A Romantic Comedy in Music (p) 1976 Sony Music Entertainment Under license from The Sony Music Custom Marketing Group, a division of Sony Music Entertainment. Music by Jack Beeson Libretto by WWW.ALBANYRECORDS.COM TROY1149/50 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2010 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. operas produced by the Center for Contemporary The Librettist Opera: My Heart’s in the Highlands in its stage Sheldon Harnick, one of America’s leading premiere, Sorry, Wrong Number in its world lyricists, won the Tony Award, the premiere, and Practice in the Art of Elocution. Drama Critics’ Circle Award and the Pulitzer Prize He also has composed for orchestra, concert in 1959 for Fiorello! and another Tony Award and band, vocal and choral groups and solo and New York Drama Critics’ Circle Award in 1964 for chamber music. In addition to composing, The Cast (in order of appearance) Fiddler on the Roof. His other Broadway shows Beeson has had a distinguished career at include She Loves Me, Tenderloin, The Apple Columbia where he is the MacDowell Professor A Romantic Comedy in Music Colonel Mapleson ...... Eugene Green Tree, The Rothschilds and Rex. Born in Chicago, Emeritus of Music. Mr. Harnick pursued violin studies and music Five Reporters Music by Jack Beeson theory at the Boguslawski Musical College COMPOSER ESSAY Libretto by Sheldon Harnick The Times ...... George Livings and took his Bachelor of Music degree at …And what, if not who, is Captain Jinks of the Tribune ...... Keith Harmon Northwestern University. In addition to his work Horse Marines? Sun ...... William Latimer for Broadway, Mr. Harnick has written for films by Jack Beeson Based on the play by Clyde Fitch Herald ...... James Ditsch and television and has done numerous operatic Clipper ...... Ralph Klapis translations and adaptations. Probably everybody realizes that a lot of time and Willem van Bleecker (Willie) ...... Brian Steele effort and tempers are lost in finding the right Charles LaMartine (Charlie) ...... Ronald Highley The Composer title for a theater piece, one that describes Jonathan Jinks ...... Robert Owen Jones Jack Beeson was born in Muncie, Indiana in briefly—or at length—what, or whom, the piece 1921. He became interested in opera after is about, one that suggests the style of the piece Mrs. Greenborough (Mrs. Gee) . . . .Carolyne James listening to the Metropolitan Opera broadcasts. and tickles the curiosity of buyers. But Aurelia Trentoni ...... Carol Wilcox While still a teenager, he wrote a five-act libretto the collaborators on an opera (or any musical-the- ‘Papa’ Belliarti ...... Walter Hook about Beatrice Cenci. He received his master’s ater piece) will invest at least as much thought Mary (Annina) ...... Nancy Jones degree in composition from the Eastman School on the subtitle. What the writers are up to is put Mrs. Stonington ...... Linda Sisney of Music and began work on a doctorate, but down under the title in smaller type on the pro- Policeman ...... Carl Packard moved to instead, where he stud- gram and the title page of the printed score, to Customs Official ...... Mike Lindeman ied briefly with Béla Bartók. While teaching at be left off the posters and flyers and to be put Stage Doorman ...... Mike Lindeman his interest in opera was out of mind. A glance at the title page of a dozen revived through working in workshop “operas” and a dozen “musical comedies” has a Mrs. Jinks (Jonathan’s Mother) . . . .Karen Yarmat and Columbia Theater Associates. He won the jarring effect on one’s easy generalizations. Scene-Painter ...... Carl Packard Prix de Rome and Fulbright Fellowships and Members of the Kansas City Philharmonic moved to Rome in 1948 where he lived for two So, what is Captain Jinks of the Horse Marines? Russell Patterson, conductor years, completing his first opera, Jonah. Next Is it an opera? Yes, it is, but more specifically it he adapted William Saroyan’s Hello Out There. is “A Romantic Comedy in Music.” First performed at the Lyric Theatre, Kansas City, Since, he has written eight more operas, includ- Missouri, September 20, 1975 ing Lizzie Borden, Captain Jinks of the Horse It is belligerently romantic in manner and matter. Producer: Jay David Saks Marines, Doctor Heidegger’s Fountain of Youth, What, if anything, it has to do with upper-case The Sweet Bye and Bye, Cyrano, and three Recording Engineer: Paul Goodman Romanticism is for others to discover. In its matter it remains faithful to the main plot of Clyde Fitch’s hit, placed in time in the early “…Comedy in Music”—the in is intentional and Between Acts II and III one is to imagine Aurelia ferreted out, nor are they there out of modish- 1870s. In Act I boy meets girl: in Act II he important. Not only does music heighten verbal, making her American debut in La Traviata. ness; the tensions between Traviata and Jinks are loses her; by the end of Act III they are engaged gestural and scenic expressivity; the shape of the Accordingly, the prelude (actually called Death very much related to the intended pathos and to be married. A simple enough scheme, to be whole and the forward thrust of an act also come and Transition) consists of the last 36 bars of humor of the latter, to the “Romantic Comedy” sure, used often enough (especially in the 19th from the music, though the dramatic skeleton Traviata; our curtain goes up as Verdi’s goes of our subtitle. and early 20th centuries) to prove that it is and verbal surface will have been designed to down. And our curtain goes down a short act threadbare or that it has the stuff of life in it, those ends. Our modest preposition in is but a later with the plot untangled, two couples In this country there are those who do not according to taste. But if the plot is simple in way of aspiring to the original and continuing entangled, and the ensemble singing a paean approach the operatic repertoire historically, but essence, one can concentrate on other things. ideal of opera, dramma per musica, drama by, or to the power of music, as much for itself as for attend performances as chance wills. For their Romantic? It has to do with a romance, and through, music. the audience. sakes Sheldon and I have tried to make Jinks, at even more romantic is the fact that it is an least on the surface level, perfectly comprehensi- operatic version of a romance, than which noth- We know the characters of an opera from their In short, Fitch’s play is about an opera singer, ble without a prior knowledge of middle Verdi. ing can be more other-worldly, thereby bringing words, but we believe them because of what they but our opera is an opera about an opera, And while we welcome the newcomers to opera in us full circle on a slippery pun to Webster on sing. The music will appear to reflect them, as in La Traviata in particular, others in passing, and the hope that we have at least succeeded in send- romance, a definition that works equally well for an enlarging mirror; rather, as though the music a love letter to Italian opera and the English ing them sometime, somewhere, to a La Traviata, opera: “a falsehood, especially one showing were a magic mirror, it will appear to create them. language. Half-truths are more often true than may we all welcome the Fiddler down from the ingenious or imaginative fancy.” It follows, therefore, that the music (and the not; whole-truths rarely so, and one should keep roof and into the opera house, where everything is words) for the lovers must be different from the them to himself. Accordingly, I may say that as it never was and never, ever, shall be. But enough of the adjective romantic. Whether it music (and the words) for the entrepreneur Jinks is for singers and opera buffs. Any composer is comedy or not remains to be heard. Some of Colonel Mapleson; the confidante, Mrs. and librettist who provide their leading lady with what was comedy in 1901—and might still be in Greenborough; the kindly Italian uncle, Belliarti, seven arias display a certain liking for singers Synopsis the spoken play: topical allusion and making fun and the five Reporters, who are distinguished (some would say a latent sadism), not to speak of Act I of half a dozen immigrant accents, for instance— from top tenor (the august Times) down to the arias for the others and ensembles all the way up Jonathan Jinks and his friends Willie and we have cut. They make no effect when the bass (the cretin on the tabloid Clipper). In part to a tredicino. As is usually the case, if the com- Charlie have come to welcome opera star matrix is music. Sheldon has kept some of Fitch’s for musical variety and in part for the implied poser is aiming towards the throat—”the vocal Aurelia Trentoni (née Johnson, from Trenton, funny lines and retained the gist of others; more irony, Law and Order—in the persons of the cords set in motion by the heart strings”—the New Jersey) to America. After hearing often he has sought the comic in relationships Policeman and the Customs Official—are repre- orchestra must play a subordinate role. But a Impresario Mapleson tell reporters of her affairs among more fully rounded characters. It is a sented musically by strict serial procedures based romantic comedy invites restraint, and who would with titled suitors, Charlie (deeply envious of truism that two of the sources of comedy are on a 12-tone row. There are numerous other wish to cover the flavor and freshness of Jinks’ success with women) provokes Jinks exaggeration and, related, the incongruous. There subaural activities. For example, when Mrs. Jinks Sheldon’s text with a rich orchestral sauce? into betting he can seduce Aurelia. are other sources of comedy, of course,but some arrives to break up the liaison (a Germont mère I address the buffs at their most inclusive: For are less useful for lyric theater and some disas- scene that parallels and quotes from La Traviata, the high-note specialists there is an F in alt for Jinks meets Aurelia; they are immediately trous. It is also a truism that the nature of music Act II) the meeting-music of the lovers is played Aurelia, three high Cs for The Times and a two- attracted to one another. Jinks realizes that, in the theater is (among other things) to heighten backwards. Contrapuntal goings-on, in fact, and-one-half-octave compass in Mapleson’s aria; contrary to Mapleson’s description, Aurelia is a the expressivity of word and gesture. I have relied abound, as do conscious attempts to find and to to the specialists in quotation I recommend the dedicated artist and a lonely woman. After Jinks chiefly on the combining of these two principles insist upon symmetries, important for both musi- dog-walking scene. (The more learned may wish extricates her from an awkward encounter with in undertaking a comedy in music—oddly enough cal and comic structures. Act I begins and ends to examine a trichord in retrograde related to the Ladies Anti-French Literature League, she the most difficult challenge to a composer. with band music; Act II opens and closes with The Times.) But the quotations in Jinks are not agrees to allow Jinks to call on her. stagehands busy on the stage-within-a-stage. included (with some exceptions) just to be Ashamed of the bet, Jinks tries to cancel it; Act III luggage, arrived on the steamer, have not yet Sun: Who’s Mapleson? unsuccessful, he gives Charlie an IOU. In a Jinks and Willie, assisted by Aurelia’s companion been removed. A sailor stands at the top of the Mapleson: I am Colonel Mapleson. gallant attempt to speed Aurelia’s luggage through (Mrs. Greenborough), conceal themselves in gangplank keeping a bored guard. A Policeman Reporters (In sequence): I’m from The Times. customs, Jinks offers money to an amenable Aurelia’s hotel suite. Aurelia returns from her tri- strolls in and out on the pier throughout the The Sun. The Clipper. The Herald. Tribune. Inspector; to his dismay (and Charlie’s delight), he umphant debut too distressed to attend the party scene. Right now he is listening to a band play- Mapleson (Trying to mollify the Press): is arrested for bribing a United States official. in her honor. Jinks reveals himself, explains what ing Captain Jinks of the Horse Marines, stage Gentlemen, please be patient. (Ever more suavely) happened, and begs forgiveness for his insensi- center. A banner bears the message “Welcome Mademoiselle Trentoni has had a most dif— Act II tive behavior. Aurelia reproaches him both for the Trentoni.” A group of Reporters stand downstage Clipper/Sun/Herald (Overlapping): I’ve been wait- For two weeks, Mapleson has anxiously watched arrogance of his wager and for the suffering he left, also listening. Shortly after the overture has ing since eight o’clock! romance bloom between Jinks (out on bail) and has caused her. But when she realizes the depth begun, the curtain rises. Enter Mapleson, walking Tribune: So have I! Aurelia (who doesn’t know of Jinks' arrest nor of his remorse and sees the wiser, humbler man somewhat heavily halfway down the gangplank, Clipper: Me too! Me too! impending trial). Mapleson is afraid his prima he has become, she forgives him. waving his arms. Tribune/Herald: So have we all! donna may abandon opera for matrimony. Jinks Herald/Clipper: Give us a break! and Aurelia do, indeed, become secretly engaged. A policeman arrives looking for Jinks. Aurelia, Mapleson: Stop! (The piccolo players look up, Tribune/Sun: So have we all! playing the dying Violetta Valery for the second see Mapleson and stop playing, startled. The Herald/Clipper: Fill us in! A rehearsal of La Traviata (Aurelia’s debut opera) time that evening, convinces the policeman that cornet player does likewise. The bandmaster Tribune/Sun: Fill us in! is in progress. Jinks’ mother arrives and begs Jinks missed his trial in order to help her survive turns towards Mapleson questioningly.) Trib/Sun/Herald/Clipper: Have a heart! Aurelia (in a scene that ironically parallels the a sudden recurrence of an old lung complaint. Stop the music! (The band comes raggedly to a Times: Would you answer a few questions? dramatic situation in Traviata) to give up Jonathan. Suddenly all the principals enter, bringing the halt.) Stop! (The percussionist has paid no Mapleson (affably): Certainly, sir. I’m delighted to Aurelia promises to consider this if Mrs. Jinks, party to Aurelia. Mrs. Jinks, melted by the attention to anybody. He finally looks up at the serve the Press, yes. (The bandmaster returns, who has never seen an opera, promises to attend poignance of Traviata, gives the lovers her bandmaster and stops playing. Mapleson and takes the tuba player offstage; the euphonium her debut that evening. blessing. The company sings a tribute to the everyone else glare.) Mademoiselle will need at player follows a moment later.) I shan’t be a powers of music. least another hour. (To the bandmaster) Let moment. Mademoiselle will wish to know where I ‘Papa’ Belliarti (Aurelia’s uncle, teacher and men- them go. Be back at ten. (Mapleson turns am. (He exits up the gangplank into the ship, tor) enters with Charlie, more jealous of Jinks than peremptorily to go back up the gangplank. voices are heard offstage.) ever. Charlie, presenting the IOU as proof, claims Libretto Except for the euphonium and tuba players, the Jinks/Willie/Charlie: I’m Captain Jinks of the Jinks is a fortune hunter who has wagered he Captain Jinks of the Horse Marines bandsmen begin to leave the stage, tootling as Horse Marines, would marry Aurelia. Confronted with the IOU, they go. The horn players noisily blow spit out of I feed my horse on corn and beans Jinks admits he signed it. Belliarti, refusing to Act I their instruments. The euphonium and tuba and sport the ladies in their ’teens hear Jinks' explanation, forbids him to see Aurelia [New York City in the early 1870’s; the landing players appear to be discussing and rehearsing a though I’m Captain in the Army. again. (Caught up in these unexpected complica- pier of the Cunard Line. Early morning of a sunny passage. Mapleson glowers at the brass players (Stevedores begin to unload Aurelia’s luggage. tions, Jinks neglects to appear at his trial.) September day. over his shoulder, then continues up the gang- During this section they carry off the ship only plank. A Reporter calls to him.) boxes and crates, piling them up stage center.) Aurelia, heartsick, tries to cancel her debut but, The side of the vessel The Flying Dutchman is Clipper: Hey, Mister! (Mapleson stops, turns I teach the ladies how to dance, importuned by Belliarti and Mapleson, she agrees seen on the left with the passengers’ gangplank around.) how to dance, how to dance, to perform. coming down towards stage center. Across the Mapleson: Yeah, Who are you? I teach the ladies how to dance river at the back is seen Hoboken with the Times: Isn’t that Mapleson? for I’m the pet of the Army. Stevens House on the hill. The paraphernalia of a Tribune: I think it is. I’m Captain Jinks of the Horse Marines, landing is littered about and some small piles of Herald: I wouldn’t know. I feed my horse on corn and beans and often live beyond my means Mapleson: The audience demands Italian singers. So touched was he by Trentoni’s Traviata that he (The next three speeches are sung together.) though I’m Captain in the Army. It’s foolish but that’s the way it is. (Taking the gave her the pearls. I quote from his note to her: Tribune: There’s a rumor that she spends her long (Enter Willie who sees the stevedores working but reporters into his confidence) Ninety per cent of (Takes notebook from coat pocket) “I beg you to weekends with a French Marquis. no sign of any passengers. After a few bars he the singers I manage—French, Spanish, English, accept this humble offering. Forgive me, Sun: Is it true about the sapphires from the stops singing, in consternation. Charlie enters a Danish and Dutch—not to speak of Americans— Mademoiselle, if in return for such rich, poetic French Marquis? moment after Willie and goes through the same have names ending in oni and ini, ucci and a. artistry, I can offer but this poor, prosaic bauble.” Herald: What about the German Count who built business.) The singers get to sing. The audience is pleased. (The following is a quintet; the Reporters are a hideaway just for the two of them alone? Willie/Charlie: The first time I went out for drill And the music? And the music sounds the same! speaking what they are writing in their notebooks. Mapleson: Gentlemen, one at a time, please! the bugler sounding made me ill; Times: Colonel Mapleson… The thoughts interweave.) Clipper (Tough): Mapleson, I haven’t got all day! I of battlefields I’ve had my fill Sun/Herald/Clipper (In sequence): Colonel Times (Sententiously): Colonel Mapleson then want to see Trentoni and I want to see her now! for I’m not cut out for the Army. Mapleson… quoted from his notebook: “I beg you to accept Mapleson: I dislike your tone, sir. (Jinks is the last to enter, also singing the previ- Colonel Mapleson… this humble offering. Forgive me, Mademoiselle, Clipper: Guess what will happen if we write about ous lyric. He carries an elaborate floral decora- Tribune (Trying to be heard above the others): Is it if in return for such rich, poetic artistry, I can her illness…those recurrent…”colds” of tion. When he sees the disgruntled expressions true that the prince of Wales gave Trentoni an offer but this poor prosaic bauble.” hers…her laryngitis. on his friends’ faces, he, too, stops singing.) emerald bracelet? Tribune: It would appear that Trentoni played a Mapleson: That’s a bloody lie! Charlie (To Jinks with irritation): We’re too late! Mapleson: Quite true. latter day Traviata. Although may be Clipper: You can see that it might affect the sale Everyone’s landed. A simple bouquet would have Willie (To Charlie): The Prince of Wales! veiled…the implications…the of tickets! sufficed but no, not for Jinks! We lost an hour Charlie (To Willie): An emerald bracelet! implications…implications will not be lost on Mapleson: You wouldn’t! looking for that! Clipper (Sardonically): That’s what I call a music perceptive readers. Clipper: Wouldn’t we? Jinks (Calling out to sailor atop gangplank): Hey, lover. Herald: Surely one is justified in wondering…did Mapleson: You wouldn’t! Jack Tar! Has the Neapolitan songbird left the Herald (Writing on notepad with difficulty): it merely take an opera to please that celebrated Clipper: Wouldn’t we? ship? (Sailor shakes head “no.”) Plenty of time. The emerald covers a multitude of cadenzas. seeker after Oriental pleasures? Trib/Sun/Herald: Try us! (Mapleson re-enters, starts to walk down the Mapleson (Genially): Gentlemen, please, don’t Clipper: We may safely assume Trentoni’s artistry Trib/Sun/Herald/Clipper: Try us! gangplank.) misinterpret, I beg of you! (Unctuously) The extends beyond her golden vocal chords! Mapleson (Defeated): I’ll see what I can do. (He Willie: Look! There’s Mapleson! Prince adores Trentoni’s art. (The Reporters are Trib/Sun: The implications, implications… goes back aboard the ship.) Mapleson: Gentlemen, what would you like to unconvinced.) Let me assure you, they’re merely Herald/Clipper: An intimate recital…an intimate Herald: Good work, Clipper! know? friends! Merely friends. recital… Times (Sententiously): The New York Times disap- Trib/Sun/Herald/Clipper (In sequence): Colonel Jinks/Charlie/Willie (To each other): Merely Tribune: An intimate recital…an intimate recital proves. Mapleson… Colonel Mapleson… Colonel friends. in the Khedive’s private quarters… (The Reporters laugh, return to their notes, talk Mapleson… Colonel Mapleson… Clipper: And what about the pearls…the Sun: Harold, how do you spell Khedive? softly among themselves.) Times: Rumor has it Trentoni was born in pearls…from the something-or-other of Egypt? Times: K-h-e-d-i-v-e, Khedive. Jinks (In high good humor): Well…well…well…so America. Times: The Khedive of Egypt? Herald/Clipper: …intimate recital…intimate our songbird’s a lovebird! Mapleson: True. In Trenton. Clipper: That’s the one, the Khedive! recital in the Khedive’s private quarters… Willie: Just made to order for you, Jinks! Reporters (Taking notes): Trenton! Trib/Sun/Herald: Another lover of music, Sun: K-h-e-d-i-v-e. Jinks: There ought to be an American on her list. Herald: A Jersey Italian! I suppose! Mapleson: Still and all they’re merely friends. As my patriotic duty, I volunteer! Mapleson (Matter-of-factly): That’s why she’s Mapleson: Gentlemen, please, don’t misinterpret! Jinks/Charlie/Willie: Merely friends. Willie: Volunteer? called Trentoni. Her real name is Johnson. (Somewhat defensively at first) The Khedive is a Jinks: Mere… Jinks: Volunteer! Reporters: Johnson! gracious and dedicated… (Now self-assured) Charlie: …ly… Willie: I salute you! (He salutes, then he and Sun: Why did she change her name? patron of the arts. (The Reporters are amused.) Willie: …friends! Jinks bow briskly to one another.) Charlie: I find your vanity disgusting, Jinks. Willie: Here she comes! Times/Trib/Sun/Herald: whose own high ‘C’… Aurelia: Madame Patti? Adelina Patti needs only You think every woman will fall at your feet. Jinks: Good God! Clipper: That’s The New York Times every time, her voice! Willie: Well, many a woman has. Charlie: This can’t be! the prima donna of the fourth estate! Tribune (Tipping hat): Touché! Charlie: Not a woman like Trentoni! A friend of Willie: Is this the face that launched a thousand Times/Trib (In canon): …resounds from the shores Sun/Herald (Tipping hats): Touché! Dukes, Khedives, even a Prince! She wouldn’t ships? of the Atlantic to the faraway Pacific’s golden (Mrs. Greenborough exits up the gangplank. waste a glance on a mere New York attorney. (As Mrs. Greenborough reaches the bottom of the strand, The following Reporters’ lines all overlap:) Jinks: (Mock proud): From proud Virginia stock, sir! gangplank, The Times is there to meet her.) All Reporters: welcomes her sister songbird back Times/Trib: Tell us why you left your country. Willie (Oil on troubled waters): Times (Irish tenor): Welcome, Mademoiselle, to to her own native land. Tell us all about your childhood. Charlie…Charlie…everyone’s jealous of Jinks. these great United States. Our mighty American Times: The Press of New York City, Clipper: Tell us all about your background. Charlie: Jealous? Me? (Somewhat belligerently) eagle, whose own high ‘C’ resounds from the All Reporters: united here we stand, extends a Sun/Herald: Tell us all about your childhood. I’m never in want of a woman. shores of the Atlantic to the faraway Pacific’s warm and friendly hand. Aurelia (Somewhat taken aback by the question): Jinks (Smiling): We’ve seen them! golden strand, welcomes her sister songbird back (As the Reporters sing their welcome, Jinks, My childhood? Very well… My father was a tenor, Willie: Now, now, Jinks… to her own native land. The Press of New York Charlie and Willie sing the following:) my mother a soprano. They lived from hand to Charlie (Meaningfully): All right, Jinks—you said City, united here we stand, extends a warm and Jinks: Thank you, Charlie, for a most appealing mouth, teaching voice, teaching piano. My ill- you wanted to volunteer? (Sarcastically) Good! friendly hand. challenge! starred father—alas, I never knew him!—he died I’d like to see your legendary charm in operation. Trib/Sun: Bravo, Harold! Charlie: This is the easiest wager I’ll ever win! before I was born. (As she sings, she forgets this (Sharper, harder, louder) Five hundred dollars Herald/Clipper: Bravo, New York Times! Willie: Now I’ve seen her, I’ve seen the light! Now is an interview and becomes lost in her memo- says— Mrs. Greenborough (Non-stop, her usual style): I’ve seen her, I understand the Prince of Wales, ries.) Still mourning for my father and worried Willie (Sees that the argument is attracting the Isn’t that the sweetest thing! I’m really over- Dukes and Counts, Khedives, Marquis, and all over me, my needy mother signed with a seedy reporters’ attention; takes Charlie’s arm): Calm whelmed and I really do appreciate it even the others, and all the others! opera company, a touring troupe that played down, Charlie… though I know it wasn’t really meant for me Charlie: This is the easiest money I’ll ever make! wherever money might be made. (She is now Charlie (Quickly but intensely, shaking Willie off): because the one you’re looking for (Points to Would-be Don Juan, swollen with pride, you’re completely self-absorbed.) My mother…my mother Five hundred says you won’t spend the night ship) is up there and and I’m the chaperone. riding for quite a fall! …there was a voice! I still can hear her singing with her! (She goes about her business, checking and Jinks: This is more like it! This is more like it! in my dreams: Ah…ah…ah… (Remembering her Jinks: Done! counting the trunks and boxes.) The other was impossible, yes, utterly impossible mother’s voice, she sings this phrase from the Charlie: Another five hundred says you won’t even Jinks: Thank God! but given charms like hers, it’s possible! aria “Casta diva” from Bellini’s Norma:) “…terra kiss her! (Enter Mapleson followed by Aurelia and Aurelia: What a beautiful welcome! How lovely to quella pace che regnar, regnar, tu fai, tu fai…” Jinks: Done! Belliarti.) be in this wonderful country once more! I’ll never forget her. Ah, how she tried to keep us Charlie (Reaching for his wallet): Willie, hold Mapleson: Gentlemen of the Press, I give you Tribune (Kindly, interested): How long has it both alive. And then when I was five…she died. the stakes. Mademoiselle Aurelia Trentoni! been? (Remembering where she is, she recovers. Jinks: I don’t carry that kind of money with me. Reporters (In sequence): I’m from The Times. Aurelia: A lifetime…twenty-two long years! Without sentimentality:) So there was I, homeless Charlie: Ah! Retreating already! The Sun. The Clipper. The Herald. Tribune. (Glances at the assembled pile of luggage) Mrs. and alone. Was there anyone to take this grieving Jinks: Certainly not! (Takes a calling card and a (The Times steps out in front and before anyone Gee, please see to the rest of the luggage. child? Yes! Bless his heart! (She takes Belliarti’s pencil from his pocket; writes:) “In re: Trentoni else can speak:) Herald (Snidely, to Mrs. Greenborough): How arm.) Oh yes, mio zio, Signor Belliarti, my dear wager…IOU one thousand dollars.” Willie, hold Times: Welcome, Mademoiselle, to these great much did she bring? mother’s brother, brought me to Italy, became my this ’til it’s signed by the loser. (Jinks and Charlie United States. Mrs Greenborough (Proudly): Mademoiselle never father, mother, family! He taught me to manipu- shake hands coldly, glaring at one another for a Clipper: Oh, my Lord, not again! I think I am moves with fewer than forty-eight pieces. late my silverware. He taught me how to read and moment. Mrs. Greenborough sweeps in and starts going to be ill! Clipper: Why so many? how to write. He brought me through the measles to descend the gangplank.) Times/Trib: Our mighty American eagle Sun: More than Madame Patti ever brought. and the chickenpox, seated by my bedside many an endless night. Where there was fear, he gave Jinks: Mademoiselle… Your coming turns Charlie (A bit deflated): At your service. the rumors that you hear! They spring full-grown me comfort. Where there was loneliness, he gave September into June. (He produces the floral Aurelia (Turning to Willie, Mary gives the leash of from the calculating head of Colonel Mapleson! me friendship. And most of all…and most of piece from behind his back.) This winter when the large bitch to Charlie.): Mr…? His sole goal in life is selling tickets! (Her anger all…he gave me music…music…music! (To the birds have all flown south their sweet Willie: Call me Willie. ebbs.) I don’t know what you’ve heard but my life Belliarti:) Remember the day when you said to untutored warbling shan’t be missed for we Aurelia (Smiles): Will you walk Rosina, please? has room for music and very little else, so far. me, “My child, it’s clear, you have your dear shall hear an even sweeter music from Trentoni’s Willie: Barbiere di Siviglia? Jinks (Impetuously): Let me show you the city! mother’s voice, your dear mother’s ear?” own melodious lips. (He gives her the flowers Aurelia: Yes! May I call on you? Belliarti: That was true. You do, my own Tadolini. which she accepts with a gracious smile.) Willie: At your service. Aurelia (For a moment she is tempted; she is Aurelia (Mock heroic): From that day he was a Aurelia: Thank you. Mary: Here you are, sir. lonely and finds Jinks attractive.): I think tyrant and I a slave! A slave to solfeggio: (She Jinks: May I present Mr. Charles LaMartine. (Mary gives Willie the leash of the middle-sized not…but I thank you for the flowers. illustrates.) A slave to vocalizzi: (She illustrates.) Charlie: Twice welcome, Mademoiselle. bitch, Rosina. Mary and Willie exchange a smile. (She gives him her hand to kiss, signifying that Day after day, from year to year: (She illustrates.) Jinks: Mr. Willem van Bleecker. Rid of Rosina, Mary takes the floral piece from the conversation is over. Enter Mrs. Stonington Wherever I am, whoever I am today, whatever I’ve Willie: Thrice welcome, Mademoiselle! Aurelia and exits back on board.) and Miss Merriam.) done, I could never have done without Papa Aurelia (To Jinks): And you are? Willie (Aside, to Charlie): What a pretty girl! Mrs. Stonington (Tentatively): I beg your pardon… Belliarti…my Papa Belliarti… (Gaily, she vocal- Charlie/Willie (Smiling): Captain Jinks of the (He watches her leave; he is thoughtful, even a Where shall I find Madame Trentoni? izes to him:) Papa, Papa, Papa, Papa, Papa Horse Marines— bit melancholy.) Aurelia: I am Mademoiselle Trentoni. Belliarti, my friend, my conscience and my guide Jinks (Cutting them off; embarrassed): No. Charlie (To Aurelia, all charm): May we not have Mrs. Stonington (Beaming): Really! (She forever…forever by my side! Jonathan Jinks, thoroughly at your service. the company of a lady? exchanges smiles with Miss Merriam.) We repre- (Everyone on stage joins in applauding. Before (Enter Mrs. Greenborough and Mary, coming Aurelia: As you wish. (Gesturing towards Mrs. sent the Ladies’ Anti-French Literature League. I the applause dies out, the Reporters break in.) down the gangplank with three dogs between Greenborough): My companion, Mrs. am the first Vice-President, Mrs. Stonington, and Reporters (Overlapping): Tell us about the them) Greenborough. Mrs. Gee, will you please take this is Miss Merriam, our second Vice-President. Khedive! Tell us, etc. Tell us about the Italian Charlie: We’re all at your service. Camille for a stroll with these gentlemen? (To Jinks) Signor Trentoni? Duke! Tell us, etc. Tell us about the French Willie: Is there anything we can do? Mrs. Greenborough (She really is delighted.): Jinks (Shaking head): Just a friend. Marquis! etc. Tell us about the German count! Mary (Breaking in, not so much rudely as Delighted! (Miss Merriam tugs at Mrs. Stonington’s sleeve.) etc. Where did you meet the Prince of Wales? forthrightly): Mademoiselle, the dogs need to be Charlie (Bows to Mrs. Greenborough with an Mrs. Stonington (Under the circumstances, much Where did, etc. walked and there’s packing still to be done. insincere smile): Madam. more quietly and confidentially than necessary): (Aurelia looks at Mapleson with a flicker of Aurelia (To Charlie, in her most charming Willie (Same bow, same smile): Madam. Miss Merriam is deaf and mute but she’ll know annoyance.) manner): Mr…? Charlie/Willie (Bowing to Aurelia): Madame. what you’re saying from the movement of your Mapleson: Gentlemen…gentlemen…gentlemen, Charlie (Flattered, bows): LaMartine. (Charlie, Willie and Mrs. Greenborough exit with lips. (Miss Merriam nods her head and smiles her please! Mademoiselle mustn't strain her voice! Aurelia: If you really want to help, will you please the dogs in tow.) acquiescence at this and all subsequent speeches Belliarti and I shall be happy to answer your take Leonora for a walk? Jinks (Conversationally): I see that you’re as fond by Mrs. Stonington. These two ladies are entirely questions over a friendly glass. Gentlemen, drinks (The following responses are all sung together:) of dogs as we of opera. without malice.) My dear Madame are on the house! Willie (Amused): Leonora? (He has quoted Aurelia: They are my dear, my loyal friends… Trentoni…what I have to say is awkward. (Mapleson and Belliarti round up the reporters Florestan from Act II of Fidelio.) (A moment’s seriousness) my only friends… Aurelia: Yes? and shepherd them off the stage. Jinks, Willie Jinks (Amused): Leonora? (He has quoted Alvaro (Lightly) that is, besides Mrs. Gee and Papa Mrs. Stonington: I guess I’d better take the bull by and Charlie have a quick pantomime conversa- from Act III of La Forza del Destino.) Belliarti. the horns. tion. Charlie coldly and brusquely nudges Jinks Charlie (Amused): Oh, Leonora? (He has quoted Jinks (Genuinely surprised): What about the Aurelia (Puzzled): Meaning me? towards Aurelia who seems ready to go back Di Luna from Act I of Il Trovatore.) Prince of Wales? (Mrs. Stonington is appalled at her own faux pas. aboard the ship.) Aurelia: From Trovatore…just a stroll… Aurelia (A flash of indignation): Don’t believe all Miss Merriam, who has been lip reading, produces a pencil and a small notebook and hastily writes Jinks (A pleasantry): I’ve always thought that no Mrs. Stonington: Bless my soul! (Miss Merriam his coat, revealing his badge. The Policeman a series of notes [some of which fall to the one understood Italian opera! tugs at her sleeve, writes rapidly:) She says you salutes. Stevedores appear, coming down the stage]. She hands the notes to Mrs. Stonington, Aurelia (Aside, to Jinks): What can I say? better make your debut in oratorio! gangplank with the last pieces of luggage, who speaks aloud as she gets the drift of what Jinks (To Mrs. Stonington, taking the initiative): Jinks: Speak to Colonel Mapleson— followed by Mary. The Customs Official takes the Miss Merriam is writing.) Forgive me, but when it comes to operas, you Aurelia: My manager. If he agrees… (She shrugs.) Policeman by the arm and leads him downstage.) Mrs. Stonington: Yes, dear…of course…how like don’t have too much choice. Mrs. Stonington: We’ll see him today. Goodbye. Customs Official (Aside, not loudly but clearly): you. (To Aurelia) I beg your pardon. What I Mrs. Stonington: We disagree! Aurelia/Jinks (With relief, almost laughing): There’s an opera singer due to land this morning. wished to say was: I’d better take the cow by the Aurelia (Pleasantly): Which one would you propose? Goodbye. Policeman (Pointing): That’s her. horns.) Mrs. Stonington (She and Miss Merriam exchange (Miss Merriam tugs at Mrs. Stonington’s sleeve Customs Official (Exasperated): These foreigners Aurelia (To Jinks, wryly): How sensitive she is! a look of triumph and pleasure.) Faust! one last time and writes, just as they are about to are always up to something! Mrs. Stonington (To Miss Merriam): How sensitive Aurelia/Jinks: Faust? leave.) (Charlie, Willie and Mrs. Greenborough enter with you are. (To Aurelia, clearing her throat and Mrs. Stonington: Faust! (Both she and Miss Merriam Mrs. Stonington: Yes, dear…of course… (To their respective dogs. Mary takes the three dogs getting down to business; as she grows more look transported as they recall the final tableau.) Aurelia, as though giving her a gift) You’ve been and gives them to the stevedores with a gesture solemn so does Miss Merriam.) According to the Now there’s an opera with true moral uplift. And, so generous. We disapprove of actresses in to take them back aboard ship. Willie tips his hat papers, your plan to make your debut in the oh…oh…oh…how lovely the final tableau: general, but we don’t consider singers actresses. to Mary and smiles; she smiles back.) opera Traviata. Marguerite ascending…ascending…to heaven Aurelia (Tongue in cheek): Thank you. Customs Official: We figure she’ll attempt a bit of Aurelia: Quite right. above…as moving as the death of Little Eva! (They all bow to each other elaborately and the smuggling. It’s likely she’ll offer me a bribe. (He Mrs. Stonington (A prepared speech): It’s been Jinks: I’m a devotee of Faust and I’ve seen it two ladies leave. When they are out of sight, produces a whistle.) If you hear me whistle— brought to our attention by a number of the many, many times. The tableau you refer to is Aurelia and Jinks look at each other and explode (Pantomimes blowing it twice) come running! ladies of the Anti-French Literature League, that beautiful and moving but apparently with laughter.) (He goes upstage to Aurelia; somewhat deferen- the person you’ll be playing— (She has forgotten Mephistopheles wins Marguerite even so…for the Aurelia: And thank you, Mr. Jinks, for coming to tially:) Madam Trentoni? the “person’s” name.) angels always elevate quite a different young my rescue. Jinks: Mademoiselle Trentoni. Aurelia (Helpfully) I play Violetta Valery. lady, never noticing their blunder in the final Jinks (Smiling): I don’t know why I did. Customs Official: Are you her husband? (The ques- Mrs. Stonington: Yes…is… (Tentatively) …is no tableau. I disapprove of actresses in general. tion sets Aurelia and Jinks off again.) What’s so better than she should be! Please, please, please, Mrs. Stonington: (She and Miss Merriam are Aurelia: Perhaps you don’t consider singers funny? drop that opera from your repertoire! Read this stunned. Miss Merriam rapidly scribbles more actresses. (They both laugh again.) But I shouldn’t Jinks: Nothing, I’m just a friend. petition. (She produces a long, impressive scroll. notes and hands them to Mrs. Stonington.) Yes, laugh. How sad not to hear nor sing. Customs Official (Down to business; firmly, show- With firm but kindly insistence and Aurelia’s own dear…of course…how like you. (To Jinks and Jinks: I could not bear a silent woman in the ing Aurelia his badge.): Customs. May I inspect good in mind:) Read this petition. Seven hundred Aurelia) She says that’s not important because house…a bird who could not sing, a rose that your luggage? women from Williamsburg and Brooklyn,not to the story’s so pure. had no scent, a child who could not cry, a piano Aurelia: , please, Mrs. Gee. mention Jersey City, are asking you please, Jinks: Don’t you know what occurs between Acts never played. (With greater gravity) Please, (Much against her will, Mrs. Greenborough hands imploring you please, to drop that opera! Two and Three? Mademoiselle, please, may I call on you? the keys to the Customs Official who begins to Aurelia (Concerned, to Jinks): I don’t know what Mrs. Stonington (Haltingly): Marguerite and Faust Aurelia: Yes, you may. Tomorrow at four. open pieces of luggage and to feel through the to say. (She is not sure.) …get married? (She gives him her hand to kiss. This time the contents. He is watched closely by Mary, Mrs. Mrs. Stonington: Seven hundred women from Aurelia: No! gesture is invested with an entirely different Greenborough and Aurelia. At the other end of Williamsburg and Brooklyn not to mention Jersey Jinks: No! mood and meaning. Enter the Customs Official. the assembled pile of luggage are Charlie and City, will never attend La Traviata, so choose Aurelia/Jinks: They don’t! He looks around for the Policeman, who has Willie, downstage. Jinks joins them. Throughout another opera. Mrs. Stonington: What?!! been standing to one side, observing but not the scene, Charlie’s attitude is hostile, Willie’s is Aurelia: I don’t know what I can do… Jinks: That’s the trouble! observed. He walks to the Policeman, pulls back friendly.) Charlie: How did it go? Customs Official: The key! free, the home of the brave—how America (The band marches in as Jinks is led off, protest- Jinks (Loathe to discuss the matter): How do you Aurelia (Quietly): Give him the key. welcomes a roaming daughter home! ing, between the Customs Official and the mean? Mrs. Greenborough (Hands it over): Toad! Customs Official: I’m only doing my duty. Policeman. Charlie is gleeful; Willie is both Charlie: Trentoni. Toad…toad! Toad! (The Customs Official, now Jinks (Takes a card from his pocket and gives it to amused and sympathetic to Jinks.) Willie: How did it go? thoroughly suspicious, begins going through the the Customs Official.): My card, sir. (Aurelia sum- CURTAIN Jinks: The bet? contents of the trunk, which contains Aurelia’s mons her entourage. She is not unaware of what Charlie/Willie: Yes, the bet. undergarments. He examines each garment slow- Jinks is saying.) I am Mademoiselle’s attorney. Jinks: Charlie…I want to cancel the bet. ly and carefully, flinging it to the ground when he Ladies, I’ll attend to everything. Act II Charlie/Willie: You can’t! Why? has finished with it.) Wretched man, stop! Aurelia (Regally; she is ready to leave.): Mr. Jinks, [Two weeks later; mid-morning. The stage of the (The Customs Official discovers interesting Mary: The beast! I leave not my honor in your hands but some- Academy of Music. A Scene-Painter is touching objects and examines them carefully.) Aurelia: Stop it at once! thing much more precious—my wardrobe! (She up the Act I drop for La Traviata. Stagehands are Jinks: I’m ashamed I agreed. She’s too nice a Jinks/Charlie: You have no right! turns to sweep majestically offstage, followed by heard hammering, sawing and shouting. There person for such a shabby prank. Willie: I say! Mrs. Greenborough and Mary. The Customs are occasional shouts of “Watch it!,” “Further Charlie: A bet’s a bet. (During the following tirade, the Customs Official Official and Willie put her things back in the upstage!,” “Downstage!,” etc. From time to time, Jinks: The bet’s off! gradually begins to stop throwing things on the trunk. She turns to Jinks:) Mister Jinks— stagehands cross the stage carrying tools and Charlie: You don’t get off so easily. You bet a ground. Then, gradually, he stops feeling around Jinks (Eagerly): Yes? dressing the set. thousand dollars you’d make love to her. Willie? inside the trunk. His gestures grow smaller and Aurelia: Not tomorrow. Willie: He’s right. A bet’s a bet. smaller until he stops altogether. When he finally Jinks (Disappointed): No? Colonel Mapleson stands stage center, smoking a Jinks: Then give me the IOU. turns to face Aurelia, he is a thoroughly chas- Aurelia: No. This afternoon at four. cigar. He begins to pace abstractedly. Mrs. (Willie produces the IOU. Jinks takes a pencil tened man.) (She exits.) Greenborough, left, sits at a piano that has been from his pocket and looks for a writing surface. Aurelia (In her best prima donna manner): I warn Jinks (Dreamily): This afternoon at four! (Collects placed on stage for a ballet rehearsal that will Willie turns around and stoops, offering his back. you! Ruin my clothes and I’m suing you and the himself; to Customs Official:) There now, every- take place in a few minutes. She is diligently Jinks places the IOU on Willie’s back and signs it city! I warn you! For every pretty thing you spoil— thing’s all right. (He fishes some dollar bills out practicing the piano reduction of the banda inter- angrily, pronouncing the words emphatically as he the linen you smudge—the lace you soil—you’ll of his wallet.) We understand one another. na of No. 2, Act I, La Traviata. Her nose is buried writes them:) Jonathan Jinks, Esquire! There… rue the day you did, my man! I warn you, you’ll (The band is heard offstage, only dimly at first.) in the music; even when Colonel Mapleson it’s finished! (He hands Charlie the IOU. The rue the day! Play hide-and-seek wherever you like! Customs Official: Yes, sir, indeed we do! addresses questions to her, she answers without Customs Official moves to a low, squat trunk. Peek in every corner of every trunk! Fling my per- Jinks: Good. (He passes the currency surrepti- looking away from the music. An open violin Mrs. Greenborough heads him off and sits on the sonal things all around! Strew my shoes over the tiously to the Customs Official.) Then you’ll pass case, containing a violin, rests atop the piano.] trunk protectively, arms folded.) ground! Make a mound…a mound of hosiery! her luggage through. Customs Official: Get off of there! Injure all my lingerie! Scatter my hats like ten- Customs Official: Thank you. (He blows his whistle Mapleson: Who would be an impresario, at the Mrs. Greenborough: I won’t! pins! (She scatters hats in every direction, one twice. The Policeman strides over. In his most mercy of artists night and day? They’re the rea- Customs Official: I said get off! after the other.) Scatter my hats! Scatter…scat- official manner:) Officer, I give this man in son, surely,… Mrs. Greenborough: No, you mustn't open this one! ter…scatter…scatter my hats! Scatter my hats charge for bribing a United States official. Mrs. Greenborough: “Partite?” “Parto” Aurelia: Leave her alone! like ten-pins! Scatter!…Scatter! (She turns to the Policeman: You are under arrest. …”Addio”… Jinks: Who do you think you are? others, addressing them as witnesses.) You see? Jinks: But I— Mapleson: that I’m prematurely gray. Eh, Mrs. Customs Official (Exercising self-control; reproving You see? I’m not surprised! I was advised of the Policeman: Don’t make any trouble. Gee? Jinks): Kindly give me the key, please. beastly way America treats artistes! Go on! Go on! Jinks: But I— Mrs. Greenborough: Yes, indeed. How very fortu- Mrs. Greenborough: A gentleman would leave this Stamp on every stitch I call my own! Stamp on Policeman: Come along now! nate you are. trunk alone! every stitch! Let everyone see how the land of the Jinks: But I— Mapleson (Annoyed at her lack of attention): Huh! (He watches her for a moment.) Do you see, Mrs. Gee? Am I not altogether right? (Unobserved by Mapleson and Mrs. Greenborough, the piano. Jinks follows, Absent-mindedly Aurelia Mrs. Greenborough (Singing some wrong notes): (The sound of sawing joins the sound of hammer- Aurelia and Jinks enter from the wings up-stage, plays a phrase on the piano, still standing.) “Addi-” (Corrects herself) “Addio.” ing; in a fury, Mrs. Greenborough leaves the arm in arm. They walk to and fro examining the Jinks (Tenderly): Are you nervous about tonight? Mapleson (Resumes packing): Who in his right piano to quiet the stagehands.) Who in his right set and watching the Scene-Painter who is touch- Aurelia: Very. I do so much want New York to like mind would be inclined to be an impresario, mind would be inclined to be an impresario? ing up the backdrop. Aurelia begins to listen me. (Mrs. Greenborough shuffles through the pages There are times when it stems from superstition: closely to what Mapleson is saying; after a while Jinks: New York will love you. Shall I see you back towards the beginning of the section.) “Colonel Mapleson, a large black dog howled Jinks does too.) after the performance? spending his days in dread of one little sentence, beneath my window yesterday afternoon. I awoke Mapleson: It can happen, and it has— Mrs. Gee, Aurelia: Of course. There’s to be a party. Will you one lethal phrase that falls on the ear like a and saw a strange and greenish ring around the are you listening? (Mrs. Greenborough turns her escort me? blight: (Falsetto) “Colonel Mapleson, Colonel moon!” Or: “Last night I had a dream!” Or: head to listen but continues to play, mechanical- Jinks: Of course…with pleasure. Mapleson, I cannot sing tonight!” (With elation) “Today I had a sign!” Or: “The leaves in my cup ly, for three measures. With ever increasing irony Aurelia: Don’t forget. Oh, the joy of being face to face with a case of of tea made a most bizarre design! I am para- and frustration:) It can happen, and it has, that a Jinks: How could I? artistic temperament! (Falsetto) “Colonel lyzed with fear, petrified with fright and I cannot, budding prima donna prates of love—”L’amour!” Aurelia: After all, you broke our first appointment. Mapleson, Colonel Mapleson, I cannot sing no, I cannot sing tonight!” Lo! She’s discovered the light of her life! She will Jinks: I told you… I was suddenly called to the tonight!” (As himself) “May one ask why?” (To (Mrs. Greenborough returns, seats herself at the gladly retire from the stage, (With heavy sarcasm) aid of a client and I— Mrs. Greenborough) Stop that infernal practicing! piano with a flourish and begins playing without her only desire to be loving mother and wife! This Aurelia: You— Mrs. Greenborough (Busy counting ledger lines, a second thought. Mapleson watches her with glorious voice, alas, resounds in the nursery only! Jinks: was— she pays no attention to Mapleson; then, a large mingled admiration, amusement, frustration and Does she tenderly render Bellini? No! Now it’s: Aurelia: were— upbeat and downbeat with her head indicates irritation.) (Falsetto) “Eenie, meenie, meinie, moe! Eenie, Both: unavoidably detained. that she is prepared to pay it correctly): —two, Mrs. Greenborough (Correcting a misapprehen- meenie, meinie, moe!” (Himself) Oh, where is all Aurelia (Smiling) I know. three—one, two, three— —two, three— —two, sion): No! It’s in three flats! the time I lavished? The work? The worry? The Jinks: And in just a little while, on behalf of three— one, two, three — one— Mapleson: And then there are artists hypochondri- money? The care: Where? Where did it go? It that same client I’ll be in court to finish up the Mapleson (Turning away from her, he returns to acal, who are quick to be afflicted with imaginary melted away like the snow! Oh, who would wish matter. But nothing shall detain me tonight. his complaint. With exaggerated diction): “May illness. The least little sniffle—a sneeze!— sends to know the little joy, the frequent sorrow of an I long to share your triumph! one ask why?” (Falsetto) “Because last Friday them burrowing into their beds with a tea kettle impresario? (A stagehand is working upstage.) Aurelia: Or my failure! (Seated at the piano, she Signorina Someone took more curtain calls”— or: aimed at their heads! (He imitates a cloud of Stop! (Turning to face the hammerer, Mapleson plays one of her dreaded passages, singing along “had more flowers”— or: “more applause than steam escaping.) Psh…! sees Aurelia and Jinks.) with one phrase:) Ah! (She finishes the passage I!” “Because my dressing room is not as gra- Mrs. Greenborough (The sound frightens her into a Aurelia: Were you referring to anyone I know? by crashing both hands flat on the black and cious… not as large… not as ventilated… not as change of key, from A-flat to A major.): Oh! Oh! Mapleson (Significantly): Perhaps. (Irritated) white keys.) Or my fiasco! spacious as Signor So-and-So’s!” (Mrs. Mapleson: And there they lie, blankets piled high, Mrs. Gee, would you please go see what’s Jinks (Shocked): No! You will not fail! (Relaxed, Greenborough, after practicing some trills in the a doctor, a nurse and a bible nearby and they causing the delay? even jaunty) But I confess, were you to fail there music, returns to the beginning of the passage.) whisper, “Colonel Mapleson, (He coughs) Colonel Mrs. Greenborough: Certainly. (She rises and exits. would be one consolation. “I am terribly upset and, Colonel Mapleson, Mapleson, (Coughs) I cannot—(Coughs) I cannot The Scene-Painter pokes his head in from the Aurelia: Not for me! Colonel Mapleson, I cannot—” (As himself) —(Coughs)” (As himself) “No!” (As singer) wings, left:) Jinks: For me. “No!” (Falsetto) “I cannot—” (As himself) “No, “sing—(Coughs)” (As himself) “No!” (As singer) Scene-Painter: Colonel Mapleson, you’re wanted Aurelia: Not for me… you must!” (Falsetto) “I cannot sing tonight!” “I cannot sing tonight! (Coughs)” in the box-office. Jinks: It would be so much easier to tell you… (Hammering suddenly breaks out again. Mrs. Mrs. Greenborough (Addresses Mapleson without Mapleson: Thank you. (After another searching Aurelia (Rises from piano): Tell me what? Greenborough tries to hear herself over the ham- looking away from the music): Colonel Mapleson, look at Aurelia, he exits quickly left. Aurelia Jinks: But this is hardly the place for something mering; Mapleson tries to make himself heard.) you really must take care of that cough. watches him leave, then strolls thoughtfully to so personal! Aurelia (Encouraging him) And romantic, I hope. Jinks: Aurelia Johnson! Belliarti: You were never one to hide your feelings. begin to dance. Jinks leads Aurelia across the Jinks: Terribly! Aurelia: Johnson! (He embraces her again.) May an old man give stage to a “private corner” opposite the piano; he Aurelia: Then what better place than here, Jinks: Johnson! you his blessing and a word of advice? has something on his mind.) onstage, where sentiments of every sort are so at Aurelia: Or is it Mademoiselle Trentoni? I couldn’t Aurelia: Please… Jinks (Tenderly): Aurelia, I hate to leave you, even home. Please, Jonathan, please… Please tell me bear to discover that you love, not me, but her. Jinks: Please do, sir. for a moment, but I must appear in court. now…please… Jinks: It’s you I love, Aurelia Johnson! Belliarti: May your life together be one long Aurelia: Please, Jonathan, stay. I’m worried about the Jinks: These past two weeks with you have been Aurelia: I couldn’t bear to discover that you love, not dance, graceful and serene. Not a waltz, for the performance this evening. The dance is completely the happiest days of my life. Seeing my city anew me, but her…today’s attraction, the prima donna, waltz, though graceful, requires reverses. Not a restaged. Please watch and tell me if it’s all right. through your enchanting eyes has taught me the opera star whose light may fade tomorrow. polka, fevered and frantic, for the polka, though Jinks: My client needs me desperately! much about my city, much about myself and Jinks: It’s you I love, Aurelia Johnson! exciting, leaves the partners too soon exhausted. Aurelia (Almost seductively): Please, for me. more, most of all, about you. (Thoughtfully) What Jinks: Aurelia Johnson, will you marry me? Nor should it be your American Virginia reel, (As they watch the dancers, Jinks holds Aurelia’s an odd, surprising blend of qualities you are! Aurelia (Matter-of-factly, but with a sense of which calls for long separations, a series of pass- hand; with his other hand he takes his watch and (More lightly) Beneath Violetta’s worldliness lies humor and relief.): Of course! ing flirtations with numerous partners all down glances at it anxiously from time to time. After the innocence of Marguerite. (Mock-heroically) Jinks: This is a most peculiar place to propose! the line. No…no…no…if the choice were mine, half a minute or so of dance, the Stage Doorman Side by side with the majesty of Norma I find the Aurelia: You must admit we hardly know one your life’s dance would be the minuet…a dance enters left, looking for Belliarti. Trying to be as playful Contessa, Rosina and Susanna, Serpina, another. whose partners need not endure long separations; unobtrusive as possible, he nevertheless bumbles Semiramide. (More seriously) Somehow you fuse Jinks: I know all I need to know. a dance innately both charming and stately, into the dancers, looks back and is non-plussed this dissonance of women into the consonance Aurelia: For a while, can’t we say we’re engaged whose tempo will weary you never; a dance at seeing Belliarti playing the violin. He you are. You weave this crazy quilt of qualities to be engaged? whose figures allow you to float through life with approaches, hesitates a moment.) into a pattern devoted to music, music alone. If a Jinks: If that’s your desire, then we’re engaged to grace and joy forever and ever. Stage Doorman (With exaggerated “Americanized” man were to win even half of the love you have be engaged. (Mrs. Greenborough scurries in from the right, pronunciation): Mr. Belliarti… (He taps him on lavished on music alone, that man would know Aurelia: Oh, my dear, my darling Jonathan… leading 3 or 4 dancing couples in rehearsal the shoulder.) Mr. Belliarti… himself blest. In these past two weeks with you, Jinks: Aurelia! clothes of the period. She heads straight for the Belliarti: Shh! Can’t you see we’re rehearsing? I’ve come to know you. To know you is to love Aurelia: Jonathan…Jonathan! (Little by little, she piano.) Stage Doorman (Waits until Belliarti finishes the you, to know you is to love you, and so, Aurelia, resumes her role as actress.) From what you’ve Mrs. Greenborough: Come along, everyone! Come “flourish.” Flustered:) There's a gentleman to see I’ve come to love you. told me of your mother, she’ll be appalled! to along, do! (She sits down and starts to play the you…says it’s urgent…an emergency. Aurelia: I have played many times on many a think her Jonathan would marry a painted lady of introduction, obviously eager to get on with the (Mrs. Greenborough and the dancers glance curi- stage, played many roles in many operas. I have the stage! rehearsal.) ously at this interruption, the dance becoming sung many words of longing, words of love; and Jinks: I’ve been preparing her, dropping hints in Aurelia (Aside, to Belliarti): Let it be our secret more and more ragged. When Belliarti stops play- words of longing, words of love have been sung to all my letters and when she meets you she must for a while. ing, some dancers stop, others continue. Belliarti me. But these—these professions of love were love you. Belliarti (He smiles and nods his assent, greets the puts the violin on the piano. Flustered by never from the heart, were part of some libretto. I Aurelia: I hope so. (Turning away with some dancers.): Good morning, good morning! I’ll tune Belliarti’s defection, Mrs. Greenborough plays was carried along… I was carried along on wings apprehension, she sees Belliarti entering.) Oh, up and then we’ll begin. (He moves to the piano louder and louder…then stops altogether.) of song. But not any more… but not any more! Papa, Papa, Papa, you’ll be the first to know! and picks up the violin to see if it is in tune. It is. Belliarti (To Stage Doorman): Emergency? (To Mrs. Tonight, when I’m singing “Alfredo,” in my heart We’re engaged! And I’m so happy. Mrs. Greenborough leans back in her chair, satis- Greenborough) I’ll be back. (He crosses the stage, I’ll be singing “Jonathan,” for I love you. I do so Belliarti (Embraces her): Aurelia, my dear. (He fied for the moment that all will go well. Belliarti giving instructions to the dancers on the way.) want you to love me. But please, Jonathan, kisses her, shakes hands with Jinks.) I must nods to her and turns to the dancers.) Places! Continue please…from the “Ta-tee-tee-pum, ta- please, look inside your heart, deep inside, and admit I’m not surprised. From your entrance! (Belliarti plays the violin, tee-tee-pum, ta-tee-tee-pum.” (He conducts two ask yourself: do you love me, Aurelia Johnson? Aurelia: Was it so obvious? Mrs. Greenborough plays the piano, the couples bars.) Uno, due, tre; uno, due, e! (He exits.) Aurelia (After the dancers have resumed, impetu- mother, trying to remain as gracious as possible the twelve o’clock train, so I only have a moment. idly by while he throws his life away on a woman ously): Isn’t it splendid? (She entices Jinks into a under the circumstances. Mrs. Greenborough (She looks around.) This place is as good a place of no background, no family, an actress of doubt- short whirl downstage from the dancers. Mary stops, the dancers straggle gradually to a stop.) as any to say what I’ve come to say. (She is ful reputation! enters right obviously distressed. She looks Mother, how good to see you. I’m afraid you’re accustomed to giving orders.) Jonathan, be so Aurelia: Madame, your disdain merely angers me. around for Aurelia, finds her and Jinks now interrupting the rehearsal. good as to wait outside. But your anger deeply saddens me. enmeshed in the other couples who have moved Aurelia (To the dancers, taking charge of a diffi- (Jinks looks at Aurelia, who nods. He glances at Mrs. Jinks (Aside): What unexpected dignity! downstage.) cult situation): Thank you all very much! The his watch, bows, shakes his head hopelessly and Aurelia: I love your son and I hoped that his Mary: Mademoiselle Trentoni… (She runs to the dance is beautiful! Thank you. You may go. exits right. After he leaves, there is an awkward mother would love me. whirling pair.) Mademoiselle! (Mrs. Jinks has remained icily statuesque.) silence between the two women. Stagehands Mrs. Jinks: You say you love him. Will you prove Aurelia: What is it? (Aurelia and Jinks return with Stage Doorman: I tried to stop her! She wouldn’t pass to and fro, this time more discreetly. The your love with a sacrifice? Mary to the “private corner” downstage right, listen! lights dim somewhat.) Aurelia: What kind of a sacrifice? Mary babbling en route.) Mrs. Jinks (To Jinks, indicating Aurelia): Is that Aurelia (The perfect hostess): Won’t you sit down? Mrs. Jinks (Down to business): My brother has Mary: I didn’t want to interrupt. I’m sorry, but I the person? (Mrs. Jinks s about to sit down on a chair or bench arranged a splendid situation for Jonathan, an thought I’d better come and tell you. Mrs. Jinks Mrs. Greenborough (The dancers, some if not all, that a bustling stagehand has brought on, but excellent position in the diplomatic service, pre- has arrived! have lingered to absorb the juicy scene. Mrs. suddenly another stagehand grabs the chair or cisely what his father would have wished for him. Jinks (Shocked): My mother here? Greenborough shoos them offstage.): Go along, bench to put it on its proper mark. Aurelia quickly, Should my son insist upon this injudicious move, Mary: No, in our hotel. I left her waiting in our everyone! Go along, do! (She exits, pushing the and with a show of gallantry, takes Mrs. Jinks’ arm, this ruinous decision to marry you, this offer suite. (To Aurelia) She said she had to see you, dancers off. Mary leaves also. Before they have saving her from falling and directs her to the replaced would be instantly withdrawn! Gone this golden talk to you, that it was urgent! all disappeared, the Scene-Painter enters chair or bench. Mrs. Jinks, non-plussed [and not opportunity! (Her natural warmth shows through.) Aurelia: Oh, dear! upstage:) necessarily aware of what is going on behind her], If you love him, my dear, let him go or know Jinks: How did she seem? Scene-Painter: Mademoiselle Trentoni, are you takes her irritation out on the Scene-Painter.) you’ve shattered his career! I know how great a Mary: Frosty. through with the stage? Mrs. Jinks: Must you do that now? sacrifice I ask of you. Aurelia: Oh, my! Aurelia: Another day like this one and I shall be! (He looks to Aurelia for comfort.) Aurelia (She is facing the audience; we hear her Mary: And she was furious. Scene-Painter: What? Aurelia: Could you wait a while? thoughts.): How great a sacrifice! “Un sacrifizio Aurelia: I was afraid of this! Aurelia: Yes, I’m finished. Scene-Painter (Fed up): It’s your debut! chieggo!” I’ve played this scene before. How Jinks: Damn! Damn! Damn! So was I! Scene-Painter (Yells offstage): Bring in the set for Gentlemen, let’s go to lunch! eerie to play it now! Aurelia: Tell her that I’ll be there shortly. Act Two! (Any stagehands still onstage turn and leave; Mrs. Jinks: But if you really wish what’s best for Mary: Yes, ma’am. (She starts to cross the stage Jinks (With some bravado): Mother, my fiancée others are seen upstage on their way out. him and if you truly have his interest at heart… to exit.) Aurelia Trentoni. The lights have slowly faded. Only the Traviata Aurelia: Part of me wants to smile; part of me Aurelia (With dry humor): Of all days! Aurelia: I’m so glad to meet you, I’ve heard so set is lit; work lights are out.) wants to sigh; part of me wants to cry out, Jinks: Darling, I’ll go. I’ll go and talk to her. much about you. Mrs. Jinks: So he proposed. “Go away!” Aurelia: You’re due in court. Mrs. Jinks (Frostily): I dare say. Aurelia: And I accepted. Mrs. Jinks: …if you truly love him, sincerely love Jinks: I know. (The stagehands have already begun to assemble Mrs. Jinks: Young woman, this marriage must not him, let him go! (Mary is prevented from exiting by the entrance the Act II set for La Traviata; they pass to and take place. Aurelia: But no…I know what I shall say. of Mrs. Jinks, followed immediately by an irate fro. Lights go on and off within the simulated Aurelia: But why, Madame? Mrs. Jinks: Let him go! Stage Doorman.) capacities of the ’Seventies.) Mrs. Jinks For many years I have been mother Aurelia (To Mrs. Jinks): I, too, want what’s best Stage Doorman: Madam, I told you, you cannot go Jinks: Mother, the men are working. Let’s talk and father to my son. I raised him, shaped him, for him. I, too, have his happiness at heart. in there! somewhere else. guided him. I’ll not stand idly by and witness the (More forthrightly) You speak as though your son Jinks (To Aurelia): My mother! (He crosses to his Mrs. Jinks (Coldly): I’m returning to Virginia on destruction of my hopes for him. I’ll not stand has no mind of his own. He knows what he wants! And so do I! eyes tonight. You have lived in me and died in me sick of my own part in this shabby affair. Belliarti: Do you know what it is? Mrs. Jinks: You would tear him away? before. Tonight you shall live and die once more. (He expects a response from Aurelia; there is Jinks: Yes. Aurelia: Let us say…I would share him. Sister in love, sister in sorrow, may your tale of love none.) I felt—that you should know. Belliarti: Did you sign it? Mrs. Jinks: Then you refuse to let him go? destroyed bring love and joy to me, Violetta Valery. Belliarti (Peremptorily dismissing him): Thank you. Jinks: Where is Aurelia? Aurelia: Madame, I am no Camille. Belliarti (Heard from a distance): Aurelia! (From Charlie (Again he waits for a response from Belliarti: Answer my question! Did you sign this? Mrs. Jinks: No what? the wings) Aurelia! (He breaks in from the right, Aurelia. Getting none): I’m sorry. (He turns and “In re: Trentoni wager, IOU one thousand dollars.” Aurelia: I am no Marguerite Gautier… very excitedly, followed by Charlie.) Aurelia! Do exits leaving a painful silence on the stage.) Jinks: That’s my signature, yes…but— Mrs. Jinks: Who’s she? you know this man? Belliarti (Tenderly touching Aurelia’s arm): Belliarti: Enough! Enough! (Softer, controlled) Aurelia: …no Violetta…no Violetta Valery. Aurelia: We’ve met. (To Charlie) You’re Jonathan’s Aurelia, carissima…Aurelia… Mademoiselle Trentoni wants you to know your Mrs. Jinks: Are these friends of yours? friend. Aurelia: I won’t believe it. Tell me it isn’t true. engagement is off. Aurelia (Smiling, but touched) Yes, friends of Charlie: No longer! Belliarti: Only Jinks can tell us. Jinks: Let me explain. mine. (An idea begins to form in her mind.) You Belliarti: Where is he? Aurelia: How could I ask him? Belliarti: Get out! Vigliacco! have never heard the opera La Traviata? Aurelia (She intentionally and obviously avoids Belliarti: When he returns, I’ll question him. Jinks: Let me explain! Mrs. Jinks: No. being affected by their excitement.) He’ll be back Aurelia: I could not possibly watch. Belliarti: Ruffiano, che nulla d’altro cerca che il Aurelia: Mrs. Jinks, allow me to suggest a rather soon. What’s wrong? Belliarti: Wait over there behind the wall and suo denaro! strange proposal. Belliarti: You must not marry that man! The listen. (With delicacy) If it’s true, may I break Jinks: Belliarti, you don’t know me— Mrs. Jinks (Interested): Go on. scoundrel! The blackguard! Vigliacco! Seduttore! your engagement? Belliarti: I wish to heaven I didn't! Aurelia: Tonight, if you will be my guest and Farabutto! Un ruffiano che nulla d’altro cerca che (Unable to speak, Aurelia nods almost impercep- Jinks: You don’t know what kind of a man— promise to watch the entire opera, then after- il tuo denaro! tibly. Belliarti kisses her, then leads her to her Belliarti: What kind of a man would do such a wards, if you still feel that I should let him Aurelia: Che cos’è? Che vuol’ dire? hiding place behind the wall. When she is gone thing? go…then perhaps I shall! Belliarti: Che nulla d’altro vuole che approfittare Belliarti turns, shaking his head sadly. After a Jinks: If you won’t hear me out— Mrs. Jinks (Stares searchingly at Aurelia; sporting- della tua fama! moment’s reflection he walks to his violin that Belliarti: I refuse! Get out! ly): I do not understand but I agree! Aurelia: Non lo credo! is still in its case. Taking his handkerchief, he Jinks: …then I reject your message! Yes! I Aurelia: Thank you. Belliarti (For Charlie’s benefit): He’s marrying you carefully wipes the resin from the violin. blundered! That stupid, callow wager! Aurelia Mrs. Jinks: ’Til later, my dear. (Again giving for your money! Absentmindedly he plucks the strings and puts gave me her promise; she alone can retract it! commands) Jonathan! (He enters so quickly Aurelia: I don’t believe it! the instrument lovingly back in its case.) Belliarti: Fortune hunter! Fortune hunter! Fortune that one suspects he has been eavesdropping. Belliarti (To Charlie): Tell her! Tell her! (He Jinks (Enters in high spirits): Aurelia? hunter! He probably has.) Fetch me a cab! And give snatches the IOU from Charlie and thrusts it into Belliarti: She’s gone. Jinks: Tell me where she is! (He grasps Belliarti’s me the keys to your rooms. I’m staying for Aurelia’s hands. She reads as he contin- Jinks: Where? lapels.) Tell me where she is! the opera. (She sweeps out. Jinks waits until ues.) Ecco, ecco! Tocca col’ mano! Convinciti! Belliarti (Snapping the violin case shut) You are Mapleson (Strides forward to break up the she leaves, smiles) Convinciti! Mi crederai adesso che hai le prove! not to see her! quarrel; breaking in forcefully): Young man, this Jinks: I’ll be back soon. (He blows Aurelia a kiss, Aurelia: Ahimè! Jinks (Puzzled) Why not? What do you mean? is hardly the time, (Continues more lightly, more disappears.) Charlie: It’s true, Mademoiselle. The day you (Mapleson enters left and quietly observes the diplomatically) this is hardly the place for your Aurelia: Violetta Valery, my dear Camille, who, so arrived he bet a thousand dollars he would marry following scene.) personal problems. well as you, knows how I feel? Sister in love, sister you, the “Neapolitan Songbird.” I wagered he Belliarti: Mr. Jinks, will you give me your word of Jinks (To Belliarti): You know I’ll find her! in sorrow, I ask your aid tonight. You whose hope- would not. For lack of cash he signed this IOU. honor you did not sign this note? (He fishes the Belliarti: You’re not to see her! less plight has melted millions of hearts, help me Belliarti: You see what kind of a snake he is! IOU from his pocket and shows it to Jinks, his (The following, up to the words “I’ll call the police,” to melt one special heart tonight. May your Charlie (Disregarding the interruption): hand trembling.) is all interwoven as a quartet. Aurelia is visible to us demise bring unbidden tears to one special pair of Mademoiselle, my abject apologies. I’m heartily Jinks (Surprised, guilty): Where did you get it? beyond the wall upstage but, of course, she remains unnoticed by the men downstage.) Mapleson (Sarcastically): Goodbye, Mr. Jinks. You must not! Your future is at stake! Your Trentoni, we have a contract! Don’t force me to Jinks: I’ll find her and make her listen to me! I’ll Belliarti: Goodbye. future! Think of your public! If not your public, sue! We have had a long and close association. talk to her and make her believe me! Jinks: You shall dance at my wedding yet, gentlemen! then think of me! You’ve no right to sacrifice me I’d prefer not to sue. I trust I won’t have to. I Belliarti: You’re never again to see her! You are Belliarti: Then it will be a Danse Macabre! or Colonel Mapleson. You owe so much to both of sympathize, truly I do. But if you do this to me, I not to cause her more pain! Jinks: Goodbye. (With a dignified bow, a sem- us. Think of all the hours, think of all the days, shall sue (To Aurelia) you (To Belliarti) and you. Mapleson: Young man, I’ll not have you torment- blance of courtesy, Jinks makes a quick exit. When think of all the weeks of all the years you’ve Brava! Brava! Brava! ing Trentoni! he is out of sight, Belliarti goes upstage and calls slaved for tonight. Aurelia (Hysterical): Papa, Papa, Papa, Papa, Aurelia: Oh, God! A wager! It’s true, it’s true! softly.) Aurelia: I don’t think you do! Heartless, unforgiv- Papa Belliarti, my friend, my conscience and my Jinks: I know she loves me! I know she returns Belliarti: Aurelia… (Aurelia appears, moves slowly able! My career is pointless, empty, finished! guide, I’ll sing tonight! I’ll sing a Traviata—I’ll be my love! to him with a fixed smile and anguish in her (She moves toward Mapleson.) Colonel Mapleson, a Violetta—such as no one has ever seen or Belliarti: Don’t you know what you have done? eyes. She manages to retain control of herself Colonel Map—I may never sing again, ever. (To heard! I’ll melt every heart in the house! When Have you no feelings? You’re not to go near her! until Belliarti opens his arms to her. This gesture Belliarti) My future! I know. I know, But please, I’ve sung, then everyone will know how a broken Mapleson: Tonight’s her debut. I’ll not have you of sympathy dissolves her. She sinks into his don’t ask me to sing! My heart is too full! heart sounds! Colonel Mapleson, never fear: tormenting Trentoni, my star, Aurelia, my embrace and weeps.) Aurelia, carissima… Mapleson: Who in his right mind would be there’ll be no refunds! I won’t disappoint my pub- “Traviata,” my “Violetta,” my star! pazienza…ci vuole un po’ di pazienza. inclined to be an impresario?…spending his days lic; I’ll sing for them! They’ll adore me! They’ll Aurelia: His star…not me, but her—today’s Aurelia: Papa, were we too harsh? in dread of one little sentence, one lethal phrase adore me! The women will weep, the men will attraction, the prima donna, the opera star whose Belliarti: No. that falls on the ear like a blight: (Falsetto) sob. Everyone will adore me and love me…but light may fade tonight! Aurelia: Should I have let him explain? “Colonel Mapleson, Colonel Mapleson, I cannot one. (Suddenly her will and energy flag.) Everyone Belliarti: You’re not to cause her more suffering, Belliarti: No! Forget him…forget him. sing tonight!” (Himself) It can happen and it has, but one will love me, everyone but one… more grief! Mapleson: Forget him…forget him… that a budding prima donna prates of love, (She turns to Belliarti, a forlorn, heartsick child. Jinks (To Mapleson): It’s her I love, Aurelia Aurelia (Takes the pocket handkerchief from “L’amour!” Lo! She’s discovered the light of her She buries her head in his shoulder and weeps. Johnson! Belliarti’s jacket, dries her eyes and tries to pull life! She will gladly retire from the stage, her only Mapleson stands by helplessly. The stagehands Mapleson: There’s far too much at stake! There’s herself together.): Ahimè… desire to be the loving mother and wife! This glo- drift back in, staring curiously at the emotional far too much at stake! Mapleson: I sympathize but Belliarti is right and rious voice! Oh, display on stage. Shrugging, they start back to Mapleson/Belliarti: Let her alone! Get out! Get if you are wise you’ll think only of tonight. (Mapleson is so angry and singing so loudly that work, hammering, moving props and striking the out! Aurelia (Holding in the tears but not very Aurelia and Belliarti turn to listen.) set, part of which flies out just before the cur- Mapleson: Or I’ll call the police! successfully): Colonel Mapleson, Colonel Belliarti: You see? You see how this Jinks can tain. Aurelia and Belliarti exit slowly, arm in arm. Belliarti: The police! Mapleson… destroy your career? Aurelia, tonight you must Mapleson remains behind, relights his cigar, sur- Jinks: The police? Mapleson (Aside): Oh, no! Dear God…no! appear for yourself…for us…for your public, for veys the scene and then leaves.) Mapleson: Is that what you want? Aurelia: I cannot…I cannot sing tonight. Art, for Music! You must appear tonight or your Curtain Belliarti: A scandal? Mapleson: My dear, I know how distressed— career is finished! Aurelia…for Art and Music! Mapleson: For her debut? Belliarti: Please, I’ll handle this. (Belliarti waves Brava! Brava! Brava! Act III Jinks (He has become more reflective.): No, of Mapleson away. Rejected and annoyed, Mapleson Aurelia: Please, please, don’t ask me to sing! How [That night, after the opera. In fact, the opera is course not. (Softly, but urgently) But if you’d let retreats far to one side. A trio develops.) could I concentrate? (To Mapleson) How can you not yet finished; we hear the orchestra playing the me explain— Belliarti: speak of contracts? I’m sick at heart! Leave me last 38 measures of La Traviata and at the very Belliarti (Waving the note) The paper speaks for I know how you feel. I know what you are going alone! Leave me alone! Please, I cannot bear any moment when the curtain is presumably descend- itself! through. That heartless thief! Don’t let him ruin more! Leave me alone! All right! All right, I’ll try! ing at the Academy of Music, our curtain rises. Jinks (Grabs the note, rips it to pieces) This idiot your career! You must not…You must not…You Mapleson: Oh, where is all the time I lavished? IOU! must not! (Stops her) You must not give way! The work? The worry? ? The care? We are in Aurelia’s private parlor in the Brevoort (The two men put the flowers down, revealing Jinks/Willie: It’s true! And if you help me, you’ll (Jinks and Willie exit onto the balcony. House, a large room with double doors upstage themselves as Jinks and Willie, whereupon the help Aurelia, too! Mrs. Greenborough and Mary continue working.) left, which lead to the hotel corridor. Upstage two women emit small shrieks of surprise and Mrs. Greenborough (To Mary): Should we? Isn’t this exciting? And so romantic! center are French windows leading to a practical consternation.) Mary: She loves him so! Mary: Romantic! Just like a play! balcony; through the windows can be seen the Jinks/Willie: We didn’t mean to alarm you. Mrs. Greenborough (Gravely): What an awful (Jinks appears at the French windows. A knock August Belmont mansion. Upstage right is a door Willie: Please, listen to us, ladies! responsibility! at the door; Mary runs to open it; Jinks retreats. that leads to Aurelia’s bedroom. Jinks: Listen to us, please! Mrs. Greenborough/Mary: How can we help you? Enter Aurelia, who hands her wrap to Mary. Mrs. Greenborough/Mary: Mr. Jinks, you shouldn’t Jinks/Willie: Bless you! (Jinks spontaneously kiss- Enter also Belliarti and Mapleson.) The curtain rises on an almost completely be here! es Mrs. Greenborough on the cheek. Willie kisses Mapleson (Solicitously): Are you certain you won’t darkened stage; one gas jet burns dimly. Mrs. Greenborough: If Mapleson knew, he’d call Mary but a bit more ardently and lingeringly. reconsider? (Aurelia shakes her head.) Your Mrs. Greenborough, elegant in an evening gown, the police! Both men fish from their pockets a number of friends will be disappointed. and Mary, in her usual maid’s garb, enter and Mary (To Willie): I have my orders not to let him in. white envelopes, each with a string or ribbon Mrs. Greenborough (With some asperity): She’s turn up the lights. (It is a warm September night Jinks (Somewhat overdoing the part for the ladies): attached. They give some to the ladies.) Take done enough tonight! consequently, when the women enter they may You see before you an anguished and heartsick some. Belliarti (Defending Aurelia): She gave us a triumph! be wearing light wraps; the men will be in man! One minute of your time is all I ask… Jinks (To Mrs. Greenborough) (Producing a small Mapleson (Taking Aurelia’s hand): I know how evening clothes and will not need coats.) Willie: One minute will convince you he’s scissors or penknife, he goes from floral piece to hard it was, yet you surpassed yourself. (Kisses Mrs. Greenborough and Mary are followed by the maligned… floral piece snipping off notes. The others follow her hand) Now go to bed. I would myself, but I’m five Reporters from Act I, disguised as members Jinks: …one minute…one minute! behind, tying the new notes to the floral pieces.): the host! Good night. (He exits,) of the Brevoort House staff. They are carrying all Willie: …one minute! Help me tie these notes to all these flowers. Aurelia: Papa, you go too. I’d like to be alone. manner of floral objects: a large windmill, a ship, Mrs. Greenborough (Doubtful): Oh, dear. Willie (To Mary): Help me tie these notes to all Belliarti (Goes to her, takes one of her hands in large baskets with low handles, small baskets Jinks: One minute for love’s own sake! these flowers. his and looks at her tenderly): I am so proud of with very high handles, a stuffed pigeon with out- Mary: “For love’s own sake!” How beautiful! (Voices are heard offstage, presumably from the you…so very proud of you… (Overcome with stretched wings, flowers in long boxes, bouquets, Mrs. Greenborough: Oh, dear, I know I shouldn’t. Fifth Avenue entrance to the Brevoort. The emotion, he sniffs, blinks several times, pats her etc. The effect should be beautiful and, if I fear I shouldn’t. But…go ahead. “workers” listen for a moment, the spring into hand rapidly.) Buona notte. (He exits, closing the possible, amusing. Under Mrs. Greenborough’s Jinks (Profoundly relieved): Thank you. activity.) door behind himself. Aurelia kicks off her shoes, pantomimic directions, the flowers are placed Jinks/Willie (Jinks sings to Mrs. Greenborough Offstage Voices: Trentoni! Trentoni! Trentoni! removes her “fall” and sinks wearily into a chair. around the room. Mary bustles around, making fervently, no longer “acting.” Willie sings to Mary.): Trentoni! Trentoni! Trentoni! Brava! Brava! Brava! Mrs. Greenborough and Mary exchange meaning- herself useful, re-arranging the flowers, etc. As (I/He) love(s) Aurelia! You must believe (me/him)! Brava! Brava! etc. ful glances.) the Reporters deposit the flowers, they exit and (I/He) love(s) her with all (my/his) heart! Mrs. Greenborough: She’ll be here in a jiffy. Mrs. Greenborough: Would you like something? return with more. In effect it is a “Parade of Mrs. Greenborough/Mary: I’d like to believe you! Quickly— Aurelia: A little sherry. Flowers.” When a Reporter has finished, he gives Jinks/Willie: I tell you frankly, (I/he) made a Jinks: Hide us! (Mary goes to the sherry pours a glass and brings a little bow to Mrs. Greenborough, who tips him blunder, a stupid blunder, which (I/he) repent(s) Mrs. Greenborough (Indicating the balcony): Out it to Aurelia.) from her beaded evening bag, and he leaves. now with all (my/his) heart! there! Mrs. Greenborough/Mary (Throughout, Mary After all the Reporters have left, two men enter Mrs. Greenborough/Mary: I think I believe you! Jinks: Persuade her to see me! echoes Mrs. Greenborough): what a night! You carrying tall floral pieces that conceal their Jinks/Willie: (I/He) wouldn’t have hurt her for all Mrs. Greenborough: I’ll try. were wonderful! In all my life, I’ve never heard faces.] the world! If (I/he could see her (I/he) could (Jinks and Willie dart upstage. Jinks turns for a such an ovation, such applause! I’ve never seen Mary: More flowers! Put them over there, please. explain! last word.) so many curtain calls, so many flowers… (They Mrs. Greenborough: More flowers! Please, put Jinks: If she loves me, she’ll understand. Jinks: I’ll never be able to tha— direct their sentiments to one another, then to them over there. Mrs. Greenborough/Mary: Oh, if only that were true! Mrs. Greenborough: Thank me later. Hurry! Aurelia, trying to focus her attention on the bouquets.) so many flowers…so many flowers! (To the others) Oh, tell me I was wrong. Policeman (Implacably): He was seen tonight in Jinks: Aurelia! Mrs. Greenborough: Who would have known you Mrs. Greenborough/Mary (Matter-of-factly):You this hotel. Aurelia (Coldly): How dare you come here without my had so many friends here? were wrong. Aurelia: He’s here? Why do you want him? permission? (To Mrs. Greenborough) How dare you? Mary: So many friends and admirers! Aurelia: I knew it! He can explain! I know it! I Policeman: This afternoon he didn’t show up in Jinks: Please, let me explain! Mrs. Greenborough: What beautiful flowers! feel it!! There must be an answer, an explana- court. Aurelia: Do! Mary: What beautiful flowers! tion… (She takes an envelope from the nearest Aurelia (In rather a gay mood): How embarrassing Jinks: The day you arrived— Mrs. Greenborough: These are especially lovely! floral piece, opens it and reads the note:) “We’re for his client. Willie: —at the dock— Mary: And these! making a dreadful mistake! Please let me see Policeman: He’s the defendant. Jinks: —my former friend Charlie— Mrs. Greenborough/Mary: Who could have sent you and speak to you! I adore you! Your Mrs. Greenborough/Mary: What?! Willie: —LaMartine— them? Who? Jonathan.” (After a thoughtful pause, she opens Aurelia: What has he done? Jinks: —provoked me to bet— Mrs. Greenborough: I’m dying to know! another envelope and reads the note:) “If ever Policeman (Seriously): He tried to bribe the Aurelia: That you’d marry me! Mary: And I! you loved me, please let me see you! If ever you Customs. Jinks: No! Aurelia (Amused in spite of herself): Open the loved me, please let me speak to you! Your Aurelia/Mrs. Greenborough/Mary (Shocked): Bribe?! Willie: Not at all! That he’d make love to you. cards! Jonathan.” (She opens another and reads the Policeman: To speed your luggage through. Jinks: But that was before I had met you! (Mrs. Greenborough opens an envelope and gasps card:) “Aurelia, my darling, please let me see Mrs. Greenborough: On, no! Willie: That’s the truth. in mock surprise, as does Mary.) you! Believe me, my darling, I can explain!” (She Mary: Oh, no! Aurelia: Then there was a wager? Mrs. Greenborough/Mary: Oh! Oh! opens another, slowly and thoughtfully.) “If ever Aurelia: Oh, no! Jinks: Made before I’d met you! As soon as I’d Aurelia: What is it? you loved…” (Seeing that it is similar to one she Policeman: I thought you knew. (Touching his hat) seen you, I deeply regretted the bet. I tried to Mrs. Greenborough/Mary: A note from Mr. Jinks! has already read, she quickly opens another:) “If I’m sorry to disturb you. retract it. I tried… Aurelia (Rises, agitated): What does he say? ever you loved… (And another) “If ever you loved Aurelia: Good night. Willie: I blush to state we wouldn’t permit it. Mrs. Greenborough: Well… (Taking her time about me, please let me see…” I’d so like to see him Policeman (He starts out; suddenly stops and A bet’s a bet… it) “If ever you loved me, please let me see you! but now he is gone…If only I knew…If only I turns. Tentatively, at first.): Beggin’ your pardon, Jinks: To end this shabby business, I signed the If ever you loved me, please let me speak to you! knew…where he’s gone, I’d send for him. ma’am…I was on duty tonight at the Fourteenth note. Your Jonathan.” (Jinks and Willie noiselessly appear. The Street Thee-ay-ter, out in the lobby. Madame Willie: It’s true, every word. Mary (Somewhat more sentimentally): “Aurelia, audience sees them; Aurelia does not, since she Trentoni, I want you to know…all through the Jinks (Passionately): Say you believe me! my darling, please let me see you! Believe me, is facing downstage. Jinks, raising his arms as show…even with the doors shut tight…your high Aurelia (Off-hand, coolly): I believe you. my darling, I can explain! Your Jonathan.” though he is reaching out for Aurelia, opens his notes came clean through the wood! They fairly Jinks: Forgive me! (Aurelia takes the note from Mary and reads it; mouth to speak but a knock on the door is heard set my teeth on edge. (Opulently, but not loudly) Aurelia (Still coolly): I must speak to Mr. Jinks alone. her listlessness vanishes and she begins to pace. and he and Willie retreat. Aurelia is certain that it ’Twas grand…grand…the best I ever heard. (The following sequence is spoken as dialogue. Although ostensibly speaking to themselves, is Jonathan who has knocked.) Aurelia (Smiles): How kind of you! Throughout, there is great tension between Mrs. Greenborough and Mary intend the next Aurelia: My Jonathan! (Frantically she puts on her Policeman (Beaming): My pleasure, ma’am. Good Aurelia and Jinks. Aurelia clears her throat; comments to be overheard.) shoes and her “fall.” She starts towards the door night. (He exits.) Mrs. Greenborough takes the hint.) Mrs. Greenborough: Can they all be from him? rapidly, then slows down as she remembers her Aurelia (Whirling around as soon as the door is Mrs. Greenborough (Breaking an awkward silence; Mary: Can it be possible? dignity. She opens the door; to her surprise it is shut): You know where he is! very highly inflected in pitch, effecting a Mrs. Greenborough: Poor man! a policeman.) Mrs. Greenborough/Mary: Yes! transition from the last sung phrase to spoken Mary: Poor desperate man! Policeman: Beggin’ your pardon, ma’am, but Aurelia: Bring him to me! dialogue): Well, I, for one, am starving! Coming, Aurelia (Stops pacing): Was I wrong? where is Mister Jinks? (The two women turn towards the French win- Mr. Van Bleecker? (Paces…stops again to think…and doubt) Was I Mrs. Greenborough/Mary: He isn’t here! dows which have already opened on “Bring him Willie (Shyly, formally): Mademoiselle wrong? Should I have seen him, let him explain? Aurelia: I wish he were! to me.” Jinks enters, arms outstretched, Willie Trentoni…May I have the honor of escorting Miss behind him.) Mary to supper? Aurelia (We see from her manner that her atten- memory will bring a scalding blush of shame Aurelia: But is this wise? I feel responsible. While yet a child, I was afflicted with a weakness tion is wholly on Jinks. Her replies are quiet, rushing to my face for the rest of my life! He Jinks: Since Willie’s wife passed away, there’s of the lungs. When under strain, this youthful abstrated.): Yes, of course. vanished when I met you…and came to know been no one. Your Mary is the first he cares illness oftentimes returns as it did this afternoon, Mary (With disbelief): Oh! (Her cry of joy changes you…and came to love you…and thought I’d about. brought on by tension. (A paroxysm of coughing; to a wail of woe.) Oh! I’ve nothing to wear! lost you! And now I’ve learned what it means to Aurelia: Then I’m afraid it’s farewell Annina! I’ve the Policeman becomes alarmed) I gasped for Aurelia: Take my lavender gown. be a prey to heartache… lost a maid— breath! (More coughing, intermittently) I grew Mary (Ecstatic): May I? Aurelia: heartache… Jinks: But gained a bridegroom! afraid! What was I to do? How could I rise to my Aurelia: Hurry. Don’t keep the gentleman waiting. Jinks: pain… (They move towards each other to embrace but debut? (She turns to Jinks with a grand gesture.) (Mary exits quickly into Aurelia’s bedroom) Aurelia: pain… just as they do, they are interrupted by the This gentleman, though courting…courting trou- Mrs. Greenborough; Will you be coming to the party? Jinks: loneliness… Policeman who enters unannounced.) ble with the law, agreed to stay with me and aid Aurelia: I think not. Aurelia: loneliness: Policeman: Aha! and comfort me. (Aurelia gives the Policeman the Mrs. Greenborough: Good night. (She kisses Jinks: a prey to grief… Aurelia: Oh, no! camellia; he is now certain he is being seduced.) Aurelia and exits. Willie exits behind her, closing Aurelia: when I thought I’d lost you. Jinks: Not now! Surely, it would be sordid if such gallantry were the door. Alone with Aurelia, Jinks looks at her Jinks: See what knowing you… Policeman: I knew I’d find you here, trapped in not rewarded! apprehensively, not knowing where he stands.) Aurelia: See what knowing you… the singing bird’s cage! Policeman (He nods in agreement. To Jinks): Aurelia (Impassively): You say Mr. LaMartine lied— Jinks: has meant to me? Jinks (Placidly): I’ll come quietly. You’ll be in court tomorrow morning? Jinks (Quickly): I swear it! Aurelia: has meant to me? Policeman: You’d better! Jinks: My word of honor! (Jinks shakes hands with Aurelia: I believe you. (Relenting a bit) And I’m Jinks: See what loving you… Aurelia (Commandingly): Officer, wait! the Policeman.) relieved. Aurelia: what loving you… Policeman: Ma’am? Policeman: I did not see you tonight. Jinks (Moving towards her, breaking the quiet, Jinks: and losing you… Aurelia (Consciously melodramatic): Arrest him Aurelia (Removes the flowers fro one of the larger uninflected dialogue): Aurelia! Aurelia: and losing you… and you wrong a selfless man! vases) For your sweetheart… (She loads the Aurelia (Spitting out the words in a sudden surge Jinks/Aurelia: has meant to me? Policeman (Interested): How so? Policeman’s arms with the flowers.) of resentment, her pent-up feelings breaking (They stand, holding hands and gazing into one Aurelia (Mysteriously): There is a reason he did Policeman: Thank you. Good night. through): But you admit there was a bet! How another’s eyes. As they come out of this “trance” not appear in court. (As he turns to go, Aurelia and Jinks add more unworthy! (Her anger begins to ebb.) You disap- and move to kiss one another, Mary suddenly Policeman: Oh? bouquets to his pile of flowers; then as he walks pointed me. I’d never have believed it of my enters, a vision of loveliness in lavender.) (With seeming irrelevance, she takes a camellia towards the door, upstage eft, they again fly into Jonathan, not of him. My Jonathan would never Mary (Very excited): Mademoiselle… from one of the bouquets and toys with it,tanta- one another’s arms. The Policeman makes his treat a soul with such a cool and casual disdain. Aurelia: Can this be my own Annina? lizing the Policeman. She only seems to drift off way to the door, awkwardly dropping flowers and My Jonathan would surely know that no one’s Aurelia/Jinks: How very beautiful you look! into recollection.) attempting to pick them up. At the door he is emotions are puppet strings to be manipulated Mary (Sputtering with non-stop inarticulateness): Aurelia: Camellias…my favorite flowers since almost knocked down by the first of five hotel idly (Meaningfully, as though making clear the What can I say? How can I ever—? There’s no childhood! (She comes around to the subject. room-service carts laden with champagne coolers, moral of the story—as indeed she is) He would way— I know I’ll never— Little by little she assumes the role of the dying glasses, silver, china, covered serving platters, know that everyone deserves the courtesy, the Aurelia (Kissing her): Go…and have a lovely time. Violetta, considerably overplaying the part.) This etc. At first the Policeman backs away, then he common decency, of being treated as a feeling Mary (Shyly, but deeply pleased): I feel voice you found so powerful… threads his way through the traffic. The carts are human being, a prey to heartache, pain, so…grand! Oh, thank youthankyouthanky- Policeman (Hypnotized): Yes? pushed by the five Reporters disguised as four loneliness, a prey to grief. outhankyouthank you… (She moves towards the Aurelia: …alas, ’tis not always so. waiters and one sommelier (Times). This quiet Jinks (Softly at first, then with growing convic- door, opens it and turns for one last) Thank you! Policeman: No? confusion is unnoticed by Jinks and Aurelia until tion):Disappointed as you are, no more am I. (She exits leaving the door open.) Aurelia (She coughs delicately.): To see me, you’d the noise of rattling dishes on the carts breaks But hear me, Aurelia: that man is gone, whose Jinks: She’s as happy as I am. think me strong. You would be wrong. (Coughs) their enchantment. The five carts are followed by Belliarti, Mrs. Greenborough, Willie and Mary, astonishment.) congratulations from The New Mapleson/Mrs. Jinks/Mary/ All Men (Except Jinks): refresh us, Mapleson and Mrs. Jinks. The waiters, after York Times! (He pulls off a false moustache and Mrs. Greenborough/Belliarti: Our fondest, heartiest Aurelia/Jinks: restore us, remind us of kindness, positioning their carts, open bottles of champagne pours himself a glass of champagne for his wishes… (Willie, amused rather than annoyed compassion. and offer glasses to all.) forthcoming toast. Each “waiter” in turn removes at the interruption, joins the above.) for your Reporters: “Music restores us, reminds us of Mapleson/Willie/Belliarti/Mrs. some part of his disguise—a red wig, a beard, of happiness! (Echoing the Press) And the rest of kindness.” Greenborough/Mary/Mrs. Jinks (Some of them have whatever, and helps himself to champagne.) New York City… Others (Except Jinks and Aurelia): Music can melt not yet entered and are framed in the door.): Reporters (In sequence): From The Sun! All (Except Jinks and Aurelia) salutes a warm and us, console us, exalt us, Aurelia! Aurelia! Aurelia! The Clipper! The Herald! Tribune! loving pair! All: restore us, refresh us, remind us of kindness, Belliarti: You wouldn’t come to the party, so the Mapleson: How dare you intrude! Jinks/Aurelia (To each other):Can you believe that compassion and love. party’s come to you! All Others (Except Reporters): Reporters! this is possible? Curtain (Aurelia has a moment of worry when she sees Times: Forgive this intrusion— Mapleson (To Aurelia): I should like to add to the Mapleson; she moves instinctively to hide Jinks.) Sun: We don’t mean to intrude— others a personal blessing, a qualified blessing, © Copyright 1976 by Boosey & Hawkes, Inc. Aurelia: Colonel Mapleson… Herald: Where a story's at stake— to my friend, the star! Copyright for all countries. All rights reserved. Mapleson (Putting her at ease): It’s all right. Herald/Clipper: No ruse is too low— Willie (To Jinks): I should like to add to the Mrs. Greenborough: I told them. Tribune: Where the editor sends us— others a personal blessing. Aurelia: I’m so glad! Reporters (Except Times): We go! Mapleson: I know I sound selfish but I know what Jinks: So am I! Times (With well-meaning sententiousness): is true: business is less important to me than Mrs. Jinks: So am I! Please allow the Press to bless you. (Reporters music is to you! Jinks/Aurelia: I prayed that you would be. raise their glasses.) Joyful as you are, may you Belliarti (Breaking in): It’s true, how true! We all Mrs. Jinks (To Aurelia): My dear, my eyes are still both forever remain, traversing the marital have need of music! (Neither loudly nor softly, moist. (Overcome with emotion) I watched, I highway but fully and warmly) For music can reach us as wept, I wondered, pondered, and at last I All Reporters: in harmony. no other art. Music can soften the hardest heart. rejoiced! Welcome into our family! Times/Trib/Sun: Those people are wrong Aurelia/Jinks: For music can reach us as no Mapleson (Astounded): What? Times/Trib: who consider all us journalists a cold other art. Jinks: We’re engaged! and heartless race. Others (Except Reporters): For music can Aurelia: Engaged! Clipper: There are those who consider all us melt us… All Others (Except Reporters): Engaged? journalists cold. Aurelia/Jinks: Music can soften the hardest heart. Willie (To Jinks, shaking his hand): My old friend! Herald: Those who consider all us journalists cold Others (Except Reporters): …console us, Mrs. Greenborough (To Mary): Engaged? and heartless are wrong. console us. Aurelia (To Belliarti): He explained. Sun: are wrong…Journalists cold? (The Reporters have been listening, enraptured. Mary (To Mrs. Greenborough): Engaged? Clipper: We’re not! Suddenly, one after another, they take out pads Mapleson (To himself): As I feared! Reporters: We are the tenderest of men when and pencils and begin to write up their stories.) Mrs. Greenborough/Mary: Oh, how nice! romance shows its face. Reporters: And then the lovers and their friends Aurelia (To Belliarti): I have forgiven him, will Willie (With his glass raised): I should like to repeated the words of Mr. Belliarti: (As the you? add to the blessings of the Press, my fondest, Reporters sing the above, Mrs. Jinks sings to Belliarti (A moment’s hesitation, then warmly): heartiest wishes— Aurelia and Jinks, and Mary sings to Willie.) Congratulations! (He shakes hands with Jinks.) Sun/Herald/Clipper: The Press of New York City, Mrs. Jinks/Mary: Music can reach us as no other Times: Mademoiselle— (His clarion tone is so All Reporters: the kindest anywhere… art. Music can soften the hardest heart. un-waiterlike that everyone turns to him in All: For music can melt us, console us, exalt us, Jack Beeson • Captain Jinks of the Horse Marines TROY1149/50 WARNING: COPYRIGHTSUBSISTS INALLRECORDINGS ISSUED UNDERTHISLABEL. TROY1149/50 A Libretto by Romantic ComedyinMusic Music by © TEL: 01539824008 BOX 137,KENDAL, CUMBRIALA80XD ALBANY RECORDSU.K. TEL: 915 BROADWAY,ALBANY,NY 12207 ALBANY RECORDSU.S. WWW.ALBANYRECORDS.COM 2010 ALBANYRECORDS MADEINTHEUSA 518.436.8814 FAX:518.436.0643 Sheldon Harnick Jack Beeson DDD a from TheSonyMusicCustomMarketingGroup, (p) 1976SonyMusicEntertainmentUnderlicense division ofSonyMusicEntertainment. c I [29:11] ActIII Conclusion[24:14] ActII: 2 1 Conclusion[7:44] ActI: 3 Part1[32:52] ActI: 2 1 Total TimeCD2:53:28 CD TWO Total TimeCD1:59:36 Act II: CD ONE Russell Patterson,conductor Kansas CityLyricTheatre #34061-BBEJCf

Part 1[19:55]

0 5 / 9 4 1 1 Y O R T s e n i r a M e s r o H e h t f o s k n i J n i a t p a C • n o s e e B k c a J