city of light 10:12mainstreetmusicals.org/evaluations/2013/021-cityoflight/cityofli… · city of...

CITY OF LIGHT

Book and lyrics by

Michael McFaden

Music by

Arthur Sullivan

Musical arrangements by

Terry Woods

© 2011

City of Light (revised 10/06/12)! © 2011 Michael McFaden

1

Michael McFaden4701 Michigan AvenueNashvilleTN, 37209(615) [email protected]

Terry Woods2309 Talbott StreetIndianapolisIndiana, 46205(317)[email protected]

mailto:[email protected]




The author gratefully acknowledges the contributions of Sir Arthur Sullivan's original collaborators whose work remains, in

part, in CITY OF LIGHT:

E.F. Chorley

Francis Burnand

Sydney Grundy

J. Comyns Carr

Joseph Bennett

Henry Wadsworth Longfellow

Basil Hood

Edward German


2

DRAMATIS PERSONAE

MOLLY ! (Soprano) Late-twenties. An open-minded, attractive, young widow who is seeking contact with her deceased husband.

EDWIN ! (Tenor) Late-twenties. Molly's deceased husband. When he appears, he is a ghost.

HEREWARD! (Tenor) Late twenties. A psychic investigator, determined to prove the existence of life after death.

PHILIP! (Baritone) Mid-fifties. A successful businessman visiting Lily Dale strictly for amusement.

ABIGAIL! (Alto) Mid-forties. Philip's wife. Like her husband, she does not believe in psychic phenomenon though she secretly would like to.

KATE! (Mezzo soprano) Forties to sixties. A strong-willed suffragette devoted to the cause of women's rights.

VIOLET! (Mezzo soprano) Thirties. A medium and resident of Lily Dale.

OLIVIA! (Treble) About 11 years old. Violet's younger, mischievous sister. She is also psychic.

ALLAN! (Baritone)Mid-fifties. A long-time resident of Lily Dale. He and his lover, Charles, are known as the Campbell Brothers. They are mediums and spirit painters.

CHARLES! (Tenor) Early forties. The younger, other half of the Campbell Brothers.


3

CALVIN! (Bass) Any age. Essentially, he is Edwin's spirit guide. He appears both physically and in the spirit plane throughout.

DR. HYSLOP! (Speaking role) Hereward's employer. Early 60's.

CHORUS OF MEDIUMS AND LILY DALE RESIDENTS.


4

SETTING

Most of the action takes place in and around Lily Dale, New York.

TIME

Summer, 1907.

ACT I

Scene 1! A funeral.! Autumn, 1906.

Scene 2! Hereward’s office.! Summer, 1907.

Scene 3! A train station.! Summer, 1907.

Scene 4! Outside the hotel.! Later that day.

Scene 5! A street in Lily Dale.! Immediately ! ! following.

Scene 6! Campbell Bros. Seance room.! That evening.

! ACT II

Scene 1! Molly’s room.! Later that night.

Scene 2! Outside the hotel.! The next ! ! afternoon.

Scene 3! The same.! 7PM that ! ! evening.

Scene 4! A street in Lily Dale! Immediately ! ! following.

Scene 5! Inspiration Stump.! Immediately ! ! following.


5

MUSICAL NUMBERS

Overture

ACT I

1. The Long Day Closes (Male Quartet/Sextet)

2. How long have I wanted to travel (Hereward)

3. Enough! Sir, enough! (Philip, Abigail, Hereward & Molly)

4. Let us put aside this squabble (Hereward, Molly, Philip, ! Abigail & Chorus)

5. Let a suffragette enumerate (Kate & Female Trio)

6. I had love past comprehending (Molly, Kate and Female ! Trio)

7. Charlotte, Charlotte (Philip & Abigail)

8. From city to farm (Hereward & Violet)

9. It’s a very tiny room (Violet, Philip, Hereward, Kate, ! Allan, Charles, Molly, Abigail & ! Chorus)

10. Little Grover (Allan, Charles & Abigail)

11. Finale, Act I (Ensemble)


6

ACT II

12. Entr’acte

13. Here in the moonlight (Molly)

14. Dream music (Instrumental)

15. Everybody gather round (Kate, Hereward, Olivia & ! ! Chorus)

16. Thus, once again (Hereward)

17. If you wish to succeed as a medium (Allan, Charles & ! Chorus)

18. A dream’s not a dream (Molly, Kate & Hereward)

29. My dog was once my horse (Philip, Abigail, Molly, ! ! Charles, Allan & Violet)

20. Haste thee! Haste thee! (Calvin, Molly, Violet, Abigail ! & Philip)

21. Do not dally anymore (Olivia)

22. Deep in the heart of Leolyn Wood (Calvin & offstage ! Chorus)

23. Molly! (Edwin & Molly)

24. Sweet is the air (Edwin & Molly)

25. Finale, Act II (Molly & Company)

26. Bow music & Finale Ultimo (Entire Company)


7

ACT I

OVERTURE

SCENE 1

(The overture segues into the opening number. The QUARTET/SEXTET may be seen dimly lit somewhere in the distance, behind the scrim. Or, perhaps, only their voices may be heard in the darkness. The music should reverberate as though being sung in an empty church.)

/1/ THE LONG DAY CLOSES - Quartet/Sextet

! QUARTET/SEXTETNO STAR IS O’ER THE LAKE,ITS PALE WATCH KEEPING,THE MOON IS HALF AWAKE,THROUGH GRAY MISTS CREEPING,THE LAST RED LEAVES FALL ROUNDTHE PORCH OF ROSES,THE CLOCK HATH CEASED TO SOUND,THE LONG DAY CLOSES.

(The lights slowly come up on a solitary figure C.S. This is CALVIN, and he is shoveling dirt onto EDWIN'S grave. He has a moment of silent communication with the deceased. But then he notices a funeral procession making it's way down the aisle of the theatre. As the procession reaches the stage, CALVIN departs. The procession fans out around the gravesite and includes a priest, several mourners, and MOLLY, EDWIN'S attractive, young widow. The priest makes the sign of the cross, opens his Bible, and begins to pray over the grave.)


8

SIT BY THE SILENT HEARTHIN CALM ENDEAVOUR,TO COUNT THE SOUNDS OF MIRTH,NOW DUMB FOREVER.HEED NOT HOW HOPE BELIEVESAND FATE DISPOSES:SHADOW IS ROUND THE EAVES,THE LONG DAY CLOSES.

THE LIGHTED WINDOWS DIMARE FADING SLOWLY.THE FIRE THAT WAS SO TRIMNOW QUIVERS LOWLY,QUIVERS LOWLY.

GO TO THE DREAMLESS BEDWHERE GRIEF REPOSES;THY BOOK OF TOIL IS READ,THE LONG DAY CLOSES;

GO TO THE DREAMLESS BEDWHRE GRIEF REPOSES;THY BOOK OF TOIL IS READ,THY BOOK OF TOIL IS READ,GO TO THE DREAMLESS BED,THE LONG DAY CLOSES.

(Once the climax of the song has been reached, the priest finishes his prayer, and all but MOLLY slowly leave the stage. The music segues into a slightly ragged version of "Onward Christian Soldiers" as MOLLY slowly and sadly exits. Fadeout.)! !


9

ACT I

SCENE 2

(The lights come up D.L. on the office of HEREWARD CARRINGTON. The office is just a suggestion. HEREWARD is sitting at his desk. DR. HYSLOP enters reading a newspaper.)

DR. HYSLOPGood morning, Hereward.

HEREWARDDr. Hyslop.

DR. HYSLOPHave you read this morning's paper?

HEREWARDNot yet. Anything of interest?

DR. HYSLOPYou might think so. Another account of supernormal activity in Lily Dale.

HEREWARDThe Spiritualist Camp?

DR. HYSLOPThe one and the same.

(HEREWARD scans the newspaper with interest as the song into begins.)


10

/2/ SONG - HEREWARD

HEREWARDHOW LONG HAVE I WANTED TO TRAVEL TO LILY DALE,SPIRITUAL VILLAGE, FOR MANY THE HOLY GRAILOF OCCULT WISDOM, I PROMISE THAT WITHOUT FAIL,I WILL DISCOVER THE TRUTH OF THE PLACE,I WILL DISCOVER THT TRUTH OF THE PLACE.

(HEREWARD and DR. HYSLOP exit S.L. The office also rolls off left at this time. HEREWARD reappears alone S.L., after a moment, attired for travel and carrying a suitcase. He crosses S.R. during the following verse.)

A PSYCHIC RESEARCHER I AM BY PROFESSION,PURSUIT OF THE AFTERLIFE IS MY OBSESSION,AND SOMEDAY THE PROOF WILL BE IN MY POSSESSION,ELUSIVE THOUGH FACTS ALWAYS ARE IN THE CASE,ELUSIVE THOUGH FACTS ALWAYS ARE IN THE CASE.

(The scene starts to change to the lobby of a railroad depot. A ticket window has appeared S.R. and a bench, only long enough to seat three people, has been carried on and placed center stage. HEREWARD approaches the window and purchases a ticket.

TICKET IN HAND, I AM READY AS I CAN BEFOR AN ENCOUNTER WITH THOSE WHOM I CANNOT SEE,BRING ON THE GHOSTS AND LET DEAD PEOPLE TALK TO ME,ONTO THE TRAIN AND THEN ON WITH THE CHASE,ONTO THE TRAIN AND THEN ON WITH THE CHASE!

(HEREWARD finishes the song standing C.S. on the bench, holding his ticket in the air.)


11

ACT I

SCENE 3

(The scene has now transitioned completely to the depot interior. If possible, the walls are projected onto the scrim. A train whistle is heard as CALVIN,currently dressed as a porter, wheels on a dolly containing a trunk and a few odd bits of baggage. HEREWARD jumps off the bench and starts to cross U.L. as MOLLY enters U.L.. She is dressed in subdued, but fashionable, traveling gear and cuts a very attractive figure. HEREWARD can't help but notice her as she crosses upstage of him and approaches the ticket window.)

MOLLY (Paying for ticket)One ticket for Lily Dale please. (Pause) Thank you.

(MOLLY sits down on the bench without noticing HEREWARD. As she sits the lighting changes. Most of the stage is cast into darkness. EDWIN appears in the shadows, most probably behind the scrim.)

EDWIN

Molly.

MOLLY (Standing and following the voice)

Edwin! Edwin, is that you?

(But EDWIN is gone,and normal lighting is resumed.)


12

CALVINHe is here, yet not here, Mrs. Radcliffe.

MOLLYWhat? How did you know my name?

CALVINYour baggage is clearly labeled, ma'am. If you will excuse me. I'll take these to the platform.

(He starts to wheel the cart S.L. but stops as he reaches HEREWARD.)

I'll take your valise, Mr. Carrington.

HEREWARDThank you.

(HEREWARD hands his bag to CALVIN who exits. It is only then that he realizes that CALVIN knew his name. MOLLY has also crossed S.L. in an attempt to follow CALVIN.)

MOLLY (Simultaneously with HEREWARD)

Wait, sir. What did you mean by "He is here..."

HEREWARD (Simultaneously with MOLLY)

Excuse me. Do I know you, sir? I don't recall...

(By now MOLLY and HEREWARD are standing side by side.)

MOLLYOh...

HEREWARDPardon me, Miss.

MOLLYIt's Mrs., sir. Mrs. Molly Radcliffe. Mrs. Edwin Radcliffe, actually.

HEREWARDWell, I'm Hereward Carrington.


13

(PHILIP & ABIGAIL have appeared S.L. of HEREWARD and MOLLY.)

ABIGAILAnd I'm Abigail Winslow. Mrs. Philip Winslow. And you, young man, are blocking the entrance.

HEREWARDOh, I beg your pardon.

(HEREWARD and MOLLY step back as ABIGAIL sweeps past them to the bench.)

ABIGAILGet our tickets, Philip. I shall await you here.

(ABIGAIL sits on the bench, dead center. PHILIP crosses to the ticket window.)

HEREWARDWould you care to sit down, Mrs. Radcliffe?

MOLLYThank you, Mr. Carrington.

HEREWARD (Escorting MOLLY to the S.L. Side of the bench)

So, are you going to Lily Dale, too?

ABIGAILYoung man, that is where this train goes. We are all going to Lily Dale. Or should I say, Silly Dale.

(She laughs at her own joke.)

PHILIPMrs. Winslow and I are going to see the spooks.

ABIGAILAnd the kooks who consult them.

HEREWARDExcuse me, madam. But there have been many reports of otherworldly phenomenon occurring at Lily Dale.


14

PHILIPBalderdash. Fancy parlor tricks, I say. But, for my dollar, I can’t think of a better way to be entertained.

(PHILIP approaches the bench from the S.R. side and sits. There is no room for HEREWARD to sit, so he just hovers.)

ABIGAILI’ve heard they do spirit painting there. Or, even more modern, spirit photography. I would so love to have my picture taken with a ghost…or better yet, by one.

HEREWARDBe careful, Mrs. Winslow. You might get what you wish for.

ABIGAILWell, that would be exciting. But hardly possible. Certainly you don’t believe in ghosts, Mr. Carrington.

HEREWARDI believe that the spirit survives the body, and that communication with the deceased may be possible, yes. I am, by trade, a psychic investigator. That is, I research all things attributable to the world of spirit. Reports of hauntings. Mediums. Seances. And the like. Even, madam, spirit painting and photography.

MOLLYIs it possible then, Mr. Carrington? Spirit communication, that is?

HEREWARDI think so, Mrs. Radcliffe. I have had some experiences that seem to point in that direction. That’s why I’m traveling to Lily Dale. To learn. To discover. It’s a town of free thinkers.

PHILIPHmmph. And charlatans.


15

HEREWARDTrue, sir. There are frauds. But what should it matter who gets your money. You’re only going there on a lark. So, the better the show, the better value for your dollar. I go for different reasons. As does, I think, Mrs. Radcliffe here. Am I right, Mrs. Radcliffe?

MOLLYAm I that transparent, Mr. Carrington?

HEREWARDNo, ma’am. But a young wife would not be traveling alone. A young widow might be. I hope I haven’t spoken out of turn.

MOLLYNo sir, you have not. It’s a relief to talk about it, really. I’ve been so alone in this. Yet, I feel Edwin's presence constantly. Perhaps in Lily Dale I can find him.

ABIGAILMy dear child. Oh, I’m so sorry. You’re a widow? Pardon my asking, how long?

MOLLYThese past ten months.

ABIGAILBut…but, shouldn’t you still be in mourning?

MOLLYWearing mourning is a left-over legacy from the last century, Mrs. Winslow. This is 1907. I stopped wearing crape six months ago. And though I have been told that I look quite fetching in black, it was time to put a little color back in my life. Edwin would have wanted it so.

ABIGAILOh, I don’t know…

HEREWARDWell, I do. Our young Mrs. Radcliffe, here, is a free thinker.


16

/3/!QUARTET - PHILIP, ABIGAIL, MOLLY & HEREWARD

PHILIPENOUGH!SIR, ENOUGH!

ABIGAILSIR, PLEASE REFRAIN AS MUCH AS YOU CANFROM BRINGING UP SUCH MATTERS AGAIN,MY THINKING, I THINK, IS PLENTY FREE,AT LEAST AS FREE AS I THINK IT SHOULD BE,THERE ARE SET RULES TO WHICH WE ADHERE,SUCH AS WIDOW'S WEEDS FOR AT LEAST ONE YEAR!SOCIETY MAY HAVE SOME FLAWS,BUT WE ALL MUST ABIDE BY SOCIETY'S LAWS.

PHILIPTHIS KIND OF TALK'S UNNERVING TO ME,AND HAS IT'S ROOTS IN ANARCHY,FOR MAN HAS LONG THE WORLD CONTROLLED,AND WOMAN, TOO, HAS HER GIVEN ROLE,IF WE NOW UPSET THE APPLE CARTAMERICA WILL FALL APART,AND ON THESE WORDS I'LL HANG MY COAT,THAT WOMANKIND SHOULD NEVER VOTE!

ABIGAILYES, UPON THESE WORDS HE WILL HANG HIS COAT.

MOLLY & HEREWARDI'M LOST FOR WORDS.

PHILIPOH, THEY MUSTN'T VOTE.

ABIGAILTHAT WOMANKIND SHOULDN'T GET THE VOTE.

MOLLY & HEREWARDYES, LOST FOR WORDS.


17

! ! MOLLY & HEREWARD! ! PHILIP & ABIGAILHOW CAN THEY THIS KIND OF TALK'S UNNERVING TO ME,IN HONESTY, AND HAS IT'S ROOTS IN ANARCHY,SUCH ANTIQUATED FOR MAN HAS LONG THE WORLD CONTROLLEDVIEWS PROMOTE, AND WOMAN, TOO, HAS HER GIVEN ROLE,IT'S OBVIOUS IF WE NOW UPSET THE APPLE CARTTO YOU AND ME AMERICA WILL FALL APART,THAT WOMANKIND AND ON THESE WORDS I'LL HANG MY COAT,SHOULD GET THAT WOMANKIND SHOULD NEVER VOTE!THE VOTE!YES, WOMANKIND THAT WOMANKINDSHOULD GET SHOULD NE-THE VOTE! VER VOTE!

/4/ SONG - HEREWARD with MOLLY, ABIGAIL, PHILIP & CHORUS

HEREWARDLET US PUT ASIDE THIS SQUABBLE,IT'S NOT REALLY WORTH THE TROUBLE,WHERE WE'RE HEADED YOU MAY FINDPEOPLE WHO COULD CHANGE YOUR MIND,LIVING IN LILY DALE.

MOLLY, ABIGAIL & PHILIPIN LILY DALE, IN LILY DALE.

HEREWARDIT'S A TOWN WHO'S VIEWS, I'LL MENTION,DARE TO GO AGAINST CONVENTION,THERE IT'S SAID THAT NO ONE DIES,DEATH IS THOUGHT TO BE BUT LIES,SAY THEY IN LILY DALE.

MOLLY, ABIGAIL & PHILIPIN LILY DALE, IN LILY DALE.

HEREWARDTHEN LET YOUR MIND BE LIBERATEDFROM THE PRISON YOU'VE CREATED,IT'S NOT HARD, BRING DOWN YOUR GUARD,AND LET LIBERAL THOUGHT PREVAIL,WHERE THE SPIRITS HOLD DOMINION,YOU MAY ALTER YOUR OPINION,MARK MY WORD, IT SOUNDS ABSURD,BUT NO ONE DIES IN LILY DALE.


18

ACT I

SCENE 4

(The bench and ticket booth are removed, the scrim flies out, and MOLLY, HEREWARD, ABIGAIL and PHILIP find themselves facing upstage looking at the entrance to Lily Dale. A large metal arch is visible with the illuminated words "City of Light" emblazoned on it. The entrance to the Maplewood Hotel is S.L. A wicker table with three chairs sits adjacent to the hotel porch. Townspeople and mediums, including the CAMPBELL BROTHERS (ALLAN & CHARLES) are milling about. A small parade of three women, led by KATE, marches across the stage holding placards advertising an upcoming suffragette meeting. They end up at the table.)

/4/! SONG (Continued from previous scene.)

CHORUSLET YOUR MIND BE LIBERATEDFROM THE PRISON YOU'VE CREATED,IT'S NOT HARD, BRING DOWN YOUR GUARD,AND LET LIBERAL THOUGHT PREVAIL,WHERE THE SPIRITS HOLD DOMINION,YOU MAY ALTER YOUR OPINION,TAKE OUR WORD, IT'S NOT ABSURDTHAT NO ONE DIES IN LILY DALE.

MEDIUM #1YOU'RE JUST IN TIME TO HEAR,NEWS FROM ANOTHER SPHERE,IN THE FOREST TEMPLE, FRIENDS,IN THE FOREST TEMPLE,I WILL ASTOUND WHEN I EXPOUND,IN THE FOREST TEMPLE, FRIENDS,IN THE FOREST TEMPLE.


19

MEDIUM #2 (To Philip)A MESSAGE FROM THE OTHER SIDE,I'M GETTING FROM MY SPIRIT GUIDE,THIS MESSAGE GREAT, I WOULD RELATEIN THE FOREST TEMPLE.

CHORUSFOREST TEMPLE, FOREST TEMPLE, FOREST TEMPLE.

HEREWARDTHEN LET YOUR MIND BE LIBERATED FROM THE PRISON YOU'VE CREATED,IT'S NOT HARD, BRING DOWN YOUR GUARD,AND LET LIBERAL THOUGHT PREVAIL,

ALL WHERE THE SPIRITS HOLD DOMINION,YOU MAY ALTER YOUR OPINION,TAKE OUR WORD, IT'S NOT ABSURD,THAT NO ONE DIES IN LILY DALE.IN LILY DALE.IN LILY DALE.

ALLANWelcome to Lily Dale, friends. Should you desire a consultation, my brother Charles and I are at your disposal.

CHARLES(Handing out business cards to HEREWARD, MOLLY and the WINSLOWS)

Spirit painting is our specialty.

(The CAMBELL BROTHERS and the CHORUS exit. The three women whom KATE has led in the parade, sit at the table. KATE approaches and hands out fliers to MOLLY, HEREWARD, PHILIP & ABIGAIL.)

HEREWARDWhat's this?

KATEAn announcement, sir. We are holding a rally tomorrow afternoon.


20

MOLLY (reading)"The New York Counsel for Woman's Suffrage..."

PHILIP (screams)Ah! That word!

(He drops the flier as if he was burned.)

ABIGAILSuffragettes!

(Thrusting her flier back at KATE)You, madam, are an upstart. You and all your kind. I don't need or want the right to vote. I am quite content with Philip making all the important decisions. Come, Philip. We'll go to the hotel now.

(PHILIP and ABIGAIL exit. KATE follows after them.)

KATEThe fact is, madam, that women are in chains, and their servitude is all the more debasing because they do not realize it! Do you hear me, madam?

(But the WINSLOWS are gone. KATE turns back to HEREWARD and MOLLY.)

Those people are insufferable! What in the world are they doing here? Don't they know where they are? Lily Dale has long welcomed us. In fact, the only religious sect in the world that has recognized the equality of women is the Spiritualists.

HEREWARDAre you too a Spiritualist, Miss...?

KATESingleton. Kate Singleton. And no sir, I am not. I am a suffragette. One cause is enough. You will excuse us.

(There is a momentary pause while HEREWARD realizes that KATE would like him to leave.)

HEREWARDAh, of course. I should...um...see to my room.


21

(HEREWARD exits into the hotel while KATE turns her attention to MOLLY.)

KATESuffrage is the pivotal right, sister!

MOLLYYou don't have to convert me, Miss Singleton.

KATEGood. Another comrade. I knew it the moment I saw you.

/5/ SONG - KATE & FEMALE TRIO

KATELET A SUFFRAGETTE ENUMERATEA CATALOGUE OF CRIMESTHAT THE VIEWS OF MEN PERPETUATE IN THESE OUR MODERN TIMES,FIRST A WOMAN IS EXPECTED HOUSEHOLD DUTIES NOT TO SHIRK,BUT OUTSIDE THE HOME IT'S NEVER EQUAL PAY FOR EQUAL WORK,MEN WOULD PUT US ON A PEDESTAL AND SWEAR TO BE OUR SLAVES,BUT IT'S US WHO DOES THE SLAVING WHILE HE'S FREE TO MISBEHAVE,AND I TELL YOU, SISTERS, MAN HAS YET TO ME TO PROVE HIS WORTH,FOR HE THINKS HIMSELF THE MASTER, YET IT'S WE WHO GAVE HIM BIRTH.

SO IT'S TIME TO HEED THE CALL,AND IT'S TIME TO RISE ABOVE,LET'S PUT DOWN THE PARASOLAND PUT ON THE BOXING GLOVE,FOR THE WORLD OF MEN AND WOMEN NEEDS SOME SHAKING UP,YOU BET!TAKE A STAND FOR YOUR TOMORROW AND BECOME A SUFFRAGETTE!

FEMALE TRIOFOR THE WORLD OF MEN AND WOMENNEEDS SOME SHAKING UP, YOU BET!TAKE A STAND FOR YOUR TOMORROWAND BECOME A SUFFRAGETTE!


22

KATENOWADAYS THERE IS NO REASON WEAS WOMEN CAN'T SUCCED,LOOSE THE STRANGLE-HOLD OF TYRANNYAND BOLDLY TAKE THE LEAD,WE'VE THE RIGHT TO EDUCATION AND TO HOLD A PUBLIC POST,AND TO CHOOSE OUR COUNTRY'S LEADERSIN EACH STATE FROM COAST TO COAST,AFTER ALL ARE WE NOT CITIZENSOF THESE UNITED STATES?SHOULD WE NOT ENJOY THE FREEDOMSTHAT OUR NATION CELEBRATES?AND UNTIL WE RAISE A RUCKUS AND REBEL AGAINST THE YOKE,WE'LL BE ANIMATED FASHION-PLATESWHO AREN'T ALLOWED TO SMOKE.

SO IT'S TIME TO HEED THE CALL,AND IT'S TIME TO RISE ABOVE,LET'S PUT DOWN THE PARASOLAND PUT ON THE BOXING GLOVE,FOR THE WORLD OF MEN AND WOMENNEEDS SOME SHAKING UP, YOU BET!TAKE A STAND FOR YOUR TOMORROWAND BECOME A SUFFRAGETTE!

FEMALE TRIOFOR THE WORLD OF MEN AND WOMENNEEDS SOME SHAKING UP, YOU BET!

KATE & FEMALE TRIOTAKE A STAND FOR YOUR TOMORROWAND BECOME A SUFFRAGETTE!

MOLLYYou are very persuasive, Miss Singleton.

KATEOf course I am.

MOLLYBut as much as I admire the cause, my active involvement will have to wait.


23

KATEThen you are not here for the rally?

MOLLYI'm afraid not. I'm actually here for... Well, to...

KATETalk to the dead?

MOLLYOh!

KATEI'm not one to mince words.

MOLLYWell, my late husband would have appreciated your frankness. It was a quality he often said he admired in me.

KATELate husband? Oh, dear. Another widow. And so young, too. Forgive me, sister. This place is teeming with widows, and sometimes I tend to forget what draws them here. You know, they call Lily Dale the City of Light. But, really, sometimes I think they should call it the City of Loss.

/6/!DUET - MOLLY & KATE with TRIO OF WOMEN

(The lights dim on all but the group of women. Halfway through MOLLY'S verse, EDWIN appears isolated somewhere onstage, and CALVIN soon joins him. MOLLY is aware of the presence.)

MOLLYI HAD LOVE PAST COMPREHENDING,WHICH I THOUGHT WAS NEVER-ENDING,FROM MY SIDE THAT LOVE WAS TAKEN,LEAVING ME ALONE, FORSAKEN,EDWIN, DEAREST,HUSBAND, LOVER,EVERY HOUR MY THOUGHTS ARE ON YOU,HEAVEN'S BLESSINGS BE UPON YOU.EVERY HOUR MY THOUGHTS ARE ON YOU,HEAVEN'S BLESSINGS BE UPON YOU.


24

(EDWIN reaches for MOLLY, but CALVIN escorts him away as his light fades out.)

KATETHOSE WHO SEEK THE CITY OF LIGHT,OFTEN HAVE NO HOPE IN SIGHT,WANTING BUT A SIGN OR TOKENFOR A HEART THAT'S TRULY BROKEN,LOST ARE THEY IN GRIEF'S EMBRACES,JOY IS ONLY FOUND IN TRACES,THOUGH THIS SORROW BE UPON YOU,HEAVEN SEND HER BLESSINGS ON YOU,HEAVEN'S BLESSINGS,HEAVEN'S BLESSINGS BE UPON YOU

(During the following, EDWIN appears on another part of the stage and CALVIN joins him.)

! ! ! ! ! MOLLY! ! ! ! ! KATE & TRIOI HAD LOVE PAST YOU HAD LOVE PASTCOMPREHENDING, COMPREHENDING,WHICH I THOUGHT WAS WHICH YOU THOUGHT WASNEVER-ENDING, NEVER-ENDING,EVERY HOUR MY THOUGHTS THOUGH THIS SORROW BEARE ON YOU, UPON YOU,HEAVEN'S BLESSINGS HEAVEN SEND HERBE UPON YOU. BLESSINGS ON YOU.

(CALVIN gently pulls EDWIN away as the song ends and normal lighting resumes. The TRIO exits.)

KATEWell, I suppose, like all the rest, you'll want a session with a medium. Have you chosen one?

MOLLYWell, no. I only just arrived. But a gentleman gave me his card.

(MOLLY shows the card to KATE)

KATEAh, the Campbell Brothers. Interesting.


25

MOLLYHow so?

KATEWell, you know they are not really brothers.

MOLLYWhat do you mean?

KATETheir actual relationship is more...um...substantial.

(MOLLY doesn't comprehend.)Intimate?

MOLLYOh!

KATERemember, this is a town of free thinkers.

MOLLYPerhaps too free.

KATEMy dear, an open mind is free of fences. But, perhaps, your first encounter with a medium should be with someone with whom you would be more comfortable. I know. Come with me.

(MOLLY and KATE exit. HEREWARD, ABIGAIL and PHILLIP enter. Simultaneously, a young girl, OLIVIA, enters. She walks with the aid of a crutch.)

ABIGAILMr. Carrington, did I happen to mention how long Mr. Winslow and I have been married?

HEREWARDTwenty-five years, if I recall correctly.

ABIGAILWhy, yes. Twenty-five, uninterrupted, blissful years.

(OLIVIA approaches PHILIP.)


26

OLIVIAExcuse me, sir. May I come to you?

PHILIPMay you come to me, young lady? What do you mean?

OLIVIAMay I come into your vibration. I need to bring you someone.

PHILIPBring me someone? I don't see anyone.

OLIVIASomeone in spirit, sir.

ABIGAILOh, Philip, how amazing. A poltergeist child.

OLIVIAShe is here, sir.

ABIGAILShe? She?

OLIVIAI'm getting the name "Charlotte". She wants me to tell you that she has returned.

ABIGAILPhilip, who is Charlotte?

PHILIPI'm sure I don't know, Abigail. Young lady, who is Charlotte?

OLIVIASir, I would think you would remember.

PHILIPWell, I don't. Refresh my memory.

OLIVIAOh, she is fading, sir.

PHILIPFading. Well, bring her back.


27

OLIVIAI'm not sure I can, sir. She may need some persuasion.

PHILIPHere. Will this nickel bring her back?

OLIVIAIt might. Wait. Oh no, sir. She is gone. But I thank you for the nickel, sir. Good day.

(OLIVIA exits as quickly as possible.)

PHILIPWait, child. Come back here. I need to know about this Charlotte.

ABIGAILSo do I, Philip. So do I. Who is she?

HEREWARDI believe, who was she, is more accurate, Mrs Winslow.

ABIGAILNo, Mr. Carrington. Is. The child says she has returned. You will excuse us?

HEREWARDAh, of course.

(HEREWARD exits.)

ABIGAILWhat are you keeping from me, Philip?

PHILIPI'm keeping nothing from you, Abigail. I know of no Charlotte.

ABIGAILOh, Philip. Had you another love, besides me?

PHILIPWhere are you getting this, Abigail?

ABIGAILFrom the child.


28

PHILIPFrom the child. Not more than an hour ago, you gave no credence to the supernatural. And now, you're ready to rattle skeletons based on the word of a...a street urchin.

/7/ DUET - PHILIP and ABIGAIL

PHILIPCHARLOTTE, CHARLOTTE,OH, ABIGAIL, CAN'T YOU SEE?IT WAS A RUSE,AND I REFUSETO LET IT AGITATE ME.THE GIRL IS MERELY A BEGGAR, THOUGH CLEARLY CLEVER IS SHE.THE GIRL IS MERELY A BEGGAR, A BEGGAR THOUGH CLEARLY CLEVER IS SHE.CHARLOTTE, CHARLOTTE,CHARLOTTE, CHARLOTTE,OH, ABIGAIL, CAN'T YOU SEE?

ABIGAILCHARLOTTE, CHARLOTTE,OH, PHILIP, YOU MUST RECALLSOMEBODY WHOCOULD CAPTIVATE YOU,BUT NOW MEANS NOTHING AT ALL.THIS GIRL HAS MADE ME UNEASY, I WORRY WHAT MAY BEFALL.THIS GIRL HAS MADE ME UNEASY, UNEASY, I WORRY WHAT MAY BEFALL.

BOTHHOW QUICKLY REASON HAS FLED,NOW DANCING ROUND IN MY HEADARE FITFUL FEELINGS OF DREADAT THE SOUND OF THAT FATEFUL NAME.

! ! ! ! PHILIP! ! ! ! ! ABIGAILAND I'D RATHER LEAVE IT ALONE, AND I CANNOT LEAVE ITSO, PERHAPS WE'D BETTER ALONE.GO HOME. NO, I DO NOT WANT TO GO HOME.


29

BOTHAH, HOW THIS GLIMPSE INTO WORLDS UNKNOWNHAS DISTURBED US BOTH THE SAME.CHARLOTTE, CHARLOTTE,CHARLOTTE, CHARLOTTE,CHARLOTTE!

(PHILIP and ABIGAIL exit. VIOLET enters from the opposite side of the stage.)

VIOLET (calling)Olivia! Olivia!

(HEREWARD enters.)Sir, have you seen a little girl come by here?

HEREWARDWell, I've seen a little mischief maker, if that's who you mean.

VIOLETThat sounds like Olivia. What did she do now?

HEREWARDShe hoodwinked a gullible old gentleman out of five cents by telling him about some fictitious woman named Charlotte.

VIOLETOh dear. Well, I'll get your friend back his money. But trust me, sir, if Olivia says there's a Charlotte, there's a Charlotte. The old gentleman may have forgotten over time. But my sister is seldom wrong.

HEREWARDYour sister?

VIOLETYes, sir.

HEREWARDAnd do you, too, share your sister's gift?

VIOLETIndeed, sir. The whole family is presentient. Here. My card.


30

HEREWARD (Reading)

Miss Violet Gray. Automatic Message Bearer. Well now, I should like to meet your fascinating family.

VIOLETTo what purpose? Are you seeking counsel, Mr...

HEREWARDCarrington. Hereward Carrington. I am seeking a lot of things, Miss Gray. Mainly, I seek the truth about Lily Dale and it's occupants.

VIOLETYou are skeptical then?

HEREWARDLet me just say, that I want to believe. But I have studied much and seen little.

VIOLETSo, if I were to tell you things... Things that I possibly couldn't know...

HEREWARDI would be intrigued, Miss Gray. Not wholly convinced. But intrigued.

/8/ DUET - HEREWARD & VIOLET

HEREWARDFROM CITY TO FARMI HAVE EVERYWHERE BEEN,SEARCHING THE NATIONFOR INFORMATION,AND VALIDATIONOF THE UNSEEN.

VIOLETALL ARDENT SEEKERSEVENTUALLY FIND,MAKING THEIR WAY HERE,SPIRITS HOLD SWAY HERE,DOUBT GOES AWAY HERE,FREEING THE MIND.


31

HEREWARDIF ONLY THERE'S TRUTHIN THIS PIVOTAL CLAIM,I'D HAVE NO FEAR TOQUICKLY ADHERE TOALL YOU HOLD DEAR TO,FEELING THE SAME.

VIOLETYOU'LL FIND BY THE WAYSIDEA BLOSSOM MAY BLOOM,TENDERLY WAITING,ANTICIPATING,QUESTIONS ABATINGWITH A NEW PERFUME.

VIOLET HEREWARDYOU'LL FIND IN LILY DALE, I'LLBEAUTIFUL LILY DALE, FIND INPROOF HERE IN LILY DALE, LI-IF YOU BELIEVE. LY DALE,YOU'LL FIND IN LILY DALE, PROOFBEAUTIFUL LILY DALE, HERE IN PROOF HERE IN LILY DALE, LI-IF YOU BELIEVE. LY DALE.

HEREWARD & VIOLETYOU'LL/I'LL FIND IN LILY DALE,BEAUTIFUL LILY DALE,PROOF HERE IN LILY DALE,TRUTH HERE IN LILY DALE,IF YOU BELIEVE, YOU BELIEVE,YOU BELIEVE, YOU BELIEVE,IF YOU BELIEVE, BELIEVE.

HEREWARDI'VE HEARD OF THE GHOSTSOF SOME INDIAN BRAVES,ROUND THE LAKE THREADING,WESTWARDLY HEADING,SILENTLY TREADINGPAST THEIR OLD GRAVES.


32

VIOLETAND GUESTS OF THE MAPLEWOOD HOTEL ALLUDETO APPARITIONS,STRANGE EXHIBITIONS,THEIR SUPERSTITIONSFIRMLY RENEWED.

HEREWARDTHE THINGS THAT OCCUR HEREARE GAINING REKNOWN,SPREADING LIKE FIRE,TRAVELING THE WIRE,HOW I DESIREALL TO EXPOUND!

VIOLETOH, LIST TO THE MESSAGETHE HEMISPHERES VOICE!DOUBTING IS SADNESS,IGNORANCE, MADNESS,TRUSTING IS GLADNESS,THINE IS THE CHOICE.

VIOLET HEREWARDYOU'LL FIND IN LILY DALE, I'LLBEAUTIFUL LILY DALE, FIND INPROOF HERE IN LILY DALE, LI-IF YOU BELIEVE. LY DALE,YOU'LL FIND IN LILY DALE, PROOF BEAUTIFUL LILY DALE, HERE INPROOF HERE IN LILY DALE, LI-IF YOU BELIEVE. LY DALE.


33

HEREWARD & VIOLETYOU'LL/I'LL FIND IN LILY DALE,BEAUTIFUL LILY DALE,PROOF HERE IN LILY DALE,TRUTH HERE IN LILY DALE,IF YOU BELIEVE, YOU BELIEVE,YOU BELIEVE, YOU BELIEVE,IF YOU BELIEVE, BELIEVE.

YOU'LL/I'LL FIND IN LILY DALE,BEAUTIFUL LILY DALE,PROOF HERE IN LILY DALE,IF YOU/I BELIEVE!

VIOLETWell, Mr. Carrington, I am not in the habit of conducting sittings on the street. But as you seem to be a true seeker, let me touch with you for a moment. Are you willing, sir?

HEREWARDBy all means.

VIOLETVery good. Shall we sit down?

(They retire to the table and sit opposite each other.)

Now, let me take your hands as I get in touch with the infinite.

(Music underscores the following. VIOLET closes her eyes, then suddenly opens them and looks over HEREWARD'S head.)

Oh. There is someone standing behind you. I see a dignified old gentleman with a high forehead and sharp eyes. In his hand is a roll of manuscripts. He is raising them over your head and... They scatter like a pack of cards. Knowledge. Learning. Books. I see you surrounded by books. And you are writing. Many reports in the interest of some club or society. Wait. I am getting some letters. A...S...T, no that's P...R?


34

HEREWARDYes. The American Society for Psychical Research. I am employed there.

VIOLETOf course. I see very little home-life for you; much office, but little home. In the office there is a man. He has a title. Could it be doctor? Yes, that's it. Doctor. Now, I'm seeing a woman. She is young. Pretty. Well turned out.

HEREWARDA romantic interest?

VIOLET(Pause)

That remains to be seen. The past is the past, Mr. Carrington. But the future is always changeable. She is someone you are trying to help. Her wounds are deep and fresh, though she covers them well. I'm getting the letter "M". Does any of this speak to you?

HEREWARDMy dear Miss Gray, I'm, um... Um, amazed, actually. Of course some of what you say may be surmised by...

(KATE enters with MOLLY)

KATEAh, Violet, there you are. I have been looking for you. I'd like you to meet a young friend of mine, Molly Radcliffe.

HEREWARD (Doffing hat)

Ladies. We meet again, Mrs. Radcliffe.

MOLLYIt's a small town, Mr. Carrington. And much too small to continue with formalities. Call me Molly, please.

HEREWARDReally? What will the Winslows say?

MOLLYToo much, to be sure.


35

(THE CAMPBELL BROTHERS and a few of the CHORUS enter.)

VIOLETHmmm, Molly. An "M" name, Mr. Carrington?

HEREWARDYou're good, Miss Gray.

VIOLETJust observant, sir.

MOLLYMiss Gray, I should like to arrange a consultation with you. Kate seems to think you are the best medium in Lily Dale.

HEREWARDA worthy title that, upon further observation, I might just be willing to echo.

(ABIGAIL, PHILIP and the rest of the CHORUS enters.)

VIOLETWell, I will be holding a small seance in about an hour. Just a few friends. You are both welcome to join us.

MOLLYA seance!

(Murmurs of "A seance", "How wonderful", "I must attend", etc. begin to ripple through the crowd.)

ABIGAILIndeed, a seance. How fascinating. Just the entertainment we were looking for. Philip and I shall both be there.

VIOLETBut a seance is not an entertainment, madam.

PHILIPNonsense, girl. Everything is an entertainment for the right price. We shall make it worth your while.


36

VIOLET (Nervously)But this is too much. Too many people. I can't... Oh, dear.

/9/ QUINTET & CHORUS - VIOLET, PHILIP, HEREWARD, KATE, ALLAN & ENSEMBLE

VIOLETIT'S A VERY, VERY, VERY, VERY TINY ROOM,SUCH A VERY, VERY, VERY, VERY TINY ROOM,THERE IS NOT THE SPACEIN OUR WHOLE PLACETO CONDUCT SO LARGE A SEANCE.

PHILIPDOES IT MATTER HOW DIMINUTIVE THE ROOM MAY BE,JUST AS LONG AS THERE IS ROOM FOR ABIGAIL AND ME,AND BLESS MY HEART,IT'S TIME TO START,WE'VE GOT TO PREPARE FOR THE SEANCE.

CHORUSAND BLESS MY HEART,IT'S TIME TO START,WE'VE GOT TO PREPARE FOR THE SEANCE.

HEREWARDWE'RE GREATLY LOOKING FORWARD TOTHIS PARANORMAL FEAT FROM YOU,YOU'LL PROVE TO ALLTHERE IS NO WALL,NO WALL BETWEEN WORLDS AT ALL.

KATEYOU CAN DO THIS, YOU CAN DO THIS,YOU POSSESS THE SKILL,DON'T LET THIS SUDDEN PRESSUREUNDERMINE YOUR WILL.

VIOLETTHERE ARE TOO MANY PEOPLE,AND THE ROOM IS MUCH TOO SMALL,THE ROOM IS MUCH TOO SMALL.


37

ALLANNOW, MISS GRAY, THERE IS NO REASON YOU NEED HESITATE,IN OUR PARLOR ALL THESE PEOPLE WE'LL ACCOMMODATE,AND BLESS MY HEART,IT'S TIME TO START,WE'VE GOT TO PREPARE FOR THE SEANCE.

CHORUSWE'VE GOT TO PREPARE FOR THE SEANCE.

ENSEMBLE

HEREWARD & MOLLY VIOLET & KATE ALLAN, CHARLES, PHILIP, ABIGAIL & CHORUSWE'RE GREATLY IT'S A VERY, VERY, LOOKING I/YOU CAN VERY, VERY,FOR- DO THIS, TINY ROOM, WARD TO, I/YOU CAN SUCH A VERY, VERY, THIS PARA- DO THIS, VERY, VERY,NORMAL THOUGH THERE TINY ROOM,FEAT FROM YOU ARE TOO MANY THERE IS NOT YOU'LL PROVE PEOPLE AND THE THE SPACE IN ALLTO ALL ROOM IS MUCH THEIR PLACETHERE IS TOO SMALL, TO CONDUCT SO NO WALL I/YOU CAN SO LARGE A SEANCE,BETWEEN DO THIS, NOW, MISS GRAY,WORLDS I/YOU CAN'T THERE IS NO REASONAT ALL. LET THIS SUDDEN YOU NEED HESITATE, PRESSURE IN OUR/THEIR UNDERMINE PARLOR ALL THESE MY/YOUR WILL PEOPLE AT ALL. WE'LL/THEY'LL ACCOMMODATE, AND BLESS MY HEART IT'S TIME TO START WE'VE GOT TO PREPARE FOR THE SEANCE.


38

CHORUSBLESS MY HEART,ITS' TIME TO START,IT'S TIME!

HEREWARD, MOLLY, KATE, CHARLES, VIOLET & CHORUS ALLAN, PHILIP & ABIGAILWE'RE GREATLY IT'S A VERY,LOOKING VERY, VERY, VERY,FORWARD TO, TINY ROOM,(ETC.) (ETC.)

(Dance.)


39

! ! ! ! ! ACT I

SCENE 5

(The scrim drops in concealing all but ABIGAIL and the CAMPBELL BROTHERS who remain in front.)

ABIGAILGentlemen, a word with you, if you please.

ALLANYes, madam?

ABIGAILI'm Abigail Winslow.

CHARLESWe are aware of you, Mrs. Winslow.

ABIGAILAware of me? My, how mysterious that sounds. This whole town seems to be full of baffling characters like you gentlemen.

CHARLESDo you hear that, Allan? We're baffling.

ALLANAnd characters.

ABIGAILOh dear. I seem to have said the wrong thing. I didn't mean to imply that you were anything other than ordinary men.

ALLANOrdinary men? Now, Mrs. Winslow, Charles and I might take offense at that.

ABIGAILOh no. Another faux pas. I'm just getting my bearings here. Please, don't hold it against me.

ALLANMadam, we wouldn't dream of holding anything against you.


40

CHARLESIt's the furthest thing from my mind.

ALLANSo, how may we help you?

ABIGAILA spirit painting, gentlemen. I heard you say you do spirit paintings.

CHARLESIndeed, madam. Every stroke of the brush is guided by unseen hands. Is that what you wish? A spirit painting?

ABIGAILYes. I must speak quickly. Philip might return at any moment. He has a very jealous nature. And he would be most put off to find me in the company of two such dashing men.

CHARLESDo you hear that, Allan? Now we're dashing.

ALLANYou are, Charles. I am merely plain.

CHARLESWell, you are older.

ALLANYou needn't be cruel, Charlie.

CHARLESAnd why do you want a spirit painting, Mrs Winslow?

ABIGAILThere is a woman. A woman unknown to me from my husband's past. Her name is Charlotte. A local girl revealed her to us this very day. But Philip professes to know nothing about her. I think he is harboring a secret. The young girl also said that she, Charlotte, had returned. Philip thinks the whole affair preposterous, but I...I am unsettled. I must know who this woman is.


41

ALLANBut, surely, Mrs. Winslow, should this Charlotte have returned, as the young girl said, then she is now but a babe.

ABIGAILA babe? Whatever do you mean? You're talking riddles.

ALLANI'm talking reincarnation, Mrs. Winslow. I'm pretty sure that's what the girl meant. Do you believe in reincarnation?

ABIGAILIndeed I do. Our penal system can be dreadfully lax. If a former prisoner deserves to be returned to jail, then he should be returned to jail.

(ALLAN and CHARLES exchange a look.)

CHARLESI think you may mean re-incarceration, Mrs. Winslow. Which, I'm afraid, isn't a proper word at all.

ALLANAh, but it is a similar concept. Reincarnation, simply stated, is the rebirth of a soul in a new body. Think of it as a school, a progression of grades, if you will. If you don't matriculate the first time around, you get to come back in a different body and take the class again.

/10/ TRIO - ABIGAIL, ALLAN & CHARLES

ALLANLITTLE GROVER WENT TO SCHOOL,

CHARLESDIDN'T PAY ATTENTION

ALLANHE WAS STUBBORN AS A MULE,

CHARLESOFTEN IN DETENTION,


42

ABIGAILLITLLE GROVER SEEMS TO BEFOR A HARD LIFE FATED

ALLAN & CHARLESALAS, YOU SEE,HE WAS THIRTY-THREEBEFORE HE GRADUATED.

ABIGAILTIS A WOEFUL TALETHIS YOUTHFUL MALEHIS STUDIES SO NEGLECTED,AND ONCE HE'D GROWN,HE SHOULD HAVE KNOWNHIS LIFE WOULD BE AFFECTED.

ALL THREEIT'S VERY TRUETHE THINGS YOU DOHAVE HIDDEN CONSEQUENCES,BE ON YOUR GUARDAND STUDY HARDOR END UP MENDING FENCES.

ALLANLITTLE GROVER DIED ONE DAY

CHARLESENTERED THE HEREAFTER,

ALLANTHERE HE THOUGHT HE'D ALWAYS STAY

CHARLESIN REALMS OF LIGHT AN LAUGHTER

ABIGAILCOULD ONE BE SO UNPREPAREDAS THIS FELLOW, GROVER?

ALLAN & CHARLESOH, HE GOT SCAREDWHEN IT WAS DECLARED,"GO BACK AND DO IT OVER."


43

ABIGAILDO I UNDERSTANDTHIS LAZY MANTO AID HIS CIRCUMSTANCESWAS GRANTED BYTHE ONE MOST HIGHA LIFE OF SECOND CHANCES?

ALLAN & CHARLESEVERY MANHAS A LESSON PLANTHAT ALWAYS SHOULD BE HEEDED,YOU LIVE AND LEARNAND THEN RETURNAS OFTEN AS IS NEEDED.

ALLANCOMING BACK TO LIVE AGAIN,

CHARLESFOR MANY WORLD RELIGIONS,

ALLANIS THE LOT OF MORTAL MEN,

CHARLESUNLESS, OF COURSE, YOU'RE CHRISTIAN.

ABIGAILGENTLEMEN, THIS COULD BE SEENBY CHRISTIAN FOLK AS LIBEL.

ALLAN & CHARLESIT'S BYZANTINETHAT CONSTANTINEEXPUNGED IT FROM THE BIBLE.

ABIGAILI SHOULD BALKAT THIS KIND OF TALK,I WON'T HEAR ANY MORE, SIRS!YET, IF IT'S TRUETHEN TELL ME WHOTHIS CHARLOTTE WAS BEFORE, SIRS.


44

ALL THREEWE MUST CONFESSTHIS PUZZLE, YES,WE'RE ITCHING TO DISCOVER,THOUGH WE'RE AFRAIDTHIS PHANTOM MAIDWAS ONCE HER/MY HUSBAND'S LOVER!

ABIGAILSo, if what you say is true, then this Charlotte woman has died, and has now returned, but as a child?

ALLANExactly. And, certainly you can't be jealous of a mere child.

ABIGAILI am not jealous. I am...concerned. Of the present, I have no fear. But what of the future? She will be a pretty young maid when my ample charms have withered and faded away. She might yet steal Philip from me in my declining years.

CHARLESReally.

ABIGAILDo not doubt me, sir. Philip's allure is incomprehensible. If she was his before, he will have her again. And I will be left to die, alone and inconsolable.

ALLANYou paint a compelling picture, Mrs. Winslow. What would you like us to do?

ABIGAILPaint her for me, gentlemen, then and now. I need to see who she was, and who she is. If I know her, I can stop her.


45

/11/ FINALE, ACT I - ALL

ABIGAIL, ALLAN & CHARLESSOON WE'LL KNOW MY/HER COMPETITION,FOR TO PAINT HER VISAGE IS YOUR/OUR MISSION,DARK THE DAY SHE CHOSE TO REINCARNATE,ARMED WITH HER PICTURE, CHARLOTTE I'LL/YOU'LL AWAIT.

(ABIGAIL, ALLAN & CHARLES exit S.L. MOLLY, HEREWARD & KATE enter S.R.)

MOLLYSOON I'LL KNOW THE TRUTH OF MY HEART'S ENDEAVOR,WILL WE SHOW THAT LOVE IS A FORCE FOREVER?OR WILL THE EVENING END IN UTTER DISMAY,EDWIN, HEAR ME, AND VISIT ME, I PRAY.

HEREWARDYOU REALIZE THAT IF BEFORE OUR EYES,MISS GRAY SHOULD CAUSE YOUR HUSBAND TO APPEAR,BOTH YOU AND I MUST SURELY TESTIFYTO THE TALENTS OF THIS GIFTED MYSTIC SEER.

(PHILIP enters S.R., crossing quickly to S.L.)

PHILIPWHERE IS MY WIFE?WHERE IS MY WIFE?THE SEANCE SOON IS TO BEGIN.

(ABIGAIL appears S.L.)

ABIGAILWHY, PHILIP, DEAR,I'M OVER HERE,LET US TOGETHER ALL GO IN.

(The scrim starts to rise behind them.)

MOLLY, HEREWARD, KATE, ABIGAIL & PHILIP

THE HOUR'S AT HAND,WE STANDAWAITING THIS FATEFUL SEANCE TO BEGIN.


46

ACT I

SCENE 6

(The scrim flies out and we are in the CAMPBELL BROTHERS seance room. A large, circular table dominates center stage. Along the rear wall are a couple of large portraits, supposedly painted by spirits through the Campbell Brothers. One of these portraits is painted on a scrim behind which EDWIN will appear later in the scene. The CHORUS is gathered around the room.)

/12/ FINALE, ACT I - All (continued)

ALL SOON WE'LL KNOW WHAT SPIRITS HAVE COME TO GREET US,THEY WILL SHOW HOW EAGER THEY ARE TO MEET US,PROOF OF THE AFTERLIFE THEY LONG TO DISPLAY,OH, SPIRITS, SPIRITS,HASTEN HERE TODAY.PROOF OF THE AFTERLIFE THEY'RE BOUND TO DISPLAY,OH, SPIRITS, SPIRITS,HASTEN HERE TODAY.

(VIOLET & OLIVIA enter, accompanied by ALLAN & CHARLES.)

VIOLETGENTLEMEN, I TRULY THANK YOU FOR YOUR KIND ASSISTANCE.

ALLAN & CHARLESIF THERE IS ANYTHING YOU NEED,YOU'VE BUT TO ASK.

VIOLETJUST THE TRUMPET,THE SPIRIT TRUMPET.

(ALLAN hands the spirit trumpet to VIOLET. She, in turn, hands it to OLIVIA.)


47

VIOLET (Spoken)Well, then, I guess all is prepared. Olivia, take your seat. Shall we begin?

(OLIVIA sits in her chair. VIOLET goes to her chair up center of the table. There she lights a candle which is in front of her. The CHORUS comes forward.)

CHORUSTHE AIR IS FILLED WITH MYSTERY,WHO WILL COME IN?WE DO NOT KNOW,WE DO NOT KNOW,SO LET THE SEANCE NOW BEGIN,YES, LET THE SEANCE NOW BEGIN.

VIOLETPLEASE DIM THE LIGHT,AND NOW LET YOUR MINDS BE OPENTO THIS MYSTICAL EVENT,

(The CAMPBELL BROTHERS cross to the "wall" and turn off the electric lights. However, a few gas jets still burn fitfully around the room, shedding just enough illumination so that the participants are dimly seen. Also, OLIVIA remains dimly lit. And the portraits seem to glow faintly.)

THUS WE INVITESPIRIT ENTITIES TO GATHER HEREWHO ARE OF PURE INTENT,THE HIGHEST AND THE BEST ARE ONLY WELCOME,NO TORTURED SHADOWS SHALL THIS MEETING MAR,TOGETHER WE NOW SUMMON THOSE WHO WOULD COMEAND ENLIGHTEN US WITH WORDS FROM AFAR,OPEN THE PORTAL BETWEEN THE WORLD OF SPIRIT AND THE WORLD OF MEN,WE CALL UPON YOU ONCE AGAIN.


48

(VIOLET joins hands with MOLLY, who is on one side of her, and ABIGAIL who is on the other. VIOLET immediately "jolts" as she seems to go into a trance.)

VOICES FROM INFINITE ARENASI SOFTLY START TO HEAR,

ALL EARTH AND SPIRIT INTERTWINE,WE BECKON NOW ALL SOULS BENIGN,AND ASK YOU FOR A SIGN,YES, FOR A SIGN!

(Silence. In the dim light we see OLIVIA stand upon her chair and hit the "ceiling" twice with her crutch. The raps resound throughout the room.)

ABIGAILSOMEONE IS HERE!

MOLLYSOMEONE IS HERE!

ABIGAIL, MOLLY & HEREWARDSOMEONE IS HERE!

(Unseen by anyone onstage, OLIVIA slips out of her chair and hits the floor three times with her crutch.)

ABIGAILWHO CAN IT BE?

MOLLY & HEREWARDWHO CAN IT BE?

ABIGAIL, MOLLY & HEREWARDWHO CAN IT BE?


49

PHILIPTHROUGHOUT THIS ROOM HOW THE KNOCKS RESOUNDED.

ABIGAILFROM OTHER WORLDS THE NOISES EMANATE.

ABIGAIL, MOLLY & HEREWARDAND WE'RE DUMBFOUNDED.

VIOLETWHAT SPIRIT WISHES TO COMMUNICATE,AND WITH IT'S VOICE ALL DOUBTS ELIMINATE?

(OLIVIA raises the spirit trumpet to her mouth and speaks through it, projecting her voice over the gathering.)

OLIVIA (Spoken)Charlotte.

KATEI HEARD THE NAME OF CHARLOTTE,DID YOU, TOO?

CHORUSCHARLOTTE, CHARLOTTE,WE HEARD CHARLOTTE,CHARLOTTE, CHARLOTTE,WHO IS CHARLOTTE?

PHILIPNOT CHARLOTTE!

ABIGAILIT'S CHARLOTTE!

CHORUSWHO'S CHARLOTTE?

PHILIPNOT CHARLOTTE!

ABIGAIL IT'S CHARLOTTE!


50

CHORUSWHO'S CHARLOTTE?

KATETHEN CHARLOTTE IS HERE!

(PHILIP becomes incensed.)

PHILIPTOO MANY TIMES TODAYI'VE HEARD THAT NAME,LET NO ONE DARE TO SAYCHARLOTTE AGAIN,ON WITH THE LIGHTS THIS MINUTEOR RISK MY IRE,THIS ROOM WITHOUT ME IN ITIS MY DESIRE.

ENSEMBLE PHILIPTOO MANY TIMES TODAY HE'S HEARD THAT NAME, ENOUGH! ENOUGH!LET NO ONE DARE TO SAYCHARLOTTE AGAIN.ENOUGH! ENOUGH! ENOUGH! ENOUGH! YES I HAVE HEARD ENOUGH!ENOUGH! ENOUGH!HE SAYS HE'S HEARD ENOUGH!ENOUGH! ENOUGH! ENOUGH! ENOUGH!HE SAYS HE'S HEARD ENOUGH! YES I HAVE HEARD ENOUGH!HE SAYS HE'S HEARD ENOUGH! YES I HAVE HEARD ENOUGH!HE SAYS HE'S HEARD ENOUGH! ENOUGH!ENOUGH! ENOUGH!HE'S HEARD ENOUGH, IV'E HEARD ENOUGH,HE'S HEARD ENOUGH, IV'E HEARD ENOUGH,OF CHARLOTTE OF CHARLOTTEHE HAS HEARD ENOUGH! I HAVE HEARD ENOUGH!

(PHILIP storms out of the room.)

ABIGAILTHIS OUTBURST UNSEEMLYGIVES MY HEART A CHILL,IF THERE IS A CHARLOTTEDISCOVER HER, I WILL.


51

(ABIGAIL exits in the same direction as PHILIP. VIOLET regains control of the seance.)

VIOLETPLEASE DIM THE LIGHT,AND NOW QUELL THE VARIED VOICESOF THIS RECENT DISSENT.

(THE CAMPBELL BROTHERS once again turn off the lights. They then seat themselves at the table in the places formerly occupied by ABIGAIL and PHILIP.)

CHORUSCOME FORTH, OH SPIRITS,OH, COME FORTH AND BE NEAR US.

VIOLETWE MUST INVITE SPIRIT ENTITIES TO GATHER HEREWHO ARE OF PURE INTENT.

CHORUSDEMONSTRATE THAT YOU CAN HEAR US IN YOUR INFINITE ARENAS.

VIOLETWE CALL UPON YOU ONCE AGAIN.WE CALL UPON YOU ONCE AGAIN.

EDWIN (quietly offstage)Molly...

(MOLLY looks up, but is unsure she really heard anything. EDWIN'S voice is heard again, slightly louder.)

EDWINMolly...


52

(This time MOLLY is sure she heard her name. HEREWARD and KATE also look up. MOLLY gets out of her chair and attempts to follow the voice. The lights come up behind one of the portraits revealing EDWIN.)

EDWINSWEETHEART, PLEASE KNOW THAT I'M NOT DEAD,I AM ALIVE ON OTHER PLANES INSTEAD,AND FOR MY SAKE BE NOT CONSUMED WITH DREAD, WITH DREAD,FOR I NOW WALK WHERE ONLY ANGELS TREAD.

EDWIN & MOLLY CHORUSSWEETHEART, PLEASE KNOW/I KNOW BE NOT IN AWE,THAT I'M/YOU'RE NOT DEAD, HE IS NOT DEAD,I AM/YOU ARE ALIVE YOUR HUSBAND LIVESON OTHER PLANES INSTEAD, ON OTHER PLANES INSTEAD,AND FOR MY/YOUR SAKE AND FOR HIS SAKEBE NOT/I'M NOT CONSUMED BE NOT CONSUMEDWITH DREAD, WITH DREAD, WITH DREAD, WITH DREADFOR I NOW/YOU NOW WALK FOR HE NOW WALKSWHERE ONLY ANGELS TREAD. WHERE ONLY ANGELS TREAD.

(The light fades out on EDWIN and he disappears. The muffled sound of thunder is heard in the distance.)

MOLLYDID YOU SEE HIMAS I SAW HIM?DID MY EYES DECEIVE ME?TWAS HE, I SWEAR,IN THAT PICTURE THERE,DOES ANYONE BELIEVE ME?WAS THAT BUT A FEVERED DREAMFROM MY IMAGINATION?NO, IT'S CLEAR,HE WAS HERE,I KNOW, I KNOW, OH GOD, I KNOW I SAW HIM!


53

VIOLET, HEREWARD, ALLAN & CHARLES CHORUSYES, WE SAW HIM, WE, THIS AS YOU SAW HIM, SPECTRALTHIS SPECTRAL VISION VISIONWAS NOTED, NOTED,

VIOLET, HEREWARD, ALLAN, CHARLES & MOLLY CHORUSFAIR OF FACE FAIR OF FACEWITH GHOSTLY GRACE, WITH GHOSTLY GRACE,BEFORE OUR/MY EYES BEFORE OUR EYESHE FLOATED. HE FLOATED.

HEREWARDWAS THIS REAL, OR WAS THIS JUST FOR SHOW?

KATEDO YOU QUESTION WHAT THE SPIRITS SEEM TO SHOW?

HEREWARD, MOLLY & KATEHOW ARE WE TO KNOW?

(The rumblings of thunder get louder signaling that a storm is approaching.)

CHORUSTHEY WERE WITH US,THEY WERE WITH US,THEY APPEARED AND THEN RETIRED,BOTH HER EDWIN AND HIS CHARLOTTEMADE THEIR PRESENCE KNOWN TONIGHT.

CHORUSTRUST YOURE EARS, SIR,AND YOUR EYES, SIR, BOTH EDWIN AND WHAT MORE PROOF COULD CHARLOTTE WERE HERE,BE REQUIRED, THEY WERE HERE,WE ALL HEARD THEM, WHAT MORE PROOFAND WE SAW THEM, DO YOU NEED?IT'S AS PLAIN AS YES, WHAT MORE PROOFBLACK AND WHITE. DO YOU NEED SO YOU BELIEVE? BELIEVE.


54

VIOLETSPIRIT IS SAYING THAT WE NEED A DEMONSTRATION,THEREBY CONVINCING ANY DOUBTERS IN THE HALL,WITH YOUR PERMISSION WE WILL WITNESS LEVITATION,PRAY, GENTLEMEN, OLIVIA, ASSIST ME WITH THE CALL.

(The CAMPBELL BROTHERS move their chairs to face each other right and left of the table. OLIVIA joins them at the table. The rest of the scene is punctuated by the sights and sounds of a violent thunderstorm.)

ALLAN & CHARLESLET THIS TABLE RISE.

VIOLET & OLIVIALET THIS TABLE RISE.

ALLAN & CHARLESWE ASK IT TO RISE.

VIOLET & OLIVIAWE ASK IT TO RISE.

MEN WOMENLET IT RISE,

LET IT RISE,LET IT RISE,

LET IT RISE,WITH THE HELP OF SPIRIT, YES,THIS TABLE WILL RISE. THIS TABLE WILL RISE.


55

HEREWARD ENSEMBLE WILL THIS TABLE RISE? LET THIS TABLE RISE.AND AIM FOR THE SKY? WE ASK IT TO RISE.WILL THIS TABLE RISE? LET THIS TABLE RISE.AND AIM FOR THE SKY? WE ASK IT TO RISE.I'D PROVE THAT THE PASTSURROUNDS US, LET THIS TABLE RISE,AND MUCH MORE LET THIS TABLE RISE,BESIDES, WE ASK IT TO RISE,WILL THIS TABLE RISE? LET THIS TABLE RISE.WILL THIS TABLE RISE? LET THIS TABLE RISE.WILL IT RISE? LET IT RISE.WILL IT RISE? LET IT RISE.WILL IT AIM LET IT RISE UP HIGH,FOR THE SKY? LET IT AIM FOR THE SKY!

(As everyone sings the last note the table mysteriously begins to rise from the floor. All are awestruck. Thunder. Blackout.)

END OF ACT I


56

ACT II

/12/ ENTRE' ACT

SCENE 1

(MOLLY'S room, in front of the scrim, S.L. There is a window seat set in a dormer window, the upstage side of which is flush with the scrim. Moonlight streams through the window. MOLLY is sitting on the window seat, dressed for bed, brushing her hair.)

MOLLYHow full my heart is. Edwin was there in that room tonight. I know it. Surely what the Spiritualists believe then is true. There is no death. And love and life continue on the other side.

/13/ SONG - MOLLY

MOLLYHERE IN THE MOONLIGHT, DEEP IN THE NIGHT,I HEAR MY LOVER SOFTLY CALLING IN REPLY, MY SPIRIT TAKES FLIGHTSIGHING SOFTLY, "HERE AM I."SIGHING SOFTLY, "HERE AM I."COME AND TARRY ERE YOU WANDERTO THAT BRIGHT AND DISTANT STAR,DISTANT STAR, STAR, DISTANT STAR.HERE IN MOONBEAMS' MAGIC LIGHTCOOL AND SILENT DEW DROPS GLISTEN,AND THE ROSES WEEP TO LISTENTO MY HEART'S IMPASSIONED CRY,"OH, BE NEAR, MY LOVE. APPEAR, MY LOVE.RETURN FROM REALMS AFAR."


57

COULD LOVE ALONE BRING YOU BACK TO ME,SWEET WOULD BE OUR LOVERS' MELODY.THEN OUR SOULS ON WINGS OF MUSICFREE FROM EARTHLY BONDS WOULD SOAR.LET OUR SOULS ON MUSIC SOAR!AH!OUR LOVE WILL RISE TO THE STARS.AH!OH, LET OUR SOULS ON WINGS OF MUSICSOAR BEYOND THE BRIGHTEST STAR!AH! LET OUR SOULS SOAR BEYOND SOARAH! BEYOND!

(MOLLY returns to the window seat.)

Yet, how far away that other side seems to me now. Must I always seek the help of a medium to speak with my beloved? And, in the end...will that be enough?Oh Edwin, come to me again. It is so painful to live without you.

(MOLLY rests her head on the window sill and falls asleep.)

/14/ DREAM MUSIC - INSTRUMENTAL

(Behind the scrim, CALVIN appears. He leads EDWIN on. He then crosses towards MOLLY and indicates to EDWIN that he can approach her. EDWIN passes in front of CALVIN and anxiously approaches MOLLY. He reaches out to her, and in his excitement to be near her, he actually appears to touch her shoulder. CALVIN immediately pulls EDWIN back and the lights go out behind the scrim causing them to vanish. MOLLY awakens, touches her shoulder and looks around curiously. Fadeout.)


58

ACT II

SCENE 2

(The scrim flies out to reveal a public place in Lily Dale. The entrance to the Maplewood Hotel is S.L. A wicker table surrounded by three chairs sits just adjacent to the hotel porch. KATE is revealed, standing on a soap box, U.C. The chorus, including HEREWARD surrounds her.)

/15/ TRIO & CHORUS - KATE, HEREWARD, OLIVIA & CHORUS

KATE EVERYBODY GATHER ROUND,COME AND HARKEN TO THE SOUNDOF A CENTURY THAT'S BOLD AND NEWAND WE'LL BID GOOD BYE TO SORROWWHEN THE WOMAN OF TOMORROWHAS THE RIGHT TO VOTE LIKE ALL MEN DO.

CHORUSSINGING, TRA, LA, LA ,LA, LA, LA, LA, LA, LA,TRA, LA, LA, LA,SING, TRA, LA, LA, LA, LA, LA, LA, LA, LA,TRA, LA, LA, TRA, LA.TRA, LA, LA, TRA, LA.TRA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA,TRA, TRA, LA, LA, LA LA.

(OLIVIA enters S.R. using her crutch. HEREWARD sees her, breaks away from the crowd, and comes downstage to her. OLIVIA sees him coming and tries to quicken her pace.)

HEREWARDYou there. Young lady. Olivia.

OLIVIAYes, sir?


59

HEREWARDSay, that was quite the seance last night, wasn't it? Tell me, is it normal for a table to levitate like that?

OLIVIAQuite normal, sir.

HEREWARDAnd the disembodied voices? And the apparitions? And the rappings? All quite normal?

OLIVIAYes, sir.

HEREWARDSo you didn't have anything to do with the manufacturing of these phenomena?

OLIVIAMe, sir? I am but a young girl, frail and sickly. How could I do such things?

HEREWARD (Sings)YOU COULD STAND UPON A CHAIR,RAISE YOUR CRUTCH UP IN THE AIR,HIT THE CEILING AND THEN SIT BACK DOWN.IN THE DARK NO ONE WOULD KNOW ITWHEN YOU SUDDENLY BELOW ITON THE FLOOR PRODUCED ANOTHER SOUND.

(The CHORUS fans out onto the stage, and OLIVIA attempts to elude HEREWARD through the crowd.)

CHORUSSINGING, TRA, LA, LA ,LA, LA, LA, LA, LA, LA,TRA, LA, LA, LA,SING, TRA, LA, LA, LA, LA, LA, LA, LA, LA,TRA, LA, LA, TRA, LA.TRA, LA, LA, TRA, LA.TRA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA,TRA, TRA, LA, LA, LA LA.

(The CHORUS retreats back upstage, enabling HEREWARD to catch up with OLIVIA. Music continues under.)


60

OLIVIACould I do such a thing? I would have to be an awfully quick little girl to do what you describe.

HEREWARDYou're quicker than most would give you credit for, I wager. And suppose you had one of those spirit trumpets. You could disguise your voice, speak through the apparatus, and make it sound like voices were coming from all over the room.

OLIVIACould I do such a thing? I would have to be an awfully talented little girl to do that.

OLIVIA (Sings)SIR, I CANNOT UNDERSTANDHOW SO SENSIBLE A MANCOULD SUSPECT A LITTLE GIRL LIKE ME.FOR YOU KNOW I'M WEAK AND SICKLYAND COULD NEVER ACT SO QUICKLY.PLEASE SIR, WHY DON'T YOU JUST LET ME BE.

(The CHORUS fans out on stage, and, once again, OLIVIA tries to lose HEREWOOD in the crowd. VIOLET enters. And this time, as the CHORUS retreats, VIOLET is there to intercept OLIVIA.)

CHORUSSINGING, TRA, LA, LA ,LA, LA, LA, LA, LA, LA,TRA, LA, LA, LA,SING, TRA, LA, LA, LA, LA, LA, LA, LA, LA,TRA, LA, LA, TRA, LA.TRA, LA, LA, TRA, LA.TRA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA, LA,TRA...

(Music stops.)

VIOLETMr. Carrington.

HEREWARDMiss Gray. Good afternoon.


61

VIOLETIs there something my sister can help you with that I cannot?

HEREWARDWell, I do have some misgivings...

VIOLETMisgivings? About?

HEREWARDAbout the seance last night and, particularly, her involvement in it. I think this child may be more resourceful than most twice her age.

VIOLETThat may be. But I would thank you to address all further inquiries in the matter to me. I find it ungentlemanly to corner a child. Come along, Olivia.

OLIVIA You will excuse us.

(VIOLET and OLIVIA exit S.L. The music resumes.)

CHORUSTRA, LA, LA, LA, LA.

(Dance - Cakewalk. All exit except HEREWARD.)


62

/16/ SONG - HEREWARD

HEREWARDTHUS, ONCE AGAIN, MY HOPES OF WITNESSING TRUE PHENOMENA FALL APART,BUT SUCH IS MY ILL-FORTUNE.MUST I ENDURE ANOTHER DECEPTION?MUST I ENDURE ANOTHER DECEPTIONERE I WITNESS SOME PROOF?I GROW WEARY OF THE TRICKS AND THE GAMESTHAT HAVE BECOME THE NORM.LET ME LEAVE THIS PLACE OF DISAPPOINTMENT BEHIND.BUT WHAT DO I SAY MRS. RADCLIFFE?YES, WHAT DO I SAY TO MRS. RADCLIFFE?WHAT DO I TELL HER?HOW DO I SHOW HERALL THE FRAUD I HAVE FOUND?MOLLY, MOLLY,DOES IT FALL TO ME NOW TO BE THE ONEWHO WILL BREAK YOUR HEART?HOW CAN I NOW TELL YOU THE SEANCE WAS A LIE?

(HEREWARD sits dejectedly in a chair upstage of the table. Unseen by him, ALLAN and CHARLES enter. They silently approach the table, grab it on opposite sides, and attempt to lift it.)

ALLAN & CHARLESLet this table rise. Let this table rise.

HEREWARDNot funny, gentlemen. Not funny at all!

ALLANMr. Carrington, you are taking things far too seriously.

HEREWARDWell, I don't find fraud amusing. Have you people no scruples? Or do you always prey on the heartbroken and the gullible just to turn a quick buck?

CHARLESOuch.


63

ALLANSir, that might be construed as an insult.

HEREWARDOh please, take it as one. Because that seance insulted me. I can disprove at least half of what supposedly occurred.

CHARLESBut some of what you witnessed was due to the workings of spirit, Mr. Carrington.

HEREWARDWell, if that is the case, why the need for such blatant chicanery?

ALLANBecause the American public wants spectacle. People want to see the physical manifestations.

CHARLESYou see, Mr. Carrington, Spiritualism is our religion. But to the throngs that come to Lily Dale, we seem to be little more than freaks in a circus sideshow. They're not satisfied unless we "perform". They want to see furniture dance about a room and trumpets loft to the ceiling.

ALLANSo, we give the public what it wants. But pardon us if we cheat a little. You have no idea how much effort it takes to float a piano seven times a day, seven days a week.

/17/ DUET & CHORUS - ALLAN, CHARLES & CHORUS

ALLANIF YOU WISH TO SUCCEED AS A MEDIUM,(ASSUMING THAT IS YOUR DESIRE.)YOU MUST SATISFY TOURISTS TILL TEDIUMEXTINGUISHES YOUR FIRE.THOUGH YOU CONTACT THE DEAD AND BRING BACK UNCLE NEDWHO HAS WORDS THAT ARE WARM AND WISE,NOT A SOUL SEEMS TO CARE TILL THE LEGS OF A CHAIRFROM THE FLOOR HAVE BEGUN TO RISE.


64

ALLAN & CHARLESFOR THE PUBLIC WANTS ELABORATE STUNTS OF THE SUPERNATURAL KIND,AND THE THINGS YOU DO ARE CATERING TOWHAT THE POPULACE HOPES TO FIND,AND THOUGH ENTERTAINING, YOU CAN'T HELP DISDAININGTHE OBVIOUS OLD CHARADE,YOU WON'T LOSE HEART IF YOU KNOW FROM THE STARTTHAT THE TRICK DOESN'T MAKE THE TRADE.

(The CHORUS appears)

CHORUSFOR THE PUBLIC WANTS ELABORATE STUNTSOF THE SUPERNATURAL KIND,AND THE THINGS YOU DO ARE CATERING TOWHAT THE POPULACE HOPES TO FIND,AND THOUGH ENTERTAINING, YOU CAN'T HELP DISDAININGTHE OBVIOUS OLD CHARADE,YOU WON'T LOSE HEART IF YOU KNOW FROM THE STARTTHAT THE TRICK DOESN'T MAKE THE TRADE.

CHARLESWHILE PULLING THE WOOL OVER PEOPLE'S EYESMAY CAUSE YOU TO HAVE SOME MISGIVING,YOU CAN JUSTIFY THINGS WHEN YOU REALIZETHAT YOU HAVE TO EARN A LIVING,BUT THEN HAPPY THE DAY WHEN A MAN COMES YOUR WAYFOR WHOM TRICKS HAVE GONE OUT OF STYLE,HE IS SEEKING WHAT'S TRUE, AND HE'S COMING TO YOU,AND THAT MAKES IT ALL WORTH THE WHILE.

ALLAN & CHARLESFOR THE PUBLIC WANTS ELABORATE STUNTSOF THE SUPERNATURAL KIND,AND THE THINGS YOU DO ARE CATERING TOWHAT THE POPULACE HOPES TO FIND,AND THOUGH ENTERTAINING, YOU CAN'T HELP DISDAININGTHE OBVIOUS OLD CHARADE,YOU WON'T LOSE HEART IF YOU KNOW FROM THE STARTTHAT THE TRICK DOESN'T MAKE THE TRADE.


65

CHORUSFOR THE PUBLIC WANTS ELABORATE STUNTSOF THE SUPERNATURAL KIND,AND THE THINGS YOU DO ARE CATERING TOWHAT THE POPULACE HOPES TO FIND,AND THOUGH ENTERTAINING, YOU CAN'T HELP DISDAININGTHE OBVIOUS OLD CHARADE,YOU WON'T LOSE HEART IF YOU KNOW FROM THE STARTTHAT THE TRICK DOESN'T MAKE THE TRADE.

(Dance. At the end of the dance, the CHORUS exits. ABIGAIL enters S.L.)

ABIGAILGentlemen! There you are!

CHARLES (Aside)Oh no.

(To ABIGAIL)My dear Mrs. Winslow. Allan, look who's here.

ABIGAILPhilip is taking a nap.

HEREWARD Lucky man.

ABIGAILWhat?

HEREWARDUh...lucky man to have so...a...wife.

ABIGAILHmmmmm.

(Turning her attention to ALLAN & CHARLES)

Gentlemen, how is the work progressing?

ALLANSplendidly, Mrs. Winslow. The spirits are moving very swiftly. In fact, they are tugging on my arm even now. We had better get back to work immediately, Charles.

ABIGAILI shall accompany you.


66

ALLAN & CHARLESNo!

! ! ! ! ! ALLANMrs. Winslow, the spirits demand that this work be done privately. You shall see the completed portraits this evening. Meet us back here at seven o'clock.

ABIGAILBut...

ALLANUntil this evening, Mrs. Winslow.

(ALLAN & CHARLES exit. ABIGAIL hesitates a moment, then follows after them.)

ABIGAILGentleman. Truly. I won't intrude. I'll sit quietly in the next room. The spirits will have no knowledge of my presence. I must know about Charlotte.

(ABIGAIL starts to leave.)

HEREWARDWait. Mrs. Winslow.

ABIGAIL (Imperiously)Yes.

HEREWARDNever mind.

(ABIGAIL exits. HEREWARD just shakes his head and sits down. MOLLY enters from the hotel accompanied by KATE.)

KATEThe rank and file are not philosophers, Sister Molly. They are not educated to think for themselves, but simply to accept, unquestioned whatever comes. You are not the rank and file. That is why you could be such an asset to the cause.


67

MOLLYYou give me too much credit, Kate. My thinking is hardly clear right now.

(HEREWARD rises.)Oh, good afternoon, Hereward.

HEREWARDMolly. Miss Singleton.

MOLLYHereward, I have a question. Is seeing believing? Should I accept all that happened last night as true?

HEREWARDMolly, I don't relish saying this. And I am torn because, one on one, Miss Gray proved to be quite insightful regarding my personal life. But I know why you came to Lily Dale. And I know how important it is for you to believe in the continuation of life after death. I just can't put my faith in what I witnessed at that seance. And neither should you. Did you notice the little girl?

MOLLYMiss Gray's sister? Of course.

HEREWARDI know the room was dimly lit, but I always tried to keep my eye on her. Much of what transpired, I'm sure she initiated, the sounds coming from different parts of the room, voices seeming to float in mid-air...

MOLLYSurely the child couldn't have been responsible for everything.

HEREWARDPerhaps not. But, much of what we witnessed can be explained away by simple theatrics.

KATEWhat about the levitating table? We all saw it rise.


68

HEREWARDI'm afraid that is easily explained. Here. Let's sit down, ladies.

(MOLLY, KATE & HEREWARD sit around the table, HEREWARD on the upstage side.)

Now, I need something like...your parasols. Yes, these should work fine. Would you mind sliding the handles up my sleeves?

! ! ! ! ! KATELike this?

HEREWARDPerfect. Now, ladies, as silly as this looks, it will help in my demonstration. I'm going to place the parasols immediately below the table's surface, allowing my fingers to rest lightly on the table top. Now, if you both will also place your hands on the table, we shall witness it rise. Like so.

(Through HEREWARD'S machinations, the table rises a few inches off the ground.)

MOLLY & KATEOh!

KATEIt's a trick!

HEREWARDA little less convincing than last night's performance, but you get the idea.

MOLLYI see.

KATEWe have been hoodwinked. And by a woman. Betrayal! Betrayal!

(KATE starts to exit but realizes she has left her parasol up HEREWARD'S sleeve. She returns and removes it.)

Excuse me.

(KATE exits S.R. HEREWARD hands the other parasol to MOLLY.)


69

HEREWARDI would hate to be Miss Gray right now.

(MOLLY rises and walks downstage.)

MOLLYHereward, I had a dream last night. A dream about Edwin. Nothing unusual about that, really. But this time I sensed something different happening. You see, there was someone else in the dream. A man. And he seemed to bring Edwin so close. And after the events of last night I half-expected... Well, I hoped that somehow Edwin could come back to me. But, in the end it was just a dream. And Edwin wasn't there when I awoke. And, once again, I was left alone in my grief.

(HEREWARD comes downstage to MOLLY.)

HEREWARDMolly...

MOLLYIs everything in Lily Dale like a dream? A trick of the light? If it's all a sham, then what hope have I? Edwin is gone. Death is final. And I am alone.

HEREWARDYou're not alone, Molly. I'm here.

MOLLYI appreciate that, Hereward.

(MOLLY reaches out and touches HEREWARD'S arm. The move is accidentally intimate for both. Beat. MOLLY pulls back.)

But that doesn't change how I feel inside. Empty. Like someone has carved a hole in my soul. And I had such hopes.


70

HEREWARDHopes for what, Molly? What exactly is it that you're hoping for? To be reunited with Edwin? Or to move on with your life? I don't mean to sound insensitive, but Edwin is... Has crossed over. No Spiritualist on earth can give him life again. The best you can hope for is some sort of ghostly communication. And I hate to see you wasting your life trying to...to...contact the deceased.

MOLLYBut that's what you do.

HEREWARDThat's different. Researching the paranormal is my profession. But I live here. Now. In 1907. And I am not blind to the world of flesh and blood. I am not blind to... To you.

MOLLYHereward?

HEREWARDForgive me, Molly. I don't mean to cause you any more discomfort or confusion. Were circumstances different, I would speak with more candor. As it is...

MOLLYAs it is, Hereward, I think you've said enough.

HEREWARDBut...

MOLLYNo.

(HEREWARD steps close to MOLLY. She holds up her hand to him. He, in turn, grasps her hand gently. Beat. She pulls back again.)

No, Hereward. I hold you in high regard. And you have been very kind to me. But, please, let us leave this subject. You are heading down a path I cannot tread.

HEREWARDCannot, Molly?


71

MOLLYWill not...Mr. Carrington. Please, I think you should go.

HEREWARDAs you wish.

(HEREWARD exits. EDWIN'S voice is heard.)

EDWINMolly...

MOLLYEdwin! Edwin! Where are you Edwin?

(CALVIN enters)

CALVINHe is here, yet not here, Mrs. Radcliffe.

MOLLYSir! I've heard these words before. And you said them.

CALVINDid I?

MOLLYI'm sure of it. Who are you?

CALVINCalvin.

MOLLYCalvin?

CALVINJust Calvin.

MOLLYHow do I know you? I don't recall having seen you before.

CALVINIf you will but reflect a moment, you will realize that you have indeed seen me. Out of the corner of your eye. In the corner of a dream...


72

MOLLY (Realizing)Sir, you startle me.

CALVINThat is not my intent. I intend only to be of service to you.

MOLLYThere are others who have implied the same. And yet, I have been misled.

CALVINA young man may be pardoned his attraction to you.

MOLLYBy that I assume you mean Hereward? He is a gentleman. But it is too soon. Too soon.

CALVINWhen is too soon? When is too late?

MOLLYI won't be untrue to Edwin's memory.

CALVINNo one is asking that of you. But Mr. Radcliffe loved you for your strong will and independent spirit. Are you really being true to his memory by keeping yourself entombed with him?

MOLLYEntombed? No sir. To be entombed suggests that I would be dead to any feeling, and that is not true. Not true. I feel loneliness. I feel longing. I feel hope, confusion...(Reluctantly realizing) attraction. Oh, it might be easier to remain entombed, asleep forever and dreaming of Edwin by my side.


73

/18/ TRIO - MOLLY, CALVIN & EDWIN

MOLLYA DREAM'S NOT A DREAM TO THE PERSON WHO'S DREAMING,AND SOMETIMES IN SLUMBER ONE LONGS FOR TO LIE,AND NEVER TO WAKE TO THE WORLD AND IT'S SCHEMING,FOREVER TO REST IN A TIME NOW GONE BY.

CALVINBUT CRUEL IS THE DAWN THAT ARRIVES WITHOUT WARNINGAND CHASES THE STARS FROM THE INDIGO SKY,FOR THERE IN THE GLARE OF THE COLD LIGHT OF MORNINGA DREAM TURNS TO DUST IN THE BLINK OF AN EYE.

MOLLYTHEN A DREAM'S JUST A DREAM TO BE SHED UPON WAKING,AND NE'ER BE RECALLED AS THE YEARS QUICKLY FLY,SO THAT ALL THAT REMAINS IS A HEART THAT IS ACHINGFOR THE DREAM THAT WAS LOST WITH THE SOUND OF A SIGH.

EDWINAND ALL THAT REMAINS IS A HEART THAT IS ACHINGFOR THE DREAM THAT WAS LOST WITH THE SOUND OF A SIGH,OF A SIGH.

ALL THREEA DREAM'S NOT A DREAM TO THE PERSON WHO'S DREAMING,AND SOMETIMES IN SLUMBER ONE LONGS FOR TO LIE.

(Fadeout.)


74

ACT II

SCENE 3

(In the darkness a bell tolls the hour of seven o'clock in the evening. When the lights come up the scene is the same. However, the lighting should reflect the start of the twilight hour. The CAMPBELL BROTHERS are discovered setting up a pair of easels U.R. Each easel hods a canvas covered in a sheet. VIOLET enters S.R.)

VIOLETGood evening, gentlemen.

ALLANViolet. You are just in time for the unveiling.

VIOLETI've seen your work, Allan. It's wonderful. But, I'm here for other reasons.

CHARLESAh, but this is different. Most unusual. Stick around.

(ABIGAIL and PHILIP enter from the hotel.)

ABIGAILIt's seven o'clock, gentlemen.

ALLANSo it is. Perfect timing. Won't you be seated?

PHILIPWhat's this all about, Abigail?

ABIGAILI'm sure I don't know, Philip. But I am curious.

(ABIGAIL & PHILIP sit at the table, S.L. VIOLET stands S.R.)


75

ALLANMr. And Mrs. Winslow. Miss Gray. My brother and I have painted many subjects dictated by the spirits over the years. But never have we been so surprised as to the outcome of any painting. As the images started to take shape beneath our brushes, we could only marvel, once again, at the all-encompassing knowledge of the spirit world. Mrs. Winslow, you asked to see Charlotte.

PHILIP (Standing)Abigail!

ABIGAILNow, Philip, don't upset yourself.

PHILIPI really have had quite enough of this Charlotte nonsense.

ABIGAILWe'll see if it's nonsense. Sit down, Philip.

(PHILIP sits.)

ALLANAs I said, you asked to see Charlotte, both then and now. And the spirits have complied. Behold Charlotte then.

(ALLAN removes the covering from his portrait, revealing a picture of a horses head. A stunned silence follows. ABIGAIL slowly rises, approaches the painting and then ALLAN.)

ABIGAILA horse? A horse!? I ask for a painting of a woman and you paint me a horse? You're right, Philip. Nonsense, indeed.

(But PHILIP is transfixed.)Philip. Philip, are you all right?

PHILIP (Dazed)Charlotte.

ABIGAILPhilip?


76

(PHILIP rises and crosses to the painting.)

PHILIPCharlotte.

(To ALLAN)How did you know?

ALLANThe spirits never lie, Mr. Winslow.

PHILIPAbigail, it's Charlotte.

ABIGAILCharlotte is a horse.

PHILIPWas, my dear, was. And a finer mare wasn't to be found in three counties. She was more than just a horse to me, Abigail. She was my best friend. I had her through all the years of my youth. How I loved that horse.

CHARLESAnd she loved you, Mr. Winslow. So much so, that she had to come back and be with you again. But this time, in a different form.

(CHARLES removes the covering from his painting revealing the portrait of a dog.)

ABIGAIL & PHILIPNellie!

PHILIPMy Nellie.

ABIGAILOUR Nellie.

PHILIPSo, you're telling me that...

(MOLLY enters from the hotel. She is carrying her parasol and suitcase.)


77

CHARLESThat Nellie was Charlotte in a previous incarnation. A loving bond cannot be broken, Mr. Winslow. Time and circumstance could not keep you apart. Outward form aside, she is the same now as she was then.

PHILIPMrs. Radcliffe, do join us. Something remarkable has occurred.

/19/ SEXTET - PHILIP, ABIGAIL, VIOLET, ALLAN, CHARLES & MOLLY

PHILIPMY DOG WAS ONCE MY HORSE,MY HORSE IS NOW MY DOG,THIS SUDDEN TURN OF FATEHAS LEFT ME QUITE AGOG.

ABIGAILOUR DOG WAS ONCE A HORSE!?

MOLLY (Half-spoken)THIS HORSE IS NOW A DOG?

ALL THE DOG WAS ONCE A HORSE,THE HORSE IS NOW A DOG.

CHARLES (To MOLLY)ENDEAVOR IF YOU CAN,THIS FACT TO REALIZE;THEIR DOG WAS ONCE A HORSE,AND VI-CE-VER-SA-WISE.


VIOLETAND VI-CE-VER-SA-WISE.

ALL THE DOG WAS ONCE A HORSE,AND VI-CE-VER-SA-WISE.


78

ALLAN (TO PHILIP)SIR, IF YOU UNDERSTAND,EXPLAIN IT TO YOUR WIFE,YOUR DOG WAS ONCE A HORSE,BUT IN ANOTHER LIFE.


VIOLETBUT IN ANOTHER LIFE.

ALL THE DOG WAS ONCE A HORSE,BUT IN ANOTHER LIFE.

PHILIP (To ABIGAIL)AT LAST THIS MYSTERYIS MAKING SENSE BECAUSEOUR DOG WAS ONCE A HORSE,MY CHARLOTTE, NELLIE WAS.


VIOLETA HORSE THE DOGGIE WAS.

ALL THE DOG WAS ONCE A HORSE,A HORSE THE DOGGIE WAS,THE DOGGIE WAS, THE DOGGIE WAS, THE DOGGIE WAS,A HORSE, A HORSE, A HORSE, A HORSE, A HORSE,THE DOGGIE WAS!

PHILIPGentlemen, I am astounded. I don't know what my wife arranged to pay you, but I shall double it.

ALLANAh, money.

CHARLESVulgar necessity.


79

ALLANMr. Winslow, in matters of money, my brother and I must be circumspect. It is hard to put a price on the gifts of spirit. We will discuss the matter and come round in the morning. Shall we retire, Charles?

CHARLESWithout delay, Allan. I'm feeling a bit celebratory.

ALLANAh. Well, good night all.

(ALLAN & CHARLES exit S.R. PHILIP goes up to the paintings and examines them. ABIGAIL approaches MOLLY.)

ABIGAILMy dear, is this not unbelievable?

MOLLYQuite. I apologize, Mrs. Winslow. I do not wish to put a damper on your new-found enthusiasm, but I'm afraid I am far less willing to believe than I was yesterday.

ABIGAILAnd that would be...

VIOLETBecause of me, am I correct?

MOLLYMiss Gray, I do not wish to doubt you. But Mr. Carrington has convinced me that your demonstration was mere show. A magician's sleight of hand.

VIOLETI will admit that certain effects were pre-arranged. Perhaps I felt put on the spot in the presence of so many people. You see, I'm used to more private situations. Just me, the querent...

MOLLYAnd your sister?


80

VIOLETIt is very hard for a single woman to earn a living, Mrs. Radcliffe. Olivia has learned to be very helpful to me, yes. But, I can assure you, that neither she nor I were able to fake the appearance of your late husband.

MOLLYI don't know how you did that, Miss Gray, but that was the cruelest trick of all.

VIOLETBut...

MOLLYPlease, let's not continue this. I must go.

ABIGAILYou're leaving?

MOLLYYes. I have engaged a room in Casadega for the night. I cannot spend another night here. I shall be on the morning train back home.

VIOLETBut Mr. Carrington would...

MOLLYMr. Carrington would what, Miss Gray? Tell me, was that pre-arranged, too? Please. THis has all been too much. I need to put Lily Dale behind me.

(CALVIN enters S.L.)

CALVINMrs. Radcliffe.

MOLLYCalvin...

CALVINYou still have questions. Questions that would remain unanswered if you left just now. There is more to Lily Dale that you must experience. You owe it to yourself to come with me. Let me guide you to what, or rather to whom, you came to Lily Dale seeking.


81

MOLLYThat is not possible. Edwin is gone. Any further attempts to contact him would be folly.

CALVINThe real folly would be for you to give up. The veil is always thin between our world and the world of the unseen. Sheer, translucent... You can reach out and touch the other side...if you believe, if you are willing to let go of the barricades in your mind. But if you need fences to keep your life organized, to keep everything in it's proper place, then it is not a veil, but an iron curtain - impenetrable, mysterious and wrought with fear.

(MOLLY meets CALVIN'S gaze.)

Come with me, Mrs. Radcliffe. Trust your heart but a little longer and you will be rewarded. But we must hurry. Twilight is upon us, and the appointed hour approaches.

/20/ QUINTET - CALVIN, MOLLY, VIOLET, ABIGAIL & PHILIP

CALVINHASTE THEE! HASTE THEE! TIME IS FLEETING,TO THE FOREST WE MUST FLY,FORWARD TO A FATEFUL MEETING,QUICKLY, ERE THE MOON IS HIGH.

VIOLET & ABIGAILTHOUGH THESE WORDS ARE ALL-COMPELLING,SHOULD WE NOT SOME CAUTION HEED?IS THERE SOMETHING HE'S NOT TELLING?SHOULD WE LET HIM TAKE THE LEAD?

MOLLY (To CALVIN)THOUGH TO ME YOU ARE A STRANGER,YOU HAVE SOMEHOW GAINED MY TRUST,I'M NOT SENSING ANY DANGER,COME WITH YOU, I THINK I MUST.VIOLET & ABIGAIL (To MOLLY)SINCE YOUR FLIGHT HE NOW ENCUMBERS,YOUR RESOLVE WE WILL NOT SWAY,SAFETY THERE REMAINS IN NUMBERS,BY YOUR SIDE WE PLAN TO STAY.


82

PHILIPONWARD! ONWARD! DO NOT TARRY,SWIFTLY FADES THE LIGHT OF DAY,OF THIS FELLOW I'M NOT WARY,LET US FOLLOW, COME WHAT MAY.

MOLLY VIOLET ABIGAILTHOUGH TO ME SINCE YOUR FLIGHT SINCE YOUR FLIGHTYOU ARE HE NOW HE NOWA STRANGER, ENCUMBERS, ENCUMBERS,YOU HAVE SOME- YOUR RESOLVE YOUR RESOLVEHOW GAINED WE WILL WE WILLMY TRUST, NOT SWAY, NOT SWAY, FORI'M NOT SENS- SAFETY THERE SAFETY THEREING ANY REMAINS IN REMAINS INDANGER, NUMBERS, NUMBERS,COME WITH YOU BY YOUR SIDE BY YOUR SIDEI THINK I MUST, WE PLAN WE PLANI'M NOT SENS- TO STAY, TO STAY,ING ANY PLAN TO STAY, WE PLAN TO STAY,DANGER, COME WHAT MAY. COME WHAT MAY.I WILL FOLLOW,COME WHAT MAY.

PHILIP CALVINONWARD! HASTE THEE! HASTE THEE!ONWARD! TIME IS FLEETING,DO NOT TARRY, TO THE FORESTSWIFTLY FADES THE WE MUST FLY,LIGHT OF DAY, FORWARDTHE LIGHT OF DAY, TO A FATEFULOF THIS FELLOW MEETINGI'M NOT QUICKLY, ERE THEWARY, MOON IS HIGH,LET US FOLLOW, THE MOON IS HIGHCOME WHAT MAY, IS HIGH,COME WHAT MAY. COME WHAT MAY.

PHILIPONWARD! ONWARD! DO NOT TARRY.

MOLLY, VIOLET, ABIGAIL & CALVIN

COME WHAT MAY.

PHILPOF THIS FELLOW I'M NOT WARY.


83

MOLLY, VIOLET, ABIGAIL & CALVIN

COME WHAT MAY.

PHILIPLET US FOLLOW, COME WHAT MAY.

CALVINHASTE THEE! HASTE THEE!

MOLLY, VIOLET, ABIGAIL & PHILIP

COME WHAT MAY.

CALVINHASTE THEE! HASTE THEE!

MOLLY, VOLET, ABIGAIL & PHILIP

COME WHAT

ALL MAY.

(Blackout.)


84

ACT II

SCENE 5

(In front of the scrim. HEREWARD and KATE enter S.R. OLIVIA enters quickly from S.L. and meets them.)

OLIVIAThere you are. I've been looking for you.

HEREWARDLooking for me? Have you now. Isn't it a bit late for a young girl to be out and about?

OLIVIAI keep my own hours, Mr. Carrington.

KATESpoken like a true, emancipated woman. Hear! Hear!

HEREWARDThank you, Miss Singleton.

KATEAnything for the cause, Mr. Carrington.

HEREWARDIndeed. And where is your crutch, young lady?

OLIVIAUm...I'm an emancipated woman.

HEREWARDHmmm. Well, what mischief do you have planned for me this time?

OLIVIANo mischief. But you must come with me.

HEREWARDAnd why should I do that?

OLIVIAQuestions, questions. All will be revealed.

HEREWARDYou enjoy your little mysteries, don't you.


85

OLIVIAThis mystery is not of my doing, sir. But it involves Mrs. Radcliffe.

HEREWARDMolly? Is she all right?

OLIVIAShe is about to experience something unforgettable. And you will, too, if you don't dawdle.

/21/ SONG - OLIVIA (Reprise)

OLIVIADO NOT DALLY ANYMORE,YOU'LL FIND WHAT YOU'RE LOOKING FORIF YOU HURRY UP AND FOLLOW ME,IF YOU WAIT ANOTHER HOUR,WHEN THE SUN HAS LOST IT'S POWER,THERE'LL BE NOTHING LEFT FOR YOU TO SEE.

(The music segues into the next scene.)


86

ACT II

SCENE 6

(Deep in an area of Leolyn Woods known as Inspiration Stump. A large stump sits C.S. The trees stand silhouetted in the fading light of day. CALVIN leads MOLLY, VIOLET, PHILIP and ABIGAIL onstage.)

MOLLYWhere are we?

CALVINThis place is called Inspiration Stump, sacred ground for all Spiritualists.

MOLLYBut why are we here?

CALVIN You shall soon see. Have faith, Mrs. Radcliffe. Faith may not eliminate doubt, but faith is a readiness to receive which permits doubt to be overcome continuously.

/22/ RECITATIVE AND SONG - CALVIN & OFFSTAGE CHORUS

CALVINDEEP IN THE HEART OF LEOLYN WOOD,FAR AWAY FROM ALL WORLDLY SOUND,HERE A TREE OF MAJESTIC SIZE ONCE STOODTILL A STORM BROUGHT IT TO THE GROUND,AND THE AIR WAS RENT WITH A MIGHTY BLASTTHAT RESOUNDED THROUGH HILL AND LEA,AND MYSTICAL PROPERTIES WERE FASTBESTOWED ON THE STUMP OF THAT TREE.


87

NOW HERE IN THE SHADEOF THIS HALCYON GLADE,THE ENERGY STILL REMAINS,THE ENERGY STILL REMAINS,LIKE A TELEPHONEINTO WORLDS UNKNOWN,THROUGH SNOW AND POUNDING RAINS,THOUGH THE SUN MAY BURN,AND THE SEASONS TURN,YET THE ENERGY STILL REMAINS,THE ENERGY STILL REMAINS.

(HEREWARD, KATE & OLIVIA arrive on the scene. The song continues with an invocation to the spirits. A low hanging fog develops, eventually, enveloping the stump.)

SPIRITS, HEAR ME!OH, IMMORTALS,WE REQUEST THAT ONE AMONGST YOU BE RETURNEDFOR AN INSTANT,TO BE HUMAN ONCE AGAIN.

CALVIN WOMEN MENNOW THAT TWILIGHTIS UPON US,SUNLIGHT TURNING EDWIN RADCLIFFE, DARKNESSINTO SHADOW, EDWIN RADCLIFFE, DISSIPATE,WE CALL FORTH THE TAKE THE FORM YOU LIFE RE-ONE WE'RE SEEKING, ONCE DISCARDED, SUSCITATE,EDWIN, EDWIN, AND INHABIT EDWINLET NOT TIME NOR IT AGAIN, INCARNATE.DISTANCE STAND FOR YOUR BELOVEDBETWEEN US, WAITS ON THESHRED THE VEIL OTHER SIDE.THAT SEPARATES THEDEAD FROM THE WORLDOF MORTALS.

CALVINHUMBLY, HUMBLY,WE ENTREAT THEE, HARKEN TO US,LET THIS CALL FOR EDWIN NOT REMAIN UNANSWERED,HITHER COME, HITHER COME,HITHER COME, ERE LIGHT IS GONE.


88

WOMENOH, EDWIN RADCLIFFE,COME YE FORTH!

(EDWIN'S voice is heard offstage)

/23/ DUET - EDWIN & MOLLY

EDWINMOLLY!

MOLLYMY NAME.

EDWINDEAR MOLLY.

MOLLY'TIS HIS VOICE! I CANNOT SEE -AGAIN HIS VOICE I HEAR. EDWIN!

EDWINDEAR MOLLY.

MOLLYEDWIN!

(EDWIN appears on the stump.)

EDWINI AM HERE!

BOTHMY LOVE, AGAIN TO SEE THEEDISPELS THE FALLING TEAR,A VISION THAT HAS FREED MEFROM SADNESS, LOSS AND FEAR.

MOLLYYOUR EYES SEEKING MINECAUSE MY HEART TO RACE.

EDWINMY ARMS ACHE TO TWINEIN OUR LOVER'S EMBRACE.


89

BOTHIF OUR MOMENTS ARE FEW, AND THIS MEETING IS RARE,WE MUST TREASURE THE TIME AND THE LOVE THAT WE SHARE!WE'LL TREASURE THE TIME AND THE LOVE THAT WE SHARE!IF OUR MOMENTS ARE FEW, AND THIS MEETING IS RARE,WE'LL TREASURE THE TIME AND THE LOVE THAT WE SHARE!WE'LL TREASURE THE LOVE THAT WE SHARE!WE MUST TREASURE THE TIME AND THE LOVE THAT WE SHARE!THE LOVE THAT WE SHARE!

(To this point, EDWIN and MOLLY have not touched. They reach out tentatively towards each other and are able to physically take each other's hands. They walk D.C.)

/24/ DUET - EDWIN & MOLLY

BOTHSWEET IS THE AIR WITH A DELICATE SONG,SO DELIGHT IN THE MOMENT, IT CANNOT LAST LONG,OUR HEARTS ARE SINGING IN HARMONY,HEARTS ARE SINGING IN HARMONY,AS IF NO PARTING WE EVER KNEW,NO PARTING WE EVER KNEW,SWEET IS THE AIR, SWEET IS THE AIR.

(EDWIN & MOLLY stand together C.S.)

EDWINYou know I cannot stay.

MOLLYI know.

EDWINIs it enough to know that I will love you for all eternity?

MOLLYNo... Yes, yes it will be enough. You and I are the same, Edwin. What we were for each other, we still are.

EDWINYet another love does await you.


90

MOLLYOh, Edwin, I cannot hear that. I can't even imagine that. Not now. Not with you so close.

EDWINLet time be the healer, my love. Your spirit is strong and will not be kept down for long. And dearest, know that I will never be truly gone. I am but a thought away. Why should I be out of your soul if I am out of your sight? We will meet to live and love again.

/25/ FINALE - ENTIRE COMPANY

MOLLYLOVE ALONE NEVER FADES AWAY,LOVE HAS IT'S HEART IN THE ETERNAL,ALL ELSE IS NAUGHT BUT TEMPORARY CLAY,SAVE LOVE ALONE.

WOMEN (Offstage)LOVE ALONE NEVER FADES AWAY,LOVE ALONE, LOVE ALONE.

MEN (Offstage)LOVE ALONE NEVER FADES AWAY, IT IS ETERNAL.

(The ENTIRE COMPANY, including the CAMPBELL BROTHERS enters, as MOLLY & EDWIN turn and walk upstage. A light starts to shine behind them, gradually getting brighter and brighter, and eventually casting them in silhouette.)

CHORUS MEN & WOMENLOVE ALONE NEVER FADES AWAY,LOVE HAS IT'S HEART IN THE ETERNAL,LOVE, LOVE ALONELOVE ALONE,LOVE HAS IT'S HEART IN THE ETERNAL.


91

PRINCIPALS & COMPANY LOVE ALONE NEVER FADES AWAY,LOVE HAS IT'S HEART IN THE ETERNAL,ALL ELSE IS NAUGHT BUT TEMPORARY CLAY,SAVE LOVE ALONE.

(As the song reaches it's conclusion, EDWIN kisses MOLLY'S hand and ascends the stump. The light behind EDWIN becomes so bright as to be blinding. There is a brief flash, and as the light fades EDWIN has vanished and the sky fills with stars. MOLLY is alone, holding her own hand, and looking off upstage. HEREWARD approaches her and she turns and meets his gaze. The ENTIRE COMPANY is looking at them as the curtain falls.)

/26/ BOW MUSIC & FINALE ULTIMO - ENTIRE COMPANY

ALL LET YOUR MIND BE LIBERATEDFROM THE PRISON YOU'VE CREATED,IT'S NOT HARD, BRING DOWN YOUR GUARD,AND LET LIBERAL THOUGHT PREVAIL,WHERE THE SPIRITS HOLD DOMINION,YOU MAY ALTER YOUR OPINION,TAKE OUR WORD, IT'S NOT ABSURD,THAT NO ONE DIES IN LILY DALE,IN LILY DALE,IN LILY DALE.

CURTAIN


92

city of light 10:12mainstreetmusicals.org/evaluations/2013/021-cityoflight/cityofli… · city of...

Documents