Indice:
[A] - Intevista a Waits e a Wilson su Woyzeck
[B] - Review n°1 sullo spettacolo
[C] - Review n°2 sullo spettacolo
[D] - Setlist completa dello spettacolo
[E] - Alcuni samples tratti dalle canzoni
[F] - Il testo completo di 3 canzoni
[G] - Foto dello spettacolo 

[A] 
Waits/Wilson interview about Woyzeck
(Transcript: Keith A. Durrans)

Waits: We met in New York City. My wife and I had written a play called "Frank's Wild Years". We asked Bob if he would direct the play, and one thing led to another. We didn't actually do that project, but we went on ultimately to do two other projects together. We did "The Black Rider" and "Alice", both with the Thalia Theatre. I agree that we're different men with different approaches to work with. The fact is, I think that if two people do know all the same things, then one of them become immediately unnecessary. There's something that I deeply respect about Bob's world view, it's sensitised me for the way that I think that now I see the world. I never noticed furniture before and now I notice chairs all over the world, everywhere I go. The key word really is `play', because I really get a lot of pleasure out of working with Bob and plumb the depths of myself, I think in a lot of ways. You lose track of the time. I mean how often do you get to go into a room and tell somebody about how the light should be, how the floor should be and everything you should hear and what you want everyone to say. It's ' great pleasure to go into a room where you can have something to say about all those details. So a true pleasure to work together. What with you Bob? Wilson: Well ... I realised when Tom and I first met that I wasn't so aware of his work. Then I heard him playing the piano and I immediately was touched by it. When I heard Tom touch the keys somehow he touched me, he got me. From the beginning there was this attraction. I can't explain it because it's so complicated . . . it's funny, it's sad, it's touching, it's noble, it's elegant. I's his signature, it's something personal. As Tom said we're different and I think that that's the attraction. They say opposites attract and somehow we complement each other, but there's a lot of overlap too. He can talk to me about direction or the look of a stage, or a character, the development of a piece, and Tom doesn't mind if I say something about the music or the sound. There's a real trust, and I think that's very rare that you can trust each other. In that way it's a real operation. When I look back at "The Black Rider", I don't remember who did what, sometimes it was like it just happened. Waits: Well I think Bob's in charge. Wilson: I think there's no one in charge. I think my responsibility is to provide a space where I can hear Tom's music. Can I make a picture, a colour, or a light, or setting for where we can listen to this music. Often when I go to the theatre I find it very difficult to listen, the stage is too busy or things are moving around too much and I lose my concentration. If I really want to concentrate deep, I have to close my eyes to hear. I try to make a space where we can really hear something, so what we see is important because it helps us to hear. I think that's one of the reasons I'm attracted to Tom; his understanding of his body and that his body is his resource, his movements, how the music comes from that .... It's deeply rooted in the body, and so often I feel that the work doesn't get deep inside the bodies, but I think in Tom somehow it does. His feet are on the ground. Waits: I think all things really do aspire to this whole condition of music. And Bob has a way of seeing and hearing - and you do start hearing and seeing really extraordinary things in very ordinary places if you just close one eye or tilt your head. Well the thing about working with Bob that you notice immediately is that he has a tremendous amount of leadership quality and that is something that comes immediately evident. Wilson: It's really surprising though, because all the time I was in school I was almost terrified to speak. I would come home from school, go in my room, close the door, lock the door and stay alone ... never any leadership quality. I always feel like I'm six years old when I have to get up and tell somebody what to do, but then somehow it's the other side of you. It surprises myself that sometimes I can say OK now everyone be quiet or shut up. The thing tha 's great about Tom is that he of course writes songs for himself but he's able to write music and other people can sing it. You can look at the pieces that I've done with Tom, they can stand on their own without Tom having to sing the songs. I think that was a great test for Tom that he came in as a composer, can find a voice for other people or his music could be transposed to other singers, other personalities whose voices are very different to his. In that sense he's a real composer. Waits: Yeah it's a challenge, it's a real challenge, 1 was wondering if I was going to be up for the challenge. It was sometimes where I was real cold, but it's ultimately very satisfying. But like I said it's hard sometimes when somebody else is doing your song. What I like about Bob is that if he's telling somebody how to move on-stage he'll come on up and he'll show them how to move, he'll do this most spontaneous and mystical physical movement. That is captivating and then he'll go like this and ask them to try on the sa e movements. They're never completely the same, but they break eggs for the cast each time he does that. And sometimes you can do that with the songs as well; you can sing it for them. Technique is not important, emotional telegraphing and truth is what is important and it requires no technique except emotional technique, but no actual, as to how many notes you can hear or how fast you can get there and how you fly it off those and the other notes, it doesn't really matter. That's what everybody wants to do when they come to the theatre they want to connect. Wilson: That's the most important thing, if you can connect with the public. I think you start thinking about a lot of ideas then you dig deep down into the piece and gets very complicated. In the end you want to come back to the surface and sort of forget about everything and just sit there and experience it. So every night you can experience it on a different level or different wave that you don't want to fix any one idea ... oh well this is this or th s is that. He is crazy, well maybe he's not crazy, maybe it is love, maybe it's not love... But in order to get there, to get the surface sort of simple and mysterious I think you have to dig down and find out all these different facets to these characters and this story so it is multi-faceted. But in the long run I hope it could be very simple and then I forget about all of those stories. Then I find other stories, so you get that surface to resonate, to kind of go in
there and somehow fight with boxing gloves sometimes, it'll come to you oryou'll go to it.It's like letting a child go. You watch him grow and walk on its own feetand there comes atime where you realise as a director, or someone who's helping make it thatyou no longercan do it and you've got to let these kids do it ... you just sit back andlook at it.I think abstractly. I can just listen to the colour of the voice. Theatre issomething plastic-make this quicker or make this slower or more interior, deeper... You cantell if the actorsare thinking too much, if they're forcing an idea. Often you feel like it'sblocked in the head.Open it up, receive, let it come to you.Waits: I told someone the other day that the song doesn't begin at thebeginning ofthe song. You don't want to feel the sense of stopping and then planting your feet, looking up to the balcony, throwing your head back and starting a song. You really do want to kind of create a condition of music that starts at the beginning of the play, or it starts in the lobby, so that it's all music really - what you're seeing and what you're feeling and what you're hearing.
Wilson: But for me I think it's all music in a sense of the deeper emotional presentation is in the music. Somehow it all has to be about a truth. I touch this glass and it's cool; that's truth. I touch my forehead and it's warm; that's truth, I don't have to express it. Somehow your feeling is your expression. So if you're just speaking the text, or if you're singing it, whatever, you don't really have to express it, your feeling is your expression. That is about truth.
Waits: You really have to give it away and at the same time you really are kind of spotting somebody who's on the trapeze. You can't tell them to get down and let you up there so you can show them how to do it. You kind of talk them through it or want to say the right things. You want to be able to have them retain their confidence and at the same time be able to receive new ideas. Those are sometimes two mutually exclusive things. Some people take lecturing very well and others just want you to go away and let them do it the way they want to do it. It's difficult so you learn by doing. It's like Bob was saying-you're making all of these discoveries, sometimes you reach to pull out the carrot and you only get the top, sometimes you dig for hours and no water. But the deeper that you go in the work the deeper the experience will be for the audience. I mean ideally that's what we're all trying. There's always surprising things that you didn't even know were in the play. Somebody comes and tells you something a ter it's started and you just kind of nod and say: I don't remember anything about that in the play. So we all have a 360 view or beyond that really. It's hard to describe how you do what you do. I collaborate on the music with my wife, Kathleen Brennan. I guess starting really is the hard part. I didn't know the story and had to find out all about it. In some ways it's like writing music for a murder mystery and a children's story at the same time. It's real tragedy, but at the same time it's a great story. You don't really start in the beginning. You start somewhere in the middle and split off and half of you goes down this way back to the beginning and the other of you goes off towards the end. I'm not sure exactly how we collaborate on music. Sometimes we start with titles. Kathleen will have a series of titles, and sometimes that's all you need is the title and you begin from there and the title itself stimulates ideas. And a lot of times we come here to the theatre and we're sitting out in the dark and Bob's doing something on stage an idea for a song will come if you're in the right condition for it. And with Bob you always have to be
ready to improvise, which is a really great muscle to develop, something that a lot of people stop doing when they grow up and the good part about working here is that you get to stay in shape using your imagination all the time. Bob will say - give me something here, we need something here, we need some music right now, just go down there and... It's really as simple as that, learning how to create on the spot and Bob really gives you a chance to do that. And I guess that's why it's so compelling to work here in this way.
Wilson: Actually we don't talk a lot about it beforehand. Often I find if I talk too much about a piece beforehand I go to rehearsal and I am trying to make in the rehearsal what I've been talking about instead of letting the piece talk to me. So if you go there and look at it and try to respond to it. I don't know, it's always better to just do it. Like Tom said I don't know how you do it, but you learn to walk by walking and you can talk about it all you want but
you've got to get out there and do it. So you just go and do something. Pretty much we start with a blank canvas or blank book and start sketching it out. When I first came to Europe to work I was working in Germany and I found it so strange that the actors had been in rehearsal for three months and they had been sitting at table and reading books and talking about the production. I thought - how could they read books for three months and still talk about it? I'd just get up and do it. The German actors found it very difficult because they wanted to talk about it first and have some ideas before they get up and do it. As Tom said it's always difficult to get started, but once you do just something, anything and then look at that and let that talk to you and then say let's do the next thing, I'll let the next thing happen. One way of directing is for me, writing a piece or creating a work by doing it and not sitting in a room talking about it, or at a desk writing something or making drawings, but actually getting in the space and seeing the actors; listening to the actor;
looking at their body; hear the kind of sounds they make and let that talk to me and give me the direction of where to go.
I, in the late sixties began working in formal proscenium theatres, and I know at that time it was a bit strange. There was an exhibition at the Whitley museum - "Ail Against Illusion" well that was the sixties, and I was fascinated by illusion. Nevertheless I came from this period. 1 wanted to put it inside of a box and look at it 2-dimensionally and then I became more interested in formalism and the kind of distance of looking at things. The kind of freedom that one could have and that one was sitting in the audience, one was free to imagine and think whatever. It was not coming out of what the popular theatre was, which were the psychologic, naturalistic theatre groups coming from a more artistic background. I think without John Cage, Alan Caprow, Robert Morris and Rauschenberg I probably couldn't have been doing what I was doing, but I took it and went somewhere else with it. My work definitely came from those roots. Also from a dance-orientation, although the work wasn't so much dance and then again in some ways it is. Martha Graham said that for her all theatre was dance and in some ways I feel the same way, we're always dancing, it's always movement. So I usually start with the body first, with the movement first and later let the other things come.
Waits: You have to have kind of an innocent bravery because, like for
example on this, trying to get started just looking for songs. Kathleen said - well it's a circus story really. You know it starts with the Ferris wheel and the whole thing and this gal Marie is a Coney Island baby, and so we started there. And she had this beautiful melody on the piano, and it was like the way a kid would play the piano and when I heard it I said, god that is just so simple and so beautiful, and I hung onto it and put it onto a tape recorder and I carried around. And now it's the opening melody in the story. It's the first thing you hear, what sounds like a child's piano lesson and it really works. So I think it's hard to say where ideas come from. I think you just have to be ... we were talking earlier, sometimes you scratch and you scratch and you can't find any seeds and a moment later there isn't enough pots and pans to catch it in. The beauty of that is that it could be a very ordinary thing that you get an idea from. Something falls, a pigeon flies in or you hear a siren. The other ni ht when we were playing in here and we heard a siren went by the theatre and I thought for a moment it must be part of the sound department's ideas. Bob must have told somebody that I want a siren right here, but of course it was just something that happened. That type of thinghappens all the time and that's what I love about doing this is - that there is a place where life overlaps.
Wilson: What's great about Tom too is he's never afraid to leave his mistakes. A lot of times we waste time trying to cover up our mistakes.
Waits: I guess you could also say there are no mistakes really. I mean there are no mistakes, in music there are no mistakes. It all has to do with how you resolve a particular problem that you're trying to solve in a piece of music and a lot of breakthroughs come through mistakes.
Wilson: To me one of the attractions of this play is that it's not dated. I mean who would ever think that this was a play from the 19's Century? It's much more contemporary modem than most modern plays. Tthese big sort of blocks of architecture, construction. All of the contemporary playwrights I can think of are nowhere near as modem as this - it's classical but it's very modem. It's not timeless but it's full of time. It's a classical construction because his mind was thinking in a very classical, structural way. 500 years from now this'll still be interesting because there's no shit, there's no garbage. There is like this brick is here, this brick is here, this brick is there and that brick is there. And it holds up, it stays together. It's structurally very soundly constructed. And you don't get involved with unnecessary things like hology and all these other things, it's very direct. And at the same time it's about the mysteries of life - something that's very concrete and something that's not at all. e must have been a genius of his age to construct these few works that he did. Waits: Well you know with stories the hard part of getting the truth out of anybody is that the people who really know what happened aren't really talking and the people who don't have a clue are diving across the table for the microphone. And who knows what really happened in the actual story, it really doesn't matter anymore because it's now a story. And once something becomes a story it's like a hammer or it's a tool or it's a vehicle. It deals with madness and children and obsession and murder-all the things that we care about and care about as much now as we did then. It's wild and sexy and curious and catches your imagination and makes you wonder about the people in it and it makes you reflect on your own life. So I guess those are all the things you want from a story and find them interesting 500 years later. The first thing that you realise, and it's widely talked about, is that it's a proletariat story. A story about a poor soldier who is manipulated by the government and has no money, is used to experiment on and slowly becomes mad. I guess if they had anti-depressants in those days they could have straightened him right out. 
Wilson: It's also a love story. I haven't figured out how to do it and don't know how successful we'll be in doing it. It's a very strange love story. There's Marie and Woyzeck standing there both looking straight ahead. These two people are somehow separate and together.
Waits: No more writing the songs for other singers. My voice is going to be the voice of the monkey at this point.
Wilson: I've got a little monkey in this play and that's Tom.
Waits: I'll be embodied somewhere.
Wilson: He's right down front too.

[B] 
Woyzeck - Review n°1
The show was excellent! It's very stylised, and more a series of tableaux, set against a backdrop screen, changing from exploding colours to stark grey and white, with very wilsonesque drawings. Very few props. And absolutely no Tom Waits on stage. There really wasn't room for him in this one.
The songs dominated the show, and they're all great (let's get that out of the way at once!) A few stand out in memory. The opening 'Misery River', especially the singalong bit after the Lucky-Day-type intro, and the coda with a nice little monkey in a green suit alone on stage, singing with the unmistakable voice of Tom Waits (he may not be on stage, but he's around).
'Everything Goes to Hell' is a great duet between Marie and her lover. And the funny 'It's Just the Way We Are, Boys' is built around a couple of limerick-type verses, including a naughty one that's not in the lyric sheet handed out before the show. So this is from memory:
There was a young man from Kent Whose dick was so big and so bent To save himself trouble, he put it in double And then, instead of coming, he went
'Diamond in Your Mind' is also terrific, with more than that line reminding of 'Get Behind the Mule'. This verse could have fitted into that song:
Zerelda Samuels said she ain't never prayed Till her right arm was blown off in a Pinkerton raid They lashed her to a windmill with "3-fingered Dave" Now she's 102 and drinking juleps in the shade
The most beautiful ballad is 'Coney Island Baby' (a title I would have thought was kinda taken), which returns several times in the show.
The arrangements are beautiful throughout, and it's all very cabaret-style (except for one bit with a twisted electric guitar). Instruments include piano, marimba, banjo, cello, tuba, and glockenspiel. Fantastic band!
I was quite surprised to find 'It's Over' in this context. It's over a year old now, and was included in the movie 'Liberty Heights', but it fits quite nicely here too, sung by Margret, played by Ulla Henningsen who obviously is a leading comedienne in this theatre, cause she got laughs all the time. Personally, I don't think the line 'You must have brought the bad weather with you' is all THAT funny. She's very good though, and so is Kaya Brüel who plays Marie, and Tom Jensen who plays the Drum Major. Jens Jörn Spottag in the title role opened a bit nervously, but got better and better throughout. The most outrageous (and funny) character is the Doctor, played simultaneously and almost Siamese-twin-like, by both an actor and an actress.

[C] 
Woyzeck - Review n°2
What can I say. As in BR, we get all the Charachters on stage in the first scene. A 2 meter tall Carnival Announcer in green/yellow bellies out Misery's the river of the world, as everyone is entering the stage. "Man is nothing but dust, sand and shit. What else do You wanna be, Man?" A red dressed Marie, boy was she sexy! and Woyzecks Rival, the Drum Major, had a devilish look, very tall (high heel shoes) and in an all red outfit with a kinda tail, that made you think of the Devil himself. The captain, fat, and piglike, coalblack outfit. The doctor(s) with small sunglasses that looked like something from La Cite d'Enfants Perdu, and finally Woyzeck enters all in white with the torso bare and vulnerable... I think he (Jen Jørn Spottag) was VERY good! A paper said he must have been a favourite of Wilson's; his stare being as vulnerable as can be. In the end of the scene the band e all the actors sings along, quite aggressively: "MIsery's the river of the world MIsery's the river of the world Everybody Row! verybody Row! MIsery's the river of the World!"
Some top moments: The captain: "Woyzeck I get anguished 'cause the earth takes a turn each day!". Woyzeck and his buddy Andres singing "always keep a diamond in your mind", doing little sudden movements with their heads, and you hear the diamond inside them, Pling!!
Woyzeck at the doctor getting some quite serious analysis, as the doctor jumpdances (MUST be seen!) around, taking turns talking (he's a siamese twin), and ends the scene by singing (and I think there is only one way of sing this chorus, so you can get an idea of the song here!!):
God's away God's away God's away
On Buisness [Break (for as long as it takes you to say "Break")] On Buisness!! Absolutely brilliant! And the scene actually doesn't end here; the doctor collapses on the floor, the pine tree (which symbolises (among several things I'm sure) Woyzecks uncertain anxiety of nature) grows taller, as piece by piece it's "folded out". a moon (cut like a sickel, or maybe Woyzeck's razor), enters from the left, and the, oh so blue, back curtain is filled by tiny stars that rises...oh boy, 'twas beautiful! Here Woyzeck sings Coney Island baby for the first time, and it's great:
Every ight she comes To take me out to dreamland When I'm with her, I'm the richest Man in the Town She's the rose, she's the pearl She's the spin of my world All the stars make their wishes on her eyes
She's my coney island baby She's my coney Island girl
She's a princess; in a red dress She's the moon in the mist to me
She's my coney island baby She's my coney island girl
The melody comes back to me now, and it's as beautiful as the words; this could get Johnsburg, Illinois status for me, as Tom's greatest love song!!!!!
Marie with the evil looking drum major. She's got it coming I tell you, walking seductively around this beast of a man who boasts of his captain's calling him a prime example (?). He resembles a bull, as she sits on top of him, and he crawls around the stage. She sings: "There are a few things I never could believe A Woman when she weeps A Merchant when he swears A thief who say's he'll pay A lawyer when he cares A snake when he is sleeping A drunkard when he prays I don't belive you go to heaven when you're good Everything goes to hell, anyway...
Later on, in the partment with their son:
A good man is hard to find Only strangers sleep in my bed My favourite words are Good bye, my dear And my favourite colour is red
As said, she's got it coming.
My favourite scene (which made my eyes water) is Woyzeck coming home, still not believing the words in his head. He stands in the doorway, looking at her, and sings Coney Island Baby again (possibly mixed in with All the world is Green (or maybe the other way around??)), but she looks away. Total blackout, and the two are embracing:
Marie: I'd rather feel a knife in my stomach than your touch upon me...
Total black out, and he's back in the doorway, she's back on her chair. He leaves. She looks after him, he looks back at her, she looks away.
It's good stuff, people.
The captain in the forest (this guy is probably closest to Tom's voice, which almost all try to copy - Marie excepted!):
"...Who gives a good God Damn You'll never get out alive There's no meaning; don't go dreaming A man must test his mettle In a crooked old world"
Finally I wanna mention a scene at the carnival where Marie and the drum major are dancing among 6 other people. or so. They're all in a circle made by tall flagpolelike...well, poles. And they dance twistedly around, as Margret sings "It's Over" like Marlene Dietrich on a BAaad day! I think I'll let it be at this; I can't remember all the songs, nor do those I can any justice in words, but they're definately good, VERY good!
The Band was amazing, doing their thing, very carnival-like, with nightmareish sounds (that play a BIG role as effects) in between.
The lighting was excellent, really, really effective and beautiful. I'm not very good at describing visual settings, but it's...VERY defining of the play. SO simple a setting with sharp yellow changing to sharp blue. The blood red keeps coming back right until Woyceck with a Dark sun lowering on him delivers the stab...I'm lost for words now... A visual and audio (?) Tour de Freaking Force!!!! 
To be continued
Jakob

[D] 
All the song titles from the play:
Misery River
Diamond in Your Mind
Overturned Pot
Another Man's Vine
God's Away on Business
Everything Goes to Hell
A Good Man (Is Hard to Find)
Coney Island Baby
Starving in the Belly (of a Whale)
It's Just the Way We Are Boys
Shiny Things
It's Over
All the World's Green
Woyzeck's Woe

[E] 
Here are the songs of the play, with a sample of the lyrics:

MISERY RIVER
Sung by the Carnival Announcer, the entire cast (chorus), and a monkey (Tom Waits)
If there's one thing you can say about Mankind
There's nothing kind about man
You can drive out nature with a pitch fork
But it always comes roaring back again

DIAMOND IN YOUR MIND
Sung by Woyzeck and his friend Andres
Wherever you may wander, wherever you may roam
Always keep a diamond in your mind

OVERTURNED POT
Lullaby sung by Woyzeck's woman Marie
Sun is red, moon is cracked
Daddy's never coming back
Nothing's ever yours to keep
Close your eyes, go to sleep
If I die before you wake
Don't you cry, don't you weep

ANOTHER MAN'S VINE
Sung by the Drum Major, Marie's lover
I see a red rose
I smell a red rose
I'll pick a red rose
Blooming on another man's vine

GOD'S AWAY ON BUSINESS
Sung by the Doctor
There's a leak in the boiler room
The poor, the lame, the blind
Who are the ones left in charge?
Killers, thieves, and whores

EVERYTHING GOES TO HELL
Sung by Marie and the Drum Major
Why be sweet, why be careful, why be kind?
A man has only one thing on his mind
Why ask politely, who go lightly, why say please?
They only want to get you on your knees
There a few things I never could believe
A woman when she weeps, a merchant when he swears
A thief who says he'll pay, a lawyer when he cares
A snake when he is sleeping, a drunkard when he prays
I don't believe you go to heaven when you're good
Everything goes to hell, anyway.

A GOOD MAN (IS HARD TO FIND)
Sung by Marie
A good man is hard to find
Only strangers sleep in my bed
My favourite words are good-bye
And my favourite colour is red

CONEY ISLAND BABY
Sung by Woyzeck
She's a princess in a red dress
She's the moon in the mist to me
She's my Coney Island baby
She's my Coney Island girl

STARVING IN THE BELLY (OF A WHALE)
Sung by the Captain, Woyzeck's superior
Who gives a good god damn
You'll never get out alive
There's no meaning, don't go dreaming
A man must test his mettle in a crooked old world

IT'S JUST THE WAY WE ARE BOYS
Sung by Andres and Woyzeck
There was a young soldier named Dice
Who remarked, they say bigamy's nice
Even two are a bore
I prefer three or four
For the plural of spouse it is spice

SHINY THINGS
Sung by Karl, an idiot
Leave me alone, you big ol' Moon
The light you cast is just a liar
You're like the crows, cause if it glows
You're dressed to go, you guessed I know
You'll always cling to shiny things

IT'S OVER
Sung by Margret, Marie's neighbor and friend
It's over, it's over, it's over
I'm getting dressed in the dark
Our story ends before it begins
I always confess to everyone's sins
The nail gets hammered down

ALL THE WORLD'S GREEN
Sung by Woyzeck and Marie
Pretend that you owe me nothing
And all the world is green
Let's pretend we can bring back the old days again
And all the world is green

WOYZECK'S WOE
Sung by Woyzeck
The ribbon round your neck
Against your skin that's pale as bone
It is my favourite thing you've worn
The band is playing our song
And we won't go home 'til morn

MISERY RIVER
Sung by Margret and the entire cast
Misery is the river of the world
Everybody row! Everybody row!

[F] 
Three new songs of Kathleen Brennan and Tom Waits

MISERY RIVER
Kathleen Brennan / Tom Waits
Chorus:
Misery's the River of the World
Misery's the River of the World
The higher that the monkey can climb
The more he shows his tail
Call no man happy 'til he dies
There's no milk at the bottom of the pail
God builds a church
The devil builds a chapel
Like the thistles that are growing
'round the trunk of a tree
All the good in the world
You can put inside a thimble
And still have room for you and me
If there's one thing you can say
About Mankind
There's nothing kind about man
You can drive out nature with a pitchfork
But it always comes roaring back again
Chorus:
Misery's the River of the World
Misery's the River of the World
Misery's the River of the World
For want of a bird
The sky was lost
For want of a nail
A shoe was lost
For want of a life
A knife was lost
For want of a toy
A child was lost

Chorus:
Misery's the River of the World
Misery's the River of the World
Everybody Row! Everybody Row!
Misery's the River of the World
Misery's the River of the World
Misery 's the River of the World
Everybody Row! Everybody Row! Everybody Row!

DIAMOND IN YOUR MIND
Kathleen Brennan / Tom Waits

Chorus:
Always keep a Diamond in your mind
Always keep a Diamond in your mind
Wherever you may wander
Wherever you may roan

Zerlelda Samuels said she ain't never prayed
'til her right arm was blown off
in a Pinkerton raid
They lashed her to a windmill
with "3 fingered Dave"
now she's 102 and drinking
juleps in the shade

Chorus:
Sissy's hanging laundry
down by the brook
Penfield Morgan's taking more than a look
if it weren't for the
squawk of the rocker
that's kept out in the rain
There wouldn't be nothing
to complain about except for the trains ....oh,

ANOTHER MAN'S VINE
Kathleen Brennan/Tom Waits

Bouganvillas bloom and wind
Be careful mind the strangle vines
The rose is climbing over blind
'Cause the sun is on the other side
The weeds will find their glory
They strangle as they wind

Chorus:
Around a Red Rose
I see a red rose, a red rose
Blooming on another man's vine

Golden Willie's gone to war
He left his young wife on the shore
Will she be steadfast everyday?
While Golden Willie is far away
Along the way her letters end
She never reads what Willie sends

Chorus:
Now I see a red rose
I smell a red rose
I'll pick a red rose
Blooming on another man's vine

[G] 
Here's a german site where you can buy photos from the play.
Photos by Oliver Fantitisch
Follow this link and click on the link at the site to get to the photos from
the Betty Nansen Theatre
http://www.tandem-online.de/