EVANGELINE or The Belle of Acadie

(1874/7)

Book and Lyrics by J. Cheever Goodwin

Music by Edward E. Rice

Cast of Characters

EVANGELINE

“Our Heroine,” a creature of impulse and an impetuous pet, pursued through love’s impatient prompting by Gabriel, and with a view to audacious contingencies by a whale

GABRIEL

“Our Hero,” a fascinating and perambulating, young lover; in point of fact, a roaming Romeo

CATHERINE

the very mildest type of anti-nuptial mother-in-law

EULALIE

Evangeline’s confidante, confidently hoping for Woman’s Rights

MARY-ANN

Evangeline’s waiting maid

BEN

Evangeline’s sire, whose vacillating mind is divided between the rental of her prospective husband and his parental affection

LONE FISHERMAN

a patient and singularly taciturn toiler of the sea, with a natural tendency to hook whatever comes within his reach

CAPTAIN DEITRICH

a Dutch mercenary in the British ranks, who shows no mercy, being a mercy-nary cuss

HANS WAGNER

a spiritual corporal, with undue corporeal proportions

KING BOORIOBOOLA GHA

royal proprietor of the mid-African diamond field, who, not being able to hear anything near, occupies an ear trumpet

QUEEN BOORIOBOOLAGHA

the king’s much better adviser of his whole conduct

POLICE CAPTAIN

called by some a peeler, possibly because he was never known to heed any appeal a prisoner might make, “lucas a non,” and all that sort of thing

HEADSMAN

not a mimic of stupid people, but very clever at taking off blockheads

JAILOR

never without his key, vocal or instrumental, consequently always on qui vive

[FELICIAN

Eulalie’s adorer

ROSE AND MARIE

Evangeline’s girlfriends

A HEIFER

Evangeline’s friend and pet cow

CHORUSES OF FISHERMEN, SAILORS, ACADIANS, AFRICAN NATIVES, AND POLICEMEN

PLACE:] Act 1, Arcadia. – Act 2, Africa.

Act One

[ Scene 1: ] Ocean Horizon [ in “Arcady” ]

(Small working man-o’-war. Two miniature boats: one with two sailors, the other four sailors. Boats and figures should move. Cottage on rock R.2.E. Practicable rustic steps and high rocks R.2.E. Boat on track with oar ready R.3.E., out of sight.)

(Lights to open 3/4 up. Calcium: red. At rise of curtain: fisherbones discovered. Then enter Lone Fisherman L.1.E. U.C. Enter fishermen L.2.E. and L.3.E.)

OPENING CHORUS: “We Must Be Off”

FISHERMAN CHORUS.

We must be off without delay.

The wind is fresh. The sky is clear.

Come, boys, arouse, and work away.

Too long we linger here.

For we must toil if we would live.

To idlers fate will nothing give.

By labor must we earn our bread,

So let us heave ahead!

We must be off without delay.

The wind is fresh. The sky is clear.

Come, boys, arouse, and work away.

Too long we linger here.

1ST FISHERMAN.

(L. at end of chorus)

Here comes young Gabriel.

OMNES.

Hurrah!

(Gas: full up. Calcium: white. Gabriel enters at last bars of music from R.3.E. in boat. Two fisherboys near steps help him out. He crosses C.)

RECITATIVE and SONG: “Longfellow”

GABRIEL.

(recitative)

One moment, pray, before you go.

I think the public ought to know

About the play they’ve come to see.

I’ll tell them all about it,

I’ll tell them all about it,

And you shall help me shout it,

So take your cue from me.

There’s a man you all have heard about

Who poetry has written,

That all of you have often read

And on it have been smitten.

His best work is Evangeline,

A story of Arcady,

In which he signs the suff’rings of

A much lovesick young lady.

CHORUS.

Longfellow, Longfellow,

Longfellow, -fellow, -fellow, -fellow, -fellow,

The story of Evangeline is by the great Longfellow.

GABRIEL.

Oh, the plot it is a simple one.

We hope it may prove pleasing.

Though there are some few horrors for

To set your heart a-freezing.

There be soldiers and sailors,

And fishermen and lovers,

And puns enough to kill a man,

If he them discovers.

CHORUS.

Longfellow, Longfellow,

Longfellow, -fellow, -fellow, -fellow, -fellow,

The story of Evangeline is by the great Longfellow.

(At end of chorus, fishermen exit R. and L.)

GABRIEL.

It’s no use talking. I can’t keep away.

My heart’s with her I love, won’t brook delay.

(business addressing cottage)

Ah, dear Evangeline, . . . could you know

I’m like the moths that round the candle go.

I can’t believe you are the girl to think

And leave me here, without of hope a wink.

From me to hide so surely is not right.

My drafts of love are all on three days’ sight.

(Felician enters L.3.E.)

FELICIAN.

At it again, eh?

GABRIEL.

Who’s that?

FELICIAN.

(L.C.)

Only me

Don’t let me interrupt your rhapsody.

GABRIEL.

Don’t chaff , Felician. It’s against the grain .

FELICIAN.

(L.C.)

Chaff you? Not I. We know the selfsame pain.

GABRIEL.

You love . . . ?

FELICIAN.

Eulalie. . . . You, Evangeline,

But while with you

the future’s all serene,

She whom I worship mocks at my distress

And utterly refuses me to bless.

But come.

(links arm with Gabriel)

Repeated glasses let our spirits cheer.

There’s nothing goes to down one’s ails like beer .

GABRIEL.

(drawing away from Felician and addressing cottage)

Adieu, sweetheart! My heart I leave behind.

(He again takes Gabriel’s arm and draws him from cottage. Gabriel throws kisses to cottage.)

FELICIAN.

A deuced foolish thing to do, you’ll find.

With any vital organ never part! Liver, lung . . .

No man can live a long life without heart.

(Exit R.1.E.)

GABRIEL.

I have her heart, though in exchange for mine.

And dumb with joy, my bliss I can’t define.

Goodbye, sweetheart, . . . goodbye.

(Exit R.1.E.)

(Business of Lone Fisherman with eel. Evangeline enters from cottage and descends to music.)

EVANGELINE.

Ah me! I cannot rest by night or day.

Sleep from my eyelids seems to slip away.

Not e’en a midday nap I get. In fine,

A restless, most unhappy lot is mine.

For now, love only fills my every sense,

Love which I can’t . . . don’t want to banish hence.

I wish I knew someone in whom to trust,

To whom I might confess, for tell I must

Some true friend where my truant heart has flown.

(to audience)

You are my truest. I’ll tell you alone.

(I can’t tell him. I have no telephone.)

BALLAD: “Thinking, Love, of Thee”

EVANGELINE.

Wouldst know the thoughts by which my heart is brightened?

And from whose presence care and sorrow flee?

Wouldst know the way by which my load is lightened,

And joy and gladness ever comes to me?

Then list, and I will tell thee all.

Love holds me in his silken thrall.

And doubts and troubles from me fall

When thinking,

When thinking, love, of thee.

Though clouds obscure the sky, and storms are raging,

The flow’rets bloom the fairer for the rain,

And severed from my side, my grief assuaging,

Hope whispers me, he’ll surely come again.

I listen to the cheering call,

And held in love’s magnetic thrall,

My doubts and troubles from me fall

When thinking,

When thinking, love, of thee.

(On last note of song: miniature boat with two working figures is sent across the stage from L. to R. Boat with four working figures follows, then the man-o’-war, which fires three shots. Evangeline turns and discovers it. Small boat on.)

EVANGELINE.

What’s that I see? Two sailors, that is certain.

The two look, too, as if they were desertin’.

They’re steering, too, directly for this bay.

I rather (“rudder”) that they steered some other way.

They’re firing at them. Gracious! How they pull it.

Their stock is down. Their guns begun to bullet.

(Two sailors enter from R.3.E., rush forward, and fall at Evangeline’s feet. Sailors implore protection in dumbshow.)

EVANGELINE.

Well, here is an adventure, I confess.

Why do you hang out signals of distress?

1ST SAILOR.

Shiver my timbers, miss, we’re in a fix,

’Cause from the bark yonder, we’ve just cut our sticks.

EVANGELINE.

Cut sticks from bark ? But why?

2ND SAILOR.

They starved us quite.

No meat, no bread, no, no, not a mite.

1ST SAILOR.

We’ve lived the last six weeks, miss, upon hope.

Not a bit of food, no not a bit of a rope.

EVANGELINE.

(L.C.)

Cheer up. This night shall tell another tale,

For I will be your Florence Nightingale:

Feed and conceal you.

BOTH SAILORS.

(both rise and do a break)

Thanks, miss.

EVANGELINE.

Don’t speak.

I might suggest concealment and “your cheek” . . .

But go in.

BOTH SAILORS.

Thank yea, miss.

(Exit into the cottage.)

EVANGELINE.

I fear I’m doing mariners wrong,

But harrowing deeds to heroines belong.

(Exit into cottage.)

(Lone Fisherman business with big fish. Enter Le Blanc L.3.E.)

LE BLANC.

Evangeline once had an uncle, ugly, old, and mean,

Who, for some unknown reason, marriage hated.

So, when he died, in his last will he stated

She was to have his wealth, provided she

Remained from matrimonial fetters free.

But if she married, then the wealth that he

Designed for her would straight revert to me,

And I become, in turn, sole legatee.

(He produces rumpled legal document twelve feet long with seals.)

This is the will. No one but me’s observed it.

It’s somewhat jammed , but that’s ’cause I preserved it.

Nobody knows there is a will but me.

When once they’re wed, we’ll see what we shall see.

If nothing breaks, she’ll be this very night

Married to Gabriel. All my hopes are bright

To see them hitched together, side by side.

I wed the wealth, while he receives the bride.

The contract signed, my claim there’s no denying,

And when I [ m ?]ouch—oh, won’t I do some boozing!

SONG: “The Power of Gold”

LE BLANC.

I am Le Blanc, of a temper astute.

I am the notary, cautious and sly.

Soft, not a word, as the story progresses.

You may learn something of me by and by.

Sit still, my heart,

Sit still, my heart, sit still.

I can well afford to laugh, ha! ha!

When the bitter cup they quaff, ha! ha!

Mighty is the power, the power of gold,

Merry is the chink of gold, ha! ha!

Fortune, I thank thee. Propitious thou art.

Well has rewarded my arduous toil.

Soon as the sun of tomorrow arises,

Victory’s mine, with its glory and spoil.

Sit still, my heart,

Sit still, my heart, sit still.

I can well afford to laugh, ha! ha!

When the bitter cup they quaff, ha! ha!

Mighty is the power, the power of gold,

Merry is the chink of gold, ha! ha!

(Dance.)

(After song, dance off L.1.E. Lone Fisherman business with lobster.)

(Enter Evangeline from Cottage.)

EVANGELINE.

The two deserters I’ve securely hidden.

It’s awful jolly to do things forbidden.

I wonder, though, what Gabriel would say

About such actions on my wedding day.

(crosses R.)

He’d tell me that my conduct I must alter .

I may when I’ve been haltered at the altar.

(Le Blanc enters L.1.E. and taps Evangeline on shoulder. She turns and starts.)

LE BLANC.

Ah! There, Vangie, how d’ye do?

EVANGELINE.

How you frightened me!

LE BLANC.

A penny for your thoughts. Though, just the same,

I’ll wager the object of them I can name.

Whom your mind’s full of, any fool can tell.

EVANGELINE.

Indeed? Can you?

LE BLANC.

Why cert! Of Gabriel.

EVANGELINE.

Faith for a fool, Le Blanc, you answer well.

An angel came on earth when he was born.

(crosses R.)

LE BLANC.

An angel? Gabriel? I’ve seen him take his horn.

Your wedding will take place today?

EVANGELINE.

It will.

(crosses upstage)

LE BLANC.

Delightful thought.

(crossing right)

(Sit sill, my heart, sit still.)

(Exits into cottage. Laughs offstage.)

EVANGELINE.

Here comes Eulalie, Rose, and Marie, too.

Now we can bathe!

(Enter L.3.E. Eulalie, Marie, and Rose dressed as bathers. All shake hands with Evangeline.)

EULALIE.

Ah, Vangie, how d’ye do?

We’re awful late, but Rose the blame must get.

She stopped to flirt with every man she met.

ROSE.

(L.)

I didn’t. . . . ’Twas Marie.

MERIE.

(R.)

Don’t you believe a single word Rose speaks.

I never flirt . . . that is, I’ve not for weeks.

But where’s Catty?

EVANGELINE.

I don’t know. She’s not here.

I nothing know about her.

Let’s go down the lane and wait.

She’ll be here, never fear.

(Exit R.1.E.)

(Enter Catherine L.U.E. Crosses C. Business of being shy. Fan business.)

(Lone Fisherman telescope business.)

CATHERINE.

(very loud voice)

I wonder where the girls are?

Where’s Gabriel? He’s not here.

He surely knows I want my evening beer.

To leave his anxious aunty all alone . . .

No wonder I’m reduced to skin and bone!

Once I was a stout hearty girl.

Now look at me . . . nothing but skin and bone . . .

(sees girls)

Halloo, girls!

(Enter Evangeline, Eulalie, Rose, and Marie.)

EULALIE.

Halloa, Catty. We’re so glad to see you. . . .

We want you to go in bathing with us.

CATHERINE.

Excuse me, I’m not going bathing.

OMNES.

Not going in bathing? Why?

CATHERINE.

On account of certain remarks made

About my form. . . . Oh, it doesn’t matter.

MARIE.

Oh, what a shame. Now who could have said

One thing? . . . I didn’t. . . .

CATHERINE.

Never mind. . . . I have my own opinion.

I was on the beach the other day, going to bathe,

And I was just thinking how nice it would be to get into

the water, up there. I was just approaching the water, as I

thought, unobserved—when . . . some one looking up—I don’t want

to mention names, but I could—and said, “Oh, look at the fat

girl. . . . Watch her close. . . . When she goes in,

plunk side goes up. . . . She’ll swamp the island!”

OMNES.

Oh! What a shame. Who was it?

CATHERINE.

Well, if you want to know, . . . it was you, Rose.

ROSE.

(surprised)

Me! I! I never said any such thing!

(crosses L.)

CATHERINE.

(crosses L.)

Yes , you did.

ROSE.

If you don’t go away, I’ll hit you real hard.

CATHERINE.

You dare, you saucy little devil. . . . I’ll give you such a slap,

you wouldn’t know where you lived.

(crosses R.)

(Girls follow and try to pacify Cathy.)

MARIE.

Forgive her. . . . Do forgive her.

CATHERINE.

She won’t do it again? . . . Well, I forgive her.

(Business dancing across to L. and then up C.)

Please don’t duck me. . . . But, say, is the water cold?

ROSE.

No! No! It’s quite warm.

CATHERINE.

Honest? Is it warm?

OMNES.

Yes! Yes!

CATHERINE.

I know why you want me to go in first—so as I’ll make it warm for you.

(Business: she puts foot in and screams.)

It is cold, and I’m so warm.

(D.C.)

The heat has nearly parboiled my poor head.

It’s quite destroyed my curly bang and frizzes.

As for my brains, I almost hear them sizzle.

(Marie and Rose cross upstage.)

EULALIE.

(L.C.)

We feared that you had given us the slip,

And we depended on you for another dip.

CATHERINE.

Oh, for the shade of some secluded grotto.

But where’s Gabriel?

EULALIE.

I nothing know about him.

He isn’t wanted. We can do without him.

Come on! I long to o’er the waves be skimming.

I hate the men, don’t you?

CATHERINE.

No, I hates women swimming. . . .

(Business: Eulalie joins the others.)

The water always makes me cough quite dreadful,

And of the sand I always gets my head full.

(Le Blanc enters from Cottage.)

LE BLANC.

Ah! Beauteous Catherine!

CATHERINE.

(L.C.)

That voice! ’Tis he: my love, my life.

(Le Blanc embraces her. She repulses him.)

Ain’t you ashamed, where everyone can see?

Blanky, that’s a waist of time.

LE BLANC.

(R.C.)

How thin you have grown!

CATHERINE.

(L.C.)

Thin? Do you notice it? Yes, darling, I’m thin and far from strong.

The doctor says you may not have your little birdie very long.

(business, and flops on Le Blanc)

LE BLANC.

(business)

Birdie, come off your perch.

Bewitching, charming Kate. With joy you fill my left lung . . .

CATHERINE.

Get out . . . (business: slaps his face)

LE BLANC.

No heart. (Sit still, my heart, sit still.)

(Exits into cottage.)

QUINTETTE: “Into the Water We Go”

[EULALIE, EVANGELINE, MARIE, AND ROSE.]

Into the water we’ll go,

There to have fun and be gay.

Mermen and mermaids are down below.

We’ll be as happy as they.

EVANGELINE.

Isn’t it jolly?

Oh, so nice!

EULALIE.

Clear as glass

And as cold as ice.

EVANGELINE.

You’d better come,

Nor stand so glum.

CATHERINE.

Thank you, but I’d rather not.

EVANGELINE.

Beautiful billows dashing o’er us . . .

EULALIE.

Youth and hope

And the world before us . . .

EVANGELINE.

You’d better come,

Nor stand so glum.

CATHERINE.

Thank you, but I’d rather not.

EVANGELINE AND EULALIE.

Come, oh come . . .

CATHERINE.

No, oh, no.

EVANGELINE AND EULALIE.

Come, oh come . . .

CATHERINE.

No, oh, no,

ALL.

Oh!

Into the water we’ll go,

There to have fun and be gay.

Mermen and mermaids are down below.

We’ll be as happy as they.

(At end of vocal music, Marie and Evangeline waltz together round C. in front of Catherine. Eulalie and Rose waltz separately. Catherine stays C. Other girls exit L.U.E., swimming off laughing, screaming, and teasing Catherine.)

(Lone Fisherman business: lobster falls off line. Le Blanc enters from cottage and watches them through telescope. Here “Bathing Ballet.”)

LE BLANC.

She floats like down upon the being mighty,

A sylph, . . . a second Venus Aphrodite.

But see a porpoise coming toward the beach.

He comes a purpose to cut short my speech.

Why no! ’Tis Catherine, my dovelike charmer.

Has any vile see -monster dared to harm her?

Sit still, my heart, sit sill, nor show emotion.

Any lovemaking by the ocean? Oh shame!

(Catherine enters from set waters, L., or up from trap, very tired.)

CATHERINE.

(screaming)

Look out! There in the bay, there’s something black moving in the water, and the girls don’t seem to see it. . . . I’m so frightened. Help me out, Blanky! Your ’and!

(As Le Blanc attempts to help her out, she pulls him in.)

Thank you, you’re very kind. I ’opes you isn’ wet.

LE BLANC.

No, not a bit. An hour from now my underclothes won’t fit.

I think, though, you more careful might have been:

I gave you succor, and you pulled me in!

CATHERINE.

Couldn’t help it, Blanky dear.

What made you dive so quickly down?

LE BLANC. B

ecause I couldn’t raise three thousand pounds.

(business)

My dear, ’twas thus to you I meant to say:

While in my arms you gave yourself away.

(Catherine is offended and goes L. Le Blanc follows and tries to pacify her.)

(tenderly)

Your eyes were stronger than my will.

Magnets of love! Sit still, my heart, sit still.

For thee I’d plunge—now don’t look so suspicious—

Into a sea of ice.

CATHERINE.

Of vice? He’s growing vicious.

LE BLANC.

The pangs of love grow more consuming daily.

(Eulalie heard crying out for help.)

Sit still, my heart, sit still. Here comes Eulalie.

(Eulalie’s voice heard more loudly calling, “Help!” Catherine and Le Blanc U.C. Eulalie, Marie, and Rose swim on excitedly L.4.E. Le Blanc and Catherine help them out, too exhausted to speak at first, C. Evangeline crosses followed by small whale.)

ROSE.

A whale! Evangeline, . . . she’s lost!

LE BLANC.

She must not be ’til wed at any cost.

(Seizes life buoy and starts to cross C. Catherine clings to him. Lone Fisherman and fisherboys enter R. and L. and rush up to back, keeping C. clear. Evangeline crosses R. to L., followed by big whale. Lone Fisherman gets line into the whale’s mouth and is pulled off the rock. During the whole of this finale, murmurs to be kept up. All show despair.)

EVANGELINE.

(calling as she passes)

Help! Help!

LE BLANC.

Make room. I’m doing this.

CATHERINE.

(L.)

What would you do?

LE BLANC.

Unhand me, girl, I say.

CATHERINE.

Help, help!

(Enter Gabriel, followed by Felician, rushing on from R.1.E. Cathy twirls Le Blanc downstage into Gabriel, who catches his hand and twirls him a second time. Gabriel then ascends a rock as Evangeline crosses a second time. Omnes rush back and forth across the stage until music cue.)

(“Hurray!” Gabriel plunges into water and off L.H. Lone Fisherman gets pulled off rock as the whale goes back, heightening the excitement. Gabriel and Evangeline reenter L.U.E. and down to front for the finale, during which Lone Fisherman rides on whale and runs through flats.)

CHORUS: “She’s Saved! She’s Saved!”

CHORUS.

She’s saved! She’s saved!

The whale is disappointed.

She’s saved! She’s saved!

And happy are we all.

Let’s sing until our lungs are hoarse

And dance until disjointed,

For Gabriel the fearless did the mighty monster maul.

Beat the drums like thunder.

Beat the drums like thunder.

Beat the drums and bang the gongs,

And let the trumpet bawl.

Let’s sing until our lungs are hoarse

And dance until disjointed,

For Gabriel the fearless did the mighty monster maul.

(Omnes: “Hurrah!” Quick close in.)

[End of scene.]

Scene 2

[: Before the Curtain]

(Lone Fisherman looking around. Hans Wagner steals across L. to R. Lone Fisherman exits L. and gets boat, book, and telescope. Crosses R. and fixes up boat. Eulalie and Felician heard quarrelling off L. Enter Gabriel laughing L.)

GABRIEL.

Some strange ecstatic bliss my being fills.

I feel so happy, I could . . . pay my bills!

Because, tonight, married I’m going to be

To her I rescued from the cruel sea.

She is such a darling sweet beyond compare:

Such eyes! Such cheeks! Such lips! Such teeth! Such hair!

You could not find a fairer should you try.

A pearl! In fact, the apple of my eye!

(Lights: full calcium from front on.)

SONG: “Kiss Me, Sweet”

GABRIEL.

Oh! The flow’rets bloom’d around us,

And a brook went rippling by

When our heart’s sweet hidden secret

We told, my love and I.

Her blushes shamed the roses.

I watched them come and go.

And the brook my thoughts divining

Seemed whisp’ring in its flow:

“Kiss me, sweet!

Kiss me, sweet,

Ere the golden moments fly.

Lips that meet,

Lips that meet,

May be parted by and by.

Kiss me, sweet!

Kiss me, sweet,

Ere with longing love I die.”

Then and there, in rapture,

We kissed, my love and I.

Oh! The earth became an Eden

As the happy hours went by,

As in ecstacy we wandered,

That day, my love and I.

And when at last we parted,

The western sun was low,

But the brooklet in its murmur

Repeated in its flow:

“Kiss me, sweet!

Kiss me, sweet,

Ere the golden moments fly.

Lips that meet,

Lips that meet,

May be parted by and by.

Kiss me, sweet!

Kiss me, sweet,

Ere with longing love I die.”

Then and there, in rapture,

We kissed, my love and I.

(At beginning of dance, kicks book out of Lone Fisherman’s hand R. He attempts it a second time, but Fisherman moves away. Gabriel dances off L. for exit. Lone Fisherman business with book. Boat business. Telescope Business.)

(Enter Hans Wagner R. Enter Le Blanc L. They meet C. Hans presents bayonet, and Le Blanc does not see him until he runs up against bayonet.)

LE BLANC.

That contract must be signed at once or sooner

(Then papa quietly collars the mazuma ).

This game of freak[?]-out may be somewhat bold.

Won’t they be mad, though, when they find they’re sold. . . .

HANS WAGNER.

(stuttering)

Halt there! Just halt, I say, old fellow, will you?

LE BLANC.

And if I don’t?

HANS WAGNER.

Well then, all is, I’ll kill you.

LE BLANC.

Don’t do it. I’m not fat enough to kill.

(Sit sill, my heart, sit still.)

HANS WAGNER.

Have you seen hiding somewhere about t, t, t, t, (whistle Stutter badly over the word “two”) two sailors?

LE BLANC.

Indeed, I have not seem them, nor, in fact, should I have known them if caught in the act of leaving service in this manner summary.

(crosses L., throwing gun up)

Go, soldier, go! Get thee to a gunnery.

HANS WAGNER.

(crossing L.)

Well, I will go, but don’t forget one thing:

Whoever gives them aid will together with them swing.

LE BLANC.

(following up fiercely)

Well, let them swing! . . . Who cares?

HANS WAGNER.

Perhaps you will. (charging bayonet) You’ve got the James’ preserves.

LE BLANC.

The James’ preserves ? What are they?

HANS WAGNER.

The jim-jams ! Put that in your pipe and smoke it.

(Exit L.)

(At “Put that in your pipe . . . ,” men gradually enter quietly R. and L. so that all are on at end of speech. Laughter.)

LE BLANC.

(calling very softly after Hans)

You’re a liar. Aha! Here are the toilers of the sea.

What have you caught, lads?

OMNES.

Colds!

(all sneeze)

LE BLANC.

Yes, so I see.

But prithee: though your voices are not clear,

Sing some sweet strain, my somber soul to cheer.

Before I go my Catherine to hug,

Let’s have that anthem about Sammy Smug,

That poor young tar whose memory we revere.

Speaking of tars , I’ll pitch the key.

OMNES.

Hear! Hear!

(Footlights and border lights half up.)

BALLAD: “Sammy Smug”

[LE BLANC.]

Come listen to the mournful tale

That I will try to tell to you

About a sailor, Sammy Smug,

Who sailed upon the waters blue.

Meandering one day on the sea,

Poor Samuel was drowndied.

Oh . . . and whenever the ship it left the bay,

On Mozambique or Paraguay,

He always used one thing to say,

And this is what he said:

“Oh, the wind is sou’, sou’-ea’.

The wind is piping free.

The wind is blowing, and the ship is going

And carrying me away from thee.

Oh, the wind is sou’, sou’-ea’.

The wind is piping free.

The wind, it is a blowing,

And the ship it is a-going,”

Would always say Sammy.

Now Sammy loved a Gallus girl,

And she did also love Sam well!

And spliced they would have surely been

But for a hideous blow as fell.

For sailing one day on the sea

Poor Sammy he was drowndied.

His messmates who were there that day,

And grabbled in vain as he sank away,

Say that some words they heard him say,

And these were the words he said:

[LE BLANC AND CHORUS.]

“Oh, the wind is sou’, sou’-ea’.

The wind is piping free.

The wind is blowing, and the ship is going

And carrying me away from thee.

Oh, the wind is sou’, sou’-ea’.

The wind is piping free.

The wind, it is a blowing,

And the ship it is a-going,”

[LE BLANC.]

Said, as he sank, Sammy.

Now that young girl what Sammy loved

Took to her bed and sickened,

And every night at twlve o’clock

Her heartbeats they were quickened.

For a ghost in white stood by her side

With seaweeds on his head, oh!

And her ma, as in the room did stay

The weary night that passed away,

Swears that a few words the ghost did say,

[LE BLANC AND CHORUS.]

“Oh, the wind is sou’, sou’-ea’.

The wind is piping free.

The wind is blowing, and the ship is going

And carrying me away from thee.

Oh, the wind is sou’, sou’-ea’.

The wind is piping free.

The wind, it is a blowing,

And the ship it is a-going,”

[LE BLANC.]

Said the ghost of Sammy.

(Dance.)

(Fishermen exit R. and L.)

(Lone Fisherman’s dance. Business during dance with board on tree. Fishermen exit R. Encore. [Fishermen reenter?] Le Blanc exits L. Fishermen exit L. during scene change to slow music.)

(Don’t take up curtain until slow music.)

SCENE 3

[ : Inside the Cottage ]

(Gas: down from 1/4. Calcium: red glow from fireplace illuminates Evangeline during her song. Ben discovered seated by the fire, asleep. Evangeline’s spinning wheel C.)

ROMANZA: Spinning Wheel Song, “My Heart”

EVANGELINE.

My heart feels a newborn emotion

It never has known before.

The turbulent tides of the ocean

Seem thrilling it to the core.

Since Gabriel’s arms were around me,

No peace in my mind I’ve known.

Some spell in its tethers hath bound me.

Its magical power I own.

What can it be that, unbidden,

Causes my cheek to glow?

What is the rapture that, hidden,

Makes the world fairer below?

Blushes defying repression,

Joy that is almost pain,

Force me to make the confession

Vainly I seek to restrain.

Love in my heart has its dwelling,

Leaving its home in the skies,

And rapture that passes all telling

Laughs out from my lovelit eyes.

(Gas: open quick.)

(Ben advances toward Evangeline, both down C. Lone Fisherman looks in at window.)

BEN.

But who pulled you from the wasty water?

EVANGELINE.

’Twas Gabriel, Pa!

BEN.

Of course. I might have guessed.

My joy like my old coat must be repressed.

Just think, my child: Tonight you’ll wedded be

And leave your old pa!

(Lone Fisherman enters through fireplace, tries spring in armchair, and then goes to table.)

EVANGELINE.

(C.)

You bet I will.

BEN.

Such (s)language from a daughter is most saddening.

You hadn’t ought to thus your pa be maddening.

Slang slaugh [sic?], my dear girl, is hardly just the thing.

A bride as dowry to her s’pouse should bring,

But I suppose it’s stylish.

EVANGELINE.

(rises)

Bless your dear heart.

I only did it just to make you start.

For I’ll reform and never more will do

A thing to worry Gabriel or you.

BEN.

(patting Evangeline fondly)

Your larks, my child, you would do well to stop.

You’ve sown of wild oats quite a tidy crop,

And although wild, you’ve never wicked been.

EVANGELINE.

[aside]

I hope to hide those sailors wasn’t sin.

I wish I dared tell Pa about them,

But it would only worry him, so . . . I won’t.

(Gabriel runs on from door L. and crosses R. followed by heifer. [Foots and borders out?] Business around kitchen. Lone Fisherman holds heifer’s tail. Gabriel out of breath.)

GABRIEL.

Confound that heifer! Me she nearly spilled.

When once we’re married, I shall have her (“heifer”) killed.

EVANGELINE.

(L.C.)

You will do nothing of the sort, I vow.

Anyone who loves me must love my cow.

GABRIEL.

Her temper will yet cost someone a hearse.

I never saw a heifer have a (“heifer”) worse.

She dies, and I’ll give the butcher his instructions.

EVANGELINE.

She does not die!

GABRIEL.

She does die!

EVANGELINE.

I hate you.

GABRIEL.

Oh, no you don’t, Vangie.

EVANGELINE.

Honest Indian I do.

BEN.

(crossing down C.)

Who ever heard of an honest Indian?

GABRIEL.

(R.)

Well, if it comes to that, I hate you too.

BEN.

Here! Here that’s enough of that. Keep your quarrels till you are married. Gabriel, you stand here.

GABRIEL.

(crosses to C.)

Where?

BEN.

(C.)

There! On that knothole.

GABRIEL.

(K)not that hole.

BEN.

I guess not.

(Lone Fisherman business with telescope. As he goes to get Evangeline, Gabriel crosses L.)

BEN.

Vangie, you come stand here.

(Pulls Evangeline L.C. and finds Gabriel has moved R.)

Gabriel, didn’t I tell you to stand here? I’ve a good mind to . . .

GABRIEL.

(threateningly)

You’ve a good mind to what? Say!

BEN.

No matter what! Now then, kiss and make friends . . . father feeling smother.

(Everybody ready. Ben crosses R. to chair. Gabriel and Evangeline look sheepishly at one another and finally embrace.)

DUET: “Golden Chains”

[EVANGELINE AND GABRIEL].

The lover’s breast is ne’er so blest

As by the charm that music lends,

For cupid’s dainty brow it bends.

His darts are in each strain.

Each blithesome bird

In song is heard on fair Cythera’s sunny isle,

And Vulcan’s anvil rings the while,

As he welds a golden chain.

[EVANGELINE.]

Golden chains be thine, beloved,

Holding thee in shady bow’r.

May thy bonds have charms entrancing,

Love’s own ray from off them glancing,

And thy slavery enhancing,

Be-wreaths of dew-dipp’d flow’rs.

[GABRIEL.]

Merrily, merrily, merrily we’ll stray,

Free as the air above.

[EVANGELINE.]

Merrily, merrily, all the happy day,

Blest in immortal love.

GABRIEL.

Merrily, merrily, merrily we’ll stray,

Loving while cupid reigns.

EVANGELINE.

Merrily, merrily all the day,

Golden shall be thy chains.

BOTH.

The lover’s breast is ne’er so blest

As by the charm that music lends,

For cupid’s dainty brow it bends.

His darts are in each strain.

Each blithesome bird

In song is heard on fair Cythera’s sunny isle,

And Vulcan’s anvil rings the while,

As he welds a golden chain.

(Knocking at door. Laughter outside.)

BEN.

There are the wedding guests. Run. . . . Let them in. . . .

The contract’s signed, the fun can then begin.

(Enter wedding guests followed by Catherine, Le Blanc, and heifer. Heifer tosses Le Blanc into Catherine’s arms. Business: Lone Fisherman takes heifer back to chair.)

EVANGELINE.

Kind friends, you’re welcome all.

(Gas: down to 1/2[?]. Calcium: white; changes during gavotte to red, blue, amber, green. Everything full.)

CHORUS and DANCE [GAVOTTE].

BEN.

Welcome! Where’s Catherine and Le Blanc?

CATHERINE.

For Heaven’s sake, Blanky, let that cow alone.

LE BLANC.

Well, I’m not going to let any cow bull doze over me.

(to Ben, R.)

We come as the waves come where navies are stranded.

We come as the wolves come when wild deer are banded.

We come as the crowds come when free beer is handed.

We come—

BEN.

Oh, come off. Go hire a hall if you want to make a speech.

OMNES.

Ha! ha! ha!

LE BLANC.

To accommodate I will

Some other time. . . . (Sit still, my heart, sit still!)

BEN.

Be welcome, friends. Evangeline, lay the table,

While I take this confounded heifer to the stable.

EVANGELINE.

No, wait! In education she’s advancing.

Make room, I’ll make her do a little dancing.

HEIFER DANCE

(Gas: down. Calcium: purple from front for Heifer’s dance. All look on and applaud. After dance, heifer exits. Gas: full. “Cuckoo!” Figure pops up through clock three times. Calcium: white front P.S. and O.P. till end of act.)

LE BLANC.

(aside)

All’s well so far. My plot goes bravely on.

A short half hour, my recompense is won.

Their names once signed, the gold is mine. Ha ha!

Sit still, my heart, sit still! Ah: Here we are. . . .

Mary-Ann, bring the table.

(Mary-Ann brings down small table.)

Now here’s the contract!

Gabriel, please to sign your name.

(Places contract on table C. and hands pen to Gabriel.)

GABRIEL.

Down in this corner?

LE BLANC.

In the very same.

Be sure you cross your t’s.

GABRIEL.

(signing and jabbing pen at Le Blanc)

I’ll dot your eyes.

LE BLANC.

The dot let on the i . Thank you so much. Now then the young lady .

(Gabriel crosses back L. Ben starts to lead Evangeline to table when Catherine stops her.)

CATHERINE.

Excuse me, . . . restrain your felonious emotions.

There are other young ladies present.

GABRIEL.

Yes, but he doesn’t mean you.

CATHERINE.

Run away and play, little boy. I know my business.

(Catherine crosses to table, takes pen. Business of banging Le Blanc’s head on table.)

LE BLANC.

Oh–o–o–o! Who did that?

CATHERINE.

Me with my little hand.

LE BLANC.

What do you want?

CATHERINE.

I want to write my name.

LE BLANC.

Excuse me, Catty. I said the young lady.

OMNES.

Ha! ha! ha!

CATHERINE.

Marry, come up on zooks, od zounds, am I not a young lady?

LE BLANC.

Yes, but you won’t tear under the wing—

CATHERINE.

How old do you think I am?

LE BLANC.

About sixty.

(Catherine screams and chorus laughs.)

LE BLANC.

No! No! About six teen .

CATHERINE.

Ah, some old friend of the family must have told you

I am a tender little sensitive century plant,

And I shrink from your unkind words.

LE BLANC.

I don’t know about the shrinkage, but if you’re a sensible girl,

you’ll go shave yourself.

(Catherine screams. Chorus laughs. Business: Le Blanc turns table.)

LE BLANC.

Change trains for: Far Rockaway.

CATHERINE.

That’s a fine brake to make any way.

(crosses L.)

(Ben leads Evangeline to table. She takes pen.)

EVANGELINE.

You’ll make fun of my writing.

LE BLANC.

I can’t make it funnier than it is.

BEN.

She writes all right .

CATHERINE.

She ought to write well. . . . She goes to night school.

EVANGELINE.

All right. (writing) E .

OMNES.

E.

(Music of soldiers heard outside.)

EVANGELINE.

This pen is horrid.

LE BLANC.

I quite agree with you. (to Evangeline) Go on!

EVANGELINE.

(writing)

V.

OMNES.

V .

(Soldiers pass window: comical step.)

LE BLANC.

That V looks like a derrick upside-down.

GABRIEL.

What’s that?

LE BLANC.

Nothing whatever. (to Evangeline:) Proceed with your penmanship. [aside] Oh, if I should be interrupted in the hour of my triumph . . . !

EVANGELINE.

(writing.)

A.

OMNES.

A.

CAPTAIN.

(outside)

Vat he mit in dose houses?

EVANGELINE.

(terrified)

What is that?

LE BLANC.

Go on and sign! It’s nothing, it’s the cat.

Finish your signature! You’ve only got to A.

CAPTAIN.

(outside.)

Somebody open dot door, I say! Pretty quick already

EVANGELINE.

Who can it be?

LE BLANC.

I’ve not the least idea.

CAPTAIN.

(outside)

Vill I break out dot house?

LE BLANC.

Go on, my dear.

EVANGELINE.

I can’t go on. The noise has scared me so. (crosses to Gabriel)

LE BLANC.

But think of what I lose?

OMNES.

(action)

What do you lose?

LE BLANC.

(business)

I mean what she loses.

CAPTAIN.

(outside)

Vill I vait here a week?

BEN.

Go see who it is, and let them in.

GABRIEL.

(goes to door and opens it)

Soldiers . . .

(Everybody crosses R. Enter L.D. soldiers headed by Hans Wagner, and behind them the Big Fisherman. Business with Catherine, Le Blanc, and Hans Wagner. Business: Le Blanc and soldiers.)

CATHERINE.

Come here! They’ll kill you.

(Enter Fritz, Rudolph, and, lastly, the Captain.)

HANS WAGNER.

(during music.)

Present arms! . . . Order arms!

SOLDIERS’ CHORUS: “In Us You See”

CHORUS OF SOLDIERS.

In us you see the chosen army of the land,

Who brave as lions are.

Before our force no enemy can ever stand.

Naught can our progress bar.

EVANGELINE.

My hopes of bliss are faded.

What can this soldier mean?

The sailors whom I aided

They surely can’t have seen!

CAPTAIN.

I seek deserters,

GABRIEL.

She seems as if degraded.

What do her actions mean?

Her terrors thus paraded

Does not seem right to me.

[BEN.]

What means this strange intrusion?

Speak out! What seek you here?

Well, you have heard us,

LE BLANC.

Again, my quest evaded,

I feel confounded mean.

If boldly in I’d waded,

All might have been serene.

Destroying our seclusion,

You must explain, ’tis clear!

SOLDIERS.

Cutting, slashing, right and left,

We have no other care.

If in two our heads are cleft

We could not better fare.

The ladies all adore us,

And where’er we chance to stay,

Our welcome comes before us.

We scarce can get away.

But a fight

is our delight,

(All sing at once.)

CHORUS OF SOLDIERS.

(simultaneously)

And happiness is found.

In carnage dire we load and fire,

Not heeding any wound,

And where the dead are thickest laid,

’Tis where we may be found.

EVANGELINE.

(simultaneously)

You seek deserters, gracious goodness!

If he my guilt discovers,

I’ll surely lose my life.

Yes, if he my guilt discovers,

I’ll surely lose my life.

GABRIEL.

(simultaneously)

You seek deserters, gracious goodness!

Though she her terror covers,

She suffers mental strife.

Yes, though she her terror covers,

She suffers mental strife.

[BEN.]

(simultaneously)

You seek deserters, gracious goodness!

Some mystery o’er me hovers.

There must be danger rife.

Yes, mystery above me hovers.

There must be danger rife.

CAPTAIN.

(simultaneously)

. . .

And, by the skies above us,

I’ll have them on my life.

Yes, by the bright blue skies above us,

I’ll have them on my life.

LE BLANC AND CHORUS.

(simultaneously)

You seek deserters, gracious goodness!

I fancy that these lovers

Will ne’er be man and wife.

Yes, I fancy that these two lovers

Will ne’er be man and wife.

(Business between Le Blanc and Captain. Catherine pulls Le Blanc away and does business with Captain. Le Blanc tries to pull her away.)

CATHERINE.

How d’ye do, Captain? I didn’t see you when I first saw you.

What do you want, my dear?

(to Le Blanc)

What’s the matter?

(crosses R.)

LE BLANC.

(crosses R.)

It’s not right. I’m present, my dear.

BEN.

What is your business in my house?

CAPTAIN.

Yoost vait.

I tole you left off right quick. Dere vas of late

Two sailors of my ship vat runned avay.

As has been hanchored out dere in der bay,

Dey han ch ered for dey didn’t got.

So dey deserted.

(Evangeline screams and faints R. Mary-Ann brings chair. Catherine fans her. Gabriel attends her.)

BEN.

Put some ice cream down her back.

Make room.

CATHERINE.

You put some ice cream down her back

And make room. . . . Make rheum—atism . . .

[aside]

I was ashamed when I said that.

CAPTAIN.

I don’t come here for no foolishnesses.

I said my three sailors all deserted.

(Vell dere’s von sailor: He got shot.)

Der odder two I vas been told vas here.

OMNES.

Here?

CAPTAIN.

So I yoost looks me round a bit—

OMNES.

(action only)

CAPTAIN.

(L.C.)

Don’t fear!

If I dem vas not found vy den all right,

I take myself avay dis very night, . . .

(marked)

But if I found dem—

BEN.

(blustering)

Well sir, what then?

CAPTAIN.

Vell, I fear the trick is big.

I yoost took dem and you too, to dot brig.

(points out of window)

(Ready noise in clock.)

BEN.

I’d hide no sailors!

EVANGELINE.

(crying)

No sir, nor would I.

CAPTAIN.

(approaching Evangeline and trying to soothe her)

Vell, I vas sure od dot. Come now, don’t cry!

EVANGELINE.

(snappishly)

I will cry if I want to.

GABRIEL.

(R.)

Of course, she will go on and cry.

LE BLANC.

(R.)

Go ’way, Duchy, and let the lady cry.

CAPTAIN.

(C., restating)

Cry all you like, vat I care?

I follow orders by yoost looking round,

Und seeing what I see me can be found.

Everhard, Rupert, Ehret, Pilsner, Fritz! Rudolph!

(Both [Fritz and Rudolph] step forward and salute.)

Keep two vatchers on dot door.

(Fritz and Rudolph take positions R. and L. of door L.4.E.)

Milwalkee, Hans Wagner.

(Hans Wagner steps forward and salutes.)

Search me out dot room.

(Girls scream and divide to allow Hans Wagner to pass through them R.D.)

I hates dot search,

But follows orders if I burn a church.

(Hans Wagner enters from R.D. and goes L.)

Vell, you no found dem?

HANS WAGNER.

Nit.

CAPTAIN.

Dot’s vat I thought.

Good perples, now I’ve done yoost vat I ought.

Hans Wagner fall in dose ranks.

(He does so.)

I vill leave.

I hopes my conduct vas made no one grieve.

OMNES.

(action)

Oh no, sir!

CAPTAIN.

I vas as firm on duty like a rock.

(Loud alarm goes off in clock. All start. Le Blanc climbs up proscenium. Lone Fisherman runs upstage. Business: Catherine looking for Le Blanc. The hands of the clock fly around.)

LE BLANC.

Come up here, Catty!

What is it? An earthquake?

CAPTAIN.

Chiminz Christmas! Vat got in dot clock?

EVANGELINE.

It’s nothing, sir, it’s only striking nine.

CAPTAIN.

Nine? Dot vas a twenty-nine strike, I opine.

(crosses to Evangeline)

(Clock moves erratically.)

Dot clock must have an eight-hour strike inside, it strikes so much.

Portztausend Himmelion! Vell, I should say,

Dot clock vas not run down but run away.

Hans Wagner, look in dot clock right quick.

(Hans Wagner crosses to clock and tries door with bayonet.)

Tahke der sticker stick him in der ticker.

Move de pendiculum.

(Hans Wagner opens clock and takes out sailor. Gives him in charge of soldiers.)

OMNES.

Oh!

CAPTAIN.

Hey-day! Dot as a height clock day I see.

Tie his hands loose. A stop clock he will be.

Vere vas der oder man’s?

BEN.

I know not, sir.

CAPTAIN.

All right, mitout I got him, I don’t stir.

LE BLANC.

(crosses C., approaching Captain defiantly)

Come, come, come, come, co–m–e.

CAPTAIN.

(fiercely)

Come vere?

LE BLANC.

I arrest you for Communist [sic]. (business) The pen is mightier than the sword. (business)

CAPTAIN.

Who are you, anyhow?

LE BLANC.

W.J. Bryan, the Boy Orator.

CAPTAIN.

Hans Wagner, seems to me dot chimmy’s queer. See if he’s dere.

(Hans Wagner goes to chimney. Girls scream. He sticks his bayonet up and brings down another sailor.)

Vell, vas he?

HANS WAGNER.

(brings second sailor down to soldiers to guard)

Yes, he’s here.

CAPTAIN.

That’s a nice trick. Take ’em both to the Bastille.

Now den, young womans, vat you tole me now?

Dot vas a pretty nice trick anyhow.

EVANGELINE.

Oh, sir, I never knew that I did wrong.

They asked protection—

CAPTAIN.

Why did you not send them to McKinley?

That’s what the matter with Hanna.

I suppose you’d have given them free trade if they’d ask for it.

Joost come along, you can explain about dot on der ship.

GABRIEL.

Would you arrest her?

CATHERINE.

I believe he would.

CAPTAIN.

Yah, I’d arrest her old grandmother over there.

(Pointing to Catherine.)

OMNES.

Ha, ha, ha! Wonder which of you girls is the grandmother.

CAPTAIN.

I’ll take her away for ballast.

EULALIE.

Isn’t that funny!

CATHERINE.

I think it’s real comical.

EULALIE.

He meant you.

CATHERINE.

Oh the devil!

(Business of chasing the Captain. Hans Wagner steps forward and points gun at Catherine.)

Oh, I an’t afraid of them. They’re a case of bluff.

(to Hans Wagner, face down:)

Boom, boom!

(to soldiers, all tremble violently:)

Boom, boom, boom! Oh, what a healthy lot of soldiers! The standing army!

(Le Blanc crosses C., imitating Catherine, saying, “Boom!” Soldiers charge guns, Fritz and Rudolph with swords. [Le Blanc runs off R.1.E.?])

For heavens sake, Blanky, come back!

(He comes back, R.1.E.)

BEN.

(C.)

What’s that about arresting her, you say?

You think I’ll let you take my child away?

She shall not go.

(Business: knocks the Captain in his stomach.)

GABRIEL.

I say she shan’t. (knocks Captain in stomach)

CAPTAIN.

I’ll bet you four dollars and a half I vas assassinated.

Fritz, Rudolph, Wagner, protect your captain.

(Fritz, Rudolph, and Hans Wagner interpose. Hans Wagner points gun at Gabriel.)

BEN.

(C.)

Gab[e], come away from that musket. You must get away from it.

(Pulls Gabriel away. Le Blanc crosses C.)

LE BLANC.

I know my business. Let’s argue this point.

CAPTAIN.

Dot’s right, Wagner. Pull der snapper, and shoot him.

LE BLANC.

Don’t, Wagner. It may snap off.

A sieve you’re making of me very nearly.

I prithee! Do not punch me so severely ,

My friends, a good deal on your present cards depend.

(aside)

I’ll give him taffy; I’ll jolly him up a bit.

Do not irritate the Captain, for . . .

He only carries out the English law.

CAPTAIN.

Vat kind of (f)law ?

LE BLANC.

The English law.

CAPTAIN.

Vell, you’ll find no flaw in dot English law

Tra, la, la, la(w) .

LE BLANC.

(to the four soldiers)

Captain! Major! Colonel! General!

CAPTAIN.

Vet you vant?

LE BLANC.

Would you do me a small favor?

CAPTAIN.

I’ve got no money to lend you.

LE BLANC.

No, no— (showing contract) just let her sign this marriage contract before she goes.

CAPTAIN.

Vat’s dot, a prescription to kill the Rain’s bill?

(Hans Wagner approaches and reads too. Business of Le Blanc raising and lowering it.)

LE BLANC.

Can’t you remove this cromo [sic?]?

CAPTAIN.

Don’t say something. I give him away with a one pound of tea tomorrow. Hans Wagner, if you please, fall in dose ranks. I can attend to your own business myself. Proceed, sir.

LE BLANC.

You see, Captain, she was signing this contract as you came in. . . .

(During this speech, Hans Wagner has against crept up between Le Blanc and Captain.)

CATHERINE.

(R.)

He’s back again, Mister.

LE BLANC.

I’ll humor him.

CAPTAIN.

(drawing sword)

Don’t you say nothings. I kill him.

LE BLANC AND OMNES.

No! no! Don’t do that!

CAPTAIN.

Don’t be afraid! I got plenty more. Hans Wagner, fall in dose ranks. Order out a file of soldiers and have yourself shot in two places before sunrise.

(Hans Wagner falls in with soldiers.)

LE BLANC.

Well, Captain, I suppose it’s all right.

CAPTAIN.

Yah, it’s all right. If he don’t, I’ll shoot him myself.

LE BLANC.

No! no! I mean you let her sign this contract.

CAPTAIN.

I let her sign nothings until she was guilty and found out.

LE BLANC.

If you don’t let her sign . . . you know the consequences. I shall go . . . mad . . . mad!

CAPTAIN.

Vell, go mad, amuse yourself all you can.

(Business of Le Blanc tearing out his hair.)

CATHERINE.

(catching it)

Oh! What beautiful hair !

LE BLANC.

’Tis false!

(crosses to Catherine, R.)

CATHERINE.

(R.C.)

I believe he’s trying to fool me. I’ll preserve it as a heir loom.

(She puts it in her bosom.)

CAPTAIN.

(L.C.)

Wagner, did you see him snatch himself baldheaded?

(to Evangeline)

Now then, if you please?

EVANGELINE.

(crosses to Captain)

I cannot go onboard in clothes like these.

Captain, you say to England I must go?

Then I’m going to go there comme il faut.

(business of Hans Wagner and Mary-Ann kissing)

Mary-Ann,

Go pack . . .

(Hans Wagner and Mary-Ann throw kisses at each other.)

a few trunks as quickly as you can,

Enough to last a week.

And bring them here.

(Mary-Ann: business of “all right.” Exit R.D.)

CAPTAIN.

A week’s, my dear?

A month at least, and bring along a box of beer.

On the way I might feel very queer.

GABRIEL.

I’ll not desert thee, let yon Captain mark.

I’ll dog his footsteps and defy his bark.

(Trunks ready to push on.)

CAPTAIN.

Jonny man, you see my upper lips?

You got the freshness.

LE BLANC.

(R.) [aside]

She is not wed. Therefore, I must pursue’er

Until her name I can in full secure.

[aloud]

Catherine, farewell.

CATHERINE.

Blanky dear, why this deep emotion?

You would not leave me?

LE BLANC.

Sweetheart, I must.

CATHERINE.

The very thought makes me grow faint.

BEN.

(C.)

Don’t faint!

CATHERINE.

Shut up! Don’t interrupt a lady when she’s fainting.

My ears do not deceive me.

(She slaps Le Blanc’s ears.)

LE BLANC.

No, nor mine either.

CATHERINE.

(C.) [aside]

He would desert me. It shall not be so.

You want a chaperone, dear?

EVANGELINE.

Yes!

CATHERINE.

Then I’ll go.

OMNES.

(pointing)

You!?

LE BLANC.

You really mean—?

CATHERINE.

That you alone can count me in.

CAPTAIN.

Hans, if she goes, you’d best get another ship.

LE BLANC.

Come on! We will all go!

Now den, vas all ready? Come along!

(Everybody makes three steps toward the door.)

EVANGELINE.

Wait, please.

CAPTAIN.

Vait for what?

EVANGELINE.

I forgot something.

CAPTAIN.

Forgot vot?

EVANGELINE.

My trunks, sir, and a parting song.

ACT I FINALE: “He Says I Must Go”

[EVANGELINE.]

He says I must go.

For what, I don’t know.

I’m sure I’ve done nothing that’s naughty.

And that I should be

A prisoner of he,

He ought not to ask of me,

Ought he?

But though in his power,

He’ll find that this hour

With sadness nor sorrow can fill me.

His threats are in vain,

For, conquering pain,

I’ll sing to the last,

Though he kills me.

EVANGELINE.

Oh

CAPTAIN.

we

LE BLANC.

don’t

[BEN.]

know

GABRIEL.

where

CATHARINE.

she

EULALIE.

must

HANS WAGNER.

go!

EVANGELINE.

Oh

EULALIE.

we

CATHERINE.

don’t

GABRIEL.

know

[BEN.]

where

LE BLANC.

she

CAPTAIN.

must

EVANGELINE.

go!

ALL

Oh, oh, oh, none of us know

Where she’s got to go.

It’s certain she’s going to leave us.

The sailors she hid,

Although ’twas forbid,

An action decidedly grievous.

So wiping our eye,

We bid her goodbye.

The captain averse

To delays is.

And till we next meet,

We can only repeat:

Here’s hoping good luck,

As the phrase is.

END OF ACT 1

———

Act 2

[ Scene 1: The African Coast ]

(Gas: full. Calcium: everything green. Miners discovered scattered over stage with picks. Business with picks.)

[editor’s note: There are two different songs extant that fit the opening of the second act. The lyrics of both appear below, with the more dramatically helpful version following the asterisks.]

CHORUS: “Clink! Clank!” (Boorioboola Gha Chorus)

MINERS.

Hickery, hackery, jim jam,

Boorioboola Gha!

Whitgery, wockery, film flam,

Boorioboola Gha!

Molly cum bibberty caribolu,

Jiggerdum offerty pillimotu,

Boorioboola Gha!

Boorioboola Gha!

* * *

MINERS.

Clink, clank, clink, clank!

Though the sun is boiling . . .

Clink, clank, clink, clank!

Our complexion spoiling.

Clink, clank, clink, clank!

For our monarch toiling:

Boorioboola Gha,

Boorioboola Gha.

Pick, pick, pick . . .

From rise till set of sun.

Dig, dig, dig . . .

Our labor never done.

WOMEN.

For our king we’ve surely dug of diamonds a ton.

ALL.

Boorioboola Gha,

Boorioboola Gha.

WOMEN.

For our king we’ve surely dug of diamonds a ton.

ALL.

Boorioboola Gha,

Boorioboola Gha.

WOMEN.

Up the thermometer goes

’Til it burst is,

And our thirst is

Past endurance far.

He neither guesses nor knows

How he cursed is,

Our great monarch,

Boorioboola Gha.

WOMEN.

What though, the tropical sun

Boils and bakes us!

Still he makes us dig,

’Til faint we are.

If he considers it fun,

He mistakes us,

As we’ll show him,

Boorioboola Gha,

Boorioboola Gha,

Boorioboola Gha.

MEN.

Boori,

Boorioboola Gha,

Boori, Boorioboo-

la Gha,

Boori, Boori-

oboola Gha,

Booririo-

boola Gha,

Boorioboola Gha,

Boorioboola Gha,

Boorioboola Gha,

Boorioboola Gha.

ALL MINERS.

Clink, clank, clink, clank!

Though the sun is boiling . . .

Clink, clank, clink, clank!

Our complexion spoiling.

Clink, clank, clink, clank!

For our monarch toiling:

Boorioboola Gha,

Boorioboola Gha.

Boorioboola Gha,

Boorioboola Gha,

Boorioboola Gha,

SOPRANOS, ALTOS, AND TENORS.

Boorioboola

Gha.

BASSES.

Boorioboola,

Boorio, Boorio,

Boorio, Boorio,

Boorioboola Gha.

(Calcium: white. Miners exit R. and L.)

(Lone Fisherman business with bread jug and monkey. Exit L.1.E.)

(Enter Captain, Hans Wagner, Fritz, and Rudolph L.2.E.)

CAPTAIN.

Vere vas ve now, Hans Wagner?

HANS.

I d-d-don’t know.

Since we’ve been wrecked

I’ve lost all reck oning.

CAPTAIN.

Why don’t you have it pulled?

Dere diamond fields was round here, so they say.

Go ask dose peebles we pass by on the way.

HANS.

(crossing L.C.)

But I can’t talk their language.

CAPTAIN.

What I care?

You can’t speak your own, expect on der installment plan.

Go find out the vay to anywhere.

(Hans Wagner exits R.3.E.)

And den for fear he might go astray,

You too accompany him on his way.

(Fritz and Rudolph exit R.3.E.)

Fine-looking body of men.

Here, you. (Hugger [- mugger ?] .)

What’s the matter?

OFFICER.

I got trouble with my hip.

CAPTAIN.

Your what?

OFFICER.

My hip, hip . . .

CAPTAIN.

Hooray!

(Enter Lone Fisherman with monkey L.2.E.)

(Terrible noise heard off R. Enter Le Blanc, singing a bar or two of “Home Sweet Home.” Orchestra drowns him.)

LE BLANC.

This precious document I have, all right.

(produces document)

While on the ship, her name she tried to write.

I hope she’ll sign the rest, and then espousèd be,

For then, oh bliss, my Catherine to me:

Catherine, sweet name, more saccharine than honey.

For by the will, I gather in the money,

I gather in . . . Catherine. (“I gather in . . ."

That’s very good!) I gather in the money.

(Lone Fisherman business.)

Ah! Who comes there? ’Tis Catherine in search of me.

I think I’ll retire beyond yon slippery elm tree?

(Exit R.3.E.)

(Enter Catherine L.2.E.)

CATHERINE.

I’ve been looking everywhere for my lost love.

He was to have met me here at noon.

But as he isn’t here, I’ll tell you all about my love

For the man in the moon.

SONG: “The Man in the Moon”

(music and lyrics by Charles Archer)

I’m a maiden imploring your pity,

No one so forlorn in the City.

Though wanting a lover, I can’t find a lad,

Who’s willing to court. They’re afraid of my dad.

They’re getting so bashful, it’s really too bad.

A lover to me is a boon.

For Willie’s so frightened, it’s really absurd,

And John has about as much sense as a bird.

In the absence of lovers I find ’pon my word

I’m in love with the man in the moon.

I’m in love with the man in the moon,

I’m in love with the man in the moon.

For his eyes are so bright on a harvesting night,

And although he gets full, why, he never gets tight.

Other lovers abroad nightly may roam,

But my man in the moon stays at home.

And some night after all,

If no beaux on me call,

I’ll elope with the man in the moon,

I’ll elope with the man in the moon.

My hand has been asked by the Squire,

But perhaps I may look somewhat higher.

With plenty of money, he can’t buy my heart.

A cottage and love will suit me for a start.

From friends and relations perhaps I may part.

I’ve still got my man in the moon.

So send in proposals this very night,

The old folks asleep and the watchdog all right.

Or some summer’s night on a starbeam so bright

I’ll elope with the man in the moon.

I’m in love with the man in the moon,

I’m in love with the man in the moon.

For his eyes are so bright on a harvesting night,

And although he gets full, why, he never gets tight.

Other lovers abroad nightly may roam,

But my man in the moon stays at home.

And some night after all,

If no beaux on me call,

I’ll elope with the man in the moon,

I’ll elope with the man in the moon.

(Le Blanc enters R.3.E.)

LE BLANC.

(rapture, crossing to her)

Ah, Catherine!

CATHERINE.

Ah! That voice ’tis my love, I feel.

He is coming near. Ah, Blanky dear!

LE BLANC.

It’s no use, Catty. I’m all out of breath.

Another hill and it’ll [ “hill” ] be my death.

CATHERINE.

Your love grows cold.

LE BLANC.

Don’t scold, so fair and young.

I’m long enough on love but short on lung.

CATHERINE.

Where are we anyhow?

LE BLANC.

I give it up.

Filled to the brim is our misfortune’s cup.

CATHERINE.

To starve the crew so was the thing to blame.

They struck, and then the vessel did the same.

(He points to the wreck on the horizon.)

LE BLANC.

There is the wreck out there on the horizon.

She’s all broke up. There’s no chance of her risin’ .

CATHERINE.

My lovely clothes all lost. Not one suit left me.

The waste of waters of all waists bereft me,

And had it not been that we found that chest,

In fig urative fig leaves we’d now been dressed.

LE BLANC.

Your costumes, though, ’s becoming. As for mine,

It certainly is in the travelling line.

Say, Catty, how do you like my hurricane ulster?

CATHERINE.

Well, Blanky, I don’t want to discourage you,

Poor fellow, but you look a sight.

LE BLANC.

No? no?

I wear this Roman toga ’cause, ’twixt you and me,

When you’re a Roman (“roamin’”)

, you must do as Romans do.

(Ha! ha! That’s very good.)

CATHERINE.

This is no time or place for idle jests. For food I’m faint.

LE BLANC.

And hearty jokes (“artichokes”) jest the thing for your complaint.

CATHERINE.

I am weary and fain would rest.

LE BLANC.

Go sit down. Rest awhile. Sit thee down by me,

(kneeling)

My bonnie Kate upon me bonnie boney knee.

CATHERINE.

(business)

I don’t want to sit down. I’m getting [to be?] a big girl now. Besides, my Ma don’t let me sit on gentlemen’s knees. Now, you! Stop coming over to me. I’m afraid to. . . . I feel so nervous. . . . Do you? Suppose anybody will see me.

(Business of standing in front of Le Blanc and hiding him from the audience.)

LE BLANC.

I’ll bet $200 no one will see me.

(She sits on Le Blanc’s knee and jumps up laughing and sits again.)

CATHERINE.

I could sit here a month.

LE BLANC.

(horrified)

A month? Make it February, Catty.

CATHERINE.

Why, Blanky?

LE BLANC.

Because it’s the shortest month in the year.

CATHERINE.

Blanky, do you know I’ve so much to say to you that I hardly know where to begin? And when I look into your eyes, I sometimes fancy you don’t love me. . . . Blanky, swear that you love me!

LE BLANC.

Damn!

CATHERINE.

(screams)

You act to me as a man who has something on his mind. . . .

If I thought . . .

LE BLANC.

Don’t think. You’ll sprain your brain.

Don’t you think the month’s nearly up?

(Catherine rises. Business: gag speech and standing on Le Blanc’s toe.)

Kindly remove the Eiffel Tower off my toe.

(aside)

That must be the Tribly that made Ben Bolt.

CATHERINE.

(business)

Say, Blanky, I want to talk to you.

I’ve something to ask you. . . .

LE BLANC.

What is it, my love? Eh! Let’s walk.

(Walking business.)

CATHERINE.

Who was that girl on the boat I saw you talking to?

I’m jealous of you and of her.

LE BLANC.

(confused)

Eh? Yes! When I was over there by . . . the . . . smoke . . .

stack . . . by myself?

CATHERINE.

Yes, that’s the time I mean.

LE BLANC.

She was my first cousin on my aunt’s side by my sister’s uncle’s cousin stepladder.

(Catherine business.)

No! no! She was little Sunshine of Paradise Alley.

SONG: “Sunshine of Paradise Alley”

(words by Walter H. Ford, music by John W. Bratton)

There’s a little side street, such as often you meet,

Where the boys of a Sunday night rally.

Though it’s not very wide, and it’s dismal beside,

Yet they call the place Paradise Alley.

But a maiden so sweet lives in that little street.

She’s the daughter of widow MacNally.

She has bright golden hair, and the boys all declare

She’s the sunshine of Paradise Alley.

Ev’ry Sunday down to her home we go.

All the boys and all the girls, they love her so.

Always jolly, heart that is true, I know

She is the Sunshine of Paradise Alley.

When O’Brien’s little lad had the fever so bad

That no one would dare to go near him,

Then this dear girl so brave said, “I think I can save,

Or at least I can comfort and cheer him.”

Soon the youngster got well, and the neighbors all tell

How the daughter of widow MacNally

Risked her life for a boy, and they’ll hail her with joy

As the sunshine of Paradise Alley.

Ev’ry Sunday down to her home we go.

All the boys and all the girls, they love her so.

Always jolly, heart that is true, I know

She is the Sunshine of Paradise Alley.

She’s had offers to wed by the dozen, ’tis said,

Still she always refused them politely.

But of late she’s been seen with young Tommy Kileen,

Going out for a promenade nightly.

We can all guess the rest: for the boy she loves best

Will soon change her name from MacNally.

Though he may change her name, she’ll be known just the same

As the sunshine of Paradise Alley.

Ev’ry Sunday down to her home we go.

All the boys and all the girls, they love her so.

Always jolly, heart that is true, I know

She is the Sunshine of Paradise Alley.

She’s my sweetheart. . . . She’s my . . .

CATHERINE.

(striking Le Blanc with her fan.)

Oh, she was, was she?

(striking him several times and then tears his hair out, crying)

I’ll cry loud in a minute.

(again, tearing hair out in a passion)

Oh, what beautiful hair. . . . I’ll send this to little Sunshine, and tell her you’re looney and spooney. I will. You see if I don’t. I’ll send it to her to make a pillow of.

LE BLANC.

Do you take me for a Chinaman because I work for Rice?

CATHERINE.

I mistrust you, . . . but I am a weak defenseless woman, after all.

But if I thought . . .

LE BLANC.

Now don’t think. You keep cool. Forgive me.

But, come, I see the Captain over yonder.

The others must be with him, so let’s wander.

CATHERINE.

You’ll have to carry me up every hill.

LE BLANC.

That settles it. (Sit still, my heart, sit still.)

[aside]

To get the rest, unturned I’ll leave no stone.

Seven more I must get the deed to bind.

CATHERINE.

The Captain beckons to us, there before us.

LE BLANC.

Beckons! Then let’s be gone (“beckon”) and turn African explorers.

DUET: “We are Off (to Seek for Eva)”

CATHERINE AND LE BLANC.

We are off to seek for Eva.

She’s the girl we want to see.

If she’s found, we’ll never leave her,

’Til I’ve married him to she.

CATHERINE.

You’re a darling.

LE BLANC.

You’re a treasure.

CATHERINE.

I with you will gladly go.

LE BLANC.

It will give me equal pleasure.

CATHERINE.

You’re most kind, sire, to say so.

BOTH.

We are off to seek for Eva.

She’s the girl we want to see.

If she’s found, we’ll never leave her,

’Til I’ve married him to she.

CATHERINE.

I’m so glad that I have found you,

For I feared to go alone,

LE BLANC.

With my strong right arm around you,

Naught shall injure you, my own.

CATHERINE.

I’m astonished.

LE BLANC.

Don’t be nervous.

CATHERINE.

Take your arm sir, from my write!

LE BLANC.

Well, perhaps all these observers

CATHERINE.

Surely think it in bad taste.

BOTH.

We are off to seek for Eva.

She’s the girl we want to see.

If she’s found, we’ll never leave her,

’Til I’ve married him to she.

(At end of duet, Catherine lets Le Blanc fall. She dances off R.1.E., and Le Blanc follows.)

(Calcium: amber. Enter Rudolph and Rose R.1.E., Felician and Eulalie L.2.E., Fritz and Marie L.1.E. Gas down gradually during dialogue.)

EULALIE.

(R.)

For goodness sake! Lets for one moment stop.

We’ve got so far, on a sofa to drop!

FELICIAN.

(C.)

Cheer up, my love, we must get somewhere soon.

We’ve climbed enough, I’m sure, to reach the moon.

They talk about the climate of this land . . .

To climb its hills is more than I can stand.

ROSE.

(R.)

But where’s Evangeline?

MARIE.

(L.C.)

Just over there,

Down by the brook a-doing up her hair.

FRITZ.

The Captain’ll have our hair and heads as well if her we lose.

RUDOLPH.

(R.)

Nonsense. Your fears dispel! Let’s push a head.

EULALIE.

(C.)

It’s very well to talk.

(Enter boy and girl R.3.E.[?])

FELICIAN.

(C.)

Let’s run then.

EULALIE.

(crosses L.)

I run. That’s ironical.

FRITZ.

(crosses C.)

Come then forward, all.

SPECIALTY ACT: “Let’s Quietly Steal Away”

[ALL.]

Oh, we’re in a hard position,

Not bent upon any mission,

Shipwrecked upon a foreign shore

On lands undiscovered in days of yore.

We’ve not been, as yet, detected

Or even by nations suspected.

Some lucky chance be in store,

And our homes we will see once more.

WOMEN.

Let’s steal away,

Let’s steal away,

All quietly steal away.

A-

way.

All quietly steal away,

Let’s steal away, away,

away.

MEN.

A-

way,

away, away.

Let’s steal away. Let’s steal away.

All steal away.

Away,

Let’s steal away,

away.

(Footlights out. Gas: up. Calcium: white. Exit R.1.E. and L.1.E. U.P. at finish. Enter Evangeline. [?].3.E. Mary-Ann follows her.)

EVANGELINE.

(C.)

Shipwrecked upon the coast of Africa

Without the means of knowing where we are.

Three weeks ago: safe in a happy home,

And now in this vile country, doomed to roam.

Mary-Ann!

MARY-ANN.

(R., curtsies)

Yes, miss!

EVANGELINE.

What’s that over there?

MARY-ANN.

(picks up a diamond)

A piece of glass, miss.

EVANGELINE.

(taking it)

Glass? A diamond rare!

A lovely solitaire , stupid, can’t you see?

Strange there should be salt air so far from sea.

Won’t I surprise Eulalie when I see her!

(Tries to pocket diamond as Captain and Hans Wagner enter L.3.E. Business between Hans Wagner and Marry-Ann.)

CAPTAIN.

Ah, dot vas goot. I see your game my dear:

Diamonds vas trumps, eh? Vell, I told you vet

I vas delighted dot ve found dis spot.

I wish I had a club. I’d take der lot.

Ve come of missing him, I must confess,

Mit in an ace.

(Hans Wagner and Mary-Ann make [out?] each other.)

EVANGELINE.

An ace of diamonds?

CAPTAIN.

Yes, Wagner, ven you’ve finished knoodling dere,

Ve vill come back mit a great big carpet bag

Und fill him yoost so full as ve can drag!

But come, march up, for off ve must be going.

GABRIEL.

(heard off, L.3.E.)

What ho! ho! ho!

CAPTAIN.

Dot vas some farmer hoeing .

(looks off L.3.E.)

My stars! Dot vas young Gabriel, no farmer.

(Exit Mary-Ann R.2.E.)

(Music. Enter Gabriel. Sees Evangeline.)

GABRIEL.

My love!

EVANGELINE.

My life!

GABRIEL.

My joy!

EVANGELINE.

My sweet!

GABRIEL.

My charmer!

Come to my arms!

(He attempts to embrace her. Captain steps between them.)

CAPTAIN.

I vas too sharp for dot.

GABRIEL.

(threateningly)

You’re far too blunt.

CAPTAIN.

(getting behind Evangeline)

Wagner, protect der prisoner, and me too.

GABRIEL.

Release that lady, or I’ll run you through. . . .

You won’t?

CAPTAIN.

Nein!

GABRIEL.

Take that!

(Runs sword through Captain, who staggers to L.C., looks about for a soft spot to die on. Falls.)

CAPTAIN.

Wagner, see dot my grave is kept green.

(Hans Wagner exits L.2.E. to get board with “ please keep off the grass ” written on it and watering can, with which he sprinkles Captain. Gabriel crosses and blows three times. The third time, Wagner’s head strikes the ground. Great “bang!” offstage.)

CAPTAIN.

(sitting up)

Vat he do?

HANS.

(rising)

He blowed me down.

CAPTAIN.

As how?

(Business of Hans Wagner blowing in Captain’s face.)

CAPTAIN.

(disgusted)

Phew! Try a clove!

(business)

Sweet spirit, hear me swear,

Wagner, I dink, ve vos better for a change of air.

(Exit Captain. L.1.E. Hans Wagner exit L.1.E. with props.)

GABRIEL.

Vangie dear, sit down in yonder glade.

EVANGELINE.

Wilt ever, love, whatever may betide me?

GABRIEL.

I wilt! I wilt!

EVANGELINE.

Wouldst e’er to me be true

If cruel fate should sunder me from you?

GABRIEL.

I wouldst. I wouldst.

EVANGELINE.

Your words bear with them bliss.

I think you might . . .

GABRIEL.

What?

EVANGELINE.

Steal one little kiss . . .

(business)

. . .

When I’m not looking. . . .

(pause)

I’m not looking now.

DUET: Kissing Song (“Fie Upon You, Fie”)

[EVANGELINE(?).]

Kissing goes, they say, by favor,

And ’tis certain through all time.

Kissing has a certain flavor,

Making it almost sublime.

But when lips to meet are burning,

Lover’s hearts within them yearning,

Often suplication spurning,

Cometh, cometh this reply:

No, no, no, no, no, I cannot, cannot!

No, no, no, no, no, I cannot, cannot!

You ought not to ask me to, fie upon you!

Fie! fie! No, no, no, no, no, I cannot, cannot,

No, no, no, no, no I cannot, cannot!

Really I’m ashamed of you. . . .

Well, take just one, and fly!

(Enter Lone Fisherman during duet R.3.E. Performs a fall, and beats himself L.C. Puts his head through hole in coral row and watches there.)

[GABRIEL(?).]

Moonlight strolls among the roses

Have a strangely moving spell.

For ’tis then man’s heart discloses

What his lips would never tell.

But when moved by sudden feeling,

All his hidden love revealing,

He his vows would fain be sealing,

Cometh, cometh this reply:

No, no, no, no, no, I cannot, cannot!

No, no, no, no, no, I cannot, cannot!

You ought not to ask me to, fie upon you!

Fie! fie!

[BOTH(?).]

No, no, no, no, no, I cannot, cannot,

No, no, no, no, no I cannot, cannot!

Really I’m ashamed of you. . . .

Well, take just one, and fly!

(Lone Fisherman card business. Change of music. Lone Fisherman business: slapsticks and paper bags.)

ENCORE: Sweet the Song of Birds in Springtime

[ GABRIEL(?). ]

Sweet the song of birds in springtime

As they fill with music all the air!

Sweet the breath of roses blooming,

Sighing out their souls in perfume rare.

But more sweet than any song of bird

Is a gentle voice I’ve often heard,

Whispering to me,

“I love you, I love you, I love you!”

When it softly says, “I love you!”

Oh how my heart is stirred!

You can hear it now,

Hear it softly vow,

That she loves me dearly,

And will evermore be true.

Whisper once again,

Drive away my pain.

For, my darling, well you know

That I love but you.

[EVANGELINE(?).]

Blessed the hour when morning, blushing,

Paints the eastern sky with rosy hues!

Blessed the hour when, faintly flushing,

Cloudlets in the west their radiance lose.

But the hour is always doubly dear

When a gentle voice I often hear,

Whispering to me,

“I love you, I love you, I love you!”

When it softly says, “I love you!”

Then heav’n itself is near.

(Dance.)

(Lone Fisherman: same business, after which enter Le Blanc R.1.E., Felician R.2.E., Marie R.3.E., Rose R.2.E., Rudolph R.2.E., some with carpetbags. Captain and Hans Wagner L.3.E., Fritz R.3.E.)

CAPTAIN.

(C.)

You vas nice soldiers for to guard a prisoner.

You tink you keep your eye on? See him kissing her? Break away . . . !

LE BLANC.

(R.)

Excuse me, Captain, two lips are a flower.

Everyone gathers when it’s in his power.

Speaking of gathering . . .

(Enter Catherine R.1.E.)

CATHERINE.

Here I am, dear.

LE BLANC.

No! no! I didn’t say Catherine , I said gathering . . . .

CATHERINE.

I beg your pardon, I thought you said Catherine .

LE BLANC.

Don’t you suppose I do anything but make bad puns?

Speaking of gathering . . .

CATHERINE.

What are you speaking of me for?

LE BLANC.

It seems to me

That diamonds in this country must be free.

Hadn’t we better, e’er we go away,

Bag just a few, our hotel bills to pay?

(All turn upstage and pick up diamonds.)

(Enter Chief of Police, sees them and exits again. L.1.E. very hurriedly.)

CATHERINE.

Of course we will. Come help me.

LE BLANC.

(struggling with big stone)

In a minute. Here is a luster,

For you t’will make a cluster.

CAPTAIN.

Vait, who vas dis coming here?

GABRIEL.

Those are the police, I fear.

CATHERINE.

Police! Good gracious!

(Business of everybody concealing diamonds.)

LE BLANC.

Foiled again! With that contract yet to fill,

Will she ever sign it? Sit still, my heart, sit still.

(Bell strikes twelve. Policemen march in single file L.4.E. Police chief enters L.2.E.)

SONG: Policemen’s Chant (“Twelve O’Clock and All is Well”)

POLICEMEN.

Round about the diamond fields

We go with billies in our hands,

Seeking here and seeking there

The robbers of our land.

(They each take a prisoner and march up R.1.E.)

(Business with Captain trying to square Chief.)

(Business: Policeman who takes Le Blanc takes hold of his headgear, and Le Blanc escapes, and is seen by Chief of Police, who exits L.2.E. Le Blanc Crosses L.C. and listens. Chief enters and crouches at Le Blanc’s feet. Le Blanc is about to exit.)

LE BLANC.

Home again, dear mother!

(Chief springs up and marches him off R.1.E. [along with the others].)

POLICEMEN.

Twelve o’clock, and all is well.

Twelve o’clock, and all is well.

Twelve o’clock, and all is well.

Twelve o’clock, and all is well.

(Lone Fisherman business. Quick close in on exit Lone Fisherman.)

[End of scene.]

SCENE 2

[ : In Front of the King’s Palace, before a drop ]

(Gas: footlights down to 1/4. Calcium: blue from front.)

(Enter Chief of Police R.1.E. noiselessly. He crosses L., beckons on police, crosses R., and beckons more on. Police run on quick and form a line across the stage, leaving a space C. for Lone Fisherman, who enters from L.1.E.)

CHIEF OF POLICE.

(R.C.)

Attention, all of ye. Now we’re all here or in the immediate vicinity. Attention. I shall now inform his majesty of the prisoners we have captivated. If he invites us inside, don’t forget your manners, or the doormat. Remember that as members of the finest, the eyes of civilization are upon you. Now then, when I give ye the word, wake him! All together now.

(All cheer.)

OMNES.

Hurroo!

(They beat with their clubs on the floor. The King’s head appears at window in tower on drop. Calcium: red con P.S.P. to catch King’s head off at his exit.)

KING.

And now, my friends, what means this dreadful riot?

Your noise annoys us—

(Omnes cheer.)

Keep this hubbub quiet.

Her majesty the queen is much distressed.

Arrest this row that she may have a rest.

I’m sleepy, too, and don’t see any need

Of waking live folks with this serenade.

You caitiff varlet! Minion! Speak this minute.

Let’s hear your tale! Come, hurry up, begin it.

CHIEF.

Your majestym the tale is such, I can’t it

Disclose in prose, so by your leaves I’ll chant it.

(Chorus forms lines at sides.)

POLICEMAN’S NARRATIVE: “Prowling Round the Diamond Fields”

[CHIEF OF POLICE.]

Prowling round the diamond fields

At twelve o’clock at night,

Seeing all was right,

Safe and sound and tight,

There we found a party

Suspicious, oh yes, quite,

Whom we have arrested

For to bring before your sight.

Who they are or what they are,

We’re not prepared to say.

They are on their way.

They be here with the day.

A trial scene is called for

By the wording of the play,

So you’ll have to get up

And your dignity display.

[POLICEMEN.]

Walk into the courtroom

There to have a jolly,

There to have a jolly,

Jolly old carouse.

With a king like ours

We’re never meancholly,

Though not fond of folly

Is his royal spouse.

[CHIEF OF POLICE.]

Sorry to disturb you

While you were a-sleeping.

They are in our keeping,

And the dawn is creeping.

Ere you think it’s time for him,

The sun will be a-peeping.

Morning dews already

On the verdant grass are weeping.

So we thought we’d better come

And tell you of the news.

E’en if of your snooze,

We did you disabuse.

And we hope your company

That you will not refuse.

But into the courtroom come,

And give them all their dues.

[POLICEMEN.]

Walk into the courtroom

There to have a jolly,

There to have a jolly,

Jolly old carouse.

With a king like ours

We’re never melancholy,

Though not fond of folly,

Is his royal spouse.

KING.

’Tis well. These diamond thieves have gone too far.

But I’m on hand to see they punished are.

Confine them in the dungeon ’neath the tower

Until the clock strikes twelve. . . .

At that hour: off with their heads!

OMNES.

Hurroo!

KING.

Off with everybody’s head!

(

Omnes cheer loudly.)

KING.

Shut up that din! I’ll bring the queen out in half a minute.

Her royal temper’s anything but mild,

And she’s a whole menagerie when she’s riled.

But off at once, and stop this dreadful humming.

(Queen heard calling within.)

QUEEN.

Boorioboola Gha!

KING.

Cheese it, my wife’s coming!

(Draws head in and closes window.)

(Calcium: off. Policemen P.S. dance across stage and exit O.P., and same the other side.)

(Police Chief’s Dance. Exit R.1.E. Quick change.)

[End of scene.]

SCENE 3[: A Jail]

(Gas: down to 1/4. Business: enter Jailor dragging Evangeline R. 1. E. Calcium: con P. S. on Evangeline, later the Lone Fisherman.)

JAILOR.

There! Here you are, my dear, all snug and nice.

Plenty of room. I hope you don’t mind the mice.

The spiders, too, don’t bite if left alone.

And then, to keep the rats off, here’s a bone.

(Throws bone on floor and starts to go R. Lone Fisherman, picks up bone and makes pillow of it.)

Good night. I’ll call you sharp at twelve o’clock.

You won’t have far to go, . . . only a block.

(Imitates decapitation. Evangeline detains him.)

EVANGELINE.

Oh, sir, in pity leave me not alone.

You surely cannot have a heart of stone.

Have you a wife?

JAILOR.

(ruefully)

I have—in Germany.

EVANGELINE.

Were you to die

Would you not wish to have her to you fly?

Would you not pray to have her by your side?

JAILOR.

(R.C.)

Not if I knew it, no, before I die.

To live one hour and not to hear her chatter

Would make my death a very trifling matter.

But still, although a jailor, I’m a man

And will for you do anything I can.

What do you want?

EVANGELINE.

To have my Gabriel near.

JAILOR.

Well! well! I’ll get him for you, never fear.

Keep up your spirits ’til I find the lad.

Besides, things may not turn out half so bad.

(Exit R.1 E.)

(A curtain is raised and discloses Gabriel in a cell. Calcium: red O.P. behind cloth.)

[ editor’s note: A stage direction following the mention of two songs below reads: “One stanza each,” which suggests either that these songs were truncated in performance or, possibly, that they were arranged as a simultaneous duet. ]

ROMANZA: “Come to Me Quickly, My Darling”

GABRIEL.

Come to me quickly, my darling.

Leave me no longer alone.

Troubles and sorrows will vanish.

Only one kiss will atone.

Heard are thy vows of affection

Gladly, gladly of late.

Now given o’er to dejection

Sadly, sadly I wait.

Oh . . .

Come to me quickly, my darling.

Leave me no longer to pine.

Come ere all hope disappeareth.

Come to the heart that is thine.

Empty my arms that would hold thee.

All but thy memory flown.

Cold are my lips that have told thee

Often my heart was thine own.

Dim are my eyes from their weeping

Tears that spring up from the heart.

Shadows around me are creeping.

Light only lives where thou art.

Oh . . .

Come to me quickly, my darling.

Leave me no longer to pine.

Come ere all hope disappeareth.

Come to the heart that is thine.

ROMANZA: “Where Art Thou Now, My Beloved?”

EVANGELINE.

Where art thou now, my beloved?

Canst thou not come to my call?

Sad is my heart as the shades fall around me,

Shrouding my hopes in their fall.

Are then the days fled forever

When by they side I was blest?

Will there return to me never

Bliss in a true love confessed?

Ah! . . .

Where art thou now, my beloved?

Canst thou not come to my call?

Sad is my heart as the shades fall around me,

Shrouding my hopes in their fall.

Faithful to thee, my beloved,

Waiting, I list for thy tread!

Leave me not longer but haste in thy coming.

Ever my hope shall be fled.

Greetings most fond shall be their love!

Kisses are ripe on my lips!

Come, lest in grief I repine, love,

Lest fades my love in eclipse!

Ah! . . .

Where art thou now, my beloved?

Canst thou not come to my call?

Sad is my heart as the shades fall around me,

Shrouding my hopes in their fall.

(Curtain lowered after song[s?].)

(Evangeline sitting at table. Enter Jailor R. 1. E. dragging on Le Blanc.)

JAILOR.

(to Evangeline)

There! Here’s your sweetheart, and if I were you

I’d not with him have anything to do.

I found him kissing of another girl.

Good night!

LE BLANC.

(forcing him R.)

Avaunt! Be gone! Clear out, base churl!

(Punches Jailor in the eyes. Accompanying “slap” made offstage.)

JAILOR.

Did you mean that?

LE BLANC.

I did. I’m a biffer, not a bluffer.

JAILOR.

I’ll get a policeman and have you arrested.

(He exits dancing R.1.E.)

LE BLANC.

(sees Evangeline)

Ah, Vangie! How d’ye do?

I really hope I don’t intrude on you.

EVANGELINE.

Heavens! It’s Le B.

LE BLANC.

Of course it is, my dear

The others too are in this cell next here.

Your signature you now can finish, see:

The letters N , G , E , L , I , N , E ?

EVANGELINE.

All right.

(Le Blanc hands her pen and contract)

Three letters are already down.

I wrote them when within my native town . . .

N . G . E . Gracious! How bad a pen . . .

LE BLANC.

Never mind . . . go on!

(Noise through wall.)

EVANGELINE.

What’s that noise? . . . I’m frightened. . . . I can’t write more.

LE BLANC.

Was ever man more plagued in life before?

I must dissemble and bide my time. . . . Now to escape.

Have you a hairpin handy?

(Evangeline gives him one.)

Thank you kindly—

Although I’m forced to labor somewhat blindly.

E’en a hairpin, though a trifling thing,

May happen (“hairpin”) great results about to bring.

EVANGELINE.

What would you do?

LE BLANC.

(sets to work on trick stones)

A little engineering

To bring our friends within our sight and hearing.

The hardened mortar first, you see, I scrape out.

(pushes out stone that works on hinges)

One . . .

(crash behind cloth)

Two . . .

(crash)

Three . . .

(crash)

(Le Blanc falls on knees then puts on Monte Christo wig.)

The world is mine!

And there’s a hole the whole lot can escape out by. . . .

(calling through hole)

Catty, . . . Gabriel, . . . Catty, . . . Catty, . . . Catty . . . !

Come on, the lot of you, . . . Catty . . . !

(Gabriel enters through hole. Crosses to L. to Evangeline.)

GABRIEL.

My dearest love! You don’t know how I thought of you.

LE BLANC.

(still calling)

Catty, where are you?

(Catherine enters R.1.E. Gas: footlights up a little.)

CATHERINE.

Here I am, Blanky. I couldn’t get through there, so I ran quickly round and slipped through the keyhole—and here I am.

LE BLANC.

(stamps)

That window! Sh! sh! Don’t make a noise. Don’t step hard. . . .

Be quiet all as sheep , I’ll be Jack Shepherd.

(He crosses to window L.)

CATHERINE.

Where you go, I go too.

LE BLANC.

Help me up, some of you.

(Catherine helps Le Blanc up to window, where he clings to bars.)

Confound these bars!

How good it seems to see the little stars. . . .

If I get out, to save you all I’ll try, but it’s neck or nothing.

The space is small and so’s my chances. . . . Goodbye!

(tries to climb out between bars.)

GABRIEL.

(crossing C.)

He’ll break his neck.

EVANGELINE.

(crossing C.)

He’ll choke to death, I know!

CATHERINE.

Blanky, come back to me!

(She seizes Le Blanc’s legs as he struggles to get through window.)

LE BLANC.

(kicking vigorously)

Girls, let me go!

(Jailor enters R.1.E.)

JAILOR.

Now then, time’s up, so come along, my dear.

What’s this? There’s something wrong, I fear.

Here, Roger Shadrack, . . . Abnerzezar . . . !

(Enter two policemen L.1.E.)

Secure these prisoners! Bind him. . . . Gag her! Seize her!

(The two policemen seize them and march them off L.1.E.)

(to Catherine)

Halloa! How did you get here?

CATHERINE.

I found the door open, and the wind blew me in.

JAILOR.

Oh! Did it?! I’ll have to blow you out.

CATHERINE.

Oh, will you? (pulls Jailor by the hand and throws him D.R.)

(Exit Catherine. Jailor re-enters R. and sees Le Blanc at window.)

JAILOR.

Say, come out of that!

LE BLANC.

I can’t! You fool, you see the cursèd luck.

JAILOR.

Well then, I’ll take you, window sash and all!

(Pulls Le Blanc down by legs. Sash comes with him. Crash behind flat. Exit L.1.E.)

(Lone Fisherman exits through hole. Dark change.)

[End of scene.]

SCENE 4: The Royal Palace of Boorioboola Gha

(Everything full.)

GRAND MARCH OF THE AMAZONS

RECIT AND SOLO: “Many, Many Years Ago” (Polimenicho)

GABRIEL.

Many, many years ago there lived a mighty king.

CHORUS.

There lived a mighty king.

GABRIEL.

And his beard was white as snow,

That falleth late in spring.

CHORUS.

That falleth late in spring.

GABRIEL.

Oh, he was good, and he was bold.

He wore a handsome crown of gold,

And none could blame or mar the fame

Of this great king, whose honored name was . . .

CHORUS.

Was Polimenicho–o,

Was Polimenicho–o.

He was a king.

He was a mighty king.

Search all hist’ry through,

Monarchs old and new,

None was there

Who could compare

With Polimenicho–o–o–o.

Polimenicho, Polimenicho,

Polimenicho, Polimenicho, Polimenicho.

GABRIEL.

No one suffered unredressed. He justice gave to all.

CHORUS.

He justice gave to all.

GABRIEL.

None was poor and none oppressed

Who on this king did call.

CHORUS.

Who on the king did call.

GABRIEL.

He lived in peace a long life’s ease

And saw his subjects’ love increase.

And when he died, the people cried,

“We’ll find no king in this world wide like, . . .

CHORUS.

“Like Polimenicho–o,

Like Polimenicho–o,

He was a king,

He was a mighty king,

Search all hist’ry through,

Monarchs, old and new,

None was there

Who could compare

With Polimenicho–o–o–o.

“Polimenicho, Polimenicho,

Polimenicho, Polimenicho, Polimenicho.”

KING.

Bring in the culprits.

(Enter six policemen L.U.E., each bringing a prisoner. They form each side of the stage.)

(Enter Headsman R.U.E. with axe and block.)

KING.

Headsman, do your duty. The ladies first . . .

CATHERINE.

(screams)

The ladies first!

KING.

Age must give way to beauty.

(As Headsman approaches to seize Evangeline, Gabriel interposes.)

GABRIEL.

Most mighty monarch! Mercy, I implore!

Think of the glorious King, who reigned of yore,

Whose goodness keeps his memory fresh and green,

And in you let another such be seen.

KING.

For mercy not in vain on me you call.

(Omnes show great joy.)

The maid shall be beheaded last of all.

CATHERINE.

Monster!

KING.

(crosses L. to Captain)

What are you going to do with that basket?

CAPTAIN.

That basket? Why I’m going to take my head home in it.

LE BLANC.

(shaking fist at King)

Coward!

KING.

What’s that? You threaten us with violence?

Behead him twice!

LE BLANC.

The double-header!

KING.

Perhaps that’ll teach him silence.

(Headsman tries to get Le Blanc to block. Catherine pulls one way and the Headsman the other.)

CATHERINE.

Yes, I’ll do the block after you.

(Le Blanc goes to block. Business of arranging head. Catherine sings.)

SONG [ Missing lyrics. ]

I see my love at the window.

(Finally Le Blanc sits on block [still wearing the jail window around his neck].)

LE BLANC.

This style half a dollar. This is very painful. I wish I could sash ay out of it.

KING.

Well, stupid, what’s the matter now?

HEADSMAN.

I can’t chop this one’s head off, that I vow.

CAPTAIN.

He’s talking through his hat.

KING.

You cannot? . . . You’ve been bribed, sir, let me see. . . .

You own shall come off! . . . Give that axe to me.

(King takes axe from Headsman, sweeps it on the floor to sharpen, and counts.)

One . . . Two . . .

CATHERINE.

Oh mama . . . !

KING.

Three!

(Hits policeman.)

KING AND POLICEMAN.

Oh mama.

JAILOR.

(L.)

Oh papa.

(falls down)

(As King raises axe to strike Le Blanc, the latter makes burlesque Masonic sign. King throws axe to Headsman. Le Blanc and King exchange Masonic sign and comes down C., and there go through more business.)

CAPTAIN.

Dey have fits in a minute.

(King and Le Blanc exchange grips. All interested.)

KING.

Maraschino.

LE BLANC.

Solferino.

KING.

Big and little Casino.

LE BLANC.

Napoliono.

KING.

Keno.

LE BLANC.

On the top row-o-correct-o!

KING.

You are a Mason.

LE BLANC.

You’re a l’—another!

KING.

Come to the arms of your royal brother.

(They try to embrace but the window comes between and won’t allow them. Business.)

LE BLANC.

I wish I could, but how about my head?

KING.

(feeling Le Blanc’s head)

There’s nothing in it.

LE BLANC.

But my head, it stays on, eh? eh?

KING.

Of course. I cannot take a brother Mason’s life.

LE BLANC.

(pointing to prisoners)

And these friends of mine from the country, . . .

You pardon them?

KING.

We do.

LE BLANC.

You really do?

Well then, though copper-colored, you’re still true blue.

KING.

Headsman, approach, and thank your lucky stars that your head is on—

CAPTAIN.

Edison (“head is on”) ? He’s got his electric light!

KING.

And chop away these bars.

(Headsman takes Le Blanc to block and chops off [window] sash. Metal slaps heard offstage from L.3.E. King calling out at every strike.)

KING.

One strike . . . two strikes . . . three strikes.

(The window falls to pieces.)

HEADSMAN.

Judgment.

CHIEF.

Out on strikes.

CAPTAIN.

Foul!

LE BLANC.

Thank goodness, the strike is over. (crosses R.C.)

KING.

I suppose you all wish to leave here.

OMNES.

Yes!

KING.

How soon?

LE BLANC.

As soon as possible.

CATHERINE.

If not sooner.

GABRIEL.

Ah, sire, before we go, will you not arrange for my wedding?

KING.

A true Mason sticks to his brothers, and as you are his friends, I can refuse you nothing. I’ll send you home by balloon at once.

BEN.

My child, my child, once more by fate restored.

Though new the clime, old faces still adored.

Catherine, and Le Blanc, and Gabriel, too, you’re welcome friends.

And now at once before we have our fun,

A little ceremony once begun but never finished must be done:

The wedding contract must be signed.

LE BLANC.

You’re right.

(aside)

Now once again my future seems all bright.

I’ve everything, . . . yes, here’s the precious will.

(He produces the will, but in putting it back in his pocket, it drops out. The Lone Fisherman picks it up and lights pipe with it.)

At last, at last! Sit still, my heart, sit still.

(to Evangeline)

Now if you’ll finish signing . . . the wedding contract

Before we start I shall be infinitely obliged.

(Offers contract and pen to Evangeline, making a table of his back.)

EVANGELINE.

With delight!

Strange, what hard work I’ve had my name to write.

One last endeavor . . .

(writes)

L,

I

(dotted),

N.

(Soldiers heard marching off L.3.E. as in ACT 1. All stop and listen.)

SOLDIERS’ MARCH

What’s that?

LE BLANC.

Great Scott! It’s the Dutch Captain back again.

(to Evangeline)

Go on and sign.

EVANGELINE.

(dropping pen)

I can’t. We’re lost I’m sure.

LE BLANC.

This state of things I longer can’t endure.

I do not wish that Captain any ill,

But damn his eyes . . .

(Sit still, my heart, sit still. . . .)

(Enter Hans Wagner and soldiers L.U.E. and line at back of stage. Then enter Captain.)

CAPTAIN.

Order arms.

(Soldiers drop guns one after another. The Captain is disgusted.)

Have you got dem all down?

You make me ashamed of myself.

Step out of dose ranks and look at yourselves.

Now den, try again: Order arms.

(Soldiers drop guns worse than before. Walking D.L.)

Dot’s better.

Vell, Miss Catty, how you vas? I got my army back. By cable.

CATHERINE.

Did you speak to me?

CAPTAIN.

Vy dis icebergness? Vas I not welcome here?

OMNES.

No!

GABRIEL.

I’d like to punch you, that I would,

And what’s more, I shouldn’t wonder if I should.

(Business.)

CAPTAIN.

(L.C.)

Oh don’t you tickle me.

EVANGELINE.

(crosses to Captain L.C.)

Kind Captain, do not take me off again.

GABRIEL.

Do not!

BEN.

Do not!

CATHERINE.

Doughnut.

LE BLANC.

Desist.

OMNES.

Refrain!

CAPTAIN.

I took you off again? Don’t be afraid.

I dink dere vas a schmall mistook been made.

I vas not come here to arrest you.

OMNES.

No?

CAPTAIN.

Nein!

I bring der pardon vat der King vas sign.

(Gives pardon to Evangeline.)

OMNES.

Hooray!

CAPTAIN.

Tiger!

OMNES.

Ah! ah! ah! ah!

CATHERINE.

Skyrocket!

OMNES.

Sah . . . h!h!h! Boom! ah! ah!

CATHERINE.

Look out for the stick.

(Business: all make a rush upstage to avoid stick.)

Ha! Ha! I was only fooling!

LE BLANC.

(angry)

You shouldn’t do it.

EVANGELINE.

(to Captain)

You’re just in time.

CAPTAIN.

For what?

EVANGELINE.

To see me married.

LE BLANC

. Yes, right you are. Quite enough you’ve tarried.

There’s just one letter more: a little E

(That writ a little easier I shall be).

EVANGELINE.

E.

OMNES.

E.

EVANGELINE.

There! It’s done!

LE BLANC.

And so you are. You’re man and wife.

CATHERINE.

I never was so happy in all my life.

LE BLANC.

Oh happiness! My weary task is done!

Now for the will, the legacy I’ve won.

(Hunts all over his body and in hat. Business of increasing agitation. All interested.)

Why, where is it? It’s gone! Confusion! It was here.

OMNES.

What have you lost?

(Business of looking on floor.)

LE BLANC.

Say, did any of you see a stray piece of paper, looking like a bill?

(Sees it where Lone Fisherman has thrown it after lighting his pipe.)

It’s all burned up, except the seal.

Set seal, my heart, set seal!

CATHERINE.

(C.)

Blanky, darling, confide in me.

What’s got burned up?

LE BLANC.

All! I’m a ruined man.

Repair this injury I never can.

Go, Catherine, I free you from your vows.

Farewell, sweet maid, who was to have been my spouse.

I’m a pauper!

CATHERINE.

(screams)

A papa?!

LE BLANC.

No! No! Haven’t I enough trouble without a lot

Of kids? A pauper—both in will and deed .

CATHERINE.

What, give you up in this your hour of need?

Do you think, Le B., because you are a pauper

I could leave you now? . . . You know me not.

Ten thousand times, no!

(Business: Catherine swinging dress train round striking Captain, and he falls down.)

CAPTAIN.

I must have struck der wrong train. . . .

CATHERINE.

Yes, this is the express train. . . .

Ah! Le Blanc, I have cash for two.

What’s mine is yours!

LE BLANC.

How much have you got?

CATHERINE.

Three and two pence halfpenny.

LE BLANC.

I live again through you. . . .

(Three slaps for salute. Enter King and Queen L.U.E.)

EVANGELINE.

Great monarch, how can we ever thank you?

KING.

Charming creature, by allowing me . . . (attempting to kiss her)

GABRIEL.

Excuse me, sire, but this young lady belongs to me.

KING.

Don’t say anything, I implore you.

Only leave my kingdom quickly, I conjure you.

I’ll send the lovers home by balloon,

And you can take a ship. Haul down that balloon.

ACT 2 FINALE: “She’s Acquitted”

[ EVANGELINE ].

Great monarch, I thank thee for all you’ve done for me

And wish that ever throughout your life, you may most happy be.

If ever a visit you’ll come to me and pay, . . .

ALL.

And pay.

[ EVANGELINE ].

. . . I’ll promise to do my best by you

In memory of this day,

In memory of this day.

CHORUS.

Oh, what a noble king we’ve got in Boorioboola Gha.

GABRIEL.

Evangeline and I shall see

Our homes again and happy be.

I hope, mighty monarch, if ever abroad you roam,

You’ll come and see my wife and me within our happy home.

I, too, shall be happy your kindness to repay, . . .

ALL.

Repay.

GABRIEL.

And promise to do my best by you

In memory of this day,

In memory of this day.

CHORUS.

Oh, what a noble king we’ve got in Boorioboola Gha.

EVANGELINE.

(recitative)

Farewell, our thanks receive, great king.

ALL.

Farewell, for off {we/they} go, for off {we/they} go.

{We’re/They’re} acquitted,

{We’re/They’re} acquitted,

{We’re/They’re} acquitted and may homeward fly,

He {us/them} pitied,

He {us/them} pitied,

He {us/them} pitied when {our/their} doom was nigh.

EVANGELINE.

Fate propitious sends deliv’rance.

We may count upon returning home.

If I e’er behold my pa again,

I never, nevermore will roam.

ALL.

Oh!

{We’re/They’re} acquitted,

{We’re/They’re} acquitted,

{We’re/They’re} acquitted and may homeward fly,

He {us/them} pitied,

He {us/them} pitied,

He {us/them} pitied when {our/their} doom was nigh.

LE BLANC.

Did you ever see a monarch like this Boorioboola Gha?

Though I’ve suffered countless trials,

Yet my spirits are again at par.

CHORUS.

Oh! . . .

The winds have blown a,

The winds have blown a,

The winds have blown a breeze for {we/them} to go.

We’ve never known a,

We’ve never known a,

We’ve never known a king like this.

Oh no! oh no! oh no! oh no! oh no! oh no!

Oh no! oh no! oh no! oh no! oh no! . . .

LE BLANC.

Never mind! At least my task is happily completed:

Virtue triumphant everywhere, and vice defeated.

We need no longer keep our friends before us.

CATHERINE.

But say adieu !

EVANGELINE.

No au revoir !

GABRIEL.

In chorus!

GRAND FINALE: “Good Night to One and All”

CHORUS.

Our little play is done.

We’ve tried to give you fun.

Our only aim has been to please, been to please, been to please.

All errors pray excuse.

We’ll drive away the blues.

If you will only call again,

Call again soon.

Though aching be the heart,

The best of friends must part,

So never put the cart

Before the horse.

Rah, rah, rah, . . .

So let the curtain fall.

Goodnight to one and all.

Be sure and button up your coats, up your coats, up your coats.

If miss your car you should,

The walk will do you good,

And when you come around this way,

Call again soon.

Talk of waltzing,

What is that to this?

Round we go on heel and toe,

Our hearts are light as air.

Forward, backward,

This is perfect bliss!

Don’t you wish that you were here

Instead of being there?

Singing, dancing,

Always feeling gay . . .

Let the world say what it will,

A little fun can never harm.

So you can see us as we end the play,

Hoping that our efforts

May everybody please.

(During finale, balloon ascends with Gabriel, Evangeline, and Ben.)

(Red fire from all entrances.)

(Curtain.)

END OF PLAY

———

Additional Songs

[editor’s note: These additional songs—some marked “(New)”—were printed in piano–vocal scores of Evangeline , published in 1877 by Louis P. Goullard and 1886(?) by T.B. Harms. Where and how they fit into the course of the plot is not immediately clear. It is likely that, once introduced, they appeared flexibly from production to production. ]

SONG and DANCE: “Sweet Evangeline” (in Goullard)

GABRIEL.

Would you know the way I’m feeling?

Listen, then, and I will tell you.

I’m in love with such a darling girl,

Fit to be the fairies’ queen.

Yes, I love her dearly, you must know,

More than any words can tell you.

For of all the maidens, she’s the pearl,

Is my sweet Evangeline.

Oh—!

Would you know the way I’m feeling?

Listen, then, and I will tell you.

I’m in love with such a darling girl,

And she’s called Evangeline.

(Dance.)

It was spring when first I met her,

Strolling in a lane of roses.

And to her my heart at once had flown,

When her lovely face I’d seen.

Soon I told my love and asked her hand,

As we rambled ’mong the roses.

And she softly said she’d be my own,

Did my Evangeline.

Oh—!

Would you know the way I’m feeling?

Listen, then, and I will tell you.

I’m in love with such a darling girl,

And she’s called Evangeline.

——

DITTY: “A Farming Man” (in Goullard)

[LE BLANC.]

A farmer lived in a town nearby,

CHORUS.

(With a ring, ting, ting, ting, ting, tang, tong!)

[LE BLANC .]

And he was fond of a lass on the sly.

CHORUS.

(With a ring, ting, ting, tang, tong!)

[LE BLANC .]

He kept his bottle on the pantry shelf,

Where no one knew where it was but himself.

Oh, he was a cunning and a crafty elf,

Which nobody can deny.

CHORUS.

Oh,

This song is strange can be—

With a ring, ting, ting, ting, ting, tang, tong!

I shouldn’t wonder if the man was he—

With a ring, ting, ting, tang, tong!

[LE BLANC .]

This farmer’s wife had a very keen eye,

[CHORUS .]

(With a ring, ting, ting, ting, ting, tang, tong!)

[LE BLANC .]

And the farmer’s bottle on the shelf did spy,

[CHORUS.]

(With a ring, ting, ting, tang, tong!)

[LE BLANC.]

So she took the bottle one rainy day

And threw all the liquor it contained away,

And filled it up with, what you’d say

Was, a poor exchange for rye.

CHORUS.

Oh,

This song is strange can be—

With a ring, ting, ting, ting, ting, tang, tong!

I shouldn’t wonder if the man was he—

With a ring, ting, ting, tang, tong!

[LE BLANC.]

But the good wife blocked his little game,

[CHORUS.]

(With a ring, ting, ting, ting, ting, tang, tong!)

[LE BLANC.]

And he had his own bad habits to blame,

[CHORUS.]

(With a ring, ting, ting, tang, tong!)

[LE BLANC.]

For she filled the bottle with a new hair dye.

And when next he took a drink on the sly,

His hair turned green, and, oh my eye!

He nearly died from shame.

CHORUS.

Oh,

This song is strange can be—

With a ring, ting, ting, ting, ting, tang, tong!

I shouldn’t wonder if the man was he—

With a ring, ting, ting, tang, tong!

--

DUTCH SONG: “I’m in Lofe mit a Shveet Leedle Girls” (in Goullard & Harms)

[ CAPTAIN .]

I’m in lofe mit a shveet leedle girls,

Unt Katrina vos vot she vos called,

Unt her hair dot vos long vas hanging in curls,

Oxcept in der spots vere she’s bald.

She got eyes yoost as blue as der skies,

Unt it vasn’t her fault if she squints.

Unt her tears dey come springing right down in my eyes,

’Cause her heart vas as hard as a flint.

I tell her I lofe her so dearly,

Unt my leedle frau vish her to be,

But she says dot she never vill marry somebody,

Vich makes it unpleasant for me.

Yes, I lofe her, my shveet leedle girls,

Unt I vish dot ve married could be.

Unt venever I dinks of Katrina’s shveet face,

Dere’s no use of holding of me.

(Dance.)

I remember dose valks vat ve took.

Oh, when shall ve do so some more?

Ven ve made some mishsteps, unt fell in dot brook,

Unt my lofe pulled me out on der shore . . .

Den ve’d take lager bier all der day,

Unt shveitzer kase eat by der pound,

Unt der bills vat dey cost dot vas pleasant to pay,

Since mit her I dot happiness found.

Of [sic] I ever gets back to Katrina,

I vill never more leave her again,

But I’ll tole her to marry me, right avay, quick,

For mitout her I could not remain.

I’m in lofe mit a shveet leedle girls,

Unt I vish dot ve married could be.

Unt venever I dinks of Katrina’s shveet face,

Dere’s no use of holding of me.

——

TOPICAL SONG: “It Isn’t for Me to Say” (in Harms)

GABRIEL.

They say that topical verses

Are sadly behind the times,

That the public have grown

Weary of their merry conceit and rhymes.

They may be right; it may be so.

They may have had their day,

But I’m going to try the experiment—

It isn’t for me to say.

It isn’t for me to say,

It isn’t for me to say.

I’m going to leave it all to you;

It isn’t for me to say.

They say that we had a navy once,

But that was in days gone by:

When a Yankee crew on a Yankee ship

The universe could defy.

A dozen scows that run aground

Whene’er they leave the bay

May be a source of national pride—

It isn’t for me to say.

It isn’t for me to say,

It isn’t for me to say.

Where we’d be if a war broke out,

It isn’t for me to say.

They say that all good citizens

Should into politics go

And take a lively int’rest in

Their country’s weal and woe.

To be out all night and come home . . .

(drunk business)

May help the cause some way.

I’m not a politician, so—

It isn’t for me to say.

It isn’t for me to say,

It isn’t for me to say.

Why politics makes one’s hat too small,

It isn’t for me to say.

They say that Anglomaniacs

Are carrying things too far,

That the English crawl and English drawl

Too utterly utter are.

To blind one eye with window glass

May be quite distingué,

Or it may be idiotic quite—

It isn’t for me to say.

It isn’t for me to say,

It isn’t for me to say.

You remember, of course, what Dogberry said,

But it isn’t for me to say.

They say that gas has grown so dear

’Twill soon be done without,

And when a lover makes a call

He thinks ’tis so, no doubt.

His sweetheart tunes the burner down

To a homeopathic ray.

It may be done for economy—

It isn’t for me to say.

It isn’t for me to say,

It isn’t for me to say.

You doubtless know how it is yourselves.

It isn’t for me to say.

They say the Bartholdi statue

Cannot be put in place

’Til fifty thousand dollars more

Are raised, its plates to brace.

If this keeps on, there may be some

Who’ll wish, while on its way,

The thing had gone to the bottom—

It isn’t for me to say.

It isn’t for me to say,

It isn’t for me to say.

It seems a pretty expensive gift,

But it isn’t for me to say.

The kindness of your reception

I very deeply feel,

And I couldn’t, if I desired to try,

My gratitude conceal.

Some slight return I may be able

To make you all some day,

But what ’twill be you must wait and see—

It isn’t for me to say.

It isn’t for me to say,

It isn’t for me to say.

I know what I’d awfully like to do: . . .

(business)

But it isn’t for me to say.

——

DUET: “Go Not, Happy Day” (in Goullard & Harms)

EVANGELINE AND GABRIEL.

Go not, happy day,

Yet a moment stay.

Brief has been thy measure.

Tarry but an instant in thy flying,

Ere the dusky night comes on.

In thy flight above,

Thou hast seen our love.

Thou hast marked our pleasure.

Listen to the burden of our sighing.

Haste, oh haste not to be gone.

Birds around are calling,

Sweet notes singing.

Dews are not yet falling,

Slumber bringing.

Fade not from our sight.

Yield not to the night.

Sunbeams have not ceased their playing.

Sorrow cometh never,

Faith hopes blighting.

Joy endureth never

For requiting.

All we have is light,

Making shadows bright,

All earth’s many cares allaying.

Go not, happy day,

Yet a moment stay.

Brief has been thy measure.

Tarry but an instant in thy flying,

Ere the dusky night comes on.

In thy flight above,

Thou hast seen our love.

Thou hast marked our pleasure.

Listen to the burden of our sighing.

Haste, oh haste not to be gone.

——

RUFFIAN CHORUS: “Six Miserable Ruffians” (in Harms)

SEXTETTE.

Oh, we are six miserable ruffians,

Who haven’t got a single thing to do,

And we scorn such stuff as tea and muffins,

But gore we’ll drink, we’ll drink ’til all is blue.

By the day, we hunting after gold are.

By night we burn and rob and steal.

For we bad and muscular and bold are,

And gore it is our best-beloved meal.

We’re a gang no traveler is sweet with

And a warning will kindly give to you,

That you’d best lie low if you should meet with

This gold-pursuing, gore-imbibing crew.

We’re the miscreants you read about in novels,

But never see except upon the stage,

Who live in remote and lonely hovels,

And with all mankind a warfare wage.

Our hearts are as blackened as our hair is,

And we always go about with knife in hand,

For to kill someone our only care is.

In fact, we are the terror of the land.

We’re the regular conventional marauders.

Ho! ho! is the only laugh allowed.

And our only hope is that you will applaud us

As a gold-pursuing, gore-imbibing crowd.

--

SONG: “Laughing Eyes of Blue” (in Goullard & Harms)

GABRIEL.

I’ve travelled east and west

And many countries seen.

Many a girl with teeth of pearl

And rosy cheeks I ween.

Eyes of black and eyes of brown

And eyes of hazel hue,

But all, though fair,

Could not compare

With those laughing eyes of blue!

Laughing eyes of blue,

Laughing eyes of blue!

(cadenza)

(waltz:)

Azure as a limpid mountain lake,

Laughing as the waves winds upon them make,

Ever beaming tender, soft, and true,

How I dearly love

Those laughing eyes of blue.

“ Je t’aime! ” The black eyes seemed to say.

“ Je ne t’aime pas! ” I replied.

“ Io t’amor! ” looked the hazel eyes.

I shook my head and sighed: (sigh) .

“ Ich liebe dich! ” the brown eyes said

And thrilled me through and through.

But all, though fair, could not compare

With those laughing eyes of blue!

——

SONG and DANCE: “O Gabriel, My Best Beloved” (in Goullard & Harms)

EVANGELINE.

You wonder why I’m feeling

So joyous and so gay?

Why pleasure, gently o’er me stealing,

Drives doubts and troubles far away?

I’ll tell you, if you will but listen:

My heart is overfilled with bliss

Since he, whom I adore so fondly,

Will very shortly call me his.

Oh—!

Oh Gabriel, my best beloved:

I’m waiting, waiting for the hours

When in thine arms my cares shall vanish

And only pleasure on me shower.

How often I have wondered

How soon my wedding day would come.

When from my pa I should be sundered

And leave my happy, happy home.

You’ll miss me when the evening gathers

And none you’ll have to fondly kiss,

But I shall never know a sorrow

When once my love shall call me his.

Oh—!

Oh Gabriel, my best beloved:

I’m waiting, waiting for the hours

When in thine arms my cares shall vanish

And only pleasure on me shower.

(Dance.)

——

SONG: “I’m in Love” (in Harms)

[EVANGELINE (?).]

(verse 1:)

I’m in love! I’m in love!

As you plainly see.

Do not ask; I’ll not tell

Who’s the one so dear to me,

But he’s built in fashion’s mold,

And he’s better far than gold,

And I’m sure you’d call him

Just as sweet as can be.

Eyes so bright, dark as night,

Light moustache so neat and trim . . .

’Tis not strange that the girls

Are all setting caps for him.

When on anyone he’s smiled,

I am nearly driven wild,

For he’s all the world to me,

Yes, he’s all the world to me.

If my heart could but read,

He’d be gratified indeed,

For he’d find his image stamped upon it,

Ne’er to fade away.

Day by day it brighter grows,

Blooming sweetly like a rose,

That shall never know decay,

But grow dearer day by day.

Oh—!

(Verse 1 repeats.)

(verse 2:)

I’m in love! I’m in love!

I’m a most unhappy maid,

For in vain are my smiles

And my sighing I’m afraid.

Men are all the same, I find.

To my love he will be blind,

Though my looks betray my secret

Ev’ry time we meet.

I don’t care to declare

All my heart would fain confess,

But alone make my moan [sic],

Keeping hidden my distress.

Woe’s the day that I was born,

For I languish all forlorn

For the darlingest of men,

Who is all the world to me.

Still a time may come someday,

When return my love he may,

And my happiness be crowned by being

Made his little wife.

For that happy time I’ll wait,

And I’ll gladly consecrate

To my darling all my life,

To my darling all my life.

Oh—!

(Verse 2 repeats.)

——

VOCAL MARCH: “A Hundred Years Ago” (in Goullard & Harms)

MINIATURE NINTH REGIMENT.

When first the sound of battle came,

We gaily marched away.

For when we heard our country call,

We could not but obey.

For truth and right, the first to fight

And never known to flee,

Our fathers recognize their songs,

The gallant Ninth are we.

MINIATURE CONTINENTALS.

A hundred years ago,

We stood in fight arrayed, boys,

And boldly met the foe,

For truth and liberty.

Our voice is living still,

And we should be obeyed, boys,

Who gave our lives to make you free

A hundred years ago.

A little band of earnest men

Who knew no law but right,

We, just a century ago,

Set freedom’s torch alight.

We fought and fell, and ages tell

The story, which you know,

Of how the sun of glory rose

A hundred years ago.

A hundred years ago,

We stood in fight arrayed, boys,

And boldly met the foe,

For truth and liberty.

Our voice is living still,

And we should be obeyed, boys,

Who gave our lives to make you free

A hundred years ago.

Table of Contents

Cast of Characters

Act One

Scene 2

SCENE 3

Act 2 [ Scene 1: The African Coast ]

SCENE 2

SCENE 3[: A Jail]

SCENE 4: The Royal Palace of Boorioboola Gha

Additional Songs

SONG and DANCE: “Sweet Evangeline” (in Goullard)

DITTY: “A Farming Man” (in Goullard)

DUTCH SONG: “I’m in Lofe mit a Shveet Leedle Girls” (in Goullard & Harms)

TOPICAL SONG: “It Isn’t for Me to Say” (in Harms)

DUET: “Go Not, Happy Day” (in Goullard & Harms)

RUFFIAN CHORUS: “Six Miserable Ruffians” (in Harms)

SONG: “Laughing Eyes of Blue” (in Goullard & Harms)

SONG and DANCE: “O Gabriel, My Best Beloved” (in Goullard & Harms)

SONG: “I’m in Love” (in Harms)

VOCAL MARCH: “A Hundred Years Ago” (in Goullard & Harms)