FOS UE LUEBEARL : f Return this book on or before the Latest Date stamped below. University of Illinois Library DEC CR 199] L161—H41 LIBRETTO V0 eee eee BLUE BEARD An Operetta in One Act and Two Scenes Libretto by ALICE MONROE FOSTER Music by FAY FOSTER BOSTON C. C. BIRCHARD & CO. Copyright 1924 by C. C. BIRCHARD AND COMPANY International Copyright Secured NOTICE The copying, either of separate parts or the whole of this work by any process whatsoever, is forbidden by law and subject to the penalties prescribed by Sec. 28, of the Copyright Law, in force July 1, 1909. License to perform this work must be secured from the publishers, sole owners of all rights. Orchestral parts may be rented from the publishers PRINTED IN THE UNITED STATES OF AMERICA 7 Go Feiak ees a FOREWORD This operetta has been written in the laudable endeavor to correct the misleading and unjust ideas of Blue Beard’s character which so universally prevail. The following is alleged to be the True Story of Blue Beard. Count Guigo, called BLUE BEARD owing to the color of his volumi- nous whiskers, was a wealthy man who lived in a castle on a mountain near a little village. Although charitable and a public benefactor in many ways, he bore a sinister reputation due to the fact that he had, at various times, married a number of village girls, all of whom in turn had mysteriously disappeared shortly after marriage, never to return. When ROSABEL, one of the most beautiful and best-loved of the village girls, announced to her companions that she was about to marry this much feared and detested person, they, finding remonstrance in vain, consulted a sooth- sayer for information and advice. This soothsayer revealed the astounding fact that Count Guigo’s beard was bewitched, and that a double enchantment had been placed upon it which he had no power to resist. The first enchantment was that he should love his beard so in- ordinately that he would never permit it to be removed;-> the second, that this fatal beard should implant in him a resistless impulse to destroy any woman who became his wife. The soothsayer suggested a way by which the Count might be deprived of his beard, thus lift- ing the enchantment. The evening before his wedding with ROSABEL was to be celebrated, he is dining alone attended only by his two servants, NIMBLE-WIT and ADDLE-WIT. He sings a jolly song of good fellowship and one in praise of his beard. Presently he is alarmed by the sound of moans, wails and the clanking as of chains; but he endeavors to convince himself that these ominous manifestations are caused by the storm which is raging. He appeals to NIMBLE-WIT for confirmation of this conjecture, and is informed that it is All Soul’s Night, when spirits of the dead are al- lowed to return to earth. Much disturbed by this information, BLUE BEARD is trying to compose himself, when the ghostly figure of a woman appears, closely ? e) followed by others. She informs him that these are shades of his departed wives who have come to wreak their vengeance upon him, and that this vengeance will be the removal of his beloved beard. In vain he begs for mercy; the apparitions gather round him and quickly rid him of the beard. . Then they confess that his visitors are not supernatural, but are village maidens who have played this trick upon him in the interest of social and domestic order. Relieved of his enchanted beard, the Count finds his whole nature changed. He now detests the very thought of the beard, and looks with horror upon his past misdeeds, and vows to spend his whole future life in charity and good works in the endeavor to make such atonement as may be possible. He thanks the village maidens, embraces ROSABEL and assures her that her confidence in him shall be justified. Note. — The authors declare that they have never heard it said that BLUE BEARD failed to keep all his promises, and that, so far as they know, ROSABEL lived a long and happy life. BLUE BEARD CHARACTERS BLUE BEARD, Count Guigo ROSABEL, His Fiancée NANETTE, eee ALWILDA, PAMELA, HonorIA, Village Maidens, Companions of Rosabel CELESTINE, GRISELDA, GWENDOLYN, NIMBLE-WIT, }Servants of Blue Beard ADDLE-WIT, A Chorus of Village Maidens if desired. SCENE I Interior or exterior scene, according to convenience. SCENE II A room in BLUE BEARD’s castle. TIME Evening. 5 DIRECTIONS FOR STAGING The operetta is easy to put on, as it requires no change of costume, and very little scenery. SCENES I. This may be either in a wood or interior. In the latter case no furniture is necessary; a plain background or curtain is sufficient. No properties are required in this scene. II. A plain, dark curtain around sides and back (circular is good). If an interior set is used, avoid light colors; an effect of dark walls is desired. It is the dining room of an old castle. The only furniture needed is a dining table, a chair, and a smaller table to be placed on the side to serve from. It is desirable to have all these pieces as massive as pos- sible and of old-fashioned design. PROPERTIES Eight cucumbers; if not in season they can be made of cotton covered with green tissue paper. A dish of fruit, natural, or the imitation, to be bought at the Five and Ten Cent stores. A plate, knife, fork, napkins and tablecloths. (The tablecloths may be of unbleached muslin painted with radiator paint in solid copper color.) A dish containing bread; some kind of food on Blue Beard’s plate; a dish of sweetmeats. A candelabra with lighted candles. A lantern with burning candle. A large book, if possible, with clasps. A hand mirror. A dustpan and short-handled broom. A very large key, made of cardboard and gilded. An immense razor made of cardboard, the handle painted black, the blade silvered. All is to be as old-fashioned as possible. COSTUMES Blue Beard’s False Beard Great pains must be taken that this shall be plausible and in no way ridiculous. The color may be very dark, even black if no better can be done. (BLUE BEARD is purposely made to speak of its having darkened in color.) But have it becoming. BLUE BEARD should be made handsome and attractive. It is well to have the beard fasten by wire loops over the ears, as he must be able to take it off quickly. It should be short on the side, rather inclining to be pointed, and not bushy. Village Maidens Full, round skirts of prettily contrasting bright colored cotton goods, with belts of same. Loose white waists, fancifully trimmed with ribbon or embroidery. A fancy kerchief or cap on head. Long streamers of bright ribbon are pretty and effective fastened on the caps. Bright colored beads. White cotton stockings, or they may be color of dress; but cotton, not silk. Black pumps, low heels. No jewelry, wrist watches, or diamonds! Bobbed curly hair is good, but no buns. In short, try to dress as a peasant or village girl would and not as a city girl masquerading as one. Blue Beard BLUE BEARD wears knee breeches of black velvet; black silk hose and black pumps; a soft, cream (or white) cotton shirt, bagging over, - with a lace jabot. He may wear a fancy coat, something like those of Louis Fourteenth’s time, or a pretty lounging robe, preferably the latter. The color of his coat or robe should contrast effectively with the waists of the two servitors. Servitors The servitors’ parts are best taken by girls. They wear black velvet knee breeches, black hose and pumps. One wears a loosely blousing waist of red (turkey red calico is pretty) with full ruffle of the same down the front, full elbow sleeves; the other servitor the same, except that the waist should be yellow. Nothing on heads. Bobbed hair. For the ghost scene, about four yards of double-width light gray voile for each girl is thrown over the heads in such a way as to en- velop the entire body. 7 GENERAL DIRECTIONS In selecting characters, consider personal appearance and ability to act as well as voice. If ADDLE-WIT is small, the effect is good if HONORIA is tall and of stately appearance. Allow ample time for rehearsals. Insist upon punctuality at re- hearsals. Try to have such performers as really wish to be in the operetta and enjoy it. It is bad policy to ask any to take part as a favor, for such performers are not always painstaking or regular at rehearsals. The parts of the village girls, and the parts of BLUE BEARD, NIMBLE-WIT and ADDLE-WIT, should be rehearsed separately, and they should be each practically letter perfect before coming together. A full-dress rehearsal should be insisted upon well in advance of the performance in order that mistakes may be corrected. A competent person who has had some experience, if possible, should be appointed to superintend the ‘‘make-ups.”’ All should be at the place of performance at least one and a half hours before the time set for the rising of the curtain. During the rehearsals insist upon attention to what is being done. Do not allow whispering, laughing, etc. Urge strongly that each one remain always in the picture, as they say. Let every one appear always interested in what is transpiring, — smiling or looking serious, as occasions demand, even if saying nothing. Distinct articulation is of the greatest importance. Every word should be easily understood in an auditorium of average size. - Amateurs always pitch their voices much too low. Insist upon the tone being sufficiently high, the articulation distinct. It is an excel- lent test, after an actor knows his part perfectly, to have him go over it in a large room, with a person seated at the back, who has never heard it. SCENE I The Village Maidens are assembled to discuss the case of ROSABEL, who is determined, against the protestations of her friends, to become the wife of BLUE BEARD. Since no warnings of her probable fate have made any impression on her, it is finally decided to follow the advice of a soothsayer who has been consulted, and by determined action to rid BLUE BEARD of the enchantment which is alleged to be the source of all his reprehensible qualities, and thus to make it safe and advisable for ROSABEL to follow the dictates of her heart. This conclusion is not arrived at without considerable discussion of the various aspects of the case, but finally it is agreed to make the attempt, and the scene ends with their departure for the Count’s castle. SCENE II Curtain rises discovering BLUE BEARD seated at a table, just finish- ing dining. Servants bustle about until BLUE BEARD strikes the first note of his song, when they instantly stop, assume an ‘‘attention”’ position, one on each side of the table, standing motionless during the song. NIMBLE-WIT is clever and graceful. ADDLE-WIT is stupid, and does everything awkwardly, but greatly admires NIMBLE-WIT and endeavors to imitate him. As curtain rises BLUE BEARD turns slightly from table toward au- dience, assumes an easy attitude, one arm resting on the table, the other on arm of chair. Sings. At the conclusion of song, BLUE BEARD indicates with a gesture that he desires the dishes removed, ordering fruit and sweetmeats brought. NIMBLE-WIT brings sweetmeats; ADDLE-WIT cucumbers instead of fruit, looking at BLUE BEARD smilingly, awaiting com- mendation. When ordered to take the cucumbers away, he snatches the dish hastily and awkwardly, dropping some of the cucumbers. In stopping to pick them up, drops all the others, finally getting it back to the small table from which they serve, and returning with fruit. In the dialogue where NimMBLE-WIT and ADDLE-WIT both express their admiration for BLUE BEARD’s beard, ADDLE-WIT always closely imitates NIMBLE-WIT in manner and gesture, but hesitatingly and awkwardly. In the same scene where the servants go out with lantern and candelabra, great care must be taken that the footlights are lowered at precisely the same moment, that it may appear that the taking away of the lights has caused the semi-darkness. Where the girls appear as ghosts, it is very important that they do not walk in the customary manner, but glide silently and very slowly to appointed places on the stage forming a semi-circle at back of stage. 9 At conclusion of chorus, ‘‘The Hour of Vengeance,’’ BLUE BEARD calls for lights, and the servants return with the candles. As they do so, the footlights are turned up. HonorIA sings the last verse of her solo in a complaining, almost tearful, manner, as she exclaims, “Oh BLUE BEARD, you ungrateful wretch!’’ She throws up her arms and makes pretense of fainting. NIMBLE-WIT and ADDLE-WIT spring to catch her. At finale, all form a semi-circle, BLUE BEARD and ROSABEL in front of the circle, in center. All wear bright, animated expressions. 10 BLUE BEARD SCENE The scene is as described in the Stage Directions. Before the curtain rises voices are heard singing: No. 1. UNSEEN CuHorus: “’Tis Truly a Beautiful Beard.” (See piano-vocal score for words.) The curtain rises on the chorus of Village Maidens, together with NANETTE, PAMELA, HONORIA, CELESTINE, GRISELDA and GWENDOLYN. The girls are in groups of three or four, and from time to time during the following chorus they glance ap- prehensively toward R., in which direction BLUE BEARD’s castle is supposed to be. No. 2. “Ballad of Blue Beard Castle.” (All except ROSABEL and ALWILDA.) (See piano-vocal score for words.) (At conclusion, PAMELA Steps forward, looking toward L.) PAMELA. It is surely time Alwilda was here with her report from the soothsayer. This is the hour at which she told us to meet her. NANETTE. Yes, and I do so hope that she may have learned some- thing which may prove of value to us. CELESTINE. Why should she not? From all reports, this soothsayer, although she has been among us such a short time, has told many things unknown to the oldest and wisest of us, and given some wonderful advice as well. PAMELA. We certainly need her help, now that this terrible Blue Beard is about to marry one of our girls, who will undoubtedly meet the same fate as his other wives, who were, as all think, destroyed. (Girls shudder.) GRISELDA. Only to think of that dreadful room in which, they say, are portraits of all his dead wives. 11 CELESTINE. Yes, they say the room is locked, and he gives each wife a key with strict orders never to use it, but each one is so curious she always opens the door. Then the horror of the sight is so great that it is reflected in her countenance, which thus betrays her and her fate is sealed. One more is added to the dreadful group. NANETTE. That is the common talk, but it is hard to believe, when we hear every day of his good deeds. Never, apparently, was any one more kind-hearted or more charitable. CELESTINE. Rosabel is fully determined to marry him? PAMELA. Fully. Let us use all our powers of persuasion, when she comes today, to convince her that she is making a terrible mis- take, though I am sure she will not heed us. Sh! Sh! Sh! Here she comes! (Enter ROSABEL, L. 1, gaily.) RosABEL. Good morning girls. All ready for the wedding tomorrow? NANETTE. Dear Rosabel, we want once more to beg you not to marry this dreadful ogre, Blue Beard. Remember — ROSABEL (interrupting good humoredly, yet with a slight wmpatience). Yes, yes, girls, I know all that you would say — have heard it all a hundred times, but my determination is not shaken. I tell you again, I do not believe these stories about Blue Beard, or Count Guigo, as I prefer to call him. It has never been proved that he — er — disposed of any of his wives, and even if he had, I should believe that witchcraft, and not his own nature, was responsible for it. You all believe in witchcraft, do you not? ALL. Yes! Of course! Certainly! RosABEL. And miracles? ALL (divide the exclamations among them). Certainly! I do! Yes, indeed! Of course! ROSABEL. Well, the days of miracles are not over. Tomorrow I shall become the bride of Blue Beard, and I feel that I could work miracles myself. Would you know what magic I should use? GWENDOLYN (who has a habit of stressing her words). Oh, yes! Do tell us! What magic would you use? ROSABEL. The magic of — love. (The others fall back disgusted.) 12 ’ No. 3. Sone: ‘‘ Miracles.’ (ROSABEL and CHORUS.) (See piano-vocal score for words.) HonoriA. And so, we cannot persuade you to change your mind? ROSABEL. You certainly cannot. GWENDOLYN. Pardon me — can’t something be done about this? ROSABEL (laughing). I am afraid not, dear Gwendolyn, so goodbye to all of you, until tomorrow, and don’t bring those long faces to the wedding. (Runs off, laughing.) ALL. What a pity! Too bad! A shame! CELESTINE. Well, all our hopes now are in the results of Alwilda’s interview with the soothsayer. (Enter ALWILDA, R. 1, breathlessly. Girls run toward her.) ALL. Alwilda! ALWILDA. Oh, I have the most wonderful news for you! The very best you could hope for! The soothsayer told me the most marvellous things! ALL. Yes, yes! Dotell us! Hurry, Alwilda! ALWILDA. The soothsayer says Blue Beard is not really a bad man at all, but that his beard is bewitched, and a double enchantment placed upon it. The first is, that he shall love it so-inordinately that he will never allow it to be cut; and the second is, that it implants a murderous instinct in him toward any woman he may marry, no matter how much he may love her. GWENDOLYN. Ah, one moment, please. What can be done about it? Something, I am sure. Something always can. ALWILDA. If this fatal beard could be cut off — ALL. But how? ALWILDA. The soothsayer suggested a plan which I think can be carried out. ALL. Oh! Ah! ALWILDA. Gather around close. I must whisper, for if Blue Beard should get the slightest hint of it, all would be ruined. (Girls gather more closely. ALWILDA whispers a moment. Girls clap their hands and express their joy in every pos- sible manner.) 13 GWENDOLYN (triumphantly). How exciting! I knew something could be done about it. Jt always can! HonoriA. It does seem so, Gwendolyn. Although there are many things which might be rather difficult to manage. For instance, say, now, in the desert of Sahara — What could be done in such a case as this? No. 4. Cuorus. ‘Jungle Pastimes.’’ (Village Maidens, with appropriate remarks by GWENDOLYN.) (See prano-vocal score for words.) GWENDOLYN (after first verse). Pardon, One moment! You see all that could be easily prevented. If the traveler would only always take his gun along, he could shoot the lion, and it would be all right, don’t you see? (Looks from one to another, nodding brightly.) HonortiA. Ah, that would be different! But take this case. What would you do? (Second verse is sung.) GWENDOLYN (after second verse). I beg pardon, but the serpent could be rendered quite harmless, you know. If some one would just take him and extract his fangs, he couldn’t do a bit of harm, isn’t it so? HonoriA. Ah, that would be different! But listen to this! (Third verse is sung.) GWENDOLYN (after third verse). Ah, I’m'so sorry, but really! So easy to prevent this dreadful thing! All that is necessary is to have his teeth pulled and he couldn’t dite, at all! Honoria. Ah, that would be different! And in this instance? (Fourth verse is sung.) GWENDOLYN (after fourth verse). I know I’m a dreadful bore, but right here we prove the point I’ve been trying to make right along, that something always can be done. And now we're going to do it our- selves. We're — going to — ALL (interrupting). Sh —sh — sh! Honoris. Ah, that would be telling. (Girls place their fingers on their lips.) 14 No. 5. CuHorus: ‘Blue Beard, Beware!”’ (See prano-vocal score for words.) END OF SCENE I SCENE II Scene, a room in BLUE BEARD’s castle. Evening of the same day. BLUE BEARD seated at a table, just finishing dining. The two servants bustle about until BLUE BEARD strikes the first note of his solo, when they instantly stop and stand rigid during the song, ADDLE-WIT is stupid and does everything awkwardly, imitating NIMBLE-WIT as closely as possible. As curtain rises, BLUE BEARD turns slightly from table, assumes an easy attitude, one arm resting on table, the other on the arm of his chair. No. 6. SoncG: “The Wayside Host.” (BLUE BEARD.) (See piano-vocal score for words.) (BLUE BEARD indicates with a gesture that he desires the dishes removed.) BLUE BEARD. Enough! I have dined well! Addle-Wit, Nimble-Wit, bring fruit and sweetmeats. (Servants remove dishes, returning quickly, NIMBLE-WIT with sweetmeats and ADDLE-WIT with a dish of cucum- bers. ADDLE-WIT moves awkwardly, with quick, short steps, sets the dish down complacently, looking at BLUE BEARD with a smile, as tf expecting commendation.) BLUE BEARD (roaring). Fool! I said fruzt, not cucumbers! (ADDLE-WIT hastily seizes the dish, dropping some of the cucumbers; hurriedly picks them up, dropping others; finally gets off stage with it, returning with fruit.) BLUE BEARD. Addle-Wit! Addle-Wit! You are certainly well named. I often wonder why I retain such a stupid fool in my service. ADDLE-WIT (bowing awkwardly). Thank you, Master! BLUE BEARD (smiling). I suppose it is because you are such a good- natured fool! 15 ADDLE-WIT (bowing three times, appearing much gratified). “Thank you, Master! Thank you, Master! Thank you, Master! (BLUE BEARD raises his glass and holds it at a distance.) BLUE BEARD. Ah, this loving cup! A wedding present from wife — number seven, I think it was. I can’t quite remember — I think it was that enchanting Titian-haired beauty —a dear little thing! So confiding! So trustful! She used to call me Bee-Bee! (Very sentimentally.) Too bad I had to — well — dispose of her the first week, but she would insist upon sitting up nights for me, so what could I do? Besides, number eight was waiting. (Sets down cup and lifts the fruit dish.) BLUE BEARD. This also was presented to me by one of my wives. Was it the sparkling little brunette, number twelve, that dared at times to pull my beard? Sauciness cannot be permitted. Let me see! How did I dispose of her? Poison? (Sizghs.) Ah, well! ADDLE-WiT. Master, could I — BLUE BEARD. Silence! (Sets dish down, lifts sweetmeat dish.) BLUE BEARD. Another souvenir from — dear me! I really cannot retain all these incidents in my memory. Nimble-Wit, bring me my matrimonial ledger. (Sets dish down. NIMBLE-WIT brings a large, thick book with heavy brass clasps. BLUE BEARD takes it, turning the leaves and looking at supposititious entries.) ADDLE-WIT. Master, will you — BLUE BEARD. Silence! Um-m-m— A’s — Amelia, Annette, Amaran- thine. Yes! Amaranthine was quite pleasing, really! I married her because of her name. So romantic! Amaranthine! Rhymes so beautifully with strychnine! I naturally thought of it in her case. (Turns pages.) BLUE BEARD. D’s— Dora, Daphne, Dorcas — Um-m-m — (Turns pages.) ADDLE-WIT. Master, may I— 16 BLUE BEARD. Silence! H— Hannah! Huldah. Ah! Huldah was quite impossible! So distressingly careful of my welfare! Nota thought beyond pills and powders and plasters, heavy stock- ings, nightcaps and warming pans! A common mistake with good women! She naturally did not last long. (Turns pages.) BLUE BEARD. M — Miranda — Mi— (A sound as of a long-drawn sigh 1s heard. BLUE BEARD starts, looking around as though frightened, dropping the book upon the floor.) BLUE BEARD. Addle-Wit, remove this ledger. It awakens memories too tender and painful. (Sighs and low moans are heard. ADDLE-WIT, tn stepping forward for the ledger, almost falls over his own foot. NIMBLE-WIT itakes the book from him, placing tt on table. BLUE BEARD, leans his head upon his hand in a musing bosition. Another sigh, louder, 1s heard, ending in a prolonged moan. BLUE BEARD starts violently. ADDLE- Wit and NIMBLE-WIT exchange glances.) BLUE BEARD. What was that sound? Addle-Wit, Nimble-Wit? NIMBLE-WIT. I heard nothing, Master. AvDLE-Wit. Nor I. It might have been the cat — (NIMBLE-WIT nudges him violently.) ADDLE-WIT. Ow! (He quickly stifles his cry as BLUE BEARD looks angrily at him. BLUE BEARD calms himself with an effort.) BLUE BEARD. It was the wind, doubtless. (After a slight pause.) Bring me the mirror that I may admire my beard. (NIMBLE-WIT fetches mirror. BLUE BEARD looks fondly at the reflection of his beard.) BLUE BEARD. It ts a beautiful beard, is it not? (Looking alternately at ADDLE-WIT and NIMBLE-WiIrT.) Of a color as beautiful as it is unique? NIMBLE-WIT (in a grandiloquent manner). Yes, Master (bowing low). It is of an azure equalled alone by the summer sky upon a cloudless day. 17 (ADDLE-WIT stares at NIMBLE-WIT 1” open-mouthed admiration, then endeavors to tmitate him.) ADDLE-WIT. Yes, Master. It is like a — a — piece of blue calico! (NIMBLE-WIT nudges him and looks at him warningly. ADDLE-WIT hastily places his hand over his mouth.) NIMBLE-WIT (quickly). It is as the flash of the bluebird’s wing, soar- ing aloft into the empyrean depths of the sky. (ADDLE-WIT always regards NIMBLE-WIT with admira- tion.) ADDLE-WIT (nervously). Like — a— bluebottle fly — NIMBLE-WIT (quickly). As the marvellous blue of the ocean in the wonderful Blue Grotto — ADDLE-WIT. Uh — uh — or a bottle of blue ink — NiMBLE-WItT. Like the sapphire, the turquoise, the corn flower — ADDLE-WIT (interrupting desperately). Like the Rainy Day Blues. (Gasps for breath and wipes the perspiration from his face. BLUE BEARD laughs.) BLUE BEARD. Enough! I am convinced that you both admire it. How could you do otherwise? (He continues to look affectionately at his beard, stroking at. Hands mirror to NIMBLE-WIT. Rises, pacing back and forth.) BLUE BEARD (musingly). I often wonder why I love it so! For at times I feel that it is a curse to me, the cause of all my misfor- tunes. Then, I almost hate it! But this mood always passes quickly, as I know that this is impossible, and my love for it returns tenfold. (After a@ moment's pause he ceases walking.) NImMBLE-WiT! The mirror! (Takes it from NIMBLE-WIT and again regards his beard admiringly.) No. 7. SoneG: “’Tis Truly a Beautiful Beard.” (BLUE BEARD.) (See piano-vocal score for words.) (At the conclusion of BLUE BEARD’s solo, a long, agontz- ing watl 1s heard. BLUE BEARD starts so violently that he drops the mirror and stands trembling. NIMBLE-WIT picks up the mirror.) NIMBLE-WIT. Master, the mirror is broken! An evil omen! 18 BLUE BEARD. An evil omen indeed! But that frightful sound! You certainly heard it! What could it have been? NIMBLE-WIT (in a sepulchral tone). It sounded like the anguished wail of a lost soul in torment! BLUE BEARD (desperately). Yes! Yes! But it wasn’t! It could not have been! It was the wind, Nimble-Wit, was it not? NIMBLE-WIT (hesitates). Master, have you forgotten that this is All Soul’s Night, when the spirits of the unhappy dead may return to earth? (BLUE BEARD staggers to table, and takes a draught from his cup. All the time the moans and wails continue with ancreased violence. BLUE BEARD sinks into the chair trembling.) BLUE BEARD. Nimble-Wit, take the lantern and search the court- yard and discover, if possible, the cause of these terrible noises. NIMBLE-WIT. Yes, Master. (Takes lantern and starts to go out. ADDLE-WIT, seeing this, seizes the candelabra from the table, the only lrght, and follows after him.) BLUE BEARD (almost shrieking). Fool! Bring back the lights! ADDLE-WIT. Yes, Master (but he goes on out with lights. As he exits, the footlights are lowered so that the stage 1s in semt-darkness.) CuHorus (off stage). Oh —oh— oh! Oh — oh — oh! (All the girls who were in the first scene appear stlently in the different wings. Each 1s enveloped in a large piece of thin (not too thin) gray cloth. The faces are hidden. Very slowly, and with a silent, gliding movement, they enter upon the stage taking their places in a semt-circle at back. As this 1s being done, GRISELDA advances toward BLUE BEARD with the same gliding motion, holding up a large key. As BLUE BEARD sees thts, he starts violently.) No. 8. CuHorus: ‘The Hour of Vengeance.” (GRISELDA and GIRLS.) (See piano-vocal score for words.) (During this song BLUE BEARD has been sunk deeply into his chair, shrinking as much as possible from the figures. At the conclusion, he raises slightly — calls to the serv- ants.) 19 BLUE BEARD. Nimble-Wit! Addle-Wit! Lights! Lights! (NIMBLE-WIT and ADDLE-WIT return with candles, and the footlights are turned up. In the meantime, GRISELDA has glided to the background. BLUE BEARD, however, still shrinks from the figures and does not look at them. GRISELDA again advances and, raising her veil, sings.) No. 9. Sone: ‘‘Do You Remember, Blue Beard?” (GRISELDA. ) (See piano-vocal score for words.) (As the song 1s finished, GRISELDA glides backward a few steps. BLUE BEARD still dares not look at the figures; has his head hidden on his arm, at times making motions of distress with his hands and head. WHONORIA advances threateningly toward BLUE BEARD, and sings.) No. 10. Sone: ‘‘Ha! You Old Reprobate!”’ (HONORIA. ) (See piano-vocal score for words.) (Here BLUE BEARD plucks up a litle courage, at the remembrance of what he considers his wrongs. He speaks as bravely as possible, yet trembling with fear.) BLUE BEARD. Yes, and all that was the reason I was compelled to — do what I did! What man in his sober senses wants to go to bed at half past eight? HonoriAa. How dare you attempt to justify yourself? Monster of ingratitude! Only to think how I worried over you, watching the - sundial to see that you took those beautiful pea green pills of Dr. Catchicuris regularly! (BLUE BEARD shudders and makes gesture of disgust.) HonortiA. Always had the warming pan ready at the proper time, so that your bed was beautifully heated. BLUE BEARD (weakly). That was nice — Honoris. Nice! Yes, and what did I get for it? What did you do to me? Answer! What did you do? BLUE BEARD (stammering). ‘“‘I — don’t — quite remember. So many, you know — Let me look at my matrimonial ledger — 20 HoNoRIA (interrupting). Matrimonial ledger! Bah! (Very scorn- fully.) Blue Beard! The hour of retribution has come! Do you know the vengeance we, the spirits of your departed wives, have resolved to wreak upon you? BLuE BEARD (always trembling). You will kill me? Honoria (laughing scornfully). Worse, much worse, Blue Beard! BLUE BEARD. What could be worse? Perhaps you will deprive me of my wealth, my vast estates? Honoria (more scornfully than before). ‘That would be pleasurable, Blue Beard, compared with what we mean todo. Ha! Wretch! (Very explosively.) I should like to keep you in suspense, but I can no longer refrain from the delight of telling you! Listen, Blue Beard. We are going (here she produces a huge razor) to shave — off — your — beard!!! (Laughs sardonically.) (BLUE BEARD overcome with horror, falls from his chair, and crawls on his knees toward HONORIA.) BLUE BEARD. Mercy! Mercy! HonoriA. No! Such mercy as you meted out to us you shall have. (BLUE BEARD crawls from one to another, wringing his hands and continuing to cry.) BLUE BEARD. Mercy! Human foes I can combat, but no mortal can contend against spirits of another world! HonorIiA. Seize him. (At this the girls surround him closely, in such a manner that he cannot be seen from the audience. In a moment they separate and ALWILDA Steps forward holding up the beard. Care must be taken to hold it carefully and closely together at the top, so that 1t cannot be seen that 1t remains intact.) ALWILDA. At last the spell is broken. Blue Beard no longer! Count Guigo is free. BLUE BEARD (emerging from the circle). ‘‘Oh, ladies, how could you? (Pauses; his face brightens.) And yet, I feel strangely relieved! I do not even regret the beard I once loved so fondly! What can this mean? ral ROSABEL (coming forward). May I tell him, girls? My dear, do you not see that a trick has been played upon you? These are not spirits, but the village girls, my friends. They learned that your beard was enchanted, and had been the sole cause of all your cruel treatment of your wives, and they chose this manner of ridding you of it. You should thank them. (ALWILDA lays the beard on the table.) BLUE BEARD (with happy countenance). Ah, yes, Ido! You are right. I now detest this wretched beard and find its color loathsome. Addle-Wit, take it away and throw it on the ash heap. (ADDLE-WIT clasps his hands, extending them toward BLUE BEARD.) ADDLE-WIT (pleadingly). Master, I would not disobey, but — pray — let Nimble-Wit do it. BLUE BEARD. What! You still have a little love left for it? ADDLE-WIT. No, Master. I fear to touch it! But — perhaps you would kindly allow me to sweep it up? BLUE BEARD (laughing). Yes, Addle-Wit, I permit that! (ADDLE-WIT fetches a pan and brush, and, holding them gingerly at arms’ length, approaches the beard. As he ts about to sweep it into the pan, BLUE BEARD motions him to stop.) BLUE BEARD. But, stay! Leave it yet awhile, Addle-Wit. We will burn it tomorrow at the wedding festivities, with befitting cere- monies. That will surely exorcise the evil spirit. (ADDLE-WIT bows and goes off with brush and pan, at once returning.) BLUE BEARD. With what horror do I now look upon my past deeds! What a monster I have been! Rosabel, how could you have cared for me? Do you not fear to wed me? (ROSABEL, with beaming face, extends both hands.) ROSABEL. I did not fear before, why should I now? BLUE BEARD (drawing her to him). Dear Rosabel, I vow you shall never repent. I will devote my life to your happiness and to acts of kindness and charity in the endeavor to atone as far as possible for the deeds of the past. (Turns to girls.) Girls, I can INS never thank you sufficiently — but it just occurs to me to wonder! How did you gain entrance to the castle, generally so closely guarded ? Honoria (archly and meaningly). Gwendolyn brought some in- fluence to bear on Addle-Wit. GWENDOLYN (retorting). And Honoria upon Nimble-Wit. BLUE BEARD. Oh—oh! Sits the wind in that corner? Are we to have other weddings? (NIMBLE-WIT approaches BLUE BEARD, drawing, almost dragging, ADDLE-WIT. Both bow.) NIMBLE-WIT. With your kind permission, Master! ADDLE-WIT. It isn’t my fault, Master. She would have me. BLUE BEARD. Well, well, so much the better. Let us have all three weddings tomorrow. What say you? (HONORIA and NIMBLE-WIT look at each other, reach out their hands, and, coming together, bow before BLUE BEARD.) ADDLE-WIT. This is so sudden, Master. My trousseau! I fear — (GWENDOLYN goes to him, takes him by the hand, and as she bows pushes ADDLE-WIT’s head down, whereupon he also bows.) BLUE BEARD. Good! Most excellent! The future of these two couples shall be my especial care. But, Gwendolyn, are you quite sure of your mind? Our Addle-Wit is a good, faithful soul, but not especially blessed with intelligence, you know — GWENDOLYN. I hope you will pardon me, Count Guigo, but some- thing can be done about that. It always can, and I shall attend to it in this case, personally. BLUE BEARD. Nothing could be better. Tomorrow, then, three weddings, and it will indeed be a joyous day, as this is a happy hour. No. 11. FINALE: “Oh, Joyous Day!”’ (ENSEMBLE. ) (See piano-vocal score for words.) CURTAIN END OF OPERETTA 23 .