Tracks is a romantic musical play under development. Set in 2014 in Prince George's County, Maryland, it explores the friendships and love that unite the diverse, multicultural riders who board together each morning at the farthest station along Metro's Purple Line, a light-rail that will connect Prince George's with neighboring Montgomery County. 

Seeking funds to finish the orchestrations and cast album!

To hear the songs, scroll down to "Story Synopsis With MP3 Song Clips!

The train platform may look something like the MARC Brunswick Line's Barnesville station:

Tracks examines the spiritual awakening of Duran Longshaw, a reluctant new rider who learns that he'd rather connect with others than commute alone. But before Duran can win the heart of Helina, the station's flower woman, he must "cross the tracks" and extend his love to the homeless who dwell among her.

Running time will be about 2 hours 18 minutes plus an intermission. The 23 songs include 17 dances and reflect the diverse ethnicities of their characters. 

The characters (as envisioned)

Duran Longshaw,a new rider, bitter from a recent divorce

Helina, the sad, mysterious woman who lives near the train station, befriends the homeless who dwell there, and peddles flowers to the riders.

Rosie, Helina's free-spirited young daughter, beloved by the riders and homeless alike.

Mike, an engineer and best friend of Melanie

Melanie, who secretly loves lifelong friend Mike

Sam, an outgoing inventor

Celia, a shy artist

Peter Kim, a skirt-chasing professor of Applied Mathematics

Lorna Chang, a Chinese-born physicist

Carla, a saucy Mexican-born vamp who is past her prime

David, a Jewish aspiring songwriter who annoys other riders by singing or humming while listening to music

Sholeh, an Iranian-born economist at The World Bank

José, an illegal immigrant from the Dominican Republic

Bea, an outspoken retiree

An, a Vietnamese-born manicurist

Pierre, a gay rider

Olivia, a Latina who rides with Carla and An

Ranil, a computer geek from Sri Lanka

Shanti, a professional from India

Rudy, a homeless man

Wanda, a homeless woman

Songs From the February 17, 2007 Audition at Grace Church in Silver Spring, Maryland

With Friends Like These

Third Car, Seventh Row

Rather Like You

Story Synopsis With MP3 Song Clips

Disclaimer:The song clips are works in progress!

Act I, Scene 1: Platform of a Commuter Train Station in Prince George’s County, Maryland (late 2014, morning)

After a musical Overture, the curtain rises to reveal the train platform of the most distant stop of Metro’s new Purple Line, and behind it, a community of apartments and houses. When an alarm clock signals the start of a new day, the riders in their homes hurry to prepare (“Morning Rush”) and assemble on the platform. The regulars are joined by a new face, Duran. A black professional, Duran is newly divorced, without his Lexus, and bitter to be waiting at a train stop. This stop is different, explain the riders: A common goal—provide 18 riders a day so the train will continue serving their town—has spawned a rare camaraderie (“With Friends Like These”). As they sing, we meet Peter, a Korean-American mathematician; David, a Jewish songwriter; Carla, a sexy, mature Latina; Sam, a black inventor; Lorna, a Chinese-American physicist; Mike, a white engineer; his childhood friend Melanie; Bea, an outspoken white retiree; and homeless Rudy and Wanda. Enter Helina, a pretty black flower vendor. She offers Duran a flower; he grumbles that there’s little reason to be happy. The train arrives; the riders board. Duran innocently takes the seat “owned” by Peter, who explains why a bachelor like him finds that seat ideal (“Third Car, Seventh Row”). When Carla eyes Duran, the women urge her to make a play. She declines: A considerate, well-adjusted man is “Not My Type”.

Scene 2: The Platform
(morning, 2 weeks later)

As the riders board, Helina tries engaging them in friendly conversation. But they are cool to the lowly flower woman. After they depart, Helina explains to Rosie that many find it difficult to love those who are “beneath” them. She hums a little-known Negro spiritual; if 100 people would sing it together, hatred would end. After sending Rosie to school, Helina cleans up while singing the spiritual (“There Will Come a Day”).

Scene 3: The Platform; Aboard the Train (morning)

Mike and Melanie arrive. Oblivious she loves him, Mike assures her her knight will come (“Hey, Pretty Girl”). They exit. When Celia struggles to clutch her art portfolio, Sam presents her a holding gadget. He and the other blacks explain that he represents a long tradition of black inventors (“That’s What We Do”). Celia assents to meet Sam Saturday for a picnic, double-dating with David and Iranian banker Sholeh.

Scene 4: Aboard the Train (evening)

On the crowded train home, riders jockey for seats (“Waiting for a Seat”). Various riders from our stop explain how and why they use portable electronic devices (“Tapping on a Laptop”).

Scene 5: A Park
(Saturday afternoon)

Sam and Celia are finishing their picnic with David and Sholeh. When Sam and Celia go for a stroll, David and Sholeh try to get acquainted. The task proves difficult, for in Muslim culture, fraternizing with an “infidel” is taboo. But this is America, protests the songwriter; in our show tunes, when a man and woman meet, anything is possible (“Always a Doorway”).

Scene 6: The Platform
(the next day)

The women ask Celia and Sholeh about their dates. It was nothing, they insist; but extraordinary things can happen when you open your heart on an “Ordinary Day”. Duran now regards the riders as “My Kind of People.” But the homeless know that his feelings don’t extend to them; and as the curtain closes, conflict looms between the two groups and their leaders.

Act II, Scene 1: The Platform (morning)

After an Entre’ Act, Rosie frolics as the ensemble toasts her mischievousness in a production number (“Rosie”). Duran awakens to feelings for Helina (“Helina”). Melanie asks Mike how his date went. Splendidly: she’s “Rather Like You”. The men depart for coffee. Melanie frets that she’s no match for Mike’s hottie. Nonsense, assure the women of color and Pierre as they doll her up; he’ll take notice if you “Use What Ya Got.” A stunned Mike returns to a sultry new Melanie. Melanie resolves to search for love “On Craigslist”.

Scene 2: The Platform
(the next morning)

The riders’ noses are buried in newspapers. As they read, they reveal diverse political viewpoints (“Paper Roulette”). The riders learn they’ve failed to meet their ridership quota; hence, the Purple Line will soon stop serving their town. All riders but Duran board the train, which departs. Duran and Helina each express their love for the unseen other (“Helina”/“He Needs Me”). She tells him she cannot love a man who disdains “her people.” Rudy loses consciousness; Helina begs Duran to save him. Duran waivers, then administers mouth-to-mouth, saving Rudy.

Scene 3: The Platform
(final evening of train service)

On the train’s final approach, the riders bid farewell, exchange contacts, and arrange to car pool. Suddenly, a sequence of honking car horns is heard. It’s the tune that David had forgotten. He enlists the riders to help him record it into his answering machine (“We’ll Remember”). The men depart, but the women linger to spy on Melanie’s Craigslist rendezvous. When the mystery man fails to show, the women leave, and Melanie ponders whether any man will love her. As she reprises “Hey Pretty Girl,” she is joined by her mystery man: Mike. They exit. Duran steps off the train, met by Helina. Both have expanded their circle of love, and they decide to wed the next day, on the train platform (“Family Tree”).

Scene 4: The Platform
(the next morning)

On the platform stand Helina, Duran, Rosie, and Lorna, a minister. But without witnesses, there can be no wedding. Suddenly their trackmates enter. Moments later, they’re joined by a fresh group of New Carrollton riders who wish to be a part of them. Duran introduces the riders—and the homeless—as his family. All hum “There Will Come a Day” and join hands in solidarity in this world and the next (“End of the Line”). ■