Welcome to Music for Life, enhancing the Armstrong concert experience. I'm your host, Ryan Malone. In today's episode, we are going to explore a brand new musical theater production being staged here at Armstrong Auditorium, Paul, Ambassador in Bonds. This show features staff and students from Herbert W. Armstrong College, Imperial Academy of Edmond, and the acclaimed Armstrong Dance School. Portraying the final imprisonment of the Apostle Paul in a perilous first century Rome, this musical depicts the timeless themes of overcoming obstacles and advancing through adversity. With a modern score and imaginative step dancing choreography, Paul, Ambassador in Bonds will prove to be Armstrong's most powerful musical to date.
So stick around as we explore this new musical on today's Music for Life. At Armstrong Auditorium, we are busily preparing for another special production, a full-length musical called Paul, Ambassador, and Bonds, premiering December 19th, 20th, and 21st. As is the nature of this radio program and podcast, we prepare our audiences to experience all the concerts at Armstrong to the fullest. So this episode is intended to provide program notes so you can get the most out of this new production. Paul, Ambassador, and Bonds is the latest in a series of musical theater-type productions we've done here at Armstrong based on biblical personalities. Links for all these productions can be found in the show notes for today's episode. The latest musical is another combination of the talents of our staff, our college students, some of our pre-college students, as well as the award-winning Irish dance.
program we have here. So I will introduce you to the show's plot, its main characters, and some of the main musical ideas using some of the early mixes from our studio recordings to help showcase this new material. The life of the Apostle Paul, as recorded in the New Testament, spans over 30 years and includes over 100 specifically named converts. This is far too much material to cover, even in a two and a half hour plus musical, so the story is narrowed down to the following. Here is the one sentence summary of the plot. Imprisoned and awaiting execution, Paul labors to write one final letter to his helper Timothy to strengthen faithful believers facing persecution from the Roman Empire.
To help tell the story and to highlight some of the more well-known parts of Paul's life, the production will include several flashbacks as well, so not all the action takes place in the final year of the Apostle's life. To help keep the plot even more focused, the story of this production will follow Onesiphorus. Onesiphorus is a deacon serving the congregation in Ephesus, and he is the point-of-view character for the audience. I'll explain. After all the introductions are made to the characters and the story flow actually begins, we see that Onesiphorus is visiting a minister named Aquila and Aquila's wife Priscilla. This couple is also hosting the evangelist Timothy and Timothy's mother Eunice. The five of them reminisce about their history with the Apostle.
Paul. Soon they all learn of Paul's Roman imprisonment, so Onesiphorus, who's already heading to Rome on business, makes it his quest to find, visit, and encourage the jailed apostle. Moved from Onesiphorus' visits, Paul calls for the aid of Luke and labors to write a letter of encouragement to his faithful evangelist Timothy, an epistle also intended to strengthen the remaining faithful believers facing persecution from the Roman Empire. Timothy, who learns of the apostle's execution shortly after this letter arrives, realizes that despite Paul's death, the apostle's work will be immortalized in an unfettered way. So that's a brief summary of the plot. I should also mention who our antagonists are. There's the Emperor Nero and his spiritual advisor, Simon the Magician, known in the New Testament as Simon Magus. Simon is a central antagonist to the early church, especially to the work of the Apostle Paul. There's evidence of his collusion with the Caesar who eventually had Paul executed, Emperor Nero. Quite a wealth of information is contained in secular history about this individual, and I studied a lot of ancient sources to be able to create a historically accurate portrayal of this major historical figure. Both of these antagonists are accompanied by a female counterpart, Simon by his wife Helen, and Nero by his mistress, Octae, his only female companion.
There are other protagonists in the story I should mention. Since this musical basically revolves around the writing of 2 Timothy, I basically wrote any protagonist mentioned in 2 Timothy into this musical. There's Rufus Poudins, the half-brother of Paul. Rufus's wife, Claudia, a British princess. Her relatives, Eubelis and Linus. And then the ministers and secretaries, John Mark and Tychicus. Other protagonists are those found in some of the flashbacks. Barnabas, in the scene where a young Timothy meets Paul for the first time. Lois, the mother of Eunice, in that same flashback.
Plus, in another flashback, female converts in Rome, mentioned expressly in Romans 16 by the names of Mary, Trephina, Trephosa, and Julia. So let's get into some of the more exciting details of the plot. I think the musical opens with a powerful one-two punch. The first movement is an instrumental work comprised of a short overture and then, once the curtain opens, a dance. The Armstrong Dance Corps, comprised of Irish and ballet dancers, will portray this work called Dance of the Flames, which represents the cataclysmic fire of Rome in AD 64. This fire was a tragic turning point in the Christian religion as it became a scapegoat for starting the fire and many Christians were persecuted. The second movement of the program, the second of this one-two punch prologue, is a piece called Introductions, Dangerous Times. It basically is the introduction to all the main characters and...
Dangerous Times is the phrase that's repeated throughout that piece. But let's first hear some of this prologue. Here's where the curtain opens on the overture, and we see the dance of the flames. That was the opening movement from the new musical Paul, Ambassador, and Bonds, debuting at Armstrong Auditorium December 19th, 20th, and 21st. In that movement, dancers represent the spreading of flames during the Great Fire of Rome in AD 64. I tried to make the music sound like an inferno. I even used the famous Dies Irae motive, borrowed by composers for centuries, to depict judgment or cataclysm.
You may have heard that in the tubular bells at the climax of that dance number. For the second movement, the action moves ahead to AD 67, where the characters introduce themselves. Often in this movement, each character will introduce the next one. First comes the Greek chorus, and they introduce Nero, and he introduces his mistress Octae, then he introduces his advisor Simon Magus. This movement is in the style of a tango, and not only are the characters being introduced, they're doing so by talking about why these are dangerous times for them. Emperor Nero is concerned about insurrection at home, uprisings abroad, plus a seditious religion. Believers of this religion are concerned about the mounting persecution, and many of its adherents weakening in faith.
My mistress's gossip has grown, spreading through Rome like a flame. Rumors are rather well known, claiming that I was to blame. These are dangerous times, good or perilous times of hate. These are dangerous times, no exemptions for heads of state. Whether home or abroad, I must be on my guard. These are ominous signs of these dangerous times.
After dangerous times, we stay in the court of Emperor Nero, where Nero is concerned about an uprising in Judea. But Simon Magus advises the emperor to stay focused on eradicating the Christian movement once and for all by eliminating its regional leader, the Apostle Paul. This happens in a song called The Head of the Snake. In it, Nero's mistress Octae and Simon's wife Helen join in on why Paul should be executed. Octae is played by Paris Roberts, Helen by Kalila Brooks, and Nero by Shane Granger.
Here he publicly hails some new kingdom. This conspiracy must be brought down. Would exile or change be sufficient? Execution must be the result. This requires judicial proceedings. But the case will be open and shut. Your position is clearly at stake. You must cut off the head of the snake. It is over the monogamy. Understand this and make no mistake. We must cut off the head of the snake.
After The Head of the Snake, Simon Magus gives the emperor advice on how to counter discontent among his subjects by displaying the emperor's skills in poetry and song. To do this, Nero, on a trip to Greece, will force its Olympic Games to happen ahead of schedule. But let's hear a little of Simon Magus' counsel to Nero, where he suggests he enhance his public image. The song is called Angel of Light, and it's in a jazz style. Simon Magus is played in this production by Gianni Welsh. When you're troubled by chatter, rumors flying around, how you handle this matter to calm the clatter down.
Rumors need better rumors. Fighting fire with fire. Sell what fills the consumer's desire. When dark perceptions must be revised, you need a stylishly bright disguise. Through the storm you transform to an angel of light. When well-known facts are not on your side, and there's a charge that is hard to hide, then cast a glare with your flair as an angel of light.
The talking points and the topics come after what they can see. So optimizing the optics is the key. How any narrative can be quashed, just cast a spell with a swell panache. You can distract them from facts like wrong or right. If you are an angel of light.
I think this is a good place to mention the instrumental assignments I've given to each character in this musical. The fretless bass is used for Simon Magus, which you just heard there, often used along with a vintage synthesizer. When we talk about Nero playing the lyre, that is the stringed instrument, L-Y-R-E, we will hear a guitar in the texture. As for the protagonists, the piano is in Paul's sections of singing. We hear a harp when Timothy is singing, and a dulcimer sound follows our main character, Onesiphorus.
And in the next song, we hear from these protagonists in Ephesus. The year is now AD 68, and they are meeting at the home of Aquila and Priscilla. Here, Timothy is going over the contents of a letter from Paul. This is the letter that becomes 1 Timothy in the New Testament. He toasts those around the table for their incredible service to God's work. This is also another technique I use to get us acquainted with these protagonists' names. Then we hear the dulcimer when Onesiphorus stands to toast those who have hosted him. He explains how he's about to travel to Rome soon on business. This makes Aquila and Priscilla nostalgic, and they sing a song called Adventures. This is based on the account of Acts 18, basically, where the couple educated a man named Apollos in the way of God.
song they say the way of god is always an adventure aquila is played by joel hilliker host of another kpcg program trumpet hour and priscilla is played by laura turgeon the way of god the way of god is always an adventure we return to rome under nero's regime where our work could have greater effect we offered our lives to the martyrs extreme and we're happy to risk our own necks We soon let Rome, not long after it burned. Its aftermath cut our work short. So here back in Ephesus, we have returned, giving Timothy our full support. If to this higher power we surrender, we shall sail the gales that guide its splendor. For the way of God, the way of God, the way of God is always an adventure. It's always an adventure. It's always an adventure.
The duet Adventures leads into a more pensive soliloquy from Aquila, who sings about the importance of godly love growing. He's speaking both of his marriage to Priscilla, but also their involvement in and commitment to the work of God. Here's a part of the song that foreshadows something we'll hear in the epistle of 2 Timothy later.
Never forget that first line. Never let it wax cold. But infinitely increase. And multiply beyond measure. Ever, ever growing, ever growing stronger. As we grow old.
After this song, those at this dinner in Ephesus also discuss the unusual Olympic Games held the previous year, and Timothy expounds on the parallels between the Christian journey and sports. The musical material in that song provides the basis for the next movement, which is an instrumental dance movement titled Dance of the Athletes. For this, we see a flashback from the previous year in Olympia, Greece, where the dancers represent the gathering of athletes in the stadium. To set up the flashback, you'll hear a motive played on the harp, which is heard later in the show whenever a flashback is about to happen, and this motive will occur either on the harp or a piano as the musical progresses. This dance sets up the flashback to when Nero scheduled the Olympic Games to coincide with his AD67 visit to Greece, even though the Olympics weren't scheduled for that year. The Greeks then saw that as sacrilege, but Nero also ordered artistic displays to be added to the events. And so next we hear a song he presents as part of the contest. The chorus of observers, the Greek chorus, yes, it's a pun because a Greek chorus is also a commonly used theatrical technique. They comment on Nero's incredible skill on the lyre. But because of the homonym in our language between lyre, the instrument, and lyre, the untruthful person, you get the sense of the tongue-in-cheek reaction the Greeks would have had to Nero's musical displays. And though he sings about how the gods endowed him with a great...
voice from a well-known first century poem about him, he seems to have trouble hitting all the notes. I'll leave it at that to leave a little to the imagination for the show. As you might have guessed, this is sort of the show within the show moment and also the comic relief of an otherwise serious production. After this movement, we return to present day and the Ephesus home where the converts there receive a letter from a minister serving in Rome, Luke. In it, he tells the Ephesus brethren that Paul has been imprisoned again in Rome, this time under capital charges and in abysmal dungeon conditions that are a stark contrast to his first house arrest in Rome. We hear Luke's voice as they read the letter. Luke is played by Dan Arnfield.
When Gerald in Rome before, for two years all that lay in store Was waiting for indictments to be purged His accusers never appeared, but neither was his record clear Now charges of sedition reemerge The contrast is quite stark, these new conditions far more dark A place where flames of fellowship have fled Now treated as a traitor, some hostile agitator A deadly sentence lingers overhead Timothy is shaken by the news, and his mother Eunice encourages him by reminding her son of Paul's conversion. Eunice is played by my wife and voice faculty member here, Paula Malone. This song called The Road starts off in the first verse telling us about Paul's conversion on the road to Damascus, but then the road becomes a metaphor for life taking unexpected turns. After this song, Onesiphorus asks Eunice and Timothy to tell him how they first met God's apostle. The flashback that ensues is a powerful number called Through Much Tribulation, where Paul comes to life after having been stoned in Lystra and encourages the brethren there, including Eunice, her mother Lois, and a young Timothy, that it's through much tribulation that we enter the kingdom. After this, Onesiphorus
Onesiphorus sings a song of determination. See, when he first heard about Paul's fatal sentence, he debated whether or not he should try to visit him while in Rome. Now, this song, which ends the first half, called No Shame, is his internal dialogue where he realizes there's nothing to be ashamed of when attending to one of Christ's disciples no matter in what conditions they find themselves. As we move into Act 2, the curtain opens on Onesiphorus as he approaches a house in Rome. This is the house of Rufus Pudens and his family, his wife Claudia, their sons Timotheus and Novatus, daughter Prasetta, and infant daughter Pudentiana. These are disciples with connections, as is sung in the lyrics, and Onesiphorus asks them to help him find the jailed apostle.
In doing this, he sings an incredibly meaningful song explaining his motivation to find the apostle. It's called Support, and it indicates how the little things we do in life have greater meaning. Essentially, giving support to a disciple of Christ is like doing it to Christ himself. Here is that wonderful moment from Onesiphorus featuring that dulcimer sound associated with his character. Onesiphorus is played in this by our assistant music director here, Mark Jenkins. Some unseen things are cloaked in the apparent A shadow marking greater things to come
Some simple things just stand for something grander. The smallest parts reveal a greater sum. An ambassador reflects a higher power. A saint embodies Christ within his flesh. And if we offer aid unto a brother.
It truly is our Lord we have refreshed. If we honor the Son, then we honor the Father. If we visit the servant, then we visit his Lord. What profit we receive, if we receive a profit, it profits a profit's reward. Our daily habits form eternal features.
The qualities define our very core. And if we can be faithful with a little, God knows we will be faithful with much more. We acknowledge the author by embracing the message. We identify heaven by God's chosen on earth. And if man is just, we trust it's Christ he follows.
and what his example is worth. He needs our backing and support. He needs our positive report. Encouragement whenever he can hear it. Whatever burdens we can share, along with bold and perfect prayers, whatever might rejuvenate his spirit.
By finding God's man, we discover God's mercy. By hosting his brethren, with him we converse. And when we give a drink to the least of his disciples, he pledges we never shall thirst. Faith helps me discern the bigger picture. So my vision is not dim. I see God behind the man. Therefore I must find God's man. He needs me and I.
You are listening to Music for Life. I'm your host, Ryan Malone. This is KPCG. In today's episode, we are exploring a brand new musical theater production being staged here at Armstrong Auditorium, Paul, Ambassador in Bonds, premiering December 19th, 20th, and 21st. That was Support, Onesiphorus' aria at the beginning of Act 2 of the new musical Paul, Ambassador in Bonds. The next song is Princess Claudia's answer to what Onesiphorus just sang, that if we search for godly things, God will help us find them. This is another exquisite moment done beautifully by Jessica Brandon, who is playing the part of Claudia.
If you seek the Lord with all your heart and soul, if you search the hidden treasures of his mind, if you ask, you will receive. If you knock, doors will open, and all that you seek, you will find. This Christian knows the value of leaving former fortunes, exchanging bygone glory for everlasting portions. Possessing next to nothing truly will suffice, because we have discovered the pearl of great prize. With the power of God's spirit, the search is all things. We delve to new depths. We strike lasting springs. Seek the Lord.
After the song Seek, sung by Princess Claudia, we get another flashback, this one taking us into Paul's first Roman house arrest. For sake of time, I'll have to skip this, but it's a song called The Work, and its main theme is that the work of God cannot be impeded, even by imprisonment. This sets up the next scene, back in present day, where we finally go to the dungeon where our title character is being held. To introduce this scene, we have a short instrumental called Dance of the Chains.
After Dance of the Chains, Onesiphorus makes his way to the prison, tells Paul about how Timothy is struggling with the news, so Paul is determined to write a final letter to his protege and asks Onesiphorus to bring Luke. While awaiting Luke's arrival, Paul prays for Timothy, and on the other side of the stage, Timothy prays for Paul. As these prayers weave back and forth through the musical tapestry, we are also reminded of the fact that the piano represents Paul and the harp represents Timothy. You'll hear the handoff from one of these accompaniment instruments to the next as we go back and forth between the two singers. Finally, at the end, we hear the two prayers sung on top of each other, as you might typically expect in one of my productions. However, the twist is that Timothy now sings Paul's prayer while Paul...
sings the material Timothy sang, with simply the pronouns or point of view switched, for it to make sense, obviously. I think this will be one of the most moving parts of the entire production. Timothy is played by David Brandon, and the song is called Groanings, based on the phrase in Romans 8.26, which reads, We know not what we should pray for as we ought, but the Spirit itself makes intercession for us with groanings which cannot be uttered. Abba, Father, your son now cries. My every need your love supplies. I give you thanks for all your grace that overflows and grows my faith. I fall on my knees and lift up my hands, my eyelids enclosing my thoughts.
As I intercede, the silence expands My lips are now at a loss That you would count me worthy And extend to me your mercy For giving the transgressions of my past Quote unblindly in unbelief Of all sinners, yes, I am chief You still hear each petition that I ask So now I come. For what should I ask? For your throne. For what should I pray? About Hassan, I call my own. My heart. Your Holy Spirit. In him restore. For what to say? He has your strength, but he needs more.
I know I shall be heard, but I don't know the words. Yet your spirit will prevail, where words will often fail. Composing our request, the unspoken is expressed. I need that spirit, the need is sore. I need that spirit, please give me more.
Like a son works with his father, we have both excelled the gospel. Together in the spirit we have walked. No other man is like him, no elder as like-minded, extending my compassion to the flock. I know why I groan. I know why I cry. I know what I inwardly want. But there are unknowns beyond tearful eyes. What is your will to be done? Take charge of my request. For I don't know what's best. But your spirit will prevail. Where ours will often fail. Composing our appeal.
Though at odds with what we feel, I need that spirit, the need is sore. I need that spirit, please give me more. Could I also now obtain, if I may so implore, with what little sight remains, to see my son once more? Like a father with his son, what a force we would become Empowered by a love I'd never known When gallant hearts grow hollow, his faith I now must follow And imitate the courage he has shown I know why he broke. Your son now cries. I know why he cries. I know why he cries. I know why he cries. Your holy spirit. But there are a note in me restored. I have your strength. But I need more. But your spirit will prevail. Where ours will often fail. We need your spirit. If I may so implore. That he see his son is king.
After the touching prayer duet from Paul and Timothy that we just heard, Luke arrives in the dungeon so Paul can dictate his final letter. We not only hear the opening words of 2 Timothy sung in this one and how Paul might have dictated it to Luke, but we also hear Onesiphorus basically narrating the general themes of the letter.
After this final charge song, we have a dance break meant to represent the journey Tychicus takes to deliver the letter to Ephesus. This movement is in two parts, one noted as traversing sea and the other as traversing land. We'll hear the end of the traversing sea moment to the end where you can hear the tumultuous waves tossing Tychicus' ship around and then the music depicting land travel until the final hits of the song depicting him knocking on the door of his destination. That was Dance of the Dispatch from the musical Paul, Ambassador, and Bonds, premiering December 19th, 20th, and 21st at Armstrong Auditorium. The next two movements show how the letter was received in Ephesus. It was addressed to Timothy, of course, but we have a moment where he lets his mother read it, and she comments on a theme she sees in the letter, how there is no such thing as standing alone when we stand for God. This song includes all sorts of references from Paul's epistles, even alluding to an event that predates Paul's conversion, the martyrdom of the deacon Stephen. She also outlines the armor of God in this power ballad. This is one of my favorite performances from my wife in real life, Eunice, in this production. This is some of Stand.
For this, our feet stand ready, the gospel's proclamation. With this, our mind is guarded, the helmet of salvation. With righteousness, our breastplate. With truth, our belt is bound. Equipped with sword and shield, the faith to stand our ground. When we stand for God, we never stand alone. At our right hand, he makes his presence shake you.
After Eunice sings that powerful anthem called Stand, we go back to the imperial court to learn what has happened to our antagonists. Nero, realizing his plans to increase public favor, have backfired, has fled Rome, and not long afterward dies. Simon Magus considers a longer-term plan to take down the Christian movement. After this, we return to Ephesus where Timothy has heeded Paul's letter and sent for the minister John Mark so they both can urgently visit Rome to see Paul and Luke. But soon after John Mark arrives, Luke arrives with news of the apostles' martyrdom. Timothy realizes Paul's impact will now be through the addition of his writings to the scriptural canon. This lightbulb moment is embodied in a song called The Word.
which is based on the same material as The Work, the song where Paul sang about how God's work advances through adversity. After this song, the men are ready to embark on their mission in earnest, but Timothy takes another look at the final words of Paul's letter. For this, we hear Paul's voice, of course, and this 11 o'clock number sums up Paul's resolve and peace with the martyrdom that awaited him. Here is some of the song called Departure. At the end of this plight is a crown that awaits and an honor we all may embrace. I am ready, I know. Yes, I know in my heart. I am ready to go. The time is at hand.
The time to depart. This crown that I will hold, made of silver and of gold, is not just something one man can attain. Truly, as that day is nearing, all who long for his appearing shall from our righteous judge receive the same. I have fought the good fight. I have guarded the faith.
I have joyfully finished my race. At the end is a crown that awaits an honor we all may embrace. I am ready, I know. Yes, I know in my heart. I am ready to go. The time is at hand. The time to depart. The Lord Jesus Christ be with your spirit. Grace be with you.
Amen. You are listening to Music for Life. I'm your host, Ryan Malone. This is KPCG. In today's episode, we have explored a brand new musical theater production being staged here at Armstrong Auditorium, Paul, Ambassador, and Bonds. This show features staff and students from Herbert W. Armstrong College, Imperial Academy of Edmond, and the acclaimed Armstrong Dance School. This musical portrays the final imprisonment of the Apostle Paul and revolves around the writing of 2 Timothy, where a nostalgic apostle thinks back on his full life. This show premieres at Armstrong December 19th, 20th, and 21st. More information can be found at armstrongauditorium.org or in today's show notes. We just heard the penultimate song of the production, Paul's moving last words, so to speak, in a song called Departure.
The musical concludes, however, with a rousing epilogue, a song called Fight the Good Fight slash Dance of the Christian Soldiers. We'll conclude this program today by hearing some of the dance break, the dance of the Christian soldiers, into the final refrain from the company. In the final tag of the song, while everyone is holding that word crown, you hear the main theme from early on in the musical, from Dangerous Times, you hear the Dangerous Times motive repeated. The dance break itself also includes many themes from earlier in the show. I hope you enjoy, and I hope to see you soon at Armstrong.
You have been listening to Music for Life, a production of KPCG 101.3 on the FM dial in Edmond, Oklahoma. From the Herbert W. Armstrong College campus, I'm Ryan Malone. Thanks for joining me.