Becoming Human (Flames of Will)

[ Becoming Human at the fire. Felicia and Lia witnessing. Latin-"amenco musical theatre power ballad. F minor → F major modulation at final chorus. ] Becoming Human I have been a storm wearing the costume of a man. I have been a "st that forgot it was a hand. I called it strength, this wall I learned to build. I called it power, the thunder I could yield. [ Pre-chorus — palmas hand-claps enter softly. ] But the strongest ones I've known are the ones who let it show — the trembling underneath the throne, the river underneath the stone. [ Chorus — full piano, cajón, female chorus answers from o#stage. ] I am becoming — "nally, fully — human. Not the hero, not the king, not the $ame — the one who can hold his own name. I am becoming — slowly, softly — human. The fire I feared was the fire I am. And the fire is kind. The fire is kind. [ Verse 2 — the named fears, devastating specificity. Becoming Human looks directly at the men in the audience. ] I have been afraid to cry in front of my son. I have been afraid to tell my father — before he goes — that I am still his boy. I have been afraid to ask for help. I have been afraid to be wrong. I have been afraid to be soft. I have been afraid that being seen would mean I disappear. But every general I've admired was a child who never had to choose. [ Verse 3 — direct address to the triad of his inner aspects. ] Turbulence — I see you. Humanity — I take your hand. Compassion — make of me a country where the broken get to land. 60 Luis Miguel Gallardo • • • [ Bridge — Spanish, palmas only, then voices. Pure flamenco moment. ] Becoming Human, In Spanish Que arda. Que arda. Que arda lo que no es verdad. Que arda. Que arda. Hasta que solo quede la piedad. [ Final chorus — KEY CHANGE FROM F MINOR TO F MAJOR (parallel major). The alchemy made audible. The men in the audience are invited (not required) to stand. ] Becoming Human, Full Ensemble Joining I am not the strongest man in the room. I am the man who can finally cry. The fire I feared was the fire I am. And the fire is kind. The fire is kind. I am becoming — finally, fully — human. We are becoming. We are becoming. The fire is kind. The fire is kind. T he song ends. Becoming Human kneels by the fire. He removes a heavy coat — symbolic of the costume — and lays it in the #ame, where it is consumed quickly (or LED-consumed in stylized fashion). The audience is silent. Some men in the audi‐ ence are openly weeping. Some have stood. Some have stayed seated — and that is the silent permission of it. • • • Becoming Human, lighter now. He stands. He looks at Lia. BECOMING HUMAN. Tu turno, niña. LIA. I'm too small for "re. BECOMING HUMAN. No. You are exactly the size for "re. You just have not had the chance to choose what you burn. FELICIA. Not tonight, Lia. Not yet. There is more for you to see "rst. We will come back to the "re. Becoming Human nods. He moves to the side of the stage and remains visible — like Universal Panacea before him, he is now part of the company, witnessing what comes next. FELICIA. Come. We have walked through the dark, the river, and the "re. We are now at the heart. There is no further down. From here we begin to climb. She o"ers her hand to Lia. The lights begin to shift. The #re dims. A di"erent, warmer light is rising — air, not #re. The #rst hint of wings. • • • 64 Luis Miguel Gallardo FELICIA. But first — we breathe. All of us. Together. Fifteen minutes. She turns to the audience and speaks the next line directly to them. FELICIA. Stretch. Drink water. If you have a stone in your pocket that you came in carrying, there is a basin in the lobby. Go look at it. You don't have to put your stone down. But you can if you want to. We will be here when you come back. ···