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Home , John Gay, Lavinia Fenton, Pretty Polly (horse)

.u.t/ ..{ Arr~( llf+f" @) 9. MACHEATH 11. POLLY, LUCY, MACHEATH THE UNIVERSITY OF HAWAII The Charge is prepar'd; the Lawyen are met, Would I might be hang'dl And I would THEATRE GUILD The Judges all rang'd (a terrible Show!) so tool I go, und.ismay'd.-For Death is a Debt, To be hang'd with you. , with you. and A Debt on Demand.-So, take what I owe. 0 Leave me to Thought! I fear! I doubt! Then farewell, my -Dear Charmers, I tremble! I droopl-5ce, my Courage is out. DEPARTMENT OF adieu. No token of Love? Sec, my Courage is out. Contented I dic-'Tis the better for you. No token of Love? Adieu. Farewell. Here ends all Dispute the rest of our Lives. But hark! I hear the Toll of the Bell. For this way at once I please all my Wives. present

12. MACHEATH AND CHORUS 10. MACHEATH • Thus I stand like the Turk, with his Doxies 0 cruel, cruel, cruel Case! around; Must 1 suffer this Disgrace? From all Sides their Glances his Passion THE BEGGAR'S Of all the Friends in time of Grief, confound; When threat'ning Death looks grimmer, For black, brown, and fair, his Inconstancy Not one so sure can bring Relief, burns, As this best Friend, a Brimmer. And the different Beauties subdue him by turns: by But can I leave my pretty Hussies, Each calls forth her Charms, to his Without one T ear, or tender Sigh? Desires: Their Eyes, their Lips, their Busses Though willing to all, with but one he retires. Recall my Love.-Ah must I die! But think of this Maxim, and put off your Sorrow, The Wretch of To· day, may be happy To·morrow.

Farrington Hall April 29, 30

[121 May I, 3, 4, 6, 7, 8, 1948 THE UNIVERSITY OF HAWAil TONIGHT'S PLAY THEATRE GUILD AND DEPARTMENT OF MUSIC John Gay's The Beggar's Opera opened on Monday, January 29, 1728, at present the Theatre-Royal in Lincoln's Inn Fields, . Both the cast and the manager of the theatre, Rich, were dubious of the success of the piece; THE BEGGAR'S OPERA Congreve, who had read the script, decided that it would "take greatly or be by damned confoundedly." But after opening night there were no longer any JOHN GAY doubts. The Beggar's Opera an instant success; it made "Rich gay and Gay rich," and with its unprecedented run it became the Oklahoma of the eight· DRAMATIS PERSONAE MEN eenth century. The songs were heard everywhere; scenes from the play and STAGEHANDS...... Thomas Luis, Philip 'Vax portraits of the leading characters appeared on so·eens, fans, and playing cards; BEGGAR...... Louis Steed , the hitherto obscure actress who played the role of Polly, be­ PLA YER...... Edward Fernandez came the toast of the town and crowned her career by becoming a duchess. PEACHUI\1 ...... Floyd Uchima FILCH...... Harold Hagen The Beggar's Opera continued to be played every year during the eighteenth MACHEATH ...... Charles Davis century, and its popularity did not begin to wane until the middle of the nine­ LOCKIT...... Edward Fernandez teenth century. Its success in was paralleled in America. It was first MACHEATH 'S GANG: William Amona, Thomas Bartow, Frederick Chun, Raymond Haftel, played in this country in New York on December 3, 1750, and thereafter was Shigeru Hotoke, Frederick Kamaka, Emmanuel Le Vine, John Magistad, Daniel Taba, Bill Yuen a part of the repertory of every American theatrical company. According to CONSTABLES, DRAWER, TURNKEY, Etc. tradition, The Beggar's Opera was Washington's favorite theatrical entertain­

WOMEN ment. In modern times, the play was revived in London in 1920 and ran for MRS. PEACHUM...... Grace McAlister two years. English companies brought this production to America in 1921 and POLLY PEACHUM...... Mary Jo Carpenter 1922 and toured throughout the country playing before enthusiastic audiences. LUCK LOCKIT...... Helen Noh JENNY DIVER...... !...... Mildred Tolentino The initial success of The Beggar's Opera was due to its ridicule of Italian DIANA TRAPES...... - ...... Arle ne Kim opera and its of the politics and society of the day. Gay, like his intimates, WOMEN OF THE TOWN: Mary Akimoto, Zelia Argenbright, Janet Burks, Marjorie Car­ Dean Swift and , disliked the affectation of Italian opera and valho, Ruth Engelbrecht, May Freeth, Louise Kishinami, Josephine Regala, Grace Sera, Martha Stenberg found the craze for it un-British and almost subversive. Since the arrival of CHAMBER ORCHESTRA Handel in London in 1710 and the production of his Rinaldo in 1711, the Violins ...... Sarah E. Nyc, Nancy C. Sueoka, Felomino Simon opera had enjoyed a wide vogue; but after the lampooning it received at Gay's Viola ...... i..,Ioscs Y. Sato hands, the Italian opera never regained its former popularity, being succeeded 'Cello...... l\fignon H. McClain by the " opera," which Dr. Johnson gave Gay the credit of inventing. (It Violin and String Bass...... John 1\fark it interesting that the music of "Let us Take the Road" is that of a march in Flute...... Fusae Yamashita Rinaldo). The political satire seems to have been directed generally at the Clarinet...... Evelyn Morikawa, Hugh Miller Harpsichord...... Gertrud Kuenzel Roberts Court, against which Gay held a grudge, and specifically at Sir , then Prime Minister. Walpole attended several performances of The Beggar's ACT I: Peachum's House. Opera and apparently accepted the satire in good grace publicly. Privately, INT.ERMtSSION however, he must have been considerably offended; he forbade the performance ACT ll: A Tavern near , Newgate. of Polly, which Gay wrote as a sequel to The Beggar's Opera; and thereafter l NTERllftSSION all of Gay's mail was opened and read by officials at the post office. The ban­ A Gaming House, Newgate, ning of Polly scarcely had the effect that Walpole intended; the play was pub­ ACT Ill: Peachum's Lock, The Condemn'd Hold. lished and the sale of copies brought Gay more money than he had got from the performances of The Beggar's Opera. Production directed and designed by EARLE ERNST Musical direction by NORMAN RIAN As might be expected of a play dealing with corrupt officials, highwaymen, Choreography by ELSA MATTILA and prostitutes, The Beggar's Opera was subject to considerable criticism by [2] [!I] clergy and public officials during the eighteenth century. In 1773 the Justices TO HONOLULU THEATREGOERS of London asked the actor-manager Garrick to refrain from presenting the piece The next production of the University of Hawaii Theatre Guild will be a because each performance increased the number of thieves. But the complaints group of four of the plays admitted in the recently concluded playwriting con­ against the play seem only to have increased its popularity, and it had among tests. The Lonely Rock, by Ray and Aldyth Morris, is an amusing sentimental its defenders at various times Swift, Pope, Hazlitt, and Dickens. In summing comedy on interracial marriage which is set in the living quarters of three Uni­ up his defense wrote, "Upon the whole, I deliver my judgement, That nothing but servile Attachment to a Party, lamentable Dullness, mistaken versity students. Mama-san and the Russian Toast, by Do:t:othy Brown, is a farce comedy set in the wilds of Waikiki in which a self-styled Russian prince , or studied Hypocrisy, can have the least objection against this excellent meets his via a Japanese maid and her employer. Mitchell Erickson's moral performance." The Beggat·'s Opem, like Hogarth's drawings, reflects The Burial, a melodrama set in a tomb on top of a lonely mountain in the the coarseness of the age in which it was written, but in its language it is no more blunt than is Shakespeare. Balkans, deals with the retribution which overtakes a family tyrant, while the other play dealing with death, Che1·ish the Thought, by Ruth Reeves is a fan­ tasy in which an elderly widower has a fine time chatting with his dead wife in The methods of staging and acting employed in this production are based a series of nightly visits to her grave. These four plays, the final regular produc­ upon those in use during the eighteenth century. tion of the Theatre Guild's current season, will be put on in mid-May. The orchestration of the songs is that made by Frederick Austin for the As a special post-season production the Guild will stage the recently released London production of 1920. The Glass Menagerie by Tennessee Williams. Winner of the Critics Award in • 1945, The Glass Menagerie was spoken of by Theatre Arts as "a minor miracle," by the World-Telegram as "make-believe so real it tears your heart out," and by the Daily Min·or as "an absorbing story (which) .. . restores faith in and lends distinction to the theatre." A play of sensitivity and imagination, The Glass Menagerie will be put on just before and just after the final examinations. Students are asked to keep their empty Theatre Guild booklets for use in secur­ ing student rates to The Glass Menagerie. From May 4 to May 22 the Honolulu Community Theatre will present The 49th State R evue at Roosevelt High School. Tickets for this production may be purchased during the day at Bergstrom's, and on the evenings of perform­ ances at the Roosevelt box office.

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ACKNOWLEDGMENTS

The Theatre Guild wishes to acknowledge the assistance of others, including both students and members of the University of Hawaii faculty and adminis­ tration, who have made this production possible; and to thank Bentley's Studio, the Honolulu Community Theatre, and the White Elephant Bazaar for furni­ ture, properties, and photographs.

(4) [5) PRODUCTION CHAIRMEN THE SONGS OF THE OPERA

Business Manager...... Margaret Yamato Act I Lighting...... Kenneth Griffin 1. MR. PEACHUM 5. MRS. PEACHUM Properties...... Martha Stenberg Through all the Employments of Life A Maid is like the golden Ore Costumes ...... Betty Elliott Each Neighbour abuses his Brother; Which hath Guineas intrinsical in't, Stage Managers ...... Tamotsu Sahara, Philip Wax Whore and Rogue they call Husband and Whose ·worth is never known, before Wife: It is try'd and imprcst in the Mint. Make·up...... Arlene Kim All Professions be·rogue one another. A Wife's like a Guinea in Gold, Publicity...... Mitchell Ericl

Program Editor...... Ann Koga 6. POLLY I 2. FILCH Virgins are like the fair Flower in its Lustre, 'Tis Woman that seduces all Mankind, Which in the Garden enamels the Ground; PRODUCTION CREWS By her we first were taught the wheedling Near it the Bees in Play flutter and cluster, • Arts: And gaudy Butterflies frolick around. Her very Eyes can cheat; when most she's But, when once pluck'd, 'tis no longer alluring, Staging and Lighting: Arthur Caldeira, Thomas Luis, Eddie Nakamura, Kazuo Watanabe, kind,. Stanley Yamamoto, Don Hawley, and the class in dramatic production (Speech 140): To Covent Garden 'tis sent, (as yet sweet,) She tricks us of our Money with our Hearts. There fades, and shrinks, and grows past all Jordan Bayless, Esther Belarmino, Donald Mayo, Ivanelle Mountcastle, Jane Steen, Doris For her, like Wolves by night we roam for enduring, Takatsuka, Vivian Tom. Scenic panels by George Wago. Prey, Rots, stinks, and dies, and is trod under feet. And practise ev'ry Fraud to bribe her Charms; Properties: Jackie Belknap, Minto Hannus, Leilani Hollman, Marian Joy, Kay Maggioros, For Suits of Love, like Law, are won by Pay, Alice Ramsey And Beauty must be bought into our Arms. 7. MR. AND MRS. PEACHUM Costumes: Beatrice Chang, Barbara Doue, Bette Kondo, Jennett Tohara Our Polly is a sad Slut! nor heeds what we have taught her. Make·up: The class in make·up (Speech 149) : Beatrice Chang, Arlene Kim, Lisa Lu, Chet· S. MRS. PEACHUM wynd McAlister, Gr:tce McAlister, Jane Steen I wonder any man alive will ever rear a If any Wench Venus's Girdle wear, Daughter! Business: Thelma Ching, Margaret Danley, Mary Samson, Irene Yamato. Though she be never so ugly; For she must have both Hoods and Gowns, Publicity: Masae Kashiwamura, Don Mayo, Clarissa Saiki Lillys and Roses will quickly appear, and Hoops to swell her Pride. And her Face look wond'rous smuggly. With Scarfs and Stays, and Gloves and Lace; and she'll have Men beside; Beneath the left Ear so fit but a Cord, And when she's drest with Care and Cost, THEATRE GUILD COUNCIL (A Rope so charming a Zone isl) all·tempting, fine and gay, The Youth in his Cart hath the Air of a Lord, As Men should serve a Cowcumber, she flings Mitchell Erickson Eddie Nakamura And we cry, There dies an Adonis! herself away. Eddie Fernandez Tamotsu Sahara Arlene Kim Martha Stenberg 4. MRS. PEACHUM: 8. POLLY Bette Kondo George Wago If Love the Virgin's Heart invade, Can Love be controul'd by advice? Jack K.rushell Philip Wax How, like a Moth, the simple Maid Will Cupid our Mothers obey? Don Mayo Margaret Yamato Still plays about the Flame! Though my Heart were as frozen as Ice, If soon she be not made a Wife, At his Flame 'twould have melted away. Joel Tn.pido and Earle Ernest (Directors) Her Honour's sing'd, and then for Life, When he kist me so closely he prest, Emma Bohnenberg (Wardrobe Custodian) She's-what I dare not name. 'Twas so sweet that I must have comply'd: So I thought it both safest and best All actors and production workers in the Theatre Guild 1. T o marry, for fear you should chide. are registered students at the University of Hawaii.

[6] (7] 9. MR. AND MRS. PEACHUM, POLLY 14. MACHEATH AND POLLY Act II 0 Polly, you might have toy'd and kist. Pretty Polly, say, 1. FILCH AND CHORUS His Eyes around him throwing, By keeping Men off, you keep them on. When I was away, Stands for a while suspended. But he so teaz'd me, Did your Fancy never stray Fitl ev'ry glass, for Wine inspires us, Then One he singles from the Crew, And he so pleas'd me, To some newer Lover? And fires us with Courage, Love and Joy. And cheers the happy Hen; What 1 did, you must have done. Without Disguise, Women and Wine should Life employ. With how do you do, and how do you do, Heaving Sighs, Is there ought else on Earth desirous? And how do you do again. Doating Eyes, 10. POLLY My constant Heart discover. 2. FILCH AND CHORUS 6. MACHEATH I, like a Ship in Storms, was tost; Fondly let me Iolli Let us take the Road. Yet afraid to put in to Land; 0 pretty, pretty Poll. Hark! I hear the sound of Coaches! At the Tree I shall suffer with pleasure, For seiz'd in the Port the Vessel's lost, The hour of Attack approaches, At the Tree I shall suffer with pleasure, Whose Treasure is contreband. 15. MACHEATH To your Arms, brave Boys, and load. Let me go where I will, The waves are laid, Sec the Ball I hold! In all kinds of Ill, My Heart was so free, My Duty's paid. Let Chymists toil like Asses, I shall find no such Furies as these are. 0 Joy beyond Expression! It rov'd like the Dee, Our fire their fire surpasses, 'Till Polly my Passion requited; T hus, safe a-shore, And turns all our Lead to Gold. I ask no more, I sipt each Flower, 7. MACHEATH My All is in my Possession. I chang'd ev'ry Hour, Man may escape from Rope and Gun 3. MACHEATH But here ev'ry Flower is United. Nay, some have out-liv'd the Doctor's Pill; If the Heart of a Man is deprest with Cares, 'Who takes a Woman must be undone, 11. PEACHUM That Basilisk is sure to kill. 16. POLLY AND MACHEATH The Mist is dispell'd when a Woman appears; A Fox may steal your Hens, Sir, Like the Notes of a Fiddle, she sweetly, sweetly The Fly that sips Treacle is lost in the Sweets, A Whore your Health and Pence, Sir, Were I laid on Greenland's Coast Raises the Spirits, and charms our Ears. So he that tastes Woman, '\¥oman, Woman, Your Daughter rob your Chest, Sir, And in my Arms embrac'd my Lass; Roses and Lillies her Checks disclose, He that tastes Woman, Ruin meets. Your Wife may steal your Rest, Sir, Warm amidst eternal Frost, But her ripe Lips are more sweet than those. A Thief your Goods and Plate. Too soon the Half Year's Night would pass. Press her, Caress her, 8. LUCY But this is all but picking; Were I sold on Indian Soil, With Blisses, Her Kisses, With Rest, Pence, Chest and Chicken, Soon as the burning Day was clos'd, Dissolve us in Pleasure, and soft Repose. Thus when a good Huswife sees a Rat It ever was decreed, Sir, I could mock the sultry Toil, In her Trap in the Morning taken, If Lawyer's Hand is fee'd, Sir, When on my Charmer's Breast repos'd. With pleasure her Heart goes pit a pat, 4. MACHEATH AND CHORUS He steals your whole Estate. And I would love you all the Day, In Revenge for her loss of Bacon. Every Night would kiss and play, Youth's the Season made for Joys, Then she throws him If with me you'd fondly stray Love is then our Duty. To the Dog or Cat, 12. POLLY Over the Hills and far away. She alone who that employs, To be worried, cru.sh'd and shaken. Oh, ponder well! be not severe; Well deserves her Beauty. So save a wretched Wife! Let's be gay, 17. POLLY AND MACHEATH 9. LUCY For on the Rope that hangs my Dear, While we may, Depends poor Polly's Life. 0 what Pain it is to part! Beauty's a Flower, despis'd in decay. How cruel are the Traytors, Can I leave thee, can I leave thee? Let us drink and sport to-day, Who lye and swear in , 0 what Pain it is to part! Ours is not to-morrow. To cheat unguarded Creatures U. POLLY Can thy Polly ever leave thee? Love with Youth Hies swift away, Of Virtue, Fame, and Rest! The Turtle thus with plaintive crying, But lest Death my Love should thwart, Age is nought but Sorrow. Whoever steals a Shilling, Her Lover dying, And bring thee to the fatal Cart, Da.nce and sing, Through sha.me the Guilt conceals: The Turtle thus with plaintive crying, Thus I tear thee from my bleeding Heart! Time's on the Wing, In Love the perjur'd Villain Laments her Dove. Fly hence, and let me leave thee. Life never knows the return of Spring. With boasts Ll1e Theft reveals. Down she drops quite spent with sighing, Pair'd in Death, as pair'd in Love. 5. JENNY AND CHORUS 10. MACHEATH Before the Dam-door crowing, The first time at the Looking-glass The Cock by Hens attended, The Motl1er sets her Daughter,

[8] [9] The Image strikes the smiling Lass 15. MACHEATH Act III With Self-love ever after. How happy could I be with either, 1. CHORUS Each time she looks, she, fonder grown, Were t'other dear Charmer away! While thus I lye rolling and tossing all Night, Thinks ev'ry Charm grows stronger. That PolJy !yes sporting on Seas of Delight! But while you th~ teaze me together, In a humour I was of late But alas, vain Maid, all Eyes but your own To neither a Word will I say; As many good fellows be, Revenge, Revenge, Revenge, Can see you are not younger. But tol de rol, etc. To think of no matters of state, Shall appease my restless Sprite. But to seek for good company 16. POLLY AND LUCY That best might suit my mind. 11. PEACHUM AND LOCKIT So I travelled up and down, 5. POLLY AND LUCY I'm bubbled, I'm bubbled. When you censure the Age, No company could I find till I came Oh how I am troubled! Bambouzled, and bitl A Curse attends that Woman's Love, Be cautious and sage, To the sight of the Crown. My Distresses are doubled. Who always would be pleasing. Lest the Courtiers offended should be: For drinking will make a man quaff, When you come to the Tree, The Pertness of the billing Dove, If you mention Vice or Bribe, And quaffing will make a man sing, Should the Hangman refuse, Like tickling, is but tearing. 'Tis so pat to all the Tribe; And singing will make a man laugh, These Fingers, with Pleasure, What then in Love can Woman do? Each crys- That was levell'd at me. And laughing long life doth bring. Could fasten the Noose. If we grow fond, they shun us. Says oH:I. Sir Simon the King, And when we Oy them, they pursue, Says old Sir Simon the King, 17. POLLY But leave us when they"ve won us. 12. PEACHUM AND LOCK IT With his ale-dropt hose Thus Gamesters united in Friendship are Cease your Funning; And his Malmsey nose, found, Force or Cunning Sing hey ding a ding 6. LUCY Though they know that their Industry all Never shall my Heart trapan. A ding ding. is a Cheat; All these Sallies Come, sweet Lass, Let's banish Sorrow They flock to their Prey at the Dice-Box's Are but Malice 'Till to-morrow; Come, sweet Lass, Sound, To seduce my constant Man. 2. ~f..<\CHEATH AND CHORUS Let's take a chirping Glass. And joi.n to promote one another's Deceit. 'Tis most certain, The Modes of the Court so are Wine can clear the Vapours of Despair; But if by mishap By their flirting grown, And make us light as Air; They fail of a Chap, Women oft have Envy shown; That a true Friend can hardly be met; Then drink, and banish Care. To keep in their Hands, they each other Pleas'd to ruin Friendship for Interest is but a Loan, entrap. Othe.rs wooing; Which they let out for what they can get. Like Pikes, lank with Hunger, who mi.$1 of Never happy in their own! 'Tis true, you find some Friends so kind, 7. POLLY AND LUCY their Ends, Who will give you good Counsel themselves They bite their Companions, and prey on to defend. Hither, dear Husband, tum your Eyes. their Friends. 18. POLLY AND LUCY In sorrowful Ditty, they promise, they pity, Bestow one Glance to cheer me. Why bow now, Madam Flirt? But shift you for Money, from Friend to Think with that Look, thy Polly dyes. If you thus must chatter; Friend. 0 shun me not-but hear me. l!l. LUCY And are for flinging Dirt, 'Tis Polly sues. 'Tis Lucy speaks. Let's try who best can spatter, Madam Flirt! Is thus true Love requited? .Is then his Fate decreed, Sir? !l. MRS. TRAPES, PEACHUM, LOCKIT Such a man can I think of quitting? Why how now, saucy Jade; My Heart is burst.ing. Mine too breaks. When first we met, so moves me yet, Sure the Wench is Tipsy! In the Days of my Youth I could bill like a Must I, must I be slighted? Dove, 0 see how my Heart is splitting! How can you see me made The Scoff of such a Gipsy? Saucy Jade! Like a Sparrow at all times was ready for Love. 8. MACHEATH The Life of all Mortals in Kissing should pass, 14. LOCKIT 19. POLLY Lip to Lip while we're young-then the Lip to Which way shall I tum me? How can I You'll think e'er many Days ensue No Power on Earth can e'er divide, the Glass. decide? This Sentence not severe: The Knot that Sacred Love hath ty'd. Wives, the Day of our Death, are as fond as a Bride. I hang your Husband, Child, 'tis true, When Parents draw against our Mind, 4. LUCY One Wife is too much for most Husbands to But with him hang your Care. The True-love·s Knot they faster bind. bear, I'm like a Skiff on the Ocean tost, Twang dang diJio dee, etc. Oh, oh ray, oh Amborah-oh, oh, etc. But two at a time there's no Mortal can bear. Now high, now low, with each Billow bom, This way, and that way, and which way I will, With her Rudder broke, and her Anchor lost, What would comfort the one, t'other Wife Deserted and all forlorn. would take ill.

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