Act Two – Kew

Pre-Scene One: “Words Are Mostly Sins”

(MRS. RAVENER Before the scrim – During the Scena, the chorus takes up the flank positions in the dark)

No. 17 – Recitativo-narrativo con Scena

 

MRS. RAVENER:

Arthur was eager for only

An engagement that could be called,

Duly short – but well publicized.

Yet, for appearances, Mamma

Insisted on a three-month wait.

Yet time enough for me to see

Men's attitudes change to Arthur -

Apologetically change too.

Now those who looked down upon him

Were quick to smile, and shake his hand.

I prattled about a long trip –

An American Honeymoon!

But Arthur claimed them old-fashioned.

“They’re not cunningly recherché,

But dreadfully bourgeois – passé,

Why wouldn't we follow closely

What the Duke and Duchess have done?”

He appealed direct to Mamma,

Skillfully touching her foibles.

She acquiesced, then insisted.

"No honeymoon for you, Elsie."

Instead, she bought this house in Kew.

(The scrim rises to darkly reveal a well-appointed salon at night. Lamps burn dimly, and ELSIE and MARIE are sitting, bored and occasionally yawning. They are unaware of MRS. RAVENER.)

Arthur did the interiors –

(she raises her arms to showcase the room)

He insisted on doing them –

And here he left me, all alone,

To while away our wedding night.

Marie, my only company,

Arthur had hired as my maid.

Arthur said he'd be back 'for long.

(MRS. RAVENER moves about the room, reaching out to an unresponding ELSIE)

 

[Scena – Recitetivo]

Foolish girl, I let me indulge

In complacent conceitedness –

I told me my soul was above

Social shallowness, but I know,

Through hard-won experience that,

A human heart is built to love,

Despite efforts to divert it.

I willfully ignored my nature,

And for it I paid dearly – a debt

To this hour, that is not yet absolved.

 

[Scena – Aria]

May I be forgiven that sin,

And the thousand of like cruelty –

Rebelling as I did begin,

Headlong against their absurdity.

May all who in like manner sin

Find some perfect absolution –

For it’s only Society

That knows these words are mostly sin –

For it’s only Society

That deserves true retribution.

(recap: “May I be forgiven that sin” etc. Exit MRS. RAVENER)

 

 

Scene One: “The Rash Bride”

(Same as above – lights brighten in the salon.)

     

 

No. 18 – Recitativo-narrativo

 

CORO:

Time ticks on a pace,

Moment becomes moment,

And step drags out step,

Elsie shrugs the pangs of wonder –

What if Arthur has been hurt?

What was the urgent nature

Of the business that took him.

Languidly, Elsie closed her eyes.

Time ticks by a pace.

 

 

No. 19 – Recitativo ed Arietta

 

MARIE:

(speaking to stay awake)

Is it that madame,

Is recently married?

 

ELSIE:

(started from her reverie with annoyance)

Did you not know that

We married this morning?

 

MARIE:

Comment! (surprise sinking to incredulity) You were, married –

This morning – To day?

 

ELSIE:

(standing – pettishly)

Yes. Certainly. When my husband

Engaged you, he said as much. No?

 

MARIE:

(rising humbly)

Oh – no, madame. He said nothing,

Only, that I was to be maid,

That is, Lady's Maid, to his wife.

I thought: "Oh. They are long married!"

(ELSIE sinks down again, pointlessly)

But madame, please pardon mois,

(wide-eyed)

If married so soon this morning,

Why is it that monsieur leaves you –

All alone – So soon, this evening?

 

ELSIE:

(angry)

And why not? You are very rude.

(after a pause)

Marie, I am sure that you know

It’s impolite to stare like that.

(MARIE curtsies apology)

 

[Arietta]

MARIE:

Madame will pardon mois –

So droll, a groom’s faux-pas,

For his wedding night to be away –

To leave his bride, n'est-ce pas?

Madame will pardon mois –

For I do not know the English way!

 

Such a thing surprises,

We French women, they say,

No one realizes

Marriages can be that way –

Of the type that here outpours

Upon these English shores.

 

Madame will pardon mois –

So droll, a groom’s faux-pas,

Perhaps we French are too puritan –

For an absent groom, n'est-ce pas?

Madame will pardon mois –

For I do not know the English-man!

(MARIE curtsies and sits again)

 

 

No. 20 – Recitativo-narrativo con Recitativo ed Valce

 

CORO:

Time ticks on a pace,

Moment becomes moment,

And step drags out step.

Time ticks on a pace.

 

ELSIE:

(rising)

Up Marie. We must use the time.

I will teach you how to waltz.

 

[Valce]

(the two awkwardly come together, and we hear faint-sounding echoes of the waltz of Act One, Scene One, only now it is drained and bitterly hollow to ELSIE. They dance, but eventually ELSIE stops in frustration)

 

No. 21 – Recitativo ed Aria

 

ELSIE:

(rising)

Well, Marie, it's now One O’clock.

It seems that Mr. Ravener

Won’t join us anymore tonight.

Dismissed. You should now go to bed.

(MARIE curtsies. But, as she makes her way to the door, she hurriedly comes back and kisses ELSIE on the cheek. She curtsies again and exits)

 

ELSIE:

Silly girl. (touching her cheek) Why would she kiss me?

Not appropriate for down-stairs

To willy-nilly kiss upstairs.

(melting)

I should have been nicer to her –

Arthur should be nicer to me –

But at least it seems that the girl

Can sympathize somewhat with me.

 

[Aria]

Elsie! What is your reluctance?

You have what you said you wanted –

A life where you won’t be stunted,

To enjoy your independence!

(musing hopelessly)

Arthur looked so fine today,

Near him I felt he blushed prettier,

Than the rash bride at his side.

A tremble his mustache lay,

As he trow his nubial bier,

And his nerves he could not hide.

As he plaited to me his sham vow

I braced to take my own, somehow –

But for all, how lovely is the man,

Who from my own love I must ban.

(recap: “Elsie! What is your reluctance?” etc)

 

(darkness – ELSIE exits)

 

 

No. 22 – Coro-narrativo con Arioso

(The lights come up darkly on the chorus in the flank positions. MRS. RAVENER comes forward for her solo, then retreats into the darkness afterwards. During the following number, we see the light slowly rise outside the salon. MARIE bustles in with a silver tray on which is a coffee pot, etc. This time she wears a pinafore. After setting the tray down, she stretches and yawns, then proceeds to open the French doors. Immediately fresh air and garden-scents animate the lace curtains)

 

CORO:

Almost dead with fatigue, she slept.

Her dreamless sleep was a blessing,

And she woke to the sun dancing

The landscape carpet of her room.

Picking a pretty morning dress –

Last night would be put behind her.

 

[Arioso]

MRS. RAVENER:

I was determined to retune

The strains of married life with mirth.

Men hold cow-eyed women no boon,

Mopping, nagging with smiles dearth.

Men think the sad ones are but daff,

And strike a chord with those who laugh.

 

CORO:

Down the broad staircase, Elsie sailed.

She was Mrs. Ravener now –

The best equal in her own home,

And though young, she knew, matrons sail,

Buoyed by the weight of grace from trips.

The term had a dignified air,

As it resounded in her ear.

(lights fade on CORO)

 

No. 23 – Recitativo ed Cavatina a Duettino

 

ELSIE:

(doors burst open by ELSIE's hands at eye level. She beams and sings out)

Good morning Arthur! I do trust…

(looking around)

I haven't…Kept you – Waiting… (stands still) long.

 

MARIE:

(curtsying)

Madame, hélas, Monsieur’s not here.

He's yet to come home this morning…

 

ELSIE:

(mood turns to one of matter-of-fact concern)

No messages? No telegrams?

 

MARIE:

(looks on ELSIE with open pity)

Not one, madame.

 

ELSIE:

(feeling herself burn with rage at Arthur, and humiliation at MARIE's stare)

Well. Never mind.

(she goes to the table and gropes for a chair to collapse in)

 

[Cavatina a Duettino]

ELSIE:

(aside)

How her looks angers me –

Full of blatant pity –

Un-presupposing.

How very un-English,

To openly care.

 

MARIE:

(aside)

How her look saddens me –

Deserving of pity –

Un-precedenteding!

Even for the English,

Not to give a care.

(a due at recapitulation)

 

 

No. 24 – Recitativo con Cavatina ed Duettino

(there is a commotion outside the salon doors in the hall)

 

ARTHUR:

(from outside)

Right this way. She's in the salon.

(ELSIE pricks up her ears, rushes to the doors as they open to hug Arthur, but unaccountably hugs DILL as he steps into the room. She recoils wide-eyed. ARTHUR follows DILL into the room. Both men wear morning suits.)

 

MARIE:

(aside)

Un-precedenteding – Voilà tout!

 

DILL:

(first bowing coldly, then extending a hand that ELSIE does not take)

Ah – Mrs. Ravener? I am…

(withdrawing his hand awkwardly)

Delighted to see you again.

(pause – strained glance at ARTHUR)

I trust I am not intruding -

I told Arthur…

 

ELSIE:

(grandly fibbing)

Why, not at all.

(straining for congeniality)

But tell, how is it in London?

 

DILL:

(good-humored laughter)

Since yesterday? There’s nothing new.

 

ELSIE:

(perceives DILL is laughing dismissively at her - defensive)

I’m sure that is perfect nonsense.

Or else all the headlines would blare

How all the newspapers folded –

Overnight – for a lack of news.

(DILL attempts a fridged laugh and fails – blinks at ARTHUR)

 

ELSIE:

Marie, show our guest the garden.

I'll have a word with my husband.

(MARIE curtsies, first to ELSIE, then to DILL. MARIE and DILL exit through the French doors.)

Tell me exactly what you mean

By asking that man to our house,

The next day after our marriage?

Mamma clearly instructed us,

If we do not take a trip, then –

We must live in retirement,

And, that at least for a whole month.

See! I have 'Fashion' on my side.

 

ARTHUR:

Nonsense, Elsie. I'm sure you know

That it is perfectly proper

For parents, and intimate friends,

To be entertained by us here –

That is, according to Mamma.

 

ELSIE:

(almost laughing – alarmed)

When did you invite him, Arthur?

Before the wedding?

 

ARTHUR:

Don’t be daft.

 

ELSIE:

So, when?

 

ARTHUR:

Last night.

 

ELSIE:

(floored)

Last night…You were…

 

ARTHUR:

(inexplicably angry)

Elsie! Please, Don’t catechize me.

 

[Cavatina]

What makes you so cross?

Look to do what you most enjoy

Instead of mourning a loss –

Your time for yourself you should employ

And those worn cares, give a toss.

 

[Duettino]

You look sad as a mouse

Because I ask my friend –

Yes, my greatest friend,

To stay here at the house,

And be happy here.

 

You made declaration

That it was our friendship –

Our partnership –

That kindled your admiration

To first hold me dear.

 

ELSIE:

You do speak the truth –

I have said all, and more,

And know what friends are for,

But to be so uncouth

When our marriage’s just begun.

 

We’ve started a new life

And your affections are clear –

But that shouldn’t interfere

With that you give your wife

When she begs for but a crumb.

 

ARTHUR:

What makes you so cross?

Look to do what you most enjoy

Instead of mourning a loss –

Your time for yourself you should employ

And those worn cares, give a toss.

 

ELSIE:

What makes me so cross?

I should do what I most enjoy

Instead of mourning a loss –

My time for myself I should employ

And those worn cares, give a toss.

(a due)

 

ELSIE:

(acquiescing – having a Mamma moment)

I am foolish, Arthur,

We must entertain

In warm-heart felicity.

 

ARTHUR:

(relieved, but now on guard)

Yes, your heart will endure,

And out-work it pain

In some perfect equity.

(a due at recapitulation)

 

(Darkness – end of Scene One. ARTHUR exits stage left and ELSIE goes into the dark salon. Offstage, ARTHUR and DILL change into sack suites. MARIE enters and joins ELSIE; she now wears no pinafore.)

 

 

Pre-Scene Two: “The Evening Spent”

(Same as above. Lights come up darkly on chorus in flank positions)

 

No. 25 – Recitativo-narrativo

 

CORO:

Time ticks on a pace,

Moment becomes moment,

And step drags out step.

The whole day and evening was spent

With Arthur in Dill’s comp’ny –

A cozy pair of bent heads,

Talking, reading, playing chess.

After dinner they resumed,

Sequestered in the library,

And after nine, Elsie knew

Dill was staying the night.

(lights rise on ELSIE and MARIE in the same positions as Act Two, Scene One. This time the French doors are open, and the breeze wafts in.)

Elsie read the “Agony,”

A plaintive column in the Times.

She wondered what Mr. Black

Would communicate if

Mr. A.B. would only take him back.

Time ticks by a pace.

 

 

Scene Two: “The Inner World of Men”

(Same as above)

 

No. 26 – Recitativo ed Duettino

 

ELSIE:

(rising)

Well, Marie, it's now One O’clock.

It seems that Mr. Ravener

Won’t join us anymore tonight.

Dismissed. You should now go to bed.[1]

(MARIE curtsies and makes her way to the door. She stops and hurriedly returns to ELSIE, who this time is holding up a hand. MARIE blinks, and ELSIE rolls her eyes, then extends her cheek. But, just as MARIE is about to kiss her, we hear the crunch of gravel from outside. Both freeze and listen. The pair “quiet finger” each other and stealthily move to hide by the wall between the French doors.)

 

(conversation from the garden)

ARTHUR:

Elsie concerns me. I don't think –

She understands…

 

DILL:

Arthur, she must.

She has a head on her shoulders.

 

ARTHUR:

She deserves a better husband.

 

DILL:

She's but a child. Let her settle.

Provide her luxuries, and then…

 

ARTHUR:

And then?

 

DILL:

She’ll grasp, open-fisted,

For the life of freedom she chose.

(crunching gravel as they move away from the windows, deeper into the garden)

 

[Duettino]

(ELSIE and MARIE begin to dance with hopeful expectation – a swirl that ends with the ladies coming together)

 

ELSIE:

Marie, seldom so we see

The inner world of men.

I keep my eyes fixed

Upon the garden spot.

 

MARIE:

Madame, seldom do we see

The inner world of men

Rotate away from the fixed

Manners they show us not.

 

ELSIE:

Opportunity Marie –

Let us go and watch,

And perhaps I can find…

 

MARIE:

Chance to settle

Any little difficulty

Before it widens into a gulf.

 

ELSIE:

Marie, seldom so we see

The inner world of men.

I keep my eyes fixed

Upon the garden spot.

 

MARIE:

Madame, seldom do we see

The inner world of men

Rotate away from the fixed

Manners they show us not.

(a due)

 

ELSIE and MARIE:

Protect us, little blooms,

As we peek on men’s worlds.

Let us know what he assumes

To better understand

What hearts of men demand.

 

 

No. 27 – Recitativo ed Scena

 

ELSIE:

(spoken)

Marie, go and fetch us some shawls.

(exit MARIE with a nod)

 

[Scena – Recitativo]

Couched in my native language still,

The meaning of the men escapes me.

(she begins to carefully draw the lace curtains and dim the lamps in the salon)

Why do I deserve a better –

Arthur is as good as I.

For each of his eccentricities

I can find two of my own.

The only reason that it could be,

Is that I’m not attractive to him.

He married a fool who promised him

To never let her head be turned,

But maybe, I yet can still turn his.

 

[Scena – Aria]

(ELSIE slowly moves forward, out of the salon. The light fade on it, and the scrim descends behind her.)

What has come to unnerve me?

Perhaps it is the strange influence

Of this early hour that weakens me,

So my tears find resonance,

As they blot the garden from my sight,

Do they warn me to run or fight?

But Arthur, I will break my pledge

And vow to you a love that’s proper.

Though I push me over the ledge,

I will not be interloper.

No, I will be your wife,

To woe you, and win you for life.

(recap: “What has come to unnerve me?” etc. During the recap, MARIE appears from stage right, pauses, then goes up to ELSIE and wraps a shawl around her. ELSIE places her hand on MARIE’s arm in momentary warmth. They exit stage right)

 

No. 28 – Recitativo-narrativo

(The lights rise darkly on the chorus in the flank positions. Slowly a garden scene is revealed. This is the reverse of the salon, as we see the French doors from the outside. Stage center front is a bench on which ARTHUR sits alone. DILL is smoking a pencil-thin cigar, and lightly pacing in front of the French doors.)

 

CORO:

Quickly tossing over their shawls,

The women rushed through the salon.

The lights diminished to a mere glimmer,

Elsie led the way through the doorway.

Forgetting both her matronly sail,

(DILL has his back to the French door, at the sound of a latch opening, he turns around just in time to catch ELSIE falling out of it. ARTHUR remains oblivious.)

And the single step down,

She trips, and falls into his arms.

 

 

No. 29 – Recitativo con Duettino

 

DILL:

(astounded)

Mrs. Ravener, of all things…

Are you all right? What rouses you,

To be awake, at this hour?

 

ELSIE:

(incensed through mortification; MARIE rushes to her side)

This is my house, Sir. I may trip –

At the hour of my choosing.

I was going out – No. I am…

 

DILL:

But you’ll take cold.

 

MARIE:

(helpfully – then stammering under the weight of ELSIE’s glare)

Yes, the night air…

 

ELSIE:

(turning her glare on DILL)

Good night. I will speak with Arthur.

 

DILL:

Let me take you to your husband,

We don’t want you tripping again.

 

ELSIE:

(indignant shawl bundling – pushing past him)

Captain, thank you. I know the way.

 

DILL:

(blocking her determinedly)

But, you must let me escort you –

I'm in no rush to retire.

 

ELSIE:

(sharply)

But, I must let you do nothing.

I'll make no more ceremony,

Just because you do so with me.

I will see my husband – alone.

(DILL bows contemptuously. He moves off, and quietly doubles back around the garden to stage left, where he can watch ELSIE and ARTHUR unseen.)

 

[Duettino]

(partial recap of No. 26. The dance here is reverse of that of No. 26, the ladies separate at the end. MARIE gives ELSIE the courage to confront ARTHUR.)

 

ELSIE:

Opportunity Marie –

Let us go and talk,

And perhaps I can find…

 

MARIE:

Chance to settle

Any little difficulty

Before it widens into a gulf.

(a due)

 

ELSIE and MARIE:

Protect us, little blooms,

From all the heartless worlds.

Let us know what he assumes

To better understand

What hearts of men demand.

 

 

No. 30 – Duetto a Quartetto

 

(ELSIE moves up to, and silently sits on the bench by ARTHUR’s side. MARIE moves to a similar position as DILL, only stage right)

 

ELSIE:

(spoken quietly)

Arthur.

 

ARTHUR:

(violent start)

Elsie!

(rising and trying to nonchalantly look for DILL)

You here, at this time…?

And why that pout…?

It’s past your bedtime,

Why have you ventured out?

 

ELSIE:

(slowly rising too, trying to hold his gaze)

Arthur, would you care sometime,

If I fell out,

Died of a cold meantime –

Would you feel put out?

 

ARTHUR:

(vexed)

How foolish of you.

Have I not charge

Of your health and happiness too?

What put this in your head so large?

(They begin to dance, during which, ELSIE consistently reaches toward ARTHUR for comfort, and he avoids contact with her. Nevertheless, he feels drawn to her feelings of being an outcast, and longs to comfort her anyway.)

 

ELSIE:

Arthur, just now I was standing,

There, (gesturing) at the open window.

Though I did not distinguished much,

I could discern you declare

I deserved a better husband.

Dill said I was but a child –

Arthur, am I a child to you?

 

ARTHUR:

Elsie, are you? And if you are,

For I believe it right now,

As I believed it when we met,

Try to remain so, Elsie –

Be as good and as innocent

And for your sake, be a child –

Stay innocent for my sake too.

 

ELSIE:

(vexed)

Arthur, whatever you do,

Do not discharge,

Such pandering through and through –

And my intelligence undercharge!

 

ARTHUR:

(cajoling)

How foolish of you.

Have I not charge

Of your health and happiness too?

What put this in your head so large?

(a due at recapitulation)

 

ARTHUR:

(a little more demanding)

But, why that pout…?

Why have you ventured out?

 

[Arioso]

ELSIE:

Pity me some, Arthur,

For I, true to my kind,

Am a woman who stands

A plaintiff for herself,

But through the course of things

Becomes defendant better

For hopes of another.

Pity me some, Arthur,

For I am like the bird

Who pushes out her nest

A chick who may not fly,

But will die in the nest

With neither room nor voice that sings,

The babe must spread her wings.

 

ARTHUR:

(saddened and afraid)

But, why that pout…?

Why have you ventured out?

 

ELSIE:

For I love you, Arthur.

(tries to hug him – he ducks out of her grasp, and raises his hands above his head as if to say ‘I want no part if this’)

I will, for I am your wife,

You have no right to repulse me.

 

ARTHUR:

(choked with emotions)

If only you knew, dear girl,

That I want your life happy,

That you should not suffer through me!

 

DILL:

(aside)

Take care Art, don’t fall for her ways –

You’ve kept your end of the deal.

 

MARIE:

(aside)

Take heart ma’am, careful what he says –

You’ll seal you end of the deal.

(a due at recapitulation)

 

ELSIE:

(She again tries to move close to ARTHUR, who moves away from her with his hand in the air. Incensed, she says with biting irony)

You prefer Dill’s company

Than that of your unlovely wife.

For him a midnight stole, not me!

 

ARTHUR:

(angry)

How dare you be vexed with him –

The captain’s always kind to you.

You women are all the same –

Inconsistent, foolish, unstable –

I was wrong to believe you when

You said you would never despise

The great friendship before your eyes.

(crumples on the end of the bench near stage left)

 

ELSIE:

(sitting too – all emotion gone)

I am jealous of him, Arthur.

 

ARTHUR:

(looking at her – beseeching)

But, why that pout…?

Why have you ventured out?

 

ELSIE:

(taking his hand)

Because I love you, Arthur.

I will, for I am your wife,

You have no right to repulse me.

 

ARTHUR:

(the two of them rising, moving slowly closer together)

If only you knew, dear girl,

That I want your life happy,

That you should not suffer through me.

 

DILL:

(aside)

Take care Art, don’t fall for her ways –

You’ve kept your end of the deal.

 

MARIE:

(aside)

Take heart ma’am, careful what he says –

You’ll seal you end of the deal.

(a quartro at recapitulation)

 

(By the end, ELSIE is able to kiss ARTHUR, who neither resists or joins in. A match striking suddenly interrupts the two. DILL comes confidently forward to a position out in the open.)

 

DILL:

Arthur. Don’t let her bully you.

(He lights his cigar, and exhales towards ELSIE. ARTHUR drops ELSIE’s hands and stands inches in front of DILL.)

I trust you do not object,

To my cigar – or to me.

 

MARIE:

(rushing up to stand behind ELSIE and defend her)

Madame. Don’t let him bother you.

He spins you from your object

Now that your goal you can see.

 

ELSIE:

(aside)

Stymied. I would rather inhale

The smoke of a thousand hells,

Than whiff one trace of that vile man he.

 

ARTHUR, ELSIE, DILL and MARIE:

Still and stifled

The night absorbs us/them.

Garden flowers trifled

Turn shameful heads from us/them.

The morning glories are closed with shame,

Bellflowers vane no adytum,

While daylilies crack the same

For a dawn refusing to come.

(recap: "Still and stifled…" etc)

 

(ELSIE and MARIE rush off into the house. ARTHUR watches till they are gone, then hugs the nonchalantly smoking DILL, desperately.)

 

(Darkness – End of Scene Two)

 

 

 

(INTERMISSION)

 

 

 

 

Pre-Scene Three: “To an Ember Flame”

(The lights come up darkly on the chorus is in the flank positions. Slowly the lights rise on the Salon. It is a sunny Spring day. During the following number, we see MAMMA, with newspaper, casually go over to the desk. After a nonchalant look-about, she pulls on the central drawer. It rattles, but is locked. MAMMA snaps her paper and sits)

 

No. 31 – Recitativo-narrativo

 

CORO:

As sparks to an ember flame,

Elsie to her mother bids advice.

By afternoon, Arthur and Dill were in town,

And Mamma, in Mrs. Ravener’s Salon.

 

 

Scene Three: “Taken Aback”

(Same as above. Enter ELSIE who says nothing to MAMMA, but paces behind her by the French doors.)

 

No. 32 – Recitativo ed Cavatina

 

MAMMA:

(from behind her newspaper, which she is slowly telescoping)

Elsie! Such an interior!

I know you could not have designed…

 

ELSIE:

Yes. Arthur insisted he do

All of the design appointments.

(wry glance from MAMMA to audience - silence as ELSIE paces again)

 

MAMMA:

I see the Times reporter gushed

On how handsome Arthur struck him.

(pausing for effect – ELSIE too pauses her motion, waiting for the blow)

As for the bride – I see he wrote –

You hit him as 'interesting.'

 

ELSIE:

(She rushes to MAMMA’s side, dropping to her knees and resting her head on MAMMA’s lap. MAMMA, startled, sets her paper aside, and raises her hands involuntarily.)

Oh – Mother. Help me if you can,

For I am so miserable.

 

MAMMA:

(Makes a deep sigh. She coldly pats ELSIE on the head.)

There. There. Tell Mamma all about it.

 

ELSIE:

(rising is some disgust)

Do you know the difficulty,

The anguish, of my appealing

To the very Worldliness

(flustered gesturing to MAMMA)

That I have condemned for so long?

 

MAMMA:

(rising and hugging her with Épris)

There, there, tell Mamma all about it.

 

ELSIE:

(feeling awkward, moving away and becoming hot in her story)

That Captain Dillington, rouge,

Has only just decamped from here –

After a grueling eight-day stay!

 

MAMMA:

You refer to that handsome –

That charming – Captain of Arthur's?

 

ELSIE:

(incensed)

Charming!? He is Odious.

Handsome!? He is Repulsive.

 

MAMMA:

(taken aback. Slowly having something unpleasant dawn upon her.)

But, you knew that they – They are…

 

ELSIE:

Yes. Bosom buddies. But still…

 

[Cavatina]

He has neglected me –

Leaving me on our first night.

He has sore abased me –

Inviting that man to stay.

He’s glacial and accite[2] –

But for him, smiles have leeway.

He’s pale and full of strife

With looks that seem to indict

His poor, languishing wife.

And yet, to see his warm grey eyes,

And his reddish mustache riding

The tide of his smiles for another

Have too worked in my heart besides.

From one who indifferent to love wanting –

From incensed, to in-love, I discover.

 

 

No. 33 – Recitativo ed Duetto

 

MAMMA:

You do take me aback, Elsie.

Why dear, I thought you had a head

(ELSIE aghast to hear MAMMA echo DILL's words)

Planted firmly on your shoulders.

 

ELSIE:

(lost in her own thoughts)

Arthur, so coldly, informed me

He will be out tonight – all night…

 

MAMMA:

(cheerily)

Reminds me of your dear Papa.

(soberly)

But – what about “wifely-duty”…?

(ELSIE stares at her blankly)

Oh My Dear, you understand me –

The consummation department?

 

ELSIE:

(blinks)

Oh...How? He’s, I mean, we’ve not yet

Spent a night together, alone.

 

MAMMA:

(sing song relief)

Well…Maybe that’s all for the best.

 

ELSIE:

(flustered)

Mamma! Please tell me what do you mean –

You speak, but explain nothing!

 

MAMMA:

(leading questions)

Look dear, is Arthur a scapegrace?

One tied, by chains to alcohol?

(ELSIE shakes her confused head)

No. And you must agree with me,

Nothing could be worse that that flaw –

Than that degrading passion to drink.

(MAMMA nodding her head to get ELSIE to mimic her)

Everything else, you must agree,

Are shades of misunderstanding.

 

ELSIE:

Mamma! Please tell me what do you mean –

You speak, but explain nothing!

 

[Duetto]

MAMMA:

In my own quiet manner ripe,

I do a great deal of thinking, see –

You should settle and be satisfied

And with a quiet life extol

The commonplace, everyday type[3]

Of couple that you two should be.

 

ELSIE:

Mamma, please don’t be gratified,

With the marital pain of my soul –

If at all, please soberly assess,

Without goading to misery,

The child who has now realized,

High Society she must troll.

 

MAMMA:

In my own quiet manner ripe,

I do a great deal of thinking, see…

 

ELSIE:

See the no very filial

Animated desire to know…

 

MAMMA:

You should settle and be satisfied

And with a quiet life extol…

 

ELSIE:

Written across my mobile features –

Do you think you know the just why…

 

MAMMA:

The commonplace, everyday type

Of couple that two you should be.

 

ELSIE:

Derived from powers maternal,

He deigns to neglect me so?

(a due at recapitulation)

 

MAMMA:

(becoming tender, as much as she dare, hugging ELSIE’s shoulders)

Oh course I do. Do you presume

I could live so long without charity?

And a simple case exhume

Of domestic infelicity?

 

(MAMMA now begins a process of leading ELSIE into drawing her own conclusions)

 

My Elsie, Dear, another girl,

Of your age and your rank,

Would not need aid in this matter –

The case’s a trifle mere,

Sparkling, transparent, clear –

Husband is indifferent,

Always away from home,

Uninterested, in…wife…?

(ES blank)

Why, my dear girl, I know you’ll laugh –

It’s as plain as a pikestaff!

 

ELSIE:

(confused, trying to venture the path MAMMA is leading her)

I listen eagerly…

If it, I could only grapple…

Read this case as masterfully

As she presents so murkily…

(deflated)

I don’t understand, but I’ve begun.

 

MAMMA:

Oh deary.

[3-beats of silence]

(tenderly)

Society is a great friend.

Stay together six-months freely,

Separate, and all will amend

Without harm to you, (aside) or me.

 

(retrying to get ELSIE to see the light)

 

My Elsie, Dear, another girl,

Of your age and your rank,

Would not need aid in this matter –

The case’s facts adhere,

Sparkling, clear, transparent –

Husband is impartial,

He’s never quite alone,

Leading another…life…?

(ELSIE blank)

Why, my dear girl, I know you'll laugh –

It’s plain as a pikestaff!

 

ELSIE:

(confused, more determined to understand MAMMA)

I listen carefully…

If it, I could only tackle…

Read this case as masterfully

As she presents so skillfully…

(jumping drastically to the wrong conclusion)

I understand – It’s another woman!

 

MAMMA:

(cringing)

Oh deary.

 

No. 34 – Recitativo ed Cavatina

 

MAMMA:

(becoming stern)

You're unreasonably excited.

Why will you not take my advice?

Stay here. Live quietly six months.

Then, if need be, come back to me,

For I will know what you should do.

 

ELSIE:

How can…? I will not. I cannot!

I must find this other 'Her.'

(MAMMA cringes at the word)

I will discover the source,

And by it, vanquish the cause,

Of Arthur’s coldness unto me.

 

MAMMA:

(sighs and begins to move to Arthur’s desk)

Well, if you are too obstinate;

Too self-willed to take my advice;

If you can’t wait, you must use

My discrete private detective –

(touching his desk)

Or – Arthur's desk I presume –

(ELSIE nods, puzzled)

Take matters into your own hands.

(MAMMA rattles the drawer. ELSIE gets it, looks around for servants, then goes up to the desk in the greatest of secrecy. MAMMA with total coolness pulls out a key ring with several different small keys. After trying a couple, the drawers is open, and without looking at the contents, MAMMA walks away self-satisfied.)

 

ELSIE:

(pulling out and examining papers. Deflated, she begins to toss them aside)

Just wedding receipts…

House decorations…

(amazed – holding it up to MAMMA, then reading again)

A month-to-month rental contract…

Renting a house in Nodding Hill,

And it's paid-in-full, for this month.

(drops all papers – mouth agape)

Why would he need another house…?

Except to meet “Her!”

(MAMMA cringes at the word)

I am such a fool.

MAMMA: (aside) True…

The Captain is the go-between.

He must be Arthur's liaison.

MAMMA: (aside) No...

I must go to them.

Catch them in the act.

 

[Cavatina]

I, like the peacock’s pride,

Have fanned my jealousy bright,

And made him hate his bride.

But all throughout this sad fray,

With an-other he’d unite –

Another woman held sway!

(pausing)

I can’t picture her, alack,

She won’t come into my sight –

(determined)

But from her, I’ll take Arthur back.

And yet, to see his warm grey eyes,

And his reddish mustache riding

The tide of his smiles for another

Have too worked in my heart besides.

From one who indifferent to love wanting –

From incensed, to in-love, I discover.[4]

(She makes her way to the door, pauses, and quickly comes back to kiss MAMMA on the cheek. ELSIE exits.)

 

No. 35 – Scena con Aria

(during the recitative, she moves stage center front and the salon slowly dims as the scrim falls)

 

[Scena - Recitativo]

MAMMA:

I forgot. She is much younger

Than her carriage and actions tell.

A problem, I suppose, of our

'Modern Education' of girls.

(sighing)

I thought she had experience –

Knew what she was getting into.

But wrong. And wrong, she will soon know –

Then her 'finishing' will engage,

And she will wait a decent time,

If indeed, annulment turns out

To be what she decides she wants.

In either case, her Mamma

Will be there and ready to help!

 

[Scena - Aria]

Elsie, dear, sweet girl –

Elsie, naïve, headstrong girl –

From hot pans into the fires

As your frivolities lead

To love one whose love inspires

Another to love him indeed.

Why can’t Elsie be like the rest?

Days of free-time, a handsome place –

Motivated to let her be,

A charitable spouse is best –

Something that many girls would embrace,

And long for like liberality.

(recap: “Elsie, dear, sweet girl –“ etc. Exit MAMMA stage right)

 

(darkness – end of scene)

 

 

 

Pre-Scene Four: “Our Own Greenwood”

(The scrim rises on a darkly lit salon in Nodding Hill. The furniture is spare, and the room has an air of disuse. Stage left is a wall with a fireplace, stage center rear is a closed pair of doors into the second parlor. Stage right is a single door, closed, that leads to the hall. ARTHUR and DILL and standing motionless in the room. First the lights highlight the CORO in the flank positions, then later on the two men dressed in casual sack suits.)

 

No. 36 – Recitativo-narrativo[5]

 

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. 37 – Recitativo ed Duettino

 

DILL:

Arthur, Tell me – Are you not well?

 

ARTHUR:

I can’t go on. She's not with us.

Elsie is now jealous of you –

In her passion, I cannot gauge

If it’s jealousy-aforethought,

Or real envy of you in my heart.

 

DILL:

Keep her happy a few months more.

Then decide if separation

Will be best for both of your goals.

 

ARTHUR:

What about your career…?

 

DILL:

I believe,

Old Mamma will find annulment,

After a suitably fit time,

Socially acceptable. Thus –

Bell-weather, so will all like her.

 

ARTHUR:

(looking deathly pale and fearful)

If Elsie tries to blackmail us…?

 

DILL:

(coming behind him and massaging his shoulders)

Don’t be ominous: I trust her.

But Arthur, listen carefully,

Do not let her lead you into –

If she tries – to consummation.

That would compromise

A foregone legal outcome.

(ARTHUR walks out of DILL’s touch – won’t look at DILL)

I’m sorry Art. It’s all my fault.

Don’t worry lad, all will be well.

(during the following duet, they dance in comforting harmony, in contrast to the tussle of their First Act duet)

 

[Duettino]

ARTHUR:

Somewhere Dill, a greenwood waits for us,

A world of warmth and orange blooms.

 

DILL:

Somewhere Art, a dream that’s marvelous,

A world where freedom the air perfumes.

 

ARTHUR:

A land of figs and olive branches,

Where fear finds it must submit,

Out of the reach of the law,

That against us discriminates.

 

DILL:

A land of peace and neighbor fences,

Where men are judged by merit

And not of a perceived flaw

That against themselves recriminates.

 

ARTHUR and DILL:

A place that calm greenwood embraces,

Where love all can benefit,

And live safe within its awe

Where no one it intimidates.

 

ARTHUR:

[Arioso]

We just need a little room,

Space where we can be ourselves.

Sometimes, I catch myself –

When I want to take your hand,

When I forget we’re not alone,

Sometimes, the look I give –

When the whole world see my love,

Lingers on your visage too long,

Lingers in my features too strong.

We just need a little room,

Space where no hate ever delves.

 

DILL:

Somewhere Art, a dream that’s marvelous,

A world where freedom the air perfumes.

 

ARTHUR:

A land of figs and olive branches,

Where fear finds it must submit,

Out of the reach of the law,

That against us discriminates.

 

DILL:

A land of peace and neighbor fences,

Where men are judged by merit

And not of a perceived flaw

That against themselves recriminates.

(a due)

 

ARTHUR and DILL:

A place that calm greenwood embraces,

Where love all can benefit,

And live safe within its awe

Where no one it intimidates.

(The two kiss tenderly, then ARTHUR rests his head on DILL’s chest. DILL strokes ARTHUR’s hair and kisses his forehead. They remain in a frozen embrace as the lights fade on them and rise on the CORE, then on MRS. RAVENER as she enters stage left.)

 

No. 38 – Coro con Recitativo-narrativo

 

CORO:

“She comes, she comes”

Elsie, like the Shepardess, flew

To a dark house in Nodding Hill,

Away from her mis’ry in Kew,

To find her rival through force of will.

“She comes, she comes”

 

MRS. RAVENER:

Earnest and eager left I

On my self-appointed task.

Disgust at my husband’s deceit,

Contempt at my not pleasing him,

Wonder at how it would all end,

Crippled my brain with fear,

And outrageous jealousy.

 

CORO:

“She comes, she comes”

Elsie, face flushed, her lips askew,

Might have been sorry that she came,

But, now set on this interview,

She burned for its outcome all the same.

“She comes, she comes”

 

MRS. RAVENER:

In front of the house, I stopped.

Only the front parlor lit:

A dull setting for such passion,

A simple lead glass window,

But, yet inside I’d find,

Arthur with my dread rival.

 

CORO:

“She comes, she comes”

An unlocked servants’ door would do –

Through it, and the un-peopled house,

Upstairs to the front hall she drew –

Stood at the parlor door like a mouse.

“She comes, she comes”

 

MRS. RAVENER:

But six steps would carry me

To discover it all –

My courage failed, I wondered

What would my life be in three hours?

Happy? The same? Worse?

I lanced my miserable marriage,

And out oozed my pent feelings.

 

CORO:

“She comes, she comes”

 

MRS. RAVENER:

I was silly, that was true.

I’m unworthy, that was true…

 

CORO:

“She comes, she comes”

 

MRS. RAVENER:

I swallowed my scruples

And shoved open the yielding door.

(a due)

 

 

Scene Four: “Drip by Drip”

(Same as above. The spotlight switches off of MRS. RAVENER and instantly shines into ELSIE’s eyes as she shoves open the hallway door. She raises her hands to shield her eyes from the bright room. Astounded, the men quickly separate. ARTHUR rushes over to ELSIE, but her hand pushes him out of her line of sight – her only object is to see who he is with. When she is able to finally make out the figure of DILL, she freezes, then slowly laughs uncontrollably with choked hysteria. ELSIE wears a waist-length black cape and a modest black hat)

 

No. 39 – Finale dell’Atto Due

 

[Part 1 – Terzetto con Coro ed Solo]

ARTHUR:

(near gasping with shock)

What are you doing here?

 

DILL:

(coolly leaning on the mantelpiece, patting his pockets for a cigar)

Arthur, pardon her curiosity.

(to ELSIE)

To be here, she has a perfect right,

(glancing knowingly to ARTHUR)

To expect with certainty,

(turning a maniacal grin on ELSIE)

A woman here tonight?

(knocked back on her heels, ELSIE’s suppressed rage at her husband is suddenly redirected to loathing of DILL, the dreaded “liaison”)

 

CORO:

Elsie wanted to die.

She’d shown her hand without reason,

Barged where no woman was to discover.

 

MRS. RAVENER:

Oh, such a fool was I.

Thinking Dill was the liaison,

It was his fault Arthur had a lover.

 

DILL:

(continuing to calm ARTHUR’s nerves)

Art, your wife was perfectly filled with fear,

She had suspicions, and made this ado –

With love-born envy severe.

(defiantly to ELSIE)

Elsie? Is that not true?

(a new calmness comes to ELSIE – if she can’t find them together, she’ll make ARTHUR confess to the other woman by confronting DILL)

 

ELSIE:

(glaring at DILL)

It is for no lady that I am here.

 

DILL:

(feeling ARTHUR stiffen - trying to shrug it off, but feeling nervous – he refuses to look at ARTHUR)

Speak plain. I – I do not understand you.

 

ELSIE:

(menacingly to ARTHUR)

But, with you, have I been clear?

 

ARTHUR:

(suppressing rising panic)

Claim then, what you said you knew.

 

CORO:

A thrust to the men’s core wounded,

As the blackmailer games begun,

A deep trauma within Arthur’s heart slid.

 

MRS. RAVENER:

In ignorance I threatened,

Of their exposure and of ruin,

(pleadingly to ARTHUR)

Forgive me, I knew not what I did.

 

ELSIE:

(grandly fibbing)

For I took my Mamma’s sage advice –

Hired detectives with the know-how

To log your movements precise.

(defiantly to DILL)

Do you understand me now?

(both men look stricken)

It is for no lady that I am here.

 

DILL:

(trying to point boldly, but his hand trembles)

Accuse then. Enough with games, I insist.

 

ELSIE:

(viciously to ARTHUR)

But, with you, have I been clear!

 

ARTHUR:

(near gasping in panic)

Why are you doing this?

 

CORO:

Stricken thus by a blow –

Unintended, the men felt

A deep trauma within Arthur’s heart slid.

 

MRS. RAVENER:

(sympathetically to ELSIE)

Forgive me, I knew not what I did.

(a due)

 

 

[Part 2 – Quartetto con Scena ed Rondo]

ARTHUR:

(trying to cajole and touch upon ELSIE’s pity)

Our marriage was a mistake.

You will not make the best of it.

Drip by drip, your cares take

Life from your heart, bit by bit.

I would give all, do all,

To have the two of us free.

 

ELSIE:

Why then did you marry me?

 

ARTHUR:

But I did not – we agreed,

Or at least I believed you’d acquit,

Content to a sibling life to lead,

With settled, friendship quiet –

Not with passionate displays,

Or too love-sick, idle talk.

 

ELSIE:

(aside)

I hate condescending mawk.

 

MRS. RAVENER:

Why then did I marry him?

I would give all, do all,

To have the two of us free.

 

DILL:

Why then did I pressure him?

I would give all, do all,

To have the two of us free.

(a due at recapitulation)

 

ELSIE:

(lost in her own world)

I am young. Why am I so young?

I need respect, I need sympathy –

And, how dearly I need love.

 

I am womanly despite

My eccentricities –

Ignorance, obstinate,

And single-mindedness.

But what woman,

Young or old,

Would accept

The situation

(pleading gesture to DILL)

You have thrust upon me,

And not defend herself?

(to ARTHUR)

If only I could hate you.

 

How best then, had it not begun,

How much better for you it would be –

And how better for my love.

 

MRS. RAVENER, DILL and ARTHUR:

I/He/I would give all, do all,

To have the two of us/them/us free.

 

ELSIE:

Drip by drip my cares take

Life from my heart, bit by bit.

(together)

 

MRS. RAVENER, DILL, ARTHUR and ELSIE:

The marriage was a mistake,

They/She/He will not make the best of it.

 

[Scena – Recitativo]

ELSIE:

(contemptuously to DILL)

And you? What do you have to say?

 

DILL:

You make it clear, by actions,

If not by words, that I was un-welcomed.

Arthur arranged for this house,

That we may leave you undisturbed at home.

What more is there to explain?

(snaps his fingers pettishly at ELSIE[6])

 

[Scena – Rondo]

You ask what I have to say?

Only this – that I am his friend,

And have been since we met the first day –

I’ve been there, ready to defend.

If with him your relationship,

One day settles, you may come to me,

With your heart on sleeve, in friendship,

To offer us apology.

For on street corner, or docket,

I’ll stand to the world unslighted,

Fearless of threat or punishment,

To proclaim our hearts united.

 

[partial recapitulation of Quartetto]

ELSIE:

(piteously to ARTHUR)

Our marriage was a mistake,

You will not make the best of it.

(turning on DILL)

You were watched by detectives on stake,

And you thought me a fool you could outwit,

But I have seen it all,

And I now know it all, see?

 

ARTHUR:

(locking eyes with ELSIE)

So then, what will you do with me?

 

ELSIE:

Discovery time ended,

(gesturing to DILL)

And hope against hope all but dashed,

This dreadful hour has commended

I’ve but one move left to match –

Sue for action without delay

For divorce adulterous.

 

ARTHUR:

(locking eyes with DILL)

So you would ruin us?

 

MRS. RAVENER, DILL and AR:

I/He/I would give all, do all,

To have the two of us/them/us free.

 

ELSIE:

Drip by drip my cares take

Life from my heart, bit by bit.

(together)

 

MRS. RAVENER, DILL, ARTHUR and ELSIE:

The marriage was a mistake,

They/She/He will not make the best of it.

 

CORO:

A deep trauma within Arthur’s heart slid.

 

MRS. RAVENER:

(sympathetically to ELSIE)

Forgive me, I knew not what I did.

(together)

 

[Part 3 – Quintettino]

(MRS. RAVENER makes a comical double-armed gesture to the hall door; her expression is: “you knew it would happen.” There is a commotion in the hall – the sound of the front door opening, then of two female voices. Enter MARIE, who curtsies awkwardly to no one in particular, then moments later, MAMMA sails past her into the room as if she owned it)

 

MAMMA:

Children, dear!

I’ve no wish to interfere,

But when I must – at last –

It’s ‘cause I’m equal to the task.

 

MARIE:

(rushing to ELSIE’s side, touching her cheeks)

Poor madame, Oh! Là! Là!

I believe you are feverish!

 

ELSIE:

(demurring – annoyed)

Marie, such a hoopla!

I’m just as heated as I wish.

 

MAMMA:

Diction, Elsie: voilà

Use imbroglio, or éclat.

(ELSIE huffs at her)

 

MAMMA:

(to ELSIE)

Don’t be rash!

Elsie I beg, don’t abash –

You’ll send me with grey hairs,

To my grave, burdened with dread cares!

 

MARIE:

Poor madame, it is clear,

You bear love’s cross for all to see.

 

ELSIE:

(quietly)

Marie, such a great dear –

(glancing at MAMMA)

At least someone cares about me.

 

MAMMA:

Elsie, do say ma chère,

Use my dear only as a spare.

(ELSIE huffs at her)

You’ll send me with grey hairs,

To my grave, burdened with dread cares!

 

(a tre at recapitulation)

 

MAMMA:

Now, listen.

(gathering ELSIE and ARTHUR together)

For you cannot start too soon

To leave here and begin

That sadly off-put honeymoon.

After that,

If there’s no understanding,

End your fair-play combat.

In peace, start your separating.

 

ARTHUR:

(aside – fearful)

I can’t do this alone –

Dill, please do not abandon me.

 

DILL:

(aside – with trepidation)

I’ll leave not one unturned stone

To find and keep you safe, you’ll see.

 

(a due at recapitulation, then a cinque with others below)

 

MAMMA:

You’ll send me with grey hairs,

To my grave, burdened with dread cares.

 

MARIE:

Poor madame, it is clear,

You bear love’s cross for all to see.

 

ELSIE:

(quietly)

Marie, such a great dear –

(glancing at ARTHUR)

At least someone cares about me.

 

MAMMA:

Children, dear!

I’ve no wish to interfere,

But when I must – at last –

It’s ‘cause I’m equal to the task.

 

ARTHUR:

(aside – terrified)

I can’t do this alone –

Dill, please do not abandon me...

 

DILL:

(aside – with determination)

I’ll leave not one unturned stone

To find and keep you safe, you’ll see!

 

[Part 4 – Esecuzione d'Insieme]

CORO:

A thrust to the men’s core wounded,

As the blackmailer games begun,

A deep trauma within Arthur’s heart slid.

 

MRS. RAVENER:

In ignorance I threatened,

Of their exposure and of ruin,

(pleadingly to ELSIE and ARTHUR)

Forgive me, I knew not what I did.

 

ARTHUR and DILL:

In darkness we are lead,

A blow to one, hurts another –

And bleakness surrounds us.

 

MRS. RAVENER and MAMMA:

We can but try our best,

A blow, brings another –

And hope cannot sustain us.

 

ELSIE and MARIE:

There might be some hope yet,

A blow to prevent another –

And hope alone sustains us.

 

CORO:

A thrust to the men’s core wounded,

As the blackmailer games begun,

A deep trauma within Arthur’s heart slid.

 

MRS. RAVENER:

In ignorance I threatened,

Of their exposure and of ruin,

(pleadingly to the audience)

Forgive me, I knew not what I did.

(a due)

 

TUTTI:

Circlets swirl in endless pain,

Rivulets of sorrow circle my brain,

What will become of us now,

When misery no hopes allow!

Will quiet love

Conquer hot jealousy?

Will persistence prove

Enemy to true fidelity?

 

(MAMMA pushes ELSIE and ARTHUR together, and then sails out the door. She is quickly followed by MARIE, but just as ELSIE is about to go, but sees ARTHUR turning his head to Dill. She grabs his arm roughly, and drags him through the door, leaving Dill alone as darkness descends.)

 

(Darkness – End of Act Two)