"BITTER SWEET" MUSICAL NUMBERS ACT ONE 1. Opening Number ..... The Stage Band ) ) Scene 1 2. "Call of Life" ..... Lady Shayne and Chorus) 3. "If You Could Come With Me" ..... Carl ) ) Scene 2 4. "I'll See You Again" ..... Sarah and Carl ) 5. "What is Love" ..... Sarah and Chorus ) ) Scene 3 6. "The Last Dance" ..... Double Sextette ) a. "Eeny Meeny" ... Sarah and Six Bridesmaids ) ) b. "Should Happiness Forsake Me" ... Sarah ) ) c. "I'll See You Again" Reprise ... Sarah & Carl ) ) d. "Footmen's Quartette". ) Scene 3 ) e. "They've All Gone Now" ... Sarah, Carl & Girls) ) f. "The Call of Life" Reprise ... Sarah & Carl ) - - - - - - - - - - MUSICAL NUMBERS ACT TWO 1. Opening Chorus .... 6 Waiters, 6 Cleaners ) ) 2. "Ladies of the Town" .... Lotte, Freda, Hanai & Gussi) ) Scene 1 3. "If Love Were All" .... Manon ) ) 4. "Little Cafe" .... Sari and Carl ) 5. "Officers Chrous" .... Officers & Chorus ) ) 6. "Tokay" .... 1st Capt. Officers & Chorus ) ) Scene 2 7. "Bonne Nuit, Merci" .... Manon ) ) 8. "Kiss Me" .... Manon & Chorus ) MUSICAL NUMBERS ACT THREE 1. "Ta Ra Ra Boom De Ay" .... Double Sextette ) ) 2. "Alas The Time Is Past" .... Female Sextette ) ) 3. "Green Carnations" .... Vernon, Cedric, Bertram ) Scene 1 and Ld. Henry ) ) 4. "Zigeuner" .... Sari ) 5. "I'll See you Again," Reprise .... Sari ) ) 6. "I'll See you Again," Reprise .... Lady Shayne ) ) 7. "I'll See you Again," Reprise .... Vincent on Piano) Scene 2 ) 8. "I'll See you Again," Reprise .... Orchestra ) ) 9. "I'll See you Again," Reprise .... Lady Shayne ) CHARACTERS ACT ONE Scene 1 THE MARCHIONESS OF SHAYNE [Handwritten: NORMA TERRIS] DOLLY CHAMBERLAIN [Handwritten: PATRICIA BOWMAN] LORD HENRY JEKYLL [Handwritten: PITCHON] VINCENT HOWARD [Handwritten: WAINWRIGHT] NITA [Handwritten: BETTY SMITH] HELEN [Handwritten: WADE] JACKIE [Handwritten: HANKINSON] PARKER [Handwritten: A. BURNS] GUESTS, MUSICIANS, etc. - - - - - - - - - - - The scene is Lady Shayne's House in Grosvenor Square. The year is 1929. - - - (8 COUPLES) CURTAIN ON HALF CHORUS. ACT ONE Scene 1 SCENE: The scene is Lady Shayne's house in Grosvenor Square. There is a small dance in progress. At the back of the stage in the C. are large double doors leading into the supper room. On the right-hand side is a small jazz band which is playing in front of the open windows. On the left-hand side a smaller door opens into the library. When the curtain rises the stage is crowded with dancers and conversation and laughter combined with the band music should give us an effect almost of pandemonium. The music comes to an end with the usual flourish and there is a smattering of applause from the Dancers. PARKER throws open the double doors at the back and announces supper. Everyone goes in laughing and talking and can be seen taking their places at small tables. The double doors are closed and the members of the band retire onto the balcony for a little fresh air, with exception of VINCENT HOWARD who remains at the piano improvising syncopations softly. DOLLY CHAMBERLAIN and HENRY JEKYLL come in from the library L. DOLLY is pretty and attractive, about twenty. HENRY is a trifle older and inclined to be faintly pompous. Dolly They've all gone in to supper - come on. (Goes toward supper room) Henry It's damned hot. (Flings himself onto sofa) Dolly You've been grumbling about one thing and another all this evening. (She stops and turns) Henry Sorry, old darling. Dolly (Crosses L) Do you think you love me, really? (Coming to head of sofa) Henry Of course. Don't be an ass. Dolly Enough? Henry Enough for what? Dolly Oh, I don't know - enough to spend your life with me, I suppose. Henry (Smiles) It's a little late to worry about that now - with the wedding next Monday. (VINCENT strikes a chord with some viciousness. DOLLY looks sharply over her shoulder at him, hesitates to speak. She crosses own L. and takes cigarette from box on table) Dolly (Down L) You're right - it is hot. Henry Where's Lady Shayne? Dolly (Pointing to supper room) In there, I expect. Henry Strange old girl. Dolly I hope I shall be like that when I'm seventy. (Lighting cigarette) Henry She can't be as much as that. Dolly Oh - er - she is - she was at school with my grandmother. (Comes to lower end of sofa and sits on it) Henry Good God! (Lights cigarette) Dolly It must be funny to look back over so many years. I wonder if she minds. Henry Minds what? Dolly Being old, of course - (Looks at Vincent) To have led such a thrilling life and then suddenly to realize there's nothing left to look forward to. Henry (Rises) Well, she certainly is a gay old bird. Dolly Henry! (She looks at him almost shocked) Henry What? Dolly How silly that sounds - a gay old bird. Henry Well, it's true, isn't it? - That's what she is, always travelling around and giving parties and staying up all night - it's almost indecent. (Up stage) I wouldn't like to see my grandmother going on like that. Dolly Well, you needn't worry. (She laughs) Henry (Turns) How do you mean? Dolly (Crosses up to him) All your relatives are too smug to enjoy anything. Henry Dolly! Dolly Well they are - they've all got several feet in the grave, there's no life left in them, if ever there was any. You'll probably be like that too in a few years. Henry You think Lady Shayne's life has been thrilling, do you? (He smiles superciliously) That's funny. Dolly Yes, I do - I do - and it isn't so funny either. Henry Now look here, Dolly, if you knew some of the things about Lady Shayne that I know -- Dolly (Quickly - to Vincent) I know more than you know - I know that she justified her existence - she lived for something - Henry She was thoroughly immoral in her youth - lovers and awful second-rate people round her all the time. It was lucky for her she met Shayne, and got back. Dolly (To him) Got back to what? Henry Decent people - society. Dolly (Laughs) Oh, dear. I can laugh now. Henry Now Dolly, my girl - I --- (Touches her) Dolly (Suddenly with vehemence) Shut up - shut up - go away from me you're smug and silly and I can't bear it. Henry Dolly! Dolly (Wildly) Go away - go away! (She stamps to her feet) Henry You're impossible. (He stamps off into the supper room. SHE returns to settee L) NOISE OFF Vincent Can I stop playing now? Dolly (In a stifled voice) No - go on. Vincent I can't bear it much longer - darling. Dolly Vincent - don't. Vincent Please come over here and sit close to me. Dolly I'd better not, I think. Vincent Afraid? Dolly Yes - (She goes over and sits beside him - HE goes on playing) Vincent I love you. (Kiss) Dolly Oh, God! I'm so utterly, utterly miserable. (She buries her head in her arms) Vincent (Stops playing) Don't cry - you're going to marry a rich man and have rich friends and a rich house and rich food and some day if you're really rich enough you'll be able to engage me to come and play for you. (He laughs bitterly) Dolly How can you be so horrid! Vincent You'll be safe anyhow. Dolly I don't want to be safe. Vincent (Bitterly) Come away with me then - I've got no money - nothing to offer you - you'd look fine singing my songs in some cheap cabaret somewhere - and living in third-rate hotels and just - well, earning your living - Dolly It sounds marvelous. Vincent Don't be a damned fool! Dolly Vincent -- Vincent It's hell -- (Rises and goes towards the window R) Dolly Where are you going? Vincent To call the boys - we've got to work some more. Dolly (Smiling) I shan't see you again until - until - after I'm married. Vincent Never mind - safety first. Dolly Oh, what am I to do - what am I to do! (Quickly) Vincent Good-bye. Poor little kid -- (Turns her) (He suddenly takes her in her arms and kisses her. She twines her arms around his neck and they stand there clasped tight) (LADY SHAYNE enters from the supper room L. She watches them silently for a moment. She is seventy years old, but her figure is still slim; her hair is snow-white, and her gown is exquisite) Lady Shayne Dolly! (DOLLY and VINCENT break away from one another) I come on an errand of peace from your fiance. If it is inopportune, I apologize. Dolly Oh, Lady Shayne. Lady Shayne (To Vincent) You are the piano player in the band, aren't you? Vincent I'm the leader of the band. Lady Shayne What a pity! - It's not a very good band. Vincent I'm sorry for what happened just now, your ladyship. It - it was an accident. Lady Shayne In what way - an accident? Vincent I - er - we were saying good-bye. Lady Shayne Your drummer is too loud and I don't care for the man who plays the saxophone. Dolly Lady Shayne - I - let me explain. Lady Shayne No! When a man plays off key the only explanation is that he is a bad musician. Dolly Lady Shayne - I love Vincent and - he loves me. Lady Shayne And this is Vincent? Dolly Yes. Of course. Lady Shayne And are you sure he loves you? Would he live for you? Die for you? Vincent Oh! Come, your ladyship, is that quite necessary? Lady Shayne Yes! Absolutely. Vincent Oh! (LADY SHAYNE laughs) You're laughing at us - your Ladyship. Lady Shayne I laugh at almost everything now - it's only when one is very old indeed that one can see the joke all the way round. Dolly What joke? Lady Shayne Life and death and happiness and despair and love. (She laughs again) Vincent Don't laugh like that, please - your ladyship. Lady Shayne (Coming to them) So you're a musician - an amiable sensitive-looking young man - and you've been making love to this child - or has she been making love to you - everything seems to have changed round lately. Vincent It just happened - we - at least that is - I don't know. Lady Shayne Are you a married man? Vincent No - of course not. Lady Shayne Well, you needn't be so vehement. I merely thought you might have forgotten. Dolly Are you angry? Lady Shayne Not in the least, my dear. What do you intend to do? Dolly I don't know. Lady Shayne Well, if I were you I should make up my mind. (She turns towards the supper room L.) Dolly You are angry. Lady Shayne I detest indecision. Dolly I don't understand. (Several people come out of the supper room, including NITA and HELEN) Nita Dolly - what have you been doing to Henry - he's plunged in gloom. Helen He's sending out thought waves of depression and I got the lot being next to him. (JACKIE rushes out of the supper room with FRANK and several others) Jackie What's happened to the band? - Oh, Mr. Howard, play something play - something romantic - I want to dance. Lady Shayne (Laughing) Yes - play somehting romantic. Vincent (Savagely) I'll play anything anybody wants - that's what I'm hired for - (He goes to te piano) Here's romance for you - how's this -- (He plays a swift jazz tune. EVERYONE begins to dance and jig about. NITA charlestons a few steps while HELEN and JACKIE clap their hands and sing - Suddenly LADY SHAYNE stamps her foot sharply) Lady Shayne Stop - stop - it's hideous - none of you know anything or want anything beyond noise and speed. Dolly What do you mean! What do you mean! Lady Shayne Your dreams of romance are nightmares. Your conception of life's grotesque. Come with me a little - MUSIC CUE I'll show you - listen - listen - Helen (Softly) What's the old girl up to now? (LADY SHAYNE begins to sing - everyone squats on the floor, some of them giggling furtively. [Handwritten: Chorus remains standing till next direction "sit."] VINCENT and DOLLY stare at her as though transfixed) NO. 2 "THE CALL OF LIFE" Lady Shayne: Your romance could not live the length of a day You hesitate and analyze Betray your love with compromise 'Till glamour fades away And all too soon you realize That there is nothing left to say. Chorus: Hey hey - hey hey How does she get that way She'd be more light-hearted If she started - to Charleston She's never danced it She's never chanced it Perhaps her muscles are disinclined Perhaps she hasn't the strength of mind. Lady Shayne: Love that's true, can mean naught to you but a name A thing that isn't part of you Can never touch the heart of you It's nothing but a game A fire without a flame Men: We find it difficult to grasp your meaning. Lady Shayne: Maybe the past is intervening. Chorus: (SITTERS rise) We very much regret that times have changed so Life is more speedly arranged so. Lady Shayne: In your world of swiftly turning wheels Life must be extremely grey. Chorus: We've no time to waste on Love Ideals That which to our senses most appeals Is all we can obey. Lady Shayne: No - No - Not so. There must be something further on A vision you can count upon To help you to acquire. A memory when Youth is gone Of what was once your heart's desire. (ALL sit) Lady Shayne: There is a call that echoes sweetly When it is Spring and Love is in the air What O'er befall respond to it completely Tho' it may bring you sadness and despair Fling far behind you The chains that bind you That love may find you In joy or strife Chorus Repeat: (Tho' Fate may cheat you ) (And defeat you ) (Your Youth must answer to the Call of Life.) (The lights slowly go out and through the darkness, her voice grows sweeter and younger until presently the lights go up again and disclose a young GIRL of about seventeen standing demurely in a prim Victorian room with sunlight flooding through the windows behind her. Seated is a young MUSIC MASTER - he is playing the piano but his eyes are gazing up at her face and he is smiling a trifle wistfully as she comes to the end of the song) CHARACTERS ACT ONE Scene 2 SARAH MILLICK [Handwritten: NORMA TERRIS] CARL LINDEN [Handwritten: MOORE] MRS. MILLICK [Handwritten: O' MALLEY] THE HON. HUGH DEVON [Handwritten: DICK CLEMENS] - - - - - - - - - - The scene is the Millicks House in Belgrave Square. The Year in 1875. - - - - - FLY BACK FADE IN BELL CUE FROM ORCHESTRA. ACT ONE Scene 2 When SARAH finishes singing, CARL allows his hands to drop from the keys, and still gazing into her eyes he speaks: Carl That was excellent, Miss Sarah - you are improving in a very marked manner. Sarah (demurely) Thank you. Carl (Rises) I wrote that song for you when I was sixteen years old. Sarah But Mr. Linden that cannot be true - we have only known each other during the past year. Carl I mean that I wrote it for someone like you. Sarah (Quickly) Oh! Carl Not a real person - just an ideal in my mind. Sarah Oh! Carl Someone young and charming - holding out her arms as you did just now - expectantly. Sarah Expectant of what, Mr. Linden? Carl (Hopelessly turning away) I don't know. Sarah I think it is the loveliest song I ever heard. Carl (Looking at her again) Do you? Sarah (Meeting his eyes) Yes - of course. Carl You took the high note too much at the back of your throat. Sarah (Sits) I'm sorry. Carl It doesn't matter. Sarah Oh, but, surely it does. Carl Nothing matters but just these very few moments. (Looks out) Sarah Why do you say that, Mr. Linden? Carl Because it's spring, and I - I --- Sarah Yes? Carl I fear I am talking nonsense. Sarah Perhaps a little. Carl You know, we have festivals in the spring in my country - and the young boys and girls dance and their clothes are brightly colored glinting in the sun, and the old people sit round under the trees watching and tapping their sticks on the ground and reviving in their hearts memories of when they, too, were young, and in love. Sarah In love. Carl Yes - as you are in love with your handsome Mr. Devon. Sarah Oh - Hugh - yes, of course. (Tone) Tell me more about your country, Mr. Linden. Carl (Crosses L.) There is nothing to tell really - it seems so very far away - I've almost forgotten. Sarah You're homesick though, I can see you are. MUSIC CUE Carl Can you? Sarah Perhaps it's the climate here, it is depressing -- Carl Yes, a little. (He sings) NO. 3 Tho' there may be beauty in this land of yours Skies are very often dull and grey If I could but take that little hand of yours Just to lead you secretly away We would watch the Danube as it gently flows Like a silver ribbon winding free Even as I speak of it my longing grows Once again my own dear land to see If you could only come with me If you could only come with me. Sarah (Full face) Oh, Mr. Linden. Carl Yes. Sarah How very strange everything is today. Carl (C. Tone) Will you forgive me, Miss Sarah, when I tell you that I shall be unable to play at your wedding reception. Sarah (Disappointed) Oh! Carl I must go away on that day - to Brussels. Sarah Brussels? Carl (Hurriedly) Yes, a concert - I have to play at a concert - it is very important. Sarah I understand. Carl Do you? Sarah Yes -- (C. Tone) But it is very, very disappointing. Carl But I am deeply grateful for the honour you have done me in asking me. Sarah (Rises, lightly, but turning away) This is the last time we shall meet then for ever so long. Carl No! Tonight - I am playing tonight for the dance. Sarah But that is different. There will be so many people --- Carl (Down to C) This is indeed the last time we shall be alone together. Sarah (Looking down) Yes. Carl You have been a charming pupil - I shall always look back on these months with happiness. Sarah Happiness? Carl And sadness too? Sarah Oh dear. Carl There are tears in your eyes. Sarah In yours also. (Lightly) Carl I know - I am sorry to be so foolish. Sarah Dear Mr. Linden -- (She gives him her hand, HE kisses it fervently, then he pulls himself together with a tremendous effort) Carl Once more now - your exercises - just once more through. Sarah (Tearfully) Very well. (CARL strikes a chord - begins to sing to her accompanied by the orchestra) NO. 4 - "I'LL SEE YOU AGAIN" (DUET: SARAH and CARL) Verse Carl: Now Miss Sarah if you please Sing a scale for me. Sarah: Ah - Ah - Ah - Carl: Take a breath and then reprise In a different key. Sarah: Ah - Ah - Ah - Carl: All my life I shall remember knowing you All the pleasure I have found in showing you The different ways ) Ah! Ah! Ah! That one may phrase) The changing light, and changing shade Happiness that must die Melodies that must fly Memories that must fade Dusty and forgotten by and by. ) Ah! Ah! Ah! Sarah: Leaning scales will never seem so sweet again 'Till our Destiny shall let us meet again Carl: The will of Fate) May come too late ) Ah! Ah! Ah! Sarah: When I'm recalling these hours we've had Why will the foolish tears Tremble across the years Why shall I feel so sad Carl: Treasuring the memory of these days) Always ) Ah! Ah! Ah! I'll see you again Whenever Spring breaks through again Time may lie heavy, between But what has been Is past forgetting. (SARAH crosses L. second time) [Handwritten: ENCORE] Sarah: This sweet memory Across the years will come to me Tho' my world may go awry In my heart will ever lie Just the echo of a sigh Goodbye. (CARL and SARAH repeat) (MRS. MILLICK enters R. with the HON. HUGH DEVON. During the ensuing scene until Carl's exit, the love theme should be continued in the orchestra very softly) Mrs. Millick Darling child - your lessons should have been over a quarter of an hour ago. There is so much to be done - I declare I'm nearly frantic - Hugh has been telling me about his aunt - poor Lady Ettleworth, she developed acute gastritis yesterday evening and it may mean postponing the wedding, and on the other hand it may not. I'm certain it was the peas she ate at lunch here. They were like bullets. --Good afternoon, Mr. Linden. Carl (Bowing) Good afternoon, Mrs. Millick. Hugh Good afternoon. Carl (Bowing) Good afternoon. Hugh You look tired, Sarah. Sarah I am a little - I - it is quite hot today. Mrs. Millick I fear I must hurry you away, Mr. Linden - my daughter has a dressmaker at four-thirty and there is so much to be done. Carl I quite understand. Mrs. Millick Doubtless Sarah will resume her lessons with you when she is settled down in her new home. Sarah Mother -- please! Mrs. Millick It will be an occupation - I always believe in young married women having an occupation. Carl I should have thought being married would be sufficient. Mrs. Millick (Slightly scandalized) Mr. Linden--- Carl (Bitterly) Your daughter must learn from someone else when she is a young married woman, Mrs. Millick, I shall now be here. Mrs. Millick Well I'm sure I'm very sorry, I --- Carl (Looking fixedly at Sarah) I shall be far away in my own country - but each year when spring comes round again, I shall remember you, Miss Sarah, and what a charming pupil you were and how, although you sometimes sang your top notes from the back of your throat, and your middle notes through your nose, you always sang your deep notes from your heart. Mrs. Millick My dear Mr. Linden! Carl This is goodbye, Miss Sarah, except for tonight when there will be so many people -- too many people. (He bows abruptly and goes out R.) (The music swells loudly in the orchestra, the theme of the Call of Life - HUGH advances towards Sarah but she falls weeping onto the sofa as the lights fade out) DROP HOUSE CURTAIN CHARACTERS ACT ONE Scene 3 SARAH MILLICK CARL LINDEN MRS. MILLICK THE HON. HUGH DEVON LADY DEVON SIR ARTHUR FENCHURCH VICTORIA HARRIET GLORIA HONOR JANE EFFIE THE MARQUIS OF STRERE LORD EDGAR JAMES LORD SORREL MR. VALE MR. BETHEL MR. PROUTIE FOUR FOOTMEN GUESTS, MUSICIANS, ETC. - - - - - - - - - - The Scene is the Ballroom of the Millicks House in Belgrave Square. The year is 1875. - - - - ACT ONE Scene 3 It is the ballroom of the Millicks' house in Belgrave Square. There are three windows at the back opening onto a balcony overlooking the Square. On the L. at an angle are double doors opening onto the landing and staircase. On the R. is a small dais upon which the orchestra is playing, conducted by CARL LINDEN. Below this double doors lead into the supper room and on the L. Below the big doors is a small door leading into the drawing room. There are colored lights festooned over the balcony which look charming against the shadowy trees in the Square. When the CURTAIN rises, the ball is nearly over, a Polka is in progress, the dresses of the guests are almost entirely pastel shades with the exception of a few chaperones in black and grey and purple, who are seated on small chairs and sofas below the orchestra. At the end of the Polka most of the couples leave the floor, some go out into the balcony, some into the supper room and some into the drawing room. ORCHESTRA exit L. LADY DEVON, an imposing dowager, meets MRS. MILLICK as she billows in from the supper room L. Lady Devon Charming, Violet - quite delightful - I congratulate you. Mrs. Millick The young people seem very happy, I think. Lady Devon I thought Sarah looked radiant but a trifle flushed when she was waltzing with Hugh a little while ago. Mrs. Millick She has been flushed all the evening. I hope she isn't feverish - I feel quite disturbed about her. Lady Devon I feel sure you have no cause to be - she was positively hilarious in the supper room. Mrs. Millick Unnaturally so. Lady Devon She is in love, my dear. (HUGH enters from the supper room L) Hugh (In harassed tones) Oh, there you are. Lady Devon (Fondly) Happy boy. Hugh I am very worried. Mrs. Millick Why - what has happened? Hugh Sarah is behaving in a most peculiar manner - she upset a full glass of claret cup over Sir Arthur Fenchurch and laughed. Mrs. Millick Laughed! Lady Devon Sir Arthur - Good heavens! (SIR ARTHUR enters L., a pompous looking old gentleman - He is obviosuly restraining a boiling fury with a great effort - his shirt front is claret-stained and his manner frigid) Sir Arthur (Bowing to Mrs. Millick furiously, but politely) A delightful evening, Mrs. Millick - thank you a thousand times. Mrs. Millick But, Sir Arthur - you mustn't think of going. Sir Arthur I couldn't think of staying - so many fresh young people enjoying themselves so very thoroughly - I feel out of place. Lady Devon But, Sir Arthur --- Sir Arthur (Firmly, cross R.) Goodnight, Lady Devon. Good night, Mrs. Millick. (To Hugh) My boy - I sincerely hope your marriage will be a happy one. (He goes out R) Mrs. Millick Well! Hugh There now. Lady Devon How very, very unfortunate. (SARAH enters from the supper room L. She looks lovely, but her manner is strained and almost defiant) Sarah Has he gone? Mrs. Millick Sarah - I'm ashamed of you. Sarah He patted my hand, mamma, then he patted my head. I detest being patted. Hugh He's one of the most influential men in London. Mrs. Millick And so kind. Sarah And so pompous. Lady Devon Sarah! Mrs. Millick Sarah! The first thing tomorrow morning you shall write him a letter of apology. (She moves away with LADY DEVON) Sarah (Crosses C) Tomorrow is so far away. (She laughs) Hugh (Going to her) I don't understand you tonight, Sarah. Sarah I don't think I quite understand myself. (Crosses R) Hugh Why did you cry this afternoon in the music room? Sarah Are you glad you are going to marry me, Hugh? Hugh Why did you cry like that? Sarah And will you be kind to me - always? Hugh You haven't answered me. Sarah And do you love me? Hugh (Irritably) Sarah! Sarah Do you? Hugh Of course I do - what is the matter with you? (CARL LINDEN stands up on the orchestra dais where the band have been regaling themselves with refreshments, and very softly plays on the violin "I'll See You Again" - SARAH starts and then begins to laugh hysterically) Sarah Don't look so solemn, Hugh, I'm in love. Hugh My dear girl, that's all very well -- Sarah Is it? Hugh But you really must restrain yourself. Sarah (Almost rudely) What a stupid tune, Mr. Linden - so dismal ---- Hugh Sarah! Sarah (Peremptorily) Play something gay, please - immediately. (CARL stops playing) Hugh (Softly) Sarah, you must not speak like that - have you takan leave of your senses? (MUSIC CUE) Sarah (Vehemently) Let me alone - please go away - let me alone! (HUGH exits angrily L. CARL strikes up a tremendously gay melody) NO. 6- "WHAT IS LOVE" 1. Play something gay for me Play for me, play for me. Set me free I am in a trance tonight, Can't you see How I want to dance tonight Madly my heart is beating Some insane melody possessing me In my brain thrilling and obsessing me How can I leave it all to call in vain? Is it joy of prain? Live your life for Time is fleeting Some insistent voice repeating Hear me -- hear me How can I leave it to call in vain? Is it joy or pain? [The text between the dashes was missing from the source text for the rest of this edition, but is supplied from another copy at NYPL (Classmark: RM 4268)] ----- Refrain Tell me - tell me - tell me what is love, is it some consuming flame Part of the moon, part of the sun, Part of a dream barely begun When is the moment of breaking - waking? Skies change, nothing is the same, Some strange magic is to blame Voices, that seem to echo round me and above Tell me what is love, love, love. 2. Play something gay for me Play for me - play for me Tell me why Spring has so enchanted me Why this shy Passion has been granted me. "KING" (Repeat Refrain) (SARAH begins to waltz round the stage by herself and as she passes the supper room, the library and the balcony GUESTS join her in her dance until the whole stage is encircled by a wheel of YOUNG PEOPLE laughting and chattering. At the end of this, the band plays "God Save the Queen" - EVERYONE naturally stands still, and then the party breaks up. MRS. MILLICK enters up L. SARAH takes her place at the door with HER MOTHER in order to bid goodbye to the GUESTS. The MUSICIANS are packing up their instruments, and finally all go out including CARL. HUGH comes in from the balcony. SARAH leaves her mother talking to some guests and runs up to them.) Sarah(L C) I'm sorry, Hugh. Hugh (Stiffly) It doesn't matter. Sarah(L C) Oh, but it does - I was unkind and silly. -------------- Hugh It doesn't matter. Sarah Will you please forgive me? Hugh There is nothing to forgive. Sarah I shall be bad again if you are so polite. Hugh My dear Sarah! Sarah (Desperately) Are you always going to be like this after we are married, I mean - cold and unbending? Hugh I can only hope you are not often going to behave as you have tonight. Sarah Oh dear. Hugh I don't feel that you realize yet the dignity of the position you will hold as my wife. Sarah I am not your wife yet. Hugh I enjoy being high-spirited as much as anyone. Sarah Do you? Hugh But there is a time and place for everything. Sarah Then I can look forward to us being very high-spirited when we are alone - when no one is looking - you might wear a fancy hat at breakfast. Hugh I am very fond of you, my dear, but you must remember I am older than you. Sarah Not so very much. Hugh And it is part of my profession to consider appearances. Sarah Diplomatically speaking. Hugh Are you laughing at me? Sarah No, but I'm looking at you - just as though I had never seen you before. (LADY DEVON enters) Lady Devon Hugh, dear. Hugh Yes, mother? Lady Devon I have been waiting for you downstairs. The carriage is at the door. Goodnight, Sarah. Sarah Goodnight. I have been telling Hugh I was sorry to have behaved so badly. Lady Devon (Smiling) I'm afraid you're marrying a tomboy, Hugh. Sarah No, no - I won't be one any more. Lady Devon Dear child-- (She kisses her) Come, Hugh. (She moves over to Mrs. Millick at the door) Hugh Goodnight, Sarah. Sarah Goodnight, Hugh. Hugh Will you drive with me tomorrow afternoon to Regent's Park? Sarah Thank you - that will be delightful. Hugh Until tomorrow - my dear. (He looks round carefully and then kisses her chastely and departs with LADY DEVON) Mrs. Millick Well, that's over - Where are the girls? Sarah Harriet and Gloria? Mrs. Millick Yes. Sarah Sitting out somewhere with Lord Edgar and Mr. Proutie. Mrs. Millick And Effie and Jane and Honor and Victoria? Sarah They're sitting out, too. Mrs. Millick Come with me - we must find them - really you modern young people have no sense of behavior at all. (MUSIC CUE) NO. 7 (She goes with SARAH into the supper room while the music strikes up the introductory bars of a concerted number. HARRIET and LORD EDGAR peep round the library door and tiptoe out onto stage. GLORIA and MR. PROUTIE do the same from the balcony - EFFIE, JANE, HONOR, VICTORIA, MR. VALE and LORD SORREL, LORD STRERE, MR. BETHEL all join them) (CONCERTED NUMBER: "THE LAST DANCE") "THE LAST DANCE" Men: They've all gone now - have no fear Girls: Sarah's mother may be near If she should hear All: She might be rather cross with us Elderly people make too much fuss Men: Always insist on a chaperone Never leave love alone Girls: We feel frightened, if you please Don't flirt or tease Men: Gentle and sweet in your purity We give our hearts as security Girls: We shall be scolded a lot for this Men: You won't miss, just one kiss. Girls: Think of the consequences please you haven't realized What an appalling thing for us to be so compromised So dreadfully dreadfully dreadfully compromised. Men: Everything's ending The moon is descending Behind the tall trees in the Park. Girls: Silence falls Slumber calls Men: We men together Were wondering whether We might have a bit of a lark Girls: No jokes in the dark please What sort of a lark please. All: Just a slight dance Once more dream of delight dance Just a sort of goodnight dance Would be glorious fun. Men: Won't you let us, please let us, just stay for a while Won't you please, won't you be gay for a while All we desire is to play for a while Now the Party's done Girls: Just a fast waltz 'Till the world seems a vast waltz Very often the last waltz Is the birth of Romance All: It's a June night There's a thrill in the moonlight Let's give way to the tender surrender Of our last Dance. (At the end of the number ALL the men with the exception of MR. PROUTIE creep out, leaving the girls seated demurely on gilt chairs at some distance from one another all around the edge of the stage. MR. PROUTIE being very smitten with Gloria, hides behind the sofa) (MRS. MILLICK re-enters L. looking rather agitated, followed by Sarah) Mrs. Millick Girls - where have you been? Harriet Nowhere, Aunt Violet. Mrs. Millick Where is Lord Edgar? Honor He went hours ago, Mrs. Millick. Mrs. Millick And Lord Strere, Mr. Bethel, Mr. Vale and Lord Sorrel? Victoria (Sighing) All gone. Mrs. Millick And Mr. Proutie? Gloria He was so tried he left early. Mrs. Millick Come out from behind that sofa, Mr. Proutie. (MR. PROUTIE comes out looking very sheepish -- all the GIRLS giggle. MR. PROUTIE is very young and cherubic) Mr. Proutie I - I - fell asleep -- I apologize. Mrs. Millick I quite understand. Mr. Proutie (Appealing to Gloria) Miss Gloria, I --- Mrs. Millick Goodnight, Mr. Proutie. Mr. Proutie Miss Gloria said that --- Mrs. Millick (Sternly) Goodnight, Mr. Proutie. Mr. Proutie Er - er - goodnight - thank you for having me - er - goodnight. (He goes out covered with embarrassment up R) Mrs. Millick Gloria - what does this mean? Gloria Nothing, Aunt Violet. Mrs. Millick If it were not that this was a festive occasion, I should punish you severely for your deceit. Harriet (Crosses to C) Dear Aunt Violet - don't be cross. Mrs. Millick To bed with the lot of you. Effie Oh, not yet - just ten minutes more. Mrs. Millick Certainly not - it's nearly one o'clock - fine bridsmaids you'll make on Thursday if you stay up so late. Harriet Won't you let us stay up just a little longer? Honor Oh, Mrs. Millick, do - please do. Mrs. Millick No - Sarah's tired -- Sarah No, I'm not, mother - I know I couldn't sleep for ages. Gloria Just a short while - please! (They ALL cluster round her and speak at once - finally she breaks away from them) Mrs. Millick Very well - ten minutes then and no more. Sarah, come into my room and say goodnight. Sarah Yes, mother. Mrs. Millick Remmeber now - in ten minutes time I shall tell the servants to come and put out the lights - and don't make too much noise --- Harriet We won't, we promise. Gloria Goodnight, Aunt Violet - (MRs. MILLICK goes out up R., amid a chorus of "Goodnights") (The moment the door has closed upon her the GIRLS flind aside their demure manner and dance about the stage. HARRIET jumps onto the orchestra dais and begins to strum the piano. EFFIE, HONOR and SARAH sing gaily while VICTORIA and JANE dance) Honor Oh, Sarah - I do envy you - being married and going to Paris and everything. Sarah Do you? Effie Aren't you dying with excitement? - I know I should be. Sarah No, not exactly - I feel strange somehow. Gloria What sort of strange? Sarah I don't know - it's difficult to explain - perhaps I'm frightened. Jane Nobody could be frightened of Hugh. Victoria When I marry, it must be somebody just like Hugh. Harriet I shall choose someone smaller - more like myself, you know. Effie How can you, Harriet - Hugh's just the right type. Gloria I shall marry Mr. Proutie. All Gloria - what do you mean? Gloria (Calmly) He adores me. Jane Has he asked you? Gloria Of course. Honor And you said yes? Gloria I said no. But that doesn't matter- he'll ask me again, Effie Are you in love with him? Gloria No - not a bit. Honor How can you, Gloria? Gloria I'd much rather marry someone I didn't love really. All "Gloria!" "Really!" "You're dreadful!" "Why?" etc. Gloria Because I could manage him better. Harriet I agree with Gloria. Victoria So do I. Sarah I don't - I want love. Effie (Giggling) So do I - but you'll get it before I do - (They ALL laugh) Honor I mean to have a lot of babies --- Jane (Rises) I want someone to protect me always -- someone strong that I can look up to -- Harriet Fiddlesticks! Gloria Old-fashioned nonsense! There's five minutes of our time gone already. Let's play a game. Sarah What game? Effie Yes, yes - any game. Honor Footman's knock. Sarah No -- no - that means one of us going out --- Jane Now, when and where. Effie So does that. Sarah Let's play an exciting game - a noisy game. Harriet Aunt Violet will hear. Sarah No -- she's two floors up. Gloria Blind Man's Buff. Effie Yes - yes. MUSIC CUE Sarah That will do ----- NO. 8 - FINALE - ACT ONE Victoria Who'll be it --- Jane Eeny meeny miny mo - we must do eeny meeny miny mo -- Gloria Eeny meeny miny mo. Harriet Catch a nigger [Handwritten: fellow] by his toe. Victoria If he hollers let him go. All O.U.T. spells out and so. Gloria Out goes she. (She points to Effie) Effie Out goes me. (Skipping about) This is the loveliest, loveliest part of the party. Gloria Eeny meeny miny mo. Harriet Catch a nigger [Handwritten: fellow] by his toe. Victoria If he hollers let him go. All O.U.T. spells out and so. Gloria Out goes she. (She points to Harriet) Harriet Out goes me. (She and EFFIE take hands and twirl around) Gloria Eeny meeny miny mo. Victoria Catch a nigger [Handwritten: fellow] by his toe. Sarah If he hollers let him go. All O.U.T. spells out and so. Victoria Out goes she. (She points to Gloria) Gloria Out goes me. (She joins Effie and Harriet) Harriet, Effie, Gloria This is the loveliest, loveliest part of the party. Victoria Eeny meeny miny mo. Sarah Catch a nigger by his toe. Jane If he hollers let him go. All O.U.T. spells out and so. Jane Out goes she. (She points to Victoria) Victoria Out goes me. (She joins Effie, Harriet, and Gloria) All This is the loveliest, loveliest part of the party. Effie, Harriet, Gloria, Victoria Only three of them left; now we're excited to see who is going to be blind man, who it's going to be. Sarah I have a strange presentment it's me. Jane Eeny meeny miny mo. Out goes she. (She points to HONOR who joins the others) Sarah Eeny meeny mo Out goes she. (She points to Jane) I'm HE - it's me. It's me - I'm HE. Girls Just get a handkerchief and bind it around her eyes. Sarah Not too tight, not too tight. (THEY blindfold her) Girls She mustn't see a thing no matter how much she tries. Sarah That's all right - that's all right. Girls She will cheat if she can That Corner's raised a bit Turn her round till she's dazed a bit Are you ready now, One two three! (CARL enters R. crosses to L. up to balcony) Sarah Since the party began Something's been taunting me Some presentiment haunting me What can it be? Girls Start now - start now She can see the ground She can see the ground. Sarah Somehow, somehow, Some forgotten sound Some forgotten sound Echoes deep in my heart Strangely enthralling me Someone secretly calling me Like a melody far away. Girls Oh, for heaven's sake start Here go along with you We can see nothing wrong with you We want to play. (They ALL dance about and dodge her. CARL collects his music and is on his way out when SARAH clasps him round the neck - all the GIRLS laugh. CARL is staggered for a moment, drops music, and then completely losing all restraint, he kisses her on the mouth. SHE snatches the bandage from her eyes and stares into his face. All the other GIRLS are watching aghast) Sarah (Softly) It's you I love - now and always. (She kisses him, then draws back and they stand there staring at one another oblivious of everything. EFFIE giggles suddenly and then stops herself.) Harriet Sarah -- Gloria Sarah - don't be silly - Sarah ---- (Neither CARL nor SARAH turns their heads) Carl Come with me -- Sarah Now? Carl Yes - now - tonight. Sarah I'll come with you -- wherever you want me to. Carl I love you - do you hear - I've loved you for months - for years really - ever since I was a boy I've known you were waiting for me somewhere -- I'll take care of you --live for you -- die for you. MUSIC CUE Sarah Don't say that, my darling (Singing) Should happiness forsake me And Disillusion break me Come what may Lead the way Take me, Take me Although I may discover Love crucifies the lover What e'er Fate has in store My heart is yours for ever more. Carl (Singing) Oh Lady you are far above me And yet you whisper that you love me Can this be true or is it just a foolish dream. Sarah (Speaking) You know it's true, look in my eyes -- can't you see? Carl (Speaking softly) Oh my dear, dear love. (Singing) Now tho' your fears are sleeping Look well before the leaping Love of me May be repaid By weeping Life can be bitter learning When there is no returning What e'er Fate has in store My heart is yours for ever more I love you - I love you - I love you. Gloria You cannot realize the things you say You quite forget yourself, please go away. Harriet Now leave this all to me, my dear It's really too absurd. Effie It's quite the most romantic thing that I have ever heard! Victoria (Speaking) Effie, be quiet. (SARAH kisses him again full on the mouth. HARRIET rushes up and drags them apart) Harriet Sarah - are you mad? -- Mr. Linden, please go at once. Carl (Smiling) How can I go? Gloria Harriet - leave this to me --- Sarah Stop - don't say another word. Effie (Rushing up hysterically) It's the most wonderful thrilling thing that ever happened in the world. Harriet Don't be an idiot, Effie. Sarah (Quietly) Effie's right, Harriet. Harriet I'm going straight upstairs to fetch Aunt Violet. Effie (Struggling with her) You shan't! You shan't! They love each other -- look at them -- Honor, Victoria, help me! (HONOR, VICTORIA, and JANE come to her assistance) Sarah and Carl (Singing) I'll see you again Whenever spring breaks through again Always I'll be by your side No time or tide Can part us ever ----- Victoria Shhh! Someone's coming - hide - quickly ----- (They ALL hide behind sofas and chairs) (FOUR FOOTMEN enter pompously to music) (FOOTMEN QUARTETTE) Now the party's really ended, And our betters have ascended All the throbbing heads, To their welcome beds, Pity us, who have to be up Sadly clearing the debris up Getting for our pain Most of the remains Though we all disguise our feelings pretty well, What we mean by 'very good' is 'go to hell.' We in our secluded garret Mean to finish up the claret Cup all right Goodnight. (THEY extinguish all the lights and exeunt R. down, closing the doors behind them) (All the GIRLS come out and lastly CARL and SARAH. HARRIET and GLORIA bring two candles) Girls They've all gone now. Have no fear Carl Sarah's mother may be near If she should hear All She might be rather cross with us Elderly people make too much fuss Carl Always insist on a chaperone Never leave Love alone. Sarah I feel frightened, Oh my dear Please calm my fear Carl Gentle and sweet in your purity I give my heart as security I shall be living my life new Loving you - loving you. Girls Think of the consequences please you can't have realized what an appalling thing for you to be so compromised, so dreadfully, dreadfully, dreadfully compromised. Sarah Harriet - whatever you do won't be the slightest use - I love Carl - I'm going with him -- I don't care where or how -- but this is my life, you understand, my whole life -- so help me --- all you can -- please -- please -- Harriet Think of Hugh - you're mad. Sarah Perhaps I am mad, but I'm happy - can't you see - I'm really happy --- Harriet Mr. Linden, I appeal to you. Gloria It's no use, Harriet. Harriet I feel as if I were in a dream. Carl You are. Harriet What are your prospects - have you any money? Carl None - no money - but I can earn enough. Sarah So can I - I'll sing -- Victoria Sarah! Carl Yes - Sarah will sing and I will play and we will make a living - come, Sarah. Sarah Like this? Effie Quickly, Victoria - your bedroom is nearest - your hat and cape. (JANE and EFFIE fly out of the room) (The "Call of Life" theme plays softly. SARAH runs up to the windows and flings them open - singing. CARL joins her) Sarah and Carl (Singing) Fling far behind you The chains that bind you That Love may find you In joy or strife Tho' Fate may cheat you And defeat you Your youth must answer to the Call of Life. (EFFIE and JANE return with a hat and cape. They dress her in them and - SHE and CARL go out together R. as the orchestra crashes out the final chords - THE OTHERS rush to the balcony to wave) CURTAIN CHARACTERS ACT TWO Scene 1 SARI LINDEN CARL LINDEN MANON (La Grevette) LOTTE FREDA HANSI GUSSI CAPTAIN AUGUST LUTTE HERR SCHLICK WAITERS, CLEANERS, ORCHESTRA, etc. - - - - - - - - - The scene is Herr Schlick's cafe in Vienna. The year is 1880. The Time is 12 o'clock noon. - - - - - ACT TWO Scene 1 TIME: 1880. SCENE: The scene is the interior of Shlick's cafe in Vienna. It is about 12 o'clock noon, and WAITERS in shirt sleeves are tidying up the tables and polishing brasses. There are also some cleaners and charwomen swabbing the floor. CARL in shirt sleeves is rehearsing with the Orchestra on the orchestra platform at the back. LOTTE, HANSI, and FREDA, three ladies of the Town elaborately dressed, are seated at a table down stage R. THE OPENING CHORUS is sung in snatches by the WAITERS, CLEANERS, ETC. Waiters: Life in the morning isn't too bright When you've had to hurry round and carry plates all night And the evening isn't too gay When you know you've got to rise and get at work all day This cage merely caters For a horde of drunken satyrs Why oh why we're waiters nobody can say Waiters: Life in the morning isn't too bright When you've had to hurry round and carry plates all night Cleaners: Oh dear it's clear to see that cleaners Lead a worse life Waiters: And the evening isn't too gay When you know you've got to rise and be at work all day Cleaners: You see the reason why each day we want to curse life Waiters: For this cafe merely caters Cleaners: Weary (CLEANERS start up R. to exit L) Waiters: For a horde of drunken satyrs Cleaners: Dreary Waiters: Why oh why we're waiters nobody can say Cleaners: Every day Waiters: Ah - ah - ah Cleaners: Ah - ah - ah 4 GIRLS EXIT UP L. 2 GIRLS EXIT UP R. 6 BOYS EXIT UP R. 3 BOYS EXIT DOWN L. At the end of it, CARL rests his orchestra for a moment. Lotte He left me at half-past ten, my dear, he kissed my hand a la grand chavalier which made me laugh. I must say. Freda Is that all he left you with - a kiss? Lotte Don't be vulgaar, Freda, everything was arranged last night in hos carriage - we drove round and round the Ringstrasse. Hansi I hope it didn't make you too giddy, dear. Lotte You none of you understand, this is an "affair de coeur," I'm sure of it. (FRITZ, a waiter, brings Lotte a bill for the coffee and Brioches they have been having) Lotte It's not my turn - Hansi? Hansi I paid yesterday. Lotte Come along, Freda - no fumbling. Freda I wasn't fumbling - I was just trying to count up how many times I've paid during the last month. Hansi That oughten't to take you long. Freda (Rather crossly) Oh here you are then. (She gives him some money) (HE nods and goes off) Lotte Where was I? Freda Driving round the Ringstrasse, my dear, talking business. Lotte You can all jeer if you like, but just you wait and see. Anyhow I feel positively exhausted, having had to get up so early. Hansi I'm tired too. (GUSSI enters elaborately dressed and wearing a fur tippet and muff) Gussi Hello, Girls. Freda Oh my God, look at Gussi. Hansi (Fingering the tippet) Where did you get it? Gussi Here, leave off, surely you've seen a bit of mink before? Hansi Not on you. Gussi Well have a good look now and enjoy it. Lotte Who gave it to you? Gussi (With great coyness) Well, I hardly like to tell you, it was such a delightful surprise - I had been spending the night with my dear grandmother - Hansi I hope she took her spurs off. (Cross to table R.) (THEY all laugh. GUSSI sits down at the table) Lotte Do you want some coffee? Gussi No thanks, it would spoil my lunch. (Cross back to table R) Freda I'm lunching at Sacher's - I can bring a friend - Hansi? Hansi No thank you, dear. Freda Lotte? Lotte Who are you lunching with, the old ostrich? Freda No, he's gone to Warsaw. This is a banker, quite young but common, no use for dinner - do you want to come? Lotte I don't mind. Hansi I can't imagine Freda, why you waste your time with small fry. Freda I don't consider any free meal small fry. Hansi Where's the snow queen? Lotte Sari? Hansi Yes. Lotte She'll be here soon, looking at Carl with sheep's eyes. (Giggles) Gussi Don't laugh at her, she does adore him. Lotte It's all very well to adore your husband, dear, but it's silly to overdo it. Freda Whenever any of the Officers ask her to dance, she goes off into a decline. Hansi There's no doubt about it; love is very bad for business. (LOTTE, FREDA, and HANSI sing a trio) NO. 10 "LADIES OF THE TOWN" 1. Though we're often accused of excessively plastic, drastic sins When we're asked to decide on the wrong or the right life, Night life wins, We know that Destiny will never bring A wedding ring about Our moral sense may really not be quite the thing To fling about, sing about; (tap feet) We'll achieve independence before it's too late, and Wait and see What care, what care we? Refrain 1. Ladies of the town, Ladies of the town, Refrain 1. (Cont'd) Though we've not a confession sir, We have quite a professional flair Strolling up and down, strolling up and down, We employ quite an amiable system Of achieving renown, Though the church and state abuses us, For as long as it amuses us, We'll remain, no matter how they frown Naughty, naughty ladies of the town. 2. We can often behave in a very disarming, charming way, Which can frequently add to the money we lay by, Day by day. If we are told of something on the Stock Exchange, We pry a bit, And if it's safe we get some kindly banker To supply a bit, buy a bit, And if later our helpers may wish to forget us, Set us free, What care, what care we? Refrain 2. Ladies of the town, ladies of the town, Though we're socially under a cloud Please forgive us for laughing aloud (Laugh) Strolling up and down, strolling up and down. (Bus. MAN crosses. THEY drop their hankies. HE exits L) Disapproval may sometimes submerge us, But we none of us drown, We have known in great variety Members of the best society And should we decide to settle down, We'll be wealthy ladies of the town. EXTRA COUPLET When we meet the Royal Princes It's rather sweet how each one winces Uneasy lies the head that wears a crown All because of ladies of the town. (When LOTTE, FREDA, and HANSI have gone off - CARL addresses his orchestra on the dais) Carl Boys, when you take the first refrain - bring it out, let it live and breathe, and mean something, in the last four bars. I've marked a rallentando - Now then - Carl (Cont'd) (He raises his baton and the orchestra begins La Crevatte's song - as the music swells - MANON enters briskly R. up. SHE is naturally in day clothes and a hat - SHE listens for a moment and then stamps her feet. CARL stops the orchestra) Manon No, Carl - it must be quicker there. Carl When we were working yesterday that was the exact spot you wanted it slower. (THEY argue) Manon Listen - it starts so - (She sings) "Lorsque l'etais petite on marchant parai les pres" - swift. Staccato like that, then "J'entendia la voix d'ma Tante, qui murmurs a cote - just a lootle slower - not much you understand -- Carl Very well. (He starts the music again) Manon (Stops him) No, no, no - you are so stubborn. Carl Stubborn? (THEY argue) Manon Yes - you are a musician, yes, but you know nothing about singers especially when they have no voice like me. Carl (Coming down to her) Ah, no! You have a beautiful voice, Manon. Manon (Laughing suddenly) Now you are being sweet to me, it is so many years since I saw that solemn look in your eyes -- Carl You can't expect me to pay you compliments often when you try to quarrel with me all the time. (THEY argue) Manon I quarrel! Don't be a fool. Carl (Turning away) It's you who are a fool -- Manon (Pause, cross to him. Touching his arm, softly) No, Carl -- I was once -- but I'm not any more. Carl What do you mean? Manon Where is Sari -- your little English Sarah? Carl She will be here soon. Manon (Mocking) How exciting! Carl You do hate her, don't you? Manon (Gaily) Passionately -- I should like to scratch her eyes out, pull her nose off and wring her neck. (Laughs) Carl Manon! Manon In a friendly way. (She laughs again) Carl Don't laugh like that. (CARL walks away L. SHE follows to L.C.) Manon You used to love my laughter -- it was so gay and charming. You said -- I think you mentioned once that it reminded you of a bird chirping, that was a very pretty thought, Carl. (She smacks him playfully) (HE bundles her off) Carl Please go away now -- I must continue my rehearsal. (THEY argue) Manon Carl - Carl -- Carl Yes. Manon I'm only teasing you and irritating you because I'm jealous -- Carl But, Manon, why on earth should you be jealous? (THEY argue) Manon (Holding up her hand) No, don't protest and say I have no right to be jealous! I know that well -- ours was such a silly little affair really, and so long ago, but somehow it was very charming and it left a little sting behind -- here. (Indicates her heart) Carl It was your fault that it ended. Manon I know that too -- and I'm glad -- I was very proud of myself finishing it all suddenly like that -- because it was for the best -- I was no good for you really -- not faithful enough, and you should be free always, because you're an artist. (She turns away) But now you'll never be free, so my beautiful little sacrifice was all in vain -- (She laughs) Go back to your work -- I'll run through my words here -- Carl Manon -- I -- (He argues) Manon Please -- play my music for me -- (MUSIC CUE) I'm not sure of it yet -- I'm not sure of anything. (CARL looks at her silently for a moment, and then goes thoughtfully back to the orchestra. FRITZ enters R. with a drink) Fritz Bon jour, madame! Manon Ah! Bon jour Fritz! Vous ne paz oubliez ce matin, n'est ce pas? Fritz Non, Madame, pas oubliez, Jamais. Manon Comment cas va? Fritz Tres bien, Madame, et vouz? Manon Tres bien! Et la famme? Fritz Tres bien! Manon Et le petite bebe? (Laughs, She pays him) Fritz Merci bien, madame! (Exits R.) Manon Bon garcon, Fritz! NO. 11 "IF LOVE WERE ALL" (MANON) Verse 1. Life is very rough and tumble For a humble Diseuse One can betray one's troubles never Whatever Occurs Night after night Have to look bright Whether you're well or ill People must laugh their fill You mustn't sleep Till dawn comes creeping Though I never really grumble Life's a jumble Indeed - Verse 1 (Cont'd) And in my efforts to succeed I've had to formulate a creed - Refrain I believe in doing what I can In crying when I must In laughing when I choose Heigho if love were all I should be lonely I believe the more you love a man The more you give your trust The more you're bound to lose Although when shadows fall I think if only -- (Looks at Carl) Somebody splendid really needed me Someone affectionate and dear Cares would be ended if I knew that he Wanted to have me near But I believe that since my life began The most I've had is just A talent to amuse. Heigho, if love were all! (Sucks straws) (Repeat refrain, during which they argue in French) Manon Mon cher ami, tout a l'heure c'stait encore trop vite. Carl Mais je ne peux pas jouer plus lentement, c'est le correcte rhythme, c'est impossible de le changer. Manon Sapristi, rien n'est impossible, tu es toujours embete. Carl Fiche-moi le paix! Tu m'embetes toute la journee. Tu m'embetes. Tu ne connais pas ton metier. Puisque je t'ai dit que tu es une jolie voix, tu crois que tu es une grande artiste. Manon Mais non, mais non. Jamais de la vie! Tu crois que parceque tu as epouse cette petite Anglasie de rien du tout que tu peux te donner des airs. Carl Ce ne tu regarde pas que j'ai marie ou que je n'ai pas marie. Ce c'est, non affaire; Manon, Manon, sois transquille, ne sois pas faches. Manon Oh non, je ne ouis pas faches exactement. (MANON goes off after argument L. CARL, at the end of Manon's song dismisses the orchestra, who go off - HE comes down from the dais, putting on his coat when GUSSI enters L) Gussi Hello, Carl. Carl (Absently) Hello. Gussi Like a drink? Carl No thanks. Gussi Are you lunching with anyone? Carl Yes, my wife. Gussi I might have known it. (She slips her arm through his) Let me know when you feel like being unfaithful to her, won't you? Carl (Smiling) You're bad, Gussi, thoroughly bad - go along with you. Gussi Here listen, you know that dark red coat of mine? Carl Yes. Gussi Would your Sari like it. I've had this given to me. (she waves her muff) I shan't need it any more. Carl It's very very sweet of you, Gussi. Gussi You both look so pinched - it depresses me to look at you - bring Sari along to lunch at my flat - Carl Very well. (CAPTAIN AUGUST LUTTE enters - Captain August is a debonair imposing looking man) Gussi Just a moment, some good news has come in - come at 1:30, if I'm not back tell Liza to serve you. Carl But, Gussi - Gussi (Firmly) Good-bye, dear Carl - (Carl goes off laughing. GUSSI sidles up to Captain August) Gussi Good morning. Captain (Bowing stiffly) Good morning. Gussi Can I do anything for you? Captain I wish to see Herr Schlick. Gussi (Grimacing) How nice. Captain (Abruptly) You are very pretty. Gussi (Shrinking away) Oh Captain - my salts - my salts. Captain Perhaps you will make a rendezvous with me for next week? Gussi I may be dead next week, what's the matter with now? Captain I fear that I am otherwise engaged. (HERR SCHLICK enters, oily and ingratiating) Herr Schlick Captain - forgive me please - I - (Sees Gussi) What are you doing here? Gussi Just feeding the swans - Goodbye, one and all. Goodbye! (She goes off R.C.) Captain Herr Schlick, I have a complaint to make. Herr Schlick It shall be rectified - before you say it, whatever is wrong is rectified. Captain Among your professional dancing partners you have been careless enough to engage an iceberg. Herr Schlick Good God! (MANON enters L. Crosses behind bandstand to R) Captain A beautiful alluring unsociable iceberg - her name is Sari. Herr Schlick She is new, Captain, she has only been here a few weeks. Captain Even a few weeks is surely time enough to enable her to melt sufficiently to sup with me, - Herr Schlick She is English, Captain, one must make allowances. Captain I do not come to a cafe of this sort to make allowances - I come to amuse myself and to pay for it. Herr Schlick (Very flurried) Captain - I assure you - anything that you wish - I will arrange as soon as possible. Captain I wish for this Sari, to sup with me - tonight. Herr Shlick She shall, Captain, she shall. Captain You will please have a special supper laid ready in a quiet room - No. 7 is the best, I think - (MANON crosses L. and hides behind L. rail) Herr Schlick You are sure that you would not rather have Lotte or perhaps Hansi - Captain Quite sure. Herr Schlick You see this English girl is the wife of my orchestra leader - they are said to be in love - (Laughs) It will be a little difficult -- Captain (Rising) I hope I have made myself quite clear - Herr Schlick But, Captain - Captain You will please arrange things as I have suggested - tonight I wish no allowances to be made. (HE bows and goes towards R.) Captain (Cont'd) (As CAPTAIN is about to exit, he meets SARI coming on. She has grown more poised and mature during the years spent with Carl. She starts visibly on seeing Captain August - HE clicks his heels and bows) Good morning. Sari Good morning. Captain It is a beautiful morning. Sari Beautiful. Captain But chilly. Sari It is very warm out. Captain Would you honour me by lunching with me? Sari I'm so sorry, but I am already engaged. Captain Perhaps a drive a little later on, we might go up to Cobenzil - Sari Please forgive me, but today it is impossible. Captain I am expecting you to have supper with me tonight. Sari Thank you very much, but I'm afraid I have another appointment. Captain We shall see. (He bows again and exits up R.) Herr Schlick (Furiously) It may interest you to know that you are losing me one of my most valued clients - I'll deal with you later. Captain - a moment, please - Captain. Herr Schlick (Cont'd) (He rushes off) (SARI looks after him pensively for a moment and then sighs) (MANON comes down from the dais) Manon Sari. Sari Oh! Manon Don't look so startled - Sari I came to find Carl. Have you seen him? Manon Yes, I've just been rehearsing with him. Sari Oh! Manon He's about somewhere. Sari I'll find him. (She turns to go, cross L) Manon Don't go, Sari, I want to speak to you. Sari (Coldly) Yes? What is it? Manon Oh, why do you always look at me like that? Sari Like what? Manon So aloof and superior. Sari I wasn't conscious of being either of those things. Manon Yes, you were - you know you were - you always are with me. But, listen, never mind about that now - I heard Schlick arranging for you to have your supper in a private room with Captain August tonight. Sari What! Manon So be careful. Sari (Incredulously) You heard Schlick arranging for me - Manon Yes - yes, yes - I thought you might like to know. Sari How horrible! Manon Not so horrible as all that, lots of girls here would be glad of the chance, but as Carl is in love with you and you are apparently in love with him, I thought - Sari (Rather stiffly) Thank you, Manon. Manon Not at all. (She turns to go R.) Sari Manon - Manon (Stopping) Yes? Sari I'm sorry. Manon What for? Sari If my manner is - well, unkind. Manon (Patting her arm) Ce ne faire rien, mon chere - I don't love him any more, really, at least I don't think I do, and anyhow you have no reason to be jealous, nothing to be afraid of. Look at me, and then look in the glass. (She kisses her lightly, and goes off humming a reprise of her former song) (CARL enters from L) Sari Carl. Carl Darling! (He kisses her fondly) How quick you've been dressing. I crept out without waking you. Sari Yes, I know, you must never do that again. Carl Why - what's the matter? Sari I dreamt - something dreadful. I awoke terrified - I came straight here without any coffee or anything - to see if you were safe. Carl I safe? Why of course I'm safe - why wouldn't I be? What could have happened to me? Don't be silly. (NO. 11-A) Sari I don't know, I'm frightened. I hate this place - let's go away. I'd rather go back to singing in the streets again, at least we were independent then and together. Carl We're together now - always. You know we're always together. Sari (Cross R. wildly) No, no - not here we're not - we're seperated by hundreds of things and people - you're the chef d'orchestra and I'm a professional dance partner. I hate it I tell you - I can't be gay and enjoy it like the other girls - because I love you - (CARL goes to her) Sari (Cont'd) I can't feel happy when the cavalry officers put their arms around my waist and dance and flirt with me because I love you, and because I'm scared. Carl Why are you scared? Sari Something terrible will happen if we stay here, I know it, I feel it - Carl (Cross L.) Come along and have a little lunch, then you'll feel better. We're going to Gussi's flat - she's got a present for you - you know that red coat - Sari Oh, Carl, Carl, you don't understand! (Goes to table and sits) (CARL goes to her) Carl Well, we'll go away then - tomorrow! Sari Carl! Carl We have a little money saved anyhow, and I hate Schlick and this place as much as you do really - tonight is the end of it - we'll go to Budapest, Fritz is there, and he'll help us! Sari Tonight is the end of it! Carl You remember Fritz, with the long brown beard. You laughed at him. Sari Yes! He was funny, but I like him! Carl Do you remember when he threw the chicken at his wife? (HE laughs) Sari (Laughing) Yes! And she was so angry, and the gravy ran all down the front of her. (They both laugh) That's it, laugh at me, laugh everything away. Stop me being solemn. Carl D'you feel happier now? Sari Much - much happier. Carl So do I! Soon we shall be able to start our own little cafe! Sari That's right, let's talk about the cafe - where shall we have it - how shall we manage it? Shall I be able to sing your songs there? (Music Cue) One day I might make them famous - I love your music so very much - I want it to be known all over the world, and one day it will be, I'm sure of it! Carl Darling! (THEY kiss) NO. 12 "LITTLE CAFE" 1. Carl: We share a mutual ambition Which naught can disarrange Sari: Based on the hopeful supposition That soon our luck will change. Carl: Tho' we very often wonder whether Poverty will win the day Sari: Just as long as we remain together Troubles seem to fade away. Both: However hard the bed one lies on The same old dreams begin We're always scanning the horizon For when our ship comes in - (THEY bring chairs down) REFRAIN Carl: We'll have a sweet little cafe In a neat little square Sari: We'll find our fortune And our happiness there Carl: We shall thrive on the vain and resplendent Sari: And contrive to remain independent Carl: We'll have a meek reputation And a chic clientele Sari: Kings will fall under our spell Both: We'll be so zealous That the world will be jealous Of our sweet little cafe in our square. 2. Sari: Can you imagine our sensations When we've security? Carl: And all our dreary deprivations Are just a memory. Sari: Tho' we're very often driven frantic Peace is very hard to find Carl: All these dreadful days will seem romantic When we've left them far behind Both: Fate needn't be quite such a Dragon He knows how Tired we are We'll hitch our hopeful little wagon On to a lucky star. REFRAIN Carl: We'll have a sweet little cafe In a neat little square Sari: We'll find our fortune And our happiness there Carl: We shall thrive on the vain and resplendent Sari: And contrive to remain independent Carl: We'll have a meek reputation And a chic clientele Sari: Kings will fall under our spell Both: We'll be so zealous That the world will be jealous Of our sweet little cafe in our square. (FADE OUT on word "World" in repeat refrain. Lower black and House Curtain, take away black) ACT TWO Scene 2 The scene is the same as Act Two, Scene 1., excpet that the atmosphere has changed from a [illegible] daylight squalor to a tinselled gas-light gaiety. It is about 9 p.m. NO. 13 WHEN THE CURTAIN RISES everyone is waltzing. CARL is conducting the orchestra on the dais. Some of the Girls have male partners and some are dancing with one another. The stage should look as hot and crowded as possible. At the end of the opening waltz CARL stops his orchestra and the theatre orchestra takes up the Officers' entrance music. About a dozen smart OFFICERS come marching on in attractive undress uniform. They sing a concerted introductory number with the GIRLS. NO. 14. OFFICERS' CHORUS Officers: We wish to order wine, please Expressly from the Rhine, please. The year we really don't much care Ladies: Oh dear, Now that you're here Think of the wear and tear Officers: We hope without insistence To overcome resistence In all you ladies fair Ladies: Oh well How can we tell Whether you'd really dare Officers' Chorus (Cont'd) We sincerely hope it's really not a thankless task Amusing us Won't you please agree? Ladies: Ah me! Officers: You could quickly break our hearts by everything we ask Refusing us That cruel would be Ladies, can't you see! We're officers and gentlemen Reliable and true Considerate and chivalrous In everything we do. Though we're gay and drink a trifle All our laughter we should stifle Were we summoned by a bugle call We're amorous and passionate But dignified and stern Which if you play us false you'll quickly learn Do not let our presence grieve you When we've loved you, we shall leave you For we're officers and gentlemen, that's all! (After song CAPTAIN SCHENZ enters R. and he and OFFICERS sing "Tokay" of which everyone joins in the last Refrain) NO. 15 "TOKAY" CAPTAIN SCHENZ AND CHORUS Verse Officers: Tokay! Captain S: When we're thoroughly wined and dined And the barracks are left behind, We come down to the town to find Some relief from the daily grind. Love is kind. Love is blind. Officers: Tokay! Captain S: When the thoughts of a man incline To the grapes of a sunlit vine On the banks of the golden Rhine Slowly ripening pure and fine Sweet divine Lover's wine Lift your voices till the rafters ring Fill your glasses to the brim and sing: Refrain Tokay! The golden sunshine of a summer day Tokay! Will bear the burden of your cares away Here's to the love in you The hate in you Desire in you Officers: Wine of the sun that will waft you along Lifting you high on the wings of a song Captain S: Dreams in you The flame in you The fire in you Tokay - Tokay. Officers: So while forgetfulness we borrow Never minding what tomorrow has to say Captain S: Tokay! All: The only call we all obey Tokay! - Tokay! - Tokay! (Some go off to the bar, others seat themselves at tables and order wine) No. 15. (The Band strikes up a waltz, and dancing begins. SARI enters up L. crosses behind and makes her way centre, where she is met by CAPTAIN LUTTE, who has entered down L. and is eyeing her. He bows, she brushes him aside and sits at table L. CAPTAIN LUTTE goes furiously across to HERR SCHLICK who crosses at once to reprimand Sari. He leaves SARI who sinks miserably into her chair. HANSI and FREDA try to comfort her and give her some wine. SCHLICK advances to the middle of the floor to announce the commencement of the entertainment) Schlick Ladies and gentlemen, I crave your kind attention for the most superb musical entertainment ever offered in Vienna. (Everyone applauds) Thank you. Thank you. - My first number will be my six magnificient dancing girls - trained exclusively in the finest ballet schools in the world. Lisa, Trude, Fritz, Toni, Crete, and Ela, the Prater Girls! No. 17. (SIX GIRLS enter from R. and make a line in the middle of the floor.) Schlick (Cont'd) (There is a lot of applause. CARL strikes up their music and they dance, after which they exit amid cheers. SCHLICK again takes the floor) Gentleman - Ladies and Gentlemen - I beg attention for my favorite, your favorite, the world' favorite star - MANON LA CREVETTE. (He steps aside and MANON comes running on L.C. She is greeted with vociferous applause. She sings a very saucy French song: "Bonne Nuit, Merci!" interspersed with a good deal of backchat and ogling) No. 18 - SONG: "BONNE NUIT, MERCI!" Verse 1. Manon: Lorsque j'etais petite fille En marchant parmi les pres J'entendit la voix d'ma tante Qui murmurs a cote N'Oublie pas la politesse Lorsque viendra un amant Car tout la bonheir reside la dedans. Refrain C'est pourquoi dans mes affaires Soit de coeur ou soit d'esprit C'est pourqui je tache de plaire Toute la Foule de mes amis Soit qu'ils m'offrent pied a terre Ou me montre une bonne affaire J'leurs responds vas-y Bonne Nuit, Merci! (Applause and laughter) O-oh! La! La! Je ne suis pas fini! 2nd Verse Lorsque je suis v'une a Paris J'etais sage de nature Mais que faire dans le vio Etant jeune pour rester pur! Quand ma politesse m'oubligea Lorsqu' je suivait par hasard Une advanture dans les boites des boulevards. 2nd Refrain Et j'ai recontre en villa Un monsieur bien comme il faut Il m'a dit ma petite fille Veux tu faire un p'tit do-do? Losq' j'arrive chez lui toute suite L'me dit 'Deahabilles toi vite'! ("Oh!" laugh) J'me suis dis "Vas'y. Bonne Nuit. Merci!" Manon Meadames, Messieurs, pour ma deuxieme chanson, je chantez une petite chanson, un petit peu plus triste. (The crowd sigh "Oh") Just a little more sad! (The crowd sighs again) A song of the broken heart! (The crowd roars with laughter. MANON points to Captain Lutte) Il sais que ce que c'est le Broken heart, le Captain! (LUTTE and the crowd roar at the sally) (As encore she sings a waltz song in which everybody joins) No. 19 WALTZ SONG 1st Verse 'Tis time that we were parted You and I, However broken-hearted 'Tis goodbye! Although our love has ended And the darkness has descended (up) I call to you with one last cry: (Chair bus) 1st Refrain Kiss me Before you go away! Miss me Through every night and day. (Steps) Though clouds are grey about you You'll hear me say I love you! Kiss me Before you go away. (Jumps on chair) 2nd Verse Parmi les [illegible] tristes De L'amour Joles et chagrine existent Tour a tour It presqu'avec contrainte On risque la douce etrelate Qui nous separe enfin toujoure (Puts her chair to her L) 2nd Refrain (To Lutte) Je T'aime Tes balsars m'cet grises [Illegible] A l'houre de T'en aller La volupte troublante (LUTTE jumps) Brise mos levres brulantes Je t'aime A l'heure de T'en aller. (At the end of this CARL strikes up another waltz and everybody begins to dance. SCHLICK comes over to Sari's table and stands behind it - After a moment CAPTAIN AUGUST approaches and bows, then following dialogue is pantomined) Captain August Fraulein Sari has perhaps by now forgotten her other engagement. Sari (Rising agitatedly) I - please - I - Schlick You are quite right, Captain, she has forgotten. Sari Captain August - I am very tired - will you please forgive me just this once. Captain August One dance, please. Schlick I think you would be well advised to grant Captain August's request. Sari (Pulling herself together) Certainly, Captain, I shall be charmed. (SHE gives one despairing look at Carl on the dais - HE is watching anxiously, then SHE surrenders herself to the Captain's arms and they begin to waltz - CARL watches all the time. As the dance progresses CAPTAIN AUGUST is obviously becoming more and more aggressively amorous. CARL, with obvious agitation perceptively quickens the tempo of the music. Finally the CAPTAIN waltzes SARI to the centre of the floor - stops dead, tightens his arms round her and kisses her on the mouth passionately, bending her right back as he does so. SHE gives one cry, CARL stops the music dead with a crash and leaps over the railing of the dais onto the middle of the floor. He drags Sari away from Captain August, then springing at him, strikes him in the face. Immediately the buzz of excitement dies down into dead silence) Carl (Wildly) Swine - filthy ill-manner drunken swine! Sari (In a whisper) Carl. Manom (Rushing forward) Carl - don't be a fool. (CAPTAIN AUGUST gives an unpleasant laugh and draws his sword) Captain August Tranisch - look after our foolhardy young friend here, will you? Tranisch Not now - not now - wait. Captain August I regret - I cannot wait. (The noise rises) (TRANISCH draws his sword and hands it to Carl - MANON clutches his arm) Carl Stand back, Manon - look after Sari - please. (The CAPTAIN attacks him and they fight a brief duel, the crowd making a large ring round them - suddenly CAPTAIN AUGUST knocks Carl's sword from his hand and runs him through. There is a general scream and everyone crowds forward. SARI silently sinks to the ground taking Carl in her arms. TRANISCH motions the crowd back. There is silence) Sari (Softly - she dry-eyed) I'll love you always - always - do you hear? Carl (Weakly) Sari - Sari - my sweet, sweet Sari - (His head falls back in her lap, and she kneels there staring before her dazed and hopeless) (MANON sobs) THE CURTAIN FALLS CHARACTERS ACT THREE MADAME SARI LINDEN THE MARQUIS SHAYNE LADY JAMES (HARRIET) MRS. PROUTIE (GLORIA) MRS. BETHEL (EFFIE) LADY SORELL (HONOR) MRS. VALE (JANE) THE DUCHESS OF TENTERDEN (VICTORIA) LORD JAMES MR. PROUTIE MR. BETHEL LORD SORELL MR. VALE THE DUKE OF TENTERDEN THE HON. HUGH DEVON MRS. DEVON VERNON CRAFT CEDRIC BALLANTYN BERTRAM SELLICK LORD HENRY JADE ACCOMPANIEST (TO MADAME LINDEN) BUTLER GUESTS, etc. - - - - - - - - - - ACT THREE Scene 1 SCENE: It is the drawing-room of the Marquis of Shayne's house in London. Thirteen years have passed since Act Two, and it is now 1893. DISCOVERED: When the curtain rises, LORD SHAYNE, a distinguished old man is standing a little to the right receiving his guests, who are announced by the BUTLER. LADY JAMES (Harriet) and MRS. PROUTIE (Gloria) are announced with their husbands, likewise MRS. BETHEL (Effie), LADY SORREL (Honor), MRS. VALE (Jane), and lastly the DUCHESS OF TENDERDEN (Victoria). They are all by now smart middle-aged society matrons. Their entrance and Lord Shayne's reception of them is all part of the opening chorus. GUESTS ORDER OF ENTRANCE: 1. MR. AND MRS. ARTHUR MEADOWS 2. MR. AND MRS. PROUTIE 3. MR. AND MRS. VIVIAN NAYLOR 4. MISS MOSSCROCK 5. THE DUKE AND DUCHESS OF TENDERDEN 6. SIR GEORGE AND LADY CHURT 7. LORD AND LADY SORREL 8. LORD AND LADY EDGAR JAMES No. 21 OPENING CHORUS All: Tarara boom-de-ay Tarara boom-de-ay We are the most effectual Intellectual Movement of the day. Our moral standards sway Like Mrs. Tanqueray, And we are theoretically Most aesthetically Eager to display The fact that we're aggressively And excessively Anxious to destroy All the snobbery And the hob-nobbery Of the Hoi-Polloi Tarara boom-de-ay It's mental washing day And come what may We'll scrub until the Nation's morals shrink away. Tarara boom-de-ay! Exquisites: Though we are languid in appearance We're in the Vanguard We feel we can guard The cause of Art. We shall ignore all interference For our complacence With this renaissance Is frightfully smart Please do not think us unrelenting Our charming frolic With the symbolic Is meek and mild We merely spend our time preventing Some earnest stripling From liking Kipling Instead of Wilde. Now that we find the dreary nineteenth century is closing We mean to start the twentieth in ecstasies of posing. Tarara boom-de-ay. It's mental washing day And come what may We'll scrub until the tiresome Bourgeoise shrink away. Tarara boom-de-ay! (Which is concluded by a SEXTETTE by HARRIET, GLORIA, HONOR, JANE, EFFIE and VICTORIA) (BUTLER enters L. announces) Butler Supper is served! (ALL exit except bridesmaids. EVERYONE else retired into the supper room leaving them on the stage) Harriet What have you done to your hair, Effie - it strikes me as peculiar. Effie Nothing in particular. Gloria I'm afraid you're becoming a little persnickity, Harriet, you must guard against it. Honor How's your late husband, Gloria? Gloria He was later than ever this evening, my dear - he's at Boodles, I expect. Jane Talking too much. Harriet (Sits) And drinking much too much. Gloria You can't upset me by saying that, Harriet dear. I find alcohol one of the greatest comforts of matrimony! Honor Gloria! Gloria In a husband, I mean - it leaves one free for one's charities. Jane (Crosses up L. behind settee) A little too free sometimes, my pet. Gloria You're getting old, Jane, and a trifle embittered. It's very sad. Harriet We're all getting old, and I for one am not enjoying it. Effie Age has its compensations. We have our husbands. MUSIC CUE Jane And our children. Gloria Oh, dear, I wish we hadn't. NO. 22 - SEXTETTE "ALAS THE TIME IS PAST" Alas the time is past when we Could frolic with impunity Secure in our virginity, We sometimes look aghast Adown the lanes of memory Alas the time is past Ah, then the world was at our feet When we were sweet and twenty We never knew that what we'd got Tho' not a lot - was plenty. We gaily sought some "Abelard" To cherish, guard and own us But all we know of storm and strife Our married life - has shown us. (Encore) Alas the time is past when we Could frolic with impunity Secure in our virginity We sometimes look aghast Adown the lanes of memory Alas the time is past Alack-a-day me - slack-a-day me! Ah then the world was at our feet Alas the time is past. Harriet Who is this woman? Effie Which woman? Harriet The one we've been invited to meet. Victoria (Crosses L) Some strange Hungarian Prima Donna - probably very glittering and rather stout. Honor Oh, I shouldn't think so - Lord Shayne has been pursuing her for ages from Capital to Capital. Harriet Central Europe is far too musical, there can be no two opinions about that. Jane I hear she's very beautiful. (LORD SHAYNE has entered L.C. up, unobserved from the supper room) Lord Shayne She is. Victoria Good heavens, how you made me jump! Lord Shayne She is one of the few really beautiful people in the world. Harriet How very disconcerting! Honor Do you think we shall like that? Lord Shayne I shall be very interested to see the effect she has on you - You are all - if I may say so - so very representative. Victoria Of what, dear Lord Shayne? Lord Shayne Shall we say "Fin de Siecle"? Harriet I was afraid someone would say that before the evening was over. (The BUTLER announces the SIR HUGH DEVON and MRS. DEVON. LORD SHAYNE moves over to greet them. HUGH has developed along the exact lines that one could have expected him to; he has become a good deal more pompous with the years, and has a tremendously diplomatic manner. His wife is fat and vague) Victoria Margaret dear, how are you? Mrs. Devon Shattered, completely shattered! Our cabby was raving mad. He kept saying the oddest things to his horse, at least, I hope they were to his horse. Lord Shayne I hear you're going to Vienna. Hugh Yes, next week, thank God! I believe Mullins has been making a fearful hash of everything. Mrs. Devon Isn't it exciting! I was so afraid we were going to be sent to Stockholm or Bucharest or somewhere draughty like that. Harriet (Walks up) Hugh generally gets what he wants. Mrs. Devon (To Lord Shayne) As it is, I don't know what I shall do with the children. I can't help feeling that Eva is the wrong age for Vienna. Lord Shayne No one is the wrong age for Vienna - it's a city of enchantment - magnificent. Hugh I'm told the plumbing is appalling. Victoria Lord Shayne has fallen in love again - haven't you, my dear? Lord Shayne I am always in love with Beauty. Hugh We're all on tenderhooks to see Madam Linden - she's due at any moment, isn't she? Mrs. Devon (Down L.C. to Class) (The BUTTLER throws open the doors and announces MADAME SARI LINDEN. SARI enters, exquisitely gowned and radiantly beautiful, carrying herself with tremendous poise, her jewels are superb and the years have invested her with a certain air of decision which is almost metallic as compared with the tremulous diffidence of her youth. LORD SHAYNE goes forward and kisses her hand) Lord Shayne My dear, how enchanting to see you again. (He turns with a smile) I think you know everyone here. Harriet Good heavens, Sarah! Victoria (Astounded) Sarah! Effie It can't be - it can't be--- (She rushes up and kisses her. There is a babel of surprised and excited conversation. HUGH stands a little apart looking a trifle embarrassed) Honor We heard that you had died, ages and ages ago. Sari I did die. Thirteen years ago to be exact. Things happened and I couldn't come back. I didn't want to come back, so I thought I'd better die, vaguely and obscurely. It was the only thing to do - it sort of rounded everything off so satisfactorily. Jane It's unbelievable, Sarah, dear Sarah. Sari Please don't be quite so pleased to see me. It makes me feel ashamed, particularly with Hugh standing there, looking so stern -- How do you do, Hugh? Hugh I'm delighted to see you again. Margaret, I want you to meet Sarah - Sarah --? (He looks questioningly at her) Sari Linden - don't say you've forgotten Carl Linden, the man I eloped with, practically under your nose, Hugh? Hugh I remember perfectly - how is he? Sari He's dead - How do you do, Lady Devon. I do hope Hugh is a charming husband and not too embittered - I treated him abominably, you know. Mrs. Devon (Shaking hands with her) It's all so very surprising - very, very surprising - Hugh told me the whole story, when he heard of your death in Prague or somewhere. He was dreadfully upset, weren't you, Hugh? Hugh Yes, indeed, I was. Sari (Smiling and tapping him lightly with her fan) Dear Hugh, never mind - everything always turns out for the best, doesn't it? At least, almost everything. Lord Shayne Won't you have a little supper - Sari? Honor "Sari" - it does sound pretty, doesn't it? Sari Only a very little, if you want me to sing for you -- Come along all my bridesmaids, that nearly were. (They ALL go into the supper room, chattering and laughing, while the ORCHESTRA very softly and lightly plays a reprise of the "Blindman's Buff Finale" in Act One. When the supper room doors close behind them, the other doors open and four over- exquisitely dressed YOUNG MEN enter. They all wear in their immaculate button-holes, green carnations. VERNON CRAFT, a poet, CEDRIC BALLANTYN, a painter, LORD HENRY JADE, a dilletante, and BERTRAM SELLICK, a playwright) Bertie It's entirely Vernon's fault that we are so entrancingly late. Vernon My silk socks were two poems this evening and they refused to scan. Henry It's going to be inexpressibly dreary. I can feel it in my bones. Cedric Don't be absurd, Henry, your whole charm lies in the fact that you have no bones. (THEY sing a quartette) NO. 23. "WE ALL WORE A GREEN CARNATION" QUARTETTE Blase boys are we Exquisitely free From the dreary and quite absurd Moral views of the common herd. We like porphyry bowls Chandeliers and stoles We're most spirited Carefully filleted 'souls'. 1st Refrain Pretty boys, witty boys, too, too, too Lazy to fight stagnation Haughty boys, naughty boys, all we do Is to pursue sensation. The portals of society Are always opened wide The world, our eccentricity condones A note of quaint variety We're certain to provide. We dress in very decorative tones Faded boys, jaded boys, womankind's Gift to a bull dog nation In order to distinguish us from less enlightened minds, We all wear a green carnation. 2nd Verse We believe in Art, Though we're poles apart From the fools who are thrilled by 'Greuze' We like 'Beardsley' and 'Green Chartreuse' Women say we're too Bored to bill and coo We smile wearily It's so drearily true! 2nd Refrain Pretty boys, witty boys, you may sneer at our disintegration Haughty boys, naughty boys, dear, dear, dear! Swooning with affection. 2nd Refrain (Cont'd) Our figures slick and willowy Our lips incarnadine May worry the majority a bit But matrons rich and billowy Invite us out to dine. And revel in our phospherescent wit Faded boys, jaded boys, come what may Art is our inspiration And as we the reason for the 'Nineties' being gay We all wear a green carnation. 3rd Refrain Pretty boys, witty boys, yearning for Permanent adulation. Naughty boys, naughty boys, every pore Bursting with self inflation, We feel we're rather 'Orecian' As our manners indicate Our sense of moral values isn't strong For ultimate completion We shall really have to wait Until the Day of Judgment comes along. Faded boys, jaded boys, each one craves Some sort of soul salvation, But when we rise reluctantly but gracefully from our graves, We'll all wear a green carnation. (THEY go off after number L. LORD SHAYNE and SARI come in from the supper room) Sari Has your piano been tuned for me, I don't trust English pianos! Lord Shayne Sari. I want you to talk to you. Sari I know. (She starts to play softly) Lord Shayne You can guess what I am going to say? Sari Yes, I think so. Lord Shayne I love you. Sari (Smiling) I was right. Lord Shayne Will you honour me by becoming my wife! You've now refused me in practical every capital in Europe, London is the last on the list. Sari Why should London prove the exception! Lord Shayne It's home. Sari (Sighing) Yes - I suppose it is. Lord Shayne It has charm, London - a very peaceful charm, particularly for anyone who is tired like you. You can drive in the Park in the Spring and look at the crocuses. Sari Please don't talk of Spring. Lord Shayne Then there's the autumn, when the leaves fall in the Square, and you can sit on a rickety iron chair and watch the children searching for horse chestnuts. Sari (Wistfully) Whose children? Lord Shayne Just anybody's. Sari The fogs come in November. Lord Shayne Fogs can be delightful. Sari Can they? (She smiles - looks up) Lord Shayme Particularly when you're warm and snug by a crackly fire drinking tea, while from the yellow gloom outside the trees look in at you like ghosts. (SHE stops playing) Sari (Rises, crosses down R.C.) I don't like tea or ghosts. Lord Shayne You're very hard to please. Sari How do you know I'm tired? Lord Shayne By your voice - (Down C. Business) And your eyes. Sari (Going to him) I'm afraid I don't love you - actually! I think you're kind and understanding and gay and very dear, but you know I've only really loved one man all my life. I know it's tiresome to be so faithful, particularly to a mere memory, but there it is. Lord Shayne I think perhaps I could make you happy - anyhow happier. Sari May I think it over a little? I'll let you know a little later - definitely. (The supper-room doors open and EVERYONE comes noisily into the room) Victoria Sarah - aren't you going to sing soon? (ALL talk) Honor Do you remember our singing lessons at Madame Claire's before you met Carl Linden - I mean - oh dear --- Sari (Smiling) I remember! I do hope my voice has improved since then. Lord Shayne Silence, please! Madame Sari Linden will sing us some of Carl Linden's enchanting songs, the songs she has made so famous --- (EVERYONE applauds and arranges themselves comfortably) Sari Where is my accompaniest, is he here? (A foreign-looking YOUNG MAN deatches himself from the crowd) Young Man Here I am. Sari What shall we begin with? Young Man "The River Song"! Sari No, that's difficult to start. Young Man "Zigeuner"? Sari That will do. Ladies and gentlemen, this song needs a slight preface. My husband wrote it when he was very young. He visited Germany for the first time and sailed down the Rhine past forests and castles ang gypsy encampments, and they fired his imagination so much, that he wrote this song of lovely flaxen-haired German Princess who fell in love with a Zigeuner -- (The GUESTS murmur inquiringly and SHE explains: "Gypsy!") (The YOUNG MAN starts the introduction and SARI takes her stand by the piano. LORD SHAYNE stands gazing at her. She sings "Zigeuner") No. 24. "ZIGEUNER" 1st Verse Once upon a time Many years ago, Lived a fair Princess Hating to confess Loneliness was torturing her so Then a gypsy came, Called to her by name Woo'd her with a song Sensuous and strong All the summer long Her passion seemed to trouble like a living flame. 2nd Verse Bid my weeping cease Melody that brings Merciful release, Promises of peace; Through the gentle throbbing of the strings. Music of the plain Music of the wild, Come to me again Hear me not in vain Soothe a heart in vain And 1st me to my happiness be reconciled. Refrain Play to me beneath the summer moon Zigeuner! - Zigeuner! -Zigeuner! All I ask of life is just to listen To the songs that you sing My spirit like a bird on the wing Your melodies adoring - soaring Call to me with some barbaric tune Zigeuner! - Zigeuner! - Zigeuner! Now you hold me in your power Play to me for just an hour Zigeuner! (At the end of it EVERYONE applauds. THE PIANIST commences another tune but SARI stops him) Sari No! No! Don't play that -- (Behind her fan) Play I'll See You Again! Ladies and gentlemen, this is a very simple, sentimental, little song. I do hope you won't laugh at it, because it's very dear to me. (She unpins a bunch of white violets from her waist and throws them to Lord Shayne. Then she begins to sing the refrain of: "I'll SEE YOU AGAIN") NO. 25 "I'LL SEE YOU AGAIN" Reprise I'll see you again Whenever Spring breaks through again Time has lain heavy between But what has been Can you leave me never Your dear memory Throughout my life has guided me Through my word has gone awry Through the years my tears may dry I shall love you till I die Goodbye! DROP BLACK ACT THREE Scene 2 At the end the LIGHTS dim and the ORCHESTRA crashes out the melody. When the LIGHTS go up again, it is the present day, the same as Act One, Scene 1, and SHE is an old woman singing to a lot of young people on the floor. Dolly It is the most thrilling, divine, marvellous thing I've ever heard - Vincent. I'm mad about you - d'you hear - I love you. (CROWD laughs) (SHE flings herself into his arms, HE gently and rather absently disengages himself) Vincent What a melody - my God, what a melody! (He goes to the piano and begins to play "I'll SEE YOU AGAIN" softly as a fox-trot. EVERYONE gets up "Hey heying" and Charlestoning and finally left by DOLLY, they all go jazzing out through the double doors) (LADY SHAYNE is looking at DOLLY, who in turn is gazing adoringly at Vincent. When HE finishes playing she makes a movement to hold him) Dolly Vincent! (HE pushes her aside) Vincent Boys! I've got a swell tune - Listen - Boys! (He exits R. still calling. DOLLY looks stunned. LADY SHAYNE pats her on the shoulder. The ORCHESTRA is now softly playing "I'LL SEE YOU AGAIN." LADY SHAYNE turns away, raises her arms and sings the last two lines, after which, she slowly walks towards door L.) Sari I shall love you till I die - Goodbye! THE CURTAIN FALLS