January 5, 2014 7 the Winner! The Brazilian Musical Comes of Age Part Two: le !ai !

!oltar "#ell Come Bac$% & !ow' A( A(A)*+&+ ,- M. )) / 0 B,T )#,+ 7 THE MUSICAL% ,( ,- T# -&( +T M1+&CA)2T# AT / P& C + ! / T, #&T T# B/A3&)&A( +TA4

The characters of 7 The Musical: Amelia, Old Stepmother, Carmen, osa, Odette At first !lance, " #as heedless of 7 The Musical$s innate %ra&ilianness, nor #as " prepared for the sho#$s startlin! re'elations #hen they e'entually came( Accordin!ly, " am inde)ted to Claudio %otelho, Charles *+eller, and ,d *otta for ha'in! stressed this sin!ular aspect of their #or- and the different shades of meanin! to )e mined from it( .o#e'er, as " del'ed more deeply into the plot and characters associated #ith their opus magnum/ and, a)o'e all, the musical$s score and its in!enious placement #ithin the conte0t of the drama / it all started to come to!ether for me( As in all !reat #or-s, 123 has a !ood deal of psycholo!ical acuity associated #ith it, #hich the sho#$s music con'incin!ly con'eys( The story unfolds, star-ly and resolutely, in seamless fashion, #ith each ne# disclosure set atop the pre'ious one, until, in the end, the ine0ora)ility of the characters$ pli!ht is un'eiled and the cycle )e!ins ane#( The sho#$s dramatis personae are treated #ith a de!ree of compassion, if not the cold, calculatin! hand of a trial la#yer( "n this analysis, the audience participates as )oth 4ud!e and 4ury: 1#itnesses3 are called on to present their 1case,3 as the 1e'idence3 )e!ins to mount either for or a!ainst the prota!onists( Theater!oers are left to their o#n de'ices in renderin! a 1'erdict3 on the characters$ indi'idual moti'e(

This mar-s 7 The Musical out to )e a psychodrama, al)eit one that )oasts some terrifically lyrical moments( Ample in scope, unsparin! in its criticism of %ra&ilian society$s moral failin!s and full of emotional density, *+eller 5 %otelho$s sho# is redolent of a )rutally pessimistic 'ie# of human nature at its most repellent 6a trait shared #ith Stephen Sondheim$s Sweeney Todd7( 8et, it is )lessed #ith a clear9eyed perspecti'e that allo#s for sufficient appreciation of #hat these characters ha'e !one throu!h / characters #ho desperately need to )e understood, to say nothin! of )ein! lo'ed( "n this climate, e'en the trou)led personality of Amelia, #hile en!a!in! the audience$s sympathy from the start, #ould fill #hole 'olumes of case histories in modern psychosis( :urthermore, the entire play is a study in o)sessi'e9compulsi'e )eha'ior, a doctoral thesis on ho# far indi'iduals #ill !o to o)tain the o)4ect of their desire( The Past is Prologue The play )e!ins at a railroad station in io de Janeiro( "t$s not a 1real3 railroad station, )ut more of a mental #aitin! room / a close cousin to Sartre$s No Exit, where people are trapped )y e'ents )eyond their control( "t$s a sym)ol, much li-e a #eddin! rin! 6the ima!e of family unity7 and other -ey o)4ects: the train, lea'in! the station, ta-es its passen!ers to another realm( This 1 io of the mind3 is a dra), unin'itin! place in a non9 e0istent, not9so9*ar'elous City, a )lea- and dismal stopo'er point only a #riter of, say, ,d!ar Allan ;oe$s <othic sensi)ilities could dream up( The first notes to )e sounded from the se'en9man orchestra are from Amelia$s solo, 1Ele vai voltar3 61.e$ll Come %ac-, " =o#37, #hich she sin!s a )it later in the act and references her philanderin! hus)and, the handsome .erculano( .is a)sence at the )e!innin! of the drama, made constant )y this recurrent theme, is the spar- that sets the plot in motion( "n sum, this musical reference all9)ut !uides and dri'es the story for#ard( A hu!e cloc- is lo#ered onto center sta!e, a cloc- #ith no hands on its face / a clue #e are dealin! #ith the literal suspension of time and space( To illustrate this point, the cloc- !lo#s )ri!htly in the manner of a full moon in autumn(

The Cloc- and Train in 7 The Musical 6Courtesy:

o!erio :alcao7

%eneath the cloc- is the silhouette of a youn! !irl lyin! on a )ench( This is Clara, the #ard of Old Stepmother( As the music dies do#n, Old Stepmother enters and )e!ins to count off the num)ers from one to se'en to the tune of 1.e$ll %e %ac-(3 She then

relates the story of Sno# >hite / pro)a)ly for the thousandth time / to a thorou!hly disinterested Clara, #ho storms off in protest, follo#ed )y the stepmother( +ong of the Wishes The scene dissol'es to find Amelia, a youn! #oman in her 20?s, in a heated discussion #ith the clair'oyant, @ona Carmen( ;assions )oil o'er as the #omen ar!ue )ac-9and9 forth a)out their differin! points of 'ie# concernin! Amelia$s tas-s, in particular the unnamed se'enth tas-: Um rato branco Sementes de rom Um dente siso Sapato de mulher Um livro bento E uma alian!a"

A pale #hite rodent Some pome!ranate seeds A tooth that$s rotted A lady$s hi!h9heeled shoe A .oly %i)le A #eddin! )andA Amelia insists it can$t )e done, )ut Carmen counters that it$s the most important tas- of all( >e !et )its and pieces of information as to #hy Amelia is there in the first place: to !et her man )ac-( %ut in order to !et her man )ac- she must perform this tas- #ithin a specified time span( @esperation )e!ins to set in on Amelia$s face, #hile Carmen attempts to soothe her #ith a cup of red tea / a 'ery potent tea, it #ould seem( 5#ell Come Bac$% & !ow6 The scene chan!es to a deserted street alon! the Bapa Arches, #here Amelia, dis!uised as a hoo-er, lures an unsuspectin! !entleman to a )ench( .er ensuin! actions, #e soon learn, )ecome part of the se'enth tas-( There$s a cle'er riff on the theme of Jac- the ipper #ith an ironic t#ist, in that Amelia is transformed into a -nife9 #ieldin! assassin #ho tears out her 'ictim$s heart( Cot out of lust or hate, )ut simply out of necessity, a cle'er 4o-e pulled off )y Charles and Claudio( 8ou see, un)e-no#n to Amelia, #ho ta-es a #eddin! rin! from the !entleman$s fin!er, she has 4ust -illed the notorious %elt Stran!ler, a 'icious fiend and murderer #ho$s )een pro#lin! the streets of io dismem)erin! the )odies of other ladies of the e'enin! / se'en of them, to )e precise( %y eliminatin! this cold)looded -iller, Amelia no# )ecomes the 'ery thin! she has dispatched( Concurrent #ith the a)o'e, Old Stepmother resumes her recitation of the fairy tale of Sno# >hite to Clara( On top of Amelia$s sa'a!e act, a one9note theme is repeated o'er and o'er a!ain, #ith Old Stepmother recountin! the point in her story #here the

,'il Dueen orders the .untsman to -ill the innocent Sno# >hite( This is 4u0taposed #ith Amelia$s raisin! of her -nife hi!h a)o'e the @ead *an$s corpse and )rin!in! it crashin! do#n onto his chest( The )lo#s are punctuated )y her cries of despair and eerie notes hi!h up in the strin!s, reminiscent to discernin! ears of %ernard .errmann$s score for the mo'ie #sycho( *yths, le!ends, and fairy tales all ha'e their )asis in fact( .ere, the lines of each are )lurred as to #hat is real and #hat is fantasy( %oundaries ha'e )een crossedE the so9 called lines of demarcation are )reached, until #e finally lose count of the num)er of times the realm of fantasy ta-es o'er the reality portion of the characters$ minds( After the heinous deed is done, Amelia #ashes her hands clean of the crime( >ith that, the $Ele vai voltar%melody returns, the pacin! slo# and deli)erate, li-e that of a funeral march / portentous, fore)odin!, full of ominous dread and, most tellin!ly of all, of pain( Short phrases are interspersed #ith e0tended 'o#el sounds that predominate in the ori!inal ;ortu!uese 6!i'en )elo#7( They reinforce the sense of lon!in! and ine'ita)ility, alon! #ith a certain satisfaction on Amelia$s part for #hat she has done in the name of lo'e: Ele vai voltar &ai voltar, vai 'erto como o sol E a lua v o voltar no c(u Sempre Sem nenhum sen o Sem pensar, sem Ele vai ser meu Meu dono, como eu sempre )uis Sempre, meu bem

.e$ll come )ac-, " 'o# .e$ll come runnin! )acAs the sun and stars The moonli!ht #ill come out as #ell Al#ays Co e0ceptions, none Co thou!hts or #ords, none .e$ll )e mine " s#ear *y lo'er, as "$'e al#ays dreamed Al#ays, " s#ear

The tune is stretched almost to the )rea-in! point, the notes of the openin! lines, $'omo um c o )ue *ugira + 'omo um *ilho )ue torna + 'omo velhos amigos + 'omo a ,gua no rio + 'omo tudo na vida% F 1Bi-e a runa#ay ser'ant G >ho returns to his master G Bi-e a dear old companion G Bi-e a #a'e on the #ater G :lo#in! one after another,3 search in 'ain for the main melody as #ell as reflect Amelia$s a!itated state of mind( "t$s a po#erful yet su)tle e0ample of the psycho9acoustic properties of music( The closin! portion of her son!, $-s portas )ue v o *echar + -tr,s de n.s, meu bem + Meu c,lido amor% F 1The doors are no# closin! G Closin! fast, my lo'e, my heart G The one " adore,3 especially the oft9repeated line 1the doors are no# closin!3 6a recurrin! theme throu!hout the drama7, represent a com)ination portal to the past and door#ay to the future, an indication of the shiftin! time9frames the characters must !o throu!h as their stories are told( The melody #ill )e repeated once more, near the end of the sho#( "n this instance, the #indo# of opportunity is left open for Amelia to achie'e her !oal of !ettin! .erculano to come )ac- to her side, alon! #ith fulfillin! the se'enth tas- 6and her tra!ic destiny7, #hich is to )rin! @ona Carmen 1a heart that$s stron!, still youn! and 'i)rant, happy and free3 /$Traga um cora! o ainda mo!o, )uente e *eli0%7( 7ance Aroun8 the 7ea8 Man There is a comic interlude in #hich the three prostitutes, @ona Odette, *adeleine, and ,l'ira, #ho fi!ure prominently later on in the drama, come upon the @ead *an$s )ody and moc-in!ly comment on its rapid decomposition( The hoo-ers !et the shoc- of their li'es, thou!h, #hen the presuma)ly deceased %elt Stran!ler rises to perform an uproarious son!9and9dance routine 61@ance Around the @ead *an37, to their utter consternation( >ith its 4aunty, hurdy9!urdy9li-e orchestration and infectious tap9dancin! rhythm, this is an outlandishly )i&arre episode, filled #ith a touch of the maca)re / a thorou!hly !houlish scene that, #hile #e may scratch our heads in #onderment as to its rele'ance to the plot, is 4ust another of those inside 4o-es planted )y the authors to remind us that perhaps #hat #e$re really #itnessin! is a true hell on earth( 5Ta$e This Woman -ar6

Clara 5 Old Stepmother 6;hoto: ;aulo

uy %ar)osa7

>e mo'e on to Old Stepmother$s )alcony, #here a apun&el9li-e Clara complains to her stepmother of the sheltered life she$s )een leadin! as a prisoner in her o#n home( The scene shifts to Carmen$s parlor, #here #e meet, in flash)ac-, Amelia$s 1!odmother,3 @ona osa( The t#o #itches, one 1!ood3 and one 1)ad3 6#hich one is #hich can )e deemed interchan!ea)le7, state their indi'idual cases #ith respect to the !irl %ianca( Amelia remem)ers her as the pretty little tart that lured her .erculano a#ay( "n the middle of osa and Amelia$s con'ersation, %ianca$s fi!ure appears in the )ac-!round( She$s seen se#in! at her #indo#, #hich mirrors the Sno# >hite story Old Stepmother repeated to Clara earlier on( %ianca pric-s her fin!er on the needle, #here)y )lood is dra#n( This is follo#ed )y Amelia$s remar-in! ho# the #oman does nothin! )ut stare out her #indo#, #aitin! for .erculano( osa insists she$s not a #oman at all )ut a mere child, #hich if one recalls %runo %ettelheim$s :reudian interpretation of the <rimm %rothers$ fairy tales, the )leedin! is tantamount to %ianca$s ha'in! achie'ed her #omanhood / in other #ords, osa$s assertions can$t support this confirmation that the child is no# !ro#n up( Carmen and osa, each in their respecti'e time period, tell Amelia the facts of married life: of hus)ands that a)andon their #i'es for 1other #omen,3 #ho may also chase after them, in the )luesy num)er, $1eva essa mulher% 61Ta-e this #oman far37( They

pronounce a curse upon %ianca, #ishin! her the #orst of luc-, not reali&in! that, despite their imprecations, )ad thou!hts can only produce more )ad thou!hts( To their -no#led!e, it$s al#ays the 1other #oman3 #ho ma-es out )est( "n 'ie# of .erculano$s a)andonment, neither Amelia nor %ianca, nor 6stran!ely enou!h7 any of the other characters e'er Huestion #hat led to his lea'in!, or #hy the )lame for his ha'in! fled Amelia$s em)race rests solely on poor %ianca$s shoulders( There is no consideration of Amelia$s in'ol'ement in the matter, #hich or may not ha'e precipitated his departure( Considerin! the fee)le fello# that .erculano turns out to )e, there$s no need for e0planations( "ndeed, all the males in the story are depicted as fec-less and #ea-9 #illed( They$re empty9headed and 'apid, #ith continuously ro'in! eyes for a pretty face, #hich is #hy the se'en youn! men, #ho perform the function of a typical <reechorus, are descri)ed in the li)retto as 1d#arfs3: they are short not in their physical stature )ut in the shortsi!htedness of their relationship to #omen( Similarly, the #omen are portrayed as ha'in! a li-e9minded purpose, #hich is to -eep their men from #anderin! at all costs / e'en if those men are undeser'in! of their lo'e, as they pro'e throu!hout( 5+lee9 M: )ittle Ba;e6 "n another chan!e of scenery, #e are finally in the presence of .erculano and %ianca( %ianca, a ra'en9haired, rosy9chee-ed )eauty, is in a hallucinatory state( She spots Amelia$s 'isa!e e'ery#here she loo-s( To .erculano, the man un#orthy of either #oman$s affections, %ianca is 1seein! thin!s(3 "t$s all in her mind, of course( >e note here ho# Amelia is freHuently sho#n as complainin! a)out her fate #hile, on the other hand, her counterpart, %ianca, is eHually unsatisfied #ith her station in life( Contrast this #ith Clara$s o#n #hinin! in re!ard to her situation a)o'e( Co sooner has .erculano spo-en, #hen Amelia approaches, #atchin! and #aitin!( %ianca holds the child she concei'ed #ith .erculano in her arms( The )a)y starts to cry, )ut %ianca is una)le 6or incapa)leI7 of silencin! it( Ta-in! the child, .erculano soothes the #ailin! infant #ith a lulla)y: $2orme meu nen(m )ue o bicho vem% F 1Sleep my little )a)e, your daddy came(3 %ianca continues her lament, insistin! she$s )ein! punished for stealin! another #oman$s spouse, )lamin! it on a spell that$s )een #o'en around her, #ith possi)ly more to come( The past continues to collide #ith the present( The characters appear to li'e )oth in the present and in the past simultaneously( All that$s left for them is the 1possi)ility3 of chan!eE a dissatisfaction #ith ho# thin!s are and an o'erpo#erin! ur!e to alter their situation now, #hich can only affect ho# thin!s will be in the future( Som)er chords return for the ne0t scene( Amelia, #ho is faced #ith @ona Carmen$s re4ection of )oth the %elt Stran!er$s heart and #eddin! )and 61This rin! is #orn( "f it )elon!s to the o#ner of this heart, it$s an old heart( "t$s #orthlessJ37, !ets more and more despondent as the time for completion of her tas- !ro#s short( :eelin! some#hat sympathetic to#ard her client, Carmen su!!ests an alternati'e plan( >hy not see- out @ona Odette, a lon!time friend, #ho 1o#es3 her a small fa'or or t#oI Carmen #rites out some instructions and tells Amelia to !i'e them to Odette, #ho #ill -no# #hat to do( "n the interim, Amelia need ha'e no more concerns a)out %ianca or .erculano( 1Bea'e it to me,3 she )oasts( Carmen hands Amelia a )lac- )oo- of spells,

#ith directions to practice the dar- arts durin! her stay #ith Odette and her 6ahem7 1!irls,3 as a #ay of stren!thenin! Amelia$s resol'e( Amelia does 4ust that( 5&ts ,ff to Wor$ We 4o6 <loc-enspiel and )ells are heard, as Clara recreates Sno# >hite$s disco'ery of the Se'en @#arfs$ hut in the forest, to the tune of 1.ei!h9.o(3 "nterruptin! the proceedin!s, Old Stepmother launches into a spell of her o#n )y recitin! the part #here the ,'il Dueen turns herself into a -indly old lady: 1Co#, )e!in your ma!ic spell,3 she cries(

*adeleine, Odette 5 ,l'ira 6;hoto: ;aulo

uy %ar)osa7

There is a Huic- scene chan!e, )ac- to Odette$s )oardin! house, #here Amelia is alone in room num)er 2, readin! rapidly and e0citedly from the )lac- )oo-( At the same time, Carmen is in her parlor, e0hortin! her tarot cards to sho# her a si!n that all #ill )e #ell( 1As-, and you #ill recei'e,3 she sin!s( "t$s all in the cardsJ Amelia )ecomes the #itch, !uidin! her life as the )oo- of spells su!!ests( Carmen is reduced to the 4o) of o)ser'er, coa0in! thin!s alon! and nud!in! Amelia to#ards the ine'ita)ility of her fate( Carmen dis!uises herself as a 'endor, 4ust as Old Stepmother indicated a)o'e, and !oes to see %ianca in her home, thus fulfillin! her promise to Amelia to 1ta-e care3 of the youn! !irl( Transition to %ianca, on her )alcony / a!ain, the analo!y to apun&el trapped in her to#er( Carmen pays her a friendly 'isit( She is out!oin! and concerned and succeeds in #ormin! her #ay into %ianca$s fortress9li-e a)ode( 5+cru; That 7irt: +tair6 *ean#hile, the t#o prostitutes, ,l'ira and *adeleine, put Amelia to #or-( They treat her harshly, in the manner of the t#o stepsisters #ho made Cinderella$s life a pure hell,

)y #or-in! her fin!ers to the )one( Amelia is doin! the most menial of tas-s: scru))in! the floors, #ashin! the clothes, cleanin! the staircase, and ironin! the clothes( Suddenly, Amelia has a 'ision of .erculano: 1Seu rosto me persegue em tudo + meu cora! o ( seu F 18our face is #ith me here, my darlin! G my heart is in your hands,3 she sin!s, #hich foreshado#s the melody of the ensem)le /$2e noite o principe me espera + em todos os umbrais% $-t night my prince is waiting *or me + his *ate is in my hands%7 that closes the act( At the hei!ht of her confrontation #ith the #hores, Amelia faints from e0haustion( @ona Odette orders that she )e put to )ed( Just then, the pure fool Al'aro arri'es at the residence( Odette pays little heed to this apparently #et9)ehind9the9ears )oy #ho #ants to )e initiated into manhood( .o#e'er, upon learnin! he$s the son of her oldest client, Odette su!!ests an appropriate companion, to )e found in room num)er 2( 1%ut do !i'e her some time to pull herself to!ether,3 she adds( 5The )ight of 7a: is There% Waiting for *ou6 The sta!e dynamic chan!es #ith %ianca$s crude transformation from a !or!eous youn! !irl into a hideous she9creature: disfi!ured and dis!uised, her )eauty marred and youthful appearance !one, %ianca$s hair is shorn of its luscious loc-s, #hile her face is made up to coarsen her features( Softly and !ently, the music repeats the theme associated #ith the @ead *an$s dance, )ut the intent is drastically different: it$s no# a siren$s son!, callin! %ianca to 'enture out into the city / Carmen$s in'itation for her to ta-e a fi!urati'e )ite out of the apple, thus initiatin! her into io ni!htlife to #hich she is unaccustomed: - lu0 do sol Espera por voc3 Manh calor 'al!adas pra voc3

The li!ht of day "s there #aitin! for you The mornin! !lo# The side#al-s 4ust for you Co# )e!ins the most re'elatory num)er in the act, $Se essa rua% F 1"f this path#ay,3 sun! )y %ianca and .erculano as a duet( The analo!y here is of t#o ships in the ni!ht !oin! in opposite directions and passin! each other )y, #ith the road less tra'eled for one of them 6i(e( %ianca7 leadin! to ne# hori&ons( .erculano attempts to pre'ent %ianca from lea'in! / )ut is he really thereI The scene plays out in %ianca$s ima!ination as a pro4ection of her innermost #ants( The fact is .erculano isn$t present at all( Still, their duet could concei'a)ly ha'e ta-en place at an earlier time( The d#arfs materiali&e #ith their um)rellas / protection from the #ind and sno#I ;erhaps, or possi)ly the fallout from the lies the characters ha'e )een #allo#in! in( %ianca can ne'er con'ince .erculano to mend his #ays 6neither can Amelia, only she doesn$t -no# it yet7( Bo'e means somethin! else entirely to this man than it does for %ianca( .is idea of lo'e and marria!e is ha'in! %ianca loc-ed up for her 1protection3

and personal use( 1@on$t !o outside,3 he admonishes( 1"t$s dar-, it$s cold, and the #olf is lur-in! a)out(3 %ianca sees thin!s from a different an!le: her future is outside their door 6or )eyond the portal7( "t$s another life she lon!s for, one that .erculano is un#illin! to !i'e her( Their scene ends #ith a deep and passionate -iss( 5Before & -orget M:self in *ou% +ta:6

7 The Musical lo!o >e$re no# in room num)er 2( Al'aro and Amelia are alone( She ta-es a da!!er out from under the pillo# and places it in her hand( .ere$s her chance, the heart that she$s )een #aitin! for, one that has ne'er -no#n lo'e( .er !oal is #ithin her !rasp, her tasalmost complete( So #hat does Amelia doI Bi-e %ianca )efore her, she -isses Al'aro, tenderly, on the mouth, #ith Carmen$s 'oice )u&&in! in her ears: Traga um cora! o -inda mo!o 4uente e *eli0

%rin! me a heart that$s stron! Still youn! and 'i)rant .appy and free Try as she mi!ht, Amelia can$t -ill the )oy( "nstead, she sin!s a seducti'e little ditty to accordion accompaniment 6reminiscent of :rench ca)aret music7, the lo'e son! $-gora para sempre% F 1Co# and fore'er3, #hile she undresses the )oy( "t$s her 'ersion of a siren$s son!, similar to yet so different from Carmen$s ode to %ianca: )ouncy, fla'orful, and in three9Huarter time( *iraculously 6or may)e not7, the t#o youn! people fall in lo'e( They$re all o'er each other on Amelia$s )ed, as they !i'e themsel'es o'er to their passion( 5Time an8 Again% (ighttime #as Come6 A chan!e of scene finds us )ac- at the Bapa Arches( *en are also loo-in! for 1lo'e,3 in the arms of other #omen( >omen are plyin! their trade )y e0chan!in! 1lo'e3 for money( :lash for#ard to %ianca, #ho$s tryin! to !et home( .a'in! lost her #ay, she is

desperate to !et )ac- to her dau!hter )efore .erculano returns( Boc-ed out of people$s homes and hopelessly alone, %ianca is e0posed to the elements of sno# and #ind, #hich )e!in to pic- up( There$s a 'erita)le )li&&ard onsta!e, em)lematic of the storm that$s ra!in! inside the characters$ souls( >e return momentarily to Amelia$s room( She tells Al'aro to lea'e, )ut he nai'ely refuses( The full moon re'eals itself, to#erin! o'er all( Amelia insists that Al'aro must !o / no#J She tells him a)out the spell, )ut he contends that there is no spell, that it$s all in her mind 6sound familiarI7( %ianca -noc-s on e'ery door she finds, )ut no one responds( The portal is no# closedJ

:inale to Act 1 of 7 The Musical 6arte'ie#(com()r7 The chorus of d#arfs and prostitutes sin! of ;rince Charmin!, #aitin! for his princess( They in'ade Amelia$s )edroom to remind her that ni!htfall has arri'ed: $Mais uma ve0 + a noite cai% F 1Time and a!ain G ni!httime has come(3 %ianca repeats the #ords, $- rua, a rua, a rua, a rua% 61The path#ay, path#ay, path#ay, path#ay37 o'er and o'er and o'er( Clara no# comes onto the scene( She ta-es a )ite out of an apple, the for)idden fruit of truth 6or #hat9ha'e9you7( 1Sno# >hite still li'es,3 Old Stepmother announces, 1and she$s a thousand times more )eautiful than you, ,'il Dueen(3 >ith that, Amelia lets out a primal scream( She has no one else to turn to, no#here else to !o( She$s at the end of her rope( >hate'er #ill she doAI %BACKOLT ,nd of Act " 6To )e continuedA7

(With gratitude and acknowledgement to Charle M!eller" Claudio #otelho" Ed Motta" and Tania Car$alho% Co9:right < =>?@ ;: Aosmar -B )o9es

;osted in %ra&ilian ;ersonalities, :antasy, *usica ;opular %rasileira, *usical Theater, Theater Ta!!ed 2 9 O *usical, 2 9 The *usical, %ra&ilian *usical Theater, %ra&ilian musicals, Charles *oeller,Claudio %otelho, ,d *otta, :airy Tales, <rimm %rothers, *oeller9%otelho, Sno# >hite, The Se'en @#arfs )eaCe a comment