17.At the Fair
(The Midway Plaisance at the Chicago World’s Fair, 1893. At rise an animated scene of VISITORS walking and looking on at the wonders described by several BARKERS who stand on platforms in front of their respective buildings and booths. The famous Ferris Wheel is seen in the background behind a building labelled: “World’s Congress of Beauty.” Also can be seen famous features of the 1893 fair: the MacMonnies fountain, Hagenback’s Arena, the Dahomey Village, the Streets of Cairo, etc.)
ALL
When we tell them about it all
They’re likely to doubt it all,
But why should we care
Just as long as we’ve been to the fair?
1st BARKER
Ho, ho! Your kind attention
Bestow!
BOYS
Let’s go near,
I can’t hear,
Shall we go?
GIRLS
I don’t know.
1st BARKER
The strongest little lady
Known to the world we’ll show.
CHORUS
He’s talking through his hat,
You bet,
I’m pretty sure of that.
1st BARKER
Come one and all,
Come up and feel the first of her!
CHORUS
Great Christopher!
1st BARKER
So just move along
And visit the queen of the strong.
Sixteen years of age!
CHORUS
If Sandow felt her hand how
He would stutter and mutter
And shiver and quiver with rage!
She’s sixteen years of age!
2nd BARKER
Hey! Hey!
What have we here, what have we here?
A marvelous display.
CHORUS
Say, they’re going to tell you
What they want to sell you
Now.
2nd BARKER
The beauties picked from all the world
In superfine array.
MEN
That’s one show we must see!
GIRLS
Are you taking me?
1st BARKER
Get tickets this way!
2nd BARKER
Just step up and pay!
1st BARKER
Just step this way.
Hey!
Right up this way.
Hey!
2nd BARKER
Not much to pay
For such display.
Come on this way
BOTH BARKERS
And you will say
In all Chicago this is the best show!
GIRLS
We’re in the face a great temptation,
In such a place to attempt flirtation,
I don’t really know!
BOYS
Won’t you let me take you in?
Do come!
The show will soon begin,
Do let me take you in!
(3rd BARKER appears in front of
“The Streets of Cairo” building)
3rd BARKER
Now for this special feature
I demand your close attention.
Step closer, gentlemen –
You notice “Ladies” I don’t mention!
GIRLS
Goodness gracious me,
Whatever can it be?
3rd BARKER
My story’s quickly told –
The world’s sensation
Now behold!
(LA BELLE FATIMA appears. She was the world’s first
“couchie-couchie” dancer. She does her famous
“belly dance.” There is a scramble among the
men to follow her into “The Streets of Cairo”
building, where she will further exhibit her
charms)
3rd BARKER
Gather ’round, boys. See La Belle
Fatima – greatest feature of the
World’s Fair. The only one
in her class, boys!
GIRLS
Hurry, hurry, let us run.
BOYS
What for? There’s nothing wrong.
She’s a princess,
From better folks than us, I guess.
GIRLS
You can stay, but I must run.
BOYS
All right! You always spoil my fun.
ALL
Belles and beaux
Dressed in the very latest style,
Here they come!
Goodness knows,
Aren’t they swell?
Well, I should smile!
Look, dear!
Look here!
Ain’t they gorgeous?
When the sports of gay Chicago
Pay a visit to the fair,
You can tell
Ev’ry swell
By his dashing air.
They do credit to Chicago
With their clothes all tailor-made.
All their country cousins gape and stare
When they see the dandies on parade.
(Now follows the parade of the Congress of Beauty. Tableau)
18.Why Do I Love You?
MAGNOLIA
I’m walking on the air, dear,
For life is fair, dear,
To lovers;
I’m in the seventh heaven
(There’s more than seven,
My heart discovers).
RAVENAL
In this sweet, improbable and unreal world,
Finding you has given me my ideal world.
MAGNOLIA
Why do I love you?
Why do you love me?
MAGNOLIA & RAVENAL
Why should there be two
Happy as we?
RAVENAL
Can you see
The why or wherefore
I should be
The one you care for?
MAGNOLIA
You’re a lucky boy,
I am lucky too.
MAGNOLIA & RAVENAL
All our dreams of joy
Seem to come true.
Maybe that’s because you love me,
Maybe that’s why I love you.
CHORUS
Why do I love you?
Why do you love me?
Why should there be two
Happy as we?
Can you see
The why or wherefore
I should be
The one you care for?
You’re a lucky boy,
I am lucky, too.
All our dreams of joy
Seem to come true.
Maybe that’s because you love me,
Maybe that’s why I love you.
RAVENAL
Darling, I have only
Just an hour to play.
MAGNOLIA
I am always lonely
When you go away.
CHORUS
Hours are not like years,
So dry your tears!
What a pair of lovebirds!
RAVENAL
My darling,
I’ll come home as early as I can,
Meanwhile be good and patient with your man.
Why do I love you?
MAGNOLIA
Why do you love me?
(RAVENAL exits)
CHORUS
Why should there be two
Happy as we?
Can you see
The why or wherefore
I should be
The one you care for?
You’re a lucky boy,
I am lucky, too.
All our dreams of joy,
Seem to come true.
Maybe that’s because you love me,
Maybe that’s why I love you!
(MAGNOLIA waltzes, then exits)
CHORUS
You’re a lucky boy!
I am lucky, too,
All our dreams of joy
Seem to come true.
Maybe that’s because you love me,
Maybe that’s why I love you!
(CAPTAIN ANDY and PARTHY enter)
ANDY
(to PARTHY)
Why do I love you?
Why do you love me?
Why should there be two
Happy as we?
Can you see
The why or wherefore
I should be
The one you care for?
I’m a lucky boy,
You are lucky, too.
All our dreams of joy
Seem to come true!
Maybe that’s because you love me,
Maybe that’s why I love you!
(ANDY dances, attempting to make PARTHY dance with him.
She sternly refuses. ANDY persists. Finally, a faint smile
flickering across her lips, she deigns to do a few little steps)
CHORUS
You’re a lucky boy!
I am lucky too!
All our dreams of joy
Seem to come true!
Maybe that’s because you love me,
Maybe that’s why I love you!
19.In Dahomey
(DAHOMEY VILLAGERS come out of the Village and come down stage.
The crowd moves upstage and onto the steps of the buildings)
MEN
Dyunga doe!
Dyunga doe!
Dyunga hungy ung gunga,
hungy ung gunga go!
Kyooga chek,
Kyooga chek,
Kyooga chek a chek uncha,
chek a chek uncha chek!
WOMEN
Daringa doo!
Daringa dey da!
MEN
Daringa doo!
Daringa dey da!
WOMEN
Dyunga hungy ung gunga,
hungy ung gunga go!
Dyunga hungy ung gunga,
hungy ung gunga go!
ALL DAHOMEYS
Hoo go ga doo!
Hoo go ga doo!
Hoha hoga toga toga
Yogo togo doo!
WHITE CHORUS
Don’t let us stay here,
For though they may play here,
They are acting vicious,
They might get malicious
And though I’m not fearful
I’ll not be a spearful,
So you better show me
The way from Dahomey!
DAHOMEYS
(chanting)
Ah ah! Ah ah!
Ah ah ah ah ah ah!
Ah ah! Ah ah!
Ah ah ah ah ah ah!
(The CROWD exits in fear)
DAHOMEYS
We’re glad to see them go!
We’re glad to see those white folks go!
We’ve had enough
Of all this stuff –
We wish we’d never come here
To join a Dahomey show!
In Dahomey –
Let the Africans stay
In Dahomey –
Gimme Avenue A
Back in old New York
Where yo’ knife and fork
Gently sink into juicy little chops
what’s made of pork!
We are wild folks
When de ballyhoos bawl,
But we’re mild folks
When we’re back in de Kraal,
‘Cause our home(our little home),
Our home ain’t in Dahomey at all!
Oh, take me back today to Avenue A!
(ZULU DANCE)
In Dahomey –
Let the Africans stay
In Dahomey –
Gimme Avenue A
Back in old New York
Where yo’ knife and fork
Gently sink into juicy little chops
what’s made of pork!
We are wild folks
When de ballyhoos bawl,
But we’re mild folks
When we’re back in de Kraal,
‘Cause our home (our little home),
Our home ain’t in Dahomey at all!
Oh, take me back today to Avenue A!
ACT TWO, SCENE THREE
20.Convent Scene
(St. Agatha’s Convent. Chicago, 1904)
NUNS
(off stage)
Alma Redemptoris Mater,
Alma Redemptoris Mater, etc.
Te Deum laudamus
Te Dominum confitemur.
(Convent girls cross the stage)
Te Deum laudamus
Te Dominum confitemur.
(RAVENAL enters slowly.
He looks around and then goes to a table, where the
MOTHER SUPERIOR motions him to sit)
MOTHER SUPERIOR
Your daughter’s class will be coming through next.
(MOTHER SUPERIOR exits. RAVENAL quite cheerfully
listens to the choir)
NUNS
(off stage)
Te Deum laudamus
Te Dominum confitemur.
Venerandum Tuum verum
Et Unicum Filium.
(MOTHER SUPERIOR re-enters)
Venerandum Tuum verum
Et Unicum Filium.
MOTHER SUPERIOR
Here they come.
(RAVENAL waits for KIM’s appearance with suppressed eagerness.
A procession of girls files in slowly from R. to L. KIM is on
the end of the line with a class of smaller children. RAVENAL
gives an involuntary start when he sees her)
RAVENAL
Kim!
KIM
Daddy!
(KIM hears hi, sees him, and rushes out of line. Suddenly
she realizes she has broken a rule, darts a quick look at
MOTHER SUPERIOR, who consent, and then continues her swift
course to RAVENAL’s waiting arms. He kneels to meet her,
hugs her tight and kisses her. Then he holds her from him
at arms’ length to get a good look at her)
KIM
Where’s Mummy?
RAVENAL
Mummy couldn’t come today.
Now listen, Kim, dear.
Daddy’s in a great hurry.
He must catch a train.
KIM
(disappointed)
Where are you going?
RAVENAL
Away – for a little while – on business.
I just had a few minutes to rush in and – see you.
KIM
Can’t I go with you?
RAVENAL
No, dear – not on this trip – but while I’m gone
I want you to think of me once in a while – will you?
KIM
Yes, I think of you all the time – and when I miss
you, I always do what you told me.
RAVENAL
What was that?
KIM
Don’t you remember? Make believe.
RAVENAL
(laughing)
Oh yes, that’s right. I gave you a
system for having anything you want.
21.Make Believe (Reprise)
(sings:)
Only make believe I’m near you,
Only make believe that you’re with me.
Girls and boys find it fun just pretending –
Couldn’t you?
Couldn’t I?
Couldn’t we?
And if I’m a little late coming back – you
just remember – and pretend I’ve never gone away –
Will you, sweetheart?
Best of all, make believe I love you –
For to tell the truth, I –
(He breaks down. He grabs her in his arms and kisses her.
MOTHER SUPERIOR coughs gently)
MOTHER SUPERIOR
Her class has gone in.
RAVENAL
(rising)
Goodbye, darling.
KIM
(lightly)
G’bye.
(She runs to join the other girls in line until he stops her)
RAVENAL
Kim, dear – tell mother I came in to see you, will you?
KIM
I will. Goodbye, Daddy!
(She starts to march off and throws him a kiss. He
returns it. He stands there looking longingly at her.
MOTHER SUPERIOR and KIM exit. RAVENAL takes his hat
and cane from the table and exits through door, R.)
[THE SCENE CHANGES]
ACT TWO, SCENE FOUR
(The rehearsal room of the Trocadero Night Club. About five
o’clock in the afternoon. At rise JIM in his shirt sleeves is
standing R. of piano, watching six GIRLS dancing C. His coat
is over the back of the chair at R. of piano. JAKE, a pale boy
with a cigarette in his mouth, bangs on a piano downstage L.
He is playing Sousa’s “Washington Post March” for the chorus
girls’ dance. They dance a laborious, effective and well-executed
dance designed for legitimate applause. A woman sits dejectedly
in a chair, R. This is JULIE, a hollow-cheeked woman -looking
older than she really is – with all the earmarks of one who is
down-and-out – marks which she has desperately and pathetically
tried to hide by overdressing, by making use of too many odds
and ends of finery, by a too-anxious application of rouge and
lipstick and by dyeing her hair a wretched red. She sits there,
oblivious to all that is going on around her. From time to time
she opens her handbag and takes out a pint flask – typical of
the bottled goods of the time – and furtively takes a drink.
The chorus girls finish their routine)
JIM
All right, Jake – call ’em at twelve –
JAKE
O.K., girls! Twelve o’clock tomorrer!
(The girls exit)
JIM
Ready, Julie? You’re next. I wanna hear that new song.
Got it all set?
JULIE
Leave me alone, Jim – I ain’t feelin’ so very good. Before
you know it I’ll be off on a tear an’ to hell with your show.
JIM
Oh, you ain’t feelin’ so good! Just you go off on a tear and
you’ll never get back in this place again. When I told you
that the last time, I meant it. You go out that door and
you don’t come back. Get me?
JULIE
All right, all right! I ain’t in no mood to listen to long
speeches. I’ll put your damn song over.
JIM
You better. I’m sick an’ tired o’ arguin’ with yuh! You get
that number over or you’re through. Come on now and see what
you can do – I gotta set this show!
JULIE
(rising from her chair)
All right, all right!
(She takes her position, ready to sing)
I’m ready Jake, whenever you are.
22.Bill
(JAKE pounds out the introduction on the piano)
JULIE
I used to dream that I would discover
The perfect lover someday.
I knew I’d recognize him if ever
He came ’round my way.
I always used to fancy then
He’d be one of the God-like kind of men
With a giant brain and a noble head
Like the heroes bold
In the books I’ve read.
But along came Bill
Who’s not the type at all,
You’d meet him on the street
And never notice him.
His form and face,
His manly grace
Are not the kind that you
Would find in a statue,
And I can’t explain,
It’s surely not his brain
That makes me thrill –
I love him because he’s wonderful,
Because he’s just my Bill.
He can’t play golf or tennis or polo,
Or sing a solo, or row.
He isn’t half as handsome
As dozens of men that I know.
He isn’t tall or straight or slim
And he dresses far worse than Ted or Jim.
And I can’t explain why he should be
Just the one, one man in the world for me.
He’s just my Bill an ordinary man,
He hasn’t got a thing that I can brag about.
And yet to be
Upon his knee
So comfy and roomy
Seems natural to me.
Oh, I can’t explain,
It’s surely not his brain
That makes me thrill –
I love him because he’s – I don’t know…
Because he’s just my Bill.
23.Magnolia’s Audition: Can’t Help Lovin’ Dat Man (Reprise)
(MAGNOLIA sits with her guitar across her knees, throws her head back,
closes her eyes and starts to sing “Can’t Help Lovin’ Dat Man.” At first
her voice falters, then she gets into it and sings it with fine feeling
and sincerity. JIM, JAKE and FRANK listen, spellbound. No-one moves an
inch. As MAGNOLIA sings, JULIE enters quietly up stage, passes behind the
piano, and recognizes MAGNOLIA. She takes a couple of steps up to her,
but directly behind her. She stands there during the song until the next to
last line, when she seems to arrive at a decision. She makes a shy, hesitant
little gesture, which is half throwing a kiss. She disappears quickly and
softly up stage. Nobody on stage has seen her. MAGNOLIA finishes the song)
MAGNOLIA
Fish gotta swim, 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.
When he goes away, dat’s a rainy day,
And 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!
(There is a pause)
FRANK
Whaddaya say, boss?
JIM
Lousy! What kind of a coon song do you call that?
(to MAGNOLIA)
You don’t sing bad – but that song –
MAGNOLIA
(her temper aroused)
That song is the most beautiful song I know. And if
you don’t like it, I’m sorry for you.
JIM
You’re sorry for me? Say!
FRANK
Say, Mr. Greene, this little girl ain’t so bad.
Can’t you use her?
JIM
I can’t afford to take chances on amachoors with a two thousand
dollar production. Now wait a minute, will ya, lemme think!
(He stands pondering the problem and running his fingers
through his hair. He looks MAGNOLIA over appraisingly)
Her poisenality is all right – if we could only teach
her some up-to date numbers.
JAKE
Well, that song she sang ain’t so bad, boss. Ya know,
we could trick that – like this –
(He plays and sings in ragtime tempo)
Da da da de dum dum dum
Dum dum dum de dum dum dum!
FRANK (eagerly)
Oh, you mean rag it!
JAKE
Yeah! ‘Course, we gotta change the words too, see, and then,
near the finish, put in a couple o’ gags, like this…
Dum dum dum de dum dum dum – catch line!
Dum dum dum de dum dum dum – ‘nother catch line!
See what I mean?
JIM
Say, that’s all right!
FRANK
Come on, Nolie, try it this way.
MAGNOLIA
(bewildered)
How do you mean?
FRANK
Follow Jake.
(JAKE and MAGNOLIA start the song together –
but he soon leaves her far behind)
JIM
(interrupting)
No – no!!! Rag it, he means.
FRANK
Rag it, honey, look…
(He sings to show her)
Fish gotta swim, birds gotta fly,
Fish gotta swim, birds gotta fly!
MAGNOLIA
(willing to try)
Oh, I know! Alright, go ahead.
(JAKE plays. As MAGNOLIA sings in ragtime, FRANK
starts to dance like mad)
FRANK
(dancing frantically)
What do you say, Boss, what do you say?
JIM
All right! FRANK
Does she get the job?
JIM
Sure!
FRANK
Great!
(FRANK falls to the stage dancing so fast and continues
twitching his head, body and legs with the music until
the curtain falls)
ACT TWO, SCENE SIX
24.Trocadero Opening Chorus
CHORUS
Let’s make the new year
Far from a blue year,
No need to think,
Just sing and drink good cheer!
Drown all your sorrow,
Live for tomorrow,
Just drift along
With wine and song,
Tonight no folly could be wrong,
So drink and be merry,
Here’s where we bury
All thought of gloom,
We have no room for killjoys!
New Year, we greet you,
Let us entreat you
To bring good luck, good cheer,
Good fortune to those
Who welcome you as we all do.
We have no room for thoughts of gloom,
Send them to an eternal doom!
For life keeps compelling us
And temptingly telling us
That youth can never last
As long as we’d like it to.
So we’re persuading you
To stop its evading you
And let it not slip past,
Try to hold to it fast.
Why should we remember December?
The old year’s done,
The happy new year has begun!
Just keep on dreaming and scheming
To make your life
A perfect round of wonderful fun!
Why should anyone be blue?
Life is full of things to do!
Let’s just be jolly in folly,
Supremely gay
To speed the old year away!
BASSES
New Year’s resolutions,
Dear old institutions,
E’er the dawn we make them,
In the morning break them.
Promises of virtue
Surely will not hurt you.
Whisper them discretely,
Earnestly and sweetly.
SOPRANOS, ALTOS & TENORS
Just tonight the whole world’s bright
With sheer delight.
ALL
Bright with sheer delight!
Let’s make the new year
Far from a blue year,
Just drift along with wine and song
And laughter!
Shout Happy New Year!
Happy day!
25.Appache Dance
(Danced by a specialty act, The Sidell Sisters)
26.Goodbye, My Lady Love
(Words & Music by Joseph E. Howard)
FRANK
So you’re going away
Because your heart has gone astray.
And you promised me
That you would always faithful be.
But if you must go,
Remember, dear, I love you so.
Sure as stars do shine,
You’ll think of when I called you mine.
FRANK & ELLIE
Goodbye, my lady love,
Farewell, my turtle dove,
You are the idol and darling of my heart,
But someday you will come back to me,
And love me tenderly,
So goodbye my lady love, goodbye!
(FRANK and ELLIE dance to the music of “At a Georgia Camp Meeting”)
(Music by Kerry Mills)
FRANK & ELLIE
Goodbye, my lady love,
Farewell, my turtle dove,
You are the idol and darling of my heart,
But someday you will come back to me,
And love me tenderly,
So goodbye my lady love, goodbye!
Goodbye, my lady love,
Farewell, my turtle dove,
You are the idol and darling of my heart,
But someday you will come back to me,
And love me tenderly,
So goodbye my lady love, goodbye!
27.After the Ball
(Words & Music by Charles K. Harris)
JIM
(taking the floor)
Ladies and gentlemen – I regret to announce that Miss Julie Wandell
is indisposed and cannot appear tonight.
(The crowd groans its disappointment)
Now wait, wait please. We are fortunate, however in obtaining the
services of Miss Magnolia Ravenal, who will sing for you an old
favorite.
(more groans)
DRUNK
(at nearby table)
Magnolia Ravenal – who the hell is she?
ANDY
(getting up and starting to take his coat off)
I’ll show you who the hell she is!
(MAGNOLIA enters and comes down stage. She starts to
sing rather timidly and is ill at ease)
MAGNOLIA
A little maiden
Climbed an old man’s knee,
Begged for a story,
“Do, Uncle, please.”
(CROWD murmurs)
ANDY
Quiet!
MAGNOLIA
Why are you single?
Why live alone?
ANDY
Quiet!
A MAN
Get the hook!
MAGNOLIA
Have you no babies?
Have you no home?
ANDY
Nola!
(She turns in the opposite direction to where he is
sitting, but is evidently trying to see who called her.
The CROWD grows noisier)
MAGNOLIA
I had a sweetheart,
Years, years ago,
ANDY
Nolie!
(She sees ANDY, and gains confidence)
MAGNOLIA
Where she is now, pet,
You will soon know.
(She has begun to sing quite well
and the CROWD grows quiet)
List to the story,
I’ll tell it all,
ANDY
Smile, Nola!
MAGNOLIA
I believed her faithless
After the ball.
After the ball is over,
After the break of morn,
After the dancers leaving,
After the stars are gone;
Many a heart is aching,
If you could read them all;
Many the hopes that have vanished
After the ball!
ANDY
Everybody!
ALL
After the ball is over,
After the break of morn,
After the dancers leaving,
After the stars are gone;
Many a heart is aching,
If you could read them all;
Many the hopes that have vanished
After the ball.
(Chimes ring midnight)
ANDY
Happy New Year!
(ANDY takes MAGNOLIA in his arms.
General merriment. Blackout)
ACT TWO, SCENE SEVEN
28.Ol’ Man River (Reprise)
(Street corner outside the office of the Natchez Democrat,
showing a bulletin: LINDBERGH ARRIVES IN MEXICO CITY- this
to denote the passage of time to 1927. JOE, now grey-haired
and old, is sitting on a box before the window and whittling)
JOE
Ol’ Man River,
Dat Ol’ Man River,
He mus’ know sumthin’
But don’t say nuthin’,
He jes’ keeps rollin’,
He keeps on rollin’ along.
He don’t plant taters,
He don’t plant cotton,
And dem dat plants ’em
Is soon forgotten,
But Ol’ Man River,
He jes’ keeps rollin’ along.
New things come,
‘N ol’ things go,
But all things look de same to Joe –
Wars go on,
And some folks die,
The rest forget
De reason why.
Ah keeps laughin’
Instead of cryin’,
Ah mus’ keep livin’
Until I’m dyin’,
But Ol’ Man River,
He jes’ keeps rollin’ along!
29.Hey, Feller!
QUEENIE
When you yen
For a gent,
Give him en-
Couragement,
Only den
Will he come to stay.
You must declare yourself,
Or you’ll be
On the shelf;
If you wait too long
He’ll get away.
Once you have picked your boy,
Waste no time in actin’ coy;
Leave no room for doubt,
Step up and speak right out:
“Hey, feller, I think you’re swell!
I took a look and den I fell!
Hey, feller! I’ve got to tell,
I can’t deny what you know well:
I’m longin’ to be baskin’
In your carressin’
Right now;
An if you’ll do the askin’,
I’ll do the yessin’
An’ how!
Say, feller! I must admit
That I suspect that you’ve got it.
Hey, feller! I’m yours to take,
So give a girl an even break!
An’ if you love her, tell her, tell her!
Hey, feller!
Hey! Hey!
(QUEENIE and the CHORUS sing and dance two more refrains)
“Hey, feller, I think you’re swell!
I took a look and den I fell!
Hey, feller! I’ve got to tell,
I can’t deny what you know well:
I’m longin’ to be baskin’
In your carressin’
Right now;
An if you’ll do the askin’,
I’ll do the yessin’
An’ how!
Say, feller! I must admit
That I suspect that you’ve got it.
Hey, feller! I’m yours to take,
So give a girl an even break!
An’ if you love her, tell her, tell her!
Hey, feller!
Hey! Hey!
Hey! Hey! Hey!
I’m longin’ to be baskin’
In your carressin’
Right now;
An if you’ll do the askin’,
I’ll do the yessin’
An’ how!
Say, feller! I must admit
That I suspect that you’ve got it.
Hey, feller! I’m yours to take,
So give a girl an even break!
An’ if you love her, tell her, tell her!
Hey, feller!
Hey! Hey!
ACT TWO, SCENE EIGHT
30.You Are Love (Reprise)
(The top deck of the “Cotton Blossom.” ANDY has left RAVENAL
alone on the top deck. RAVENAL, dreaming of the past, picks up
the dipper from the water barrel and speaks, as though to a vision)
RAVENAL
Is that you, Nola?
(sings:)
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.
(BLACKOUT)
ACT TWO, SCENE NINE
(The levee at Natchez in 1927, showing the modernized show boat
with electric lights, etc. There is a radio tower and a hydroplane
in the background. BOYS and GIRLS in evening dress are on stage
at rise)
31.Cotton Blossom (Reprise)
CHORUS
Cotton Blossom, Cotton Blossom,
Captain Andy’s floating show!
Thrills and laughter,
Concert after,
Get your girl and go!
32.It’s Getting Hotter in the North
KIM
Now
Up in the northern land
Wow!
They’ve started struttin’ and
How!
Soon as they hear a band
Ev’ry man’s daughter steps
To muddy water steps!
It’s gettin’ hotter in the north every day,
It’s not the temp’rature that’s makin’ it that way,
It’s ’cause they’re dancin’ all the time
The dances of a warmer clime.
If you want lovin’, gals, you must learn to shut;
They leave you cold unless you do nothin’ else but!
Up on the levees of Broadway
It’s getting hotter ev’ry day!
The levee shuffle of the south
Has traveled north by hoof and mouth,
Makin’ our feet slow down,
Doin’ those neat, low-down
Twistin’ and turnin’ steps,
Blazin’ and burnin’ steps!
If you want lovin’, gals, you must learn to strut;
They leave you cold unless you do nothin’ else but!
Up on the levees of Broadway,
It’s gettin’ hotter every day!
KIM & CHORUS
If you want lovin’, gals, you must learn to strut;
They leave you cold unless you do nothin’ else but!
Up on the levees of Broadway
It’s gettin’ hotter every day!
(KIM exits)
CHORUS
It’s gettin’ hotter in the north every day,
It’s not the temp’rature that’s makin’ it that way,
It’s ’cause they’re dancin’ all the time
The dances of a warmer clime.
If you want lovin’, gals, you must learn to shut;
They leave you cold unless you do nothin’ else but!
Up on the levees of Broadway
It’s getting hotter ev’ry day!
The levee shuffle of the south
Has traveled north by hoof and mouth,
Makin’ our feet slow down,
Doin’ those neat, low-down
Twistin’ and turnin’ steps,
Blazin’ and burnin’ steps!
If you want lovin’, gals, you must learn to strut;
They leave you cold unless you do nothin’ else but!
Up on the levees of Broadway,
It’s gettin’ hotter every day!
(Now follows an extended set of specialty dances:)
ECCENTRIC DANCE
BUCK DANCE
FRANK & ELLIE’S DANCE
CAP’N ANDY’S DANCE
ENSEMBLE DANCE
(After the number the ensemble exits.
FRANK and ELLIE enter from the boat with ANDY)
FRANK
Say, Cap’n Andy, sorry we couldn’t stay for the end of the
concert; we have to make that eleven o’clock boat.
ELLIE
(very Ritz)
We hated to leave your little entertainment –
it was very amusing.
ANDY
I’m glad you liked it.
ELLIE
It’s so quaint.
FRANK
You see – things are so different in Hollywood.
ELLIE
(with boastful hauteur)
Yes, being the parents of little Frankie Schultz…
the boy wonder of the screen – we have our social
position to maintain.
ANDY
And to think o’ you two havin’ the luck to adopt a kid
an’ him turnin’ out to be a screen knock-out… earnin’
a million dollars a year!
ELLIE
Well, Cap’n Andy, if you ever come out to beautiful
California, do look us up at our palatian villa.
ANDY
I sure will. I’m glad you two are doin’ so well in pitchers.
FRANK
Yes of course, it’s an exacting art and between you
and I the social life in Hollywood is pretty swift.
ELLIE
(coyly)
Oh, Frank, don’t be so mid-Victrola!
(FRANK and ELLIE exit)
ANDY
Those movin’ pitcher people are wonderful!
(The concert on the boat is over. The crowd starts
to come out. It is a corresponding crowd to the 1890
audience we saw in Act One – in modern guise. They
gather about in groups up stage discussing the show.
RAVENAL comes down stage R. JOE stands outside the
pilot house of the tug; other Negroes gather about
the deck of the tug and look on)
ANDY
Hello, Gay. She’ll probably come out on the top deck.
(to GIRL)
Hello, Hope.
HOPE
‘Lo, Cap’n Andy.
ANDY
(to RAVENAL)
Shall I call Nola?
RAVENAL
I don’t know.
GIRL
(passing with her escort)
‘Lo, Capt. Andy!
ANDY
Is your ma well?
GIRL
Fine, thanks.
ANDY
Thank her for the chocolate cake.
GIRL
I will.
MAN
Great show, Capt. Andy!
ANDY
Glad you like it. How’re the kids?
MAN
All right. Little one’s got a cold.
ANDY
Too bad. Change o’ weather, I expect…
oh, I didn’t see you, Nola.
(MAGNOLIA has entered quietly from the boat to
speak to her father and has seen RAVENAL before he
could turn. ANDY follows her gaze over his shoulder)
ANDY
Er… Nola… here… here’s Gay…
(turning to RAVENAL)
Here’s Nola, Gay.
MAGNOLIA
Gay…
(Neither knows what to say – the silence is embarrassing,
painful to all three. As JOE and CHORUS start to hum
“Ol’ Man River” an old lady comes up to ANDY)
OLD LADY
Isn’t that your daughter, Cap’n Hawks?
ANDY
Er – yes – that’s Nola.
OLD LADY
(going over to MAGNOLIA)
How-do? I remember you when you were leading lady on this
boat – and – that’s your husband, isn’t it? How-do, Sir?
RAVENAL
How do you do?
OLD LADY
I thought I recognized you both – guess I ought to –
was here on this levee the day you were married.
My, my, how excited we all were! That was a real
love match! Well, glad to see it turned out well
and you’re still happy together… Good-night.
MAGNOLIA
Good night, dear.
(The OLD LADY exits )
Father – this is a – a nice surprise –
(She goes over and takes RAVENAL’s hand)
Gay – come – come up on the top deck –
we can talk there… will you?
RAVENAL
Nola…
(He slowly takes her in his arms – he hasn’t quite
the courage to kiss her. She kisses him.
GIRLS and BOYS enter)
ANDY
(chuckling)
If you go up front, you’ll find a water barrel –
ain’t much different from the old one.
(MAGNOLIA and RAVENAL start to walk towards the boat)
MAGNOLIA
Look, Gay – there’s Kim.
CHORUS
But Ol’ Man River,
He jes’ keeps rollin’ along!
(SLOW CURTAIN)