Cast Bird, the Musician. A mute personification of Charlie Yardbird Parker. The only sounds that he makes come from his horn. Bebop (Trumpet). A young optimist professor of Bebopism shades of Dizzy Gillespie. Bigger (Drums). A driving, near violent force shades of Max Roach. Cool (Bass). Wavers between practical and cynical madness of Monk and Mingus. Trick (Piano). A good musician but a muddled thinker - often gives the illusion of being white Red Rodney with a different axe. Face. Assumes several characters the nurturing mother a white socialite an earthy realist and a band singer. Baron Cemetary. A voodoo version of death, lord of restless spirits, healing, and resurrection. Part El Pachuco and part Bojangles. The Music of Charlie Parker (The action of the play is the Vamp; that is, a staged accompaniment to the music. Thus, the music is a major element and requires either a live or recorded quintet. The actors wear the fashions of the |40s/50s, with the exception of the Barort who wears a faded doorman's livery and a dusty top hat. Bird is the only actor required to have an instrument on stage, and he must be able to finger it credibly.) (The stage is divided into three areas. Up right, an elevated band-stand/balcony overlooks the other areas. Center stage is a lighted area that serves as both entrance and exit; this area is littered with travel trunks and instrument cases. Down left, a street lamp dominates, but it casts a square light pattern, often giving the illusion of an open grave.) (As the curtain rises, Bebop, Cool, Bigger, and Trick are on the stand playing an updated version of Mood. Bebop sings these revised lyrics.) Six silver horses pulling an empty caisson saxophone shouting that Bird has flown. Flew to Kansas City Sorry that you couldn't fly, too. Sorry that you couldn't fly, too. But when you hear us jamming, remember that Charlie Parker jammed here, too Charlie Parker jammed here, too. (SCAT.) (As Bebop sings, the lights find Bird, center stage, stretched out on the trunks. He could be asleep or dead. After a time, the lights find Baron and Face, who perform a stylized dance to the music. As the song fades, Bird stirs and picks up his axe.) Bebop: come on in here, Charlie Parker. You can blow now, if you want to ... (Bird blows the final notes of Parker's Mood' and segues into the opening bars of Yardbird's Vamp The lights crossfade from Bird center stage, to the Baron who is leaning against the street lamp and looking in the grave.) Baron: Round about midnight when sound was a bloody river and gentle mamas wore feathers and flame. In Kansas City, the old ones say that they found ash and eggshell, proof that the fated son Bird was both burned and born. He was sphinx and flower, sunrise and sunset. Now our midnights are black and void, waiting the light from this screaming comet's tail. (As the Baron speaks, the lights and music crossfade from Bird to the bandstand. By the time the Baron ends his speech, Bird is silent, in darkness, and the band is playing softly. Bebop speaks quietly to the audience.) Bebop: We ain't playing no tragic line | cause this ain't the first time Bird has failed to show Until he does like we gonna slur some high notes and falsefinger the implied passages. In his absence, how else could one vamp on Bird? (The piano and Trick chime in.) Trick: This rumor about Bird's death is another of his famous put-ons. I say he's in K.C., woodshedding with a laser and an elephant tusk. (The drums and Bigger challenge Trick) Bigger. Naw I know my man's in the motherland or else he's Either way, I wouldn't trust Bird to be or stay dead (The bass and Cool speak.) Cool: Is the cat a genius? …