertrude, Henry flops back down again, afraid to be pushed there.  Gertrude comes and jerks him to his feet and drags him off stage right  by the arm.  Alma looks much relieved.}

Jonathan: Well, Alma, what have you to say for yourself?

Alma: Uh, I will try not to do something so dangerous again?

Jonathan: Someone could get hurt badly from your pranks.

Alma: Yeah, and that someone was almost me!

Olive: {Grabbing Alma by the ear.}  I can’t say you didn’t have it coming.

Jonathan: Alma, why don’t you and Martha head on down to the river. Mother and I will grab the last few things and we’ll catch you down there in just a minute.

Alma: All right, Father.

{Alma grabs Emily by one hand and Martha by the other.  They start to exit offstage right but Emily pulls back.}

Emily: But you promised to help me with the lilacs!

Alma: {Trying to hurry before he gets in trouble and kind of under his breath.} We’ll get the lilacs.  Come on!

{They exit offstage right.}

Olive: {looking back at their home} Do you think we will ever see it again, Jonathan?

Jonathan: Not in this life, Olive.

{Music #7 ”Nauvoo, the City of Joseph( Reprise)” starts as they slowly walk offstage right. Curtains close.}

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