SOMETHING GREATER

THE CAST (In order of appearance)

Townspeople (6-10) Non-speaking characters in opening and coronation scenes. Able to react visually, and ad lib.

City Gate Singers (CGS) Ensemble (Ensemble) (6-9) Strong choral singers cast for their ability to harmonize well a cappella. Physical acting required in opening scene. Some (up to 6) may double in other roles, marked by asterisks below. The Ensemble’s primary role is to open the show. They also set a somber musical tone from offstage for King David’s final moments and are choral support to “Something Greater” and “The Greater One.”

Ensemble Director (Director) With command and personality, he/she directs the ensemble with vigor and visible expression, bringing humor to the opening scene, and solemnity to David’s death monologue.

The Prophet Nathan (Nathan) The humble prophet and advisor to King David is energetic, articulate, and always knows the right thing to say. A confidante and friend to Bathsheba.

Nathan is also storyteller to the audience. A clear speaker, comfortable with spontaneity and at ease in connecting with an audience. Guides the action with an innate sense of timing that brings the audience along, and moves them. Narrates the story like an observer’s real-time commentary, yet can seamlessly shift back into a character in the play. Soloist, tenor/baritone

Bathsheba (Shey) Dignified, well dressed, graceful and a beauty, inside and out, she demonstrates quiet confidence in the way she carries herself and interacts with others. She is smart, witty, and expressive. Loving and caring with King David. A friend to Nathan. Able to tell her story with emotion and conviction. Soloist, alto.

Solomon A small yet essential role. Not a lot of lines, so he needs to “look the part” and be capable of communicating well non-verbally. Handsome, composed, and distinct. Projects intelligence and grace, and commitment to his father the King.

King David (David) An authoritative figure who can portray many emotions associated with being King David; confident, angry, despairing, joyful, regret-filled, giddy, and in physical pain. He is intensely loud and powerfully quiet. Able to clearly articulate challenging dialogue. Of smaller frame than Uriah, who towers over him. Helpful if he can be portrayed with thinning hair, in contrast to Young David, yet be of similar frame. Soloist, bass/baritone.

Nathan’s Prophet Colleagues (3) *

Talent for humor and timing needed, as they bring comic relief in a dismal situation. Articulate speakers, they support and also chide Nathan with quick dialogue and ad lib. Stature and voice part should be considered, as they deliver a comical musical number. May duplicate in CGS with costume change. Soloists.

Shey’s Girls (Girls) (2) * Small yet vital roles; they initiate a change of perspective on Bathsheba. They are haughty and judgmental yet empathetic and helpful. They assist with the coronation ceremony and may sing chorus on Shey’s solo. May duplicate in CGS with costume change.

Great-Grandmother Ruth (GGR) Change Agent #1, the first visitor from David’s past, must have a powerful presence, as she sets the tone for all the visitors. Of stature, grace and confidence, able to be both commanding in her rebuke, and tenderly empathetic as a grandmother. Uses a cane. Brings a message about denial and demands that David hear it. Some audience interaction.

Young David (Young D) * Change Agent #2 has the look of a young teen, yet similar build as King David. Long hair, witty, full of youthful confidence, and carries a guitar on his back. He is energetic with a sense of comedic timing. He cheerfully mocks David for his anger and sets him straight in one brief scene. Some audience interaction. Guitarist and Soloist, tenor.

Commander Uriah (Uriah)

Change Agent #3 is of powerful stature, in size or in the way he carries himself. He comes in angry, threatening, and seeking revenge. He is commanding, yet easily moved to tears. Wears a belt with a knife. He won’t bargain with David, but changes his intent, choosing compassion and forgiveness. His scene is intense, requires strong acting ability, and closes the first half.

Gospel Writer Luke (Luke)

Change Agent #4 shows up as an intellect, able to pull off a scientific, no-nonsense manner. He can paint a picture with his words. Initially timid, he is so certain of his truth that he overcomes fear of the king to share it. With determination, he is singly focused on getting The Good News (part 1) to David. Luke has a large and powerful scene where he presents the future Jesus, and he returns in the last scene to be part of King David’s final moments.

Mary, Mother of Jesus (Mary), * with baby Jesus From a different dimension than other visitors, Mary appears as a vision shared by Luke with David, and presents a different side of Mary than traditional portrayals. Not only a proud new mother, she also discloses her sadness and dread. In three powerful scenes, she must convey strength with sorrow, and a breadth of emotion in song. From her “dimension,” Mary is unaware of the action onstage, and never makes eye contact with the audience or other actors, except Young Jesus. A loud speaking voice needed for closing scene. Strong soloist, soprano.

The Apostle Paul (Paul) * Change Agent #5 is an authoritative and imposing figure, despite a smaller stature. He is forceful, loud, and passionate about everything, especially for the way of the Lord. So certain of himself, he is unafraid to confront the King’s arrogance, and vigorously guides David to accept the change of plans with The Good News (part 2). Strong and articulate, Paul must be able to “preach it” with confidence, and weep at the thought of it. Some audience interaction. Solo.

Adonijah (AJ) * Of a similar frame as King David. It’s a small role, yet important that he can project actions without words, as he willingly yields the throne to his brother Solomon. If a singer, may duplicate in CGS with costume change.

Young Jesus (Jesus) Like his mother, he appears from another dimension as a vision shared by Luke with David. Small build, like that of a pre-teen. Can speak clearly and articulate well in a touching closing moment of the play. In a brief but crucial closing scene, the character must be well cast with a respectful, inquisitive, and charismatic manner. Focused solely on Mary and his book.

*Option to also be cast in CGS Ensemble