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lyrics

[Alto comes onstage with a guitar case and some cardboard signs. She sets herself up for a day of begging.]

I am no one and no one is what I shall be
I'm still to small to exist, I agree.

I'm a speck of dirt
A dog on the run
If anything at all
But remember, God, remember
I never asked to be involved.

[Alto reveals a sign that reads 'Ninja's took my family. Need money 4 karate lessons.']

But I'll always be so,
Mothers and fathers, oh,
Take pity on me.

[Alto starts to seduce and audience member, pushing her guitar case closer and closer to him.]

But I'll always be so,
Mothers and fathers, oh,
Take pity on me.

[Audience member gives her money. She throws it in the guitar case and resumes her position begging.]

Bringing up's not worth the pains I allow
I can't escape my fate.
No one can need me; it's too soon now
And tomorrow it'll be too late.

[Alto sits on the lap of another audience member.]

But I'll always be so,
Mothers and fathers, oh,
Take pity on me.

[Alto gets up, revealing that she has stolen the audience member's purse. She takes out some cash, goes up to another audience member and buys a bottle of Jack from them.]

But I'll always be so,
Mothers and fathers, oh,
Take pity on me.

[Alto starts drinking and yelling at the audience.]

I've only got this dress you see.
It's growing thin and colorless.
But it'll have to last an eternity
Before God nonetheless.

I've only got this bit of hair
The same as it was before.
It used to be someone's dearest care
But they don't care no more.

No they can't care no more.

[Alto sits down and counts her cash for the day.]

I'll always be so
I'll always be...

credits

from Threesomes and Suicides: My Night with Rilke, released May 11, 2013
Alto: Tenara Calem

Violin 1: Emma Piazza
Violin 2: Rainjana Haynes
Cello: Molly Griffin McKenna
Clarinet: Chelsea Bernard

Piano/Percussion: Amanda Claire Buckley

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Amanda Claire Buckley New York, New York

Amanda Claire Buckley is a young composer interested in breaking with the American music-theater tradition; blending modern pop writing with the style of Weill and Sondheim while paying homage to the cathartic power of hymns. Her work plays with both chromaticism, modality, and the juxtaposition of poetic language with humorous theatricality. ... more

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