Words and music by IVO MOSLEY.
SYNOPSIS, focusing on six recorded songs:
Paul, a carefree young man aged twenty, is getting to know his billionaire father Breimann Hertl. Breimann is first-generation American, an immigrant from Europe; Paul is his illegitimate son from a fleeting liaison. Paul has fallen in love with Mei, a beautiful Chinese American girl. His father is bound to disapprove!
Breimann, in his eighties and in a wheelchair, is terrified of dying. For his birthday, his sixty-year-old wife Marionetta gives him the ultimate present – the chance to live again in a beautiful young body. She will accompany him, re-born as a beautiful young woman. Their identities are to be transferred to their new bodies via a brain transplant.
When Breimann doubts his wife’s reasons for wanting to live a whole new life, suspecting vanity motivates her, Marionetta sings THE PUREST OF LOVE, a love song with disturbing undertones.
Breimann invites his son Paul to approve their decision. Paul is horrified. Breimann believes that his son’s horror is just a mask for disappointment – he will not be getting his hands on his father’s money quite yet.
Cyril and Dean are the scientists in charge of the operation. They describe their outrageously cynical attitude to life in the song MONEY.
Meanwhile the course of Paul’s love is not running smooth. Mei, brought up by hard-working parents, finds Paul’s carefree attitude to life shallow and the wealth in his family offensive. In VIDEO GAME, Paul tells how he fell in love with her.
Marionetta and Breimann have their operations, but things turn out very differently to how they expect. Breimann, in his new body, only wants to conquer girls. He has no interest in the things and people he once loved.
Marionetta is distraught. She tracks Breimann down to a cabaret restaurant. There she is struck by the sight of an old man who reminds her of the old Breimann; transfixed, she sings to him FORGIVE ME.
Breimann comes in; noticing the beautiful Marionetta, but not recognizing her, he sings A GIRL LIKE YOU. Suddenly realizing who she is, in the middle of the song he tails off. For a moment he shows regret for what he has thrown away.
Troubles are mounting. There are medical problems: Breimann is in constant pain as his new body starts to reject his brain. Paul is making trouble by not keeping his mouth shut. News gets out, the media begin to follow the story and Breimann’s financial empire collapses. Breimann’s chief of security decides to have Paul killed. Heavies burst into Paul’s flat, but find Mei there with him; in the confusion, Mei shoots and kills one of the assassins.
Breimann has become reckless. Intending to die soon, he decides he will wreak vengeance on the scientists first.
Paul goes looking for his father. He finds him in the doctor’s office, in terrible pain. Breimann uses his dying breath to sing VOICES: he remembers his childhood. He is back in a sunlit field, where his family, fleeing the build-up to war, has stopped to rest. His only connection with the ‘now’ world is his son, whom he has come to love too late, to whom he can only impart a sense of what he lost. The tune is an ancient Hungarian lament upon leaving the homeland.
Breimann shoots himself. Mei enters: the lovers are re-united and the curtain comes down.
Recording Credits as follows: Music, Lyrics, Arrangements by Ivo Mosley; Additional musical material and arrangements by Colin Cattle; Singers (in order) Debbie Paul, Mathew Storey & Steven Hill; Tim Baker; Jayne Nesbitt; Pete Brent x 2. Trombone, Barnaby Dickinson; Trumpet, Nathan Bray; Reeds, Sarah Wearne; Keyboards, Simon Wallis; Drum Programming, Mike Bedford; Bass Guitar, Dave Clements. Musical Direction, Colin Cattle. Mixed & Engineered by Dave Clements. Copyright 1992 by Ivo Mosley.
- SCIENCE is scored for musical director/keyboards, keyboards 2, percussion, bass (trebling), reed (trebling) and trumpet.
- A reduced version is for two keyboards and percussion.
- SCIENCE was showcased at The Bridewell Theatre, London, to full houses and rapturous applause. Producers found it too full-on.