You seem to be getting good stuff for your musical, Threadie. You got a lot going for ya here. Hit musicals tend to be light on plot and dialogue but strong on emotion and feeling. They are usually built around a music situation so that singing feels natural. If you take a few of the situations above, combine them, change them a little, and work them around the standard dramatic roles (the hero, nemesis, reflection, and the romance), you might win a Tony and make lots of money.

For example, you could move Kaleb's professors' retirement party to Lonesome's bar in Denver. The problems would have to be caused by the nemesis's evil, rather than by chance. The nemesis would be fighting you (the hero) for the professors' daughters. If the professors are retiring, the most attractive daughter might be a woman in her forties with only a few gray hairs to pleasantly highlight her menopausal moustache. When the professors' party gets significantly chaotic and stressful, the Mooh like reflection or sidekick character could sing a sunny song telling the hero, 'Make it look like you planned to screw up as a parody or set-up for a joke.' That could lead to the turning point of the show where the hero get revenge and gets the daughters and finds true happiness (like the rest of us folk already have.)

If you start off with bagpipes playing a rock riff similar to the one in Pretty Woman, you'd have a damn good theme to repeat throughout the evening. You'd need to throw in a few high quality love songs, similar to Harlen Howard's I Fall to Pieces. However, most of the music only has to work with choreography, so dull, endless, Scottish like, fiddle tunes would do. When that Guinness-soaked piper plays a Leadbelly like blues near then end of the show with that droning, drooling, A note - hey, I think you're on to something here, Threadie.

Well I woke up this morning Guinness all in my bed,

Well I woke up this morning Guinness all in my bed,

I drank it last night,

Can't imagine what was in my head.