ALDRIDGE, RL: Sister Carrie [Opera] 8.669039-40

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ALDRIDGE, R.L.: Sister Carrie [Opera] 8.669039-40 https://www.naxos.com/catalogue/item.asp?item_code=8.669039-40

Caroline Meeber, later Carrie Madenda ...... Adriana Zabala, Mezzo-soprano George Hurstwood ...... Keith Phares, Baritone Charlie Drouet ...... Matt Morgan, Tenor Lola Sterling ...... Alisa Suzanne Jordheim, Soprano Prince Abdul/The Captain ...... Stephen Cunningham, Bass-baritone Mrs. Vance ...... Ariana Douglas, Soprano Maitre D’/Farley ...... Leroy Davis, Baritone George Jr./Head Replacement Worker ...... Thomas Leighton, Tenor Mrs. Hurstwood ...... Ashley Puenner, Mezzo-soprano Hanson/Ames ...... Nathan Krueger, Baritone Jessica/Maid ...... Nancy Davis, Soprano Overfed/Head Striker ...... Jim Gottfried, Tenor Waiter/Mr. Vance ...... James Barany, Bass-baritone Minnie ...... Jessica Timman Schwefel, Mezzo-soprano Detective ...... Scott Pullen, Tenor Stage Director ...... John A. Stumpff, Tenor Stage Manager ...... Pablo Siqueiros, Baritone Dance Captain ...... Nicholas Barootian, Baritone Chorus Master ...... Edson Melendez, Tenor Quartet Actors ...... Tracy Wildt, Soprano, Brianne Sura, Mezzo-soprano, ...... Scott Pullen, Tenor, William Johnson, Baritone Another Striker ...... William Johnson, Baritone Hotel Desk Clerk ...... Tim Rebers, Baritone Bill ...... Joel Spiess, Tenor

[1] [2] Overture Where production keeps up with orders to fill. Caroline Meeber arrives by train to the bleak and violent urban But it all tends to break down lickety-split, landscape of Chicago, 1900. After a fruitless search for work, she Where the human worker can’t keep up and the human hand can’t fit. eventually finds employment in a shoe factory. It breaks down with lasting, lasting Lasting a boot, lasting a shoe, Act I, Scene 1 That’s the one thing no machine can do. Charlie Drouet, a youthful traveling salesman, is being given a tour of Women: Four on. Four. Four off. Four. the shoe factory by Bill, the factory owner. As the Scene begins, they Drouet: [Indicating Carrie at work:] are observing a very busy assembly line of Women Workers. These So... Turn it around, fasten it down, tack at the toe, tack on a bow women [including Carrie] call out the various tasks connected with their and—see? work—a grim call and response that echoes across the vast factory It’s slow, blastedly slow floor. [slow and sluggish, imitating Carrie who is struggling to work quickly.] Women: [Call and response] Ka ching ka chi, ka ching ka cha, ka-ching-ka-cha-ka. [3] Four on. Four off. Two coming. Two. Two. [Repeat] Carrie: Sorry, sir. Splits. Splits done. [Repeat] [5] Drouet: Here’s a very good worker who can’t make it go. Uppers waiting. Uppers waiting. Even very good workers cannot make it go. Four on. Four off. [Repeat] Carrie: Done! [She has finished a boot; hands it down the line] Drouet: [Moving around the floor with a salesman’s enthusiasm] Drouet: That’s one [4] There is music here, Bill. Carrie: Sorry, sir. There is music here, Bill. Drouet: You’re not to blame, miss. No, no. Shoes. Shoes. Shoes. [Back to Bill:] That’s why at Bartlett Caryoe, There is music here. We’ve developed the first magnetic lasting machine, patent pending. There’s music when the line tightens up. Bringing sweet music to the factory floor. When the lift cutters and splitters kick in [Triumphantly] And a fresh batch of uppers feeds into the line Ka chi ka chi, ka-chi-ka-cha-ka. And the channel cutters start to hum Ka chi ka chi, ka-chi-ka-cha-ka. [Repeat] Before long: Women: Splits. Splits done. Splits. Splits done. Ka chi ka chi, ka chi ka cha, ka-chi-ka-cha-ka. Drouet: Ka chi ka chi, ka chi ka cha, ka-chi-ka-cha-ka. [The women inhabit another world; they completely ignore him.] Women: Uppers waiting, waiting. Uppers waiting, waiting. Women: Four on. Four off. Two coming. Drouet: Kachika cha! Drouet: Ka chi ka chi, ka chi ka cha, ka-chi-ka-cha-ka. [Repeat] Women: Splits. Splits done. Uppers waiting. Women: Four on. Four off. Two coming. Four on. Four off. Four. Four off. [Repeat] Drouet: Cha-ka-ta cha-ka, cha-ka-ta cha-ka. That’s a song! Drouet: Ratatatata, Ratatata. [Repeat] Women: Four on. Four off. [Repeat] That’s a song. That’s a song. Drouet: There’s music where there’s larger output, Bill You’ll have music here, Bill.

Sweet music once more. Drouet: Gad! That’s an outrage. You’ll have music here! Carrie: …I couldn’t find anything else. Women: Four on. Four off. Four. [Repeat] Drouet: Gad! You can’t keep working there. Drouet: [leading Bill offstage] C’mon, let me show you. Duet [Carrie, working all the while, has completed her task on another shoe. [7] You belong in places like this. She passes it down the line.] Or better than this. Carrie: [Routinely] Done. You belong in lively places, Women: Four on. Four off. Four Grand spots, full of cheerful faces You belong in places like this. [6] Act I, Scene 2 Carrie: [to headwaiter, who has pulled out her chair] A few hours later, Drouet is waiting for Carrie outside the factory as Thank you. she finishes work. She is dressed humbly. Her gloves—to which Drouet: Now! What will you have? Drouet will allude— are a simple cotton. [The light changes to an internal mode for Carrie’s thoughts as she Drouet: Lord! But I’m glad I ran into you! looks around the restaurant. Drouet freezes, considering the menu.] Miss! It’s me from the factory… Carrie: Will these people laugh at me? Dear! I’m passing through Chicago but I fear that [Lighting returns to normal.] I’ve brought grief to one of its daughters. Drouet: I’m famished. Let’s order. Carrie: No, I’m not from here. [A waiter has appeared. Light changes to the internal mode as she Drouet: Then where? reads the menu to herself.] Carrie: Columbia City Carrie: “Broiled half spring chicken, 75; Lobster Newberg, 2 dollars…” Drouet: Columbia City! Columbia City! [Lighting restored. There is an awkward moment during which Carrie is My! That’s a lovely town, for sure! tongue-tied. Drouet pulls his chair closer, leans toward her and Yes! I’m often there for my firm coaches her flirtatiously.] Say! Are you stopping in Chicago for some time? Drouet: The sirloin… Carrie: I’m living with my sister ’til I find my own way Carrie: [to waiter] The sirloin, please But certainly… I intend to stay. Waiter: The sirloin. Drouet: Now take off your glove and slap me! Drouet: [same]…with mushrooms. Take your pretty glove off and slap me! Carrie: [same] Sirloin with mushrooms. Just slap me, Miss… Drouet: Stuffed tomatoes… Carrie: Meeber Carrie: Stuffed tomatoes, please. Drouet: Miss Meeber Drouet: Asparagus… Carrie: Caroline Meeber Carrie: Asparagus. Drouet: Caroline Meeber! [Holding out a business card and turning his Drouet: Hashed brown potatoes… cheek] Carrie: Hashed brown potatoes. I insist that you slap me! [She takes the card and looks at it] Waiter: [Summarizing their order] And tell me why you’re working in a shoe factory. Sirloin with mushrooms…Stuffed tomatoes… A well-bred young woman like you! Asparagus…Hashed brown potatoes. Where do you want to be? Carrie & Drouet: Sirloin with mushrooms, stuffed tomatoes, Carrie: I hope to be a singer. asparagus, hashed brown potatoes. Drouet: [Making a connection] Of course…! Drouet: [reconsidering, still flirtatious] …or Yorkshire pudding? Carrie: But that is a dream. Carrie: [very unsure] Yorkshire pudding? I can’t find anything. Drouet: [deciding] No! Potatoes… Drouet: [Enthusiastically] Carrie: [firmly to the waiter] Just the potatoes. ...That’s who you remind me of! Eva Tanguay, the actress. Drouet: You belong in places like this. [A subtle lighting shift into an internal mode for Carrie’s thoughts. Carrie: Do I belong in places like this? Drouet is looking at her, still making the connection to Eva Tanguay.] Drouet: Or better than this. Drouet: Yes, yes! Carrie: Or better than this? Carrie: A nice young man, Drouet: You belong in lively places, Much better off than I Grand spots, full of cheerful faces Doing everything he can Carrie: Do I belong in lively places, To catch my eye. Always seeing cheerful faces? A pleasant face Drouet: Now you belong in places like this. His hands are manicured… Carrie: Do I belong in places like this? [A shift back in lighting] Drouet: [In mock horror] We forgot soup…! Drouet: [going down on his knees to receive a slap.] Carrie: [Getting the joke] Soup?! Miss Meeber! Drouet: We forgot soup. Carrie: [Slapping him lightly as she reads his business card] Carrie: Soup? Take that, Mr. Drou-ette? Waiter: Soup? Drouet: Drouet. It’s French. You say Drouet. Drouet: [Reconsiders] No soup! Carrie: Drouet. Carrie: [Confident] No soup. Both: Drouet. Waiter: No soup. Carrie: “Here’s a very good worker who can’t make it go.” Carrie: No soup. Drouet: Oh, my impertinence, and “Ka-ching ka cha…” Sorry. Drouet: No soup. Both: Even very good workers cannot make it go Carrie: [To the waiter; showing off for Drouet] A big pot of coffee to [They continue a playful conversation as the Scene changes around warm us up. them] Drouet: That’s grand!

*** Waiter: Yes ma’am. Carrie: That is all. [They enter a restaurant, in mid-conversation] [The waiter goes. The lighting shifts again. Now Carrie muses on what seems a possibility.]

Carrie: [looking around while everyone else freezes.] Carrie & Drouet: No one gets by alone. People sit and take their time Minnie: Poor girl. There’s nowhere they need to go. Hanson: That’s that. Poor girl. Could I become like that? Carrie & Drouet: Everyone knows chances come. [The setting changes around them to become the suggestion of a shoe Hanson: That’s that. store] Carrie & Drouet: No one gets by alone. Drouet: You belong Minnie: Now she’s done it. Poor girl. In places like this. Hanson: Now she’s done it. Poor girl. Carrie: Like this? Drouet: This will be your place. And remember, I won’t bother you... Drouet: Or better than this. Carrie: I’m so grateful. [They kiss.] Carrie: Or better than this? Minnie & Hanson: Sister Carrie is not coming back. Drouet: Carrie, I’ve been thinking: you’ve made enough shoes. [They exit.] Carrie: I’ve made enough shoes. Drouet: [Flirtatious] ...not unless you want me to. [He looks at her Drouet: You’ve made enough shoes! meaningfully, then exits.] Now let’s buy you some shoes. And a jacket. Carrie: Oh no. Oh, no. [9] Act I, Scene 3 Drouet: Tasteful jewelry. A week later, Carrie wanders through the apartment Drouet has rented Carrie: I can’t wear those things at my sister’s. for her. It is dusk. Drouet: And gloves. So you can slap me. Carrie: Everything is paid for. Carrie: Oh, no. Oh, no. Three rooms; a fire in the grate. Drouet: So you can slap me. Everything is paid for. Carrie: [Firmly] No. No. No. Everything warm and safe, Drouet: Come on, Carrie. [He tries a gentle appeal] Neat and pleasant, Quartet Must be paid for. [8] I can help you get along. I’m worlds away from the factory; No one gets anywhere on their own. I’m worlds away from where I feared I’d be. The story is simple, simple as they come In a respectable flat with a park across the way. I have money – you take some. A respectable maid comes in every day No one gets by alone. It’s a decent place for a single girl to be, No one gets by alone. Where a decent man needs love from me. Carrie: I’ll write a note to my sister A decent man needs something like love from me. Drouet: I can help you get along. Everything is paid for. No one gets anywhere on their own Soft bed; the clothes of my dreams. Carrie: I’ll say I’ve found different work on my own Everything is paid for. Drouet: The story is simple, simple as they come Everything warm and safe, Carrie: Things happen, chances come. Neat and pleasant, Drouet: I have money – you take some. Must be paid for, must be paid for... Both: No one gets by alone. [Repeat] Everything good Carrie: Everyone knows chances come. Must be paid for. No one gets by alone. Both: No one gets by alone. [10] Act I, Scene 4 [The setting around them changes to the suggestion of an apartment A few weeks later. The main dining room of Fitzgerald and Moy, building.] Chicago’s most exclusive restaurant (“resort”) of the day. The Drouet: And tomorrow you come here – manager, George Hurstwood, stands at the bar in a most relaxed and Carrie: He can help me get along. elegant fashion, sipping a drink and glancing over a folded newspaper while keeping an eye on the proceedings. The Maître D’ occasionally Drouet: We’ll find you a nice flat. approaches Hurstwood to receive a terse instruction. The Maître D’ Carrie: No one gets anywhere on their own. dispenses orders to the staff of the restaurant and they respond with Drouet: I won’t bother you. military rigor. Carrie: It’s never so simple when chances come. Men: [Hushed; they are talking to themselves] Drouet: Thursday: the theater. We’ll have fun! It’s five, five. A five o’clock start, a five o’clock start. Carrie: He has money – I have none. [Repeat] Both: No one gets by alone. No one gets by alone. Maître D’: We prepare for a five o’clock start. [Carrie’s sister, Minnie, enters another part of the stage reading a Men: [Aloud] A five o’clock start! letter. Minnie’s husband Hanson follows her.] Maître D’: Are we clear? [Repeat] Minnie: Well, what do you think of that? Sister Carrie is not coming Men: Clear. Clear. Clear. [Repeat] back. [11] Hurstwood: [With effortless command.] It’s opening night at Carrie & Drouet: No one gets by on their own. McVickar’s Theater. Minnie: Gone to live somewhere else. Maître D’: And a ten PM rush. Hanson: Poor girl. Men: A ten PM rush. A five o’clock start and a ten PM rush. A ten PM Carrie & Drouet: No one gets anywhere on their own. rush. A ten PM rush. The story is simple, Maître D’: [to Hurstwood] Yes sir? Simple as they come Hurstwood: [Casually] Tables. Minnie: Gone to live somewhere else Maître D’: Tables! Hanson: Now she’s done it. Men: Tables! [They roll out and carry out tables] Five fours. Two-one- Drouet: I have money, you take some. two. [The suggestion of Carrie’s new flat coalesces around her and Drouet.] Men: Two-one-two. Two-one-two. [Softly, reminding themselves] A five Carrie & Drouet: No one gets by alone. o’clock start and a ten PM rush. Minnie: Now she’s done it. Maître D’: And once more. Hanson: Now she’s done it.

[The responses to his commands echo back to him from various parts Look at her! Look at him! Look at her! Look at him! [Repeat] of the restaurant. More tables are put in place.] Drouet: I don’t believe you’ve met Mrs. Drouet? Groups of Waiters: Two-one-two. A five o’clock start. Hurstwood: Mrs. Drouet, perfectly charmed. Forgive me! Two-one-two. And a ten PM rush. [He quickly but gently moves them aside, turning his attention back to Maître D’: Now Eights! the actors.] There you are! Groups of Waiters: Eight tops. Eight tops. And a ten PM rush. Chorus of Patrons: Here they are! [All the tables are in place. The staff look to the Maître D’: for their next Actors: [Spoken] George! Georgie! We’re back! [etc] cue.] Aria Maître D’: Mr. Hurstwood? Hurstwood: [with great, almost theatrical, flourish] Hurstwood: Sidework. My dears, why have you forsaken me? Maître D’: [to All] Sidework! When the night is young [This begins a new welter of activity in preparing to set the tables. And the gaiety is far from done Simultaneously, women in kitchen uniforms enter. They will begin Come to us! Enjoy! cleaning, polishing, rolling on carving stations, etc. Theirs are the more When you’re finished at the play menial jobs — they do not set the tables.] And the mad applause has died away All: Sidework. Sidework. [Repeat] Come to us! Enjoy! [A group of waiters arrives with white tablecloths. Just after them, You’ll dine like kings, another group arrives with large wooden boxes of silverware. The Amidst the brightest chatter. groups work in highly coordinated overlapping fashion.] Forget dull things Napery! Napery! In here, dull things don’t matter Maître D’: Napery, go. Come for the wines, First Group of Waiters: Napery. Napery. Go. [Repeat. They spread Come for the menu tablecloths.] Sparkling eyes, Second Group of Waiters: Chargers. [Repeat. Placing chargers at A sparkling venue. each setting] Come to us! Come to us! Third Group of Waiters: Four, six, six. [Repeat. Refers to the Heed this fond request diameters of small plates they are preparing to place at each setting.] Allow yourself the very best Maître D’: Cutlery! Come to us! Come to us! Enjoy! All: Cutlery. Cutlery. But if I ever hear [Teams of men stand ready with chests of silverware – another highly That you’ve bestowed your favors organized, military endeavor. Those not involved continue their other On our lowdown, dreary neighbors tasks.] Beware! Beware! Maître D’: Go. I’ll do anything for love First Group: [Referring to the knives and forks they rhythmically place God knows what I’m capable of! at each setting.] I’ll track you down Relevé, Entrée, Fish, Salad, Soup. Relevé, Entrée, Fish, Salad, Soup. In that dingy dive [Repeat] Throw myself at your feet Second Group: Four, six, six. Four, six, six. [Repeat] I’ll beg, I’ll connive! A Group of Women: [Folding the napkins into peaks and placing them But I’ll get you back to Fitzgerald and Moy! on the tables] … Enjoy. Fold one, fold two, crown and down. [Repeat] [Receiving applause and compliments, which he gracefully deflects, Maître D’: Brigades! Brigades! Hurstwood passes the care of the actors into the hands of the Maître All: Oyster Carts. Carving Stations. Cocktail Service. Cigar boys. D’. Then, fresh from his triumph, he turns his attentions to Carrie.] All Women: Flowers, candles, Cordleys. Flowers, candles, Cordleys. Drouet: [to Hurstwood] Nicely done, nicely done. All: Cigar boys. Cigar boys. Hurstwood: [complimenting Carrie] We are exceedingly charming [Silence. Everything is resplendent and ready. All stand stock still.] tonight. Hurstwood: [Addressing them all] It’s opening night at McVickar’s. The Drouet: Mrs. Drouet is all for the stage herself. entire cast will be here. Joseph Jefferson himself may grace us. Hurstwood: Is that right? Maître D’: [Quietly] Yes sir. Carrie: I’d like to think so, yes. Hurstwood: We are Chicago’s greatest resort. Hurstwood: And that fire they have? That command? [He is referring All: [Quietly] Yes sir. to the actors] Hurstwood: Show me why tonight. Drouet: Oh, yes. She has it! All: [Loudly] Yes sir! Trio with Ensemble Hurstwood: [Grandly] From chef de cuisine to coatcheck boy… [13] Hurstwood: [Suggesting a role to Carrie] We’re only the men in the grateful employ of the great Chicago... Fine. Try the bright ingénue. All: ...Chicago house of Fitzgerald and Moy. Carrie: [Very hesitant] Right here? [They return to work and it becomes 10 PM. The restaurant is in full Drouet: Come on, Carrie swing. There is a particular excitement as a cast of celebrated actors Hurstwood: Well? arrives outside the restaurant.] Drouet: [Whispered to her] Here’s a chance! Five o’clock start. A ten PM rush. Ten PM rush. Ten PM rush. Hurstwood: [Announcing to the crowd, which urges her on] Ingénue! [12] Hurstwood: There they are! Carrie: [Unsure] Mister Jones… [A group of actors boisterously enters the resort.] Drouet: Come on, Cad! Chorus of Patrons: Here they are! It’s the cast of “Molding a Maiden” Carrie: Mister Jones, this is out of the blue! The whole cast! From McVickar’s! I’m your file clerk – I’m shocked at you [laughter from the crowd] [During the preceding, Carrie and Drouet have also entered the La la la la la la la [etc] restaurant. They hang back, slightly intimidated.] Hurstwood, then Crowd: Encore! ENCORE! Drouet: [from afar] Hello, George! Drouet: That’s right, Cad, put the ginger in it! Hurstwood: Hello, Charlie Hurstwood: Now let’s have a street urchin! Drouet: [aside to Carrie] We’ll say that you’re my wife. Crowd: Street Urchin! Chorus of Patrons: [Ogling the celebrities] Carrie: [Pathetic young voice, Cockney]

Ooh dis weffer is bad f’me helf Mrs. Hurstwood: I’ll ask. Got a penny, sir? [Aggressive] Aah go chase yerself! [She moves quickly towards the kitchen, then hesitates when she [More laughter and applause from the crowd] overhears George Jr.] La la la la la la la [etc] George Jr: I saw you, Governor, last night. Hurstwood: [Aside] Could a fool like Drouet win her heart? Hurstwood: [Perturbed, but not showing it.] Oh. At McVickar’s? Drouet: [Aside] Have I won her heart? [Aloud] Carrie, put the ginger in George Jr: Yes. I went with Miss Carson. it! Mrs. Hurstwood: Really? How was the play? Carrie: [with triumphant ease] La la la Hurstwood: Same old tired Rip van Winkle. La la la la [etc] Mrs. Hurstwood: Who were you with? Hurstwood: [Aside] How could Drouet win her heart? Hurstwood: [With exaggerated interest in the newspaper.] It was work. Crowd: We dine like kings, Ha ha... This chap knows what’s what. Amid the brightest chatter. Mrs. Hurstwood: George? Who were you with? Drouet: Can I win her heart? Hurstwood: Nobody, nobody. Clients from work. Very dull. Carrie: Forget dull things. Jessica: [Entering] Mother, mother. The Spencers are going away Crowd: Forget dull things. again. In here, Hurstwood: [Reacting to the paper; ignoring them all.] Ha ha ha ha ha. Carrie and All: Dull things don’t matter. Jessica: To Europe, mother, Europe again. Carrie: La la la la la la la [etc] Mrs. Hurstwood: It’s nothing to go to Europe. We’ll go one of these Hurstwood: Now English Lady! days. [Looking impatiently at her husband.] Carrie and Drouet: English Lady? Jessica: When? When? Crowd: English Lady! English Lady! Hurstwood: Go where? Four of the Actors [First:] I’ll be the maid [Second:] I’ll be the butler, Jessica: Georgine said: “We sail to Livahpool, we summah in [Third:] uncaring friend, [Fourth:] her witless brother Fraahnce. Crowd: Show us now. Show us now! Hurstwood: [Continuing to read the paper] Ha ha. Carrie: [high-toned English accent] Jessica: All shopping and riding and sailing and masquerades. Are I would spare you all if I could you going by chaahnce?” Vain little thing! But I’m forced to sell dear Ravenswood Mrs. Hurstwood: Vain little thing! It’s nothing to go to France. Quartet of actors: [Lightly, in support] Jessica: It’s nothing to go to France. To Fraahnce! La la la la la. Hurstwood: [Looking up peevishly] It must be something if you envy Oh dear! Oh dear! her. Carrie: There comes a time for all Mrs. Hurstwood: Now speaking of which: we want season tickets to When we put aside desire the races. We are called by something higher Jessica: Oh, yes, please! True love, true love George Jr: That’s the thing! [Imitates the post call of a horse race.] Ba Hurstwood: [Aside] Look at her. da da da da da da da da Look at her now. Hurstwood: Single tickets should do. Quartet & Crowd: True love, true love Mrs. Hurstwood: No. Season tickets. Drouet: [Aside] I’m a lucky guy. Hurstwood: Well, you needn’t get mad. I’m a lucky guy. [Repeat] Mrs. Hurstwood: [Shouts] I’m not mad! [Controlling herself] I’m merely Carrie & Hurstwood: I’ll do anything for love. saying, we need season tickets. God knows what I’m capable of. Hurstwood: And I’m telling you, that’s no easy thing. Drouet: I’m a lucky guy to have her [The following lines are all sung simultaneously.] Carrie & Crowd: Love, love, only love. Mrs. Hurstwood: Season tickets, not single ones. God knows what I’d do for love. I’m not getting mad. [Repeat] Hurstwood: [Aside] I’ll track you down in that cozy lair, throw myself at George Jr.: Ba da da da da da da da da your feet. That’s the thing! [Repeat] I’ll have you, I swear! Jessica: And a trip to France! Drouet: [Aside] To have her safely installed in our pied-à-terre. Yes, please, a trip to France. [Repeat] She’s a true little peach, I swear! Jessica: The Spencers are going away again. All: I’ll do anything Mrs. Hurstwood: Dinner is served. Carrie: La la la la la la la la la la la LA! [Hurstwood stands up and crosses the stage. It is some days later. He All: For love! meets Carrie in the park close to her flat, just before dusk. Their [Carrie moves to the actors’ table in a storm of applause. The behavior remains discreet in this public setting.] celebration continues.] *** [14] Act I, Scene 5 The Hurstwood home. Several weeks later. Evening. Hurstwood is in [15] Duet an armchair reading the paper. Mrs. Hurstwood sits in an armchair Hurstwood: My darling! watching him. Their son, George Jr., is occupying himself nearby. Carrie: I’m so glad to see you. Tension, silence. Hurstwood: It’s been too long. When is Charlie back? Hurstwood: Is dinner ready yet? Carrie: Next week. Mrs. Hurstwood: It’s still early. Hurstwood: And the maid? Did she see you? Hurstwood: It’s not early. It’s dinner time. Therefore, I’m wondering if Carrie: George… [She holds out her hand. He takes it, and they look it’s ready. in each other’s eyes.] Mrs. Hurstwood: George, you’ve hardly been home for dinner in a Hurstwood: These weeks that I’ve known you have been the happiest month. times I’ve had in years. I wish I could kiss you. Hurstwood: I’ve had a great deal of work. You know that. Carrie: I wish you could. Mrs. Hurstwood: And we must discuss our summer plans. Hurstwood: I wish I could kiss you without worrying who’s nearby. [He looks up from his paper in annoyance. They stare at each other Carrie: I want you to. until she relents.] Hurstwood: Come away, Carrie. Oh God, come away tonight.

Carrie: You know that I’m not Charlie’s wife. You knew that the first [Turns pages rapidly] evening. But now he says he’ll marry me. Mrs. Hurstwood: [From another part of the stage] Hurstwood: Come away with me. I’ll arrange everything. “In the Matter of the Marriage of Julia Hurstwood:, neé Thompson, Carrie: Don’t! Don’t say “arrange”! Petitioner… Hurstwood: I want to make everything different for us. Hurstwood: “Petitioner!” [Turns again] I want to know your truer self Mrs Hurstwood: “The marriage has become insupportable by reason In a place far-away and free, of Respondent’s And when we find that truer place, Hurstwood: “... insupportable!” I want to show you a truer me. Mrs Hurstwood: “Adultery, Wanton Neglect, and Non-Support of And when we find that truer place, dependent Children…” I want to show you a truer me. Hurstwood: “Adultery, Wanton Neglect, and Non-Support of [16] And one day if I came to you, dependent Children…” Non-support!? And begged you to come with me, Mrs Hurstwood: “You are requested to appear at the offices of Change everything, and not question me McGregor, James and Hay tomorrow before 1 PM. If the Respondent Could you do that? does not appear, suit will be filed on behalf of petitioner.” [Exits] Could you trust me like that? Hurstwood: Adultery?! Carrie: [Meaningfully] Yes. [He draws very close to her.] Yes. You don’t know!! Hurstwood: It’s dark now. You bitch! Provoking me! You won’t ruin everything! No! Carrie: Yes. [They kiss passionately.] Calm down, calm down. Hurstwood: Remember what we’ve said tonight. Just find a way to see Carrie. Fix it all tomorrow. Carrie: It’s dark now. [They kiss again.] Aria Carrie: I want to show you a truer me. [They kiss a last time.] [20] I’ll lock up… I’ll sleep here. It’s fine… Closing doors, locking up *** Putting things away I’m good at that… shutting down… [He crosses the stage, returning to his house. It is night, perhaps a Tomorrow is another day. week later. Mrs. Hurstwood is in a nightgown, turned towards a mirror Closing doors, dousing lights in their bedroom, brushing her hair very slowly as Hurstwood enters.] Everything in place [17] Hurstwood: Oh. [Silence] Turn a knob; evening’s chaos Mrs. Hurstwood: Have you made up your mind about our summer Gone without a trace plans? Carrie...! Hurstwood: Not yet. I’m very busy just now. [21] You are the only wonder Mrs. Hurstwood: You should make it up soon. You are the only wonder Hurstwood: [Snapping at her] Don’t order me about! That I know. [She pauses in her hairbrushing, then resumes.] They say a drowning man Mrs. Hurstwood: A letter came for you today. With no return address. Reaches for a star [He is looking around for it. She takes her hairbrush and points to it.] That’s how I am with you Hurstwood: Oh? Thank you. Your splendor calls me Mrs. Hurstwood: [Casually] Go ahead. Your splendor calls me from afar. Hurstwood: No, I’m sure it’s nothing. Work. I’m lost no matter what I do. Mrs. Hurstwood: The work you were doing when Georgie saw you at [22] Closing doors, locking up the theatre? Hiding out of sight Hurstwood: What do you mean? Pull the chains around it Mrs. Hurstwood: Do you recall that this house is held in my name? Last call, good night [They stare at each other. Then he turns and crosses the stage.] Last call, good… The safe is open. [18] Act I, Scene 6 The least little crack... When he is alone, he opens the letter hastily, reads. Meanwhile, he I’ll speak to Mayhew in the morning, has arrived at the back room of Fitzgerald and Moy, after closing time. For now, I’ll put it back Hurstwood: [Shouts] No! Carrie [Softly] No, no. No. Closing doors… all that cash Maître D’: [Entering] Evening, Mr. H Never glimpsed again Hurstwood: Ed. I didn’t hear you come in. Don’t close it yet. Maître D’: We’re all set. The receipts are squared away. One thousand...two thousand... The night crew is done. ... Ten thousand! The back is still open. Seize this chance, don’t retreat [Someone steps out of the shadows, unseen by Hurstwood.] Open up the door Hurstwood: I’ll lock up. Good night. Who’s this? Here’s the luck I’ve needed Maître D’: He said he has something for you. I made him wait out here. And more! And more! Good night, then. [Leaves] Carrie, this is the fated answer Hurstwood: Good night. [He takes the money] [19] Detective: Mister Hurstwood? This is the fated answer Hurstwood: Yes. To it all. I’ll be a daring man Detective: George Hurstwood? Grabbing for a star Hurstwood: Yes. I’ll drown or triumph, come what may! Detective: [taps him on the shoulder with a sheaf of papers] You are Every dreamer has his day! [Exits with the money.] served.

Detective: Good night, sir. [Leaves] [23] Act I, Scene 7 Duet Hurstwood is pacing outside Carrie’s flat, wearing an overcoat. Nearby Hurstwood: [Reading] is the suggestion of a horsedrawn cab. Hurstwood’s mood is of violent “Petition for Dissolution… State of Illinois...”

ⓟ & © 2017 Naxos Rights US, Inc. Page 6 of 16 ALDRIDGE, R.L.: Sister Carrie [Opera] 8.669039-40 https://www.naxos.com/catalogue/item.asp?item_code=8.669039-40 self-reproach. Inside, Carrie is frantically throwing on clothes, while her Let me out of everything! maid stands by. Hurstwood: I will, but just hear me out. Carrie: [to her maid] What did he say? What did he say? [She has stood up, and he has been trying to take her hands. Now she Maid: He said Mr. Drouet is hurt and in the hospital pushes past him.] Hurstwood: [Coinciding with the maid’s words, but entirely to himself] Carrie: Move! I will tell the conductor. Drouet is hurt and in the hospital Hurstwood: You can get out at the next station. Carrie: Oh God! Oh GOD! Just hear me out! Hurstwood: [Shakes his head in agonizing self-reproach. Quietly:] No Carrie: [Hitting him] You ruined everything. I hate you. [She pauses, no no no collects herself, then continues.] Maid: He said [25] Carrie: When you asked if you could be with me There’s a cab waiting What did I say? a cab waiting Hurstwood: You said… and he’ll take you there Carrie: I said yes! Hurstwood: [Calming himself] All right, all right. Carrie: When you asked if I’d go with you some day [Calling] What did I say? Hurry, Mrs. Drouet! Hurstwood: You said… Carrie: Where? What did he say? How? Carrie: I said yes! Maid: He only said Carrie: When you asked if I’d change everything and marry you and He has a cab waiting start again – what did I say? Hurstwood: I have a cab... Hurstwood: I know, I know God damn it. Carrie: What did I say?! What did I say?! [He can’t answer] [Carrie is dressed and runs out to him. When she appears, he instantly Carrie: But you lied to me. You lied all along. pulls himself together.] You lied without batting an eye. Carrie: What happened? You lied when you said you loved me… Hurstwood: Drouet is hurt. He’s asking to see you. Hurstwood: No! Carrie: What happened? Carrie: You lied about your wife! Hurstwood: Come. Get in. Get in. Now we’re through! I hate you! [Seated in the horsedrawn cab, he clasps her hand tightly. They both Get away from me. look out their windows. Finally:] Get away. Carrie: Tell me what happened. Stay away. Hurstwood: [Shrugs] They called me. [She turns and moves several seats away, sits down. He remains Carrie: Tell me what happened. silent for some time.] Hurstwood: They called me. [26] Hurstwood: I have only dreams, Carrie. Carrie: Where is he? I can’t go back any more Hurstwood: We’ll take the train. Way out on the South Side. We’ll take I’ve done terrible things the train. But all that I did was for you. Carrie: Oh God. I’m just as you see me now. Hurstwood: We’ll take the train. It’s the quickest. I’m just as you see me now. [Pause. Feelingly] Carrie, remember what I told you in the park? I’m just as you see me now. Remember? Carrie: I don’t want you to talk to me. Carrie: Yes, but not now. [Pause] Thank you. Hurstwood: Aren’t you very tired? [Quick segue as they get out of the cab; he leaves her for a moment to Carrie: No. buy their tickets; they board the train in a flurry of activity. They sit in Hurstwood: [Taking off his coat and arranging it for her.] silence on the train for a moment as the music continues.] Here. [Long pause] Hurstwood: How have you been? I received your letter. It looks like we are in for a heavy rain. [An awkward pause.] [They remain in silence, she turned away from him, looking out the Carrie: Is it very far? window.] Hurstwood: Not very far. Duet END OF ACT I [24] Remember what you said to me That night in the park, remember you said [1] Act II, Scene 1 That one day if I came to you… Four months after the end of Act I. Hurstwood and Carrie in fancy Carrie: [Sympathetically] Not now. dress, arm in arm, holding champagne glasses. The setting is their Hurstwood: If I begged you to come with me… apartment in New York. Mrs. Vance, Ames and other guests are Carrie: Not now. gathered around, listening to them. Hurstwood: To change everything, and not question me… Duet with Ensemble Carrie: Where are we? Hurstwood: This is a moment I only knew in my dreams. Hurstwood: You would do that. I asked this extraordinary girl Carrie: I said I’d trust you To put aside everything Both: You said you’d trust me / I could trust you like that. To start anew, to marry me, to wear this ring Carrie: [Having looked out the window several times] And here we are. But where are we? Hurstwood and Carrie: Here we are. Are we going to help Charlie? Carrie: I told this wonderful man Hurstwood: [Quietly] No. Charlie is fine. That I would do anything Carrie: Where are you taking me? To be with him, to marry him, to wear this ring Hurstwood: [Hesitantly] New York And here we are. Carrie: What?! You lied to me! You lied! Hurstwood: Here we are. Hurstwood: Carrie, I want you to come with me Both: This is our beginning. This is our beginning. This moment from I want to take you from Chicago. our dreams. Carrie: No, I won’t! Let me out of this!

[Mrs. Vance steps forward. There will be scattered applause from the [Urgently to Ed] Tell them — with interest, repay with interest! guests.] All: To have and to hold, Salut! Santé! Mrs. Vance: May I say a little something? May I? Carrie: This is our beginning. We adore these two. Hurstwood: [Acknowledging the others] This is our beginning. It was love at first sight Carrie: Our beginning, our beginning. With these two All: For richer for poorer, Salut! Santé! Not only for them. Hurstwood: [Aside to Ed] And perhaps I’d get my position back? I mean, me too. Perhaps. The day they arrived All: In sickness and in health, Salut! Santé! We met in the hall Carrie: This moment. From that day on Hurstwood: [Aside to Ed] Perhaps I’d get my position back? Perhaps. I was quite enthralled All: Many happy returns of the day Such charm! spirit! vigor! youth! Carrie: This moment... John said, “Don’t stare” This moment from our dreams. And that was the truth Hurstwood: [Aloud] This moment from our dreams. [2] We adore these two. All: [With Mrs. Vance leading] But these two have a secret. [Soft chuckles from the crowd. We adore these two. Melodramatically:] Salut! Santé! Salut! Santé! Oh yes. A past. Carrie confided in me [4] Act II, Scene 2 One day in the midst of a shopping spree Same setting, a few hours later. All the guests have departed. [To Carrie] We occasionally do those, don’t we? Hurstwood, jacket off, tie undone, is sitting on the sofa doing sums in a [More chuckles. Turning back to the guests, dramatically] small notebook. Carrie’s voice is heard intermittently from offstage. Dear friends: They eloped! She is singing a melody from Scene 1 to herself, without words, on It was quick, romantic neutral syllables. Passionate, frantic Hurstwood: [Calling to her] My darling... All sensation [In lieu of a response, she sings a bit more loudly. Pause. He is But no decent celebration considering what to say when he hears a soft knock at the door. He I said: That’s outrageous pulls a satchel from beneath the sofa, takes it to the door. Ed is there. And yet advantageous Hurstwood hands him the satchel. Very quietly:] For now you’re friends with Mrs. John Vance You’ll talk to them? And Mrs. John Vance adores romance. Ed: First things first, George. Seven thousand? We must set a date, invite all our friends Hurstwood: Yes. This is New York! Secrecy ends! [Ed leaves. Hurstwood quickly closes the door. Carrie enters, looking [With a flourish] I give you: the Wheelers, Carrie and James. ravishing in a peignoir she has selected for their wedding night. Her And so let’s say: singing becomes gentle and seductive.] Salut! Santé! Hurstwood: [Returning to the sofa] Carrie, darling... There’s... Many happy returns of the day! Carrie: Are you very happy? La ah la la We adore these two. Hurstwood: Very. [They kiss. She sings to him seductively.] [The guests applaud, begin conversations, move to congratulate Carrie: Ah ah ah. Carrie, etc. Hurstwood is talking to Mr. Vance. Ames approaches Hurstwood: Unfortunately, I’m not happy with my investment. These them.] figures... [3] Ames: Congratulations! Carrie: [very light and seductive] La-ah, la la la la la [Repeat] Mr. Vance: [to Hurstwood] Jim, you’ve met our nephew, Harry Ames. Hurstwood: Not good. Hurstwood: Of course. Carrie: [Pause as she kisses him.] La la la Ames: Have you seen your surprise guest? [Looking around] He said Hurstwood: I must pull my money out. he was an old friend from Chicago. Carrie: La-ah, la la la la la, mmm. [Hurstwood notices Ed, the Maître D’ from Fitzgerald and Moy.] Hurstwood: I must pull it out. Hurstwood: Oh. Yes I see him. Excuse me. [With bluster] Ed! Carrie: Ah ah, mmm. But we’re so very happy. Ed: [With discretion] Mr. H Hurstwood: Of course — but the saloon I’m in is no good. Hurstwood: [Quietly] These people know me as Wheeler. Carrie: Of course, dear. Ed: I know. Mr. Fitz hired Pinkertons to find you. I begged him: let me Hurstwood: I think my partner has stolen from me. I have to pull out see him first. and save it up. Hurstwood: [Aloud] Wonderful, Ed. It’s wonderful to see you. Carrie: Come with me now. [He draws him aside] Hurstwood: We’re running very close. Ed: You can’t keep that money. Carrie: Come with me now. [She begins to steer him toward the Hurstwood: I don’t want the money. bedroom.] I was drunk that night, terribly drunk. Hurstwood: We’re running very close. What I did was wrong, but I’m setting things right. Carrie: La la la la. Very close. I don’t want the money! I’ve invested it — in a peach of a saloon. Hurstwood: We may have to find a smaller apartment. A dream location... office crowd... decent nights, booming at noon Carrie: Don’t say that. We’re so happy here. Ooh la la, la la la. Come It’s not Fitz and Moy yet. But soon, Ed, soon. with me. I don’t want the money! Hurstwood: We may, Carrie — we may! So take back the money. Carrie: Come with me. Take it back today. Hurstwood: I have to pull it out. I have to save it up. [Repeat] I’ll send back seven thousand! Carrie: La la la. No, no. Come... La la la. No, no. Come... Tell them – the rest I swear I will repay. Hurstwood: [His resolve is crumbling. He begins to play along with Carrie: This is our beginning. her.] Hurstwood: [Briefly joining her] This is our beginning. Mm mm mm. Save it up. Carrie: La la la. No, no. Mmm

Hurstwood: Pull it out. Carrie: I’ve taken part in amateur performances. Carrie: La la la. No, no. Mmm Lola: What’s your name? Both: No, no, no. Ooh. Ooh. Carrie: Caroline Meeber – Wheeler! Sorry… [They exit together towards the bedroom. Music continues as the lights Lola: Lola Sterling. fade.] Carrie: Let’s try this. [She holds up the music] [The Stage Director is moving an auditioner between groups.] *** Director: [Spoken] Over here. Lola: Do you see that one, with the fancy hat? Oh I could tell you [The next morning. Carrie enters briskly, dressed smartly for work. things about her. Hurstwood is heard from the bedroom.] [7] Both: [Rehearsing under-tempo] [5] Carrie: I have my first audition today. We’re consultin’ with the Sultan Hurstwood: [Offstage] Wonderful. And we want to get it right: Carrie: Isn’t everything perfect? [L:] Is it risky to giggle? [C:] Is a curtsey polite? Hurstwood: [Offstage] Yes it is. Lola: Caroline, try being a little girl here. [Demonstrates] Carrie: My first audition! And two interviews in very nice shops that are “Is a curtsey polite?” looking for salesgirls. Carrie: [Imitating] “Is a curtsey polite?” [Hurstwood has entered. He is also smartly dressed in trousers, shirt Lola: Even more! [Girlish] “Is it risky to giggle” and tie, but with an untied dressing gown on instead of a jacket.] Carrie: [Girlish] “Is a curtsey polite?” Hurstwood: [Entering] That’s my girl. And I’m going straight uptown, Lola: Go on... see that Hoffman crook and pull my money out. Then I start looking for Both: [Slowly and somewhat awkwardly.] better places. Places with a future. Not quite Fitz and Moy, but soon, Should we let him take us on a magic carpet ride one night? Carrie, soon! Lola: Go! Carrie: Oh yes: dinner tonight with the Vances. They know a lovely Both: What lurks beneath the caftan? place. What’s hidden in the heart? Hurstwood: Well... Perhaps we shouldn’t. Carrie... I told you... Chorus Master: [Leading the women] This next part, ladies. Carrie: “We’re running very close.” Chorus: What lurks beneath the caftan? Hurstwood: We are. What’s hidden in the heart? Carrie: We’ll be awfully careful, Mr. Wheeler. [She kisses him lightly.] [Carrie and Lola have now hit their stride, and sing with confidence] Will you walk with me? Both: We’re consultin’ with the Sultan Hurstwood: I need another moment. And we want to get it right: Carrie: I’ll see you at dinner, Mr. Wheeler. Should we let him take us on a magic carpet ride one night? [She leaves. He draws his robe around him, and goes to the rocking All: Should we let him take us on a magic carpet ride one night? chair. He sits and rocks, looking off into space as the shift to the next Dance Captain: [To the dancers] Go on! Scene begins] [The Scene shifts. Lola exits, as Carrie moves to s.r. where an elegant restaurant table has been set up. The Vances and Ames will enter with [6] Act II, Scene 3 the Maître D’ to meet Carrie at the table.] At a large rehearsal hall—the call for women’s chorus auditions for a Women’s Chorus: What lurks beneath the caftan? musical. Two groups of women in street clothes are being put through What’s hidden in the heart? [Repeat] their paces by the musical staff. Each group has 4 or 5 women in it. Stage Director: [Spoken ad lib] They are simultaneously being auditioned using songs drawn from the Line up, ladies. Over here. Over here. operetta The Wives of Abdul. One group is repeating movements We’ll try the harem dance. [etc] being demonstrated by the Dance Captain. The other group is [8] Ames: [As they approach the table and sit] rehearsing a choral excerpt with the Chorus Master. This group holds And their father, poor old Goriot lives only for his daughters, he sheet music, and repeats their excerpt as instructed. As new women bankrupts himself for them. He says, “Money is life. Money can do arrive to audition they are directed to their places by a Stage Manager everything.” But of course he’s wrong. positioned near the entrance. The Stage Director is also present, Mr. Vance: Well he wasn’t so wrong about THAT. Ha ha. walking among the groups of auditioners, observing them closely and [They all laugh pleasantly] conferring privately with the Dance Captain and Chorus Master. Not so wrong! Choral Women: Oh Abdul, Abdul, Abdul Mrs. Vance: But dear Harry is from Indiana. My Abdul, Abdul, Abdul [To Ames] You haven’t been in New York very long. Chorus Master: [Spoken] Wrong note! [They laugh again] Better. Ames: [To Carrie] It’s a wonderful book. You should read it. Dance Captain: [Spoken] So it’s 1,2,3, He has power... Carrie: I shall. Choral Women: Aah, Aah, Aah Mr. Vance: [With gentle irony, to Ames’s tune] “Money is life. Dance Captain: So it’s 1,2,3, fan right, he has riches fan left, he has Especially when your grandfather is a millionaire.” looks and up and down and twirl. And 1,2,3 Mrs. Vance: Now John! And again, two-three! Carrie: [to Ames] Is he? Women Dancing: [They repeat his motions, half-singing] Ames: We pay for things we don’t really want. We pay so much more He has power, he has riches, he has looks. than things are really worth. It’s all such a show. Choral Women: Oh Abdul, Abdul, Abdul Mrs. Vance: People may spend when they have it. Aah, aah [Etc.] Mr. Vance: Well I WANT the turtle soup. I really WANT the turtle soup! Women Dancing: He has power, he has riches, he has looks. Mr. Vance: [To Carrie] It is glorious here. [Meaning the soup. Ames Stage Manager: [to new arrivals] “The Wives of Abdul”? sits, good-naturedly] [Several young women enter in line. He addresses them.] Chorus Of Waiters: [in hushed, discreet tones] “Wives of Abdul”? Singing wives here, dancing wives there. Soup—green turtle. Yes. Six portions. Yes. [Repeat] [Carrie is in line directly behind Lola, a young actress. Both nod assent Mrs. Vance: [To Carrie] to the stage manager, take scripts and go to the side of the hall where You must try it, dear. the Chorus Women are singing.] [9] Carrie: Would anyone like to hear my news? Carrie: Excuse me. Shall we read together? Mr. Vance: Oh yes. Lola: Of course, sweetie. Is this your first audition? Carrie: My news! Well, today I got a place in the chorus of an opera!

Mrs. Vance: So charming! *** Mr. Vance: Well done! Ames: How was it? [A lighting change and it is the next morning. Carrie enters briskly from Carrie: When they called me up from the rear. the bedroom, dressed for work. She practices her choreography as And I stepped to the painted ‘X’ on the floor she speaks to Hurstwood, who is still offstage.] I felt no fear. [11] Carrie: I could be rather late. “I’m consultin’ with the Sultan...” Mr. I sang. I just sang. Millis will be working us hard today. Though I’d never been anywhere like that before. Hurstwood: [Offstage] All right. I just sang. Carrie: [She continues her choreography] And don’t forget, it’s rent Mrs. Vance: This calls for Champagne and oysters! day. Chorus of Waiters: [as before] Champagne — two bottles, chilled. [Hurstwood enters. His hair is disheveled; he wears a dressing gown Yes. Six flutes. Yes. above slacks and stocking feet. He settles himself in a rocking chair Mrs. Vance: [To Carrie] How perfect, my dear. with a newspaper.] Carrie: And the strangest thing — Hurstwood: We pay an awful lot. When they asked my name at the end Carrie: Do you have interviews today? With everyone standing nearby Hurstwood: Oh yes. Yes. I said, “Madenda, Carrie Madenda.” Carrie: You’re going to shave? I don’t know why. Hurstwood: Of course. [Referring to the newspaper] Just looking for Mrs. Vance: Oh, here he is! Does he know? [Hurstwood is escorted to more opportunities. the table by a waiter.] [Carrie looks at him for a moment, then leaves silently. The next Scene The Others: [Spoken] James! Hello, James, Jim! [etc] follows directly] Hurstwood: Hello, everyone. Well-run spot. Very nice. Sorry I’m late. Crucial business. [12] Act II, Scene 4 Mrs. Vance: Oh, not at all, James Recit. and Aria Mr. Vance: We’re toasting your wife Hurstwood: [Quietly to himself, as he sits in the rocking chair] Ames: [Shaking hands] Hello “You’re a dandy, Hurstwood.” Carrie: [to Hurstwood] I got it! [He is remembering something a patron once said to him. Chuckles Hurstwood: [Taking her hand] Well of course you did! Of course! contentedly. Then he is silent as he comes to his senses, remembering [To the others] I’ll join for the toast, but I can’t eat a bite. his actual surroundings. After a moment, he lapses again.] Mrs. Vance: Oh no! “You’re a dandy. You’re a dandy, Hurstwood.” [With momentary bravado:] Hurstwood: I dined with my client. I had to be polite. I’m so sorry. Well, boys, no more than… [Catches himself; with polite humility] no Carrie: Well, I’d like us to have the Lobster à la Newberg. It’s served more than my position requires. for two. “Isn’t he a dandy, always the best-dressed of the bunch.” Mrs. Vance: Yes! John has been singing it himself. “He puts them all to shame!” Mr. Vance: [With exaggerated affect] Lobster! Lobster Newberg! [They [Now he begins to give in to the fantasy. With a great show of modesty] all laugh.] Now, now, boys, now, now. Hurstwood: [Aside to Carrie] I told you, we’re running very close. I’m only a man in the grateful employ Carrie: [Aside to Hurstwood] And just now, we’re dining with our of the great Chicago house friends. of Fitzgerald and Moy. Ames: [As the Champagne arrives] Here we are! [13] I’m at home in the world, [Spoken, over] I’m at home in the world of men. Mr. and Mrs. Vance: Champagne! Men who seek, men who strive All except Hurstwood: Hurray! Champagne! Ah yes! [Etc.] Men who’ve achieved, men who’ve arrived [A fluid transition to a few hours later. The party has left the table, I’m their host; I’m their friend. Carrie and Hurstwood are downstage. They are having an argument [Telling the punch line of a joke, long ago] …and then the man says, as they walk home after the dinner. Behind them, waiters remove all “Jump, you bloody fool. Jump!” [He laughs so boisterously with his the elements of the restaurant and the audition hall, restoring the friends that he has to calm himself to get the next words out] Well, well setting of their living room.] gents, will you have another? [Signaling to an imaginary bartender] [10] Carrie: You’re a nice one to talk about who we can associate with! I’m at ease with them all, Are you looking for work now that your saloon has failed? I’m at ease in society’s sight. Hurstwood: How dare you? I furnish the flat, don’t I? I pay the rent! Silk cravats and spats Carrie: That flat! Is there nothing else in the world but a flat to sit Foulard ties, Homburg hats around in? Look around; I look right. Hurstwood: I happen to know that John Drake opens up his first New [Calling over Maître D’ with a discreet signal] Ed… York hotel in the Fall. Now THAT would be a place for me. [Effusively] Mrs. Rowe, MISS ROWE, how lovely you both look! I have Carrie: But meanwhile? a wonderful table for you. Hurstwood: Meanwhile, we’re fine. [Another recollection:] Is that BILL? BILL MACINTOSH? [They have arrived home. Carrie exits into the bedroom. Hurstwood Where have you been, my friend? Welcome. remains in the living room, taking off his jacket and tie, then Here is sparkling crystal and polished wood. unbuttoning his shirt.] White-aproned waiters glide along Carrie: [Offstage] It’s rent day tomorrow. Glide through the throng Hurstwood: We’re fine. We just have to be very careful. And I’m there in the thick of it all. I’m there [Pause] Carrie? Among actors, merchants, businessmen, Carrie: [Offstage, dejected] I heard you. Beauties, writers, prizefighters... Hurstwood: John B. Drake is a man who knows what’s what. [To I’m there! I’m there! himself] That will be the place for me. I belong in the world, Carrie: [O.S.] Come to bed now. I fit in wherever I roam. Hurstwood: [to himself as he exits towards the bedroom.] That will be The joke here, the smile there the place for me. The demeanor, the whole air Look around! Look around! Look around!

I’m at home. [Overfed signals the harem girls to disport themselves in front of Abdul. [He spins through the room, ending triumphantly in his rocking chair. Carrie is in the middle of the line of women, followed by Lola. To sexy, He continues to reminisce inwardly, with a satisfied look on his face. feminine ‘Eastern’ music, the women do a little dance as they pass in Reality is just beginning to impinge on his high spirits.] front of Abdul. Then they line up and fix their veils, etc, readying [Quietly] Look around, just look around. themselves to pass individually in front of him. The Director is nearby, shadowing their routine, perhaps occasionally adjusting someone’s [14] Act II, Scene 5 stage position.] Weeks later. Dress rehearsal for The Wives of Abdul, a sentimental, Women: We are lovely flowers comic love story set in the Arabian desert. The spectacle relies heavily Choose your heart’s desire. on an exotic ‘Oriental’ setting (in the parlance of the time). Against Abdul: Must I choose my heart’s desire? desert scenery, young women in skimpy, bright colored clothes disport Overfed: You must choose your heart’s desire. themselves suggestively; brawny bare-chested men stand in the Women: [Dancing:] background waving palm fronds, etc. The orchestra plays a Prelude as Aah, Aah, Aah, Oh the singers and dancers enter the stage and take up positions. The Men: They are lovely flowers Director crosses the stage to oversee the runthrough. An assistant Choose your heart’s desire. stands near him holding his notes. Abdul: Must I choose my heart’s desire? Director: [Spoken] Ladies and Gentlemen, we open “The Wives of Overfed: You must choose your heart’s desire Abdul” in one week. Let us recall. [Sarcastically] [Overfed has been taking each woman by the hand in turn and leading “Column left” means...? [He gestures to all.] her in front of Abdul. Each woman has a moment to present herself. All: [Spoken] Column left. Abdul himself acts melancholy and distracted. It is a moment for Director: [Spoken] “Catch step” means...? Overfed to play for suggestive laughs. He leers at each chorine, but All: [Spoken] Catch step. the women have been directed to smile at the audience in beauty- Director: [Spoken] Eyes! Ears! Feet! [Quickly, to conductor] Maestro - pageant style, and to ignore him.] go! [Exit] Overfed: [Mugging as he surveys a chorine.] And WHO are you? Operetta: The Wives of Abdul Director: [A reminder to the chorine, as he shadows her routine. [There is a brief orchestral introduction.] Spoken] Chorus Men: Desert stars shine bright, Don’t look, don’t look. And smile. Good Desert moon hangs low, Overfed: [Mugging even more as he surveys Carrie, who is next in Lonely desert nights, line. Spoken] When the hot winds blow. [Repeat] And WHO-woo-woo are you? Chorus Women: Aah aah aah Director: [A quick reminder to Carrie] Don’t look… Aah aah aah [Etc.] Carrie: [Turning to Overfed and ad-libbing] I am Your Heart’s Desire. All: Pity now the desert dwellers [Everyone on stage laughs quietly] Pining for a mate, Director: What was that? Hang on... Love is on the minds of fellers, All: Choose your heart’s desire. [A bit more laughter. Overfed ‘breaks’] From the simple sahib to the great… Director: Hang on, hang on, HANG ON, I said! Abdul, Abdul, Abdul Overfed: Oh that’s good [The actor playing Abdul shrugs his My Abdul, Abdul, Abdul. agreement] [To the director] Let’s work that in. Ron? Oh, Abdul, Abdul, Abdul Director: [Spoken to Carrie] You – can you lead the next part? You My Abdul, Abdul, Abdul. know it? [Enter Abdul, carried on a throne chair. He is played by a vaudeville Carrie: Yes sir. comedian as a very gauche, unglamorous figure.] [She replaces the chorine at the head of the next formation. The Women: He has power, he has riches, he has looks woman looks daggers at her.] Lola: [Who has a small featured role] He has looks! Director: Put some snap in – let’s go! Men: But philosophy and learning are his only yearning [New music. Carrie leads the women in choreography that has them Women: We haven’t got a chance / He’s stuck in his books flowing towards Abdul in waves and being gracefully repulsed, as he [Enter Overfed, his fussy, solicitous vizier. Another comedic role: a thin waves them away.] man costumed with a ludicrous fatpillow.] [15] Abdul: I’m really quite distracted Overfed: [Entering] Sire, oh sire! A word! A word! Nothing seems quite right Abdul: Ah, my trusted vizier, Overfed. With romance I’m truly ill at ease Women: [Softly and slower] We never get a glance, And though these desert misses He’s stuck in his books Invite a thousand kisses Abdul: Now, Overfed. It’s not about marriage again, is it? I know each kiss would fail to please... Overfed: Oh sire, oh sire. Please hear me out! [Another extreme change in the music, as the chorines form ranks and Observe the gentle dromedary begin marching in patriotic formation. American flags appear.] When he has the urge to marry I WANT TO MARRY AN AMERICAN GIRL He does not delay or tarry Go and search across the USA! Nature must prevail! Men: He wants to marry an American girl Far from his serail Abdul: Go out and find me one I pray. He selects a winsome quadruped [Carrie breaks from the Scene, puts on a coat and crosses the stage to And leads her to his windswept bed. her apartment, where Hurstwood is rocking in his chair in the near- All: Oh Abdul, Abdul, Abdul dark. The accompanying music from the show continues.] So too must you Hurstwood: Is that you, Carrie? My Abdul, Abdul, Abdul Carrie: They’ve given me a bigger part. So too must you Hurstwood: Ah, that’s my girl. Overfed: Oh mighty potentate [An awkward silence between them] It’s time to propagate Carrie: It will pay a little more. Like the camel Hurstwood: I’ve been speaking with a wholesale company. A traveling And every other mammal. job. [Pause] Shall I get a steak? We can celebrate! I’ve seen some for 22 cents a pound.

Carrie: No, no. [Pause] Unless you. In all the places you wanted to be Hurstwood: No, no. I’ve eaten. The plush world, the easy world [Focus shifts back to the show] A celebrity. Abdul: I’ve made a resolution That’s you all right. I need to look afar Good for you, sister. In local girls I only see the flaws Good night. Good night. Good night. I’ll start a foreign project To find my true love object *** And end for good my bachelorhood BECAUSE… I want to marry an American girl [Backstage at the Royale Theater, some days later. In their shared Go and search across the USA! dressing room, Carrie and Lola are relaxing between shows. Each has All: He wants to marry an American girl a small stack of folded cards and letters in front of her.] Abdul: Look in Alabama, Indiana, Delaware Duet Countryside and cityside and everywhere… [18] Carrie: Are you ready? A true blue beauty with a heart of gold Lola: Ready. You start. Get out and find me one, I pray. Carrie: Here goes. All: Get out and find him one, we pray! [Reading] “I come to your show every night [16] Act II, Scene 6 I have three million in my own right. Hurstwood enters their flat. He walks past Carrie without seeing her, as Lola: THREE MILLION? [tries to grab it] they occupy two different moments in time. Carrie moves through their Carrie: My life is one of ease. flat, composing the letter earlier that day. Hurstwood also moves Lola: Three million… through the flat, reading the letter he finds. Carrie: I wish to share these luxuries Duet So please… Carrie: Dear George… Lola: Yes please… Hurstwood: “Dear George…” Carrie: Please grant me only half an hour Carrie: …I’m going away. Lola: La la la la la la la half an hour... I’m not coming back any more. Carrie: Enchant me, for I’m in your power Hurstwood: ...not coming back any more. Lola: La la la la la la la in your power... Carrie: It’s no use trying to keep up the flat; I can’t. Carrie: Allow me an interview Hurstwood: ...I can’t Lola: Allowed! Carrie: It’s no use trying to keep up our marriage; I can’t. Carrie: Let me declare what I feel for you Hurstwood: ...our marriage; I can’t Love prompts me to write Carrie: What did you ever want from me? Lola: Oh my! What did you marry me for? Carrie: The love I feel for you every night.” Hurstwood: What did I ever want? What? Lola: “… every night.” “What did you marry me for?” He sounds nice. Carrie: You sit in that rocker day after day, and look at me just as if I Carrie: He sounds sad. am a ghost, or you are. You look at me just as if I am a ghost, or you Lola: I’ll console him. are. Carrie: Little sinner! Hurstwood: [Very softly at first] Lola: Where’s the harm in a charming dinner? You are the only wonder... Carrie: Your turn You are the only wonder... [Repeat] Lola: [Comically aggrieved] Not fair. Carrie: Or you are. [Reading] Hurstwood: ...that I know “I sit in the fourth row night after night Carrie: I need all the money I’m making now to pay for my clothes. Your every gesture is my delight Hurstwood: [Dead] ...to pay for her clothes. Carrie: His delight! Carrie: The show doesn’t pay for our clothes. Lola: [with comic petulance] I’m not a wealthy man… [She takes money from her purse] Carrie: I’m sorry. I’m leaving ten dollars. The furniture is yours. Lola: …but never doubt that I’m the man Hurstwood: ...ten dollars. Who can… [Carrie puts the letter down in the place where he had picked it up. She Carrie: Yes he can, yes he can, yes he can! moves quickly to the door, then pauses briefly.] Lola: Love you as you deserve… Hurstwood: And it doesn’t say “Love” Carrie: La la la, lal la la, la la la as you deserve It doesn’t say “Fondly” Lola: My dove, I long to serve you… It doesn’t say anything Carrie: La la la, lal la la , la la long to serve you Just... Lola: Grant me an interview… Carrie: Carrie. [Exits] Carrie: Grant it! Hurstwood: “Carrie.” Lola: I burn to express what I feel for you… [Hurstwood wanders slowly out of the apartment] Both: Love prompts me to write The love I feel for you every night.” [17] Act II, Scene 7 Adulation, the romantic invitation On the street in front of their building, Hurstwood sees a poster of To a passionate interview Carrie. Mash notes are a pleasant indication Hurstwood: “Carrie Madenda” Of what being in a play can do. And there you are. Adulation, the romantic invitation “She’s the girl you can’t take your eyes off” — To a passionate interview Carrie, you always were. [They tease each other with elaborate vocal roulades.] And now you’re free. La la la la la la la [etc] In all the places I used to be. Adulation, the romantic invitation

To a passionate interview Farley: [To all the men] Listen here. Ay? You know there’s a strike Ha ha ha! Mash notes goin’ on. I need motormen, I need linemen, I need men to clear the La la la la la la la [etc] tracks. I only want good, honest men who are willin’ to work. Mash notes are a pleasant indication Men: [Under] This country needs a fuckin’... Carrie: Of what being in a play Farley: We’ll train you... And triumph in a play Captain: And you’ll be fed... Both: Can do. Farley: ...and pay you well. What being in a play Captain: ...and bunked. (It’s what all the papers say) Farley: That’s right. Triumph, triumph, triumph. Captain: You hear? [He points to where they should go.] What triumph in a play Most of the Men: I won’t be no scab you goddamn shitheel. Ha ha ha ha ha ha! Farley: Protection guaranteed. Can do. Captain: Step lively. La la la la la la la. Aah. Most of the Men: Not for me. I ain’t so low I’m stickin’ here Farley: Protection guaranteed. [19] Act II, Scene 8 Captain: Step lively. Times Square, a few weeks later. A gray, snowy morning in winter. A Most of the Men: Just one more night. group of homeless men in ragged clothes mill around, shivering [Hurstwood and a few others step forward.] against the cold. Their self-appointed caretaker is The Captain, a wild- Hurstwood: I’ve been a manager, in my day. eyed Civil War veteran-turned-religionist. He is homeless himself, Farley: That so? dressed in a tattered and filthy jacket of the Union Army. He Hurstwood: Yes, but I’ll take anything now. beseeches the well-heeled passersby for donations on behalf of the Farley: [To the men] Be at Broadway Central Depot tomorrow morning men. at 9. We’ll teach you, and you’ll be on the line in the afternoon. Men: [soft but fierce] Must be getting on ten it’s fucking cold this [Slipping the Captain a few dollars, he exits.] goddamn wind. [Hurstwood and his group settle back into the larger group of men. A [20] Captain: [To passersby] Shiloh. few skirmishes flare up among them. They mutter as before.] Men: I always said out here again like a stinking dog Men: [including Hurstwood] Captain: Antietam. I always said my own damn fault this weather stinks I’ll get a nice place Men: Out here again like a stinking dog all fixed up just one more night I’m going back I’m going back. Captain: Shiloh. Captain: All that blood and look. This country has no place for you to Men: this country needs a fucking war sleep. Shiloh! Antietam! Captain: Antietam. Men: I’m goin’ back. I’m goin’ back. Men: I always said my own damn fault Captain: Shiloh, Antietam. [21] Act II, Scene 9 Men: my own damn fault. [The Broadway Central Trolley depot, the next morning. A cold winter Captain: Shiloh, Antietam. This country has no place for them to sleep. day. An informal camp has been set up by strikers outside the gates of Men: This country needs a fucking war the depot. The Strikers are walking a picket line in front of the gate, I always said my own damn fault this weather stinks chanting. From offstage, a Women’s Chorus is heard singing an I’ll get a nice place all fixed up anthem of worker’s solidarity. They are garment workers who have Just one more night. gone on strike in sympathy, and they are marching through the city to I’m goin’ back. I’m goin’ back. muster support for the trolley strike.] Captain: These men have no place to sleep. Women’s Chorus: [off stage] Rise up, O workers of the world, rise up! Captain: [Imploring the passersby] Shiloh, Antietam. Proclaim the glory days to come These men have got no beds. Our great country, the country I fought Before the next assault is suffered, friends, for… Shiloh, Antietam… all that blood… this country has no place for The struggle will be won. Rise up! them to sleep. Twelve cents buys one of them a bed. Three cents buys [At the depot, the Strikers shout defiantly as they circle in front of the one of them a meal. The Captain hasn’t got a penny himself. entrance gate, blocking the way.] [He gestures to Hurstwood, who entered unobtrusively and has been Strikers: I’m A. S. R. E. — Amalgamated employee hanging near the periphery of the men, to join them.] I’m A. S. R. E. — The city boss don’t tread on me. C’mon, you. [Turning back to the rest] Beds, ay? All of you? Well, line [Repeat] up! [The Replacement Workers arrive on the Scene. They are led by [Hurstwood, in a dazed state, joins the rest.] Farley accompanied by several armed guards. Hurstwood is among Men: Must be getting on ten it’s fucking cold this goddamn wind. them. They hang back, away from the striker’s encampment.] Captain: Line up over there. Replacements: Will there be trouble? Do you think they’ll be trouble? Men: I always said out here again like a stinkin’ dog. They call the militia they always do. Captain: This country has no place for them to sleep. Push on through. Push on through. [The Captain is approached by a well-dressed man. He is Farley, a Farley: Look men, stand tall professional strikebreaker.] Guards here, guards there Farley: Captain! Do you have men for me? I’ll get them jobs. Look ahead! All square! Men: [Softly] Out here again like a stinkin’ dog. Stand tall! Stand tall! Captain: [To men] Line up over there. Head Replacement Worker: I don’t blame no one for striking. They Farley: I’ll get them jobs. got the right, the right to strike Men: This country needs a fucking war. Replacements: ...No one Captain: This country has no food for them to eat. ...They got the right to strike. Farley: Do you have men for me? Head Replacement Worker: But I gotta find work to do Men: I always said my own damn fault, my own damn fault. Replacements: But I gotta find work to do Farley: Do you have men? Head Replacement Worker: I’ve gotta eat, too Captain: Opportunity knocks, men: opportunity knocks! Replacements: ...gotta eat gotta find work gotta eat too. This gent has trolley jobs. Trolley jobs. Hurstwood: Those men can’t win. Strikes can’t win. [Repeat]

Head Replacement Worker: But I gotta find work to do. Hurstwood: I’ll show you who sits in a rocker. Replacements: But I gotta find work to do. I’ll show you who gets a job! Hurstwood: I’m not against them, but they just can’t win. [At this moment, the women come marching onto stage, holding All: Gotta eat, gotta find work, gotta eat, too! banners, arms upraised, etc. They form a flank on the side of the Hurstwood: Strength is with the companies. Replacement Workers, cutting off any possible retreat.] Replacements: Gotta eat, gotta find work [Repeat] Women’s Chorus: Strikers: I’m A. S. R. E. — Amalgamated employee Our footfalls send tremors through the land / through the land I’m A. S. R. E. — The city boss don’t tread on me. Yes, the march of Justice has begun / has begun, [Repeat] And it will not stop until Freedom reigns Hurstwood: And damn it all! I’m not down yet! And the voices of the people speak as one: Yes, damn it all! I’m not down yet! [The strikers have been gradually joining the women’s song.] [On another part of the stage, Carrie is reading Père Goriot aloud to Women and Strikers: March on, O workers of the world, march on! Ames. The suggestion is of a quiet, comfortable sunlit apartment. She Restore to every man his worth... sits, he stands by a window.] [At this moment, Hurstwood leads a charge through the picket lines. A [22] Carrie: “If you have any real feeling, hide it like a treasure; never wild melee ensues. All the following lines are sung simultaneously.] let it be suspected or you will be lost. You will cease to be the Hurstwood, then All Replacements: Jobs for all! executioner and become the victim. Learn to distrust this world.” Break the line! Break the line! Ames: [Musing] “Hide it like a treasure...” We’ll be fine! Jobs for all! [Repeat] Carrie: You don’t believe that, do you? Farley: You’ll be fine! Ames: No, it’s very cynical. Very. Push on through! [Repeat] Carrie: But Old Goriot dies in misery because he trusts too much. Striking Workers: Scabs! Dirty scabs! Scabs! [The Women’s Chorus is heard in the far distance] Shame on you. [Repeat] Women’s Chorus: March on, O workers of the world, march on. Hurstwood and Replacements: We don’t want trouble. Ames: Hear that? We want good work. Jobs for all! [Carrie puts down the book and comes to the window] Farley: Break the line! Women’s Chorus: Restore to every man his worth. Striking Workers: Scabs. No cars through. Ames: It must be part of the trolley strike. Scabs. Fuck you! Women’s Chorus: Before the next assault is suffered, friends, Women’s Chorus: Before the next assault is suffered, friends, We’ll have justice on Earth. We’ll have justice on Earth. Carrie: Those poor people. It’s freezing out there. I know what that is Replacements: Give us justice. [Repeat] like. [Her thoughts return to Père Goriot.] Women and Strikers: Carrie: “Learn to distrust this world.” We’ll have justice on Earth. [Repeat] Women: Rise up, O workers of the world, rise up! [The battle continues, with all involved. The Strikers gradually get the Proclaim the glory days to come upper hand, repulsing the advances of the Replacement Workers, who Before the next assault is suffered, friends. begin to flee. Some of the strikers pursue them, others return to the Carrie: “Hide it like a treasure.” picket line, where they huddle defensively.] Ames: Don’t say that. Don’t say that, Carrie. Strikers: [distant] I’m A. S. R. E., A. S. R. E. Women: The struggle will be won. Rise up! [As the Scene quiets, a few badly injured men, including Hurstwood, remain on the ground. The Head Striker leans over him. Strikers: “I’m A. S. R. E. — Amalgamated employee Head Striker: [without sympathy] I’m A. S. R. E. — The city boss don’t tread on me.” I tried to give you a chance. Replacements: Will there be trouble? We don’t want trouble. You dirty scab. Hurstwood: [leading the Replacements towards the strikers] That’ll teach you. We don’t want trouble. Let’s do a good day’s work. A good day’s work. [Another Striker approaches them] [As Hurstwood, Farley and the Replacement Workers approach the Striker: [to the Head Striker] Go on. The cops will be here any minute. work site, the Strikers deploy into defensive lines and begin to chant [The Head Striker shakes his hand, runs off. To Hurstwood] You’ll be and clap rhythmically:] all right. [He, too, hurries off.] Strikers: A-S-R-E! A-S-R-E! [Repeat]

Replacements: We’ll get on a trolley, we’ll get on fine; [23] Act II, Scene 10 Break the line! [The action continues from the previous Scene. Carrie and Ames Farley: Break the line! [Repeat] enter; they have been quarreling.] Hurstwood: Follow me, men! Ames: [Beginning offstage] I know you, Carrie. I know your nature. No trouble! Carrie: You don’t know me that well. Replacements: Break the line! Break the line! Ames: I’m only saying, you should do drama. We’ll get on fine. Break the line! Carrie: Well — I haven’t yet. Strikers: Dirty scab! Shame on you! Ames: Not just comedies. Farley: Break the line. Follow him. No trouble! Carrie: Oh! Look at these poor men. Hurstwood: Let us through! Ames: Let’s steer clear. Carrie? Replacements: Break the line. [Repeat] [He attempts to lead her away. She breaks free, approaches Strikers: No cars through! Hurstwood who is turned away from her.] Fuck you! Carrie: What happened here? Hurstwood: Let us through! Hurstwood: [Still turned away] I am fine, I’m just going to... [Pause as [As the two groups of men begin to engage with each other — shoving, they recognize each other.] bumping, etc — there is a sudden moment of extreme stillness. Carrie: George? Hurstwood faces off with the head of the strikers.] [He struggles to his feet. She fights an impulse to help him. He takes Head Striker: [to Hurstwood] Look, partner. out a handkerchief, holds it to his face. Another long pause as they We’re fighting for a decent day’s wages. regard each other.] Hurstwood: [to himself] I’ll show you who sits in a rocker. Hurstwood: Someone must take a stand, Carrie. I’ll show you who gets a job. Carrie: [Reaching for her purse] May I...? Head Striker: I’m sure you have a family that loves you. Hurstwood: A little something. I have one, too. Won’t you go home?

Carrie: [Giving him money] Here. [In his room, Hurstwood has a fantasy of going to the stage door of the Hurstwood: I have a room. I’m fine. I’ll add this to the twenty I owe Bijou Theater. The concurrent action from “The Quaker Maid” is mimed you. [He shuffles away, then stops.] continuously in complete silence, except where noted.] Still at the Royale? [26] Hurstwood: That’s you all right... Carrie: No I’m in “Quaker Maid” at the Bijou. [Suddenly violent, he springs up confronting someone he imagines is [Nodding to himself, he resumes his exit.] barring his way.] Hurstwood: I’ll try to see that. [Nodding to himself and shuffling away] Hey! Let me in to see her! Let me see Caroline Meeber. [Carrie returns to Ames’s side. They both stare at him for a moment, Wait? What!? then he takes her by the hand and they exit as the Captain is heard.] No, not Madenda. She’s Carrie, my Carrie, she’s Carrie, Captain: Follow, men. Sister Carrie. Men: Out here again like a stinkin’ dog this country needs a fucking My wife. My... my wife. war [From this point until the end of the opera, the action takes place in I always said my own damn fault my own damn fault. three locations simultaneously: in Hurstwood’s room in the flophouse; Captain: Follow. [To Hurstwood] You all right? onstage in the Hurstwood: Fine. theater where Carrie, Lola and the chorines are performing Quaker Captain: Comin’ with us? Maid; in Times Square.] Hurstwood: No. They paid me. Homeless Men: [O.S. from a distance] [Taking the money out that Carrie gave him, he gives most of it to the Must be getting on ten it’s fucking cold this goddamn wind. Captain, who salutes him.] [Carrie and Lola are walking arm-in-arm upstage, miming an animated Captain: Follow, men. conversation.] Lola: But why? Men: [As they exit, following the Captain.] I always said my own damn fault this weather stinks Carrie: I’ll tell you I’ll get a nice place all fixed up Lola: And when? Just one more night. Carrie: I’ll tell you [Hurstwood has moved to his flophouse. The suggestion of a front Lola: Just tell me! desk, attended by a clerk.] Carrie: I’ll tell you! [24] Hurstwood: I’d like a better room, with private heat Carrie: [to Lola] Love is a luxury few can afford I’ve tried my best Clerk: Private heat? Twenty cents more. Pay in advance. Hurstwood: Move aside! [Hurstwood pays] Carrie: and I confess, Clerk: There you are: 3H [He puts the money in the till and starts to Hurstwood: Let me see Caroline Meeber! make change.] Carrie: I’m alone Hurstwood: Keep it. [He goes a few steps, returns.] Hurstwood: She’s mine! Matches? [The clerk points to some in a dish on the counter.] Carrie: but not bored. [Hurstwood walks to his room at one corner of the stage. He sits on the Hurstwood: Let me in. Bastards! bed with his head in his hands.] Carrie and Onstage Women: That’s why I’m single. Hurstwood: “Carrie Madenda” And there you are. Hurstwood: I had a wife, but I didn’t love her “She’s the girl you can’t take your eyes off” And a son, and a daughter... [He takes coins from his pocket and inserts them into the coinbox that Homeless Men: [Very softly at first; offstage] operates the ceiling gas fixture. It makes a hollow sound.] I always said That’s you all right. Out here again like a stinkin’ dog [Climbing on a chair, he strikes a match, and ignites the gas. Then he Hurstwood: Someone has to take a stand! Let me in! forcefully blows out the flame with the gas still running. On the rest of [As the gas begins to weaken him, he sits on the bed. All the doors of the stage, a performance of “The Quaker Maid” is taking place. A the set open, and the chorus of well-dressed women reenters, circling women’s chorus, dressed as fashionable society wives, enters.] around Carrie. There is some elegant choreography.] [25] Onstage Women: Have you heard? Have you heard? Carrie: In this life some do all the stepping, It’s the talk of the town! but I won’t be a stepping stone Miss Katherine Cabot turned another man down! I simply refuse, Why is she so hard to please? I’m fine on my own Does she think husbands grow on trees? Hurstwood: What’s the use without you? Have you heard? Have you heard? Have you heard? Carrie. [They withdraw, gossiping, as Carrie appears onstage in extravagant My wife. fashion — perhaps reclining on a luxurious settee that is pulled in on Carrie: That’s why... an invisible line. A spotlight hits her. Applause is heard from an Why I’m sensibly single. imagined audience.] Satisfyingly single. Carrie: Some people say I’m bold Hurstwood: That’s why we must be together. While others think I’m cold. Carrie! [In his room, Hurstwood has taken off his jacket and stuffed it under Carrie: So serenely single. the door.] Onstage Women: That’s why, that’s why When a man goes to pop the question Hurstwood: We love each other. I say, “Keep that ring in your possession, Hurstwood: You are the only wonder that I know. [He dies.] As you hear my confession.” [The Captain leads the homeless men across the stage, occupying [In his room, with the gas on, Hurstwood sits on the bed, staring some of the same area as “The Quaker Maid.” All the following overlap straight ahead.] until the end.] Why I’m single Captain: Line up over there. And singing its singular praises; This country has no place for them, no! Avoiding marriage, This country has no place for them to sleep. And similar crazes... Why? There’s no harm in single, Men: Out here again like a stinkin’ dog There’s charm in single. This country needs a fuckin’ war I always said my own damn fault

ⓟ & © 2017 Naxos Rights US, Inc. Page 15 of 16 ALDRIDGE, R.L.: Sister Carrie [Opera] 8.669039-40 https://www.naxos.com/catalogue/item.asp?item_code=8.669039-40 this weather stinks I’ll get a nice place all fixed up Just one more night. Onstage Women: Have you heard? Have you heard? It’s the talk of the town. Carrie: Why I’m single. Why I’m sensibly single. So serenely single. Lola: Tell us why. Tell us why. Carrie: That’s why. Men: I’m goin’ back. I’m goin’ back. Onstage Women: And that’s why.

THE END