Mlle. Modiste

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The Ohio Light Opera

Michael Borowitz Conductor

Steven Daigle Director Mlle. Modiste Music...... Victor Herbert BACKGROUND NOTES...... Michael Miller Lyrics...... Henry Blossom By the time composer Victor Herbert began work Orchestral Restoration...... Bruce Herman in 1905 on his comic opera Mlle. Modiste, he already Conductor...... Michael Borowitz had fourteen Broadway shows to his credit and a Stage Director...... Steven Daigle reputation as America’s most prominent composer of stage music. Long frustrated with the demands of The Ohio Light Opera Broadway publishers and producers that he simply Steven Daigle, Artistic Director crank out a bunch of songs and leave the rest to them, CAST: he and librettist Henry Blossom set out on the Modiste Fifi...... Sara Ann Mitchell project with the goal of creating a new musical/ Étienne...... Todd Strange dramatic paradigm for American operetta. In his words, Conte de St. Mar...... Boyd Mackus “A comic opera with any pretense at artistic merit has Hiram Bent...... Dennis Jesse the two forces [music and drama] so closely related and inter-woven that the audience senses them as one and Gaston...... Jacob Allen the same thing. Every situation requires some definite Mme. Cecily...... Julie Wright sort of music and the song must be logical and part of Mrs. Bent...... Jessie Wright Martin the natural action.” Thus, decades before Show Boat François...... Jon Gerhard and Oklahoma!, the two shows that are most often René...... Cory Clines credited with advancing the relevance of the text and Fanchette...... Cecily Ellis the integration of story and music, Herbert and Blossom Nanette...... Ashly Evans set the ball rolling with their rather audacious treat- Marie...... Allison Toth ment, in Mlle. Modiste, of class distinction, gender bias, Bazaar Soloist...... Eve Hehn and societal stereotyping. With Metropolitan Opera star Fritzi Scheff in the CHORUS: title role of Fifi, the hatgirl with dreams of a stage Chelsea Basler, Nate Brian, Erin Daigle, career, Mlle. Modiste opened on Christmas Day of Stephen Faulk, Sahara Glasener-Boles, 1905 and ran 202 performances at Broadway’s Samantha Grenell-Zaidman, Eve Hehn, Knickerbocker Theatre. It was revived on Broadway in Paul Hopper, Kyle Knapp, Jacqueline Komos, 1906, 1907, 1913, and 1929, all featuring Scheff in Matthew Kuehnl, Janelle Lentz, Tania Mandzy, her signature role. In 1926, a silent film version of the Philip McLeod, Owen Reynolds, Raina Thorne, show featured Corinne Griffith in the title role. In 1930, Allison Toth, Logan Walsh. First National Pictures produced a sound version— ■ 2 ■ Composer Victor Herbert (1859-1924) Soprano Fritzi Scheff (1879-1954) Mme. Scheff as “Mlle. Modiste,” Act II titled Kiss Me Again—with Bernice Claire as Fifi, “If I were on the stage,” became the take-away hit Walter Pidgeon as her love interest, and Edward song from Mlle. Modiste and one of the most per- Everett Horton. And, in 1951, NBC screened a formed and recorded of soprano light opera show- television version in which Fritzi Scheff—46 pieces. Étienne, in Act I, intones his frustration at years after the show made her a star—played being unable to bring together “The time and Fifi’s mother to Marguerite Piazza’s title role the place and the girl” (CD I, Track 7), while his and Brian Sullivan as paramour Étienne. aristocratic uncle leaves no doubt in his pompous Herbert’s musical score remains one of “I want what I want when I want it” (CD II, Track the supreme gems in the American operetta 4) that he is not likely to bend in demanding that canon. Fifi’s audition song (CD I, Track 9), as Étienne have nothing to do with a simple milliner. she describes to the wealthy American Hiram In Act II, the French soldiers welcome the Bent her dreams of a stage life away from her returning Fifi—once their little mascot, but now a current mundane existence, is clearly inspired by big singing star—in one of the most rousing march Adele’s Act III audition song in Johann Strauss’ numbers in the literature, “The mascot of the Die Fledermaus. “Kiss me again,” the third troop” (CD II, Track 11). And, as more than ample section in this extended musical sequence called demonstration that her stage career has ■ 3 ■ blossomed, Fifi entertains the guests at a charity of American Operetta, who brought American bazaar with her coloratura waltz “The nightingale sounds and sensibilities to musical theatre and and the star” (CD II, Track 16). paved the way for both the continuing evolution With the 2009 season’s production of Mlle. of operetta (Friml and Romberg) and the devel- Modiste, The Ohio Light Opera celebrates the 150th opment of the modern American musical (Kern, birthday of Victor Herbert (1859-1924), the Father Berlin, Porter, Gershwin, and Rodgers). PLOT SYNOPSIS ACT I—Salesgirls at Madame Cecily’s Parisian her, Fifi rejects marriage proposals—first from hat shop have no luck in interesting the wealthy Gaston and then from Étienne, whose love she American, Mrs. Hiram Bent, in any of the latest returns, but who must wait until she is no longer millinery creations of their boss. Madame Cecily just a shop girl. Fifi announces to Madame Cecily is furious at their lack of salesmanship and laments that she will not marry Gaston and, in fact, is the absence of her prize employee Fifi, who cer- quitting her job to pursue her dream. As she tainly could have secured a sale. So valuable is the leaves, she discovers the envelope and knows young girl to the shop’s success, and so fearful is that fate is smiling on her. Cecily that some rival shop might steal her, that she ACT II—A year later, at a charity bazaar at the has decided that Fifi should marry her milksop son home of Étienne’s uncle, guest Hiram Bent relates Gaston. Needing to keep on good terms with his how Fifi has become a major singing star, paid mother, who provides him with money to support him back for the cash advance, and, in fact, will his high life, Gaston agrees to the union. be performing this very day for the assembled Fifi, however, is being courted by the dashing guests. When Fifi arrives, the uncle forbids her Captain Étienne, whose sister and guardian uncle from singing and from ever marrying his nephew. are scandalized by the thought that their kinsman The strong-willed Fifi swears to him that she will even contemplate such a social mismatch. In the only marry Étienne when the day comes that the shop, Fifi chats with a customer, Hiram Bent, uncle begs her to do so. When Étienne arrives, expressing her longing to leave her job and pursue Fifi changes places with the hired fortune teller a stage career, a move that Hiram encourages. and learns that Étienne’s feelings for her are as With more money than he knows what to do with, strong as ever. Through a bit of cunning, she Hiram slips 5000 francs into an envelope that he wins Étienne’s uncle to her side—he indeed begs knows Fifi will soon discover. Wanting neither to her to marry Étienne. work to support a man nor have a man support Michael Miller

This recording presents the complete Victor Herbert musical score and an abridged version of the Ohio Light Opera’s 2009 staged production of Henry Blossom’s spoken dialogue.

■ 4 ■ FROM THE ARTISTIC DIRECTOR much-deserved rebirth for an appreciative For three decades The Ohio Light Opera has audience. This CD set will hopefully give the been dedicated to producing, promoting and operetta aficionado a taste of what makes this preserving the best of the traditional operetta company unique. repertoire. In any summer season, close to 20,000 The support of the College of Wooster, its patrons come to hear and see more than sixty community and nearly 500,000 patrons who performances of seven productions on the have championed the company's dedication to beautiful campus of The College of Wooster in operetta have given OLO a reputation that Ohio. These shows offer the operetta fan a little reaches internationally. In no small way, Albany of everything: a well-known and lesser-known Records has added to the company’s success. Gilbert and Sullivan, a Viennese operetta, a The company and the operetta art form are French operetta, an American operetta and a indebted to John Ostendorf and Albany for revival of a long-forgotten work that is given a their commitment. Steven Daigle

FROM THE PRODUCER Every summer for many years, I look for- The work has not been recorded complete ward to my trip out “west” to the always- (there have been a few highlight albums over impressive Ohio Light Opera. Great new surprises the years by RCA, Reader’s Digest—even Rosa await, thanks to the exhaustive work by OLO’s Ponselle recorded “Kiss Me Again!”) Our 2-CD Steve Daigle and Michael Miller and the incredible set includes all the music, plus two tunes for talents of the company and its maestro Michael the comic character François, which were cut Borowitz. Our recordings are made “live” in the for the premiere, and a good helping of Henry sense that tapes roll for an essentially single Blossom’s dialogue. We thought to record the onstage run-through; this happens well into the work with standard stage English spoken and actual performance run. It’s a producer’s dream as sung, avoiding the Maurice Chevalier/Inspector the cast and orchestra know their stuff cold, and Clouseau approach which amuses onstage and the production has had time to gel and develop. onscreen but can be tedious on a recording. Mlle. Modiste is the fourth Victor Herbert Indeed, doing it “straight” seemed to better operetta we’ve done for Albany. As Michael frame Gaston’s Act II parody of “Ze English Miller’s fine program note informs us, it was a language” (Blossom and Herbert’s own spelling). vehicle for a star soprano: everyone loves the hit At any rate, here’s hoping that the piece gives tune “Kiss me again,” which, ironically, Mme. as much delight to the listener as it did to us Fritzi Scheff wanted cut from the show (too low who recorded it. for her, she claimed); fortunately Herbert said no. John Ostendorf ■ 5 ■ Mlle. Modiste We forget that the world has a snare Dialogue Track 3 ACT I—Hat shop of Madame Cecily, Paris Or a care. Life’s a dream then, MRS. BENT (an aging American Overture CD ONE, Track 1 Love’s supreme then. dowager, enters, examining hats) Oh, Opening Chorus Track 2 “Vive la joie” is the word everywhere. no, not at all what I want, my dear. Your SHOPGIRLS (enter happily) To be there once again hats are much too old. You must think I Furs and feathers, buckles, bows, When the moon in her splendor am positively antique! Some of these, some of those! Is high in the sky... It is then we forget FANCHETTE Real lace where it shows! That the morning will come, Yes, madame. Oh, I mean no, madame! Flowers and furbelows. When again we sell Here, madame, here is positively the First a ribbon, then a rose. Furs and feathers... (Laughter) newest shape we have. It’s mother’s Each one knows, as she sews NANETTE (holds up a hat) own design and fully a year ahead of What’s the mode in clothes, Here is a pretty hat, the design is mine, the style in New York. Fashion’s latest pose! And it’s comme il faut! MRS. BENT Waiting on our customers, FANCHETTE (holds up another) Indeed! We’re busy all the while... This is as chic as that. FANCHETTE Showing them the style, ‘Tis the shade that’s been made, Oh yes, madame. Will madame try Showing every hat we’ve got, The mode, you know. it on? Perhaps they’re new, BOTH MRS. BENT Perhaps they’re not, Though we try our best, What’s the price? But hoping that we’ll sell It is hard to please FANCHETTE The lot for cash. Ha! Ha! Ha! Ha! People just like these. Only 80 francs, madame, for you. Furs and feathers... How could a thing of grace MRS. BENT Eighty francs—that’s, uh... Still, our wages are but low Look well on such a face? When we are paid what we have made. When indeed of neither style or beauty We must quickly spend it all, There’s a trace? Ah, but my sister dear, Rent for a tiny flat, think of that! In a hat like that wouldn’t we look nice? Hard work, very little pay, Yes, but it’s very queer: Ten hours every single day, Those who have the good looks That’s distressing, you’ll agree, Don’t have the price! Yet we’re happy as can be! Yet, if not today, Furs and feathers... Some day we may have our gowns, Our laces and our pearls, Ah, when the moon Just like many of the other girls. In her splendor is high in the sky Yes, we are sure that yet, if not... And her bright silvery light ALL Makes radiant the night, Mrs. Bent (Jessie Wright Martin) is shown Furs and feathers... hats by Nanette (Ashly Evans, at left) and While soft winds sigh, it is then Fanchette (Cecily Ellis, at right). ■ 6 ■ FANCHETTE FANCHETTE (laughing) And often those who do not Sixteen dollars in American money. Well, you know the saying, maman, Bear in mind that, find that MRS. BENT “When the cat’s away...” When the cat’s away the mice will play! Oh, no. I don’t think you quite NANETTE (laughing) understand what I want. “The mice will play!” Dialogue Track 5 FANCHETTE (moves off with Mrs. Bent) FANCHETTE One moment, madame! I think I Trio Track 4 Shall I go out and hunt Fifi, maman? have one more here I am sure will MME. CECILY, DAUGHTERS NANETTE please you.... There’s a proverb that is trite, but true. Oh no, let me go! MME. CECILY (enters, talking to herself) It describes it neatly, MME. C. The only girl in the shop that’s worth her Fully and completely, Yes, you’d both like to get out, wouldn’t salt is Fifi, and the moment my back is Tells us what a lot of girls will do you? Well, you’ll both stay here. As for turned, what does she do? Idles away When the one in charge Fifi, I’ll know what to do with her. She her time—my time—gadding about in Of them is not in view. shall make up her time during luncheon the streets! Now we’ll tell you hour. She’s very independent now, but FANCHETTE (has returned) What the wise men say: all will be different when I’m her But maman, she didn’t know you were “When the cat’s away, mother-in-law! coming back so early. Then the mice will play!” FANCHETTE / NANETTE (amazed) NANETTE We don’t like to think of mice like that. Her mother-in-law? No, you generally stay much later when MME. C. MME.C. you go to the market. I don’t like to think that I’m the cat! Yes, when she’s safely married. MME. C. ALL THREE BOTH Oh, I do! You’ve noticed that, have But though there are a few, perhaps, Married!! you? Then I suppose when I’m not here Who doubt it, flout it, MME.C. there’s no work done. Others find it true from day to day, Yes, I’ve decided that Fifi shall marry your brother Gaston. NANETTE Marry Gaston? But why, maman? MME.C. For business reasons. FANCHETTE Business reasons? MME. C. “When the Yes. cat’s away”— Nanette and NANETTE Fanchette with But... Madame Cecily MME. C. (Julie Wright). Ah! Listen. Fifi is pretty and chic and a clever saleswoman. ■ 7 ■ FANCHETTE NANETTE You friend exclaims “oh my, no! Oh, but maman, brother Gaston’s We promised faithfully not to tell. I didn’t tell, not I, no!” an...artiste! FRANCHETTE She didn’t, but she might as well, NANETTE We are going to prove that a woman For what she did was this: And goes in fine society! can keep a secret! “Oh, really, I’ve the most tremendous MME. C. FRANÇOIS secret! I promised, though, On my money. I’ve got a secret too! I wouldn’t say a word! FANCHETTE GIRLS It’s a story one must handle very gently, But he wouldn’t lower himself to Oh, really? You do? Quite a scandal! He’s a broker marry a simple shop girl. And they say that he’s a bird. Sssh! Song and Chorus Track 6 NANETTE I wouldn’t have believed it FRANÇOIS Who has neither birth nor fortune. When I heard it, If given to surmising, MME. C. For she’s my dearest friend, It’s often most surprising Haven’t I said this was a business I must confess. To find out how very rapidly proposition? Fifi is an orphan, but she Of course, ‘twould be a shame A secret gets about. speaks three languages. She’s very To mention either name, You thought that no one knew it, valuable in a shop and if only she knew But really, I should think Except the parties to it, it, she could go to one of my rivals and That you could guess!” And just one other friend get three times the wages I pay her. Ah, THE GIRLS Whom you would never dare to doubt. but once safely married to Gaston—she’s Oh really, I’ve the most... mine. She shall live right here and I’ll But soon, to your vexation, pay her nothing at all. As for Gaston, With gross exaggeration, Dialogue and Song Track 7 he need not inconvenience himself any There comes a publication (The sound of men’s voices is heard.) more than other husbands do. Now, get Giving all the facts amiss. FRANÇOIS along to work...and mind—not a word Ah, here is Captain Étienne now! of what I’ve said! ÉTIENNE (enters with René and other BOTH soldiers. He carries a bouquet.) Oh no, maman! I beg of you, mademoiselle, tell me, MME. C. where is Fifi? To anyone! NANETTE BOTH (as Madame Cecily departs) She’s gone out with... Oh, no, maman. ÉTIENNE (alarmed) FANCHETTE With whom? A wedding. Isn’t it too exciting? But we NANETTE musn’t tell! Oh! François! (François has With some hats! But she’ll be back come over with some of the shop girls.) soon. You must wait. She’d hate to FRANÇOIS (has heard) miss you. Come on, tell us! Unwrap the package ÉTIENNE François (Jon Gerhard) tells a secret. and give us a peek! These poor flowers I will leave to her. ■ 8 ■ And the thought Sets your brain in a whirl, for seldom, If ever, you find them together: The time and the place and the girl! ALL There’s always a hitch...

Dialogue Track 8 ÉTIENNE (kisses the hand of Mme. Cecily, who has entered) Ah, madame, I am enchanted to see you. I trust you are very well? MME. C. Oh yes, captain! Captain Étienne (Todd Strange) ÉTIENNE (hands her the flowers) Marie (Allison Toth) with her uncle, the Count May I ask you to give these to Mlle. Fifi (Boyd Mackus) The red ones aren’t as red as her lips. and say that each red rose is a heart The white ones aren’t as fair as her marry her to Gaston. (Marie enters.) throb? I love Fifi and shall take her out skin—and she is not here. Alas, how Ah, mademoiselle. of this life as soon as I can afford it. seldom it is we find the time, the place MARIE MME C. (alarmed) and the girl together. Was that not my brother who just left What? Do you mean you would take here? ÉTIENNE her away? MME. C. I wonder if Cupid is silly or stupid, ÉTIENNE It was, mademoiselle. Ha! Too bad you Or if the little rascal cannot see, Yes, madame. missed him. Well, he’ll be back as soon For loving and wooing MME C. as his drill is over. Are all of his doing, Ha! I told you that you were as bad as COUNT (entering, annoyed) And yet he makes it painful as can be. the rest. Fifi is an innocent girl and you Marie, why did you ask me to meet you He mixes the stations, should respect her. in a hat shop? (to Mme. Cecily) Isn’t He changes relations, ÉTIENNE mademoiselle’s credit good with you, For all your little schemes he sets a snare I do, madame, and as soon as I Madame Cecily? And though you have planned it, can, I mean to... MME. C. And both understand it, he’ll fix it RENÉ (comes over) Oh yes, Monsieur le Conte. For any So your sweetheart is not there! Étienne, we must hasten or we shall amount. be late! For the time may be morning or evening MARIE ÉTIENNE (goes out with the other men) The place may be distant or near, And my brother’s is even better! Yes, yes, René. Au revoir, madame. And the maiden demure COUNT MME. C. May have made you feel sure that What do you mean? Take away my Fifi, would you? Well, I’m She’ll be there without any fear, but MARIE not a moment too early in my plan to There’s always a hitch in it somewhere I mean this is the shop in which my ■ 9 ■ brother idles all his spare time away. It’s becoming a public scandal. Fifi, one of her little girls, he has fallen in love with. COUNT Fifi! MARIE Yes, a shop girl. COUNT What? Is this really true, madame? MME. C. I fear it is, M. le Conte. COUNT Well, I’ll put an end to it all in very short order. Where is the baggage? Show her to me! Hiram Bent (Dennis Jesse) Fifi, “Mlle. Modiste” (Sara Ann Mitchell) MME C. BENT I have not one ambition? Do you think She isn’t here just now. Very well, let me see the prettiest hat that I’m content to sell these things and COUNT you have, uh, for a young lady...one wait on a lot of people that I despise? Indeed. It’s well for her. Never mind. who greatly resembles you. What chance have I for the future here? Come, let’s get out of here. I don’t want FIFI What chance to marry a man whom I the public to talk about me. Bonjour, Me, monsieur? could love and respect? madame. (They go.) BENT BENT MME C. Yes, come, show me the hat that you Then, what would you do? Bonjour, M. le Conte, mademoiselle. (to would pick out for yourself if you were FIFI herself) Now, that’s what I call fortunate. going to buy one. I have a voice, monsieur, and I know I So you’ll take her away with you, will FIFI (looks over the hats) can act, but without either money or you, Étienne? We shall see if you will. Well, if I could afford it, I think I should influence, I am helpless. (She goes. Fifi comes in followed by like this one... BENT Mr. Hiram Bent.) BENT (goes over to her, warmly) And what sort of roles would FIFI Put it on. Ah, that’s a picture! you play? Tell me, monsieur, in your country, do FIFI (nervous) FIFI you follow women you do not know? Monsieur! Any role! BENT BENT (laughing) BENT I’m sorry to frighten you, Mlle. Modiste. My motto is “never give up! Well, you have at least one requisite: I merely want to ask you a question. FIFI self-confidence. FIFI (amused) Ah, but you are a man, monsieur. But a FIFI This is a hat-shop, monsieur, not a woman, what can she do? Do you think Monsieur, I will show you that I have conversation parlor. more than that! ■ 10 ■ Song Track 9 Dialogue Track 10 FIFI FIFI BENT (very impressed) Fifi, monsieur. If I were asked to play the part Delightful! Really delightful! I think BENT (writing on a card) Of simple maiden, light of heart, I’ll buy a couple of hats more worth Ah, Fifi. And it won’t be too far out of A village lass in country clothes of time. your way? May I ask where you live? As to and from her work she goes, FIFI FIFI I’d sing a merry, lilting strain Oh, thank you, monsieur! Number five, Rue Feydeau. And gaily dance to this refrain: BENT BENT “Tra la la...” Now, see here! I want your advice. The Ah, that’s very near. The very same If they should offer me some day little girl who’s going to get these hats street in fact. That was good advice you A prima donna role to play, is in a position much like yours. She’s gave me—offer to loan her the money. A stately queen with powdered hair, pretty, she’s talented, but she’s as proud Surely she wouldn’t refuse it, will she? Her costly gowns and jewels rare, as she is poor. I’d like to help her, for I FIFI I would not act the part amiss. believe she’s worthy. I feel sure she’d I shouldn’t think so, monsieur. I’d sing a Polonaise like this: refuse the money they would cost if I BENT “Ah, you will all agree were to offer it! Now, what am I to do? Now, you wouldn’t... would you? That happy I should be. Ah! FIFI FIFI I’m queen of all the land. Ah!... It’s very hard, monsieur. Non, monsieur. With lords and ladies to kneel BENT BENT And kiss my hand. Just think what a few thousand francs Well, I hope she’ll be as sensible as A king upon the throne would mean to her... you are. Now I must go. To woo me for his own, Ah! FIFI FIFI The fairest woman ever seen! Ah!... Yes, monsieur? But the afternoon hat, monsieur? Who would not be queen?” BENT BENT But best of all the parts I’d play, Do you think she’d accept it as a loan? And how much is it? If I could only have my way, FIFI FIFI Would be a strong, romantic role, She might, monsieur... 500 francs, monsieur. Emotional and full of soul. BENT BENT And I believe, for such a thing, She could pay it back if she likes when Here’s a thousand. Can you change it? A dreamy, sensuous waltz I’d sing: she became successful. FIFI FIFI “Sweet summer breeze, Just a moment. I’ll go for Madame. Oui, monsieur. Whispering trees, (She leaves.) BENT Stars shining brightly above, BENT Then that’s what I’ll do. I’ll write her a Roses in bloom, wafted perfume, All right. (counts money out from his little note and enclose the money and Sleepy birds dreaming of love, wallet). Let’s see... one, two, three, four, you may deliver it for me with the hats, Safe in your arms, far from alarms, five thousand francs. That’s a thousand Daylight would come, but in vain. if you will, Mlle Modiste. Pardon, you dollars. I might lose this at the club or at Tenderly pressed, close to your breast, haven’t told me your real name. the races any time and, by gosh, not Kiss me, kiss me again...” have half the fun I’m having now. ■ 11 ■ (writes on the card) “Mlle. Fifi, you are greatly mistaken, she’ll jump at the the honest little girl I referred to. Kindly chance of an honorable marriage. accept the enclosed amount as a loan (She goes off.) to be used as your need may require. FANCHETTE (running in with her Your friend. Hiram, Bent. P.S.— I hope sister) Oh, Gaston! you will be pleased with the hats.” NANETTE And now to address it. “For Mlle. Fifi, Yes, hello, brother dear. Oh, Gaston, Number 5, Rue Feydeau.” Won’t she did maman tell you? be surprised. (tucks the card in the box.) GASTON MME. C. (returning with Fifi and his What? change) Ah, five hundred francs NANETTE change, monsieur! Her plan about Fifi. BENT GASTON Yes. Well, good day! Gaston (Jacob Allen) discusses plans with his FIFI mother, Madame Cecily. FANCHETTE Ah, but monsieur, the name and And shall you marry her? What would you say to Fifi? address. And the envelope with the GASTON GASTON enclosure? I can’t tell. That depends upon Fifi. Fifi? Really? BENT (going) This game of love is so uncertain. MME. C. In the box, underneath the hats. NANETTE Yes. You’ll deliver it today, yourself? But surely you don’t expect to lose? GASTON FIFI GASTON But I don’t comprehend. Yes, monsieur. No, I shall hope for a tie. Mother’s MME. C. MME. C. gone to speak with her. No doubt she’ll You needn’t. You need only consent. Now hurry down to your lunch and be persuade her. GASTON quick. You have wasted the live-long FANCHETTE But she wouldn’t have me. She’s in love morning! (Fifi goes off. Gaston enters.) Yes, she’s very fond of mother. with my friend Étienne de Bouvray. GASTON Ah, my son, I was thinking of you this MME. C. Ah, well then, there’s hope for mother’s minute. What if she is? You’re proposing to son. You know the proverb: “love me, GASTON make her your wife and you scarcely love my dog.” No? And I of you, ma mère. believe that the nephew of the Conte Song Track 11 MME C. de Saint Mar entertains such an idea, GASTON If you want another sou from me you do you? There once was a dear little maid will have to do as I say. GASTON With beautiful baby-blue eyes. GASTON Certainly not, but... Of men she said she was afraid. Well? MME. C. (going) I’m afraid that this maiden was wise! MME. C. Very well then, I shall put the whole This maid had a dear little dog You’ve got to get married. (He starts matter before her plainly, and if I’m not to react. She interrupts.) And the doggie was very well-bred, ■ 12 ■ And she loved him because Again he called the doggie He would give her his paw And he left the maid again, And sit up or lie down as she said. And the dog he told The men despised the doggie, That the maid was cold, And the dog despised the men, And it gave the doggie pain, For the maid would play For his whine was sympathetic. With the dog each day, He sat on the young man’s knee. But she never played with them. But the maid said “Here! To the men she said, “you’re stupid,” You may disappear. And it left them in a fog. That’s a place reserved for me!” “For you see,” said she, Dialogue Track 12 “If you must love me, FIFI (enters as the sisters go off) You will have to love my dog!” Monsieur Gaston! Now one of these stupid young men GASTON Gaston attempts to woo Fifi. Decided to marry this maid. I trust you are well. FIFI He hadn’t decided just when, FIFI Then tell me, where are those designs ‘Twas a difficult game that he played. I am. you promised to paint for me? He tried to make friends with the dog. GASTON GASTON (opening his portfolio) The maiden he left quite alone, And happy. They are here. For he knew in the end, FIFI FIFI With her dog for his friend, he could No. Oh good. Make that young maiden his own! GASTON GASTON Now the man he liked the doggie Unhappy. Then my mother has told you. I don’t know whether you’ll like them And the dog he liked the man, FIFI or not. But the maiden fair, he neglected her What’s the idea... FIFI (examining his sketches) And her jealousy began. GASTON I’m sure I shall. Girls! Girls, come and Then he bought the dog a collar, Oh, Mother thinks I ought to marry look at these. (Others come over.) Aren’t But the maiden said, “you see and settle down—become domestic they beautiful! That a collarette doesn’t suit my pet, and blot out my past life. GASTON But you might buy one for me.” FIFI But how are you going to use them? He bought her a nice collarette, Well, “mother” can’t use me for FIFI All studded with diamonds and pearls. blotting paper. Oh, it’s a little idea of my own to show He seemed to entirely forget GASTON the different styles of hats in the How perverse is the nature of girls. Ah, but I think so too. Believe me, Fifi, different periods! She thanked him and threw it away, I do love you! Then she treated him worse than before FIFI Song with Chorus Track 13 For she clearly had proved Do you! FIFI That ‘twas she that he loved, GASTON Now, first of all, I’ll try to show And to really be loved is a bore! Yes. A hat of many years ago. ■ 13 ■ MRS. BENT Yes, I kind of thought I’d come and take that cheap hat I saw this morning. FANCHETTE (coming out) This one, madame? MRS. BENT Yes, $16 I think you said. How much is that in francs. I never can figure it. FIFI Sixteen dollars, madame, is eighty... MME. C. Ah... the price is 160 francs. MRS. BENT Fifi discusses hats with the other shop girls. Why of course, how stupid of me. A style which everywhere held sway FIFI MME. C. In beautiful Dubarry’s day. Don’t be foolish! We’re getting so much American trade, madame. An American gentleman Large hats, small hats, GASTON bought three hats here not an hour Flat and very tall hats, It’s settled then—you refuse me? ago. I wonder if you know him? Fifi, Play a part in history, for good or ill. FIFI what was his name? Clothes perhaps may make the man, Yes! FIFI But since first the world began, GASTON I don’t know, madame. Hats have made the woman, Does mother know how you feel? MME C. And they always will! FIFI Where’s his card? ALL Oh...no. FIFI Large hats, small hats... GASTON (going) Ah, then. I’ll simply tell her we’ve come Here. Here, madame. FIFI to an—understanding. Au revoir! MRS. BENT (examines the card) And next a hat of simple kind FIFI What’s this? Hiram Bent buying hats in Which crowned a most colossal mind, Au revoir, monsieur. Now I must deliver here? Which way did he go? A hat which in the days of yore, this box with the note as I promised. MME. C. The Emperor Napoleon wore. Ah, bonjour, Madame Bent! One moment, madame. Large hats, small hats... MRS. BENT (returning just then) MRS. BENT ALL Bon jour. Here I am again. I’ve been the I’ve no time! (She exits.) Large hats, small hats... rounds and there ain’t a hat in Paris I’d MME. C. take as a gift. They’re either too large But the hat? Oh, she’s gone. Well, her Dialogue Track 14 or too small. husband shall pay for it. Where is that GASTON MME. C. (enters) card with his address? Ah, Fifi, you’re a darling. Tell me, Ah, back again, madame! FIFI haven’t I any chance? She took it. ■ 14 ■ MME. C. FRANÇOIS (enters) FIFI (coldly) What? Pardon, M. Étienne, but I must tell you... I have already told Étienne that I should FIFI ÉTIENNE not marry him against your wishes. Yes. (Étienne returns with his friends.) Not now, François! MME. C. (coming in just then) MME. C. FRANÇOIS She’s going to marry Gaston. Ah, here is Captain Étienne. (to Fifi) Fifi, Your uncle and sister are just getting ÉTIENNE remember, you’ve given your answer out of their carriage. Ah, but Fifi, you love me. I know it! My to Gaston. ÉTIENNE uncle can keep his money. Just marry FIFI (as Mme. goes out) What? My uncle? me and I’ll give up the army and work Yes, he has his answer. COUNT (enters) for you every hour! ÉTIENNE So, you young scapegrace. I’ve caught FIFI Ah, Fifi, you grow more beautiful every you, have I? Shame on you, an officer No, Étienne. I can’t let you work to time I call to see you. of France, idling away your time in a support me. FIFI bonnet shop! GASTON (overhearing this) You should call more often, Étienne. ÉTIENNE Ah, then marry me, Fifi! Oh, René, messieurs! Uncle, you don’t... FIFI RENÉ COUNT No, Gaston, I can’t let myself work to Mademoiselle! How goes the world Silence. I understand too well. Come, support you! with our little mascot? show me the girl. Where is she? MME. C. (angry) FIFI (laughing) MARIE (points to Fifi) Fifi, you’ll marry my son or you’ll leave Oh, no better, no worse! There, uncle! my shop. Decide! ÉTIENNE COUNT FIFI Fifi, do you love me? Ah, this one! I have decided. FIFI FIFI MME. C. Ah, Étienne, why ask me? Monsieur, when you’re finished your What? What can there ever be between us? inspection, would you like to look at FIFI You are an aristocrat. I am... our new Fall Line? I’ll deliver that box as I promised a shop girl! COUNT and then I’m through with your shop ÉTIENNE As I expected: self-possessed and forever. impudent as well. Yes, just now, but some day you shall MME. C. ÉTIENNE be my wife. Ah, Fifi. Don’t leave me. I wasn’t in But, uncle... FIFI earnest! COUNT Your uncle would never consent. FIFI Silence! You will cease your attentions ÉTIENNE I was! to her at once or I’ll stop your allowance Then what shall we do? MME. C. and cut you out of my will forever! (to FIFI But... I’ll raise your wages. I’ll do Fifi) You see, mademoiselle, there’s anything! Wait! nothing to be gained by trapping my ÉTIENNE nephew into this disgraceful alliance. FIFI Wait? Wait for what? No, madame. ■ 15 ■ MME. C. FIFI (apart) But where will you go, child? Without Ah, but in dreams so fair, money or friends, what will you do? Visions beyond compare, FIFI Out of this world of care I’ll show you what I’ll do! Oft I’ve wandered into a land afar. Hope as my guiding star, Finale Track 15 And perfect love ÉTIENNE To still the memories of the past... No, she shall not go alone, ALL For I will protect and watch o’er her. Visions so fair. Ah, but in dreams... François and the Count’s footmen tipple. And if she’ll repent and give her consent FIFI (quietly, to Étienne) That there are none who I’ll wed her, for I adore her! I must away. Just to say goodbye ALL Live as well as we. Have I the heart to go? At meals we’re never known No, she shall not go alone... What, though the present be pain, COUNT (aside, to his son) To shirk work. Beware! Take care! Ha! Someday shall see just you and me We serve what we do not use! Remember, you shall be disowned! Happy, happy again! FANCHETTE, NANETTE (to Maman) We hear all the family news. COUNT (furious at this) And there is one thing... Don’t let her go, we love her so. Enough! Away! Psst! Psst! (They drink and toast each You know how well ÉTIENNE (as she leaves) other) À la vôtre! We all have loved her. Oh stay, oh stay! GASTON (aside) ALL Dialogue and Song Track 2 If she should go, ‘twould break my heart Farewell, good fortune! Au revoir! MARIE (enters, as other guests are For I’ll be broke without her! END ACT ONE / END CD I heard talking) ALL Ah, François! Don’t let her go... ACT II—A charity bazaar at the FRANÇOIS COUNT (aside) Count’s Paris mansion. A year later. Mademoiselle? It suits me well that she should go! Opening CD II, Track 1 MARIE RENÉ (aside,to Étienne) SIX FOOTMEN, FRANÇOIS How does everything look for the night? Old friend, she loves you well, I know. Six of us to serve one gouty master. FRANÇOIS ÉTIENNE (desperately) If we anger him, we court disaster. Very promising, I think. Alas, to part, Let him swear, we don’t care! MARIE How great the sorrow, Oh, a footman’s lot That’s good. I hope to be able to make To leave the friends Is not quite an hateful one, some money. You know I’m a cigarette Grown fond with years, to know, If once you should stop to think. girl. I’ve decided to raffle a gold cigarette Perchance, that on the morrow And it can’t be called case. Do you think anyone will take a For love and smiles At all an ungrateful one chance? Come doubts and tears! With all you can eat and drink, FRANÇOIS (Others have gathered.) ALL For there is one thing Yes, every cigarette smoker takes a Alas, to part... Certain as can be: chance. (Some laughter) ■ 16 ■ FRANÇOIS shouldn’t neglect him—at least not ‘til Of all the many ills of life, after you’re married. There’s none that’s quite so sad, MARIE (going) There’s none that causes constant strife I’ll never neglect him! That puts you to the bad COUNT Like having once acquired a name Ah! These poor lovesick fools that For being funny, such is fame, expect to be happy. Love’s silken mesh That all your life ‘twill be the same: becomes fetters of steel. My freedom You’ll be misunderstood. for me—to do as I choose. For I want Oh, I’m always misunderstood. what I want when I want it! I have an unfortunate way. SONG Track 4 They quite miscontrue whatsoever I do COUNT And they laugh at whatever I say. Though fools may prate I once made a funny remark. Of the married state They said it was terribly good, And the evils of bachelor life, And from that time to this I’m happier by far I’ve been taken amiss Than the married men are And so I’m always misunderstood. Who are cursed with a shrew for a wife. The Count: “I want what I want, when ALL I drink my fill if I have the will I want it!” He once made... With friends who are tried and old, May do for the man And oft when the company’s good, Dialogue Track 3 On the home-staying plan, I stay: I may not get home But it wouldn’t suit me, not at all! COUNT (enters, limping with his gout, Till the break of day, Of course, your life, if you have no wife tries to sit) Gently, gently! Ah, merciful But if dinner is waiting and I am away, Is lonesome at times, and slow, but Heavens, what sins have been mine There is no one to nag me or scold. that I should suffer like this? Whether you marry or not, they say For I want what I want when I want it. You’re bound to regret it either way. MARIE That’s all that makes life worth the while Oh, uncle, isn’t your gout any better? Let those who are single For the wine that tonight Be sorry who may. COUNT Fills my soul with delight, Better! I’m worse each day and I’m I’d be sorrier married, I know. On the morrow may seem to me vile. For I want what I want... slowly starving to death. François, I’m There’s no worldly pleasure expecting Monsieur Bent on business Myself I deny. There’s no one any minute. To ask me the wherefore or why. Dialogue Track 5 FRANÇOIS I eat when I’m hungry MR. BENT (entering) Yes, monsieur! (goes) And drink when I’m dry, for Ah, Monsieur le Conte. I’m sorry to MARIE I want what I want when I want it! hear that you’re indisposed. Then I’ll be going too, uncle. COUNT (shaking hands) The fireside joys with the fuss and noise COUNT It’s nothing, monsieur. A little touch of Of children who fight and squall Yes, run along to your René. You rheumatism. Have you dined? ■ 17 ■ BENT shop girl? Blame your nephew. BENT (suddenly decisive) No, but... COUNT Now, I must hurry to town and dress or COUNT (to François) Blame him? I had to tell him I’d my wife will have out a search warrant François, lay a cover for M. Bent... disinherit him. for me. As for business, we won’t think BENT BENT of that til your foot is better. No, no, no, Monsieur, a year ago I happened to That you should have told her! sit still. I’ll see you later in the evening. meet a poor little girl who had beauty COUNT Au revoir! and talent but hadn’t the means of I did. And that settled matters as far as COUNT (as he goes) turning her gifts to account. I loaned she was concerned. She disappeared. I Au revoir, monsieur! her a little money, or gave it to her, as I suppose she landed some other fool FIFI (enters, dressed handsomely) supposed. And she disappeared. But the who had more money and less sense. Ah, pardon, monsieur! I was looking other day when I was in London, she But Étienne never forgot her. He swears for my room but I lost my way in the hunted me up and repaid me in full. It that he still loves her. And they tell me corridor. seems that she’s a tremendous success he raves in his sleep about his “Fifi.” COUNT (not recognizing her) over there. She’s in Paris this week, and BENT (suddenly alert) Ah, then you are one of the ladies who I asked her to sing here tonight. About whom? has volunteered to help us out tonight? COUNT COUNT FIFI I must hobble into the garden and His... his “Fifi.” Hear the name and you Yes, monsieur. hear her tonight, if it kills me. Is she see the girl—a pert little minx selling COUNT American? bonnets at Madame Cecily’s. Have you dined? BENT BENT (slowly) FIFI No, but she ought to be. I found her Ah, but Count, tell me this. There is No, monsieur. in a shop! nothing against her reputation. COUNT COUNT COUNT Sit down, mademoiselle, and have In a shop! N...no. BENT BENT And why not? She was working hard and earning an COUNT honest living? Thousand devils! Do you know where COUNT this gout of mine came from? Yes. BENT (to himself) BENT From Burgundy? And Étienne met her and was manly COUNT (not listening) enough to want to marry her? From overheating my blood in my rage COUNT at my imbecile nephew who wanted Ah! He didn’t love her. How could he... to marry a shop girl. I want no shop he was bewitched. He fell in love with girls here! her eyes and wanted to marry the rest BENT of the girl. But my dear Count, why blame the Fifi confronts the Count ■ 18 ■ some dinner. FIFI Just the gift for a man FIFI Very well, monsieur, I shall not sing. To send to a lady friend. All our pay... I should be delighted, monsieur, but I COUNT Come buy of these... never dine before singing. You were once a shop girl. Étienne is Gladly we respond... COUNT my nephew and I am... ONE GIRL Singing? Ah, then you are Monsieur FIFI My general, I’ve a cigarette case. Bent’s protegée? A selfish old aristocrat with the gout, a Just see. I’m sure you’ll take a chance FIFI man who has never done an unselfish For my sake. Yes? Oh, thanks! Yes, monsieur. action in his life. If I ever marry your You get a numbered card. Ten francs! COUNT (looks closely at her) nephew, it will be when you come to Just one hundred chances. Haven’t we met before? me with your hat in your hand and beg Take them all! What, one? FIFI me to do so. I bid you good evening, Well, here’s your card. Yes, monsieur, though we weren’t M. le Conte. (The Count tries to follow The money, please. Goodbye, sir! formally introduced. her off, sputtering furiously.) ALL COUNT Here at this bazaar... Come and buy! Where was it? Chorus Track 6 Other pleasures welcome us tonight, FIFI ALL (crowding into the military Quiet talks, sylvan walks, That’s not very flattering, monsieur! “bazaar” set up in the Count’s salon) Wine and song, Ah come!... COUNT Gladly we respond Come along! Other pleasures... Come! I know you now. You are Fifi from When charity makes demand, Madame Cecily’s! Opening heart and hand, Ballet Track 7 FIFI Cheerily for our land, Yes. Dialogue Track 8 Helping those who once COUNT MME. CECILY (entering) You are here to see Étienne! So readily took their stand Ah, here you are, my children! FIFI Battling for their country’s honor. NANETTE Étienne’s forgotten me ages ago. Here at this bazaar, Oh, monsieur, may I present you to my COUNT Let everyone come and buy, mother? Maman, Monsieur Bent. I wish that he had, the young idiot. Offering prices high, MME. C. (he kisses her hand) FIFI (amazed) Getting them when they try. We have met before, monsieur! Then he loves me still? All the money with you BENT COUNT Laughingly bid goodbye, Yes, madame, but not socially. I No. Étienne shall marry a title! I tell you Charity loves a cheerful donor. understand this booth is your very the thought of you ever marrying Don’t you think generous donation. Étienne is preposterous. I must forbid You could sell us something useful? MME. C. your singing here tonight! All our pay that is left Yes, but it’s business with me. My FIFI We’ll gladly agree to spend. name’s in every hat and it gives me a lot Monsieur! One of these, they are cheap. of advertising. It also gives my girls a COUNT You know, we’re truthful. chance to mingle with the quality. And I shall give orders to that effect. Daughters are such a responsibility. But ■ 19 ■ I have a son, monsieur, an artiste... Until at last I found zat And if your piano’s “upright” Why, here he is now! Zey turn everything around! Must its music be ze best? GASTON (bursts in) Zey say a gown is “ripping” In winter when ze snow has fell Bon soir. Where’s all the rest of the When it’s sewn with greatest care. I’ve heard zem say ‘tis cold as well. family? Zey say zat zey are “out of sight” ‘Tis hard to comprehend MME C. When really zey are zere! Ze English language! Monsieur, may I present my son? Zey say when zey are hoarse Each day I add a few words Gaston, M. Bent. Zat in ze throat zey have ze “frogs.” To my vocabulaire. GASTON Zey say it’s “beastly” weather I learn so many new words Ah, M. Bent. I have heard of you When it’s raining “cats and dogs.” That I make my friends to stare. through your friend M. Smith. I painted A juggler does not touch a jug. I hold a conversation his portrait. A skipper never skips, With anyone I know. BENT And every waiting waiter knows And my pronunication Oh, was that your work? I saw it. A tippler seldom tips! They all say was “comme il faut.” GASTON Do butterflies make butter? But it was hard to choose Yes, and his wife is to sit for me. He Zat’s a thing I’d like to know. From all the different words they use. wants her painted very badly. Do lightning bugs cause lightning, Zey call a bunch of sheep a “flock,” BENT (to himself) And why is it crows don’t crow? A flock of hay a “stack.” Well, you’re the man for it. Is it called a “modest luncheon” They call a stack of fish a “school,” GASTON If zey have ze salad “dressed?” A school of wolves a “pack.” I’ve been thinking of going to New York, monsieur. Do you think I would get on? A pack of chickens make a ”brood,” BENT (leaving) A brood of deer a “herd.” I don’t know, but I think they would! A herd of actors make a “troupe” GASTON And there’s another word... Now, what did he mean by that? Zey say a “string” of horses (parodying Mr. Bent’s speech with an And they say a “string” of pearls. exaggerated “French” accent.) His Zey say a “galaxy” of stars, English is surely a funny language. A “bevy” of young girls. Zey say a “nest” of hornets Song Track 9 And they say a “swarm” of flies. GASTON Zey say a “breath” of scandal In England I have stay zere. Breeds an awful “pack” of lies. It is a funny land. Zey say a “horde” of savages, I work zere and I play zere, Zey say a “mob” of men. But I do not understand. Zey say a “gang” of laborers I study hard ze language, And other things, but then... It make me much amuse. If “r-o-u-g-h” spells “rough,” why is it I could not learn ze “slang” Gaston parodies “Ze English language” “through” is not called “thruff?” Ze English people use, It’s hard to comprehend... ■ 20 ■ One day zere come to Paris and has forbidden her to sing. FIFI Une belle Americaine. BENT (furious) No! No more hats for me. I thought if we could marry Forbidden her? Why, she was doing BENT Zat I would not live in vain. him the greatest favor. Has she gone? Well then, if the Count comes out, I started on my wooing. MARIE be a Fortune Teller! My love she could not doubt. No, Étienne would never forgive the FIFI But she said “nothing doing, Count if he found it out, so we’re going Oui, monsieur. (goes off into the You will have to cut that out!” to fool him. René and I have found her Fortune Teller’s booth, laughing.) If was not quite ze speech a fancy costume and if uncle should RENÉ (enters with Étienne) Ze standard English grammars teach! come out into the garden, she can Yes, yes, Étienne. Why don’t you try But she was from Missiouri pretend she is in charge of one of the your fortune. Ah, M. Bent. Have you And a showgirl and she said booths. Ah, here she is now. She’ll tell been having your fortune told? If she could “cop” a “live one,” you all about it. ÉTIENNE (sourly) She would take a chance and wed. BENT He doesn’t need to. His fortune’s made. Zen she would leave her husband Thanks! (Fifi enters.) (Bent and René go off. Étienne turns to For some swell new ”rags” at once, FIFI the Fortune Teller’s booth.) And when she hit “Old Broadway” Oh, I am so glad you are here. Such a Mademoiselle, my fortune, please. She would show ze gang some “stunts.” time I had with the Count! FIFI (veiled, gets out her crystal ball, “Of course, it’s all an idle dream,” BENT consults it) Yes, monsieur. First, I tell She said, “but I’ll come to. It was shameful. I have just heard of it. your past... I see a blonde and two And then it’s Old New York for mine. FIFI brunettes and... It’s Twenty-three. Skidoo! He says I only came to see Étienne. ÉTIENNE (doesn’t recognize her) I’ve got to chase across the Pond BENT Madame, it is not true. I have loved but And hustle, as it were, Isn’t he right? one woman and she... Back to the ‘Merry, Merry’ FIFI FIFI For a stingy twenty per. No, I am through with all that. I’m going Well? I’m just a little shy of coin,” to devote myself to my art. I am going ÉTIENNE She said, “not very much.” into opèra comique! And she has forgotten me. I wonder if I haven’t some kind friend BENT FIFI Who’ll stand a touch?” By the way, what is your professional Monsieur, I see a great surprise in “Zere’s nothing doing, cut zat out,” name? I tried to tell the Count but I store for you. I said. Oh, zere is not a doubt couldn’t remember. ÉTIENNE I learned to comprehend... (He goes.) FIFI What is it? Dialogue Track 10 Mme. Bellini, monsieur. It was my FIFI BENT (enters with Marie) mother’s name. I can’t tell, But you’re going to meet Ah, Mlle. Marie. Tell me, has our little BENT someone that you haven’t seen for prima donna arrived? Bellini, yes. Well, which booth do you a year! MARIE want? Hats? ÉTIENNE The Count has discovered who she is Yes? ■ 21 ■ FIFI The foe from near and far. marry you till he came to me with his Someone who loves you devotedly. But who in the time of peace hat in his hand and begged me to do so. ÉTIENNE Has quite so soft a glance? ÉTIENNE (offended, angry) Yes! Or where is the man so ready So... that’s your final decision? FIFI For a wild romance? FIFI Oh, then you know who it is? He woos the girls and wakes their hearts Yes, that’s final! ÉTIENNE He takes their hearts, ÉTIENNE (stomping off) I know who I hope it is. He breaks their hearts, Very well... I’ll never see you again! FIFI But fight or play by night or day, FIFI (following him) She’s become a professional, a singer. His motto’s “Vive la France!” Oh, Étienne! ÉTIENNE MEN COUNT (comes in with Bent, has over- Yes, I might have known she’d do that. “Vive la France!” heard this) Who was that? FIFI FIFI BENT Through all the long, weary months at Hark the drum, Étienne. the Opéra she never forgot her soldier Here they come on parade. COUNT sweetheart, and that’s why she came At their side Who was that with him? here tonight to see him and the boys Hangs the tried, trusty blade. BENT who used to call her their “little And they all look so fine The Fortune Teller. mascot...” As they swing into line, COUNT ÉTIENNE (recognizes her at last, hugs ‘Tis no wonder the enemy’s afraid. The Fortune Teller. Ha! (derisively) And her. The others have also come in.) They would die ere the Tricolor droop Fifi, his Fifi. Well, boys will be boys. Fifi! Oh, Fifi! It’s you! Never one to dishonor would stoop. I told her he didn’t love her. RENÉ I’m the Toast of the Mess, BENT Fifi! I’m the girl they love best, I think, if you will pardon me, you were FIFI I’m the “Mascot of the Troop.” a little harsh with her. René! MEN, FIFI COUNT RENÉ Hark the drum... And I think if you will pardon me, that Our little mascot, boys. But she’s a you should not have let her come here. prima donna now! Dialogue Track 12 BENT Song with Chorus Track 11 ÉTIENNE She’s been advertised to sing and all FIFI And now, dear, tell me, why did you these people are all expecting to When loudly the nation’s honor never write to me? hear her. Sounds a call to war, FIFI COUNT There’s none who is half so ready I thought you’d forget me, Étienne. Well, they shan’t be disappointed. I As the bold hussar. ÉTIENNE telephoned at once to the manager of He’s glad to say goodbye for his land And you wanted me to? the Opera and told him to send me To try for his land, to die for his land. FIFI another prima donna... And armed with the right, No, I... I promised your uncle I’d never MARIE (enters) He’ll manfully fight Oh, uncle, you’ve just had a telephone ■ 22 ■ message from town. and think that the same moon is COUNT shining on dear old Keokuk. What is it? BENT (looks at his watch, goes off) MARIE (looks at a message, which she Yes. Except that that the sun is shining has written herself. She pretends to there now. read.) “Mme. Bellini has kindly MARIE (to Mrs. Bent) consented to sing for you.” Madame, your husband is very COUNT (to Bent) indulgent. She has “kindly consented,” has she? MRS. BENT Did you ever hear of her? Yes, he indulges too much. That’s what BENT gives him indigestion. Yes, indeed, she’s the great new MARIE prima donna, but our little Fifi is just René (Cory Clines), Nanette and Fanchette Mme. Bent, won’t you take a chance as good. on a cigarette case? We partake of as free as they’re sent, COUNT MRS. BENT Wine woman and song. Well, at least I am rid of Fifi, and A cigarette case? I guess not. What care if we’re wrong. Étienne hasn’t seen her? MARIE Time enough when we’re old to repent. She’s pretty smart but I am a little But it’s a raffle for a poor soldier! But the world’s weary smile smarter! (They both go off, talking. MRS. BENT Only charms for a while, Girls come on, giggling with René.) Well, what would I do with the soldier And we’d banish it all if we could if I won him? I know a thing or two, Just to drink a fond toast Song with Chorus Track 13 even if I do come from Keokuk. (She To the one we love most, RENÉ gathers folks around her.) You may pledge in a bumper To the dear little girl who is good! The girl who is who is wise, ALL MRS. BENT Or the girl who is shapely and fair The dear little girl... There are folks who have a notion You may drink to the maid That they’ve got to cross the ocean Dialogue and Song Track 14 With the roguish blue eyes, If in search of atmosphere or inspiration MRS. BENT (enters with her husband as Or the queen with the raven-black hair. Well, I’ve spent my time in seein’ others mill about) Oh Hiram, ain’t it There’s the rollicking girl Everything that’s European, and their grand? Just look at the lights and the Who’s the toast of the crowd, “Atmosphere” has need of ventilation! flowers and all these pretty things. Oh, When the bright sparkling There are sights you see in Paris a fortune teller! Give me some money, Wine plays a part. That would fearfully embarass Hiram. I’m going to have my fortune But there’s one name too sacred Anyone; you come try it if you doubt it. told, but you mustn’t listen. To mention aloud, I am shocked a dozen times a day. BENT Though you pledge her When I get back to Ioway, I’m going to I won’t. Down deep in your heart. Tell our Culture Club about it! MRS. BENT Our Culture Club in Keokuk, For boys will be boys Oh, ain’t it strange to be way over here And the world and its joys If you belonged you’d be in luck, our ■ 23 ■ They are studying the physic FRANÇOIS Influences of the high kick Oui, monsieur. From a front row seat Song Track 16 To demonstrate their theory. FIFI (enters, handsomely costumed. Our Culture Club in Keokuk... All applaud spontaneously.) Our music teacher had to quit the stage Once a young nightingale ‘Cause he was such a hit that he made Fell to repining over a star, All the other singers jealous. Which so brightly was shining. He thinks Caruso something sad, Up in the sky, cold and so high, taking And he says Melba’s just a fad, No thought of the poor little nighingale. Mrs. Bent describes things in Iowa. It bores him to hear Paderewski play. Still, every evening, Meetings are exclusive and delightful. If you want people comme il faut, He’d sing to his star-love, ALL Why all you have to do is quote Sending his soul in a song They’re delightful! Our Culture Club in Keokuk I’ a. To his far love. Ah! how sweet his song MRS. BENT, ALL ALL To that distant star. Ah! Ah me, We’ve studied Kant and Schopenhauer Our Culture Club... (She leaves.) He thought of love he would die, And Bernard Shaw we just devour, For twinkling so coldly, Dialogue Track 15 Although he does say some things She gave no sign of reply. BENT (enters with Count) Simply frightful! Ah! How sweet... (Applause.) Ah, Count, have you had your fortune We’ve argued politics and such, told? Still, through the night, We don’t think Kaiser Bill so much, COUNT When the tired world was sleeping, We often send advice to Oyster Bay. No, Monsieur. Sadly, this poor little bird, If they would leave it all to us, BENT His long, lonely vigil was keeping. We’d settle that insurance muss, Well, you should do so. But though he knew Our Culture Club in Keokuk, I’a. COUNT That he cherished a vain love, ALL Well, all right, anything to help along. Ah, how he sang to his star above. I’a! Our Culture Club... MARIE (whispers to René, who enters) So, from a sad little heart MRS BENT, ALL René, go tell François to announce That was breaking, Oh, our lectures and addresses Mme. Bellini! Came there a song to the world Are just lovely; no one guesses RENÉ (going) That was waking, soul all afire, What they’re all about, Certainly. Mad with desire, Although we all pretend to. MARIE Burning and yearning As we hope soon to be voting, I don’t know what the Count will say For love that could never be. We are sedulously noting many evils when he finds out the trick! Ah! How sweet.... That we’ll quickly put amend to. FRANÇOIS And so, Is the stage degeneratin’ Mme. Bellini! Although vain as his love might prove, Is the question we’re debatin’ COUNT All night long his song And our husbands too Ah, René, treat her with every courtesy! Cheers the hearts that we love... Ah! Have taken up the query. ■ 24 ■ Dialogue Track 17 MME. CECILY (comes in) FIFI (General applause after song.) It’s my own little Fifi. Didn’t I tell you No! COUNT (interrupting) when I advised to go that you’d make a COUNT (hat in hand) Don’t mind me...I’m only the man who’s great singer? Mademoiselle, you won’t refuse me giving the party. Mme. Bellini, will you FIFI the dearest wish of my life? do me the honor to sup with me this Yes, Madame! FIFI evening? COUNT Well, as long as you come to me with FIFI I want a word with you, Fifi. You’ll be your hat in your hand... (All laugh as With pleasure, M. le Conte. If you will surprised to know that I’ve overheard... Etienne and Fifi embrace.) let me order. Come here, you young scoundrel, Finale Track 18 COUNT (recognizes her) Étienne. I overheard the quarrel between ALL (joyously reprising the “Mascot of What? Fifi! you two a little while ago. And I want to the Troop.”) Hark the drum... FIFI say... that you acted disgracefully! END ACT TWO / END CD II Mme. Bellini, if you please! ÉTIENNE (pouting) BENT Well, she... Your party is a sort of surprise party, COUNT Count. Silence, sir. She said she wouldn’t marry COUNT (sheepishly) you without my consent and she was Well, I... she’s fooled me at every turn. perfectly right. Now, mademoiselle, if BENT you’ll forgive my nephew, I will beg for And she always will. (All laugh.) him the honor or your hand in marriage.

2009 Ohio Light Opera Orchestra Étienne and Fifi—happy ending Violin: Selim Giray, concertmaster; Andrew Lisbin, Caroline Drozdiak, Stephanie Heller, Jennifer Louie, Ramiro Miranda, Belita Schloneger Viola: Jamie Crooks, Katie Williams Cello: George Bosnea, Maria Fesz Double Bass: Lewis Heald Flute/Piccolo: Jessica Sindell Oboe: Elizabeth England, Lani Smith Clarinet: Angela Occhionero, Spencer Prewitt Bassoon: Rachel Greene, Laura McIntyre Horn: Jonathan Glover, Matt Taylor Trumpet: Spencer Aston, Rachel Kincaid Trombone: Molly McNeill, Mitchell Stephens Harp: Claire Yingling Michael Borowitz John Schuesselin Conductor Pecussion: Evelyn Stagnaro Personnel Manager ■ 25 ■ THE COLLEGE OF WOOSTER Liberal arts colleges are, in the words of President Grant H. Cornwell, ”an American invention.” A recent study measured the leading 50 colleges in three critical areas— educating scientists, educating leaders in international Grant H. Cornwell affairs, and educating business executives. Wooster is PRESIDENT one of only 21 colleges to earn a place in all three groups. It is also a school which is dedicated to the performing arts with strong programs in theater and music. Since establishing The Ohio Light Opera in 1979, Wooster has upheld the goals of providing young musicians with an opportunity to perform in a professional setting and of entertaining audiences with operettas which charmed the publics of an earlier era. ■ 26 ■ The Ohio Light Opera 2009 Festival Staff Steven Daigle Artistic Director Julie Wright Associate Artistic Director Laura McGraw Neill Executive Director Michael Borowitz Music Director Steven Daigle Stage Director Kimberly Cox Set Designer Charlene Gross Costume Designer Dave Stoughton Steven Daigle Julie Wright Costa Michael Borowitz Lighting Designer Artistic Director/Stage Director Associate Artistic Director Conductor Carol Hageman Choreographer Jennifer Burns Production Stage Manager

Acknowledgements: Grant Cornwell President, College of Wooster ADVISORY COMMITTEE: Mr. & Mrs. William Blanchard Hon. John D. Ong Mrs. Harold Freedlander Barbara Robinson Mr. & Mrs. Frank Knorr John Schambach Boyd & Eloise Mackus Dave & Carol Sherck Michael & Nan Miller Mr. & Mrs. Ernest Stein Laura McGraw Neill John Ostendorf Executive Director Recording Producer

The Mlle. Modiste stage production was made possible by the generous support of Edith G. and Edward J. Andrew, Steven and Lee Ann Daigle and Michael and Nan Miller, and the recording by Michael Borowitz.

Albany’s OLO CD series also includes Gilbert & Sullivan’s The Mikado, The Gondoliers, The Sorcerer, The Yeomen of the Guard and The Grand Duke; Victor Herbert’s Naughty Marietta, The Red Mill and Sweethearts; Kalman’s Der Zigeunerprimas and Autumn Maneuvers; DeKoven’s Robin Hood; Offenbach’s Bluebeard and The Brigands; Friml’s The Vagabond King and The Firefly; Kern’s Cabaret Girl and Zeller’s The Birdseller. ■ 27 ■ 13 Song: “Hats make the woman” (1:42) Mlle. Modiste 14 Dialogue: “Ah, Fifi, you’re a darling!” (4:17) CD ONE (50:38) 15 Finale: “No, she shall not go alone” (6:33) 1 Overture (5:06) CD TWO (47:31) 2 Opening: “Furs and feathers” (5:41) 1 Prelude /Chorus: “Six of us” (3:27) 3 Dialogue: “Oh no!” (1:13) 2 Dialogue/Song: “François...Misunderstood” (1:37) 4 Trio: “When the cat’s away” (1:20) ` 3 Dialogue: “Gently, gently!” (0:47) 5 Dialogue: “Shall I go out?” (1:52) 4 Song: “I want what I want” (3:09) 6 Song: “If given to surmising” (1:59) 5 Dialogue: “Oh, Monsieur le Conte!” (4:10) 7 Dialogue/Song: “Here’s Capt. Étienne...The time” (2:23) 6 Chorus: “Gladly we respond” (3:04) 8 Dialogue: “Ah, Madame!” ( 3:30) 7 Ballet (5:03) 9 Song: “If I were asked...Kiss me again” (5:19) 8 Dialogue: “Ah, here you are” (1:15) 10 Dialogue: “Delightful!” (4:50) 9 Song: “Ze English language” (4:33) 11 Song: “Love me, love my dog” (3:43) 10 Dialogue: “Ah, Mademoiselle Marie!” (2:37) 12 Dialogue: “Ah, Monsieur Gaston” (0:51) 11 Song: “The mascot of the troop” (3:02) 12 Dialogue: “And now, dear” (1:32) 13 Song: “The dear little girl who is good” (2:11) 14 Dialogue/Song: “Oh Hiram...Keokuk Culture Club” (4:07) 15 Dialogue: “Ah, Count!” (0:24) 16 Song: “The nightingale and the star” (3:55) 17 Dialogue: “Don’t mind me!” (1:25) 18 Finale: “The mascot of the troop” (0:55)

TROY 1146/47

HERBERT HERBERTMlle. Modiste 2-CD Set Victor Herbert’s delightful 1905 Parisian musical, libretto by Henry Blossom, recorded with the Cast, Chorus and Orchestra at The Ohio Light Opera 2009 Festival, Michael Borowitz, music director. John Ostendorf, producer.

TROY 1146 / 47 TROY 1146 MLLE. MODISTE MLLE.

Michael Borowitz Sara Ann Mitchell Todd Strange Julie Wright Jacob Allen

The Ohio Light Opera The Ohio Conductor Fifi Étienne Madame Cecily Gaston The OhioLightOpera

Victor Herbert Steven Daigle Boyd Mackus Dennis Jesse Jessie Wright Martin Jon Gerhard Composer Artistic Director Count Hiram Bent Mrs. Bent François

MLLE. MODISTE TROY 1146/47 Albany Records U.S. CD ONE (50:38) Act I CD TWO (47:31) Act II 915 Broadway, Albany, NY 12207 Tel: 518-436-8814 FAX:518-436-0643 John Ostendorf, PRODUCER Albany Records U.K.George Faddoul, RECORDING ENGINEER Box 137 Kendal, Cumbria LA80XD James Meyers, RECORDING ENGINEER Tel: 01539 824008 Scott Dahl, ASSISTANT TO THE PRODUCER Warning: Copyright subsists in all recordings Jennifer Burns, ASSISTANT TO THE PRODUCER issued under the label © 2009 Albany Records

HERBERT Made in the USA. www.albanyrecords.com Bruce Ford, PRODUCTION PHOTOGRAPHY