Oct 24 RUN THROUGH All Cast and Crew
Oct 25 RUNTHROUGH All Cast and Crew
Oct 26 THS Show
Oct 27 VTA Competition
The Priest, The Drunk, and the Other One(s)
Updated October 23, 2016
0:00-3:00 Set up …………………………………………………………………………………3:00
3:00-7:05 Scene 1 to Sound (Fight scene)……………………………………………4:05
7:05-9:26 Scene 1 from Sound (Fight scene) to end of scene……………..2:21
9:26-10:00 Carlito sound and Scene Change……………………………………….0:34
10:00-16:53 Scene 2 (Jail Scene)…………………………………………………………6:53
16:53-17:13 Carlito sound and Scene Change…………………………………….0:20
17:13-21:22 Scene 3 (Tavern Scene)…………………………………………….…….4:09
21:22-21:42 Carlito sound and Scene Change………………………………..…..0:20
21:42-24:47 Scene 4 to Cannon fire……………………………………………..…….3:05
24:47-25:50 Scene 4 Fight sounds to Theo’s entrance…………………..…..1:23
25:50-35:25 Scene 4 Everyone takes their parts (Capture Scene)…..….9:35
35:25-38:25 Strike set………………………………………………………………….……3:00
Scene 1:
Empty stage. Lights at 50%. Stage Left, revealing Carlito*, with his Spanish guitar Down Stage Left. Begins playing a few Spanish Guitar Chords (or a Voice Over)
Carlito*: My friends, this is a tale, filled with true beauty, exquisite fluid form, the tale of two brothers, with eyes severe, but hearts of gold, especially when talking about the sensuous and graceful Pia, a flamenco dancer whose name when translated means Piety, (Sebastiania rises from the floor into a tortured position) Holiness (Sarastra does the same), Purity (Scarpia does the same). This is a ballad of what true love means, and what every man would sacrifice to prove this love…. (Theodore enters SL/ James enters SR, both solemn facing each other in profile) This tale of misconceptions, loyalty, and adventure take the brothers far away on the empty sea, turning one into a pirate (Sebastiania changes positions) , one into an officer (Sarastra does the same), and the girl (Scarpia does the same)…the girl into the hostage (the three huddle together and freeze) of their growing hate, placing her aboard the deck of the villain Mortus’ vessel… (the two brothers turn sharply on their heels, and exit, Almavivo and Maximinus take positions and freeze)…That vile vessel, where death’s skinny hand held her there, snaked through the pure warm waters, and brother defied brother in masked deceit. After timeless chase, loud cannons passionately emblazon the night, and the Royal frigate Cyclops meets in battle the Pirating ship Reciprocity.
Movement begins for characters. Refractory Light on Flat Stage Right, dim candle lights shining up on three burlap bagged faces. Beneath the burlap are: Sebastiana (blind), Sarastra (deaf), and Scarpia (mute), all squirm and moan. Almavivo and Maximinus are completing their duties with the captured crewmates.
Almavivo: (taking the position of the authority, although he is actually as new to the position as Maximinus) Have you whipped them soundly, to the count of 39.
Maximinus: (on the side, ashamed at not knowing his numbers) I may have become overly enthused and given an even 40.
Almavivo (becoming concerned, putting arm around him as if he were the mentor to an apprentice) My friend, whisper not a word about this; don’t you know what the seadogs say… that 40 is reserved for Christ Himself. Curses be upon us. (Upon realizing Maximinus’ illiteracy, Scornfully, mostly to show superiority, though he is an equal) Don’t ye know your numbers, you?
Macheath: (to Almavivo and Maximinus) I see you have prepared this scornful lot for questioning, and repeated their lessons ‘til they know them well. I have scoured this ship, but I fear the snake Mortus to double up. Take him dead or alive, I do not care. But the others, the brother, James, and his …his Helen (he says this name as a cultured reference to Helen of Troy, not as her actual name), do not leave a single mark. He has the protection of the crown. And she, well, she is shielded with love. Neither deserve their good fortune. You (pointing to Almavivo) Take position starboard, and you (to Maximinus) stand guard aft, and announce any movement there. Go to. Go to. (Almavivo and Maximinus exit to positions on ship)
(To Sebastiania, Sarastra, and Scarpia, inspecting them as if at a boot camp. Macheath “vultures round,” stopping for emphasis behind each of the captured crewmates) Well, then, what have we here, but something of an unholy trinity, with blind loyalty (stopping behind Sebastiana), deafening silence (stopping a Sarastra, as if whispering in her ears), and no voice of goodness in the head or heart (stopping at Scarpia, almost barking out the message). (To the three) We rescued you, we did, pulled you from the venomous fangs of that deceitful serpent. And yet, you bear us no fruit. You give us only silence.
(Grabbing one, who happens to be Sebastiania, taking off the burlap bag, revealing the full face, with eyes open, yet not functioning, bringing her roughly forward) You, no doubt having seen Mortus’ ways, know some grain of truth that might assist His Royal Crown.
Sebastiania: I’ve seen nothing, I tell you.
Macheath: Nothing? With months aboard Satan’s ship? Do you desire another Christian lesson? Shall I call up me men once again? (Sebastiania and Scarpia squirm at this, Sarastra, who cannot hear, doesn’t react)
Sebastiania: I’ve seen no men, either.
Macheath: No? (Laughing at the boldness) No men; well, they’ll bleed out the truth from you. Tell me now, what do you see when you look upon me? (Grabbing her face, forcing her to look, going nose to nose) A liar, a pickpocket, a common thug? Or, do you have the eye of wisdom in that thick skull of yours to see what I really am? (Releasing face, as if to throw it back)
Sebastiania: I see what you really are. (Clear, distinct, emphatic.) I see nothing.
Macheath: These be bold words, for one so ready to defend a man so close to his grave. Do you not see that Mortus is defeated; it’s just a question of time, it is, on when I drag him in. And you protect him with silence, and attack me with words. I suppose if you see nothing in me, there’s something you see in Mortus’ ways. (Through this Macheath circles like a vulture, ending upstage, as Sebastiania follows the voice and ends up with back to audience)
Sebastiania: I’m certain I shall see Mortus’ ways in your ways, as you are both darkness to me.
Macheath: (backhanding Sebastiania across the face violently, Sebatiania spinning round, falling to the ground, on all fours like a wild beast) Your obsession with loyalty is legendary. (Scarpia, having heard the sound, reacts violently)
Sebastiania: (in a daze, not even attempting to get up, yet) All obsession is legendary. (then crawling so that she reaches where Sarastra is by the time Macheath is finished talking to Sarastra)
Macheath: (now turning to Sarastra) I suppose you will remain in silence, as well. (Sarastra, no response) Certainly you’ve heard a quiet whisper… (As in you’ve heard some mention of Mortus’ intentions and have information. Macheath during this grabs Sarastra’s hair and violently throws it forward so that her face hits the deck of the ship). And you…. (now walking over to Scarpia, unveiling Scarpia from behind, taking the length of the whip to create a rope of sorts)… Your friends are silent, and you remain speechless, maybe I should silence you permanently (beginning to choke her, and taunting her) I’m afraid I cannot hear you (putting his ear menacingly to her mouth), must I choke the truth out of you, or perhaps the cat has got your tongue…
Sebastiania: (deliberately, slowly , Macheath abandons Scarpia when Sebastiania speaks; Scarpia crumbles to the ground) This may be the most sensible thing you’ve said, but even in this you are wrong. The cat doesn’t have her tongue, but Mortus does…
Macheath: (pausing, realizing the situation) So, then, if this be true… then….… why… why is your loyalty so blind.
Sebastiania: My loyalty isn’t blind, but I am… and this one here (still comforting Sarastra, who is now clinging to her, crouched down) is deaf.
Macheath: (taken aback) I… I … (he backs away in shame from an center stage position with back to audience, moving downstage, then moving round, so that the last voice Sebastiania would have heard would be where the audience is positioned)
Sebastiania: (walking towards the voice of Macheath, positioning the actor Downstage center and talking to the audience, and leaving Sarastra, who cheats her way Center Right, making the three crewmates create the points of a triangle in stage positioning. Vocally, working into a crescendo) You torture us, you say, for the good of the world… but you are blinder than I, and you cannot hear, and you stand there now, muted in voicelessness. (Body crumbling down, making all three crew mates remain in torture)
(Sebastiania and Sarastra squirm, and Scarpia attempts to recover from the choking)
Almavivo: (Offstage, after a beat). They have been discovered, sir. (Sound of swords clanging, Macheath exits hurriedly, leaving the three tortured souls on stage)
Maximinus: (Offstage from the other side) It’s Mortus for certain. (More swords clanging, the three writhing in pain)
Macheath runs off stage and all offstage voices come from behind the upstage set pieces. Swords clashing, and general chaotic sounds of battle ensue. Carlito* may begin a spirited guitar to underscore the battle. Only the three tortured crewmates remain on stage throughout the rest of the scene, and represent the torturous battle taking place, and ultimately Pia’s “death”, in an almost interpretive dance fashion. Lights can be dim and/or have dynamic variations to increase tension. Lines delivered offstage are loud, intense, as they are in the midst of battle. Through this all, Sebastiania, Sarastra, and Scarpia’s movements are tortured, but fluidly together, representing the waves of the ocean… upon Pia’s “death”, they freeze for a beat, then collapse upon the cannon fire…
Macheath: (Offstage Left) He’s coming round (clanging sounds)…(Macheath falls into the visible portion of the stage, then reenters the battle)
Almavivo: (Offstage Right): We’ve caged him here, there be no escape (clanging, Almavivo falls back into the visible portion of the stage) ah, how mightily he strikes…. (Reenters the battle, backstage)
Maximinus: (Offstage): Come forth, you, and I shall baptize you here with my washing blow (clanging, falls back into the visible area, soon to be joined by Almavivo for a second time).
(Female scream, both Almavivo and Maximinus reenter the battle, hesitantly)
Macheath: (Offstage loudly) The girl! Where be the brother, James? (Slowly backing away into the visible portion of the stage)
Almavivo: (Offstage whisper) I know him by his blade, ‘tis Mortus for sure….
*the purpose of the stage whispers in Maximinus, Almavivo and James is to distort who is saying what, meaning the audience could mistake the voice for Almavivo and/or Maximinus to be the two talking of an escape, but in reality, it is James pretending to be Mortus whispering to Pia that he needs to implement an unorthodoxed plan of staging her death so that she will be reported dead and they can make their ultimate escape
Almavivo: (now louder, each word deliberate and elongated) Easy. Tread lightly. See how she tempts his sword.
Macheath: Back away. Give a striking snake its room, his sharpened edge wishes to sink into her neck.
Cannon fire…. The ship is shaken…. All fall forward and back…. Including Sebastiania, Sarastra and Scarpia fall forward and back, all sprawl where they lay… Sebastiania and Sarastra not surviving the blast, Scarpia wounded, but surviving….
Complete silence and frozen movement… then slowly, Almavivo enters, checking the pulse of Sebastiania, Sarastra, finding none, then finding some life in Scarpia, tends gently to her wonds. Macheath slowly works his way to Downstage Left, James enters for the first time, slowly working his way to Center Stage Right, carrying a bloody sword, and a mask. Sebastiania, Sarastra, and Scarpia remain frozen, dimly lit.
Maximinus: (offstage tense whisper) Mortus has sheathed his blade into her body, cleansed it with her blood. And James, the brother, I have found him now, but I am afeared he be lost now, lost for the first time, without his Pia by his side. We are cursed creatures, we; God save us all!
Macheath: (backing away, and ending up on the opposite side, getting higher and higher with each line, carrying the whip): Oh I am the fool of fortune, and my heart, my heart is anchored down, with this stone of truth.
James: (with James’ voice) (backing away, and ending up in location, slowly getting lower and lower and in fetal position, carrying on a scarf of Pia’s and the knife that killed her) Oh Silent Sea, do not mock me with your gentleness, do not caress her with your gentle waves….
Macheath: She is gone.
James: (with James’ voice) She sinks.
Macheath: and I….
James: (with James’ voice) and I….
Macheath: …I sink down with her….
James: (with James’ voice) I am too gone
Macheath: and he….
James: (with James’ voice) he has slipped away….
Macheath: My heart is anchored with this stone of truth, and I should be lifted no more. Time has scorned me into this position. I never thought it would come to this. I have done my duty, served well my Lords, yet beyond the shadow of this ship lurks that watr’y snake and I shall seek out a vengeance for what he has done….
James: (with James’ voice) The hourglass pulls the reluctant grains down, and one by one, they fall. I always thought that sand was infinite. I always thought there’d be just one more, just one more frozen grain of sand. (To the heavens) I cry out to you, do you hear? “Do not let this hourglass take this last refugee.” Give me just another moment….just the smallest one…
The following lines are interspersed, sometimes overlapping, sometimes including silent pauses that will be filled with the others lines, but ultimately, like two singers singing two lines of a song….if needed, and the actors can repeat lines for clarity. The lines below, however, will work as a slow decrescendo vocally, and a physical contrast, with James crumbling down low, and Macheath steadily moving upward in determination. Sebastiania and Sarastra should remain frozen throughout. Almavivo should tend to Scarpia, but neither should move very much.
James: (with James’ voice)
It is empty now,
Empty as my dreams
Oh dreams they are welcomed deceptions,
Oh sleep, it is a gentle thing
Let me lie here but awhile
Macheath:
But know this.
I will fulfill my promise
I will track you down to a watr’y grave
I will track you down
I will track you down down down
Scene 2:
Carlito*: And so, my friends, love does not die so easily, and in the emptiness of the moment, young James inscribes his lover’s name on the side of the ship. The Pia sets sail and drifts upon a lonely sea, avoiding the spying eyes of the Cyclops. Until, when tempest winds threaten the empty ship, The Pia softly nestles on the banks of Morne Rouge, where friend and foe have been patiently waiting with lock and key.
Theodore is seating downstage left on the flat stage. A chess board is in front of him and he concentrates on every move, and Theodore takes the role of teacher. Tamino, the gaoler, learns the game eagerly, leaning into the board, with his backend out
Theodore: I must offer you thanks Tamino. I know you to be a good man, with your only sin of being French. My man shall arrive presently with my brother finally in bonds. With these storm clouds darkening, we graciously accept your safe harbor for the night. (Offering hand for an appreciative handshake, then noticing Macheath coming round the back (Downstage Right) Ah, here comes my man.
Tamino: Is no problem. (Taking hand awkwardly, and hanging on too long) I make him very comfortable, as is the French way in pleasuring our guests.
Theodore: Not too comfortable, I pray (half joking), and you needn’t call him a guest. (Peeling Tamino’s hand away from him as he says this) Although under these circumstances with him being my brother and all, I must again say thank you for your discretion in this matter.
Tamino: (waving off the politeness as if to say “it’s nothing”) You needn’t say thank you for what is natural. (Taking Theodore’s hand in a handshake in a less awkward manner then previously, and tapping it with the free hand for emphasis) I give you my excretion freely. (Emphasizing the word, proud to know a new word “discretion”, although he says the wrong word, Theodore pulls hand away, then Tamino, who has been studying the chess board earlier, holds up the queen and says after a beat) What you call this piece?
Theodore: (taking a moment to realize he’s talking about chess again, then suddenly) Ah, the queen, (pulling it from the board as if philosophizing over it) some might say, the most powerful of pieces and therefore, the most dangerous. (Tamino takes it, impressed at her power) But, in reality, (Enter Dafne, and with it, all of Tamino’s attention. Through the rest of Theodore’s lines he moves dreamily towards her. Dafne takes Center Stage, and holding a tray with drinks proceeds to pour slowly the beverages) all eyes are on her, her moves are studied, analyzed, dissected, even. If you capture one of these, she becomes even more dangerous. (noticing Tamino has been drawn to Dafne) Ah, I see the purpose for your questions. You have your own queen. (Tamino notices Macheath’s entrance and goes to him… Macheath passes on a sack to Tamino to collect the personal belongings, and they show that they both understand their duties)
Macheath: Gaoler, (as in calling out to him) here be your man for the night, and here be the item you requested. (Macheath passes on a sack unto Tamino for collecting James’ personal belongings. As Macheath notices Dafne and the drinks Tamino walks to the jail cell where James hands are pulled out) Ay, I am mightily parched. Gaoler, what might I call the mistress.
Tamino: Dafne. (Now noticing that he had taken a piece off the board, he returns it to the board, and this represents James’ first attempt to grab the keys from the gaoler, an attempt he will make at every opportunity)
Macheath: (Approaching Dafne Stage Center, Macheath takes a drink) Dafne? Dafne, the Greeks had a Dafne, you know. (He nearly drains his first cup, as she begins to leave) Apollo (Theodore supports the story with a nod) fell madly in love with Dafne, so she turned into a tree. (Taking the final gulp of his drink)
Dafne: What a powerful love he had.
Macheath: It all began when Apollo mocked Cupid’s aim…. (He spills the remains of his drink on himself and wipes off his mouth, now motioning for a refill, which Dafne obliges right away)
Theodore… he’s the little naked boy God of love… (Theodore studies the game board through most of this exchange, occasionally contributing; Dafne pauses)
Dafne: That is certainly unkind; with a little practice… (Dafne finishes her job)
Macheath: (interrupting, nodding a thank you to Dafne for the refill) … Apollo was filled with pride, which is why he mocked, but to prove his worth and skill, and most importantly the power of love (getting close to Dafne, as in one who is engaged in the story he is telling, even going so far as to put his arm around her, but mostly interested in telling the story and getting more drink), Cupid took careful aim and shot him with his golden arrow.
Dafne: (smiling uncomfortably, backing away, then as an aside) To shoot someone out of love? What sense does this make?
Macheath: Apollo falls madly in love with Dafne (points to her with his hand and nods at the coincidence of the name), and chased her down from one place to the next. Except, to prove the power of love, Cupid, shoots her with a lead arrow, which puts a passionate hate in heart.
Dafne: (Aside) A double damnation; to prove love in such a way? Why, proving love through hateful acts, could kill the very lover. (Almost as a prayer, with each word holding weight) I pray I am hated then, passionately, and with full venom, for, only then can I hope for tenderness.
Macheath… (Now finding place to stand at a table CS) until she went to the river and turned into a laurel tree, her hair turning into leaves, probably falling out each autumn, I imagine. From her torso - a hardened bark, her fleeing feet anchored down by the fast growing roots that spread from her body.
Theodore: And from there she was celebrated by Apollo and he places her leafy crown on the heads of young sportsman at the ancient games.
Dafne: (as in a cautious investigation, hoping to calm her ever building anxiety) You know this Apollo?
Theodore: Ay, we all know his exploits.
Macheath: Ay, I know him well, and his many bawdy stories. (Looking out, remaining by the exit door. Turning only to emphasize a cultural relationship with Theodore and him both knowing Greek mythology. Dafne leaves to the back, hurriedly, obviously distraught)
Tamino: (Now finished with the business with James in the cell, having put down the queen piece within hands reach of James without realizing it. Tamino had taken James’ personal belongings after having recorded them and passed them on to Theodore, who starts browsing through) From your brother’s things. And also from your brother, good advice on this game we play. (Said as in: “Eureka, I have my secret move that will defeat you”) He says I should say “Ass takes queen”
Theodore (looking up) My dear fellow, this piece (holding up the knight) is called a knight – and is a military knight represented by a stallion, not an ass. (Macheath laughs in mockery of Theodore, but subdues it when receiving a black stare)
Tamino: (smiling broadly as he delivers the message, more out of politeness than anything) Ah, I’m afraid your brother was referring to you, and not the game. (Then, as he is bringing up an unpleasantness to Theodore) Many apologies (approaching Theodore to talk in private, looking away from Macheath for privacy) if I may excretely speak with you… (This produces a blank stare in Theodore, and Tamino, realizing that he probably used the wrong word, tries to correct himself) I mean to say, we would share an excretion, you and I, in private. (Theodore’s eyes get bigger; Macheath gets up quickly, and finds an excuse to leave)
Macheath: (rather hurriedly finishing his drink and throwing coin on the table for payment) If I may take my leave; I’ve intelligence on Mortus’ whereabouts, and I don’t wish for that him to slip away. (Theodore waves him off, Macheath exits…. Through the rest of this scene, storm wind blow)
Theodore: (hesitantly, as if guessing, and hoping the guess is correct…finally figuring out “excretion’s meaning) Discretion? I believe the word is discretion. Well then…
Tamino: (Throughout these exchanges, Tamino speaks his apologies with his hands and head, but delivers James’ words. James emphasizes the message with hand emotions, or, when opportunity arises, attempts to grab the keys from Tamino without notice) He says: “I wouldn’t waste my final breath on you, and would rather use this harmless Frenchie to translate my words.” (sounds like “armless Frenchie”)
Theodore: (Theodore, having got up to close the door, with drink in hand, positions himself downstage, looking outward, not offering a single glance towards his brother. This should communicate being offended at him, hurt by him, as well as the pompous nature he possesses. Moreover, it allows the actor to use the conflicting facial expressions to display to the audience) Well, how noble. The young poet has lost his words. I should praise the heavens for such blessings. Instead of insults, however, I should be receiving words of gratitude. I capture you now, send you to a circus trial in London, where prestige and office will result in a punishment of a harsh talking, and you will turn away from your pirate ways, living the rest of your days as a proper Englishman.
(Enter Dafne, unnoticed)
Tamino: (next to the jailcell to receive translations, reaching out in desperation, with James grasping his hands fervently at Tamino’s behind, where the keys are dangling) You think me small. You do not even know me as a man. (Exit Dafne, trying to not show the shock and judgment evident on her face)
Theodore: Well, little brother, when I see a man, I will talk to one. I talk to a boy, a boy in handcuffs, a boy I love, despite … despite…
Tamino: (Screaming as James would) Come down, you pedophile… (Awkward pause as James corrects Tamino) Come down off your pedestal…. (Equally as loud)
Theodore: (finishing his drink, now too upset to not face his brother… walks stubbornly to the table, and points at Tamino with an accusing finger, while looking at James…) Still bitter about the girl, Pia, the dancer, who you frightened off into my arms with your…your ineffective swordplay. Can I help it that you were chasing her from stage to stage, giving up on your duties to God and country? (taking a deep breath) (Building up into real tears, the moment in which Theodore truly opens up and shows his hurt) You know that I have made attempts, real attempts, Jamie to save you from your own desires, and I find you gliding across from seaport to seaport with the likes of Mortus! (Emotional pause, fighting back real emotion with the next lines, voice cracking despite these efforts) We have both lost Pia. I have made great attempts to save her… and now I make equally great attempts to save you. What are these attempts if not fully honorable?
Tamino: Halfhearted (without pronouncing the h’s it reads “I farted”)
Theodore and James: Pardon
Tamino: Halfhearted (repeated the same way) …. (Motioned by James) ah, (overemphasizing the h sound) halfhearted.
Theodore: Halfhearted. (Swallowing this insult) This is what you think? I am trying to protect you boy. What on earth did I take away from you? (Dafne enters)
Tamino: (Shouting in the climax of an argument) I had happiness. Now I have none. (Without the h sounds this comes out: I had a penis. Dafne backs away, as does Theodore. Tamino notices Dafne and tries to explain that he is not sad, but he is merely translating) His words. His words, not mine. I have happiness. (Dafne stays) Here, I show you (begins taking off outer jacket – and takes off his keys from his belt so he doesn’t lose them - all characters shield their eyes. He proceeds to dance). See, that is my dance of happiness.
Theodore: (after an awkward pause, then realizing, he emphasizes the words as an instructor would) Happiness. Happiness.
Tamino: (going back to James for more translation work, always smiling broadly) You took the girl from me, and your man is now pillaging the ship. (Ship comes out sheep. With the subsequent lines, Dafne and Tamino get closer with each line, each line softening romantically). If only you knew how loathsome you are, how you see yourself so pure, but really you bathe in the sewage waters and you are deaf to what the entire world tells you. Your ears are uselessly attached to your big head. Now hear this, if you can, even on the day I die, I remember this moment… I hate you. I hate you. (Comes out I ate you. Passionately embrace at the final “I hate you”.)
Theodore: (Obviously stricken by the harshness) I see that your judgment has fled. If you were more a man, I’d expect a token of gratitude, but I dare say, I don’t expect much at this point. (Collecting himself) Gaolor, I will return in the morn when the tide is suitable for sailing. This (holding up a ring, from the personal items taken from James) should settle the bill. For now, I bid you goodnight, and for my dear brother, I shall see you in the belly of the Aegir at sunrise (exits)
Tamino: (going to table, picking up ring, examining it, not having seen its like before, asks James) What name you give this – this which comes from your brother? (Waits for response) hmm…interesting… this, you call “rubbish”? (Said as in “I can’t believe the English word for garbage is the same as the word for a beautiful ring, then shrugging it off and accepting this as fact).
Dafne: (going to Tamino, pushing her head into his chest for comfort) Did you hear that vile man?
Tamino: Yes, what he has done to his brother! He no longer has happiness (sounds like a penis) and his Godly manfriend is now having his way with his ship (sounds like sheep).
Dafne: (looking up to him) Ah, such are Families?
Tamino: (taking her by the shoulders in a reassuring voice) But, no, mine will be different. (Inadvertently fumbling the ring to the floor) Ours…will be different. (During this last line, he gets to one knee, picking up the ring, in a position of a marriage proposal, looks at the ring for scratches, holding it up to the light, and also to Dafne, who takes this as a proposal)
Dafne: (turning away, and walking towards her exit. James grabs for the keys as Tamino slowly gets up, but Tamino doesn’t fully get up, but rather walks on his one knee towards Dafne; she paces back and forth, and Tamino switches knees each time she passes, much like a Russian dancer) No, I cannot put you through this all. Did you not hear? His manfriend Apollo will chase me down to the river. It is only a small walk away, and I have short legs. He desires me because his naked boy has bad aim. What kind of aim could I possibly have? Because of this I will lose my hair and have a bark. (Tamino collapses from exhaustion)
Tamino: My love, this cannot happen. We will leave tonight. I know a boatswain, and I will use very delicate (pausing to get the right word, but not seeming to find it) very delicate excretion (Tamino has been getting up, has his backend to the audience at this point) to get on board. Now, please, my love, take my rubbish… (Holding up ring).
Dafne: You are a good man Tamino. How could I say no to you? I will wrap this around my finger and will always think of you when I look at rubbish. (He places it on her hand)
Tamino: (very profoundly) I too am wrapped around your finger. (James motions to Tamino, hands celebrate, shake hands, hug, and taking keys off from Tamino’s pocket without him knowing) (Exeunt Tamino and Dafne)(Sound of turning keys,door swings open, hand reaching out, taking the queen that was left at the start of the scene) Lights out
Scene 3
Carlito*: The winds they danced, the seas they raged, and the Cyclops drank it in, became drunk upon its spinning, and sank down and down and down, until it hit the rocky bottom of eternal night. But two rose from this flurry, holding tight to angel wings, which flew up and up and up, until they hit the soft bosom of New Providence.
Enter Alcina, Fortuna, Virtu (in the Tavern) and Almavivo and Scarpia “outside” nearly drowned, with drenched hair and clothing. Through this scene, Almavivo is taking branches, flowers, seaweed, leaves out of Scarpia’s hair, clothing, bags, etc. Scarpia disentangles seaweed off her body with a knife.
Alcina: Two specimen come nigh, take heed (gets into positions for impressing new clients) Two wild animals by their looks.
Fortuna: (about Scarpia who is working the blade) Looks as if this one thinks himself an animal
Virtu: (about Almavivo, who is slumped over, dragging the figurehead of the Cyclops) Looks as if the other knows that he isn’t (shows disappointment).
Alcina: Look how he clings to his driftwood.
Fortuna: Look how he brandishes his blade.
Virtu: Let’s turn them into a Cloud and leave them to the wind.
Fortuna: And have him weeping down at us? Why no! A noble bird, (looking at Scarpia) perhaps, and a winged gnat (looking at Almavivo), methinks.
Alcina: Nay, you musn’t give a man his wings, t’is the ingredient for tragedy. Nay, two frogs
Virtu: Behave yourself, you. They are not princely type.
Fortuna: A frog can hide in the grass, and be at your feet without your knowing.
Alcina: (Offended) Then a lion, I suppose. Who cannot see an approaching cat?
Virtu: What nonsense. You will not escape his pouncing.
Fortune: mmmmmmm….Unless we too are wildcats.
Alcina: No, no, we are too brash.
Fortuna: Let us think more on it.
Virtu: Finally some wisdom
(Outside the Tavern) Almavivo: We sailors become accustomed to letting go. We release our women when we catch fair winds, release them to the ports and the rows of pleasure houses. Our Men-of-War release the enemy galleons from this world. Why, even our deckhands careen the very filth and barnacles off our hull. But, I, I gave up me pirate ways, and I clung tight to me lady. She, like an angel floating up towards the swirling heavens, gave me safe haven, and I did cling hard and fast, ‘til she do nest upon this port. The Cyclops had a clean burial, and to be sure many a seadog released ‘is final bark. (Both sign the cross) Come, I see we’ve come upon a new paradise here (pointing to the sign “The Poison Tree Tavern”, looking at the picture which features a wicked looking tree, a dead body underneath it, and most noticeably, a shiny red apple…the artwork reminiscent of William Blake’s A Poison Tree Illustration) Did Eden not surround a tree as this? ‘Tis certain to have food, and water, though I’ve seen enough of that Begad! (looking through a bag of coins, finding very little) I see you’ve a sharpened knife with thee. Well, I’ve me sharpened wits, and between the two we shall make a good miracle. Shave off a bit of each side and save the shavings. This we shall keep, and in the morn, melt it down into a rough coin, worth enough for another mouth of bread for sure. (Sets Maximinus to work at shaving the coins) And that t’is how the loaves will be multiplied.
(Inside the Tavern, looking out) Fortuna: (disgusted) Look how they pause now, like two shells unwilling to fully beach; let us finish the magic and make them into conches.
Virtu: Too noisy when the wind blows.
Alcina: Too breakable when the rain pelts down.
Fortuna: Aye, ‘tis true. Come to think on it a conch oft’ hides its creature. (Then in even more disgust, waving them off, and returning to the the back of the tavern upstage) Look now, how they settled there, hunched over like rocks.
Alcina: Ay, that’s it, rocks they be.
Fortuna: (from upstage) Make the one who works his knife into granite stone.
Virtu: (taking advantage of the open view, looking out, with Alcina close behind)…and maybe a small pebble for this other.
Alcina: (looking over Virtu’s shoulders, who now falls back to join Fortuna, who is now positioned at the table): more likely a grain of sand. (Nods decisively that this is the best way to describe Almavivo, then joins the other two)
(Enter Almavivo and Scarpia, looking around for service)
Almavivo: If’t please you, a bit of food and drink for this lad and I.
Fortuna: (nodding to the others to go in back – upstage to where they prepare the concoctions of magic) We have in our stores, though we are hard pressed. Have you coin?
Almavivo: Aye, this shall serve (lifting the bag, but not yet offering)
(Alcina passes the cloth to Fortuna, who brings it to the two men, Alcina and Virtu remaining upstage to prepare the concoction)
Virtu: Give them drink (with drink in hand, passing it to Fortuna) when we prepare.
Fortuna: Ay. Work hastily, our spirits will run low with these two fish.
Virtu: Go to, Go to (said as Fortuna leaves)
Alcina: Aye, hasty spells make unsuspected curses.
Virtu: (Considering for a beat) All curses are unsuspected.
Alcina: Aye, for some, methinks (they both laugh)
Virtu: (Still philosophical) As are blessings, I would hope.
Alcina: (Said as she works the recipe / spell; emphasizing the point she’s making with the wooden stir spoon) Some might call these unsuspected curses, the “Justice of the Universe”.
Virtu: Some might call these unsuspected blessings, its mercy.
Alcina: Give us a pinch of that. (Takes something out of the supplies)
Virtu: Not so much; we mustn’t make mountains out of these men. Just a rock and a piece of sand.
Fortuna: (entering to replenish the drinks, looking back at the two survivors, eating and drinking savagely. Lines are expressed with pity) It is a sad state, isn’t it? No songs will be sung about these two. No Operas writ. (Returns to customers)
Virtu: (Both look out to the customers, both considering what Fortuna has said, and both resigned to give up on their original plan. They do this as Fortuna fills the cups, saying the lines when movement stops downstage) Fortuna makes an excellent point. For who attends the theatre for the story of a grain of sand.
Alcina: Who passes rock, even granite, without giving notice.
Virtu: Let’s make them into the stuff of Operas, then. Let’s make them into mountains and long overstretched beaches. (Dumps all the ingredients in)
Alcina: We cannot chose if we are rock or sand.
Virtu: Or conch, or angel wing.
Alcina: Or tiger or lamb.
Virtu: But we can chose how much of one we can be. (Fortuna, now finished with her serving returns, seeing the concoction totally different than planned)
Alcina: Let us put aside the magic, then. (Pouring three drinks of concoction)
Virtu: Let us let them cling to who they be.
Fortuna: The fate of man is to discover if he be but a granite stone, or a mighty grain of sand. (They all toast and drink, turning into stone unwittingly, as they didn’t consider that their magic would actually work on themselves; they remain frozen for the remainder of the scene, as if they were eloquent statues)
(Dafne and Tamino enter the stage, outside the Tavern):
Dafne: Finally, a safe haven here. What an adventure you set upon us.
Tamino: Aye, but what a storm, and I fear that the rest of the ship is lost. We are here in New Providence, now. It is a good sign.
Dafne: We have journeyed long. Maybe we can finally rest; (sighing) ah, to finally be away from the curses. I am always afeared we will meet this Apollo and I, I will be the wooden love he celebrates with young athletes.
(Inside) Almavivo: My friend, this morn, I woke up drowning, and tonight I shall sleep soundly in safety. Strange, I cannot help but rejoice, though many others shall sleep sounder than we, God rest their souls (both sign cross) We are indeed two seadogs (now noticing, falls to the floor to pick up the shavings, hiding himself from sight) Arf, arf, arf..Two Pirate Seadogs…. Aaaaaarrrrrrrrrrrfffffffffffffff…..
(Dafne and Tamino enter, seeing Almavivo taking branches and leaves out of Scarpia’s hair and barking….)
Tamino: (Turning around in shock) I saw a ship in harbor, perhaps it hasn’t yet set sail. I will talk privately.
Dafne: Tamino, you are good to me, but frankly I am tired of your excretions.
Lights
Scene 4
Carlito*: And so love and hate meet upon the open seas, brother meets brother, and truth unmasks all deceit, as the Aegir fires heavily on the blessed Pia, floating gently on the torrential waters.
A bottle of rum dangles from his hand, and he has on full display a drunken demeanor. He seems to have a tendency to tug and admire his attire; he tugs at his cuffs and scrubs the surface of his leather, shining boots. Occasionally, he looks at a globe, trying to locate their position. . The Captain’s quartermaster, Edward, on the other hand, is quite the opposite, acting more as a leader than Captain James ever would. Well dressed with his head held high and his hands forever behind his back, he seems worried as he paces back and forth, occasionally stopping to look through the windows.
Both as actors are prepping for the inevitable time in which Theodore will chase them down. James is practicing his role as Edward; and Edward, a Shakespearean actor, is taking on the role of a drunken version of James, who has become Mortus the pirate after the supposed death of Pia.
James as Edward (from now on denoted as JaE) (with lowered character voice): …and to finish today’s articles, you should, when time permits, grant our two French guests an audience. They express gratitude daily to me and wish to express it on to you. (Edward as James not responding, face buried in the map)
Edward as James (from now on denoted as EaJ): (with drunken James voice) (waving his finger knowingly at JaE and nodding) Edward…do you know what tongue they speak in Brazil? Hmm, mate? Brazilian. (He pauses) Brazilian, imagine that! (He gleefully laughs, offering a wide grin) Yeah, that’s right, you were thinking Spanish, weren’t you…no that would be a big calamity, it would. It’s good I warned you, Edward. Imagine you spitting out the words “Hola señorita” without a soul understanding your meaning, you with that big…. country mouth of yours.
JaE: (with lowered character voice): I was born in London. (Remembering his station) Sir.
EaJ: (with drunken James voice) London? That’s somewhere in England?
JaE: (with lowered character voice): You were also born in London, sir.
EaJ: (with drunken James voice) Huh. Imagine that. Now, how big do you think London is?
JaE: (with lowered character voice): Quite big, I’m sure, but I do think that is the least of my worries-
EaJ: (with drunken James voice) No, no! The correct answer is…. (Pausing and looking at JaE as a school teacher would a pupil) Quite, quite, really, very big. Look at the spelling. It has two “on’s” in it, so it goes on and on. (He snorts, laughing at his own joke)
JaE: (with lowered character voice): James (correcting himself) Captain James? (EaJ does not answer, but mutters the word “Lon-don,” emphasizing the “ons”) Captain James! You must focus! Have you heard a word I said this past half hour? We… you, you have a problem…
EaJ: (with drunken James voice) (now serious and focused, looking down sadly at his drink) Yes, I suppose I do have a problem. .. I finished the bottle.
JaE: (with lowered character voice): Somewhere out there, it looms: a never yielding frigate, the great Union Jack, proudly hoisted on its mast, and with it, my dread! Every day I see it, and every day it is a battle to escape it…
EaJ: (with drunken James voice) I feel the same way about rum, mate.
JaE: (with lowered character voice): And we could easily end it all if one drunk, strutting, fretting, witless, brainless moron was not in charge of this ship.
EaJ: (with drunken James voice) Don’t be so harsh, (pausing, almost, as if being a motivational coach) you do not strut.
JaE: (with lowered character voice): You, you, Captain (emphasizing the Captain) James. Remove your nose out of the bottle and be the Captain you are charged to be, you drunk!
EaJ: (with Edward voice ) (Responds with a sigh, but a clear distinction is now heard. He does not sound intoxicated, but rather clear minded.) Oh cheer up, mate. It’s all just an act. One must get into character if one is to be a Captain. You know I can’t get drunk. People call me a walking miracle! I don’t know how I do it, I –
JaE: (with lowered character voice): Yes, yes, you perform miracles. That’s why I found you not drunk on the dock, and not drunk at the theatre chasing the young mistresses as the authorities chased you.
EaJ: (with Edward voice ) You, you more than anyone, you know my story. You know why I love the stage… and the chase …. and the capture… (He delivers the lines thinking about the pursuit of women)
JaE: (with lowered character voice): Well, perhaps you’d take a moment from your busy schedule, to offer a proposal regarding the very real royal frigate chasing us. I trust that as much as you enjoy the stage, this particular chase and this particular impending capture is not one you would much care for.
EaJ: (with James’ voice, but not drunk, as if trying on the character ) Ah, yes, the cat on our tail….
JaE: (breaking character, now with James’ voice): I don’t believe that to be an actual idiom.
EaJ: (with Edward voice ) No, well….as Captain, I proposed that, as any skilled Captain most decisively would….that… (Delivered with all the skills and variation of a stage actor being as Captainesque as he can muster, but ending low at the words “will prevail, maybe hitting the James’ voice, but more concerned about showing off the acting skills) That the present course we are on is most satisfactory and if we steadily continue onward on it, only one of us, yes, most certainly, one of us, will prevail.
(The sound of nearby cannon fire floods the stage as both Edward and James feel the jolt EaJ’s head shoots up. Sounds of fighting are heard nearby on the deck.) I find no shame in admitting I was wrong.
JaE: (with James’ voice): We’re under attack! (More fighting sounds)
(Voice of Dafne) It’s him!
(Voice of Tamino) Oh come on!
(Two splashing sounds)
EaJ: (with Edward voice ) Just a small hiccup! On the bright side, I assume I will not be meeting with our French guests? (Cannon fire / rocking of ship)
JaE: (with James’ voice): Well, the cat’s tail is now boarding our ship.
EaJ: (with Edward voice ) Now… what was the name of that vessel I was to remember… (Another shot / more rocking of ship; looking out, through the rum bottle, at a ship doing the firing in the distance… now reading the letters A-E-G-I-R)
JaE: (with James’ voice): Can’t you recall a single line I’ve told you. I’ve been telling you for the past week!
EaJ: (with Edward voice ) Not a single one.
JaE: (with James’ voice): The Aegir.
EaJ: ((with Edward voice ) (repeating the name to remember it) The Aegir!
JaE: (with James’ voice): Why the sudden interest?
EaJ: (with Edward voice ) (not answering) ah! The Aegir….
JaE: (with James’ voice): Ah? (Catching on) ahhhhh…the ship…..?
EaJ: (with Edward voice ) Uh huh.
JaE: (with James’ voice): of your…?
EaJ: (with Edward voice ) Mhm….
JaE: (with James’ voice): And he’s….
EaJ: (with Edward voice ) …here
JaE: (with James’ voice): Mhm…… (The following lines referencing the play MacBeth are delivered seriously and respectfully, as two actors solemnly note the importance of the moment) Well, this is our hour upon the stage, is it not?
EaJ: (with Edward voice ) (with an equal dose of solemnity) It seems that tomorrow has arrived, despite its petty pace…
EaJ: (with Edward voice )(Now pulling away, and putting on his James’ voice – not drunk) So in this theatre of battle, might I suggest Edward, you allow me to use your sword.
JaE: (with James’ voice): Heavens no! Where’s yours.
EaJ: (with James’ voice ) Most likely thrown irresponsibly in some corner, rusting away. I found women run from men with swords, which is quite unsatisfactory. Just hand me your blade, mate.
JaE: (with James’ voice): No!
EaJ: (with Edward voice ) Yes!
JaE: (with James’ voice): Why, no!
EaJ: (with Edward voice ) Why not?
JaE: (with James’ voice): Because I don’t like you.
EaJ: (backing away…now with Edward voice)) After all we’ve been through? After all I’ve done for you?
JaE: (with James’ voice): I’ve run the ship; I’ve organized the crew; I’ve given you this chance to make something of yourself, something other than a wandering lost soul; you’ve only emptied the bottles.
EaJ: (with Edward voice ) You really don’t like me?
JaE: (with James’ voice): You’re a sad man leading a meaningless life.
EaJ: ((with Edward voice ) pointing to his heart emphatically) In a few moments, when we lose this ship, and there is a new metaphoric captain at the helm of our life, and we feel all adrift in this ocean, this ocean of turmoil and injustice, just know, that right here (pointing again at his heart) right here, this empty vessel has plenty of room for you, mate…. Common, can you just lend me your blade, so I can protect myself against my….
(The doors burst open as Theodore enters, coming in from battle, a sword dangling loosely in his hand.)
JaE/ EaJ: (with James’ voice/ with Edward voice): …Brother …. (with lowered character voice / with drunk James’ voice) My brother
(EaJ rises from the ground, his expression now of pure joy, one that hides his true feelings of fear. He comes to Theodore as though to greet him, but on the way grabs a fresh bottle of rum from the table, and carries it behind his back, seeing now that Edward will not surrender his sword. When he approaches close enough his brother lifts his sword to James’ neck, causing him to halt JaE retreats to a corner.)
Theodore: (pulling a blade at him)That’s close enough, little brother. And if you would so kindly replace that bottle to its rightful place on the table… it would be a shame to waste the rum in smashing it over my head.
EaJ: (with Drunken James’ voice -waving his finger, lowering Theodore’s blade) I like you. I like you a lot. (He turns to JaE, pointing again at his heart, and opening little doors to his imaginary heart ship.) Edward! Look here! Finally a man who shares my values.
Theodore: (Now putting away the blade, satisfied that they will not escape, looking around the Captain’s quarters) Let’s not start with insults, little brother. You and I share very little.
EaJ: (with Drunken James’ voice -ignoring the slight) So… it seems you met my crew. They are quite something, are they not? Trained them myself. Edward here was quite useless and sad really in his duties. I’m certain they are still fighting the good fight. (sound of squishing, EaJ and JaE both Cringe)
Theodore: Your crew surrendered their weapons the moment we boarded. You, it seems, are not a cause worth fighting for. (Theodore taking the chair. EaJ points at heart, closing his imaginary doors)
EaJ: (with Drunken James’ voice) Ah, well, yes, Loyalty never quite came in fashion… (Brushing his uniform)
Theodore: (Now brushing off his uniform is similar fashion) It looks as if you taught them everything you know on that subject.
EaJ: : (with Drunken James’ voice) On Fashion? Heavens no, though Lord knows I tried.
Theodore: No, on Loyalty.
EaJ: (with Drunken James’ voice) opening his arms wide) We are pirates, after all.
Theodore: No, not I.
EaJ: (with Drunken James’ voice) Well, it is never too late, brother. I graciously accept your surrender.
Theodore: Do not expect the same treatment if I held the blade to your neck. Oh, wait, I did. As you know, Pirate brother, I am Admiral Crinfield, Theodore Crinfield, Captain of the Aegir of the proud Royal navy, under our beloved King George III, may he long live and reign, and the unfortunate possessor of a brother gone rouge for too long. (During this last portion, Theodore stands authoritatively. EaJ seemingly mocks Theodore by mouthing the words of the introduction, but is actually practicing like an actor would his lines; Theodore sits down at the end of this last line)
EaJ: (with Drunken James’ voice) (building to crescendo, as if offended) You’re going to stare me straight in the eye, ha ha you, and tell me, as you sit in my chair, my Captain’s chair, and tell me that …. (Then, breaking off the crescendo and in realization) the King of England is…. George III? When did that happen?
Theodore: (for the first time looking towards Edward- muttering to himself in disbelief) Begad! (To JaE) Is this rouge brother of mine really this stupifyingly dumb?
JaE: (with lowered character voice, but much too deep for his character): No sir, he is much more stupifyingly dumb then he presently appears.
Theodore: Well, I suspect, even your stupidity has its limits and you can fathom why I am here? (During this Theodore looks away from the two, and EaJ “coaches” JaE on use of diaphragm and actor’s breathing techniques)
EaJ: (with Drunken James’ voice, but after an awkward pause as he didn’t realize it was his line… then spitting it out quickly) Why no, Theo. What brings a long lost brother to my side?
Theodore: (now almost believing his stupidity is this deep) (to Edward) Does he really not know?
JaE: (nodding encouragingly, now with the “correct” character voice) Oh, he knows. It’s an act.
Theodore: An act! Yes, of course. (Now standing to remove his coat, as if warming up for a sermon, folding his coat precisely, placing his hat carefully upon it, which he does during the duration of this speech without looking towards the two. He inadvertently takes off his blade and places it on the clothes, where JaE will spot it and pocket it when there’s a chance) Did you know that Jamie boy planned his escape from our wealthy, respectable, landed, aristocratic family by becoming an “actor” (both JaE and EaJ snap their heads at the insult towards Theodore, still not looking) Something I naturally discouraged, a mistake, perhaps on my part, As I see you’re still “playing on a stage” What is it now, eh, dear brother? A “captain”? And what, these islands make up your theatre, I suppose. (EaJ and JaE show extreme discomfort as Theodore unwittingly is getting extremely close to the truth). Unfortunately all of this will end quite tragically for our hero.
EaJ: (with Drunken James’ voice) with a little sarcastic shimmy) How enlightening. (Reclaiming the chair, and then looking back to JaE) My brother here wanted to be a priest - That’s why he talks so much while still remaining monotone - and I do believe he is about to deliver his sermon.
Theodore: (scolding and mocking) Captain James Crinfield-
EaJ: (with Drunken James’ voice) Just “Mortus” will do.
Theodore: You dare utter his name, even after….. (Looking at EaJ who is in the chair, then turing away as he trails off. He looks out, positioning himself DSL, looking out to the audience, presumably the sea, without giving eye contact to either EaJ or JaE)…. Well, if you insist on this outrageous role as the self-proclaimed pirate, at first feared by none…
EaJ: (with Drunken James’ voice) mumbling, half offended) well, that’s debatable…at least one, I would think.
Theodore: … (continuing, annoyed at the interruption) at first feared by none, grabbed the attention of all thirteen colonies, the West Indies, and England itself in a matter of half a year. How? Through arson, slaughter, plunder: a total disrespect for human life and decency.
EaJ: (with Drunken James’ voice) (pausing) Actually, quite right with your detail (referencing a page of his character notes, almost pointing out to Theodore the place in the notes that show his accurate points, but suddenly saved from doing so by JaE), except I never could quite strike fear in Pennsylvania. They’re a hard bunch, they are. And frankly, I wouldn’t use the term “self-proclaimed.” Why, just yesterday, I saw a little one pretending to be a pirate. They love me.
Theodore: (Not turning, just closing his eyes, sadly disengaged, as he is thinking about why he is there) Enough, you fool. I have lost too much hunting you. Two months tracking and twelve days of endless pursuit since our last rendezvous. (Now showing his emotion and opening up regarding his hardship and pain) I, I …. always tried to work both duties of faithful officer and respected brother….always tried to protect you, but to what end? …. I’ll have you know, not that you care, that just in this venture alone, I lost four young lads in last night’s storm.
EaJ: (with Drunken James’ voice, but unable to resist the acting challenge, thus changing into a serious Shakespearean actor) Do you expect me to shed tears, now. Do you not recall when I proudly announced my ambition to perform on the stage? You laughed, discouraged, forbid me from shedding my tears. You lost this lad (pointing to his heart) this lad, right here, in a lifetime of storms. So, do not point judgmental fingers at my inability to feel for your beloved rascals.
Theodore: What are you getting at?
EaJ: (with Drunken James’ voice) Only that you, dear respectful, dutiful brother, are the cloud that caused the storm.
JaE: (Aside, with James’ voice) That too is not a real idiom.
Theodore: Perhaps, but where would you be if I neglected my duties?
JaE: (Aside, with James’ voice) Where are we now since you didn’t?
Theodore: And do not point judgmental fingers at my inability to reign you in. We know, oh, we know, all too well, that the love of the stage was an act, perhaps your greatest, and that this act was all the grand performance for the lovely, the elusive, the unobtainable Pia, the one we both reached for, the one who….(wiping tears, unable to finish the sentence / Then more controlled). Do you recall, young brother, what happened after you succeeded so well at failing as an actor?
EaJ: (with Drunken James’ voice) (pausing, mostly because he really doesn’t know what Theodore is referring to, snapping at JaE to give him the character notes,,,but not obtaining them) Are you referring to how I tried to prove that pigs can fly and I threw Penelope out the window?
JaE: (Aside, with James’ voice) Now that is an idiom. (To EaJ, mostly to get him to change the painful topic, with lower character voice) I’m sure you were young and impressionable.
EaJ: (with Edward voice, directed at James) No, I was in control, unlike poor Penelope. (JaE whimpers painfully, through all of this JaE takes out a locket on the chain, which still has a picture of the beloved pig, and he whispers sweet words to Penelope displaying how much he misses her, occasionally wiping tears away, maybe softly repeating her name. This should not be too overly animated or revealing to the audience, and therefore not last too long))
Theodore: No, you fool. I’m referring to when you joined the navy! The best period of your life.
EaJ: (with Drunken James’ voice) Oh, yes, the very worst.
Theodore: A man serving the king!
EaJ: (with Drunken James’ voice) A boy serving a pig! (By now, JaE has composed himself, but this line gets him started up again and he bites down on his fist)
Theodore: You must have loved it.
EaJ: (with Drunken James’ voice, but as the lines continue becoming more sober) Only the rum. To hell with the rest. I fought someone else’s battles. At first protecting the trade routes between the colonies and England. Then I was called to the West Indies, like you, to fight the Anglo-Spanish War. The Navy, though, was….. limiting. So much more damage could have been caused for targeting the trade routes and such, not legal, of course, for any military to do.
Theodore: Immoral.
EaJ: (poignantly) But for the King.
Theodore: Honorable
EaJ: (with Drunken James’ voice, but sobering up) Indeed I was to serve in another way. I was trained to be an English paid privateer. And then…and then.. the war ended.
Theodore: Pity
EaJ:(with Drunken James’ voice, but sobering up. JaE takes this opportunity to find the knife) Did you know, of course you didn’t, that I refused at first to fire upon British vessels; I tried … I tried to protect women and children, but I couldn’t control my men. I let them pillage. I let them kill. I was a bad leader. Edward will agree. But I never took part in it myself. Not once. Just blamed for it. And sometimes, sometimes I wonder, I wonder how very different my life would be if my stage was a theatre rather than a deck of a ship. And you, you dear Theo, were partially right. I tried to keep Pia, her memory, her love, her graceful guidance deep in my heart. We, indeed lost her once, but if I let her spirit slip away from who I was and who I’ve become, why, my very essence, my very being, and all that built me to this moment would indeed be sad and meaningless and pathetically unfulfilling.
Theodore: I see. And that is why you’ve inscribed her name on this vessel. Changed its name.
EaJ: (with Sobered up James’ voice) Indeed Aye. So you see quite clearly now, do you not? Pia always has been on this ship. Now, now I want you to do what you came to do.
JaE: (Actually concerned at EaJ’s overdoing it, especially since the performance would allow the escape, with lowered character voice) What are you saying?
EaJ: (with James’ voice, dramatically) Indeed I ask only that you make it short. Make it quick. (JaE, who now has the blade, offers EaJ the globe, who then passes it on to Theodore. EaJ kneels down for dramatic effect, with arms outstretched like Jesus on the cross) Give me a quiet burial. That’s why you are here, so you can kill me with the love of a brother (facing audience, showing a facial expression that is actually quite nervous in case Theodore actually goes through it).
Theodore: (nodding in admittance that that is his purpose; beginning to prepare the kill from behind through bludgeoning him… then slumping over himself in shame, nearly dropping the globe, which is saved by EaJ) I … I can’t … I can’t kill you.
EaJ: (with James’ voice) (Very matter of factly, hugging Theodore encouragingly) So kill Mortus. Mortus is not your brother.
Theodore: But you, you are Mortus…don’t make this difficult. (getting up, readying himself for the deed, then stopping) Be off.
EaJ: (with James’ voice, but with Shakespearean flair) What? Deny me my tragedy? (Now placing it in his hand, moving the hand for him, showing him how to do it)
Theodore: I can’t end you. Your crew yes. Edward, yes, no offense, you seem like a really likeable chap.
JaE: (looking at the blade he stole, then realizing it might be seen, hiding it) I like you too.
Theodore: You, you brother are just a lost man.
EaJ: (with James’ voice, with a Shakespearean flair) Oh no no no no. No, you don’t! Don’t get all …. (Waves arms trying to come up with words)… all forgiving. Now is hardly the place or time… Ah, Edward, stop him! Or no, rather, make him do things. Make him kill me (to Theodore) Of all the times, Theodore, all the chasing, all the sins I’ve committed, making me go over it all, and then….and then…. Refusing to end me. (Building to crescendo) That. Is. Cruel. You’d make a horrible priest!
JaE: (awkward silence, then with lowered character voice) That was a bit harsh. (Now changing topic) Captain, I can’t seem to understand. No pirate gets this offer. Why do you keep this up?
EaJ: (with James’ voice, as he’s directing all comments at James) Oh Edward, you really do not know how depressed I am! Always needing the spotlight…. Always taking Center Stage… I deserve death! And….and …. I DON’T EVEN LIKE RUM!
JaE: (with lowered character voice) Well there must be a solution to this monstrosity! Captain, you want to die to repent for your sins but are you sure death is the only escape?
EaJ: (with Edward voice, completely breaking character) (As an offended diva, who gets what is wanted, but not wanting to give up on the pouting) It’s the most dramatic. So yes.
JaE:) It really has its points. You could just kill him. Do your duty.
EaJ: (with Edward voice, completely breaking character) You’ve never so zealously agreed with me, and frankly its not within the bounds of your character, don’t you think?
JaE: (with lowered character voice) I’m just improvising here, a bit, I must admit, but killing you does make sense. (Theodore seems to be contemplating this)
EaJ: (with James voice, coming back into character) (nervously) ha ha (then to Theo, smugly) but you still plan on killing the crew, right?
Theodore: That’s an absolute.
JaE: (with lowered character voice) Well, there’s still the plot hole…. (Contemplating, then offering) I could kill you both?
EaJ /Theodore: (both immediately dismissing the idea) mmmm, no.
Theodore: I wanted to be a priest, not a saint.
JaE: (with lowered character voice) How about I just leave.
EaJ: (with James’ voice) (with artistic contempt) Bit anti-climactic.
Theodore: Very practical, though.
JaE: (with lowered character voice) It’s agreed then. Despite what James said, you really would have made a good priest (bowing politely, but keeping his distance)
Theodore: Thank you. (Waves Edward off) (Pauses to find a bottle and pour himself a drink, as JaE passes on a quick handshake to EaJ, passing on the queen, backing away as he exits, telling him to just use a breathing technique as EaJ mouths for him to not leave…then Theodore, as looking for the first time intensely at JaE who is now offstage but within Theodore’s view) I like him. A man of few words. Disciplined. Caretaking. See how he escorts the young lady, making her first in everything. How gracefully she moves. (Pausing) He seems to represent everything I tried to make you into. How on earth did such a fellow land on your deck? (Now, as if figuring something out, looking deeply at JaE, then feeling around for his blade, then suddenly racing to his clothes, not finding the blade there, then back to the window) Indeed, how did you land such a fellow, so trusted, and why, pray do tell, would you ever trust him well enough to pass down your trusted blade?
EaJ: (completely as Edward, examining the piece handed to him, trying to make sense of it… then with clarity) So, it seems your brother wasn’t such a failed actor after all.
Theodore: Don’t speak in riddles. Why did you let this man slip away with our blade passed down for generations? Who… what… (Seeing the piece, taking it, examining it to the light) … the queen? What’s the meaning of this?
EaJ: (as self) James told me you were clever, the very steady rock of the British Royal navy, Admiral.
Theodore: What on earth are you talking about?
EaJ: (taking off his disguise for the first time, revealing that he not James) Come now, don’t disappoint. The act was good, I’ll admit, but a bit overdone, in my opinion. “Oh sleep it is a gentle thing...” and “dreams, they are welcomed deceptions… let me lie here, but awhile…” So many times, you were so close to catching Mortus, but never as close as now, but it looks like he, and that beautifully graceful Pia, once again slipped through your fingers, like little grains of sand.
Theodore: How did you …. You can’t mean…that was my…. (EaJ nodding encouragingly)….And therefore, Pia … is….
EaJ: (as self) Very much so… (Theodore grabs his sword)
Theodore: And you are?
EaJ: (as self, taking off mask) No one of consequence
Theodore: (exiting, then off stage, calling out) James! Pia!
EaJ: (as self) Go to, go find your meanings… (looking out the window, then discovering Theodore’s coat) …. and it looks like this actor will find yet another role to play (putting on the coat) or my name isn’t (repeating as if practicing lines) (as Theodore) Admiral Crinfield, Theodore Crinfield, Captain of the Aegir of the proud Royal navy… Captain of the Aegir … (fading, taking the queen piece, examining it dismissively, and tossing it on the nearby table) Long live the King.
Lights.
Musical Finale (Curtain Call):
Empty Stage Carlito enters Center, bows, starts playing, and plays throughout
Sebastiana, Sarastra, Scarpia - enter Center, Bow / All SR
Virtu, Fortuna, Alcina –enter Center, Bow / All SL
Almavivo, Maximinus – Bow / Split SR, SL
Edward, Macheath– Bow / Split SR, SL
Dafne, Tamino – Bow / Split SR, SL (but stay close, music seemingly ends)
James, Theodore enter Center, splitting Dafne and Tamino and dividing the line into SR who faces the characters on SL, the two recognize audience, bows, draw swords, all freeze in a tableau)
Lights.
Scene One
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Scene Three
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Scene Five
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Scenes 2 and 4:
The Stories of Finding Self, underscored with some mystic and tortured wisdom
Scene 2:
High Seas, years later, aboard the Reciprocity, Pirate Ship, In which Macheath questions crewmates from the captive vessel, and Pia slips away in the heat of battle |
Scene 4:
New Providence, years later, The Poison Tree Tavern In which Almavivo and Maximinus survive the shipwreck of the Cyclops, and meet three magical sisters |