A Marriage Below Zero - opera libretto - 2. Act One - London

Act One – London

Pre-Scene One: “There Upon the Finger”

(Stage center is MAMMA’s library. There is soft seating with a pair of double doors stage left. Stage center rear contains bright and cheery windows with lace curtains. Stage right has a large mirror on the wall. Action begins with the lights coming up first on the CORO in the flank positions as they intone the epigrafe. During this, the lights slowly rise on the room to show MRS. RAVENER sitting and reading and Mamma standing at the mirror admiring herself, and eventually re-pinning her hair)

 

No. 1 – Epigrafe

 

CORO:

The mighty oak of love has grown,

Stately of trunk, a root is set –

One in each heart, the seed was sown –

To rebuff the winds that buffet.

 

 

No. 2 – Recitativo-narrativo

(MRS. RAVENER, distracted from her book, sets it down and goes to her mother. MAMMA unintentionally stiffens as she sees her daughter’s face in the mirror, but then relaxes and makes a show of allowing MRS. RAVENER to assist with arranging her hair. Their motions, though graceful, convey a certain level of contention)

 

CORO:

As autumn turn to winter’s cold,

No thought to when a spring would come –

A return to a brighter day –

Can comfort to a winter-set mind.

This Elsie, a shell of herself,

Fills her long days with idleness.

She dutifully serves Mamma

With her long quest for looking young.

Now she lets others’ opinions

Tell her who she is and to act,

And for it, her mother loves her.

Now the frivolous woman is

Preferred to the serious girl.

And yet, on evenings quiet, still

Mamma is afraid of Elsie.

Though she shows no visible sign

Of a will of her own, she fears

What that will has done to Elsie.

Yet, a thaw on Elsie’s winter

Approaches like absolution –

Mrs. Ravener can forgive,

If first she can forgive herself.

No. 3 – Recitativo ed Scena con Aria

 

MAMMA:

Elsie, I don’t know what I'd do.

You're here, and you're such a comfort –

You make me feel more your sister,

And sometimes, I feel I am.

(affects a girlish giggle, then more seriously, taking MRS. RAVENER’s hand)

Don’t fade to melancholia.

There’s more to life yet than you know.

 

MRS. RAVENER:

(pulling her hand away)

Mamma, I think I need some rest.

 

MAMMA:

(affected surprise)

Elsie, please! What utter nonsense!

(then insisting – stroking her cheek)

Well dear – If you think it's the best.

(MAMMA freezes as the lights fade to only a spot on MRS. RAVENER. She moves forward and a scrim slowly falls on MAMMA, the CORO, and the Library set)

 

[Scena – Recitativo]

MRS. RAVENER:

Nowadays the most correct thing,

For a person my age and class,

Is to idle the day, and be,

Ever, consistently, blasé.

But – the present palls upon me,

Though I'm sure no one guesses it –

For my sake, and those around me.

I let myself succumb gaily

To superficialities –

Those which others pronounce on me.

With the present I'm content,

Sheerly reckless of the future,

And absolutely disinclined

To recollect the misery

Of my long-ago failed marriage.

(gripping her shawl around her)

To fall in love was my mistake.

To love the one man I promised

That I would never love at all –

In fact – with the man I married.

 

[Scena – Aria]

I wear a wedding ring –

It is concealed under

A scintillating cling

Of diamonds applied after.

I wear his wedding band –

It is fixed in its place,

Third finger of my left hand,

As token of my disgrace.

I hate it –

It is in the way.

But wear it –

Till I pass away.

I’d sooner

See it scraped and sold

But – rather –

His plain, honest gold

Touches me,

Ever about me,

Just where he,

Placed the ring on me.

I wear my friends’ distaste,

Send their glance asunder,

Their ill-willed nature they waste,

Calling me 'Mrs. Ravener.'

I wear his wedding band –

It is fixed in its place,

Third finger of my left hand,

As token of my disgrace.

 

  

Scene One: “So Easily Read”

(The scrim rises on a brilliantly lit ballroom. As the chorus streams on in evening wear, MRS. RAVENER moves to the flank area stage left to observe. The chorus members form into couples and dance during the number below. During this we see ARTHUR and DILL enter stage left. Many glances are paid to them: the men with cold shoulders, the women with swooning looks, especially to DILL in his uniform, but they quietly converse with each other. Soon we see a slight commotion stage right as MAMMA enters to warm greetings while LETTY and ELSIE trail behind. Soon they move away from MAMMA, who hardly notices their absence)

No. 4 – Coro di Ballo con Valce

 

MALE CORO:

Through the short Season

The young ladies and men can meet –

Dancing takes reason

And spins out the wanderlust.

 

FEMALE CORO:

Throughout the salon

Debutantes their partners entreat

Will end their Season

With proposals true and robust.

 

(The opening dance transitions into a gentle waltz, and we see two young men lead ELSIE and LETTY onto the dance floor. LETTY dances smoothly with an attentive beau, who seems to have eyes only for her. ELSIE’s young man whips her around the dance floor rag-doll-fashion, and maintains his head in an elevated and arrogant position, never looking at her. This man is clearly concerned with how he looks dancing, and not about his partner, or any such rot as ‘fun.’ As the waltz transitions back to the music of the chorus, we see ELSIE break free and smooth down her gown. She looks tired and bored. Soon, once she sees ELSIE, LETTY pulls away, but her young man holds her hand a moment, and kisses it. LETTY floats, smiling gaily, to ELSIE’s side.)

 

MALE CORO:

Through the short Season

The young ladies and men can meet –

Dancing takes reason

And spins out the wanderlust.

 

FEMALE CORO:

Throughout the salon

Debutantes their partners entreat

Will end their Season

With proposals well and robust.

(a due)

 

CORO:

Hence eighteen Seasons

Tonight’s debutantes will entreat

Tomorrow’s salons

With daughters coming out full-flushed!

No. 5 – Recitetivo con Arietta

 

LETTY:

(looking back to ELSIE’s partner – meaning it)

Elsie! Such a dancer gallant!

 

ELSIE:

(shaking her head – miffed)

Letty! How you surprise me.

For the poetry of motion

Will so often accompany

The man with complete lack of brains.

Must men always treat girls the same –

Just like pretty, dressed-up playthings;

Dolls – by turns rag or porcelain!

 

LETTY:

Elsie, this is your first Season,

And if that is your attitude,

You will have much trouble ahead.

Yes, this is my second Season,

And I feel as sage as Plato –

A man with never a pretty thing

To offer a beautiful girl,

Is a man with something to hide.

 

ELSIE:

(sardonically)

Letty, you are an affected,

A fragile, and winsome creature

Whose life's greatest accomplishment

Is to blush prettily on clue.

 

LETTY:

(taking her hands with warmth)

Elsie, dear. Thank you. Why, thank you!

 

ELSIE:

(dropping her hands with a chuckle, then turning her head distractedly)

And to think how desperately

I wanted meaningful contact –

With men – whom I assumed to be

Jolly and nice, and sensible –

Better than shallow womanhood,

(contemptuous look over her shoulder towards MAMMA)

Amongst whom, Mamma is the worst.

(wistfully – jealous)

Men are endowed with the freedom,

Born with shining rights of privilege,

To be, and do, just as they please.

(falling back to Earth – rueful)

There is only one way for me

To be free of my old Mamma –

Set up a household of my own!

 

LETTY:

(gesturing freely over the crowd)

You could have the pick of the lot.

 

ELSIE:

(near to crying)

But if all men are so lacking,

Even in the simple respect,

Not to offer only a string

Of the shallowest platitudes,

Then stand there like a grinning dolt,

Thinking I'd wear his compliments

Like a pearl necklace on my neck –

(crestfallen)

There's nothing else for me to do.

 

LETTY:

(amazed)

Why, you are an innocent thing!

And my dear, this is just the start.

There's plenty of pleasure ahead!

 

[Arietta]

A girl’s heart should be a whirl

Of waltzes and pineapple ices,

Of beaus and smiling nices

A twirl where dresses unfurl

With glance coy, but one that suffices,

A flit of laces, like roll of dices.

You must be among the swine, his pearl –

Platitudes – Yes!

Conversation – no…

Nothing charms less

Than a talkative beau.

 

Once I was stuck with a partner,

Who had trekked ‘round the world wide,

And while we danced, made me martyr

To dinge and grime on every side.

 

He chilled me on a frozen lake

High-a-top a Swiss mountain peak.

Then through a jungle he would take

To admire some termite teak.

 

We mucked through drunken Irish greens,

Dipped toes in a deceased Dead Sea,

Plied through rattle snake Western scenes,

And choked Sahara dust in me.

 

How I hated him – Think of it –

Grime and sweat and bugs all-a-hiss.

Salt and snakes and sand aren’t fit

Tramped through a ballroom lovely as this!

 

I’ll tell you what Elsie, it’s true,

A man who won’t say a pretty thing,

To a girl as lovely as you,

Surely doesn’t know anything.

 

For such a man has a secret –

At best, it’s just that he’s a boor,

At worst, to women he’s a threat,

And we ladies should know the score.

(recap: “A girl’s heart should be a whirl” etc)

 

 

No. 6 – Recitetivo con Canzona

 

ELSIE:

You're a fine juxtaposition.

Flighty frivolity grounded

(warmly taking LETTY's hands)

In true-to-your warm-heartedness,

And too flinty-shrewd common sense.

(sighing deeply)

As for me, I don't look forward

To much store of happiness.

An obscure governess, perhaps;

Shorthand writer, or – Or – something.

 

LETTY:

(suddenly inspired and slowly guiding ELSIE's attention to them)

Have you met Arthur Ravener?

He and Captain Jack Dillington?

They are known in Society

As 'Damon and Pythias' –

(explaining with innuendo)

Fast Friends – They're always together.

Girls don’t like them at all, because,

They talk downright painful sense,

And the men – (holding back with innuendo) They all avoid them –

(smiling ear to ear and cocking her head)

You, however, might enjoy them.

 

ELSIE:

(snootily)

I’m sure I should. Men capable

Of deep, and well-reasoned, friendships

Can't be fools to themselves, or me.

 

LETTY:

(akimbo)

Elsie, you are a strange girl – But –

I suppose you cannot help it.

They may be sober amusement,

And make you see just how sincere

These red-faced, flower-tongued, young men

Are when they come to talk to you.

 

(a woman from the chorus comes up to them and says: “Sing for us, Elsie. Sing!” Applause follow, and the piano is pushed to stage center. After some silent protestations, ELSIE goes up the piano for a recital. She and the pianist exchange glances and a word. LETTY slips away and during the number we see her ‘bump’ into ARTHUR. DILL bows and the three have a silent conversation that involves LETTY’s fan gesturing in ELSIE’s direction)

 

[Canzona – Mozart’s Lied Das Veilchen, K.476]

https://www.youtube.com/watch?v=U7AUclm14UA

 

ELSIE:

A vi’let in the meadow grew,

Humble and by all ignored;

She was a dear violet.

A young shepherdess comes along

With happy foot and merry soul

She comes, she comes,

Skipping along with song.

 

“Ah!” thought the vi’let, “Only if

I were Nature’s most lovely bloom,

If only for a moment,

Until that dear girl had me plucked

And in her bosom had me pressed,

Ah if, Ah if,

For a few moments long.”

 

Ah! Alas now! The maiden comes

And does not that dear vi’let see –

She treads upon the vi’let

Who sinks and dies, and yet she says:

“If die I must, at least I die

For her, for her

Here by her step I die!”

 

Poor little vi’let!

She was a dear violet!

(At the end, the chorus applauds and ELSIE defers accolades and pressure to sing more. While the piano is gradually moved to stage center rear, ELSIE smiles and fends off well-wishers. In the meantime, LETTY makes silent excuses to DILL, and begins to pull ARTHUR by the wrist towards ELSIE who has her back to their approach. When ELSIE turns around, she nearly steps into ARTHUR, then falls back, taken with the young man’s good looks.)

 

No. 7 – Recitetivo ed Arioso

 

LETTY:

(sing-song)

Elsie! I've been looking for you –

Have you met Arthur Ravener?

And this is Elsie Bouverie.

(She feels a slight pressure at her elbow, and turns into the arms of her beau. As she glides away with him, she waves slowly descending fingers and a sly grin at ELSIE)

 

ARTHUR:

(with a soft smile)

If I may be so bold to say,

That to me, you do not appear

To be enjoying yourself,

Miss Bouverie.

 

ELSIE:

(taken aback in a pleasant way)

True. I am not.

And perhaps I am vexed that,

Despite my efforts, my feelings

Are so easily read – I think

Such musical evenings as these

Are utterly detestable.

 

ARTHUR:

(moving in closer for a confidence; his smile broadens)

Now Miss Bouverie – Quarry? –

Is this a musical evening?

 

ELSIE:

(she laughs and makes a good-humored scowling face – she is charmed)

You address me as unconcerned,

As free, as if I were a man.

Now, you tell me this: if you are,

As I can tell, so fond of music,

How is it you deem to attend

(ARTHUR makes a sidelong look to see where DILL is)

An evening soirée such as this?

 

ARTHUR:

(his smile returning)

I'd ask the same question of you?

 

ELSIE:

Girls don’t have a choice, they simply,

As instructed, do as they are told…

(ARTHUR glancing for DILL again)

Your friend does not enjoy himself?

 

ARTHUR:

(snapping back to her – she got his attention; his grin fades)

Actually, Dill is rather keen

To be out in Society.

 

ELSIE:

(thinking out loud – admiring DILL’s form)

How rarely one finds two really –

Two unselfish, and sincere friends.

(ARTHUR stiffens, takes a small step away from ELSIE, but says nothing)

Nothing's as beautiful as friends.

 

ARTHUR:

(swallowing hard – coldly suspicious)

You’ve heard of 'Damon and Pythias?'

(ELSIE is aghast that she’s been so transparent)

I don’t mind. You are free to make

All the fun of us two you like.

 

ELSIE:

(regrouped and proud)

But – I don’t see where fun comes in.

I’m tired of the men I meet –

Dolts who rave about my pupils;

About my stupid peachy cheeks.

None of them have feelings enough

To form true friendships on their own.

So thus, I am interested,

In men with heart enough who do.

 

[Arioso]

ARTHUR:

That small kindness to others shown,

Is usually what we want for us.

To them, with love, we make a loan,

The better love to shine on us.

I hate our flowery age

And its tortured metaphors.

I think the future sage

Will question what our time was for.

Why did we live at all,

If in such irrelevance –

What a relief our fall

To an age of consequence.

(recap: “That small kindness to others shown” etc)

 

(As ARTHUR finishes, LETTY leaves her beau’s side. ARTHUR bows perfunctorily to ELSIE, and quickly returns to DILL’s side. He whispers something in DILL’s ear and the two begin to exit stage left. As LETTY moves up to ELSIE, MRS. RAVENER and MAMMA exit stage right. The CORO drifts off stage and takes up positions on the flanks as the lights begin to fade on the ballroom)

 

LETTY:

How did you like him?

 

ELSIE:

(dumbfounded)

Well. I just don’t know.

I had no opportunity

To make up my mind.

(the set darkens; the scrim falls)

 

        

Pre-Scene Two: “Jonathan to David”[1]

(The lights rise darkly on the CORO in the flank positions.)

          

No. 8 – Recitativo-narrativo

(during which ARTHUR and DILL enter from stage left. ARTHUR is in his shirtsleeves, with his tie loose around his neck. ARTHUR begins to help DILL unbutton his uniform)

 

CORO:

Finally the men are alone –

Gone the long day of being seen,

The wondering if the glances

Passed by wandering people

Had malice of suspect in them.

Here, alone, at end of day

The men can make room just for themselves.

 

 

No. 9 – Recitativo ed Duetto

 

DILL:

Arthur, what wrong? Are you not well?

 

ARTHUR:

(grins and pat the top of his own head – the CORO slowly begins to exit)

The wrong is – I may have found us –

A girl. A girl who swears she hates

Mawkish sentiments, as we do.

She – sent out signals – that she knows.

Her friend informed that Elsie

Wants a marriage as conveniently

(sinking feeling in his stomach)

As we need one.

 

DILL:

(taking him by the shoulders and holding him out a bit for a better look into his eyes)

What do you mean?

 

 

ARTHUR:

She'd like to move out completely

From her mother’s controlling grip –

She seems not to like the old gal –

Wants to set up her own domain.

 

DILL:

And, you say she knows about us?

 

ARTHUR:

(breaking free and turning from DILL)

I know Dill, you seem so hopeful.

 

DILL:

(taking a slightly fatherly tone)

Art. We should be as ambitious

As merit, and fine good looks,

Can carry us. I won’t always

Be a Captain in the Horse Guards –

Politics are calling, my boy.

One confirmed bachelor – Yes! Two? – no.

 

ARTHUR:

(turning to face DILL but taking steps backwards, away from him)

Don’t pressure me to marry her –

 

DILL:

(deftly taking his left hand)

Just wait. Let it play itself out.

Just confirm your suspicions

Behind her motivations

Play themselves out to be correct.

If she knows what she’s about –

Then we all win.

 

ARTHUR:

(dropping DILL’s hand)

Don’t pressure me,

Not to marry her, not anyone –

When I’m already married to you.

Jonathan would not have done so,

Against the heart of his David.

(the two begin to dance, with a subtle pressure from DILL to draw ARTHUR to him. Only at the end is he successful)

 

[Duetto]

DILL:

Have no fear, my boy, about me.

From the first day we met in school,

I have shielded you with my love,

The one in which we have only grown.

 

ARTHUR:

Without fear, my Dill, you will see.

From the first day we met in school,

My brave knight swept down from above,

In that kindness, love’s seed was sewn.

 

DILL:

I’ll never let you turn

Loosely upon the wind.

 

ARTHUR:

In your love I will learn

How to be thick-skinned.

(a due at recapitulation)

 

ARTHUR:

My shining knight…

 

DILL:

To put wrong to right.

 

ARTHUR:

My gallant lord…

 

DILL:

With his faithful sword.

 

ARTHUR:

My protector…

 

DILL:

Sacred to my word!

 

ARTHUR:

Together strong

 

DILL:

In a world that’s wrong.

 

DILL:

My winning lad…

 

ARTHUR:

I shouldn’t be sad?

 

DILL:

My charming boy…

 

ARTHUR:

You I don’t annoy?

 

DILL:

My dear partner…

                            

ARTHUR:

Always together!

 

DILL:

Together brave

 

ARTHUR:

In a union grave.

(recap: “My shining knight…” etc and “My winning lad…” etc sections without couplets a due)

 

ARTHUR:

Together strong

In a union grave.

 

DILL:

In a world that’s wrong.

Together brave

(a due)

(ARTHUR embraces DILL hard, placing his cheek on DILL’s chest. DILL, in relief, slowly encloses his arms around ARTHUR, lowering them to ARTHUR's waist as they little by little begin to dance together)

 

ARTHUR and DILL:

How could I go on without you?

What world would I live in,

If I had to suffer through,

And loose you in the bargain.

(DILL kisses ARTHUR on the forehead, and wipes a tear from his beloved's cheek. The lights fade. DILL leads ARTHUR by the hand to exit stage right)

 

 

Scene Two: “A Wave of the Hand”

(The scrim rises, and lights come up on a cheery morning in MAMMA’s library. MAMMA is quietly 'reading' a fashion magazine by squinting, and periodically moving the page closer, and then slowly away from her eyes. Enter ELSIE in a complete huff. A pinafore dusted in flour and red splotches of jam covers her day dress. Her hair is slightly disarrayed, and she has more jam, unbeknownst to her, smeared on her cheek)

 

No. 10 – Recitativo ed Arietta

 

ELSIE:

Now. Where is that Mrs. Beeton?!

(storming over to a shelf and roughly taking a tome)

Her jam tart's as hard as a rock!

(slams book down, brushes hair out of her eyes and huffs a open a page)

I hate to start something that I

Cannot successfully finish.

 

MAMMA:

(making an exaggerated show of putting her magazine down)

Elsie! Remember composure.

 

ELSIE:

(bending over her book menacingly)

This predicament makes me boil –

(MAMMA sighs pointedly. ELSIE, after a long pause of reading, slams the book shut, which MAMMA pretends startles her)

This Beeton makes my blood simmer!

 

MAMMA:

Elsie, remember composure!

(rising and approaching ELSIE as a model example)

In circumstances, such as these,

Do not resort to crude 'boiling' –

A lady says: 'ébulliton.'

 

ELSIE:

(amazed at the lengths of her pompousness)

Is there no end to your pretence…

Do tell, what is wrong with a good,

Old-fashioned, Anglo-Saxon 'boil?'

 

MAMMA:

Everything Elsie, everything –

Recall how a lady should act.

 

[Arietta]

A wave of the hand,

Yes, Elsie dear, is best –

A wave of the hand,

Does more than all the rest.

 

Every girl of quality

Glides from non-event to non-event.

Sage in her frivolity,

While manly passions spill rage and vent.

A true girl of quality

Treats each cause like the answer’s been sent.

Generally angry people

Get the worst of it in this world –

Quiet wrath is better able

To help all who are imperiled.

Though rising voices ring to them,

Cold, distant, stars don’t care, surely.

Quiet wrath does more to amend

Than ebullitions of fury!

Every girl of quality

Glides from non-event to non-event.

Sage in her frivolity,

While manly passions spill rage and vent.

A true girl of quality

Treats each cause like the answer’s been sent.

 

A wave of the hand,

Yes, Elsie dear, is best –

A wave of the hand,

Does more than all the rest.

 

No. 11 – Recitativo con Duettino

(As MAMMA’s arietta ends, a man of the chorus enters dressed as the butler. In his gloved hand he brings MAMMA a silver tray with two calling cards on it. She takes them, and after a brief moment of telescoping them to and fro, holds them up triumphantly towards ELSIE.)

 

MAMMA:

(to the butler)

Show them in! (to ELSIE) Why, it seems you have

Two fine young men to call upon –

Me! Yes, your dear Mamma.

 

ELSIE:

(ribbingly – hiding her excitement to see the cards ) Oh, my.

Curious is our quaint custom,

Than when a boy calls on a girl,

He pretends to woes the Mater.

(enter ARTHUR, with DILL lagging behind. ARTHUR wears a morning suit and DILL his uniform)

 

ARTHUR:

(bowing slightly to MAMMA)

Mrs. Bouverie; a pleasure.

 

MAMMA:

(beaming a flash at ELSIE – happy for such a handsome prospect for her daughter)

Yes, likewise, Mr. … ?

 

ARTHUR:

Ravener.

May I – (gesturing to DILL) Captain Jack Dillington.

 

MAMMA:

Captain? Of the Royal Horse Guards –

(confidentially)

I do like 'a bit of scarlet,'

Or in your case, a bit of blue! [2]

(she chuckles at DILL’s startled reaction – then winks in reassuring confidence)

 

DILL:

Charmed, madam. (liking her instantly – kissing her hand effusively)

 

MAMMA:

Oh, Captain – charming.

(a vague, indifferent, hand-wave at ELSIE)

I suppose you’ve both met Elsie?

(to ELSIE)

Well now. We must entertain them.

Why Captain, (extending her arm) let’s tour the garden,

Where you can regale me with –

Your true, but intriguing, story!

(DILL takes her arm and DILL and MAMMA exit. ARTHUR's eyes linger on their retreating figures for a moment)

 

ARTHUR:

(turning awkwardly to ELSIE, then grinning broadly)

If I may say, Miss Bouverie –

Somehow, you are all over jam.

 

ELSIE:

(mussing her hair, untying her pinafore)

Ugh! Don’t remind me of my woes.

(An odd silence follows, the opportunity of which lets ELSIE remove her apron, go to the wall mirror and adjust her hair. ARTHUR steps up a respectful distance behind her)

 

ARTHUR:

The other night, did you mean it –

About head-turning; platitudes?

 

ELSIE:

(spinning on him and making him start)

I’m afraid you don’t know me well –

For my prosaic credentials

Are scorned in most polite comp'ny.

 

[Duettino]

ARTHUR:

You say I interest you because,

I do not pay you silly compliments.

Please don’t think me impertinent

That I rejoice in someone who

Shakes off such nonsense as I do.

 

ELSIE:

Mr. Ravener, I won’t take pause,

For I have ideas of my own devisements.

If I’m to like you, that’s well-meant,

I won’t talk metaphysics with you,

But let’s plain-sense talk through and through.

 

ARTHUR:

Perhaps you will like it better

When you are older?

(he takes out his handkerchief, and makes a mirrored gesture to his own cheek and to hers)

 

ELSIE:

Perhaps I won’t hear it better

When I am older.

 

ARTHUR:

(he tentatively approaches her, handkerchief held out to wipe her cheek)

And what would happen to you if –

(he touches her)

If you fell in love?

 

ELSIE:

Affectionate displays bore me stiff –

(slowly reaching up to his hand)

Even if in love.

(she gently pushes his hand away)

 

(they dance together)

 

ARTHUR:

Perhaps you will like it better

When you are older?

And what would happen to you if –

If you fell in love?

 

ELSIE:

Perhaps I won’t hear it better

When I am older.

Affectionate displays bore me stiff –

Even if in love.

(a due)

 

No. 12 – Recitativo ed Scena con Ballata

(ELSIE, returning to the mirror for one final check, becoming chatty in nervousness. ARTHUR moves towards the garden door, and looks out)

 

ELSIE:

I could not be demonstrative –

It seems to me dreadfully coarse.

I flatter myself extremely

(turning again suddenly)

Matter-of-fact…

 

ARTHUR:

Yes. I thought so,

And so did…

 

ELSIE:

(after a short pause – then a growing, knowing, grin)

I trust the Captain

Is in good Health..?

 

ARTHUR:

(interrupting) Dill is fine.

(turning momentarily cold – is ELSIE ridiculing them?)

Why so interested in him?

 

ELSIE:

(flip, nearly sing-song)

Oh, it’s only because you are.

The mortal attachment of two,

Obviously so well-fitted,

Young men, intrigues me very much.

(sees ARTHUR grows pale – concerned)

Are you all right? She we sit down?

 

ARTHUR:

(suddenly taking her hand – overly serious)

Do you think a man, and woman,

Could conduct themselves like siblings –

I mean – that is – platonically?

 

ELSIE:

(flip, nearly sing song. Swinging his hand playfully)

Oh, if I ever 'Fell in Love,'

I can’t see the necessity

Of discussing it with anyone –

Especially, not the 'Loved One.'

(ELSIE sees ARTHUR smile; relax. She instantly feels uncomfortable, lets loose of his hand and changes the subject)

 

You know – I don’t believe I know

Damon and Pythias' story –

Would you mind telling it to me?

(she settles on a seat)

 

[Ballata]

ARTHUR:

Such are the powers of partners –

To breed contempt of death,

To transmute the desires of life,

To humanize cruelty,

To turn hate towards love,

And subsume lust for punishment

Into the acceptance of mercy.

 

Damon and Pythias were

Traveling scholars and partners

Who loved and shared all equally.

 

In Syracuse, Pythias

Was wrongly accused of crime

By one jealous of their strong love.

 

In chains he says he can prove

His innocence if allowed

To travel home and then return.

 

Damon surrenders himself,

A captive, proxy-prisoner,

So Pythias can depart free.

 

If the man does not return,

Before the appointed time,

Damon must then forfeit his life.

 

The deadline was appointed by

The tyrant Dionysius,

Who’d sooner kill the both of them.

 

Damon has no doubts that Love

Will speed Pythias’ return,

And that only death could stop him.

 

For if death keeps him away,

Then Damon must go join him,

And the state will do him the service.

 

(recap: “Such are the powers of partners” etc)

 

The morning of Pythias’

Appointed return arrived,

So Damon was dragged from his dungeon.

 

Displayed in the city square,

Where all taunted his rashness,

And spat on his stupidity.

 

“Pythias” they say “is proof

No real attachment exists

Where man would sacrifice for man!”

 

But Damon only counters

“If my Pythias were here,

He would slay you for your slander.”

 

Dionysius arrives and,

As the noon hour approached

He readied the guards to kill Damon.

 

But a spark of pity bids

The tyrant to instruct them,

"Kill him with the least of pain."

 

The sun inched its apogee,

Pythias has not returned

And one lover will die for Love.

 

(recap: “Such are the powers of partners” etc)

 

But through the still, something moves,

A hooded figure appears

Who throws himself under the sword.

 

Dionysius stays the blow –

His own hand deflecting it,

While all stare at the hooded man.

 

Damon’s hands cup the panting head,

Removing the hood to show,

Pythias had returned to him.

 

Pirates had delayed his show,

But killing them and running,

He had made it to die instead.

 

So moved the crowd became then,

They praised the true love of Friends,

A love only equals create.

 

That Dionysius accepts

Pythias’ new evidence,

Enables both men to go free.

 

He arrests the evil-doer

And wishes to initiate

Into the heroes’ brotherhood –

 

A third part to their affection,

The newly reformed tyrant

Wishes to be newly minted.

(ELSIE rises and takes his hand)

Such are the powers of partners –

 

ELSIE:

To breed contempt of death,

ARTHUR:

To transmute the desires of life,

ELSIE:

To humanize cruelty,

ARTHUR:

To turn hate towards love,

 

ELSIE and ARTHUR:

And subsume lust for punishment

Into the acceptance of mercy.

 

 

No. 13 – Recitativo con Terzetto

(Enter LETTY, cheerily pulling off her gloves. She is looking down and calling for ELSIE. She makes it completely into the room before stopping cold, apparently shocked to see ARTHUR and ELSIE in such an intimate pose)

 

LETTY:

(sing-song)

Ma chère, Elsie…Oh! – I – oh.

 

ARTHUR:

(making a quick move to the door – departing ELSIE, hastily greeting LETTY)

Good day, Miss Bouverie – Good Day.

Good Day, Miss Bishop – Yes. Good Day.

(exit ARTHUR)

 

LETTY:

(stalking over to ELSIE – deadly serious)

Elsie! – you amaze me – I feel

Your mother will have much to say!

 

ELSIE:

(disconcerted by the non-flip way LETTY is acting. She acts more flip to compensate)

So then, let’s you and I stay friends,

And thus, say no more about it.

 

LETTY:

(angry)

Be flip if you like, but listen –

When I conceived to introduce

'Damon and Pythias' to you,

I thought they’d keen your appetite,

And by contrast, whet the appeal

Of some 'regular' men to you –

I never imagined you'd be…

Serious.

 

ELSIE:

(freshly angry)

Who said 'serious?'

Don’t put ideas into your head,

For we hardly know each other.

 

LETTY:

People are coupling your name

With that of Arthur Ravener –

Oh, Elsie. I’ve made a mistake.

He’s unpopular to the point

The women avoid him – and men –

They won't look at him, or at his…

 

ELSIE:

(interrupting)

Did I say I care for Arthur!?!

 

LETTY:

No, but my prophetic soul speaks,

And it tells me in simple terms –

You'll throw yourself away for him.

 

MAMMA:

(from outside the room)

Good day gentlemen – Call again!

(enter MAMMA. ELSIE and LETTY give each other some room)

Well, Elsie, he’s no baronet.

His parents left him a good name,

And quite a comfortable income…

(ping-ponging the passing scowls between the girls)

Are you vexed?

 

LETTY:

(talking about ELSIE as if she were not in the room)

Her? Oh, not a bit.

Why, everyone knows we women

Cannot reason for anything,

(glaring at ELSIE)

But – None can beat us at fibbing.

 

MAMMA:

They are nice young fellows, Elsie.

(pregnant pause to see if this drives home)

And are certainly devoted…

(MAMMA sees this hits home with LETTY, but all she can see is a certain peeved blankness in ELSIE)

…Truly so, to one another.

He’s fond of you, but there’s something,

Something, I do not understand.

When with you, he seems, unengaged –

Like his mind is sorely burdened…

 

ELSIE:

Well, better than not possessing

A mind to have anything on –

(leers at LETTY)

As is the case with the usual

Society non-entities.

(The women come to stage center front, and for the first three strophes of the terzetto, stand relatively non-interactive and motionless. Thereafter, they dance in a strained reaching out to one another for understanding. Slowly the lights fade on the library, and the scrim falls behind the women. Towards the end, the CORO assembles in the dark in the flank positions.)

 

[Terzetto]

MAMMA:

Elsie, I do not like to hear

You pass judgment on those you meet –

As for Arthur, I think you’d make

A remarkably modern couple –

You’re both hard-headed and set,

(aside to LETTY)

And interminably dull.

 

LETTY:

Elsie, I do so have a fear

That fate will turn a nasty feat –

I trust you know the choice you make

Is one that will be hard to juggle –

Your heart be your guide, do let,

To see the obstacle.

 

ELSIE:

(aside)

Circlets, buzzing about my ear

They have opinions, all elite –

Judging this and that for my sake

And so Mamma renews my struggle –

To free myself of her yet,

By some miracle.

 

LETTY:

I hope she knows, the path she treads…

 

MAMMA:

They have cool hearts, and cooler heads…

 

ELSIE:

(aside - mockingly)

They’ve planned my future; these truebreds…

 

MAMMA:

Elsie, but I must confess

That when he’s with you

The two of you do not seem…

 

ELSIE:

(sarcastically)

“Tender,” is the word you want?

 

LETTY:

(helpfully to MAMMA)

Épris, fits the case better…

(approving nod from MAMMA to LETTY)

 

MAMMA and LETTY:

If you cannot understand,

Than substitute “tender” –

For neither of them you seem.

 

LETTY:

For you, a rocky path outspreads…

 

MAMMA:

Crisis may come to loggerheads…

 

ELSIE:

(aside – mockingly)

They’ve planned my future; into shreds…

 

MAMMA:

Elsie, though he's not the worst,

I wonder if you know

What you may have to go through?

 

ELSIE:

Mamma, Please keep first things first.

Letty, you have to know,

Not just anyone will do.

 

LETTY:

Elsie, for freedom you thirst,

But do you really know

What you are getting into?

 

LETTY:

I hope she knows, the path she treads…

For you, a rocky path outspreads!

 

MAMMA:

They have cool hearts, and cooler heads…

Crisis may come to loggerheads!

 

ELSIE:

(aside - mockingly)

They’ve planned my future; these truebreds…

They’ve planned my future; into shreds!

(a tre)

 

MAMMA, LETTY and ELSIE:

A marriage of convenience

Has a hard-sounding ring,

But in the right circumstances,

Relief is what it can bring!

(darkness – end of scene, exit ladies stage left)

 

 

Pre-Scene Three: “Uneasy”

(The lights rise darkly on the CORO in the flank positions.)

           

No. 14 – Epigrafe Continuo

 

CORO:

What fruit from sewing comes forth

Is that which we ourselves supply it –

Sweet or bitter, it must henceforth

Blame or praise, be what we made it.

No. 15 – Recitativo-narrativo con Recitativo

CORO:

Like the cold press of autumn

Shortening summer days,

The weeks of the Season

Progress a pace, and Arthur

Visits Elsie daily.

They chat and laugh like siblings.

The Captain pressures Art

To see if the match is right –

Motivation in place

For the three to get their wants.

(The lights come up on ARTHUR and DILL alone in front of the scrim, stage center front. They are dressed in their evening clothes. DILL turns Arthur to him and fixes his white tie)

 

ARTHUR:

Dill, I don't know about tonight.

 

DILL:

(grabbing his shoulders in a strong wake up)

Only ask, if you are convinced

She's with us, and in on the joke.

 

ARTHUR:

(aggressively raising his arms and knocking DILL's hands away)

You’d place our future in the hands

Of a girl who might not yet know

What it is her head and heart want.

(lights dim on them as they remain frozen)

 

 

Scene Three: “Would you have the Both of Us?”

(The lights fade from MRS. RAVENER, but she stays where she is. The scrim rises on a brilliant ballroom. The chorus, in eveningwear, comes streaming to stage center and begin dancing. ARTHUR and DILL join the crowd, and during the CORO section, LETTY, ELSIE and MAMMA enter. DILL catches MAMMA’s eye, and he bows to her)

 

No. 16 – Finale dell’Atto Primo

 

[part 1 – Coro di Ballo]

MALE CORO:

Through the short Season

The young ladies and men can meet –

Dancing takes reason

And spins out the wanderlust.

 

(aside – veiled but hostile glances to ARTHUR and DILL)

The reception accorded

That 'Damon and Pythias'

Is always very polite,

But never warmly cordial.

We’d prefer not to see them;

Despite breeding, we have our suspicion,

They’re not our kind, despite position.

(DILL and an older lady of the chorus meet and begin an exclusive conversation. ARTHUR peers nervously around the room, and stiffens at the looks he is getting.)

 

FEMALE CORO:

Throughout the salon

Debutants their partners entrust

Will end their Season

With proposals well and robust.

 

(aside – noticing the way the men look at ARTHUR and DILL)

The men avoid the Captain

So he usually tacks himself

To the skirts of a matron,

And talks of dull matters like

The servants and the weather;

Despite breeding, we have our suspicion,

They’re not our kind, despite position.

 

MALE CORO:

Through the short Season

The young ladies and men can meet –

Dancing takes reason

And spins out the wanderlust.

 

FEMALE CORO:

Throughout the salon

Debutants their partners entrust

Will end their Season

With proposals well and robust.

(a due)

 

[part 2 – Recitativo]

MAMMA:

(after having waved at DILL. ELSIE trying to get a look at ARTHUR, but failing)

Did I ever tell you dear,

That charming Captain of Arthur's

Reminds me of your dear father –

Not in looks, of course, but in…in,

Oh – Never mind. (noticing ARTHUR) You know, all men,

Comely arrayed in evening dress,

(DILL gently pushes ARTHUR forward so he can make eye contact with ELSIE)

Are finely handsome, but Arthur…

 

ELSIE:

(finally seeing him – half swooning, half jealous)

…Arthur is extremely pretty,

More so than I in my attempts.

 

LETTY:

(taking her arm and pitying her)

If you could but find in your heart

To wish he were not so pretty.

(catching sight of her beau from Act One, Scene One)

Well, I for one am not going

To “Wall-flower” myself with one

With nothing to say about me.

I, for one, enjoy male dotage

From flushing, stammering, young men.

(flits off to her beau)

 

(DILL leads himself and ARTHUR up to MAMMA and ELSIE)

 

ELSIE:

If the opportunity comes,

I should quit the society

Of women once and for all.

 

DILL:

(to MAMMA, bowing)

Delighted to see you again.

(he kisses MAMMA’s hand, and she joyfully protests the compliment)

 

ELSIE:

(DILL moves on to a strained and cold hand touch with ELSIE)

Why do you not call on us, Captain?

 

DILL:

(wry glance at ARTHUR)

Would you care to have the both of us?

 

ELSIE:

(extracting her hand and feeling fronted – glancing wide-eyed at MAMMA)

I don’t see why not. There’s room enough.

 

DILL:

(darkly)

I wonder if you will always be

So accommodating, Miss Bouverie?

 

ARTHUR:

(aside)

Take care Dill. (to ELSIE) He will leave us in peace.

(DILL bows to ELSIE, turns to MAMMA, who smiles and extends an arm. DILL slips his arm in hers and takes her to a quiet spot on the side. A waltz begins. MRS. RAVENER moves forward and begins to watch ELSIE as closely as she can – nobody sees or acknowledges MRS. RAVENER’s presence. ARTHUR takes ELSIE's hand and they begin to dance.)

 

[part 3 - Valce con Recitativo – the waltz is a riff on Das Veilchen]

ELSIE:

I am so glad you have come,

You can raise me up

From my deep sloth of despond.

(ARTHUR seems unsure what to say – ELSIE muses out loud)

 

I wonder if that sweet curl

Your mustache carries

Can be purely natural.

(She laughs, which is what she expects ARTHUR to do, but he does not. She shrugs, and after a little awkward silence, unconsciously begins to sing some of the words from Das Veilchen.)

 

“She was a dear violet”

(hums five beats)

“There skipping along with song”

 

ARTHUR:

(seeing that ELSIE eyes eagerly follow LETTY and her beau dancing)

Does that display interest you?

 

ELSIE:

(lying)

No. It disgusts me.

Devotion on display? No!

 

ARTHUR:

It won’t last. In two years time

He’ll need great effort

To keep himself at her side.

(another awkward silence, more thoughtless singing)

 

“If only for a moment”

(hums five beats)

“For a few brief moments long”

 

ARTHUR:

What if you were in her place?

Would you a husband

Who’d calmly sit by your side.

 

One who’d talk, as I have done,

Still and serious?

 

ELSIE:

Yes,

I would be satisfied.

(now the silence is nervous, but expectant)

 

“He treads upon the vi’let”

“But for him, for him”

“Here by his step I must die”

 

ARTHUR:

Elsie, can you promise me

To never love me,

Better or worse than a brother?

 

ELSIE: Arthur, I can promise you…

ARTHUR: To never love me?

ELSIE: Better or worse than a brother.

 

ELSIE: “That poor little violet”

ARTHUR: To never love me?

ELSIE: “She was a dear violet”

(end of waltz – in silence the couples retreat, but ELSIE and ARTHUR remain stage center front, frozen)

 

ARTHUR:

(spoken – after a pause)

Elsie, will you be my wife?

 

ELSIE:

(spoken – after a pause)

Gladly, I accept…

(ARTHUR looses all color and seems about to faint)

Arthur! Have you taken ill?

(suddenly DILL is there to support ARTHUR and keep him on his feet. During the following a capella section, all seem to be caught up in their own thoughts)

 

[part 4 – a capella section]

MAMMA, LETTY, MRS. RAVENER, ARTHUR and DILL:

The one who never truly knows

What his or her heart is about

Deceives himself, or the world –

Deprives herself, or the world –

It’s our task to leave room

For interpretation to show –

For inspiration to grow –

 

ELSIE:

I’ve vowed to never love

The man I’ve vowed to marry,

But I may already love

The one I’m bound to marry.

 

CORO:

The one who ever truly knows

What his or her heart is about

 

ARTHUR and DILL:

Deceives himself, or the world –

 

MAMMA, LETTY and MRS. RAVENER:

Deprives herself, or the world –

 

MAMMA, LETTY, ARTHUR and DILL:

It’s our task to leave room

(together at recapitulation)

 

ELSIE and CORO:

For interpretation to show –

MRS. RAVENER:

No, Elsie, No –

For inspiration to grow –

MRS. RAVENER:

No, Elsie, No –

(We see half the assembly, with DILL pushing ARTHUR to center stage, and the other half, with MAMMA pushing ELSIE to center stage. The couple reluctantly takes hands.)

 

[part 5 – tutti]

TUTTI:

One love from two set hearts must grow

The each must feed the one with its blood

Or else starve the seed that they sow

And deprive a blossoming of bud.

 

(darkness – End of Act One. The scrim falls, and all exit except MRS. RAVENER)