SCENE ONE
(The levee at Natchez on the Mississippi. About 1890. The towboat “Mollie Able” is up R. The show boat “Cotton Blossom” is up L. STEVEDORES are piling up bales of cotton at R. WINDY an old pilot, stands on the Texas deck of the towboat, smoking his pipe and looking on)
STEVEDORES
Colored folk work on de Mississippi
Colored folk work while de white folks play-
Loadin’ up boats wid de bales of cotton,
Gittin’ no rest till de Judgement Day.
GALS
Git yo’self a bran’ new gal,
A lovin’ baby who’s de apple of yo’ eye.
Coal black Rose or high brown Sal,
Dey all kin cook de sparrer grass an’ chicken pie!
STEVEDORES
Hey! Git along, git along,
Git along, git along.
Hey! Git along, git along,
git along, hey!
STEVEDORES & GALS
Colored folk work on de Mississippi
Colored folk work while de white folks play –
Loadin’ up boats wid de bales of cotton,
Gittin’ no rest till de Judgement Day!
Cotton blossom, cotton blossom,
Love to see you growin’ free.
When dey pack you on de levee
You’re a heavy load to me!
Cotton blossom, cotton blossom,
Love to see you growin’ wild!
On de levee you’re too heavy
For dis po’ black child!
(STEVE enters from the show boat and places a picture frame
left of the gangplank. PETE, the engineer, enters from the
towboat. Coming down C., PETE and STEVE exchange dirty looks.
STEVEDORES work upstoge to a pile of bales. GALS sit around
on bulkhead, leaving downstage clear. QUEENIE, the cook,
waddles on from market with a basket of provisions on her head)
QUEENIE
Lordy, mah feet shure is killin’ me dis mornin’.
STEVE
Mornin’, Queenie.
QUEENIE
Mornin’, Mars’ Steve.
PETE
Hey there, nigger! Where y’all git dat brooch you’re wearin’?
(WINDY takes his pipe from his mouth)
QUEENIE
You mean dis scrumptious piece of jewelry?
PETE
Where’d you git it, nigger?
QUEENIE
It was give to me.
PETE
Who give it to you?
QUEENIE
Ax me no questions ‘n ah’ll tell y’ no lies!
(to herself, as she walks towards the show boat)
Dat man! Axin’ me where ah gets mah jewelry! Hm!
(QUEENIE exits. STEVE scowls at PETE and exits after QUEENIE.
PETE plunges his hand in his pockets and goes upstage. WINDY
replaces his pipe in his mouth)
STEVEDORES & GALS
Colored folk work on de Mississippi,
Colored folk work while de white folks play
Loadin’ up boat wid de bales of cotton,
Gittin’ no rest till de Judgement Day!
Cotton blossom, cotton blossom,
Love to see you growin’ wild!
On de levee you’re too heavy
For dis po’ black child!
(A group of dainty, beruffled MINCING MISSES enter from R. and L.
They go over to the pictures. The GALS move upstage again, imitating
the white girls’ mincing gait)
1st MINCING MISS
The center picture is Julia LaVerne, the leading lady.
(PETE turns and slouches downstage)
2nd MINCING MISS
My – isn’t she beautiful!
(The local BEAUX make a dashing entrance from stage right,
like the young bucks they are – they stand off and ogle the
demure maidens. PETE hangs around the picture frames as the
GIRLS turn to be demure for the BEAUX)
BEAUX
What a pretty bevy!
Ah! There! Ah, there!
The fairest of the fair
To Southern beauty
Ev’ry beau must bow!
MINCING MISSES
How you love to flatter,
You rogues! You rogues!
(confiding to audience)
Oh, goodness gracious!
They’re so flirtatious!
(to Beaux)
You naughty fellows
Seem to think you please us
When you tease us
So!
You’re a reckless lot
We know!
BEAUX
Little women don’t be timorous!
You will find acting thus
Only makes a man more bold!
These are not the days of old!
BEAUX
(each grabbing a Mincing One)
See! The show boat!
That’s old Captain Andy’s “Cotton Blossom,”
Will you go?
Let me take you to the show!
GALS
H’yah! Look live dere!
GIRLS
Twil1 be delightful,
But to rightfully accept I have to make Mama
Get permission from Papa!
STEVEDORES & GALS
H’yah! Look live dere!
GIRLS & BOYS
(reading handbills)
Captain Andy has gathered a troupe
In the greatest of drammers and jolly comedies.
Stephen Baker, the handsomest leading man
And beautiful Julie LaVerne as well!
STEVEDORES & GALS
Ho! Ho! Ho!
BOYS & GIRLS
“Cotton Blossom,”
Captain Andy’s floating show!
Thrills and laughter,
Concert after,
Ev’rybody’s sure to go!
“Cotton Blossom,” “Cotton Blossom,”
Captain Andy’s floating show!
Thrills and laughter,
Concert after,
Get your girl and go!
STEVEDORES & GALS
Cotton blossom, cotton blossom,
Love to see you growin’ free,
When dey pack you on de levee
You’re a heavy load to me.
Cotton blossom, cotton blossom,
Love to see you growin’ wild!
On de levee
You’re too heavy
For dis po’ black child!
BOYS & GIRLS
So get your girl and go!
STEVEDORES & GALS
So let dat whistle blow!
(PETE steals JULIE’s picture from the frame. WINDY takes
his pipe from his mouth PETE hastily puts picture out of
sight as he slinks away and exits onto the towboat. PARTHY’s
voice is heard off stage)
PARTHY
(off stage)
Andy!!!
(She enters)
Drat that man, he’s never around!
(MAGNOLIA is heard practicing the piano on board
the “Cotton Blossom”)
WINDY
(from the Texas deck)
Lookin’ for Cap’n Andy?
PARTHY
Yes, Windy – have you seen him?
WINDY
Nope.
(He puts his pipe back in his mouth)
PARTHY
Well – if y’ ain’t seen him, why did you ask
me if I was lookin’ for him?
(WINDY has an irritating way of not seeming to hear)
Y’old weather-beaten buzzard! I’m goin’ to tell my husband
to get a new pilot…
1st MINCING MISS
Is that your little girl playing the piano?
PARTHY
Yep – ain’t so little any more – eighteen this comin’ August.
1st MINCING MISS
I’ve brought a chocolate cake for Captain Andy.
2nd MINCING MISS
And I have some plum jelly for him
PARTHY
Well, he ain’t around and the Lord knows when he will be.
3.Cap’n Andy’s Ballyhoo
(The band is heard in the distance)
BOY
Here comes the Show Boat parade!
(The CROWD gathers, shouting and waving their hats. Some
coloured children run on, leaping, dancing, throwing their
hats in the air. CAPTAIN ANDY enters from stage R., with a
girl on each arm, behind him the brass band and balance of
the troupe and followers. He finishes stage C.)
GIRLS
(presenting candy, etc., to ANDY)
Captain Andy, Captain Andy,
Here’s your lemon cake and homemade candy.
Quince preserve and apple brandy;
Mama sends her best regards to you.
GIRLS & BOYS
Captain Andy, Captain Andy,
We’ve been hearing all about your dandy Show.
Is this year’s good as last year?
Won’t you tell us what is new?
ANDY
Ladies and Gentlemen – I want you to meet some of the greatest
artistes that ever played the river town… Miss Ellie May Chipley,
the toast of Cairo, Illinois.
(applause)
C’mon, Ellie!
(He pulls her by the hand to the center.
All applaud. ELLIE simpers)
Next, I want y’all to meet Frank Schultz
(FRANK steps out – applause)
Mr. Schultz is the villain in our play – but off the stage, he’s
as meek as a lamb, and wouldn’t hurt a fly – and he’s stuck on Ellie.
(All laugh lightly – but ANDY laughs the loudest)
That’s they way they are, folks – jest one big happy family! And I’m
their father –
Ha! Ha!
(GIRLS laugh)
And Parthy here is the mother –
Ha! Ha!
(All laugh)
What about that, Parthy?
PARTHY
Oh, y’ make me sick!
ANDY
(coughing)
Jest one big happy family! Now, folks I want you to meet the little
sweetheart of the South – Miss Julia LaVerne, our leading lady
(applause)
Y’all know her, and y’all love her – what more can say? And we have
another famous ornament of the stage with us – Mr. Stephen Baker! The
handsomest leading man in the middle west!
(STEVE, who has been scowling at PETE, achieves a prop smile. The
GIRLS gasp admiringly)
So here we are, folks – jest one big happy family!
ANDY
Look’t we got! Look’t we got!
How can we fail? How can we fail?
You never seen a show like this before!
We’ll try to make the evening bright,
And if you come around tonight,
Tomorrer night you’ll come around for more.
GIRLS & BOYS
Captain Andy, Captain Andy
You know how to make a show sound dandy.
ANDY
Frank and Ellie,
C’mon, let’s show ’em
Jest a sample of your soft-shoe dance!
PARTHY
(the note of warning – she has stood enough)
Captain Andy! Captain Andy!
ANDY
(pleading)
Jest a sample
PARTHY
What a man! My land, he
Gives away his show for nuthin’!
ANDY
(to FRANK and ELLIE)
Jest a sample of the dance!
(He signals the band, turns to the crowd and beams as the dance
begins. At the finish of the dance FRANK and ELLIE strike a pose)
Looking out to sea!
(At the end of the dance ANDY applauds with so much gusto
that the crowd would be ashamed not to follow suit. ANDY
begins passing out handbills)
Well, folks, that was jest a sample – don’t forget the bill tonight –
“Tempest and Sunshine” – that beautiful melerdrammer of tears and
laughter concert after the show – Bring the children – come one, come all!
(ANDY works upstage among the crowd – part of the CROWD gathers
around JULIE and STEVE, the BOYS around JULIE, and GIRLS around STEVE,
so they are temporarily separated. These admirers, however, keep at
some little distance as they stand and worship their idols of the stage.
PETE slinks up to JULIE)
PETE
Hey, Julie! That’s hell of a thing to do – giving my present to a nigger –
JULIE
(nervously)
Pete – if Steve ever knew about you sending me that brooch, I declare
he’d just about beat you to death –
(STEVE sees PETE and JULIE together)
PETE
Well, he’d better not try, and you better be pretty nice to me –
or you’ll be mighty sorry –
(STEVE has come up to PETE- he takes his arm
and swings him around so that he faces him)
STEVE
I told you to keep away from my wife. I reckon I won’t do
any more talkin’ about it.
(Holding PETE’s arm, he strikes him and
knocks him down. JULIE screams)
JULIE
Steve! Don’t!
(The men clinch – PARTHY sees them)
PARTHY
Andy!
(PETE and STEVE struggle – GIRLS shriek, the crowd
mills around the two men as they wrestle. ANDY hops
about ineffectually. PETE falls – ANDY rushes in and
holds STEVE)
STEVE
I’ll kill him!!!
ANDY
Get on that boat!
(FRANK runs up – ANDY sort of passes STEVE to FRANK, who
leads him back into the boat STEVE, half dazed with anger,
and weakened by the nervous outburst, follows meekly, dimly
realizing he has done something wrong. ELLIE helps PETE to
his feet. ANDY looks around – the CROWD looks puzzled – he
must say something. Suddenly he becomes inspired)
ANDY
Well, folks – that was jest a sample. The boys jest showed
you a scene from one of our bills – that’s the way they are,
folks… always skylarking, always playing pranks.
(He looks around at a horrified PARTHY and ELLIE,
solemn JULIE, and PETE, just coming to)
…Jest one big happy family!
(He gives the band the high sign – they strike up a tune –
“Cotton Blossom”. He cheers and throws his hat in the air –
his good spirits infect the CROWD. who follow suit and join
in singing “Cotton Blossom” as they exit)
ALL
Cotton Blossom, Cotton Blossom,
Captain Andy’s floating show!
Thrills and laughter,
Concert after,
Get your girl and go!
(This exit masks the entrance of a gentleman in
elegant but frayed clothes, who has paused up C.
This is GAYLORD RAVENAL. He leans against the
bulkhead and looks out over the river. His face is
not yet seen. ANDY, ELLIE, PARTHY and JULIE are
left on stage. PETE confronts JULIE)
PETE
Just wait! I’ll get you two for this, and I know how I can do it –
and when I start in, you’ll be sorry you were ever born –
ANDY
You get away from here, you little no-account river rat!
You’re fired!
(PETE exits)
An’ if y’ever come near my show boat again, I’ll pitch you right
into the river! And don’t try to get on the towboat either…
(looking up to WINDY)
Y’hear that, Windy?
(WINDY nods)
Throw him right off the boat.
(WINDY nods)
We’ll pick up a new engineer in Fort Adams.
PARTHY
(Looking hard at JULIE)
Humph – nice goin’s on!
ANDY
(looking sympathetically towards JULIE)
It wasn’t Julie’s fault, Parthy –
PARTHY
‘N you protectin’ her!
JULIE
The one thing I’m grateful fer is that Magnolia wasn’t here –
PARTHY
So am I – an’ I’ll be grateful for somethin’ else, Miss LaVerne –
I’ll have to ask you to stop givin’ Magnolia pianner lessons.
In fact, I don’t want my daughter mixed up with you – or anybody
like you –
JULIE
Mrs. Hawks – please don’t say that – Nola is like a little sister
to me – outside of Steve, I don’t love anybody like I love Nola –
(crossing to ANDY)
Mr. Hawks – if I have to stop seeing her – I can’t stay on the
Cotton Blossom – I just can’t!
(She runs into the show boat as the tears come rushing to her eyes)
ANDY
Now you done it – now you done it!
The best leading lady on the river!
ELLIE
(coyly snuggling up to ANDY)
Oh, Cap’n Andy, if Julie goes, will you give me a chance
at the leads? I’d love to get a crack at a serious part –
I’d be a sensation in drammer.
ANDY
Why, Ellie! There ain’t a funnier girl on the river ‘n you are!
ELLIE
(anxiously clutching his arm and kneeling)
Oh, Captain Andy, don’t! Don’t stamp your foot down
on real actin’ ability!
PARTHY
(grimly)
Leave go my husband’s arm –
(ELLIE edges away gingerly. PARTHY turns her attentions
to ANDY. During the following tirade he doesn’t dare answer.
He stands meek and still)
An’ you – you think more of your show boat troupe than you
do of your own daughter’s upbringing – Well, thank God, her
mother had a good Christian bringin’ up in Massachussetts.
Where I come from, no decent body’d touch this show boat
riff-raff with a ten foot pole – let alone have their
daughters mixed up with them – I’ll have more to say to
you, later!
(She exits into the boat. ANDY waits until she’s gone –
then, oblivious to ELLIE’S presence, he answers PARTHY back)
ANDY
(walking up and down and arguing
with his imaginary adversary)
Oh, you will, will you? Well, maybe I’ll have somethin’ to say
to you, too – ‘s far as that goes I’d just as soon have her be
friends with Julie as any gal I know – yes – Julie! You heard me!
(He sees ELLIE)
My God – I’ll tell her!
PARTHY]
(off stage)
Andy!!!
ELLIE
Are you going to tell her all that now?
ANDY
No – I’ll tell her tonight – late. I don’t want any more trouble
before the show. Jest one big happy family – bah!!
(ANDY exits into the show boat ELLIE turns away
from the boat and sees RAVENAL-)
ELLIE
It’s a man…
(RAVENAL turns, and we see him for the first time – so does
ELLIE. He strides down-stage, nonchalantly swinging his cane.
She thinks he’s grand – she drops her handkerchief. RAVENAL
picks up her handkerchief and hands it to her with courtesy)
ELLIE
Thank you so much.
RAVENAL
Delighted to be of service, Ma’am.
(ELLIE gives him a flirtatious glance and crosses left.
RAVENAL looks after her, mildly amused. He takes the long
cheroot from his mouth and looks at it reflectively. VALLON
enters from stage R. RAVENAL sees him. They regard each
other coolly for a moment)
VALLON
Back in town, Gay?
RAVENAL
For a short stay…
VALLON
Can’t be more than twenty-four hours, you know.
RAVENAL
Give me time, can’t you? I haven’t been twenty-four
hours stepping off the gangplank onto this wharf,
have I? I can get back on just as quickly.
(With impulsive irritation, he throws his
half smoked cheroot to the ground)
VALLON
No offense, Gay – just thought I’d remind you in case
of trouble. It’d be terrible to have you locked up –
all the purty gals on the river front’d be cryin’
their eyes out. Where you aim to go from here?
RAVENAL
Who cares? Who cares where I go?
VALLON
Seegar?
(As he proffers a cigar, RAVENAL raises
his eyebrows disdainfully)
RAVENAL
What did you call it?
VALLON
See-gar.
RAVENAL
Optimist. .
(VALLON shrugs his shoulders and walks off R. RAVENAL
swings his cane airily and strolls up and down as he sings:)
4.Where’s The Mate For Me?
RAVENAL
Who cares if my boat goes upstream,
Or if the gale bids me go with the river’s flow?
I drift along with my fancy
Sometimes I thank my lucky stars my heart is free –
And other times I wonder where’s that mate for me?
(MAGNOLIA begins again on the piano, off stage. He looks up.
She hesitates in her fingering at a certain point. He pantomimes
the serious anxiety a listener always feels, hoping she’ll hit
the right note. He sits on a cotton bale and goes on with his
musing, idly tapping his cane on the ground)
RAVENAL
The driftwood floating over the sea
Someday finds a sheltering lee,
So, somewhere there surely must be
A harbour meant for me –
(MAGNOLIA enters on the upper deck of the show boat)
I drift along with my fancy –
Sometimes I thank my lucky stars my heart is free,
And other times I wonder where’s the mate –
(He turns and sees MAGNOLIA. What a picture! A very young
face, and a fluffy dress all pink with flowers and everything –
and she is becomingly shy – yet bold enough to return his gaze –
and to speak first)
MAGNOLIA
Hello…
RAVENAL
(taken by surprise – an unusual thing)
Er – how do you do?
MAGNOLIA
Do you live here?
RAVENAL
No – I’m just a way-farer along the river
MAGNOLIA
So am I – which way are you going?
RAVENAL
Either way – where are you going?
MAGNOLIA
Anywhere Papa gives shows.
RAVENAL
(a trifle jarred)
Oh – are you a player?
MAGNOLIA
You mean like on the pianner? Yes – I play a little.
RAVENAL
Oh – was that you I heard just now -?
MAGNOLIA
Yes – that was me!
RAVENAL
(under his breath)
What a pity!
MAGNOLIA
What did you say, Mister?
RAVENAL
Er – when I asked you if you were a player – I meant –
are you an actress?
MAGNOLIA
Oh – no – but I’d give anything if I could be.
RAVENAL
Why?
MAGNOLIA
Because you can make believe so many wonderful
things that never happen in real life.
RAVENAL
But wonderful things do happen – this very day
I was standing here on the levee – feeling blue –
and suddenly I looked up, and –
MAGNOLIA
I must go now –
RAVENAL
Why?
MAGNOLIA
Well, you see, you’re talking to me – and I don’t know you –
RAVENAL
Does that really matter so much?
MAGNOLIA
N-no – not to me – but they say it isn’t nice.
RAVENAL
If you like to make believe things, why can’t
we make believe we know each other?
MAGNOLIA
Oh, yes – and we haven’t seen each other for seventy-five
years, and you’re my long-lost nephew – there’s a scene
like that in a play called “The Village Drunkard.”
RAVENAL
No – seventy-five years is too long – besides, I don’t
think I’d like the idea of being your nephew. Let us
imagine that we’ve just met –
MAGNOLIA
But we really have.
RAVENAL
Yes – but let’s just suppose that we’ve fallen in love
at first sight.
5.Make Believe
(sings:)
Only make believe I love you,
Only make believe that you love me.
Others find peace of mind in pretending –
Couldn’t you?
Couldn’t I?
Couldn’t we?
Make believe our lips are blending
In a phantom kiss, or two, or three.
Might as well make believe I love you,
For to tell the truth, I do.
(He steps back)
Your pardon I pray,
‘Twas too much to say
The words that betray my heart.
MAGNOLIA
We only pretend,
You do not offend
In playing a lover’s part.
The game of just supposing
Is the sweetest game I know.
Our dreams are more romantic
Than the world we see
RAVENAL
And if the things we dream about
Don’t happen to be so,
That’s just an unimportant technicality.
MAGNOLIA
Though the cold and brutal fact is
You and I have never met,
We need not mind convention’s P’s and Q’s.
If we put our thoughts in practice
We can banish all regret
Imagining most anything we choose.
We could make believe I love you,
We could make believe that you love me.
MAGNOLIA & RAVENAL
Others find peace of mind in pretending,
Couldn’t you,
Couldn’t I?
Couldn’t we?
RAVENAL
Make believe our lips are blending
In a phantom kiss – or two – or three.
MAGNOLIA & RAVENAL
Might as well make believe I love you,
RAVENAL
For to tell the truth, I do…
(RAVENAL reaches up and kisses MAGNOLIA’s hand.
They stand and gaze at each other. VALLON enters
from R. followed by JOE, who is carrying a sack
of flour, which he places on stage up C.)
VALLON
Ravenal – the Judge’d like to see you.
RAVENAL
What for?
VALLON
Nothin’ serious – but I reckon you’d better come along
and have a talk with him.
(RAVENAL turns to MAGNOLIA)
You will excuse me, ma’am? I hope I’ll see you again –
in a little while.
(He bows and exits grandly with VALLON, patting
the top of his hat with a flourish and swinging his
cane. MAGNOLIA looks after him adoringly. Then
she sees JOE looking at RAVENAL curiously)
MAGNOLIA
Oh, Joe! Did you see that young man I was talkin’ to?
(JOE turns)
JOE
Mornin’, Miss Nola… Yep – I seed him – seed a lot
like him on de river –
MAGNOLIA
Oh, Joe, he was such a gentleman! Have you seen Miss Julie?
I got to tell her – I got to ask her what she thinks –
(MAGNOLIA exits L.)
JOE
Better ask de ol’ river what he thinks – he knows
all ’bout dem boys… he knows all ’bout everythin’…
(JOE sits on a box, takes out a knife, picks up a shaving
and starts to whittle, idly, as he sings:)
6.Ol’ Man Rive
JOE
Dere’s an ol’ man called de Mississippi;
Dat’s de ol’ man dat I’d like to be!
What does he care if de world’s got troubles?
What does he care if de land ain’t free?
Ol’ Man River,
Dat Ol’ Man River
He mus’ know sumpin’
But don’t say nuthin’,
He jes’ keeps rollin’,
He keeps on rollin’ along.
He don’ plant taters,
He don’ plant cotton,
An’ dem dat plants ’em
Is soon forgotten,
But Ol’ Man River,
He jes’ keeps rollin’ along.
You an’ me, we sweat an strain,
Body all achin’ an’ racked wid pain –
Tote dat barge!
Lift dat bale!
Git a little drunk,
An’ you land in jail…
Ah gits weary
An’ sick of tryin’;
Ah’m tired of livin’
An’ skeered of dyin’,
But Ol’ Man River,
He jes’ keeps rollin’ along.
(BARGE MEN enter, pulling rope, during the following
verse. The curtains close in, leaving JOE and MALE CHORUS
in front, in one)
Colored folk work on de Mississippi
Colored folk work while de white folks play,
Pullin’ dem boats from de dawn to sunset,
Gittin’ no rest till de Judgement Day.
MEN
Don’ look up
An’ don’ look down
You don’ dast make
De white boss frown.
Bend your knees
An’ bow your head,
An’ pull dat rope
Until yo’ dead.
JOE
Let me go ‘way from the Mississippi
Let me go ‘way from de white man boss;
Show me dat stream called de river Jordan,
Dat’s de ol’ stream dat I long to cross.
MEN
Ol’ Man River,
Dat Ol’ Man River,
He mus’ know sumpin’
But don’t say nuthin’,
He jes’ keeps rollin’,
He keeps on rollin’ along.
JOE
Long ol’ river forever keeps rollin’ on…
MEN
He don’ plant taters,
He don’ plant cotton,
An’ dem dat plants ’em
Is soon forgotten,
But Ol’ Man River,
He jes’ keeps rollin’ along.
JOE
Long ol’ river keeps hearing dat song.
You an’ me, we sweat an’ strain,
Body all achin’ and racked wid pain –
Tote dat barge!
Lift dat bale!
Git a little drunk
An’ you land in jail…
JOE & MEN
Ah gits weary
An’ sick of tryin’;
Ah’m tired of livin’
An’ skeered of dyin’,
But Ol’ Man River,
He jes’ keeps rollin’ along!
(BLACKOUT)
ACT ONE, SCENE TWO
(The kitchen pantry of the “Cotton Blossom,” a half hour later.
Chair and sugar barrel down L. Kitchen table up L. Cupboards and
shelves on back wall. Kitchen presumably off L. At rise, MAGNOLIA
is sitting on chair, right, day-dreaming. QUEENIE enters with a
pan of biscuits)
QUEENIE
What cher doin’ all by yourself, Miss Nola?
MAGNOLIA
Nothin’. Just waitin’. I wish Julie would come –
QUEENIE
Ah declare, ef de kitchen pantry ain’t de funniest place to be
meetin’ people.
JULIE
(whispering off stage)
Nola! You there? Nola –
MAGNOLIA
(same tone)
C’m on in, Julie –
JULIE
(entering)
I had a hard time getting here – I just missed being caught
by Parthy. Oh, look at Queenie’s biscuits!
QUEENIE
Now look here, Miss Julie. Dinner’ll be in five minutes.
JULIE
Oh, let me take a bite. Joe’ll help you make some more.
QUEENIE
Joe! Dat lazy nigger don’t help me – he’s always too ‘ tired –
ef dat feller ever tried to cook, he’d be puttin’ popcorn in
flapjacks so dat dey’d turn over by demselves!
MAGNOLIA
Sit down, Julie – I got to tell you something.
JULIE
(sitting)
I’m just dying to hear what it is…
(MAGNOLIA climbs on sugar barrel next to JULIE’s chair,
and squats, tailor fashion)
MAGNOLIA
Julie – I’m in love –
QUEENIE
(stopping in her action as she is reaching
to the shelf for a box of salt)
What’s dat? You says in love…?
(She laughs – much too boisterously to suit MAGNOLIA )
Why yo’ po’ crazy little gal – you got your first long skirt
and you in love!
(QUEENIE laughs even louder than before – which seemed impossible –
and exits into the kitchen with her box of salt)
JULIE
(taking MAGNOLIA’s hands in hers)
Tell me all about it, honey, who is he?
MAGNOLIA
I don’t know – he was standing on the wharf – and I was
standing on the top deck, and he looked so different
from anybody else and so – so beautiful.
JULIE
(snuggling MAGNOLIA’s head against her bosom)
Yo’ poor little lamb –
(JULIE is thoughtful. MAGNOLIA can’t wait for her comment,
and turns to her impulsively)
MAGNOLIA
Julie, he said he liked me – d’ye think he meant it?
JULIE
I don’t know, child – I don’t know as I like you to go fallin’
in love with some man that nobody ever heard of – suppose he
turned out to be a – be just a no-account river feller –
MAGNOLIA
But if I found out he was no-account, I’d stop lovin’ him…
JULIE
Oh, no, you wouldn’t – once a girl like you starts to love a man,
she don’t stop so easy –
MAGNOLIA
Couldn’t you stop lovin’ Steve if he treated you mean?
JULIE
No, honey, no matter what he did –
MAGNOLIA
Why do you love Steve?
JULIE
I don’t know – he’s such a bad actor on the stage, and he thinks
he’s so good – maybe that’s why I love him – you see, child –
love’s a funny thing – there’s no sense to it – that’s why you got
to be so careful when it comes creeping up on you –
MAGNOLIA
It’s like that thing you always sing when we take our walks…
JULIE
I know…
7.Can’t Help Lovin’ Dat Man
(sings:)
Fish got to swim, birds got to fly,
I got to love one man till I die
Can’t help lovin’ dat man of mine.
MAGNOLIA
That’s it…
(QUEENIE, re-entering, stops in her tracks and looks puzzled)
JULIE
Tell me he’s lazy, tell me he’s slow,
Tell me I’m crazy (maybe I know)
Can’t help lovin’ dat man of mine.
QUEENIE
How come y’all know dat song?
(JULIE stops abruptly, a swift terror steals across her face, and
quickly vanishes – succeeded by an expression of stolid caution)
MAGNOLIA
Why? Do you know it, Queenie?
QUEENIE
F’sho’ ah does – but ah didn’t ever hear anybody but colored folks sing
dat song – sounds funny for Miss Julie to know it –
MAGNOLIA
Why, Julie sings it all the time.
QUEENIE
Kin y’sing de whole thing?
JULIE
‘Course I can
(almost fiercely)
What’s so funny about that?
(She starts to sing in an attitude of defiance,
then lapsing into the “blue” spirit of the song)
Oh, listen, sister,
I love my mister man,
And I can’t tell yo’ why.
Dere ain’t no reason
Why I should love dat man –
It mus’ be sumpin’ dat de angels done plan.
Fish got to swim, birds got to fly,
I got to love one man till I die –
Can’t help lovin’ dat man of mine.
Tell me he’s lazy, tell me he’s slow,
Tell me I’m crazy (maybe I know)-
Can’t help lovin’ dat man of mine.
When he goes away
Dat’s a rainy day,
But when he comes back dat day is fine,
(carried away)
De sun will shine!
(QUEENIE goes on beating time with a spoon)
He kin come home as late as kin be,
Home widout him ain’t no home to me –
Can’t help lovin’ dat man of mine!
QUEENIE
(tickled to death)
Dat’s beautiful, Miss Julie –
JOE
(entering, eating an apple)
Was dat you, Miss Julie? Dat’s mah favorite song!
QUEENIE
(singing “at” Joe)
Mah man is shif’less
An’ good for nuthin’ too
(He’s mah man jes’ de same)
He’s never round here
When dere is work to do –
(Looking hard at JOE. Two COLORED SERVANTS enter from R.)
He’s never round here when dere’s workin’ to do.
JOE
He’s never round yo’ when dere’s workin’ to do.
(Another colored helper comes on from L. and listens, entranced)
QUEENIE
De chimbley’s smokin’,
De roof is leakin’ in,
But he don’ seem to care.
He kin be happy wid jes’ a sip of gin –
JOE
Why you all talk ’bout gin?
QUEENIE
Ah even loves him when his kisses got gin!
JULIE, QUEENIE & SERVANTS
Fish got to swim and birds got to fly,
I got to love one man till I die –
Can’t help lovin’ dat man of mine.
Tell me he’s lazy, tell me he’s slow,
Tell me I’m crazy (maybe I know)
Can’t help lovin’ dat man of mine.
When he goes away, dat’s a rainy day,
But when he comes back, dat day is fine,
De sun will shine!
He kin come home as late as kin be,
Home widout him ain’t no home to me –
Can’t help lovin’ dat man of mine!
JOE
While de birds fly, till de world dies,
I’ll love dat gal of mine
(Or else she ain’t my gal!)
She’s lazy and slow, crazy, I know.
Can’t help lovin’ dat gal.
(She’s jes’ as crazy ’bout me!)
When I goes away, all de rainy day,
An’ when I comes back, dat day is fine,
Yes, sister.
She kin come home as late as kin be,
Home widout her ain’t no home to me,
Can’t help lovin’ dat gal of mine!
TWO MALE SERVANTS
While de birds fly up in de sky
My gal loves me;
Dat’s why she’s true gal of mine
She may be lazy and slow as cold molasses, I know,
Can’t help lovin’ dat gal of mine!
When I goes away, dat’s lovin’
all de rainy day, dat’s lovin’,
An’ when I comes back dat day is fine,
Yes, sister!
She kin come home as late as kin be,
Home widout her ain’t no home to me,
Can’t help lovin’ dat gal of mine!
(MAGNOLIA has started to do the shuffle)
JOE
Look at dat little gal shuffle!
(MAGNOLIA dances. QUEENIE and JOE egg her on, ad lib)
JULIE, QUEENIE & WOMEN
He kin come home as late as kin be,
Home widout him ain’t no home to me,
Can’t help lovin’ dat man of mine!
JOE & MEN
She kin come home as late as kin be,
Home widout her ain’t no home to me,
Can’t help lovin’ dat gal of mine!
(BLACKOUT)
ACT ONE, SCENE THREE
8.Life on the Wicked Stage
ELLIE
Why do stage struck maidens clamor
To be actin’ in the drammer?
GIRLS
We’ve heard say
You are gay
Night and day.
ELLIE
Oh, go ‘way!
GIRLS
We drink water from a dipper,
You drink champagne from a slipper.
ELLIE
Tho’ it seems Crool to bust
All your dreams,
Still I must;
Here’s the truth I tell you:
Life upon the wicked stage
Ain’t ever what a girl supposes;
Stage door Johnnies aren’t rag-
Ing over you with gems and roses.
When you let a feller hold your hand (which
Means an extra beer or sandwich),
Ev’rybody whispers: “Ain’t her life a whirl?”
Though you’re warned against a roué
Ruining your reputation,
I have played around
The one night trade around
A great big nation:
Wild old men who give you jewels and sables
Only live in Aesop’s Fables.
Life upon the wicked stage
Ain’t nothin’ for a girl.
GIRLS
Though we’ve listened to you moan and grieve, you
Must pardon us if we do not believe you,
There is no doubt
You’re crazy about
Your awful stage!
ELLIE
I admit it’s fun
To smear my face with paint,
Causing ev’ryone
To think I’m what I ain’t,
And I like to play a demi-mondy role
With soul!
Ask the hero does he
Like the way I lure
When I play a hussy
Or a paramour,
Yet when once the curtain’s down
My life is pure,
And how I dread it!
GIRLS
Life upon the wicked stage
Ain’t ever what a girl supposes,
Stage door Johnnies aren’t rag-
Ing over you with gems and roses.
ELLIE
If some gentleman would talk with reason
I would cancel all next season.
Life upon the wicked stage
Ain’t nothin’ for a girl!
GIRLS
You’d be back the season after!
(DANCE)
9.Till Good Luck Comes My Way
(RAVENAL enters from the saloon, followed by MEN)
RAVENAL
The man who ventures with chance
Is the man who’s adding the salt, romance,
To a world
That otherwise is dark and drear.
The sane conservative lot
Have their fate secure in a guarded spot
Of the world,
They’re welcome to their drab career.
TENORS
It is all well enough to be grinning
While your winnings grow,
But when Fortune reverses her spinning,
Life is not a-glowing.
BASSES
It is easy to be grinning
While your stack is growing,
But when Fortune reverses her spinning
Life is not a-glowing.
ALL MEN
That is why we like to see
Someone who can be
Unconcerned and free
Like you.
RAVENAL
If I am losing today
I will take my loss and I’ll pay
For I know that in time my luck will turn,
It’s bound to turn.
Till good luck comes my way
I’ll play along,
While there’s a game on the highway
I’ll stray along
With just the turn of a wheel
Or the flip of a card as my guide.
I let fate decide
If I walk or ride.
Why sit alone with your sorrow
And kill the day?
There may be sunshine tomorrow
To fill the day.
While I’ve a heart and a brain
And my ebony cane
I can borrow
Until the day when good luck comes my way.
MEN
Never venture, never gain;
Men of caution, it is plain.
Fortune will change like an April day,
So we will wait till good luck
Will come our way!
RAVENAL
Never venture, never gain;
Men of caution, it is plain,
Live in vain,
So I will wait till good luck
Will come my way!
ACT ONE, SCENE FOUR
10.Mis’ry’s Comin’ Aroun’
(After a short prelude, the curtain rises.
The auditorium of the “Cotton Blossom,”
QUEENIE and the COLORED CHORUS are sweeping and
cleaning in preparation for the rehearsal to come.
JOE is polishing the brass rails)
QUEENIE.
Mis’ry’s comin’ aroun’,
De mis’ry’s comin’ aroun’,
I knows it’s comin’ aroun’,
Don’t know to who.
QUEENIE & WOMEN
Mis’ry’s comin’ aroun’,
De mis’ry’s comin’ aroun’,
We knows it’s comin’ aroun’
Don’t know to who.
JOE
Better hurry up dat cleanin’…
Cap’n Andy gonna rehearse soon.
QUEENIE
Who you givin’ orders to, shif’less?
JOE
You heared me… say, what’s a matter wif you
today, Queenie? You been snappin’ back at me
lak an ol’ mud turtle.
QUEENIE
I don’ feel right today. You jes’ lemme alone
an’ keep polishin’ yo’ rails…
SOLO VOICE
Heaven keep dat devil away.
TWO VOICES
Keep dat misery far away.
TWO MORE VOICES
An’ if he is a’comin’ today
ALL
Heaven, don’cha let him stay!
(MAGNOLIA and JULIE enter)
MAGNOLIA
Pa ain’t here yet.
JULIE
He will be in a minute – you get at your pianner.
MAGNOLIA
Oh, Julie, I hate to rehearse today. I’d rather
sit and talk to you about him.
JULIE
Well, you can’t now, honey. I’m goin’ to slip
backstage. I don’t want your ma to know we
been talkin’ together.
QUEENIE
Mis’ry’s comin’ aroun’,
So if you done any wrong
Den lift yo’ feet off de groun’
An’ fly away.
MEN
If you done any wrong
Jes lif’ yo’ feet off de groun’
An’ fly away, An’ fly away.
JULIE
Why you all singin’ dat song, Queenie?
QUEENIE
When I got out a bed dis mornin’,
ah knowed somethin’ was goin’ to happen.
JULIE
Well, what’s happened?
QUEENIE
Nuthin’… yet.
(sings:)
I knows misery’s near,
I don’t know why it is here,
Don’t know for who,
Don’t know for why,
Why dat misery’s near.
MEN
I only knows it’s near,
Don’t know for who,
I don’t know for why
Dat misery’s near.
SOLO BASS
I knows misery done come here.
(JULIE has by now walked up the steps to the stage. In spite
of herself, she has started rocking and swaying like the others)
JULIE
When I dies, let me rest
With a dish on my breast.
Some give nickel some give dime,
All dem folks is fren’s o’ mine.
ALL
On my back, in a hack,
In a fohty dollar hack.
No mo’ gin, no mo’ rum,
Oh, de misery’s done come!
JULIE
(suddenly hysterical)
Stop that rotten song!
(Everybody looks at her, awe-struck)
It’s enough to bring misery to us all if you
keep singing like that!
(There is silence. ANDY is heard off stage)
ANDY
Take her up, Rubberface!
(The roller curtain is raised revealing ANDY STEVE and
RUBBERFACE waiting for direction. PARTHY enters carrying
some costumes she is mending and takes a position on chair, L.)
What’s the matter, Julie? Anything the matter?
JULIE
No, just nervous, I guess. Going to start rehearsal.
ANDY
Might as well. While we’re waiting for Ellie and Frank
let’s skip right down to Act Three – we’ll take it from
where your sister just went out – that’s your cue –
y’ get up – got your part?
JULIE
I know it –
(JULIE rises and becomes an actress – totally artificial person)
“I wonder what can be keeping Parson Brown? He
promised to be here before dark, and the twilight
is fast fading into night.”
STEVE
“Miss Lucy, although I wear the garb of a parson”
(STEVE now steps out of character)
May I make a suggestion here, Cap’n? I thought it’d
be a good idea if while we was talking here for Frank
to pass by and peek in through the window like this.
(He pantomimes Frank sneaking by, and peering through the window
with a blood-curdling expression on his face. MAGNOLIA rises, like a
bright pupil in a classroom)
MAGNOLIA
Y’can’t do it! Room’s supposed to be on the second floor – Frank
couldn’t look in the window if it was on the second floor –
ANDY
I don’t think it’d be any good anyway –
MAGNOLIA
Julie let me study her part – I know every line and
all the business – if you forget anything, ask me –
PARTHY
You stick to the pianner, young lady – no play-actin’ for you –
(MAGNOLIA sits down at the piano. Enter ELLIE from stage L.)
ANDY
Here’s Ellie. You’re late!
ELLIE
I’ll explain later.
ANDY
Where’s Frank?
ELLIE
He’s comin’. Steve, I’ve got somethin’ to tell you.
(She runs over to STEVE. She seems nervous and worried.
She stands on tiptoe and whispers in STEVE’s ear. He is
visibly affected)
ANDY
All right, Steve – as long as Frank’s comin’ we’ll lead up
to the entrance – C’mon, Steve.
STEVE
(dazed, not able to think as fast as he’d like to)
Er – all right – er – “Miss Lucy – although
I wear the clothes -“
MAGNOLIA
Garb!
STEVE
(His voice seems detached from his thoughts)
“Garb of a parson” – “Beneath these sombre vestments there
is the heart of a man that beats for you alone.”
JULIE
(rising)
“Hamilton!”
(They embrace. STEVE whispers in her ear, apparently
what ELLIE told him. She looks at STEVE, horrified. ELLIE
takes one step toward her sympathetically. JULIE looks
over at ELLIE questioningly)
ELLIE
(half whispering)
They’ll be here in a minute.
ANDY
(reading script)
All right – embrace over – then what?
JULIE
Then – I say – I say –
ANDY
Prompt her, Nola –
MAGNOLIA
“Hamilton – my own, my own!” Papa! Look at Julie!
(JULIE has fallen limp in STEVE’s arms.
He places her on the bench)
ANDY
(running over)
What’s the matter?
STEVE
Julie’s sick.
MAGNOLIA
(running to her)
What is it, Julie?
ANDY
(puzzled)
Well, you better stop rehearsin’ an’ rest, so’s you’ll
be all right tonight.
JULIE
(in terror)
No – no! I can’t play tonight.
Don’t ask me!
(STEVE is standing at JULIE’s side and does not turn around.
His eyes are on JULIE, MAGNOLIA presses JULIE’s hair back on
her forehead)
PARTHY
Huh! Playing Fort Adams tomorrow – good a stand as we got –
probably won’t be able to open there neither if she’s as
sick as all that.
JULIE
(in a high strained voice)
I’ll be able to play tomorrow!
STEVE
(in desperation)
She’ll be all right as soon as she gets out of this town.
PARTHY
That’s a funny thing…
ANDY
Sure you won’t be feeling better by night time?
(WINDY shambles on stage L.)
JULIE
(flinging herself into STEVE’s arms – clinging to him, weeping)
No! No! Leave me alone, can’t you? Leave me alone!
(MAGNOLIA jumps up, frightened by JULIE’s sudden outburst)
ANDY
Sure – sure, we’ll leave you alone, Julie.
Hello, Windy – what you doin’ here?
(The little group turn toward WINDY. He takes his hat off
and rubs his head)
WINDY
Seems that skunk Pete’s been up to something. skinned out an
hour back, streaking toward town like possessed. He yanked
that picture of Julie out of the frame on the levee. I seen him.
ELLIE
(to STEVE)
I told you!
STEVE
I’ll kill him this time, the –
ANDY
Shut up.
WINDY
Just stepped down to warn you. I seen Pete coming along the
levee with the sheriff. He’ll be along now any minute.
ANDY
Well, let him come aboard; our license is paid.
JULIE
What are we going to do?
STEVE
Stay right here – you know what I told you.
(JULIE springs up from the bench and clings to STEVE.
He looses her hold roughly and from his pocket he whips
out a large clasp knife and opens it – all the women scream
but Julie. ANDY springs at STEVE but is shaken off)
ANDY
Steve! What are you doing with that knife?
STEVE
I’m not going to hurt her, you fool – leave me be –
I know what I’m doing.
(MAGNOLIA instinctively seeks shelter in PARTHY’s arms)
Somebody go out and keep them away a minute –
Hold out your hand, darling – it won’t hurt much
(He seizes JULIE’s hand in his left one and runs the
blade across the tip of her finger. He throws the knife
upstage. He bends his head and pressing his lips to the
wound, sucks it greedily. With a little moan JULIE falls
back onto the bench. STEVE looks off left. VALLON enters
left and goes up to the group. Some of the TOWNSPEOPLE
and COLORED SERVANTS have followed him in, and other
curiosity seekers edge in during the ensuing scene. JOE
appears in an upper box, wiping the rails)
VALLON
Hello, Windy. Captain Hawks do you acknowledge to be owner
of the show boat?
(ANDY clutching his whiskers steps forward. His voice
quivers in spite of an effort to be cool)
ANDY
‘Course I do. What do you want?
VALLON
Well, Cap, I have an unpleasant duty. I understand there’s
a miscegenation case on board –
MAGNOLIA
What’s he mean, Mama?
ANDY
How’s that?
VALLON
Case of a negro woman married to a white man.
Criminal offense in this state.
ANDY
No such thing – no such thing on board this boat!
VALLON
(producing paper)
Name of the white man is Steve Baker –
(All look at STEVE. He looks straight forward,
meeting no one’s eyes)
Name of the negress
(He squints at the paper)
Name of the negress is Julie – Dozier.
(He looks at group)
Which one’s them?
MAGNOLIA
(involuntarily)
Julie!
(She takes a step toward JULIE. but PARTHY holds her back)
STEVE
(stepping forward)
I’m Steve Baker
(points to JULIE)
This is my wife –
VALLON
Julie Dozier – my information says you were born in Mississippi.
Your pop was white, and your mammy black – that right?
JULIE
Yes – that’s right.
MAGNOLIA
But Julie – you –
VALLON
You two better get your things and come along with me –
(STEVE throws an arm around JULIE’s shoulder and faces VALLON)
STEVE
You wouldn’t call a man a white man that’s got
negro blood in him, would you?
VALLON
No, I wouldn’t. Not in Mississippi. One drop of
nigger blood makes you a nigger in these parts.
(JOE stands looking on dumbly)
STEVE
Well, I got more than a drop of – nigger blood in me, and that’s a fact.
VALLON
You ready to swear to that in a court of law?
STEVE
I’ll swear to it any place.
(takes a step forward, one hand outstretched)
I’ll do more than that. Look at all these folks here.
Every one of them can swear I got nigger blood in me
this minute. That’s how white I am.
VALLON
Well, I seen fairer men than you that was niggers…
still, you better tell that to the Judge.
WINDY
(clears his throat and steps forward)
Ike Vallon; guess you know’d me better part of
twenty-five years. I was keel boatin’ time you
was runnin’ aroun’ barefoot on the landin’…
now I’m tellin’ you, me, Windy McLain – that
that white man there’s got nigger blood in him.
I’ll take my oath to that –
(WINDY stands in silence)
VALLON
If it was anybody else but Windy – but I got this straight
from – well, from somebody who ought to know.
ELLIE
(all indignation)
From who? From a sooty-faced river rat named Pete –
and why? Because he’s been stuck on Julie here – and
she wouldn’t have anything to do with him.
ANDY
That’s right, sheriff. That gal’s telling the truth.
(VALLON waits quite a while before answering)
VALLON
Guess I got to take Windy’s word against this other fella –
(to PARTHY)
Mrs. Hawks, you look like a respectable woman.
PARTHY
I am.
VALLON
Do you all stand by what Windy just said?
ANDY
Why, of course we do. Windy wouldn’t tell a lie to save
his own life, you know that, sheriff –
VALLON
Well, I’ll take his word for it…
(He starts to go, but stops at entrance)
Only let me tell you this – don’t try to give your
show tonight with mixed blood in it – or you’ll be
riding out of town on something that don’t sit so
easy as a boat.
(VALLON turns deliberately, and exits off L. The eyes
of the crowd follow him, fascinated by the ominous
quality of his final speech. The heads then turn to
the central picture of the stage. JULIE’s head is
buried in STEVE’s shoulder. He keeps his arm around
her and stands immovable, with set expression on his
face, brave, grimly defiant. PARTHY looks on, contentedly
austere, waiting to see what ANDY will say about all this –
ANDY and MAGNOLIA, emotionally very much like each other,
find the situation quite beyond them – probably each has
a desire to run to the humiliated couple and join STEVE
in protecting JULIE – probably each is too afraid of
JULIE’s sensibilities. How can one tell how she will
receive anything?)
STEVE
You needn’t all look at us like we were a couple of
wild animals – we ain’t goin’ to hurt anybody – C’m
on, Julie. We’ll pack up our things…
(He releases JULIE. Her shoulders straighten bravely,
but her eyes look down and meet no one’s gaze as she
precedes STEVE to their tiny dressing room. R., and exits)
COLORED CHORUS
On my back in a hack,
In a fohty dollar hack,
No mo’ gin, no mo’ rum,
Oh de misery’s done come!
ANDY
(he has to take it out on somebody)
Well, what’re y’all standin’ around fer like a lot of tree
stumps – clear out, the whole lot of you – go on!
(They turn slowly, as dispossessed crowds always do.
A mutter, a whisper – they are gone. So are the lowlier
members of the cast who retire discreetly to their rooms.
ANDY stops one of them)
ANDY
Rubberface, write out a sign and get it hung up at the post
office. No show tonight. Leave enough cash to refund the tickets.
(to WINDY)
Windy – we pull out o’ here soon’s Rubberface gets back.
(WINDY turns and exits L., silent and grim. RUBBERFACE exits.
Only PARTHY, MAGNOLIA, ELLIE and ANDY are left on stage and JOE
stands in the upper box, fixed and dumb. MAGNOLIA leaves her
mother and starts walking slowly off stage L.)
PARTHY
Nola! Where you goin’?
(JOE exits from upper box)
MAGNOLIA
I want to see Julie…
PARTHY
You come back here this instant! No daughter of mine’s
goin’ to talk to that – that –
(running over and grabbing MAGNOLIA’s arm)
MAGNOLIA
(shaking her off almost savagely)
Let me go, mother! I’m goin’ in to Julie!
(She goes up and exits into JULIE’s room)
PARTHY
Well, Hawks, you see what your show boat has done to your daughter –
ANDY
I think the show boat’s made a damn fine girl out of my daughter –
PARTHY
I’m goin’ straight into that room and pull her away from that lyin’,
deceivin’ –
ANDY
(stopping her)
Now, wait a minute, Parthy – Julie’ll be gone in a few minutes and
it’ll all be over. Thing we got to do is figure out how we’re going
to give a show tomorrer night without Steve…
PARTHY
You’re just as bad off for a leadin’ woman –
ELLIE
(rising)
How about me? “Beneath this mirthful mask burns a soul -“
ANDY
(trying to head her off)
No! You’re a comedian. I was thinkin’ we’d let Nola jump in –
she knows all the parts –
PARTHY
Over my dead body. There never was an actress in my family and
there ain’t goin’ to be.
(FRANK comes up on stage. His hair is a little mussed – he
walks with exaggerated straightness, like a man who is trying
to carry his liquor. He is a little overloaded and a bit dazed)
ANDY
I just meant to put her in temporary. She don’t know much about
actin’, but she’s got a smile worth a million dollars.
ELLIE
Frank, where you been?
PARTHY
Tell Frank what a fine troupe he’s in –
FRANK
You mean – Julie? Know all about it – I was with Pete when he
told the sheriff –
ANDY
Steve and Julie are leavin’ – do you know any actor we could
pick up in Fort Adams to jump into the lead?
ELLIE
How about Frank?
(FRANK perks up involuntarily)
PARTHY
Fine leadin’ man he’d make, with that face and those flat feet –
FRANK
I never asked to play a lead, did I?
(impressively)
But if you’re lookin’ for a beauty, I got one –
ANDY
Who?
FRANK
There’s a feller I met in town – seems he’s got to
leave tonight and there ain’t no boats – he asked
me if we took passengers.
PARTHY
O’course we don’t take passengers –
FRANK
So I brought him along – he’s waitin’ outside –
swell lookin’ feller –
ANDY
Tell him to come in – let’s see him.
FRANK
There he is, looking at the pictures – I’ll bring him in.
(calling off L.)
Hey, Mister!… Will you come up here?
ANDY
Looks like a swell…
PARTHY
Looks like a river gambler to me –
ANDY
He’s got manner – the gals’d like him – Parthy,
(slapping his knee)
– I believe I’ll take a chance –
PARTHY
I declare, Andy Hawks, you’ll wind up in a lunatic asylum –
(FRANK leads RAVENAL to the center of the stage)
FRANK
Meet Captain Andy Hawks – this is Mr… er…
RAVENAL
Ravenal is my name, suh – Gaylord Ravenal –
of the Tennessee Ravenals.
(PARTHY sniffs – a little louder than the word
“sniff” suggests. RAVENAL turns to her raises his
eyebrows and turns back to ANDY. If PARTHY doesn’t
know her place now, she never will)
I thought, suh, if I could have a bed on your boat
tonight, I could pay you my fare tomorrow at Fort
Adams – I – er – expect a remittance, and –
(ANDY looks at PARTHY who nods a grudging affirmative.
ANDY acts on her endorsement)
ANDY
You ever acted?
RAVENAL
Acted!
ANDY
On the stage – acted – been an actor! We need a juvenile lead –
fifteen dollars a week – chance to see the world – no responsibility.
RAVENAL
Am I to understand that you are offering me the position of juvenile lead?
PARTHY
That’s what he means, young man. We don’t like to pick up actors
off the wharves, but we can’t be choosy jest now –
RAVENAL
Madam, your courtesy is only exceeded by your charm –
ANDY
(delighted to see someone score off PARTHY)
Ha-ha! Better take the job. Fifteen dollars a weekfound money –
no responsibility – a chance to see life –
RAVENAL
I’ve seen it.
(He turns upstage to FRANK and ELLIE JOE appears in the upper box
and watches the proceedings. At this point JULIE’s voice is heard
offstage R. MAGNOLIA runs down to center of the stage, followed by JULIE)
JULIE
Don’t Magnolia, please –
MAGNOLIA
(She is very decisive – very brave, despite the tremor in her voice)
Father – half an hour ago Julie was my dearest friend –
And she hasn’t changed a bit – to me –
(RAVENAL steps back. She doesn’t see him)
ANDY
(quietly)
O’course not, Nola.
MAGNOLIA
Then why are you sending Julie away?
JULIE
He’s not sending me, Nola dear – Steve and I want to go…
MAGNOLIA
If Julie goes, I go with her –
PARTHY
Well – that’s a nice thing to say!
ANDY
Now don’t talk nonsense, Nola – you’ve got to stay with your mother –
(RAVENAL turns, sees MAGNOLIA)
– no matter what – an’ another thing – I’m dependin’ on you to play
the leads till we get somebody –
JULIE
See, Nola – what a chance for you – I just know you can act.
(But MAGNOLIA has at last seen RAVENAL and she scarcely sees
or hears anything else. He bows slightly, not certain if
it is tactful to bow at all)
ANDY
An’ if this young man’ll play the juvenile lead – and if he’s
a quick study and wants to act opposite you – we could get
you both ready by tomorrow night –
(to RAVENAL.)
You a quick study?
RAVENAL
(gazing at MAGNOLIA)
Lightning!
(MAGNOLIA bows her head. STEVE enters)
STEVE
Ready, Julie?
(to ANDY)
Didn’t have time to get everything together, Cap’n –
if you’ll just bundle up our trash and leave ’em at
the post-office in New Orleans, we’ll pick it up –
ANDY
Need any money, Steve?
STEVE
No – guess we’ll make out all right – thanks. Good-bye.
ANDY
Good-bye, Steve.
(He shakes hands with STEVE. As STEVE takes his hand away
he finds some money in it. He starts to thank ANDY, but
ANDY motions him to be quiet in front of PARTHY)
JULIE
(to MAGNOLIA)
Goodbye, dear –
(MAGNOLIA runs to kiss her. JULIE turns her head away,
but holds MAGNOLIA close to her)
I’ll write to you – and you write to me
and tell me all about… everything.
(She looks straight over MAGNOLIA’s shoulder at RAVENAL,
then, with sudden impulse she jerks herself away and
runs to STEVE. As JULIE and STEVE exit, JOE calls
timidly from the box)
JOE
Goodbye, Miss Julie – Goodbye, Mars’ Steve –
JULIE
Goodbye, Joe
(JULIE and STEVE exit)
MAGNOLIA
Julie! Julie! Wait for me! Julie!
(ELLIE catches her. There is a dead pause. ANDY leads
her back. She looks up and sees PARTHY’s bewildered face)
MAGNOLIA
Mama – I’m awfully sorry I talked to you like that –
I – I loved – Julie so –
(FRANK and ELLIE exit L.)
ANDY
(clearing his throat)
Well – well – we ain’t got much time –
(picks up a manuscript of “East Lynne”)
Here, take this, Mr. Ravenal – I’d like to hear how you
handle dialogue – now the idea of this character is –
you’re in love with her, see? Now try it – jest a sample…
Come on, Nola –
MAGNOLIA
What’ll I do, Papa?
ANDY
You jest smile, Nola, that’ll get ’em.
(JOE, very thoughtful observer of the drama he has just
seen and is seeing – knowing in his wise old head that
this newcomer is going to change conditions on the
show boat, knowing there is nothing he can do to stop
the march of events in this puzzling river world,
falls back on his resigned philosophy, singing
softly to himself, “Ol’ Man River”, etc.)
RAVENAL
(reading mechanically)
Miss Lucy – will you be mine?
ANDY
No! Nothin’ like it! Nothin’ like it at all!
More feelin’! You love her! Goshamighty, man,
you love her. Now go on and tell her…
RAVENAL
I understand.
(This time he “feels” it – much more)
Miss Lucy… will you be mine?
(They look into each other’s eyes, then with a sudden
mutual impulse, they are in each other’s arms, in a long
kiss. ANDY chuckles, PARTHY paces the stage in a panic.
ANDY, noticing this, slaps his thigh and laughs even louder)
JOE
But Ol’ Man River,
He jes’ keeps rollin’ along!
(BLACKOUT)
ACT ONE, SCENE FIVE
11.I Would Like To Play a Lover’s Part
(The Box Office on the foredeck of the “Cotton Blossom.”
Three weeks later. Box office windows R. and L. Latter marked
“Colored.” Wide arch C. leading to the inside of the boat.
Just R. of arch MAGNOLIA’s picture – just L. of arch, RAVENAL’s
picture, featuring them as leading man and woman. Gang plank L.,
extending off stage to higher level.
At rise, a V-shaped group of girls, with apex at RAVENAL’s picture
and a corresponding group of boys at MAGNOLIA’s picture. They are
adoring their stage idols)
BOYS
Her face is fair to look upon,
She wins a heart with ev’ry smile –
(sigh)
And one could write a book upon
Her talent, rare and versatile!
GIRLS
No wonder we are thronging at
The gate for seats upon the aisle –
(sigh)
To sit and gaze with longing at
Our fav’rite leading juvenile!
BOYS
We bet that she’s in love with him –
GIRLS
We bet that he’s in love with her
BOYS
(wisely)
A stage career is seldom prim,
And such romances do occur –
GIRLS
Oh, why should she be havin’ all
The kisses of this gorgeous man?
The actor Gaylord Ravenal
Should lead a life Bohemian!
BOYS
Magnolia Hawks – enchanted name –
Your charm for me will never cease!
I’ll put your picture in a frame
And keep it on my mantelpiece!
BOYS
Would that I could be he
Having her play opposite me!
GIRLS
Would that I could be she
Having him play opposite me!
ALL
How I would like to play a lover’s part
With the girl/man I love with all my heart!
GIRLS
The kissing scene would be sublime,
We’d keep rehearsing all the time!
BOYS
To show my ardent fire
Would not require dramatic art!
GIRLS
Could I be his Ophelia for a day!
BOYS
If I could be her Hamlet –
What a play!
There’d be no melancholy Dane,
I’d make the role a jolly Dane.
BOYS
If I could only play her Lover’s part!
GIRLS
If he could only play my Lover’s part!
(short dance interlude, interrupted by ELLIE,
whose head appears in box office window)
ELLIE
Tickets on sale!
Better get ’em now!
Sellin’ out fast!
Better get ’em now!
GIRLS
(tugging at boys’ sleeves)
Tickets on sale!
Better get ’em now!
Sellin’ out fast!
Better get ’em now!
(musical interlude – stage business:
BOYS line up at the window – the GIRLS go back to RAVENAL’s
picture and stand there adoring it)
GIRLS
Would that I could be she,
Having him play opposite me!
Having him play opposite me!
(FRANK enters and sees the GIRLS. He is
sure he is going to make an impression)
FRANK
Misguided ladies, you will find
The haughty race of leading men
Are but a bane to womankind,
They’re fickle and unheeding men!
A heavy man is what you seek,
A wealthy clubman type, like me –
A fellow with a wicked eye –
You’re glad to meet me, so am I!
(He puts himself in the center,
in front of RAVENAL’s picture)
GIRLS
(apparently singing up to him)
How I would like to play a lover’s part
With the man I love with all my heart!
(FRANK smiles contentedly – he moves downstage.
But they, instead of turning with him, keep singing
up to RAVENAL’s picture. FRANK, not realizing this,
keeps his satisfied smile)
His clothes all fit him to the quick,
His hair is shiny, soft and slick!
FRANK
It’s always been my hobby
To look nobby, neat and smart.
GIRLS
(to RAVENAL’s picture)
You’re just the very fellow who will do!
FRANK
May I presume that’s meant for me from you?
GIRLS
(angrily going over to their escorts)
You zany in a checkered suit,
You silly oaf, you mad galoot –
You’d never do to play a lover’s part!
(GIRLS and BOYS dance off BOYS holding up the tickets
they have just bought. FRANK looks after them, humbled
chagrined. He goes up to the picture. He tries to strike
RAVENAL’s pose and to arrange his few hairs in the same
formation as RAVENAL’s luxurious locks. He strikes a
pose on the final chord)
12.I Might Fall Back on You
FRANK
Little girl, you are safe with me:
I can protect what’s mine;
I am a sturdy maple tree
And you’re my clinging vine!
ELLIE
Woods are just full of maple trees,
Cedar and oak and pine;
Let me look them over, please,
And then I’ll let you know
If you have a show.
After I have looked around
The world for a mate,
Then, perhaps, I might fall back on you!
When I am convinced
That there is no better fate,
Then I might decide that you will do.
FRANK
I am just an average lad,
Though no gift to womanhood,
Some girls say I’m not so bad!
ELLIE
Others say you’re not so good!
But if you are patient, dear,
And willing to wait,
There’s a chance I might fall back on you!
FRANK & ELLIE
After I/you have looked around
The world for a mate
Then, perhaps, I/you might fall back on you/me!
When I/you are convinced
That there is no better fate,
Then I/you might decide that you/I will do!
FRANK
I am just an average lad,
Though no gift to womanhood,
Some girls say I’m not so bad!
ELLIE
Others say you’re not so good!
FRANK & ELLIE
But if you are/I am patient, dear,
And willing to wait,
There’s a chance I/you might fall back on you/me!
(Two groups of GIRLS dance on)
GROUP 1
(to FRANK)
After she has looked around
The world for a mate
Then, perhaps, she might fall back on you!
When she is convinced
That there is no better fate
Then she might decide that you will do!
GROUP 2
(to ELLIE)
He is just an average lad,
Though no gift to womanhood,
Some girls say he’s not so bad,
Others say he’s not so good!
ALL GIRLS
(to FRANK)
But if you are patient, dear,
And willing to wait
There’s a chance she might fall back on you!
(DANCE)
13.Queenie’s Ballyhoo
QUEENIE
Is de theatre fillin’ up, Cap’n Andy?
ANDY
Yes, but there’s nobody in the balcony.
QUEENIE
Dat’s where de colored people sit.
ANDY
Well, why don’t they come?
QUEENIE
‘Cause you don’t talk to ’em.
ANDY
Whaddaya mean don’t talk to ’em? I ballyhooed
my lungs out this mornin’.
QUEENIE
People don’t remember dat long.
Dis is how to get ’em!
(COLORED CHORUS gradually enters)
Hey!
Where yo’ think you’re goin’?
Don’t yo’ know dis show is startin’ soon?
Hey!
Jes’ a few seats left yere!
It’s light inside an’ outside dere’s no moon.
What fo’ you gals dressed up dicty?
Where’s yo’ all gwine?
Tell dose stingy men o’ yourn
To step up here in line!
C’mon, folks, we’re rarin’ to go,
Is you or ain’t you seein’ dis show?
Get het up, dere’ll be no let up, here!
CHORUS
Listen to dat gal talk!
QUEENIE
You’ll be excited all night,
Grippin’ yo’ man an’ holdin’ him tight,
Two seats for twenty cents ain’t so dear!
(drawing them to her confidentially)
Story’s ’bout a lady in love,
Loves her man, but, Heavens above!
Dere’s a villain bad as you ever see.
CHORUS
Um-um-um!
QUEENIE
White outside, but black in de heart,
Swears dose two young lovers to part,
He’s de worstest scallawag dat can be.
CHORUS
Um-um-um!
(Her audience’s eyes are beginning to pop out.
She becomes mysterious)
QUEENIE
He tries to get her alone,
You hear dat little gal moan, Ol’ villain makin’ her groan
Wid woe!
CHORUS
What does he do?
What does he do?
Tell us!
QUEENIE
He tries to choke her to death,
Den when she’s almost out o’ her breath,
Somebody comes a-rappin’ at dat ol’ door!
GIRLS
Open de door, oh, Lord!
MEN
How does de rest of it go?
QUEENIE
(chuckling)
Is you’ or ain’t yo’ dyin’ to know?
Step up an’ buy yo’ tickets
For’ dis yere show!
(The chorus rushes to the box office window, L., buy
tickets from CAPTAIN ANDY. Presently he hangs up the
“Sold Out” sign. QUEENIE dances)
(BLACKOUT)
ACT ONE, SCENE SIX
14.Villain Dance
(Specialty dance by FRANK as the olio following “The Parson’s Bride”)
ACT ONE, SCENE SEVEN
15.You Are Love
(The upper deck of the “Cotton Blossom,” Later that night.
It is moonlight, just after the storm clouds have broken.
RAVENAL stands near a water barrel. He looks about, anxiously
awaiting MAGNOLIA. He blows on his fingers, and moves about
a little to take off the chill that is characteristic of
southern nights. He hears a noise. He peers into the darkness
and calls eagerly off L.:)
RAVENAL
That you, Nola?
WINDY
(off stage)
Nope – it’s me.
RAVENAL
(quickly filling dipper from water barrel to carry
on the illusion that he came out here to get a drink)
Hello, Windy –
WINDY
(entering)
Come over to take a look at the moorings –
(He crosses RAVENAL)
Kind o’ cool for you to be stayin’ out on deck, ain’t it?
RAVENAL
(just finishing drink)
Er – no – not at all – I’m very thirsty, that’s all.
(He fills the dipper again to prove it. WINDY exits, chuckling.
RAVENAL pours the balance of the dipper’s contents into the fire
bucket. He hears a whistle off stage)
That you, Nola?
(MAGNOLIA enters. She carries a porcelain water pitcher.
He flings the dipper away and rushes to her impetuously.
He embraces her)
How did you get away?
MAGNOLIA
I can’t stay long – I told Mother I’d fill her pitcher –
She’s waiting –
RAVENAL
(speaking rapidly, excitedly, impulsive)
Nola – we haven’t much time – listen,
I want to marry you – in Natchez tomorrow.
MAGNOLIA
But Mother –
RAVENAL
She’s going to be in Fayette all morning –
she told me so herself – there’s a lovely
little church in Natchez –
MAGNOLIA
But Father – what will he say?
RAVENAL
He will not oppose us – as a matter of fact,
he gave me the idea –
MAGNOLIA
What!
RAVENAL
Of getting married while your mother was away –
he knows how I feel – how much I love you – oh,
Nola, please – say you will –
MAGNOLIA
Oh, Gay – I want to –
RAVENAL
You can make me the happiest man in the world. I can’t
stand it this way any longer – these stolen seconds,
these little snatches of you! I want you all to myself –
forever. Nola, dearest – I want you with me wherever I go.
I want to show you a world you’ve never dreamed of –
cities, theatres, restaurants, people – and you and I
always together, looking on – and living in our own
lovers’ world.
MAGNOLIA
But Gay – you’ve seen everything in the world.
RAVENAL
I used to think so – until I looked into your eyes – and
then I knew that I had seen nothing – I hadn’t even lived.
Once a wand’ring ne’er-do-well,
Just a vagrant roving fellow,
I went my way.
Life was just a joke to tell,
Like a lonely Punchinello
My role was gay.
But I knew the joke was aimless,
Time went on, I liked the game less,
For, you see,
Somewhere lurked a spark divine
And I kept wond’ring whether mine
Would come to me.
Then my fortune turned and I found you.
Here you are with my arms around you.
You will never know what you’ve meant to me.
MAGNOLIA
You’re the prize that Heaven has sent to me.
RAVENAL
Here’s a bright and beautiful world, all new,
Wrapped up in you.
You are love,
Here in my arms
Where you belong,
And here you will stay,
I’ll not let you away;
I want day after day
With you.
You are spring,
Bud of romance unfurled;
You taught me to see
One truth forever true.
You are love,
Wonder of all the world.
Where you go with me,
Heaven will always be.
MAGNOLIA
You are love,
Here in my arms
Where you belong,
And here you will stay,
I’ll not let you away;
I want day after day
With you.
You are Spring,
Bud of romance unfurled –
You taught me to see
One truth forever true.
MAGNOLIA & RAVENAL
You are love,
Wonder of all the world.
Where you go with me,
Heaven will always be.
(MAGNOLIA looks up at him for a moment, then, of her
own accord, throws her arms around him. They kiss)
PARTHY
(off stage)
Nola!
(They break)
MAGNOLIA & RAVENAL
Good night – dream if you can –
RAVENAL
My wife –
MAGNOLIA
My man –
(She exits. He’s exultant. Fade out)
ACT ONE, SCENE EIGHT
16.Finale Act One
(The levee at Natchez. The next morning. This is a different
view of the same levee seen in Scene One. The “Cotton Blossom”
runs R. to L. across the back of the stage. There is some little
impromptu decoration adorning it. The stage is well crowded with
TOWNSPEOPLE who have come down to see the unusual spectacle of a
leading man and his leading lady being married. CAPTAIN ANDY,
with his fine flare for publicity has seen the value of this,
interest, and has placed an announcement in the town Post Office
issuing a public invitation to everyone to see the wedding –
so they all are here!)
GIRLS
Oh tell me, did you ever!
Did you ever hear of such a thing?
BOYS
The leading man’s about to give the leading girl
A wedding ring!
GIRLS
Her father has neglected none,
He’s asked us all to see the fun,
And since we are invited to
Attend, we are delighted to
Be there when these united two
Are plighted to
Be one!
BOYS
So, you see,
Romance can start
Upon the stage –
Romance like theirs
Is not for everyone!
(ANDY enters from the boat, all smiles
and dressed up to kill)
CHORUS
Captain Andy! Captain Andy!
My, but doesn’t he look fine and dandy!
Now Magnolia’s found her mate, you
Know we’re happy to congratulate you!
Thank you for inviting us to
See the wedding – it was friendly thus to
Let us share your happy day
And see you give the bride away!
ANDY
Accordin’ to the announcement you read in the post office you’re
all invited to the wedding of my daughter, Miss Magnolia Hawks,
to her leading man, the Honorable Gaylord Ravenal.
(cheers)
Bein’ as how y’all take such an interest in the doin’s of show boat
folks, I thought you’d like to see the happy couple playin’ their
own romance off the stage –
(cheers)
The bride and groom’ll be out in a minute – then we will all march
down to the church!
(cheers)
(As the ensemble takes up the waltz refrain here,
the various characters of the show boat troupe march
out in their go-to-wedding clothes – FRANK and ELLIE
are particularly elegant)
ALL
Happy the day,
When the hand of a maid has been won
By swift pursuing;
Happy the way
He has chosen to win her by bold
And ardent wooing.
Their’s a lucky fate
To be romantic,
We can hardly wait
To see the frantic
Looks of the bridegroom, and quakes
Of the bride whom he takes
Now or never, and makes
Her forever
The one and the only one
Who will take care
That his life’s not a lonely one,
While she’s the only one.
(MAGNOLIA and RAVENAL enter)
Happy the bride!
May the greatest of happiness,
Health and wealth attend you!
WOMEN
Lovely bride-to-be,
There are few
Wedded to anyone charming as you!
MEN
Lovely bride-to-be,
We’d take pride to be
Wedded to anyone charming as you!
NEGRO WOMEN
(coming forward, enthusiastic, but a trifle diffident)
Miss Magnolyer,
We always tol’ yer
We knowed you’d find
Your man who’d be lovin’ yer true!
MAGNOLIA
Can’t I share some of my happiness,
Dear friends, with you?
(All do the levee shuffle)
ALL
Fish gotta swim and birds gotta fly,
I gotta love one man till I die,
Can’t help lovin’ dat man of mine!
Tell me he’s lazy,
Tell me he’s slow,
Tell me I’m crazy,
Maybe I know.
Can’t help lovin’ dat man of mine!
(buck-and-wing dance)
ALL
He can come home as late as can be,
Home without him ain’t no home to me,
Can’t help lovin’ dat man –
(Just as MAGNOLIA and RAVENAL get to the carriage,
a wild hysterical shriek is heard off stage:)
PARTHY
(off stage)
Andy!
(PARTHY rushes on, followed by VALLON and PETE)
VALLON & PETE
Stop them! Stop them!
PARTHY
Don’t talk to him! He’s a murderer!
ANDY
(impatiently)
Who?
PARTHY
(pointing to RAVENAL)
That Ravenal – he killed a man!
ANDY
(really frightened now)
God-a-mighty – when?
PARTHY
Last year.
(pointing to VALLON)
Ask him!
VALLON
(embarrassed)
He got off on self-defense…
ANDY
(viciously turning on PARTHY)
Then he proved he had a right to kill!
PARTHY
Are you goin’ to let your daughter stand there
and talk to a murderer?
ANDY
(exasperated)
Standin’ murderer be damned!
I killed a man when I was nineteen!
PARTHY
(overcome)
You killed – ?
ANDY
Yes – me! Now – are you comin’ with us –
or ain’t you?
PARTHY
Where’re ye goin’?
ANDY
To the church – they’re goin’ to be married.
PARTHY
Married to a murderer! Oh, my God!
(She faints)
VALLON
She’s fainted.
ANDY
Are you sure?
VALLON
She’s gone.
ANDY
Good! Now we can go on with the wedding!
(All cheer)
ALL
Fish gotta swim and birds gotta fly,
I gotta love one man till I die,
Can’t help lovin’ dat man of mine!
(ANDY arranges the procession. The bridal couple are locked in each other’s arms as they march off stage and the curtain falls)