CANDIDE Chorus Stage Movement and Cues By Susan Booth for ASO Chorus *REVISED 5/9/18*

ACT 1 (Chorus Line up in Reh Hall; take stage in normal fashion, row by row) (Chorus remain SEATED during #1-10)

11. THE BEST OF ALL POSSIBLE WORLDS – p. 26 *Remain SEATED, and do NOT sing this piece. On p. 38, on CUE from Candide: “What about war?” – (ms. 96) Entire company stops what they are doing – Double take, LEAN FORWARD IN CHAIR and look; looks up to Puppet Master; waits for a response. Pause. On conductor’s cue, the song continues.

13. OH HAPPY WE – p. 53 *After this song, on CUE, Baron: “Curses on the day when my Christian charity bid me give asylum to the sideswiped offspring to my sluttish sister.” 1. Baron: “Out!” 2. Maximillian: “Out!” 3. Pangloss: “Out!” 4. Paquette: “Out!” 5. Baroness: “Out!” 6. Chorus (and entire company says): “Out!” (Chorus WOMEN point upstage center with LEFT arm; MEN, point Upstage center with RIGHT arm)

*16. BATTLE MUSIC and 17. WESTPHALIA CHORALE – pp. 53-54 HATS ON for the sequence: p. 53 on CUE, Narrator: “…As Candide ponders his decision, war breaks out!” –bloodthirsty yell, gesture and HATS ON. p. 57 “Battle Music” (first time) STAND– ends in E-flat Major p. 54 “Westphalian Chorale” – Sing, with hats ON SIT immediately at end of Chorale. p. 55-56 “Battle Music” (second time, seated) – REMOVE HATS during this music.

*19. DEAR BOY – p. 58 *Sing SEATED (do NOT stand in m. 3). CUE, Pangloss: “So you see? Everything in this world is indeed for the best!” *Verse 3 is CUT, only sing v. 1-2 and the forte tag ending, “Dear Boy!”

*21. EARTHQUAKE MUSIC Instrumental – before p. 63 On CUE, Narrator: “30,000 souls pointlessly die.” – Chorus slumps over in their seats.

*On CUE, Narrator: “They find themselves in the middle of the Spanish Inquisition and its national pastime, the auto-da-fe, or Act of Faith.” – Chorus 1.) sits up, 2. and discretely grabs their pinwheels. On CUE, Narrator: “Our crowd is most insistent that Pangloss and Candide pay a visit to the Grand Inquisitor.”

*22. AUTO-DA-FÉ – p. 63 STAND on downbeat, ms. 1, (while spinning pinwheels) to sing #22. Auto-da-fé. *STOP waving pinwheels at solo-verse on p. 67, m. 27. *RESUME waving pinwheels at p. 70, ms. 40-48. *STOP waving pinwheels at p. 71. m. 118 (“shofars”). *RESUME waving pinwheels at p. 76, ms. 174-190. *STOP waving pinwheels at p. 78. m. 190. *RESUME waving pinwheels at p. 82, m. 299. – NB: quick page-turn: pp. 83-84!

*22. AUTO-DA-FÉ – p. 84, immediately at end of song, Chorus SIT and put away pinwheel; Quietly and discretely grab beret (hiding it in your lap or folder), for:

*23. CANDIDE’S LAMENT – p. 85 After Candide’s Lament, *On CUE, Narrator: “Haphazardly, Candide happens to arrive in Paris.” – Chorus puts on berets.

24. PARIS WALTZ – p. 85 (#24-28 Chorus tacet)

*29. TRAVEL TO THE STABLES – p. 85 During this music, Chorus takes off berets, and puts on Spanish hats (for men) and roses (for women).

*30. BARCAROLLE (A-B-C) – p. 86 Chorus sings SEATED *P. 88 (near end of “Barcarolle B”) on Old lady’s line: “dragging my poor mother, myself and all our attendant ladies onto their foul vessel where, on the instant, they stripped us stark naked” – join the Flautist in saying “Stark naked?”

*31. I AM EASILY ASSIMILATED – p. 128 *Assimilated “Button” comes first during dialogue (do NOT stand):

Then, CUE from Old Lady: “Buenas tardes, Señores. It is your privilege to encounter the greatest courtesan from Paris, France. All one needs to enjoy her immortal favors is — a princely sum.”

– Chorus STAND on downbeat, ms. 1 and sing. *Pages 130-131, Chorus Men (T/B) should hum along with the Two Señores music, ms. 44-57. *Spanish Hats and Roses OFF during applause after “Easily Assimilated” p. 136. (*put them in your hand or lay them in the chair), and REMAIN UP to sing:

Narrator (p. 137): “And so our friends prepare to embark for the New World as Act One optimistically ends.”

32. QUARTET FINALE – p. 137

-INTERMISSION- Listen for com-system calling all to stage: “5-minute warning.”

ACT 2 34. ASSIMILATED UTILITY UNDERSCORE – p. 151, libretto pages for CHORUS p. 151 – On CUE, Slave Driver: “Gobernador, for your approval.” – Pacquette will give us a twirl, after which Chorus says “Ahhh!”

35. GOVERNOR’S SERENADE “MY LOVE” – p. 152 p. 152 – On CUE, Governor: “Good God, a man!” – entire company says, “A man!” After Governor says “String him up!” Chorus repeats “String him up!” and after Maximillian finishes line, “…and molesting me” everyone GASP.

36. ASSIMILATED BUTTON – p. 153 Dialogue follows… *Old Lady: “She will be safe under the Governor’s protection. Escape or you will be burned at the stake in an hour. Now FLEE.” Candide: “Flee?” Old Lady: “Flee!” Candide: “Flee?” -Full Chorus doubles the old Lady’s line: “GO!”

*37. WE ARE WOMEN – p. 154 During applause after this song, Chorus reach in box for Jesuit collars, and: on CUE Narrator: “Meanwhile, Candide stumbles on through the South American jungle…” -Chorus (quickly) puts on Jesuit collars, and:

*STAND on line: “… encampment of Jesuits.” (so that Chorus is already UP for #38. “Alleluia”)

38. ALLELUIA – p. 168 STAND on downbeat, m. 1, and sing. After this piece, p. 173, REMAIN STANDING, and, on CUE from Narrator:

“That night two reverent young Jesuits slipped off past the guards, off, off, deeper and deeper into the jungle where the benign rule of the Holy Jesuits had not yet managed to extend its glorious message of peace and charity.”

– Chorus SIT and take off Jesuit collars.

39. QUIET (Chorus tacet)

*40. INTRODUCTION TO ELDORADO UNDERSCORE – p. 174 During this music and dialogue, on CUE from Narrator at *END of line:

“Candide had indeed stumbled upon the paradise of his Panglossian dreams, Eldorado. Not only were streets indeed paved with gold, but greed, envy and hatred were nonexistent. Poverty and want unknown. The inhabitants of Eldorado were gentle, kind and witty, even in translation. There was love without possession, freedom without license, and justice without lawyers.” “and SHEEP…. LOTS of Sheep.”

*-On this final added line about “SHEEP,” – Chorus puts on sheep hats for:

*41. SHEEP’S SONG – p. 175a Chorus sings SEATED. During remaining music and dialogue (pp. 175i-175k), leave sheep hat ON. *-Chorus leaves sheep hats ON to sing #42.

*42. THE BALLAD OF ELDORADO – p. 180 Chorus sings (SEATED), with sheep hat ON. *On p. 185, at end of the “Ballad of Eldorado,” Chorus takes OFF sheep hats.

43. BON VOYAGE – p. 194 Just prior to song, Vanderdendur is amending his line to: “Sopranos! See to it that this youth is thoroughly refreshed!” After which, all the Sopranos will wave at Candide. *STOP waving by Candide’s line: “Oh, no sir.”

CUE (for music to start) from Narrator: “… as the merry villagers of Surinam gather at the shore to sing him off.” STAND as music begins in m. 1; SIT at end of song, p. 207

*44. WHAT’S THE USE? – p. 235 On dialogue-page before p. 235, on CUE from Narrator: “…We find Cunegonde and the Old Lady in Constantinople working in the Private Gaming Room in the Palace of the evil Prince Ragotski.” – Chorus puts on casino dice (*large red dice hung around neck).

*44. WHAT’S THE USE? – p. 235 STAND on downbeat, m. 1, to sing. *SIT and REMOVE dice at end of song, p. 244.

*47. GARDEN GROW – p. 266 *On Candide’s line (below), Chorus STAND in different groups, in a way that feels natural, human, and impulsive:

“Come. We will seek out a few modest acres, and clear them, and build a little farm, and casting aside all vain speculations as to the meaning of this meaningless world, we will fulfill our natural function working God’s earth from dawn to dusk—which will at least exercise our muscles.”

All are UP by downbeat, m. 1, when music begins. *Remain UP (and close folder) during blackout at end of song, p. 275, for applause.