Bitter Sweet
Book, Music, and Lyrics by Noël Coward
MUSICAL NUMBERS
ACT ONE
Scene 1
Scene 2
Scene 3
MUSICAL NUMBERS
ACT TWO
Scene 1
Scene 2
MUSICAL NUMBERS
ACT THREE
Scene 1
Scene 2
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
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
DOLLY CHAMBERLAIN
LORD HENRY JEKYLL
VINCENT HOWARD
NITA
HELEN
JACKIE
PARKER
GUESTS, MUSICIANS, etc.
The scene is Lady Shayne's House in
Grosvenor Square.
The year is 1929.
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)
(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
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.
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)
(Lights cigarette)
Dolly
It must be funny to look back over so many years. I wonder
if she minds.
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.
(She looks at him almost shocked)
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.
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.
Dolly
(Wildly)
Go away - go away!
(She stamps to her feet)
(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.
Vincent
Please come over here and sit close to me.
Dolly
I'd better not, I think.
(She goes over and sits beside him -
HE goes on playing)
(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!
(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.
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?
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.
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.
Lady Shayne
Not in the least, my dear. What do you intend to do?
Lady Shayne
Well, if I were you I should make up my mind.
(She turns towards the supper room L.)
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. 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
CARL LINDEN
MRS. MILLICK
THE HON. HUGH DEVON
- - - - - - - - - -
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.
Carl
Not a real person - just an ideal in my mind.
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
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 ---
Carl
I fear I am talking nonsense.
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.
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
Sarah
Perhaps it's the climate here, it is depressing --
(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.
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.
Carl
I must go away on that day - to Brussels.
Carl
(Hurriedly)
Yes, a concert - I have to play at a concert - it is very
important.
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.
Carl
There are tears in your eyes.
(Lightly)
Carl
I know - I am sorry to be so foolish.
(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.
Carl:
Take a breath and then reprise
In a different key.
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)
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.
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.
Mrs. Millick
Doubtless Sarah will resume her lessons with you when she is
settled down in her new home.
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 not 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.
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.
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)
Lady Devon
How very, very unfortunate.
(SARAH enters from the supper room L.
She looks lovely, but her manner is
strained and almost defiant)
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.
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
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 --
Hugh
But you really must restrain yourself.
Sarah
(Almost rudely)
What a stupid tune, Mr. Linden - so dismal ----
Sarah
(Peremptorily)
Play something gay, please - immediately.
(CARL stops playing)
Hugh
(Softly)
Sarah, you must not speak like that - have you taken 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. 5- "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.
Sarah
Will you please forgive me?
Hugh
There is nothing to forgive.
Sarah
I shall be bad again if you are so polite.
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.
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.
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.
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
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
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?
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?
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.
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.
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.
Gloria
I said no. But that doesn't matter- he'll ask me again,
Effie
Are you in love with him?
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.
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 --
Gloria
Old-fashioned nonsense! There's five minutes of our time gone
already. Let's play a game.
Effie
Yes, yes - any game.
Sarah
No -- no - that means one of us going out ---
Jane
Now, when and where.
Sarah
Let's play an exciting game - a noisy game.
Harriet
Aunt Violet will hear.
Sarah
No -- she's two floors up.
MUSIC CUE
NO. 8 - FINALE - ACT ONE
Jane
Eeny meeny miny mo - we must do eeny meeny miny mo --
Harriet
Catch a fellow by his toe.
Victoria
If he hollers let him go.
All
O.U.T. spells out and so.
(She points to Effie)
Effie
(Skipping about)
This is the loveliest, loveliest part of the party.
Harriet
Catch a fellow by his toe.
Victoria
If he hollers let him go.
All
O.U.T. spells out and so.
(She points to Harriet)
(She and EFFIE take hands and twirl around)
Victoria
Catch a fellow by his toe.
Sarah
If he hollers let him go.
All
O.U.T. spells out and so.
(She points to Gloria)
(She joins Effie and Harriet)
Harriet, Effie, Gloria
This is the loveliest, loveliest part of the party.
Sarah
Catch a fellow by his toe.
Jane
If he hollers let him go.
All
O.U.T. spells out and so.
(She points to Victoria)
(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.)
Gloria
Sarah - don't be silly - Sarah ----
(Neither CARL nor SARAH turns their heads)
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.
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 --
Carl
Yes - Sarah will sing and I will play and we will make a
living - come, Sarah.
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
Waiters:
Why oh why we're waiters nobody can say
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?
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)
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.
(GUSSI enters elaborately dressed and
wearing a fur tippet and muff)
Freda
Oh my God, look at Gussi.
Hansi
(Fingering the tippet)
Where did you get it?
Hansi
Here, leave off, surely you've seen a bit of mink before?
Hansi
Well have a good look now and enjoy it.
Lotte
Who gave it to you?
Hansi
(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?
Hansi
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.
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?
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
She'll be here soon, looking at Carl with sheep's eyes.
(Giggles)
Hansi
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;
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,
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 -
(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 --
(He starts the music again)
Manon
(Stops him)
No, no, no - you are so 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.
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)
(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
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 --
(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)
Manon
Ah! Bon jour Fritz! Vous ne paz oubliez ce matin, n'est ce
pas?
Fritz
Non, Madame, pas oubliez, Jamais.
Fritz
Tres bien, Madame, et vouz?
Manon
Tres bien! Et la famme?
(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 -
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 --
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)
Hansi
Are you lunching with anyone?
Hansi
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.
Hansi
Here listen, you know that dark red coat of mine?
Hansi
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.
Hansi
You both look so pinched - it depresses me to look at you -
bring Sari along to lunch at my flat -
(CAPTAIN AUGUST LUTTE enters - Captain
August is a debonair imposing looking
man)
Hansi
Just a moment, some good news has come in - come at 1:30, if
I'm not back tell Liza to serve you.
Hansi
(Firmly)
Good-bye, dear Carl -
(Carl goes off laughing. GUSSI sidles
up to Captain August)
Captain
(Bowing stiffly)
Good morning.
Hansi
Can I do anything for you?
Captain
I wish to see Herr Schlick.
Hansi
(Grimacing)
How nice.
Captain
(Abruptly)
You are very pretty.
Hansi
(Shrinking away)
Oh Captain - my salts - my salts.
Captain
Perhaps you will make a rendezvous with me for next week?
Hansi
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?
Hansi
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.
(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 Schlick
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 -
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.
Captain
It is a beautiful morning.
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.
(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.
(He rushes off)
(SARI looks after him pensively for
a moment and then sighs)
(MANON comes down from the dais)
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.
Manon
He's about somewhere.
(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?
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
(Incredulously)
You heard Schlick arranging for me -
Manon
Yes - yes, yes - I thought you might like to know.
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.
(She turns to go R.)
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)
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)
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.
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!
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!
(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
We sincerely hope it's really not a thankless task
Amusing us
Won't you please agree?
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
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.
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
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)
Sari
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.)
(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")
(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 -
Sari
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.
Sari
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)
(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.
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!
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
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?
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)
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?
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.
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.
(She starts to play softly)
Lord Shayne
You can guess what I am going to say?
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!
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.
(She smiles - looks up)
Lord Shayne
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)
Sari
What shall we begin with?
Young Man
"The River Song"!
Sari
No, that's difficult to start.
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)
(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