AMV I Zs ‘The American Musical and Dramatic Academy Performing Art Library Libretto Collection Kean Robert Wright/ George Forrest (1961) po NOTES: feb B200§ \ OCT 15 2006 (0/a7/o8 | (BEB 7 goss 211 West 61” Street, New York, NY 10023 (212) 787-5300 (800) 367-7908 Fax: (212) 787-0848 _www.AMDA.eduPRODUCTION SCRIPT ‘(Broadway Theatre, New York) KEAN Lyrics and Music by ROBERT WRIGHT and GEORGE FORREST Book by PETER STONE a (based on the comedy by Jean-Paul a Sartre, adapted from the play by Alexandre Dumas) [ ls 2 November 1961 { Fo eet Sh i AP St. Aloe Vanle, AY [oor] (212) 286-075 ion Dl12/2/61 SYNOPSIS OF SCENES The Time: The Early Nineteenth Century The Place: London ACT ONE il. Overture 2. Prologue -- Drury Lane, backstage 3: Danish Embassy. -- A ballroom . ‘The Street (Drury Lane) 5: Drury Lane -- Kean's dressing room 6: A Street -- in front of a Thames-side tavern 7. The Green Frog -- a tavern ACT TWO 1. Entr'acte 2: Drury Lane -- Kean's dressing room 3, Drury Lane -- The stage & stage boxes 4, The Street (Drury Lane) 5. Keants House -- a drawing room 6. Drury Lane -- backstage Finale -- Drury Lane stageCHARACTERS (In order of appearance) CHRISTIE -- A mountebanic EDMUND KEAN BARNABY -- An actor STAGE MANAGER FRANCIS } Actors SOLOMON -- Kean's factotum LORD NEVILLE COUNTESS ELENA DE KOEBERG SWELL LADY AMY Go: COUNT DE KOEBERG PETER POTT -- A tavern keeper WINIFRED WATLINGTON SPARROW CAROLINE ROSA ST, ALBANDS Prostitutes BaRStASTA BOLT PIP. Davin} Acrobats TORDS, LADIES, ACTORS, STAGEHANDS, SAILORS, FROSTITUTES , EGKERS, MUSICIANS, BARMAIDS, STREET HAWKERS, SERVANTS and CITIZENS OFLvom: SONG LYRICS APPEAR IN CAPTPAL LETTERS. 711/2/61 Overture - 1 scr Overture CHRISTIE, a young street-vendor and acrobat, appears before the curtain selling pictures of KEAN, CHRISTIE (Hawicing his wares to the audience) PENNY PLAIN, TWOPENCE COLORED! PENNY PLAIN, TWOPENCE COLORED! BEAUTEOUS PICTURES OF EDMUND KEAN IN HAMLET, LEAR AND CYMBELINE FOR A PENNY PLAIN, TWOPENCE COLORED! IF WHAT'S IN YOUR POCKET IF YOU'RE UP WITH THE PEOPIE WHO CAN PICK AND CHOOSE, HERE HE IS IN RAINBOW HUES: ROSE PETAL PINK TWOPENCE COLORED! PENNY PLAIN, TWOPENCE COLORED! (Jumping from the stage apron, HE walks up the aisle of our theatre and disappears)Prologue - 1 11/2/61 ACT I Prologue The Theatre Royal, Drury Lane. Backstage. The last moments of "Hamlet" are peing played out to the Drury Lane audience, stage right, Several bodies are visible on that stage. FORTINBRAS! VOICE "Let four captains Bear Hamlet, like a soldier, to the stage; For he was likely, had he been put on, To have proved most royally: and for his passage, The soldiers! music and the rites of war Speak loudly for him. Go, bid the soldiers shoot (As Hamlet's body is lifted onto a@ shield, which in turn is raised onto the shoulders of FOUR CAPTAINS, a cannon is shot. ‘The Drury Lane curtain falls to the sound of applause, right, off. As the CAPTAINS come downstage, Hamlet suddenly sits up; it is KEAN, HE motions for the EDMUND CAPTAINS to lower him; HE climbs off the shield) KEAN Get me off this bloody platter! (Quietly) Barnaby -- Barnaby -- (BARNABY, one of the actors, runs up, followed, as always, by BEN and FRANCIS, his cronies and fellow actors) BARNABY Yes, Mr, Kean? KEAN Barnaby -- are you happy here at Drury Lane? BARNABY Yes, Mr, Kean,12/6 Prologue - 2 ‘KEAN (Smiling, his arm around BARNABY'S shoulder) We've always gotten along well together, haven't we? BARNABY. Yes, Mr, Kean, KEAN Next time, why don't we exchange roles -- you can be Hamlet and I'll play Laertes. (His face jighting ing up) Do you mean it, Mr. Kean’ KEAN Certainly, Barnaby -- then, when it comes to our dueling scene == (Suddenly shouting) =~ I can stab you in the ass! What the hell were you trying to do -- skewer me? STAGE MANAGER (Approaching) Your ourtain call, Mr, Kean, (Distracted) But -- Laertes is supposed to kill Hamlet, Hamlet -- not Edmund Kean (HE runs off oa take his call) (To BARNABY) I saw you -- you stuck him on purpose. BARN! (A pause; thinking) That's not true, FRANCIS You're his understudy, aren't you? BEN If you'll take our advice -- BARNABY (With dignity) When I want advice from Rosencrantz and Guildenstern, I'll ask for itl (HE storms off, followed by BEN and FRANCIS.11/2/61 Prologue - 3 KEAN returns to SOLOMON) (Disgusted) Did you hear that piddling applause? An entire audience of one-handed people. SOLOMON Yes, sir, Please hurry, sir -- you have been invited to the Danish embassy tonight -- a ball for the prince of Wales, KEAN The Count de Koeberg's invitation was not sent to the man, Solomon, but to an actor, The Danish Ambassador merely wishes a little Falstaff to go with the cheese, If he wants @ performance, let him come here to Drury Lane, SOLOMON He is an ambassador, sir, KEAN I have done him the honor of falling in love with his wife -- isn't that enough? SOLOMON Yes sir, This letter was left at the house, sir. (Reading it) isir -- I came to see you and found you away from home. Surely you cannot be so cruel as to refuse me an appointment tomorrow, Anna Danby,! Who is Anna Danby? SOLOMON That young lady in the second stage box, sir -- the one who never misses one of your performances. KEAN Oh, that one, Send her an autographed likeness, SOLOMON Yes, sir, (LORD NEVILLE, an elegant noble- man, enters angrily. NEVILLE Out of my way, you idiot! Where is he? Where is that two-penny acrobat? That great whore-mongering clown? What have you done with her?11/2/61 Prologue - 4 KEAN (To SOLOMON) Who is this? SOLOMON Lord Neville, sir. Neville? Do I know him? NEVILLE Answer mel What have you done with her? KEAN Solomon -~ what have I done with her? SOLOMON With whom, sir? (To NEVILLE) With whom, ‘sir? NEVILLE Leave off acting! My fiancee, Miss Anna Danby. (To SOLOMON) Who 4s Anna Danby? SOLOMON That young lady in the second stage box, sir KEAN Oh, that one ~~ SOLOMON The one who never misses one of your -- KEAN Thank you, Solomon -- I don't think we will require any more expofition, (SOLOMON exits) Well, now -~ good everning, sir, If I understand you correctly, you are interested in Miss Danby, I'm told she is rich almost beyond good taste, And how else are you to keep yourself in gambling losses? NEVILLE Your oritics hardly do you justice -- you are even more vulgar than they say, Miss Danby and I are to be married -— fonorrow. This afternoon it appears she has run away m home.11/2/61 Prologue - 5 KEAN It hardly sounds like a coincidence, sir, NEVILLE Spare me your wit, sir, Tam not one of your admirers, I am reliably informed that you intend going away with her tonight -- to Paris, KEAN I am not even acquainted with your Miss Danby. NEVILLE Are you calling the Prince of Wales a liar? (KEAN is surprised) Yes, Mr, Kean -- I received my information from your pation, ‘KEAN (after a pause; curtly) if your fortune has run out on you, sir, I suggest you looit for her elsewhere, Goodnight” (Applauding lightly) ipplau ‘ly Bravo. Your impersonation of royalty is almost credible, Mr, Kean, and your working clothes are quite handsome, But do not make the mistake of confusing what you weer with what you are, Turns and leaves, and the MUSIC begins ) KEAN Solomon! SOLOMON (Entering) Sir? KEAN lay out my things, I will be going to the Danish Embassy after all, SOLOMON But, sir -- you have already declined, KEAN zt cannot be helped, I must see the Countess de Koeberg -- Elena must not believe the Prince's story, SOLOMON Please, sir -- be careful,11/2/61 Prologue - 6 xEAN Why, Solomon? I am merely stepping froma drama into melodrama: the hero accused of abducting an heiress =- his friend, the Prince, spreading the tale to discredit him with the leading lady, SOLOMON But sir, this is real. KEAN Is it? Let me have another drink and I may agree with you. (SOLOMON exits. KEAN, dis- turbed, paces thoughtfully, examining his costume) What I wear ... what I am -- WHEN IS AN ENDING TO CONFUSION? WHERE IS THE LIGHT THAT WILL REVEAL? ONE WORLD IS TRUE, AND ONE ILLUSION; WILL THERE BE A DAY I CAN SEE WHICH IS REAL? HERE STANDS A MAN, AND HERE THE SHADOW, WHY DO THE FATES WISH T0 CONCEAL -~ ? IS IT THE MAN WHO CASTS THE SHADOW OR THE OTHER WAY? WHICH IS REAL, WHICH IS -- SOLOMON (Entering with a glass) Please, sir, not too many, You know the things you say. ‘KEAN Don't worry, Solomon! It is merely a Mayfair affair. ish’ swans will be dancing with the Danish polonaise, of course -- it is the dance this year -- the latest scandal will be served for supper -- and when the lowly actor makes his entrance, the noble swans and storks will stare down their aristocratic beaks and say what they always say -- and never.mean -- ‘How nice to see youl! (KEAN and SOLOMON leave as: )11/2/61 Lee Act = Scene 1 The Ballroom of the Danish Embassy is revealed, Several COUPLES are dancing a polonaise, led by ELENA, Countess de Koeberg. During the dance, ELENA, on the arm of her husband, the COUNT, spots LADY AMY GOSWELL, who has just entered, ELENA Any! AMY Elenal - (THEY kiss on both cheeks) HOW NICE TO SEE YOU, (To the COUNT) My dear ambassador, count Amy +- how distractingly beautiful you are this evening. (Pleased) Your Excellency! (To ELENA) - It must be simply agonizing to be married to a diplomat -- one can't believe a single word they say. (The COUNT spots another GUEST, Bows and leaves Shame on you, Elena -- you've been neglecting your box at Newmarket. ELENA But I thought you had a horror of racing, AMY of course I do, Still, one has one's obligations. But you can't understand that -- you're not English.11/2/61 1-1-2, ANY (Continued) Nevertheless, your husband is the Ambassador from Norway, dear -- ELENA Denmark, dear. aM If you like, But I suppose Drury Lane is better than nothing ELENA Drury Lane? AMY Come now, dear -- you can't deny that you've been seen there night after night -- I wonder how you can endure it. What are they performing these days? Last night it was Macbeth, Edmund Kean, of course, ELENA -~ YES, DEAR? ® au I've heard the oddest thing -- of course, I don't believe it myself -- but people are beginning to talk. ELENA REALIY? ABOUT? AMY ABOUT -- ELENA WHO, DEAR? AMY YOU, DEAR. ‘ELENA ME, DEAR? “Ay YES, DEAR. ELENA WHAT HAVE THEY TO SAY SO ODD?11/2/61 1-1-3 AMY They say you've fallen in lovel With -- “Fy ELENA : WHO, DEAR? j SHAKESPEARE, aT ELENA aE SHAKESPEARE? / AM : | YES, DEAR, P ELENA IS If opD TO LOVE A GoD? AMY ELENA ELENA ‘YES, DEAR? AMY Is it really the God who attracts you to the temple 80 often? ELENA What else? AMY There are those who say it's the High Priest -- Edmnd Kean, ELENA Nonsense! ANY Of course, I DON'T BELIEVE IT, No? FOR A MOMENT, J XNOW THERE'S NOTHING TO IT, ELENA Naturally. I DON'T BELIEVE It, ‘ip Tm HAD HAPPENED” I'D BE THE FIRST WHO KNEW ITI ELENA Indeed you would!11/2/62 1-1-4 AMY I WOULDN'T BELIEVE IT, ‘I COULDN'T BELIEVE IT, ‘ELENA! ELENA YES, DEAR? AMY HOW COULD You DO It? ELENA DO WHAT? AMY THE MAN IS AN ACTOR! ELENA AND A GREAT ONE. BUT -- AN ACTOR! Such persons cannot be received in respectable society. ELENA Amy, I met Edmund Kean in the company of the Prince of Wales, WHAT DID I TELL your Elena, KEAN'S A WALIOWER IN WHISKEY, HE'S A PROFLIGATE DEBAUCHER WHO WILL FINISH IN A PRISON FOR DEBTORS! TURE, AND HE PACIFIES IT SLEEPING WITH HIS BETTERS! Why, I've heard he has a thousand mistresses, the man must be exhausted, ELENA Come, dear, it's not as tiring as all that! AMY Elena, what a beautiful fan! Where did you get it? (Teasing her) From -- an/admirer, AMY WHO, DEAR? _ ELENA ~ SH, DEARI11/2/61 1-1-5 (Whispering) WHO, DEAR? ELENA NOT HERE! AMY WHISPER IT, NO ONE IS NEAR, (ELENA, finger to lips, shekes her head) Of course, if you'd rather not tell from whom you got itl ELENA (Getting an idea, and recalling AMY!s words about KEAN) FROM A WALIOWER IN WEISKEY,. FROM A PROFLIGATE DEBAUCHER WHO SHOULD FINISH IN A PRISON FOR DEBTORS! AMY You mean it's from -- ? ELENA Certainly, The Prince of Wales. (BOTH laugh over ELENA's little Joke as the Polonaise continues With a burst of sound and ex- citing movement) OFFSTAGE YOICE (Far-off, calling) His Royal Highness, the Prince of Wales! (EVERYONE turns) MAJOR-DOMO His Royal Highness, the Prince of Wales! ‘MUSIC begins; the Anthem, The PRINCE, followed by TWO COMPANIONS in dress uniform, enters, HEY approach the COUNT) PRINCE (To the MUSICIANS) Thank you, (Anthem continues)1-1-6 11/2/61 PRINCE (Continued) Thank you. : (anthem continues) Thank you! (MUSIC stops instantly) Your Excellency ~- madam -~ in recognition of the friendship between our two countries I have brought you a gift, Now where did I put the damn thing? Bh, here it is, (HE takes it from a watoh pocket and hands i to the COUNT) couNr (Studying it) Thank you, Your Highness -- it is a truly magnificent -—- uh -~ Stick of wood, (The PRINCE and his COMPANIONS roar with laughter) PRINCE But what is it, sir -- what is it? COUNT It is undoubtedly very valuable. PRINCE A shilling will buy you a thousand, count A gift from the Prince of Wales is priceless. PRINCE Well put, sir, But I assure you, this is no joke. In the entire world, only you and I own one like it,” I was invented by an Englishman -~ and perfected only this morning. (HE takes it from the COUNT and scratches it against the sash worn by one of his COMPANIONS; the match lights with a flare. EVERYONE reacts, the WOMEN drawing back in alarm) couNT Extraordinary! May I try it, sir? FRINCE Certainly -- tut it takes practice, sir -- if you can't make it go, here is a fresh one.11/2/61 1-1-7 PRINCE (Continued) ‘HE looks around) ( But where's Kean? You promised me you'd invite him, counr But I did, Your Highness -- I know how much he amuses you, PRINCE Then where 1s he, siz? cour It's beyond velief, sir! He actually sent his apologies == something about’a prior engagement. z (Zaughing ) Oh, the rogue! It was Neville's engagement, not his! He's run off with herl Who, Your Highness -~ who? FRINCE Kean and that merchant's daughter! At this very moment they are on the road to Dover! AMY I'm rather surprised he has settled for the middle classes ~~ I've heard that certain great ladies have been generous enough to raise him to their level, PRINCE More generous than that, Lady Goswell, for they have descended to his, ELENA Your Highness -- I cannot allow -- | count (Waaming) Elena -- (fo the PRINCE) Forgive me, sir, I have spent only one season in London, and our Danish men are quite unfashionable -- they respect their women, PRINCE Countess -- any woman who loses her heart to an actor is merely chasing a mirage, I suggest we forget him ~~ no more Keant .11/2/61 1-1-8 MAJOR-DOMO (Announcing ) Mr, Edmund ‘Kean! AMY, oh, I adore complications, I do hope, for Denmark!s sake, that he performs well, last week the German Embassy had dancing bears, KEAN Your Highness, Excellency, ladies -- I realize fully that I am plated once again in a false situation, But then, our playwrights plunge me into them six nights out of seven, I make an entrance and find myself face-to-face with the one man who wishes me a thousand miles away; I confide my love for a woman to my own brother, not imowing he is also my rival; sometimes the woman I worship believes me faithless and I must prove my innocence before her very husband. Laughing. It would take a Shakespeare to make us believe so contrived a plot. AMY It sounds believable to me, KEAN Then, madam, you begin to understand my dilemma, Only an hour ago, onstage, I mortally wounded the King of Denmark -= how, in 2 ballroom, I mortally offend the Danish Ambassador. I do seem to have a Danish problem, I am aware of your scorn, Excellency -- but I shall survive it, E Are you sure of that, Kean? KEAN Yes, Your Highness, We actors are so accustomed to publie scorn, we have become immne, TI have been scorned by Henrys Four, Five, and Six, Richards Two and Three, and John One. Your disdain is impressive, of course, Excellency, but it has the drawback of being real. Why is it that real emotions are always so badly acted? PRINCE Kean -- you go too far. count This is not a play, sir, KEAN Ah, Excellency, there you have me. You can tell the difference, ee11/2/61 1-1-9 Ane Then do tell us, Mr, Kean -- in this play, who 4s on the road to Dover with Miss Danby? Why not ask the author? (To the PRINCE) Size FRINGE But -- she was observed, Kean entering your house, barely an hour ago -- KEAN At the precise moment of her visit I was stalicing the ramparts of Elsinore Castle placating my father's ghost, AMY (Recognizing it) Richard the Third! KEAN Yes. Another much maligned man, In short, Miss Danby left without seeing me. And here is the proof. (HE produces a letter and ands it to ELENA AMY A note from her! Read it aloud, Elena! KEAN A woman's innermost secrets are reyealed in that letter, Countess. Surely they deserve some privacy. COUNT I really don't think -- PRINCE his arm and leading (Taking Him away) Come, Excellency, You are a diplomat -- as soon as your wife knows the secret, you will be able to guess at it, AME (Taking his other arm) And when you have guessed it, you will tell it to us! ELEN! (Reading the letter) IAD To DISPROVE THIS LIE TO YOU, ELENA (SHE reacts, surprised and thrilled THAT IS WHY I'VE CHANCED ENTERING YOUR WORLD IN THIS ~ MAD MANNER.11/2/61 ELENA NoW, AS I STAND WATCHING YOU -- AND’ I AM WATCHING YOU, ELENA -- turns, finds his eyes fixed upon her, resumes reading) I ENOW TP WAS WORTH THE MADNESS AND THE CHANCING! (Trembling with excitement, SHE continues in a whisper} THERE IS DANGER IN MY LOVING YOU, DANGER IN YOUR LETTING ME, DANGER IN YOUR NOT UNBOUNDED BEAUTY IF WE DARE -~ DO YOU DARE? : (SHE presses the letter to her, then quickly turns the page, and resumes IF YOU DO, THEN ENTER MY WORLD, ELENA: COME To DRURY LANE TOMORROW AT FIVE. WEAR A VEIL, AND A TRUSTED FRIEND WILL SHOW YOU TO A SECRET DOOR. (SHE goes to KEAN) Here is your letter, Mr, Kean. (SHE offers it to him, but Slips it into the folds of her dress as HE reaches for it. Then, turning abruptly, SHE rejoins the OTHERS, KEAN stands where HE is, unsure of the outcome) AMY Well, Elena? PRINCE Well, Madam? cour Well, my dear? (ELENA hesitates, looking first at KEAN, then at the OTHERS, then back to KEAN again) ELENA | (Pinally) The letter vindicates Mr, Kean completely... (KEAN bows)11/2/61 Le4-21 (Disappointed) Oh, dear, (The MAJOR-DOMO has come to the COUNT and whispered in his ear) count Your Highness ~~ if you are ready -- supper may now be served. (The PRINCE nods, takes ELENA's arm and starts off, passing KEAN) PRINCE (Quietly) Kean, I have never known you to be so vehement in the defense of a woman's honor, Ido hope it is not at the expense of a lady's, (Next, the COUNT passes KEAN, AY on his arm) coUNE ‘Thank you for clearing up the confusion, sir, Perhaps another time you'll be free to join us. : (KEAN bows his head stiffly as the COUNT leaves him, HE watches the PRINCE and ELENA mount the stairway, Then, as ELENA glances back at him, HE bows to her) KEAN (Alone now, with the lights dimmed, HE stands in the center of the empty room) THERE 1S DANGER IN MY LOVING You, SWEET DANGER, WHEN WE KNOW WE CAN SHARE UNBOUNDED BEAUTY IF WE DARE, WE WERE DESTINED FOR DIVIDED PATHS, FATED TO BE FAR APART, AND THERE'S DANGER IN DEFYING FATE WITH A FOOLHARDY HEART! SWEET DANGER! SWEET DANGER, SO WHY SHOULD WE BEWARE? COME OPEN WITH YOUR KISS OUR DOOR TO SECRET BLISS,11/2/61 1-1-12 continued ) KEAN is AND THOUGH THERE'S DANGER WAITING THERE WE'LL BE IN LOVE AND WE WON'T CARE (Moved by the passion of the moment, HE turns toward the stairs and starts up, Then, thinking better of it, EE returns center) SWEET DANGER! SWEET DANGER, WHY SHOULD WE BEWARE? COME OPEN WITH YOUR KISS OUR DOOR T0 SECRET BLISS, AND THOUGH THERE'S DANGER WAITING THERE WE'LL BE IN LOVE AND WE WON'T CAREL (KEAN exits) CURTAIN11/2/61 Act = Scene 2 The Street (Drury Lane) in front of the Theatre Royal. Placards on the theatre's facade announce: "KEAN in 'Romeo and Juliet! by Mr. Shakespeare. T o'clock precisely." A line of THEATRE~GOERS has already formed before the ticket cages, Near them are several STREET- HAWKERS and ENTERTAINERS vying for the attention and coins of the ONLOOKERS . FRUIT VENDOR RIPE ORANGES! PASTRY VENDOR SWEET SUGAR TARTS! CHRISTIE PENNY PLAIN! FRUIT VENDOR RIPE ORANGES! CHRISTIE PENNY PLAIN! PASTRY VENDOR HOT BERRY BUNS! CHRISTIE TUPPENCE COLORED! FRUIT VENDOR FINE PURPLE PLUMS! ENSEMBLE UP HE GOES, DOWN EE GOES, QUICKER THAN YOU CAN FOLLCW! DOWN HE GOES, UP HE GOES, QUICKER THAN’ YOU CAN SWALLOW!e 1-2-2 2/61 ENSEMBLE (Continued ) UP HE GOES, DOWN EB GOES, DOWN HE GOES, UP HE GOES HOW HE GOES, THERE HE GozS Now! (ORANGES! PURE HONEY CANDY!) CHRISTIE WOMAN PENNY PLAIN! ‘EY LOOK WHAT'S 'ERE! HE'S A -- ‘TWO WOMEN -- ONE MAN BAND AND YOU OUGHT TO HEAR HIM PLAY HIS BOOM GHING TOOT! BOOM CHING TOOT TOOT! HE'S A ONE MAN BAND AND HE LIVENS UP THE DAY WITH BOOM CHING TOOT!. BOOM CHING TcOT TOOT! ENSEMBLE TIMI PIP! DAVID AROUND AND 'ROUND ‘ aw "ROUND AND THEN AROUND YOU CAN'T STOP HIM! YOU CAN'T STOP HIM! ‘ROUND AND 'ROUND AND ‘ROUND “AGAIN AROUND, YoU CAN'T STOP HIM! YOU CAN'T STOP HIM! YOU COULD TAKE A CLUB AND DRUB HIS NUB AND DOWN DROP HIM! DOWN DEAD DROP HIM! EVEN UNDERGROUND HE'D SPIN AROUND YOU CAN'T, CAN'T STOP HIM! PASTRY VENDOR HOT BERRY BUNS! SWEET SUGAR SPUN CANDY! FRUIT VENDOR RIPE ORANGES! CHRISTIE Hiren Ge CotoRED! PENNY PLAIN, TUPPENCE COLORED! oo PICTURES OF EDMUND oY AND IN HAMIBT, LEAR, OR A PEMIY PLAIN, "TUPPENCE CO -- (Seeing the THREE ACTORS who haye entered) Mister Barnabyl Mister Ben! Mister Francis! Give us a tune, Christiel CHRISTIE You'll be late for the performance, sir! FRANCIS One! ‘Twol ‘Three!11/2/62 THREE ACTORS And one! (CHRISTIE plays his flute, as the THREE ACTORS dance, ENSEMBLE sings ‘PENNY PLAIN, TUPPENCE COLORD', and BARNABY speaks ) ‘BARNABY (Spoken) “arise, fair sun, and kill the envious moon Who 1s already sick and pale with grief, That thou her maid art far more fair than shel" ENSEMBLE UP HE GOES, DOWN HE GOES QUICKER THAN YOU CAN FOLLOW! DOWN HE GOES, UP HE GOES QUICKER THAN YOU CAN SWALLOW! CATCH HIM IN A SOMERSAULT, ° FLIP, FLAP, FLOP THERE IS WHERE HIS BOTTOM Is WHERE'S HIS TOP? IN HE GOES, OUT HE GOES, ALL AROUND A CIRCLE! Ip HE SLIPS THERE'LL BE’ SOME ROW! UP HE GOES, DOWN HE GOES, DOWN HE GOES, UP HE GOES, HOW HE GOES, THERE -- (The STAGE MANAGER appears from the theatre to address the CROWD) STAGE MANAGER Iadies and gentlemen -- your kind attention for a moment, please, Mr, Rodwell, the box bookkeeper, wishes to have me announce that for this evening's performance, the Free List has been suspended, (Mere is an immediate unfavorable Feaction from the CROWD, as SOLOMON enters and speaks to the STAGE MANAGER) Please -- please -- let me finish! Foreseeing your displeasure, Mr, Edmund Kean has generously made available, at his own expense, one hundred places for his friends, the public. (The CROWD cheers happily) ALL KEAN'S THE KING OF LONDON -~ THAT IS WHAT EE IS EXACTLY WHAT HE Is{ CHEERS US WHEN WE'RE UNDONE --1-2-4 11/2/61 ALL (Continued) THAT IS WHAT HE DOES, EXACTLY WHAT HE DOES! ANYONE SAYS THAT'S NOT TRUE HAS US BOYS TO ANSWER TO! VARIOUS GROUPS WHO'S THE KING? HE'S THE KING WHO'S THE KING? CHRISTIE (Hawking) BEAUTEOUS PICTURES OF EDMUND KEAN! ALL (Fading offstage) KEAN'S THE KING GF LONDON ~~ PASTRY VENDOR HOT BERRY Bi - FRUIT VENDOR RIPE ORANGES -- (As the CROWD begins to file into the theatre, CHRISTIE con- tinues to sell his pictures of KEAN) CHRISTIE PENNY PLAIN, TMOPENCE COLORED! PENNY PLAIN, THOPENCE COLORED! (The scene changes to reveal: )11/2/61 1-3-1 Scene 3 KEAN's dressing room. Part of the Drury Lane stage and backstage are visible around it, The sounds and melodies of the previous scene are heard through the "window," with CHRISTIE's "Penny Plain" predominating. CHRISTIE (offstage) PLAIN TWOPENCE COLORED! Ete, (KEAN is busy putting the finish- ing touches on himself and the room, preparing for ELENAts arrival) (Singing) PENNY PLAIN TWOPENCE COLORED! (Humming and whistling, HE goes to the wall near his wardrobe and pulls the beard of one of the many masks decorating the wall. A secret door creaks open, ‘Satisfied that all is in working order, HE goes to a vase of flowers and begins a them, picicing one for his lapel. There is a KNOCK at the door and SOLOMON enters) SOLOMON Curtain in one hour, sir, KEAN Six already? She's late, Solomon, SOLOMON She's not coming, sir. (Anxtously ) How do you know?21/2/61 1-3-2 SOLOMON I can't remember any of the others being so late, KEAN But I didn't love the others, There's no one on earth more punctual than a woman you don't love, SOLOMON Why have we given away 2 hundred places again? KEAN (SE has gone to the window and now looks out) Look, Solomon -- some of the acrobats from Old Victor's troupe! Give me my purse, SOLOMON Your purse? Never! KEAN I touched the depths of poverty with them -- Old Victor Paised me as one of his own, Now you give me my pursel SOLOMON (Gingerly handing at over) Be careful, sir -- it's all the money we earned last week. EAN Money is vile, Gtsgusting stuff, Solomon -- there's only one way to treat it (#2 turns “to the window) Here you are, boys -- catch! (HE throws out the purse, MUSIC BEGINS) SOLOMON Oh my God! KEAN What's the matter? SOLOMON We needed that money desperately! KEAN (Arranging the flowers, himself, ete, Quiet! I don't want to near about it, She's coming, don't you understand? She's a countess -- Twill need all the patience I possess, RARE FLOWERS SCENT THE ROOM, I WEAR MY BEST ATTIRE; AD ANY MOMENT SHE'LL BE STANDING THERE.11/2/62 1-3-3 AND OH, ‘TIS FAIR TO LOOK UPON MY LOVE. (Dismayed by KEAN's impracticality, SOLOMON returns to his worl) I CONJURE UP HER FACE, KEAN (Continued) I CATALOG HER CHARMS, AND I'MA MAN INPERVZOUS TO CARE AS I PREPARE TO LOOK UPON MY LOVE! UNEQUALLED, UNRIVALLED, IDEAL! ie SEEN THE RISING SUN, ‘THE CRESCENT MOON, ing WATCHED THE GLEAMING ‘SEAS CARESS THE SHORE. "PIS THESE AND MORE TO GAZE UPON THAT DOOR, AND XNOW THAT ANY MOMEMT IT WILL GIVE AND I'LL LOOK UPON MY LOVE AND LIVE! (A KNOCK at the door. KEAN turns toward the secret door expectantly) SOLOMON: I believe it was that door, sir, KEAN Come inl (BARNABY, BEN and FRANCIS, the EREE ACTORS, file in, MUSIC slows, then subsides) BARNABY Do you have an extra tin of clown white? BEN Could I have a few strands of blond hair for my wig? FRANCIS May I borrow a needle and thread? KEAN Certainly. (HE throws 4 bottle of whiskey to BARNABY, who catches it.11/2/61 1-3-4 MUSIC repeats "throwing" phrase, The THREE ACTORS turn and march out) SOLOMON But that's exactly what I was trying to tell you, sir: First those acrobats -- now these sponging actors -= KEAN Do you want me to forget my friends? Solomon -- when Iwas a child -- SOLOMON Please, sir -~ not your childhood! KEAN And why not? Did you know that -~ SOLOMON ° Yes, sir -- your father was a drunkard, your mother was a whore and you were a bastard. KEAN Oh, Well, I wouldn't have put it quite like that. SOLOMON let's speak of the present, sir, Those actors -- KEAN Thank you for reminding me, Solomon -~ I'11 invite then, 00 SOLOMON (Taken aback) Invite -- where? KEAN To the banquet for Old Victor tonight -- at 'The Green Frog', To celebrate his sixty-eighth birthday. SOLOMON Sir, you mustn't! FREE the pills, as if to a child These -- are -- bilis, We -- are -- bankrupt, We -~ have ~~ creditors, KEAN You don't creditors, Solomon -- you owe then, RARE FLOWERS SCENT THE ROOw, I WEAR MY BEST ATTIRE, Av ANY MOMENT SHE'LL BE STANDDIG THERE!11/2/61 SOLOMON BUI I AM TRYING TO IMPRESS UPON YOU, SIR, WE OWE THE FLORIST, WE OWE THE TAILOR, WE OWE THE JINELER FOR THE DIAMOND SOLITAIRE! 1-3-5 I CONJURE UP HER PACE, I CATALOG HER CHARMS, AND I'M A MAN IMPERVIOUS TO CARE! SOLOMON WE'RE ON THE BRINK OF REAL CATASTROPHE AGAIN, FOR THE PLOT ON BERKLEY SQUARE! KEAN AWAY, CRASS THOUGHTS -- BEGONE! SOLOMON (Flourishing bills) THEY USED TO WRITE UPON THEM "KINDLY REMIT"! KEAN YOU'LL SPOIL THE SPELL ° If YOU KEEP oN! SOLOMON NOW IT'S "REMIT -- OR WE WILD SERVE YOU WITH A WRIT"! ROMANCE IS FRAIL, FINANCE IS CRUDE! SOLOMON THE DEBTORS' JAIL IS NOT A PLEASANT PLACE TO SIT! KEAN THAT'S IT! YOU'VE SHATTERED MY MOODI NOW DREARY SEEMS THE ROOM, THE FLOWERS LACK y I CAN NO LONGER THINK UPON MY LOVE] I THINK UPON THE FLORIST, UPON THE TATLOR, SOLOMON (Passing him bills) UPON THE BARRISTER, UPON THE BROKER.1/2/61 136 KEAN THE TAX ASSESSOR -- ANOTHER JEWELER? SOLOMON THAT WAS LADY WHITBY-ASETON'S EMERALD CHOKER| KEAN I OWE THE FURRIER, AND STILI. THE CATERER? SOLOMON St THOSE ROMAN BANQUETS -- YOU ASK SO MANY! GIVE EACH A GUINEA! SOLOMON YOU HAVEN'T ANY. KEAN TEN BOB, THEN. SOLOMON YOU HAVEN'T ANY! KEAN NOT A SHILLING? (SOLOMON shakes his head) WOT A SIXPENCE? (SOLOMON same) THREEPENCE? (Thrippence) (SOLOMON same) TWOPENCE? (Tuppence) (Same ) "NUPPENCE"? SOLOMON NOT A PEMY! KEAN (Softiy) DANN! ~~ (A KNOCK at the door)pares enna 11/2/61 1-3-7 KEAN (Continued) There she is! Quickly, Solomon -~ leave us! SOLOMON I believe it was that door again, sir. (HE indicates the regular entrance. More KNOCKING, SOLOMON goes and opens the door 2 crack, then closes it again quickly) Good Lord! KEAN Who is it? SOLOMON The Prince of Wales. KEAN Tell his Royal Highness that I cannot see him. (The door bursts open, pushing SOLOMON out of the way. The PRINCE enters) FRINCE Why not, Mi, Kean? KEAN =- thet I cannot see him without the greatest pleasure, (HE gestures for SOLOMON to leave, which HE does) FRINGE You're disappointed, of course -- you were expecting 2 women, KEAN A woman? No, sir, PRINCE And those flowers? KEAN From admirers. PRINCE And that splendid dressing-gown? KEAIT Every night I dress to please my audience. May I not in private dress to please myself?11/2/61. 1-38 PRINCE Who made it for you? KEAN Weston, PRINCE Delightful. I'll order two like it in the morning. KEAN Again? PRINCE What do you mean? KEAN This is the seventh time Your Highness has been pleased to copy my taste, PRINCE It's the price you pay for my friendship. What are you going to be tonight? KEAN Romeo. PRINCE Really, Keanl The boy was eighteen when he died, You've survived him by twenty years. KEAN A testament to clean living, Your Highness, PRINCE And your Juliet? Who is she? KEAN MacLeish, 2 PRINCE good, God! My father's first mistress! She must be at east =~ KEAN At least, at least, But -- she sighs very convincingly, : PRINCE Way do you look at your watch 80 often? KEAN To see if it's time to take my goat's milk, It clears my voice,11/2/61 1-3-9 ‘ PRINCE Come now, Kean -- we both know why you'ré so impatient, The letter you showed the Countess de Koeberg last night, Asntt it? KEAN (Surprised) ‘he -- one ‘from Miss Anna Danby, you mean, PRINCE (Singing) THERE IS DANGER IN MY LOVING YOU, DANGER IN YOUR LETTING ME, DANGER IN YOUR NOT -- KEAN For the love of God! Stop it, sir! Please! A pause So, She's told you everything. PROICE (Delighted ) Then you confess? You really confess? Very well, I'll be generous, She told me nothing. | KEAN She must have sHown you the letter -- you quoted it] FRINCE You've read it to me yourself a dozen times. Yes, you. First when you sent it to my cousin -- oh -- four years ago that must have been ~~ and then, when you slipped it into that Polish baroness! glove at the ballet, I sent it myself to -- well, never mind, It worked admirably. I meant to tell you, Laughing The same letter! Really, Kean! KEAN This time I didn't show it to you. PRINCE Oh, I see, You're in love. She is my whole life, PRINCE (Laughing again) Yes, of course -- Romeo, KEAN No, sir -= Kean,11/2/61 1-3-10 PRINCE Very ,well, then -- I want Kean to forget her. KEAN May I remind Your Highness -- delicately -- that I saw her first? PRINCE I'm not sure you realize who is asicing this, KEAN Oh, I am constantly aware of Your Royal Highness! position. PRINCE I'm Regent of England now. (With a smile) Then exit Fals' PRINCE (Firmly) Not unless Falstaff makes it necessary. Gently Give her up, Kean -- I really must insist on cbedience. KEAN oh, yes, of course -- obedience, Not to the drinking companion I'm used to carrying home on my shoulder after one too many, oh, no -- to the Prince Regent. But if he really expects me to obey his commands, he should excuse ne from sharing his pleasures, It makes it difficult for me to respect him, FRINCE Kean - 7 ) (Quickly) Difficult, sir -- difficult, difficult, difficult -- not ‘Impossible. FRINCE I remember your last passion -- lady Blyton, wasn't it? You swore you'd love her forever, Where is she now? KEAN Lady Blyton wanted to feel Othello's arms around her -- she wanted to stroke Hamlet's brow, I don't think she'd ever heard of Edmund. Kean, But Elena is different.11/2/61 3-11 FRINCE yes, she is, Her husband is an important éiplomat. iea’we haye valuable trade agreements with Denmark. - KEAN Cheese. ERINCE I beg your pardon? KEAN those yaluable trade agreements concern the purchase of Ghoese-in Copenhagen. What a strange sense of proportion, Sir -- on one Bide of the scale you weigh my heart, and on the other you place cheese. PRINCE, ‘And suppose I were to add some gold? On the side of my heart? PRINCE (Inpatient) on the side of the cheese, of coursel (calmes 3 You have debts, I believe. KEAN Who'd kmow that better than you, sir? We incurred them together. ERINCE I'll see they're paid. Here. (HE produces 2 document) KEAN What's that? PRINCE A written remmeiation of Elena de Keeberg. In return I will see that six thousand pounds are paid to your creditors. (BE holds it out. KEAN hesitates ) Sign it, Kean, (Turning away) Your creditors have been waiting longer than nine, PRINCE Mr, Kean!~ That is no way to address mel ~21/2/61 1-3-2 (turning back) But sirl This 4s no way to treat mel . PRINCE Dammit all, how can you expect me to take your love affairs seriously?’ I know your heart -- you can't tell me it weighs more than 51x thousand pounds, Now be a good chap and sign the agreement, KEAN I can't. PRINCE (Studying him) Who can't? Romeo? Perhaps I've chosen the wrong evening, Tast night might have been better, Hamlet would have Fecognized his responsibilities. KEAN At least we could have discussed it -- prince to prince. FRINCE (Warning) Kean -- I'm growing tired of playing opposite you. KEAN And I'm tired of being your invention. FRINCE Mine? KEAN Yours and everyone else's! A prince yesterday, a love-sick boy tonight, a general tonorrow ~- for the past twenty years I have been everything the public demanded, except Edmund Kean! Don't you see that I want to weigh with my own weight in the world? Ina few minutes from now, on the stage, I'll take an old whore in my arms and all Iondon will ery 'Bravol' But I'll be cast out, vilified, torn to pieces! Can't you understand I want to live my own life? But what rights do I have? I'm an actor ard therefore outside the law, Can I be a menber of Parliament? Can I fight a duel? Can I act as a witness in a court of law? I can't even get a l4eense to sell cheese! You have debarred me from every profession -- exceps the practice of love. I can only be a man in your wives! beds, - Very well -- but let no one disturb me therel FRINCE Now listen to me, you lunatic, No one cares about your adventures, It'8 her reputation that matters.1-3-13 11/2/61 KEAN Nonsense. Every ambassador's wife has a lover -- itts expected: A lover, perhaps, but not -- KEAN =- but not an actor, 1s that it? Dishonored lords, yes -- g with a title, yes -- but Kean, the actor? Sheva be more easily pardoned if shetd slept with 2 stable boy! PRINCE It doesn't matter to you that she'd be ruined. KEAN All the better, She'd have no one but me, FRINCE I see, But you're overlooking one thing, In order for Elena’to destroy herself for you -- why, she'd have to Jove you. KEAN Yes, sir -- she would indeed. (Looking at his watch) FRINCE I'l] make you a wager she never comes, KEAN Donel FRINCE What stakes? KEAN If she comes -- you'll satisfy my creditors. FRINCE And if she doesn't? I'll sign your paper, FRINCE Isee, Either way you've arranged for me to pay your debts, Very well -- I accept, (A pause) By the way =- did you know I invited her to a ball tonight at Marlborough House? She's probably dressing for it now. KEAN I still say --11/2/61 1-3-4 (A KNOCK at the door. KEAN turns toward the secret door) FRINCE th, no, lie, Kean -- it was that door. (a= indicates the other door) . KEAN Come in, (SOLOMON enters) SOLOMON A letter, sir. ‘HE hands KEAN the letter and leaves) KEAN (Reading it quickly) * The salon of Lady Marlborough seems to hold more attraction for her than an actor's dressing room. How is it possible! Out there -- (Gnateating the Drury Lane stage) -- not ten yards away -- all England has made me a king -- while here, I am no more than a jester! crumpling the letter and throwing it away) Between your admiration and your scorn, you are destroying ne, all of you. (A pause) Give me your paper, sir. FRINCE (Not unmoved) No, no, no == XEAN A wager is 2 wager. (HE stops and turns, The secret door begins opening Slowly and a velled WOMAN appears, KEAN rushes forward) Elenal PRINCE (Bowing) dood night, Mr, Kean, Good evening, madam. (ue goes, KEAN pulls the beard of one of Ho the masks onthe. wall.and the 000 secret door closes)21/2/61 1-3-15 KEAN (Softly) I knew you'd come -- in spite of everything. (The WOMAN lifts her veil, re- vealing her identity: ANNA DANBY, When SHE turns, KEAN stares at her in astonishment) - (Finally) I --"I am not Elena, KEAN I am aware of that! You are Anna Danby. Who allowed you to use that door? ANA I came here to see you, but before I could say a word, a strange man took my arm and guided me to a dark passageway, It led here, You're wearing a veil, ANIA Ihad to, Lord Neville is looking everywhere for me, KEAN (HE looks at her for a moment, then throws back his head and laughs loudly) Priceless! She'll spend the entire evening at Marlborough House wondering why the Prince is looking at her so strangely! ANNA Then you're not angry with me? KEAN On the contrary, You've not only won me a substantial wager -- you've sayed me from an even greater humiliation. 8 mdling Does that astonish you? ANNA Not at all, I always bring luck to my friends. Please, Mr, Kean, don't let me keep you from your work, I know you have a performance to prepare, (SHE sits, very much at ease, Smoothing her dress)11/2/61 13-16 KEAN (Surprised by her easy manner) Yes. Why don't you stay? (HE begins rummaging through the pile of costumes still on the floor) ANNA I really pictured you as 2 younger man and much taller. KEAN You were quite right, Miss Danby -- I aml What are you looking for? KEAN Romeo! (HE goes behind the screen to change ) ANNA (SHE looks around) Really, tr, Kean -- I have never seen such untidiness, Just léok at this room -- it's a disgrace! Why must genius always be so disorderly? Being organized is not a crime, you know. (SHE has walked behind the screen) Sorry! (SuB retreats) And I am not merely talicing about neatness, From all Tiye heard, Mr, Kean, your entire life has been completely ‘undisciplined. For example, you have had altogether too many mistresses. KEAN (Appearing from behind sereen) Too many what? ANNA Mistresses, KEAN oh, But of course, none of them had your tact. (HE goes again ANNA Believe me, Mr. Kean -- disorder will destroy your genius. You mst not permit it to happen. KEAN (Buerging from behind the screen) What you don't understand, Miss Danby, is that there is a ~~ genius to disorder; ~ And-malicious gossip about theatrical personalities is not-to be taken seriously.11/2/61 1-3-17 ANNA Oh, I'm sure you are right, Mr, Kean -- but tell me -- (SHE has found a pair of female underthings under the dressing table) ~- as what character do you wear these? KEAN I cannot imagine, I have never seen them before, ANNA Someone must nave left in a great hurry! KEAN Tell me, Miss Danby -- what do you want? ANWA (aesttating, then delivering prepared speech) Sir, 1 didn't keow whether to ask you for help or ~~ or take refuge in a convent. KEAN 'Get thee to a nunnery!! Would you like a drink? ANNA No, thank you, KEAN Then you may watch me. (Toasting) To Denmark =~ and to cheese, (Drinkcing ) ANNA Please, Mr, Kean you should not drink so much before a performance. KEAW It doesn't matter -- the public never notice. ANNA I have, KEAN Is that why you've broken in here? -- to burden me with a lecture on temperance? ANA No, KEAN Thank you, (HE érinks again, then- goes-to - his make-up table.11/2/61 13-18 ANNA produces a small diary and opens it) ANIA, You were drunk on January 23. You staggered when you owed to the Queen and you called her Polonius, (Turning a page) February 17 -- drunk again. You spoke Shylock's soliloquy So beautifully that the whole house was in tears, KEAN There, you see? ANNA Yes, Only the play was Macbeth, On February 27 -- KEAN ‘That's enough! (HE drinks) What do you want? ANA (Rising) To be an actress. KEAN oh, yes of course! The wealthy merchant's daughter wants tobe an actress! Go home, Miss Danby ~~ there's no place for you here. But I've run away from home -- to be an actress, KEAN Nonsense, You're trying to escape Lord ileville -- excellent taste -- but please, hide somewhere else. ANNA (Exploding) But I'll work day and night -- I swear I will -- I know how to work, you'll seel I'm very strong-minded and I always get what I want -~ KEAN 'I always get what I want --! ‘Himself ) I'm sorry to spoil such e perfect record. ANNA But you don't understand -- I must become an actress. KEAN What on earth for?1-3-19 11/2/61 ANA : To earn uy living. I left everything when I ran away. KEAN (Laughing) So you've come to the gutter to make an honest penny! You cannot act to earn your living, Miss Danby -- you act in order to lie, to cheat, to deceive yourself. You act because you want to be what you can't be, and Decause you're tired of what you are always get what I want!! Go home, Miss Danby -- even your will-power can't help you here, fou can't become an actress, any more than I can become -- @ prince ‘you have to be born that way! ANA Mr, Kean -~ could you try to act at being kind? KEAN (Surprised) Kind? I don't know -- it isn't in my repertoire -- but Why not? I don't mind improvising. (Thinking) Kind -- kindness -- i¢ting ) You have seen the glittering surface of our life, my child, and it has dazzled you, But alas! Now I must show you what lies beneath, (in a different yoice) Are you prepared to sell yourself? ANNA what? (Uncertainly) Is that absolutely necessary? KEAN Obligatory. You must sleep with -- let's see, now -- the author -- ANNA (Smiling) Shakespeare's been dead for years. KEAN -- the leading actor -- ANNA Oh, dear, KEAN You refuse?11/2/61 1+3-20 AGINA (Quickly) I didn't say that. KEAN Very well -- let us play the scene, You have come to see him, tomorrow you can the leading actor, If you satis be Juillet er Desdemona,” Ten , your career is dead vefore it is born, But let us begin -- you have just arrived, Here he stands -- embittered, disappointed, wicked -- but perhaps still decent -- and there you are Tmnocent -- and sly. The contest will be hot and heavy. WHAT CAN I DO FOR YOU, MY CHILD? ANNA PLEASE, SIR -- I WANT TO BE AN ACTRESS, KEAN No, no, no -= not like that! You're ruining your chances! This is a yain creature -- flatter him. Begin again -- invent -- improvise, ANNA T I don't know how. (Turning away) Then there's no hope for you, ANNA (Closing her eyes for a moment, OH, GOD! GIVE ME THE COURAGE TO SPEAK! KEAN (Turning back, surprised and impressed) WHAT CAN I DO FOR YOU, MY CHILD? ANNA HIS VOICE! SPEAKING TO MEI ‘TTREMBLE -- I GROW WEAXT” FORGIVE ME, SIR, IF I OFFEND YOUR MODESTY, BUI YOUR TALENT -~ GREATNESS -- GENIUS -- KEAN - Good. Very good, _11/2/61 1-3-21 ANNA ~~ MAY I STATE, THEY UNNERVE ME MORE THAN YOUR KIND WELCOME COMFORTS ME, THOUGH I'VE HEARD THAT YOU'RE AS GOoD AS YOU ARE GREAT. KEAN AE, WOULD I WERE GooD! What? I told you I am not good, ANNA * Do you really mean that? Or is it part of the play? KEAN (Anno; ved) How do I know? “Come here, (SHE goes to him, HE surveys her) NOP BAD AT ALL, BUI WHAT DO YoU HAVE ‘THAT COULD MOVE AN AUDIENCE? SHOW ME YOUR LEGS. SIR, I BEG YoU! KEAN DOES THAT EMBARRASS YOU? ANNA Who, me? Not in the least. (SHE lifts her skirts) KEAN (Beating them down) Are you out of your mind? You should have refused! Quickly, say “horror!” ANNA HORROR. (SH2 giggles) KEAN Better than that!1-3-22 11/2/61 AMA HORROR! (KEAN indicates disapproval) HORROR! (KEAN indicates disapproval) HORRGRI Now be ashamed. oN ANNA Way? KEAN " Because I'm about to humiliate you. AS I APPROACH «+ I EXTEND MY HAND ... I TAKE YOU BY THE SHOULDER ... ‘YOU CRY OUT! ANNA AH-H-#2H- dH! xEAN I WANT TO BEAT DOWN YOUR PRIDE! PERHAPS I WANT TO USE YOU TO AVENGE MYSELF ON A WOMAN I HATE] Are you a virgin? ANIA No, Of course you arel Say yes. ANNA Yes. KEAN Better than thatl ANNA (Acting, in the widest variety of readings as KEAN indicates disapproval YES? YES! YES? YES, YES, YES, YES! Well, make up your mind -- are you or aren't you?11/2/61 13-23 (Thinking) Which would you 1ike? KEAN You are a virgin “GND YOU'RE HOPELESSLY AFRAID oF 11 ANNA Ah, no, Mr, Kean, (rushing, her roughly onto a sofa and leaning over her; half- acting, half-himself) You wanted to cheat me -- DIDN'T YOU? Oh, you planned your comedy well ~- DIDN'? You? THE ERUTAL FIANCE, THE MIDNIGHT FLIGHT, THE FORTUNATE COINCIDENCE, ‘THE SECRET STAIR 0 THE GULLIBLE ACTORI You tried to get into the theatre without paying your wayl You tried to make a fool of mel To do that you'd have to be at least -~ ae Countess! But you will payl You're proud, aren't you? Stubborn and proud! qoulze all proud! Wel: YOU WILL NEVER SET FOOT ON STAGE, ‘THIS I Vow, Unless you do all I ask -- AND NOW! ANNA Iwill do anything you ask, KEAN (After staring at her a moment) Incapable of improvising. ANNA (Acting, yet saying what SHE feels I WILL DO ANYTHING YOU ASK, (Far up in the shadows of ‘the Drury Lane stage TWO LADIES of Verona, accompanied by FRANCIS, -- ~~ strumming “an “anetent ‘mandolin, rehearse a rhythmic after-piece11/2/61 143-24 for the "Romeo and Juliet" divertissement) KEAN If you're not going to efend yourself, what's the use? (Turning away) Be here in the morning. LADIES (Very softly, the words ANNA a mere murmur of sound (Surprised) DING - A - DING, What? DING - A - DING, KEAN ‘Half turning back) BELLA, BELLA, Isn't it clear, Wiss Danby? I'm allowing you to work BELLA, BELLA, with me, Don't worry -~ . without ‘any conditions. DING - A - DING, vatnout anit engthtsy DING DING - A - DING, thout asicing anything of me? DANCING TO THE RONDINELLA, KEAN ‘Tinkling 6f lutes Nol of course not! continues ) ANNA No? But you said -- KEAN Iwas only acting -- acting -- (Imitating her gestures) A - A - ACTING! ANNA It's so hard to tell with you. ‘KEAN With you, too, nuisance, Now, go on, (ANNA runs to him and Kisses him on the cheek) ANNA I'll be here at eight in the morning! KEAN Eleven!11/2/61 143-25 ANNA I told you -- T ALWAYS GET WHAT I WANTI (SHE runs out the door) STAGE MANAGER (Appearing in the wings) Onstage -- rehearsal for Romeo and Juliet tableau! (BARNABY enters the dressing room with the emptied whiskey bottle; HE is dressed in a ratty costume, resem pling iciits) BARNABY Thank you for the ‘needle and thread', (HE surveys. KEAN) What are you dressed for? KEAN Romeo, of course, (FRANCIS busil; tunes his lute BARNABY Romeo! I thought we Were doing "Macbeth"! KEAN ‘That's Friday. ‘BARNABY, (Dashing out) FRANCIS Oh, my God FAIR ROSALINE HAD TRESSES LONG, OF BRIGHT ITALIAN YELLOW, KEAN (Hearing FRANCIS, and singing along) AND BITTER WAS SHE AND BITTER WAS SHE FOR ME To SEE FOR_ME TO SEE DANCING THE DANCING THE RONDINELLA. RONDINELLA, (Imitating ANNA) T ALWAYS GET WHAT T Want" (aimsait} I wonder if she does? FRANCIS SWEET JULIET'S FORM (The PROP BOY enters WAS ONE OF GRACE, the dressing room)13/2/61 PROP BOY Your sword, Mr. Kean. (HE presents it, plade first) KEAN "Wi1t hold it, lad, while Ido run upon it?" FROP BOY (Quickly turning it around and exiting) oh, no, Mr. Kean! EAN (Joining FRANCIS) DANCING THE RONDINELLA (Initating ANNA) T WILL DO ANYTHING YOU ASK.” (aamselt) I wonder if she really would? She has good legs -- for a nuisance, (Singing to himself) "DING = A -. DING, DING DING - A - DING DANCING To THE RONDIN -~" (Catching himself; remorsefully ) Oh, no! No! Elenal (Somberly Elena, you hurt me very much tonight. (with a” glance in the mirror -- the actor) Elena, you hurt me ye--ry much tonight -- ‘Himself, sincerely) Elena -- you did hurt me == very_much, ELENA OF THE COOL ENCHANTMENT, ELENA SO FAIR, 1-3-26 FRANCIS (Continued) AND SLENDER AS A WILLOW, AND FATAL WAS SHE FOR ME TO SEE DANCING THE RONDINELLA. ENSEMBLE , DING - A - DING, DING - A - DING, Hat, DING - A - DING, DING Dua - A -'DING, DANCING TO THE RONDINELLA. (very softly) DING - A - DING, DING - A - DING, DING - A - DING, DING - A - DING, ete, YOU HELD MY HOPEFUL HEART ON HIGH IN YOUR EXQUISITE HAND; HOW COULD YOU BEAR TO SEND IT PLUNGING TO DESPAIR? ELENA _ OF THE LIMTING LA \UGHTER THAT SET My SOUL IN FLIGHT,KEAN (Continued) YOU MADE MY YESTERDAY 13-27 A PROMISE OF DELIGHT; OH, INCONSTANT ELENA WHERE ARE YOU TONIGHT? ELENA, WHERE ARE YOU ‘TONIGHT? ENSEMBLE DING - A - DING, DING - A - DING, ete, SOLOMON (Entering: with KEAN's mec" wig) Your call, sir, KEAN (A glance at the mirror) Solomon, how old am I? SOLOMON (Tenderly) Eighteen, sir. KEAN (Warmly) Yes -- of course, (As SOLOMON exits) NIGHT'S CANDLES ARE BURNT OUT, AND JOCUND DAY STANDS TIPTOE ON THE MISTY MOUNTAIN-TOPS: I MUST BE GONE AND LIVE OR STAY AND DIE!" FRANCIS (& ENSEMBLE) ELENA, ELENA, ELENA, FAIR ROSALINE DANCED MERRILY JULIEt, fl BUD OH, BUT OH, "TT TS THE EAST AND ELENA IS THE SUN --" No, Juliet is the sun! “SHE WADE MY YESTERDAY © SWEET JULIET DIED A PROMISE OF DELIGHT! | A-PINING, A-PINING FOR Ml (KEAN pours himself (Fanfare, heralding a glass and drinks) opening scene of “Romeo and Juliet," as ACTORS crowd in wings and scurry to their places on stage)1-3-28 STAGE MANAGER (Shouting over fanfare) Beginners, please! Prologue, Sampson, Gregory, Benvolio, Bybalt -- ready?’ Curtain! (The curtain lifts; a blaze of light from off. and a burst of applause PROLOGUE (BARNABY) Pwo households, both alike in a: 11/2/61 SOLOMON ignity, (Re-entering) In fair Verona, where we lay Play's begun, sir. our scene, etc, XEAN Thank you, Solomon, (BARNABY moves forward "I must be gone and live, , Onto supposed apron. ‘The or stay and diel" muffled drone of his Stay and diel Ridiculous! voice continues but his Anyone out front tonight? words are indistinguish- able SOLOMON House full, sir, KEAN Idiots! They've come to see a Romeo of forty whose Juliet prefers Marlborough House, But I'll play it, and they'll believe it -- (Indicating stage) =- and out there I'll believe it, tool SOLOMON (Nervously, at the door, as KEAN reaches for the bottle) Yes, sir, Do hurry, sirl KEAN (Bottle and glass in hand) OH, SHAXESPEARE, HOW MUCH KINDER AUTHCR YOU HAD BEE HAD YOU BUT WRITTEN ME A ROLE -~ (Slowly pouring himself another drink, as lights fade) -- CALLED "KEAN"! CURTAIN11/2/61 1-H Aor 5 Scens 4 In front of “The Green Frog", a low life tavern on the banks of the ‘Thames, A heavy London fog has descended, SATLORS and less respectable PERSONS are on hand, entering the tavern, leaving 4t or passing by. BEN enters, then FRANCIS and ANOTHER FIGURE. THEY look around. BEN” Barnaby -- ? Where are you? ‘BARNABY Over here } BEN Damn this fog! Is Francis with you? BARNABY Yes, he's here! (Touching the FIGURE's backside) Francis -- can you see anything? F (GIRL's VOICE) ‘Ere, nowl Watch where you put your ruddy paws! BARNABY Sorry. (The FIGURE moves off, . FRANCIS enters) FRANCIS Bamaby -- 1 Ben -- 1 EEN Over here } FRANCIS © Keep talking -- I'll follow your voice}npefr 1-4-2 (THEY find ONE ANCTHER) BEN We must be near 'The Green Frog! by now, But what about Kean? How do you lmow he'll remember to come? BARNABY What difference does it make? Ye can still put everything on his bill, (LORD NEVILIE, followed by his HENCHMAN, enters) NEVILIE Are you positive Miss Danby got the letter? HENCHMAN I put it in her hand personally, mtlord, NEVILLE Then she'll be there any minute. Have you booked the room? HENCHMAN At the 'Green Frog! m!lord -- she's expected. NEVILLE Then I shall need some assistance, (Calling) You, there! FRANCIS Me? NEVILIE All three of you. Are you interested in some work? FRANCIS Naturally, BEN What roles do we play? NEVILIE I need your support, BARNABY Wouldn't you lmow it? Supporting again, BEN What's the plot? NEVILEE . That's none of your concern, Can you fight?11/2/61 1-4-3 Wetre well-trained in swords, BEN How much, NEVILIE I'll pay you a guinea a piece, FRANCIS In advance? NEVILLE Certainly not, ‘en shillings now and the rest later, Just make sure you're at "The Green Frog! -- in half an hour, (HE starts off, the HENCHMAN following ) FRANCIS Yes, sir, EEN Wetll be there, sir. BARNABY Welve never missed a curtain yet. EEN (When THEY are alone HE looks at his money) Now we can buy our own drinks, BARNABY What? And hurt Kean's feelings? FRANCIS How will we find "The Green Frog! in all this soup? BARNABY Look for a table -- we may be there already. BARNABY, BEN & FRANCIS (Singing ) HOH, HOH, HOH, HOH, HOH, HOH, HOH, HOH, HOH, HOH, HOH, HOH, HOH! (verse 1) THERE VAS A BRoG -- 06, 0G -— LIVED IN A BOG -- 0G, OG; 0G,’ og TO LONDON TOWN,14a 1/e/el BARNABY, BEN & FRANCIS (Continued) HIS WEDDED WOES IN DRINK TO DROWN, WHICH HIS BRAIN DID BE-FUDDIE AND HE LANDED, IN A MUDDIE, IN A PUDIE IN THE MIDDIE OF A PEA-SOUP, PURE ‘WOOL, EYE-POPPIN! LONDON FOG -- 0G, OC! (Refrain: ) BENIXT THE. FOG AND THE GROG, IE'LL BE A BOOZY, woozy, NIGHT TONIGHT! WEICH WELL WE KNOW, HOW WE KNOW! FOR WE HAVE HAD A-MANY, MANY SUCH A NIGHT ALL RIGHT! (The scene changes to veveal:)11/2/61 15-1 AcT Zz Scene 5 Inside “The Green Frog". A stairway in back leads to the rooms above, The rest of the tavern's maid room is devoted to tables and a bar, the latter topped with kegs of beer and bottles of wine, Indeed, a few FIGHTERS are present now, along with SAILORS, S5 WHORES, 2 WAITER and thé pro- prietor, FETER POIT. As BARNABY, BEN and FRANCIS enter, the SONG continues, sung now by the entire COMPANY, ‘ENSEMBIE HOH, HOH, HOH, ete, (verse 23 Ts FOOLISH FROG =~ C0, ca, THOUGH GETTIXG . SAID TO. HINSEIP, aca, og,” I WON'T BE GLUM -- OG, CG; THE FoG!s SO THICK . TELL SLICE WITH A KNIFE BUT A FIG FCR THE FCG AND A FIG FOR THE WIFE!" AND A HOP, SKIP 'N? TODDIE. AND HE LANDED ON HIS NODDIE AND A-FADDIE IN THE MIDDLE GF a BIG, BROWN, BORE UND-BELLIED KEG OF RUM -- OG, CG! NIGHT TONIGHT! WHICH WELL WE KNOW, HCW WE KNOW! FOR WE HAVE HAD A-MANY, MANY SUCH A NIGHT ALL RIGHT! HOH, HOH, HOH, etc. -11/2/el (verse 3 3) enna zn earn oom | Seat (Refrain:) BETWIXT (Verse 4) THAT (Refrain:) ‘BETH 1-5-2 ENSENBIE (Continued) ‘THAT RUMMY FROG -- CG, cG, BACK ON THE TRACK -~ 0G, 0G, BUMPED INTO AND Lost 5 BEFORE SHE re BLOK HER EYES HE'D SAID. “THERE 13 NO TIME TO. PIODIE!” AND HE HAD HER IN A HUDDIE) IN THE MUDDIE oF A CUDDIE AND A TONG, VET, RUM-EREATH 'D, BIEARY-EYED, PROG TYPE SMACK -- 0G, OG! AND THE GROG, TILL BE A BiowZy, FROWZY NIGHT TONIGHT! WEIGH WELL WE KNOW, HCW WE KNCW! FOR WE HAVE HAD A-MANY, MANY SUCH A NIGHT ALL Riou! HOH, HOH, HOH, ete. (KEAN enters the tavern and joins in on the last chorus) PAIR OF FROGS WERE PLAYING HOUSE THEY COULDN'T SEE BUP DIDN'T GROUSE SHE SMELT SO GOOD, SHE FELT SO SFT, TILL ALL AT ONCE THE FOG IEF? CFF AND, IT'S NO TARA-DIDDIE, THERE HE WAS IN THE MIDDiE OF A BIT OF FIDDIE-FADDIE WITH HIS FAT-FACED, GRAVEL-VOICED, BULGE-EYED, ON-HIS-TAIL SPOUSE -- CG, OG! (TXT THE Foo AND TEE GRCG,11/2/61 1-5-3 ENSEMBIE (Continued) ID'LL BE A FUZZY, : wmuzzy NIGHT TONIGHT! VHICH WELL WE KNOW, HOW ME KNU, FOR WE HAVE HAD A-MANY, MANY SUCH A FUZZY, UUZZY, BLOUZY, FROWUZY, EAZY,. DAZY, Boog, Woozy, WE HAVE HAD A-many, ENSEMBIE ECHO WE HAVE HAD A-MANY, PRINCIPALS MA -- A -- WY, ENSEMBLE’ ECHO MA -- A -- BY, ALL WE HAVE HAD A-MANY MANY SUCH A NIGHT ALL RIGHT! HOH, HOH, ete, ca, 0G! (then the SONG 1s over, BARNABY, BEN and FRANCIS go to a table, rear; KEAN comes down center to Port) KEAN A bottle! And a blister to share it with. POT, (Turning, surprised) How's that, sir? KEAN A blister, a pross, a notch, a scarleteer -- (POTT stares at him) -- @ whore! Don't you understand the King's English? (Grinning ) Sounds more like the Prince's, (SE hurries off only to return a moment later with THREE WHORES intow) ~~11/2/61 1-5-4 POTT (Continued) You can take your pick, sir, (Introducing them) Miss Caroline Ross St, Albands -- Miss Anastasia Bolt -~ Miss Winifred Vatlington Sparrow, (THEY curtsey in turn) KEAN (Studying them; to himself) Double, double, toi] and trouble. ! ‘To POTT) ¥iss Sparrow, I think, (The OTHER TWO frown at one another and move off) ST, ATBANDS ‘B's blind! (SPARROW beams) KEAN Sit down, Sparrow, Tell me -- do you make love on credit? (The door of the tavern bursts open and FOUR ACRCBATS from Old Victor!s troupe -- CHRISTIE, TIM, PIP and DAVID -- pour in, cartwheel- ing, Hein, twisting, balancing, etc, ENSEMBIE UP_HE GOES, DOWN HE GOES, QUICKER THAN YoU CAN SWALLOW! CATCH HIM IN A SOMERSAULT FLIP, FLAP, FLOP! WHAT IS WHERE HIS BOFTOM IS WHERE'S HIS TOP? IN HE GOES, OUD _HE GOES, ALL A ROUND A CIRCIE IF HE SLIPS THERE'LL BE SOME ROW! UP HE GOES, DOWN HE GOES, DOWN HE GOES, UP HE GOES; HOU HE GOES, THERE HE GOES NOW! (EVERYONE has turned to watch them, and when THEY finish, the ACROBATS are in front of KEAN)11/2/61 1-5-5 KEAN Pip! Tim! David! -~ (HE stops when HE comes to CHRISTIE) Who are you? PIP ‘An apprentice, Master. Christie -- this is Mr, Edmund Kean, CHRISTIE I -- I see you every time you play, sir -- I spend every farthing I pick up in the street. KEAN Haven't you anything better to do with your money? CHRISTIE I want to be a great actor -- like you, Master, KEAN (Laughing loudly) How old are you, boy? CHRISTIE Sixteen, sir. KEAN ‘The very same age, too! But, where's the guest of honor -- Where's old Victor? PATRICK He's in hospital, sir, KEAN What? PATRICK He broke his leg trying a back-somersault from the second floor window, KEAN Drunk again, PATRIOK Pickled. TM (Glumly) It's no joking matter. Six weeks of hospital bills. KEAN Patrick -- go to Drury Lane, Tell them that tomorrow night Iwill play the last act of ‘Othello! for the benefit of a friend who has had an accident! +upefer 1-5-6 (CHEERS from ALL) KEAN (Continued) Mir, Pott! Is the feast prepared? It's all ready, sir. KEAN Then come -~ everyone! (ALL, except POTT go into an ad- joining room, which is visible, rear, ‘he front door opens and ANNA DANBY enters, SHE looks around for someone) PORT (HE goes to her, wiping his hands on his apron) Good evening, Miss. ANNA Good evening. (A pause) Can you give me a room? (Mysteriously) It's all ready, Te 1s? (Surprised) POET I was instructed to prepare my best room for an attractive young lady who would come alone. (SOLOMON enters ) SOLOMON (tearily) Good evening, Peter, PORT You're lete, sir -- the others have gone in to supper, SOLOMON: Has the bailiff been here? Port The-bailift? No, sir, Is anything wrong?11/2/61 SOLOHON (Bitterly) Merely debtor's prison, that's all, POrT Come sir -- I'l] prepare your place at table, (HE goes out) SOLOMON ‘Starting to follow) ¢ T couldn't eat a thing. (HE notices ANNA's eyes on him, HE stops) ANNA You're Mr. Solomon, aren't you? SOLOMON (Warily) Vell it all depends, ANNA I'm Anna Danby, the new pupil, You'll be seeing quite a lot of me from now on, SOLOMON You should consider yourself very fortunate to be working with him, ANNA oh, but I dof (A pause) You think 2 great deal of him, don't you? SOLOMON It is my privilege to do so, Miss. ANNA Yes. That's why I want you to be the first to know, SOLOMON To kmow what, ifiss? ANNA That I'm going to be his wife! SOLOMON Ihave been speaking of Mr, Edmund Kean, the actor, ANNA Yes, so have I, Please tell him I'm here. SOLONO! Yes, Miss, I'l] tell him his fiancee is here,. He should be —.... right out. . (HE goes to the banquet, rear)21/2/62 1-5-8 KEAN What? — (HE hurries dowmstage to meet ANNA, followed part way by SOLOMON) What the devil are you doing here? ANNA Following the instructions in your letter, of course, KEAN letter? What letter? (To SOLOMON) Go to supper, I'll be there directly. SOLOMON I couldn't eat a thing. KEAN Then go play with your food! (SOLOMON leaves) Miss Danby -- I assure you I never wrote you a letter. ANNA (Producing a letter and reading) "Meet me tonight at "The Green Frog! near the docks, Fear nothing and trust me, I respect you as much as I love you, Kean," As much as I love you? ANNA Your very words. KEAN (HE takes the letter) You've fallen right into his trap. ANNA Whose? KEAN Neville's, of course, He wrote this, Did you think hetd give up so easily? ANA What sort of trap? KEAN Miss Danby -- your naivete is outrageous! A nobleman engages a room for a lady at a disreputable tavern --11/2/61 1-5-9 KEAN (Continued ) obviously he intends imposing his attentions on her -~ by force. ANNA What for? KEAN (Sxasperated) Really, Miss Danby! Once you are deflowered, you will have fo marty the only gentlemen who!ll take you -- Neville. a ANNA Ont KEAN Abt (SHE begins laughing) You find it funny, Miss Danby? ANNA The poor man{ Can you picture his face when he discovers -—- he is too late? EAN (Amazed ) You mean you -- ? ANNA Slipped, Mr, Kean? Yes, But only for a moment. KEAN You were a fool! Who was he? ANNA. oh, it was a long time ago, Anyway, it was so boring I became @ virgin again immediately afterward. (Amused ) You did. ‘Examining her) I'm sorry you found love so boring, Miss Danby. ANNA oa not any more! Since then I have fallen in love four es, KEAN Four!11/2/61 15-10 Al INNA, Yes, First it was Romeo, then Hamlet -- then Othello -— Det none of ghem needed me, ly fourth love does. T dis- gevered he wes a libertine, e drunkard, crippled with debts, melancholy and mad by turns, and I said to myself: 'This Tan needs @ wife: -- to bring a little order inte his life,! Twill supply the order and you will provide the genius. Oh, Edmund -- everything will be so tidy! (Revolted) Oupht (Putting his hands on her shoulders Tasten to me, you little idiot -- you're even madder than 7 am, ANNA, You'll accept in the end -- I'm quite sure of that, You have a very weak character, and everything I want -- KEAN -- you always get, I kmow, I lmow! (The front door opens and PATRICK enters, a note in his hand, HE goes to KEAN) PATRICK Here's your answer, Sir -- from Drury lane, KEAN (taicing 1t and reading it) Thank you, Patrick, Your supper's waiting for you, (PATRICK goes into the adjoining room) Tomorrow night I'm giving a benefit -- the last act of fothello!, Since you always get what you want -- do you want to pley Desdemona? (Stunned) Wath you? KEAN The theatre tells me Miss Nacleish has gone to the country for the weekend, ANNA Play on the stage? With you?11/2/61 1-5-11 KEAN Since you're coming tomorrow anyway, we'l] be able to work on the part. ANNA You mean -- play Desdemona -- with you? KEAN Yes! Yes? ANNA You see? Tha’ proves I'm going to marry you. KEAN Yes, yes. In the meantime, we must do something about your friend, Lord Neville. ANNA You're going to save me, aren't you? KEAN (Sighing) Yes, yes, Go upstairs, Miss Danby -- I'll wait for your fiance, ANNA can't I stay and watch you lmock him down? (4 command ) Go up to your room! (ANNA catches her breath) What's the matter? ‘ ANNA You spoke to me just like a husband! (SHE turns and runs upstairs. K2AN turns toward the banquet area; calling KEAN Yy lords, ladies and gentlemen! (In TWOS and THREES, EVERYBODY comes downstage, led by the WHORES, ALL assune aristocratic airs, KEAN greets them royal; . lady Carwilling, w112/61 1-5-12 SPARROW! (curtseying awkwardly) Coo! It's the King of London 'mself! KEAN Iady Toowilling BOLT Charmed, Your 'ighness. KBAN Vice-countess Hertford-Hartshire! ST, AIBANDS Ravished! (To EVERYBODY ) We are gratified you could come. BARNABY (Cockney) Awful ‘appy you asked us, King. (EVERYBODY laughs) KEAN My lords, ladies and gentlemen -- we are pleased to announce that our very good friend, Lord Neville -- no relation to Tongfingers Neville, the internationally renowned wit and pickpocket -- has seen fit to honor us with his presence, We desire that you greet him -- warmly. (The front door opens and NEVILIE enters, EAN goes quickly to meet him) ‘and pat he comes, like the catastrophe, of the old comedy.! (Greeting him and leading him to center stage) Neville! By heavens} Speak of the devil! Come, sir -- come} You imow our friends -- (Introducing “some ROUGH TYFES) Lord Blyton -- the Marquis of Portlington -- the Duke of Swansea -- (Presenting the WHORES) ~- the weird sisters -- To But this is splendid, sir -- splendid! And how well you look! Ah, these romantic young lovers! (fo the Think of 1t! Neville, here, has embarked upon the most exquisite adventure, Imagine! Signing my name to a letter15-13 11/2/61 KEAN (Continued ) in order to rape and abduct an unsuspecting young girl, 2B charming invention. i , HEN and FRANCIS, on the periphery of the GROUP, look et one another) NEVILIE Iam little entertained, siz. (ANNA appears on the balcony, unnoticed ) KEAN (Serious) yor am I, ‘With every name in London available to you, we have had the incredibly bad fortune to borrow mind. (aga takes two swords from the wall) uhen you are ready, Sir. NEVILIE You expect me to cross swords with you? It's quite im possible, A peer of England cannot fight an actor. (A pause as KEAN freezes) imat does the law say? -- a rogue, 2 vagabond, & vagrant, a glutton, a drunkard, @ whoremonge? ~- ‘shall I go on, Sir? KEAN But you have neglected to mention forger and rapist -- oF are those pleasures reserved exclusively for the peerage? Towering his sword) Youlre right -- how can we cross swords? You a°e descended eon the Plantagenets -- slid down, in fact, -- while I have from throa nothing, iy tféle wasn't given to me, My Jord -- I created it myself! (ana applauds. KEAN, noticing her, picks up & glass and raises it to her) to the health of Miss ‘na Danby -~ and to her free choice of husband. ALL Bravo; Kean! Long live Kean! a Hurreh for Kean! etc. NEVILIE -- (Seeing BARNABY, BEN ‘& FRANCIS) mere you are! Zarn your money! Finish hin!11/2/62 1-5-14 (he THREE ACTORS look at one another, then, with EVERYONE watching 4n amusement, THEY come forward) (Aside to KEAN) Which routine shall it be, Mr. Kean? KEAN Hamlet-Iaertes, of course, You need the practice. (the "fight" ensues -- employing all the obvious tricks of the stage: dueling and hand-to-hand that seems obviously rehearsed. At last, the ‘HREE ACTORS are "laid low". EVERYONE cheers KEAN, who turns toward the CROWD and bows, then to the THREE WHORES) There he is, ladies -- finish him! (The WHORES advance on NEVILLE, take off his coat and start to kiss him; HE throws ONE of them roughly to the floor. For this, HE is made to kiss her hand. quite helpless. Finally, on KEAN's insistance, NEVIIIE’is released. HE faces KEAN unsteadily NEVILLE You have provided a vulgar entertainment, sir -- energetic, ‘put sorely lacking of taste, as ‘usual, You are a truly popular performer. (KEAN bows ) I regret being unable to play at your level, Mr. Kean -- I am no mountebank, (KEAN throws him his coat, roughly) I cannot become a mountebank, Mr. Kean, anymore than you ean became a gentleman. --. you have to be born that way. —1-54-15 1yefer (EVERYONE roars with levghter -~ everyone but KEAN) ALL Gentleman? Like you, you mean? Keants twice the gentleman you ere! (NEVILLE is picked up and throw out of the, tavern) HE'S THE KING OF LONDON -- EXACTLY WHAT HE IS! CHEERS US WHEN WE'RE UNDONE -- EXACTLY WHAT HE DOES! ANYONE SAYS THAT'S NOT TRUE EAS US BOYS TO ANSWER TO! WHO'S THE KING? HE!S THE KING! WHO's THE KING? HEIS -- (KEAN breaks the bottle H's deen drinicing fram and the singing stops abruptly. ANNA has moved by his side) (comfort: _ (Comforting) Mr, Pott! Another bottle! You were wonderful, Edmund! KEAN You hear that? She enjoyed the performance! But then, there?s no accounting for taste, is there? Yo one drop of Romeo, add a dash of Hamlet -- cover with a generous sprinkling of Calaban -- AND ONCE AGAIN THE DESTINY OF AN EVENING HAS HUNG ON THE GIFTS OF THE HUMBLE -- MOUNTEBANK! Mr. Pott! Where's that bottle? _11/2/61 1-5-16 CHRISTIE But you're a great actor, Master, KEAN ‘md that's whet you want to be? An actor? A rogue, & vagabond, @ vagrant, a glutton, a drunkard, @ whoremonger? (an embarrassed silence; IGAN looks around, from face to face) ANNA Edmund -- KEAN No -- don't move! What perfect staging! The mezconary, Veulatn thwarted -- the innocent ingenue, gratefuh -- the young protege, adoring -- the old retainer, ‘patient -- the yorreehde of friends, embarrassed but loyal -- and still eet eee’ag unhappy! Ans What a magnificent first-act curtain! (The "KEAN" theme crashes through at thes) CURTAIN1/efoi Aor Iz ENTR!ACTE12/1 2-1-1 ACT It Scene 1 KEAN's dressing room at Drury Lane, ANNA and SOLOMON are rehearsing "Othello", the latter holding the book. SOLOMON ‘I would not kill thy soul,? ‘alk you of killing?! SOLOMON tay, I doy! ANNA "Then heaven have mercy on me}! Herself) What time ts it now? SOLOMON What, agein? Half past six, ANNA Ferhaps something's happened to him, He did go home last night, didn't he? SOLOMON He couldn't, The Bailiff was waiting for him with a warrant, (Rehearsing again) "I would not kill thy soul.! ANNA ‘That death's umatural that kills for loving!" SOLOMON Not like that, miss -- you're putting too much fire into it. But that's the way I am, (Rehearsing again) ‘Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame}! (Herself) He took me to my aunt's house at six o'clock this morning -- he called me his ‘Heart's darling’,11/2/61 2-1-2 SOLOMON If all the women he called theart's darling! were entitled to @ pension the treasury would go bankrupt. KEAN'S VOICE (offstage) You call that a wig? It's a bloody bush! SOLOMON Miss Danby -- get away from the door. (The door bursts open and KEAN enters) KEAN Solomon ~~ I'm through, I'm the victim of Shakespeare, the vampire! To hell with him -- he wrote the damn things why doesn't he play them? ANNA Edmund -- what's the matter? (Recognizing her) You again! Every time I turn around! that do you want now? ANNA You asked me to play Desdemona tonight. KEAN I must have been drunk! Didn't you hear? I'm never going to act again -- never! SOLOMON Yes, sir, I'li see to your costume, (HE starts out) KEAN (Calling after him) ¥ake sure it's in proper condition -- the public's tired of @ shabby Moor! (Surprised ) Then -- you are going to play, my love? KEAN What can I do? There's Old Victor's broken leg to consider. God in heaven -- what a head, (HE holds his head, then suddenly turns to her ‘My love?! Since when have I become your love?11/2/61 ANNA Since last night, my love, KEAN last night? (torried ) What -- happened last night? ANNA A great many things. KEAN Oh? ANNA You took my hands -- KEAN Your hands -~ go on -- ANNA That's all, KEAN (Turning away) That's all? I am growing old! what scene are we playing? ANNA Act Five, scene tyo, KEAN The murder, Charming, To have to roar with this head, (ANNA has gotten a cloth from the basin and now brings it to him) ANNA This will make you feel better, (SHE ties it around his head) I must look a sight, ANNA You lock splendid -- just like a pirate. KEAN (Pleasantly surprised ) Oh? Well, why not? That's what I should have been. ANNA And I could have gone to sea with you -- dressed as a cabin-boy,11/2/61 2a1-4 KEAN (Iooking her over) Weld have managed it somehow, (Tenderly) And we could have been hanged together! EAN What a beautiful finish! Between heaven and earth -- face to face -- sticking our tongues out at each other. It's symbolic of “11 love stories, Iie down and I'11 smother you. (Handing him the pillow, SHE Ties on the couch. The secret door opens and EIENA appears, unnoticed) 'She wakes,! A ‘Who!s there? Othello?! KEAN tay, Desdemona, t ANNA NIL11 you come to bed, my lord?! EIENA 4m I disturbing you? (KEAN and ANNA turn; HE quickly rips off the cloth tied around his head) KEAN Elena! We were rehearsing Desdemona's murder, EIENA How sweet. But you really should have told me, Mr. Kean -- T would have been happy to bring the pillow, KEAN Elena -- ANNA itm surprised you didn't anyway, Countess -- along with the sheets and blankets, "= KEAN Miss Danby -- ELENA Don't you find that line difficult to deliver froma horizontal position, Miss Danby? KEAN Elena --11/2/62 2-1-5 ANNA Have I got your place, Countess? But ‘they also serve who only stand and walt.! KEAN Miss Danby -- Elena -- pleasel (4 pause; then HE sings CIVILIZED PEOPLE FACE A CRISIS CALMLY, NEVER LOSE THEIR TEMPERS NOR DISPLAY THEIR SPLEEN. wt (fo ELENA) MISS DANBY IS A PUPIL HERE. ELENA Really?. I'M NOT QUITE SURE I AN ner AND WHAT'S THAT QUESTION SEALY MEAN ELENA I'M NOT QUITE SURE I LIKE MISS DANBY, YOU SHOULD GIVE UP TEACHING, KEAN! ANNA SO THAT'S THE WAY THE PLAY COMES OUT! ELENA ‘ SO WHAT'S THE WAY WHAT PLAY COMES OUT? _ OTHELLO DOESN'T SEEM TO BE THE CHARACTER WHO'S TURNING GREEN! KEAN ladies! Please! CIVILIZED PEOPLE DISCIPLINE THEIR PASSIONS, DON'T DESCEND TO VENOM, SHUN THE PRONGED TONGUE. Now: (To BLENA) MISS DANBY'S HERE TO BE OF HELP, ELENA So I see. HOW GOOD OF HER 't0 GIVE HERSELF,11/2/61 ANNA, HOW GOOD TO HAVE SOME LEFT TO GIVE, BUT THAT'S WHAT COMES OF BEING YOUNG, ELENA FERHAPS I SHOULD REMIND You, SIR THAT CHILD MOLESTERS Do Gur’xuNG! ANNA THEY'RE HANGING WITCHES T00, I HEAR! ELENA WHICH YOU SHOULD BEAR IN MIND, MY DEARI ANNA I THOUGHT THAT SCORPIONS DROPPED DEAD THE MOMENT THAT THEIR STING WAS STUNG! KEAN ladies! CIVILIZED PEOPLE STAY IN THEIR OWN CORNERS, DON'T COMB OUT HISSING LIKE EGYPTIAN AS - SP - PS! Now: ‘To. ANNA) YOUR DRESSING ROOM, MISS DANBY, PIBASE, ANNA I DO NOT HAVE A DRESSING ROOM. ELENA SOME ACTOR WILL OBLIGE, I'M SURE. ANNA BUT I DON'T KNOW THEIR SECRET DOORS! ELENA, YOU HEAR THESE INSULTS RAINED ON ME AND YOU DO NOT DEMUR?" ANNA WILL YOU ALLOW THIS SLUR ‘UPON MY REPUTATION, SIR? ELENA YOU'RE ACTING LIKE THE CAD THEY SAY YOU ARE! KEAN I beg your pardon!11/2/61 2-1-7 ANNA YOU'RE NOT A VERY GALLANT LOCHINVAR! KEAN Now just a_minute! A GENPIEMAN IS GENTLE AND IN GEN'RAL ACQUIESCES BUI_NOT WHEN HE IS IEAFT UPON BY IBOPARDESSES! KEAN, ELENA, ANNA (In canon) HOW CAN ONE BE CIVILIZED WHEN OTHERS ARE BARBARIANS? ELENA FANGS ARE BARE! HER CLAWS ARE OUT! KEAN, ELENA, ANNA (Simultaneously) THE JUNGIE RINGS THEM TROUND ABOUT! HOW CAN ONE BE CIVILIZED WHEN DEALING WITH VULGARIANS? (SOLOMON appears at the door) SOLOMON You called, sir? KEAN (With an effort at composure) Er -- yes! Have you found Miss Danby a dressing room? ‘SOLOMON It's waiting, sir, KEAN ‘Thank you, Solomon, thank you! (SOLOMON exits, leaving the door ajar for ANNA to follow, KEAN collects ANNA's cape, bag, ete, _ SOON REGAIN THEIR PRESENCE AND THEIR DIGNITIES, ~ 7 (Ushering ANNA to the door) TNTT, TATER ——11/2/61 2-1-8 ANNA (Starting out) LATER -- (Turning back; SHE purposely left it WY KERCHIEF, PIEASE, (KEAN hands it to her, SHE starts out agein) UNTIL LATER «= KEAN UNTIL LATER ANNA (Turning back) I MUST HAVE LEFT MY GLOVES -~ EIENA (Who has picked them up; fur- dously shoving them at ANNA) KEAN (Soothing, to EIENA) PEOPIE, (To ANNA) CIVILIZED PEOPIE, ANNA & EIENA CIVILIZED PEOPLE KBAN, ELENA; & ANNA LIVE IN GRACE AND EASE! (at the door) It's been 2 pleasure meeting you, Countess -- I do look forward to never having the pleasure again soon, (SHE leaves) ELENA If you appear with her on the stage tonight I'll never see you again. KEAN Elena -- you kmow there is nothing between that child and me, Why didn't you come last night? ELENA Don't you understand? My husband is suspicious!per 2-1-9 KEAN But I am jealous! EIS] Jealous? Of my. husband? KEAN You know very well whom I mean? EIENA (Surprised ) The Prince of Wales? (Thinking about it) The Prince -- KEAN He's in love with you. If I ever see him near you again I won't be responsible for my actions. BIENA Near me? But -- it's too-late to change our plans, He's done us the honor of asking for a seat in our box, (KEAN reacts sharply) (MUSIC_BECINS) KEAN He'll be there -- with you -- when I play tonight? ELENA Yes, While you're holding that -- that creature in your arms, KEAN Elena_-- Ei, 3 I IMPLORE You: When I'm on the seas tonight -- DBO ad a AT HIM -- azn 70 st SMILE AT HIM -— ELENA, DON'T TORN YOUR EYES FROM HE! ‘ELENA Do you realize you are asking me to insult the King's son? KEAN Ignore him tonight, Elena -- EIENA, YOU: You ave a lady and I am only a mountebank -- but I honor you, madam, when I count on you alone to prove to the ~——“nountebarik’ that he can be loved like a prince.11/2/61 2-1-0 KEAN (Continued) EIENA, I EESEECH YOU: ~ . Consider how desolate is every second I am not by your side, Can't you imagine what those empty moments are 3 ELENA (Disbelieving) Why, no, Kean, What do you do? KEAN (Not to be put off) T CONJURE UP YOUR FACE, EIENA Do Your KEAN I CATALOG YOUR CHARMS, EIENA You Do? KEAN I PICTURE YOU THE WAY YOU'RE STANDING THERE, EIENA (Playing with him) THE WAY I'M STANDING HERE -- OR THERE? AND OH, ‘TIS PAIR TO LOOK UPON MY LOVE! ELENA YOUR ONIY LOVE, I PRESUME? KEAN YOUR EYES -- EIENA AH, YES -- MY EYES! KEAN TWO RADIANT GEMS, ELENA SUCH DEAR EXTRAVAGANT WORDS} KEAN YOUR HAIR A PRIZE oF DIADEMS,11/241 Q-1-11 ELENA (With humor ) A JOY TO ANY WOMAN'S EAR, CAN THEY BE TRUE -- KEAN ‘THE WIT AND WARMTH YOUR SMIIES REVEAL -- ELENA OR SINCE IP's YOU, ARE YOU ACTING, ACTING, A-- KEAN UNEQUALIED, UNRIVALIED, IDEAL? (Refusing to give un) I'VE ‘SEEN THE RISING SUN, EIENA (Lightly) AM I THE RISING sun? KEAN I'VE VIEWED THE CRESCENT MOON, ELENA AND THE CRESCENT MOON? KEAN I'VE WATCHED THE GIZAMING SEAS CARESS THE SHORE. ELENA THE GIEAMING SEAS CARESS THE SHORE -- YOU GO TOO PAR! KEAN "TIS THESE AND MORE -- ELENA AND MORE? STILL MORE? KEAN TO GAZE AT AND ADORE THE FONDEST TREASURE HEAVEN HAS TO GIVE! ELENA OU DO PERSUADE ME THAT THERE IS MUCH THAT YOU WOULD GIVE THAT YOU MIGHT LOOK UPON YOUR LOVE! KEAN ~"FOR WHEN I LOOK UPON MY IOVE -. ‘YES, WHEN I LOOK UPON MY LOVE,2-1-12 11/2/61 EIENA (after a pause) 11 ignore the Prince tonight -- Very well, I agree -- I wi (Kissing her hand) Thank you -- thank you -- ELENA =- on one condition. KEAN Oh? ELENA Yes, Service for service. EAN It is yours, Blena -- whatever it is -- without asking. What 18 it? ELENA Send that Danby girl home -- play the scene with Macleish. (MUSIC STOPS ABRUPTLY) KEAN What? But it's too late? Macleish isn't here -- she's out of London. ELENA Then play the scene with your prompter. KEAN Solomon? Iam an actor, madam, not a magician! (EIENA turns cold, sistant) (MUSIC BEGINS) ELENA (Zetly) Very well, ir, Kean, If that girl appears on stage tonight, I'L not ignore the Prince -- I WILL TURN TO EIM, LOOK At ETM, TALK EIM, SMITE AT HIM, YES, KEAN I SWEAR I'LL SMEIE! ____ NO, _ETENA_YOU MUST. none ‘you Dazz NOL -. Tt'voUrD ENDANGER MORE “THAN YOU IMAGINE!11/2/61 2-1-13 ELENA ‘YES, THERE IS DANGER IN YOUR LOVING JG, DANGER IN WW IBPTING YOU, DANGER IN WY NOT INSTANTLY ‘ABANDONING, AND FORGETTING YOU. xEAN SWEET DANGER, SVEBT DANGER, SO WHY SHOULD WE BEWARE? KEAN & ELENA COME OPEN WITH YOUR’ KISS, OUR DOOR TO SECRET BLISS, AND THOUGH THERE'S DANGER WAITING THERE -- KEAN IBT THERE BE DANGER WAITING, KEAN & ELENA WE'LL BE IN LOVE AND WE WON'T CARE! (THEY embrace, only to be inter— rupted by a sharp knocking at the door) (Soft ti ea) oft’ O tthe 2 02 (calling) ey re. Who 4s 1t? ad COUNT'S VOICE (offstage) ‘he Prince of Wales} And the Count de Koeberg! ELENA My husband! (SHE runs to the secret door, KEAN following) KEAN (calling ) One moment, siz! (To EIENA) W121 you grant my request? EIENA (Pausing at the door) W411 you grant mine?1i/e/6r 2-1-14 KEAN But don't you see that I -- EIENA Service for service, Mr, Kean -- no more, no less. (SHB goes and the door closes, KEAN goes behind the screen) KEAN, (calling) Come in, sir! (The PRINCE and the COUNT enter, looking around the room sus piciously) Forgive me, but I must finish dressing. counr ” I heard a woman's volee, PRINCE Knowing him, I'd be surprised if you didn't. co! Could you tell who it was? PRINCE Miss Danby, perhaps? cour Perhaps. PRINCE You have doubts? cour I'm trying not to. PRINCE So am I. couNE Where did she go? FRINGE (Straightening the mask that releases the secret door) I haven't the faintest idea. KEAN (From behind the screen) Well, sir? Yhat's the news? —-11/2/62 2-1-15 PRINCE . Nothing remarkable. I understand some rogue insulted Neville last night. COUNT (To the PRINCE) I am not familiar with your English habits, sir, but when we Danes are insulted, we are ready to fight the whole world. KEAN Long live Copenhagen! One day I shall go there to get myself killed. COUNT You would be warmly received, sir. (fo the PRINCE) Are you coming to the box, Your Highness? PRINCE Iwill join you directly. (The COUNT bows, then leaves) Tell me at once, you scoundrel ~~ who was here just now? KEAN (Emerging from behind the ecco wearing his Othello undergarment No one, sir, FRINCE And that veiled no one last evening -- who was she? KEAN Wasn't the Countess de Koeberg at Marlborough House? PRINCE But she arrived quite late, Answer me, Kean -- who was wearing that veil? KEAN (Pausing) Wy cousin, PRINCE Your cousin -- really, Kean! I've lost our wager haven't 1? AN Sir, will you be sitting in your own box this evening? PRINCE You haven't answered my question, Edmund, - KEAN What am I to you? A friend or a protege?11/2/61 2-1-16 PRINCE Protege? Dann it ell, my purse is yours --~ my palace is Span to you day or night -- my influence is yours to command -- isn't that enough? No man in England has more. KEAN But all those favors are granted by 2 prince to his subject. PRINCE (Smi1ing) But I am the prince. KEAN Suppose I were to ask you for a sacrifice -- one of the sort granted between friends -- between equals? PRINCE (Considering it) It's been a thin line I've given you to walk, Sdmund -- intimacy without equality, The extent to which you've een able fo maintain your balance so far -~ is a tribute to your early acrobatic training, What sacrifice would you have? KEAN Do not sit with her tonight, You are young -~ handsome -- ¢ and 2 prince. To amuse you, distract you, love you -- you Rave an entire Icingdom, FRINCE (Borrowing KEAN's style) 'But leave me Elena,! Is that it? Do you really think that chair beside her will remain empty long? KEAN Empty of princes, sir -- that's all I ask. FRINGE (Thinking) Very well -- I will not join her -- KEAN Thank you, sir! PRINCE on one condition. KEAN What, again? PRINCE (Not. understanding ) How's that? 011/2f6r 2-1-17 KEAN Service for service, Your Highness? PRINCE No. Sacrifice for sacrifice, Tonight she may belong to you alone -- but that will be the end of it. You must agree never to see her again. KEAN (Pained ) But that is not possible! Very well, Goodbye, Kean, KEAN Where are you going? FRINCE To applaud you. KEAN From your own box? PRINCE I'm sorry -- you haven't paid to see my hand, KEAN (Bowing ) Then, sir, you must do as you think best, PRINCE (angered) How uncommonly generous of you, Mr. Kean! HE leaves abruptly as SOLOMON enters) SOLOMON Hurry, sir -- there is very little time. KEAN Where's that ridiculous girl? SOLOMON I'll fetch her, sir, (As HE opens the door ANNA enters, SOLOMON leaves) ANNA I'm ready, Edmund.11/2/61 2-1-18 Come here, Turn round. (HE begins arranging her costume) Are you nervous? ANNA No. KEAN Amateur, Don't worry. If you hesitate, I will cut in. ANNA Yes. KEAN If you don't know where to move, Iwill take your arm. ANNA Yes. KEAN If you forget your words, say IT love you,t That always fits ine love-scene. ANNA I love you. KEAN Yes. (KEAN begins putting on his moor's make-up, Uninvited, ANNA goes to him and proceeds helping him -- to KEAN's discomfort) ANNA Does Othello love Desdemona? KEAN hat? Oh -- yes, of course he does. ANNA And she truly loves him, doesn't she? KEAN Yes -- but he does not think so, ANNA And when she sings "The Willow Song", she is really thinking of him, isn't she? -- and saying to him: "My love is not false -- it is true"? THE POOR SOUL SAT SIGHING BY A SYCAMORE TREE, SING WILLOW, WILLOW, WILLOW; HER HAND. ON’HER BOSOM, HER HEAD ON HER KNEE, SING WILLOW, WILLOW, WILLOW, WILLOW, WILLOW;2-1-19 ANNA (Continued) THE FRESH STREAMS RAN BY HER A AND MURMUR 'D HER MOANS; HER SALT TEARS FELL FROM HER AND SOFTEN'D THE STONES; SING WILLOW, WILLOW, WILLOW, SING WILLOW, WILLOW, WILLOW} SING ALL A GREEN WILLOW 3 GARLAND SHALL BE, WW GARIAND SHALL BE, SAID SHE, SAID SHE; 7 CALL!D Me LOVE FAISE Love: BU? Gat Sho HB THEN? WILLOW, WILLOW, WILLOW, WILLOW, WILLOW; ca I COURT. MORE oven, Zot you WILL COUCH WITH MORE MEN", SING WILLOW, WILLOW, WILLOU. (Me STAGE MANAGER enters) STAGE MANAGER May we ring the curtain bell, sir? KEAN Yes, I'll be ready, STAGE MANAGER Please hurry -- the audience is growing very impetient to see you. (HE leaves. MUSIC BEGINS) KEAN (A pause) If I asked you not to appear tonight -- would you be very unhappy? ANNA very. KEAN But if I asked you -- for my happiness? ANNA For your happiness I would do anything. KEAN (A pause) Thank you. (HE kisses her forehead) BIACKOUD & CURTAZY2-2-1 11/2/61 ACT IT Scene 2 The stage and stage boxes of the Drury Lane Theatre, EIENA and the COUNT occupy one box, DELMORE, a fop, the other, The stage curtain is down, &) 1 (As AMY enters) AMY Elena! DELMORE (As NEVILLE enters wearing a black eye-patch) Neville! NEVILIE Delmore! COUNT, EIENA, ANY, DELVORE, NEVILIE HOW NICE TO SEB YOU! count Have you heard, Amy, that we are seeing a new Desdemona tonight? ELENA Twould prefer seeing Macleish in the part, AMY I lean toward someone a shade younger, myself, Macleish is So near expiring from old age that her murder becomes quite superfluous, (ALL laugh) DELMORE (Seeing EIENA) Isn't that Elena de Koeberg? NEVILLE queredibiy, yes, If she mew what I low -- she'd hardly e here, ~11ifefel 2-2-2 DELMORE You mean -- last night? NEVILIE Ido, Kerchoo! ~~ (A shattering sneeze) AM i Goa piesa: “27 to NEVILIE) ELENA Isn't that Lord Neville? AM (WAckedly, as the COUNT dozes oft Yes. And I know where he got that sneeze -- and that hilarious eye! ‘ — . EIENA Really? Where? AMY In a marvelous tavern brawl -- with someone you know! ELENA WHO, DEAR? AM KEAN, DEAR! DELMORE (HE and NEVILIE have been conversing during the above) ‘WHO WAS? (th e story HE's spreading about KEAN, KEAN WAS! (Reigning outraged sensibilities) IN THAT PLACE -- THAT CHIID -- DELMORE (Shocked) HOW CRUDE! AMZ And Elena, you'll never guess who else was at that tavern -- ‘EIENA _ "WHO, DEAR? ~11/2/61 . AY VELL, DEAR? ‘SIENA YES, DEAR? AM GUESS, DEAR! FRINCE (Appearing suddenly in the entrance to the box) PARDON I, Do 1, INTRUDE? (orchestra plays the ANTEEM. The GOUNT awakens, and ALL stand. ‘hen the ANTHEM is through, ALL sit and SOLOMON enters from backstage to take his place in the prompter's box. The CURTAIN rises to reveal ANNA, as Desdemona, alone on stage, in ped) AMZ Isn't that Anna Danby? ELENA (Between her teeth, furiously) He'll pay for this -- ! ig bat did you say, dear? ELENA Nothing at all -- dear. (Enter KEAN as Othello) KEAN 'It is the cause, it is the cause, my soul: Let me not name it to you, you chaste stars! It is the cause, Yet I'll not shed her blood, Nor scar that whiter skin of hers than snow And smooth as monumental alabaster. Yet she must die, else she'll betray more men. Put out the light, and then put out the light: If I quench thee, thou flaming minister, I can again thy former light restore, Should I repent me: but once put out thy light, Thou cunning'st pattern of excelling nature, I lmow not where is that Promethean heat 2-2-3 That can thy light relume, hen I have pluck'é the rose,21/2/61 2-2-4 KEAN (Continued). I cannot give it vital growth again, Tt needs must wither: T!11 smell it on the tree,! (HE Idtsses her) 'She wakes, ! NNA "tho's there, Othello?t KEAN ‘ay, Desdemona, ! ANNA "M411 you come to bed, my lord?! KEAN "Have you pray 'd tonight, Desdemona?! ANNA tay, my lord! KEAN "Iz you bethink yourself of any crime Unreconciled as yet to heaven and grace, Solicit for tt straight. ! ANNA ‘Alas, my lord, what may you mean by that?! KEAN Nell, do it and be brief: I will walk by,! (HE walks around the bed as SHE prays) ELENA Your Highness -- PRINCE Madam? ELENA is it possible to play it worse than that wretched little girl? PRINCE Everything is possible, madam, except to be more beautiful than you, ELENA Why thanic you, Your Highness, —— (KEAN-glowers at them until THEY a ad are quiet)11/2/61 KEAN 'T would not kill thy_umprepared spirit; No, heaven forfend! I would not kill thy soul.! "Talk you of kdlling?! KEAN tay, I do,! ANNA "Then -- 1 (SHE hesitates) "Than -- ! SOLOMON (Prompting) 'Then heaven have mercy on me,! ANNA (SHE doesn't understand) Hin? SOLOMON ‘Then heaven have mercy on me!! ANNA (Desperately, as Desdemona) I love you, SOLOMON (Persisting) No, no! "Then ~~ heaven -- have -- merey -- on -- mej! (In a panic) I love you I love you I love you! (Improvising) Nay, you love me not, @nd the late hour is shamed by your Figs, This fatal moment bids you pray and in preying sey: ‘Then heaven have mercy on me!t ANNA (Getting it at last) Yes, of course! "Then heaven have mercy on me.! (Meaning it) ‘amen, with all my heart. !11/2/61 2-2-6 EIENA . Incredible! To top it off, she doesn't even know her lines, An She got the part, dear, She must Imow how to do something. ANNA. "If you say so, I hope you will not kill me! (KEAN doesn't respond) ‘If you say sc, I hope you will not kill me.! KEAN (Absently, continuing to glare at ELENA Yes, yes -- I'll kill you in just a moment. NEVILLE’ (Leaning forward in his box) Now he's lost the place -~ the fool is elways forgetting his placet (A shudder runs through KEAN's body as HE turns back to ANNA) "Think on thy sins.! ANNA ‘hey are loves I bear to you.? KEAN ‘ay, and for that thou diest,! ANNA ‘hat death's unnatural that kills for loving. Alas, why Guan you So your nether Mp -- 91 Lost 1 -- why gnaw you so your nether Mp -- ?t SOLOMON (Prompting 'Some bloody passion -- ! ANNA (Slowly) ‘Some bloody passion -~ 1 (Remembering, with elation) -- frames your shake! KEAN (improvising) And why should my frame not shake, since shou. hast shaken 2 the very soul within this cage of mortal cley?11/2/61 2-2-7 KEAN (Continued) (To Quickly, now -- get on with it. ANNA How can I when youtre malcing it up? (To SotoHON) line! SOLOMON I'm lost! KEAN (Clamps his hand over her mouth) "Thou art on thy death-bed.! tay, but not yet to die,! KEAN ‘Yes, presently.! ANNA ‘Then lord have mercy on me}! KEAN 'Down, strumpet!! ANNA 'KL11 me tomorrow; let me live tonight!! KEAN ‘Nay, if you strive -- ' ANNA "But half an hour!! ELENA This is too much! Why doesn't he kill her and have done with ite (The PRINCE laughs, joined by ELENA and AMY) KEAN . stiencey (U22Ping tovard the box; thundering) ence! (There 4s inmediate silence) = PRINCE. a God help us -- I believe he's speaiing to me,uyefer 2-2-8 XEAN May I ask Your Royal Highness to please be so kind as to keep still? {Shocked sounds come from the "audience" over loud speakers) We are working, sir -- and if there is anything the idle should respect it is the labor of others, (“Avdtence"™ boos and shouts) Ch, you're still there, are you? I'd forgotten you, But why @re you angry? You paid to see blood, didn't you -- only stage blood, of course -- but what would you say if I offered you the real thing? (HE takes a step toward the FRINCE's box and draws a broken dagger. then the “audience” laughs, HE starts to leave the stage) ANNA Othello! NEVILIE Othello! (Imitating her) of KEAN Who calls me Othello? Who thinks I am playing Othello? This, Othello? Come now -- he could ktll} Ah, Your Highness -- you are lucky, If I were real you would not escape me! — (Shouts and catcalls) Jadies and gentlemen -- let me ask you a question: are these our real faces? You used to come here every night and Eirw bouquets and cry 'Bravo!! But tell me -- teli me -~ whom were you applauding? Othello? A madman with blood on his hands? Impossible! Then it must have been Kean -- ‘Our great Kean! -- 'Our dear Kean! -- l0ur national idol Kean! -- 'The King of london!? Oh God! Make me Othello! Give me his strength and his rage! For one minute -- just long enough to shake the pillars of the theatre and make the chandelier fall on their heads! (More shouting from the "AUDIENCE") But my dear loyal subjects -- with whom are you angry? There is no one on stage, No one! Perhaps an actor playing Kean in the role of Othello. I do not really exist. I pretend. To please you, ladies and gentlemen --2-2-9 upe/s1 KEAN (Continued) to please -- you? To be your King? King of what? You love only what 1s false} “~~ ~ (To the PRINCE) You may have them back, Your Highness -- they are yours! (KEAN storms offstage and the Drury Lane curtain falls) CURTAIN11/2/61 2-3-1 acr_rz Scene 3 The Street, outside Drury Lane, immediately following the previous scene, The streetlamps are lit, THE ONE-MAN BAND is performing for the ACROBATS, the JUGGIER and THREE ONLOOKERS, (r gro nside Drury Lane DOWN WITH KEAN! DOWN WITH KEAN!, ete, (Chant continues throughout as CROWD surges from theatre; then builds in intensity until the fight begins, CHRISTIE runs from the theatre) CHRISTIE (fo ACROBATS et al; highly excited) Tim! Pip} David] It's Bedlam in there! Mr, Kean began saying things -- and His Highness said things -- and Mr, Kean said some more things -- it was terrifying! Where are uy pictures? (4s JUGGIER hands them to him) Some say they'21 burn lr. Keen's house! Hetve got to cool of them (To ONE-MAN BAND) Go, Jocko} ~ (To acROBATS) Jump, boys! (By now, CROWD surrounds them as THEY attempt to perform, As ON- LOOKERS hear the story, THEY join in with the CRowD) CROWD DID You SEE? DID You SEE? DID YOU SEE HIM WHEN HE STARTED FOR THE REGENT? HE WOULD HAVE MURDERED HIM? DID YOU HEAR? -DID YOU HEAR THE SILLY GIBHERISH HE SPOUTED? —11/2/6L 223-2 CROWD (Continued) nd TOOK Om MONEY} ‘WAS DRUNK’ ND THEY Our TO PACK THE VILLAIN OFF TO READING! ee LOYALTY} Nod No! CRISES FIRST MAN Cork it up, you rag-picker! Where's Kean? SECOND MAN We want Kean! THIRD MAN He's a traitor! CHRISTIE (As CROWD continues "DOWN WITH KEaN!") HE'S YOUR EDMUND KEANE YOUR IDOL, EDMUND KEAN! ONLY YESTERDAY YOU WERE CHEERING HIM! DON'T YOU REMEMBER? PIRST MAN Quiet! SECOND MAN Shut bim up! CHRISTIE Don't you remember? HE'S THE KING OF LONDON! cRowD Boo!11/2/61 2-3-3 CHRISTIE & ACROBATS THAT IS WHAT HE IS, EXACTLY WHAT HE IS} CROWD He's the Clown of London! cROUD THAT IS WHAT HE Is, EXACTIY WHAT HE IS! ALL ANYONE SAYS THAT'S NOT TRUE HAS US BOYS TO ANSWER TO! CHRISTIE & ACROBATS KEAN'S THE KING! CROWD KEAN'S THE CLOWN! CHRISTIE KEAN'S THE KING! CROWD KEAN'S THE CLOWN! CHRISTIE & ACROBATS KING! CROW CLowNr CHRISTIE & ACROBATS KING! CROWD CLOWNS FIRST MAN Let's get ‘tem, boys! Him and his paper dolls, too! (The FIGHT begins. As it rages, BARNABY, BEN and FRANCIS emerge from Driry lane to join in, But "our" side is outnumbered and by the end of the fracas, the ACRO- BATS, the JUGGIER, the ONE-MAN CHRISTIE and the THREE ACTORS are laid low, The hostiles leave) (Groening as. me gots to his feet) My shins! I think they're broken. Barnaby -- are they bleeding?nyefer 2-3-4 BARNABY Why don't you look for yourself? BEN (Trying to look over his ample stomach) My shins? I haven't seen them in years! Well, that's itr Kean's finished -- Old Drury's finished -- we're’ finished! FRANCIS Now, Hen -- tomorrow 1s another day, isn't it? BEN That's what we need: sunny seyings! HRISTIE But he's right, sir! You mustn't discourage Mr, Francis. CHRISTIE, BARNIBY, BEN & FRANCIS “TOMORROW IS ANOTHER Day" ~~ "ISN'T IP ITs A PLATTTUDE BU? IT'S AN ATTTTWE W_MUST CHERISH; WITHOUP IP WE WOULD PERISH IN THIS TIME OF CALAMITY OF COMFORT CAN BE HEARD, DON'T SMOTHER IT, MCTHER IT SO If WILL GROW:’ ADD ANOTHER WORD FROM THE MANY WORDS ACTORS KNOW SoNcEENING SWEETNESS, LIGHT, CONTENTMENT, JOY NO MATTER HOW DISTASTEFUL THE DAY, ONE CAN ALWAYS FIND THE HAPPY PHRASE TO SAY. THINK, BEN -- THINK, BEN -- THINK, THINK, THINK BEN! SEN ncyenet oun ) "EVERY CLOUD HAS A SIIVER LINING!" BARNABY "IT'S AN ILL WIND THAT BLOWS No GooD3" FRANCIS "APTER THE RAIN CONES THE RAINBOW!" CHRISTIE "TOMORROW IS ANOTHER Day!" ‘CHRISTIE You see? It's easy!11/2/61 2-3-5 CHRISTIE (Continued) cua THY van stamens SOUNDS A NOTE OF CHEER! CHIME IN: cane IN HE OUGHT TO BE MET WITH A PHULZAL” MOE WIT A TERRI ‘THINGS ALWAYS LOOK A MESS TO PESSIMISTIC EYES GOD BLESS THE MAN WITH ZEST ENOUGH ‘TO SEE THEM OTHERWISE} CHIME IN] CHIME IN! HE STRIKES A CHORD WE OUGHT TO HEAR! mick: AND I CHIME IN AND ONE BY ONE PASSERSBY CHIME IN AND VOICES O'ER THE IEA CHIME IN AND PEOPIE ACROSS THE HILIS AND THE SEA CHIME IN THE WORLD WILL RING WITH HOPE INSTEAD OF FEAR AND BE A MUCH MORE LIABIE, MORE LOVABLE OLD SFHERE} Getting into the Neptzt ) ants (Ea (AS DARKEST SERORE THE DAWN" BARNABY 0 “TROUBLE IS OFTEN A BLESSING IN DISGUISE! FRANCIS "ALL'S FOR THE BEST IN THIS BEST OF ALL POSSIBIE WORDS!" CHRISTIE “TOMORROW IS ANOTHER Day!" CHRISTIE, BARNABY, BEN, FRANCIS, ENSEMBIE (Two Choruses) cen IVY cHLIE IM CHIME IN! CHIME IN! WHEN SOMEBODY SOUS A NOTE OF CHEER! CHIME IN! CHIME IN! CHIME IN! CHIME IN! HE OUGHT TO BE MET WITH A "HUZZAI" NOT WITH A JEER! THINGS ALWAYS LOOK A MESS TO PESSIMISTIC EYES: GOD BLESS THE MAN Waee ZEST ENOUGH AND ONE BY ONS PASSERSEY CEE IN11/2/61 2-3-6 CHRISTIE, BARNABY, FRANCIS, ENSEIBIE * (Continued) AND VOICES O'ER THE IEA CHIME IN AND FEOPIE ACROSS THE ETLIS AND THE SEA CHIME IN ‘THE WORID WILL RING WITH HOPE INSTEAD OF FEAR AND BE A MUCH MORE LIVABIE, MORE LOVABIE OLD SPHERE! (Second Chorus ending) AND BE A MUCH MORE LIVABIE, MORE AMIABIE, MORE AFFABIE, MUCH WORE AMICABIE, MORE LOVABIE OLD SPHERE! BLACKOUT11/2/61 2-H-1 AGT IZ Scene 4 KBAN's sitting room. SOLOMON 1s alone asleep on the sofa, Answering a Imock at the door, HE admits BARNABY, BEN, and FRANCIS, ‘BARNABY Solomon -- SOLOMON Shbh, He's resting. BARNABY 1 We thought he might like a little "needle and thread. (HB produces a bottle of whisiy and gives it to SOLOMON) Is he allright? SOLOMON He sat up all night -- staring at himself in the mirror, BARNABY (Taking back the bottle) He's all right. EN Did he say anything? SOLOMON He kept repeating the same thing -- over and over, FRANCIS What? SOLOMON He kept saying, 'All my life I'd been searching for Edmund Kean, fast night I thought I'd found him -- T finally became real -- and what was the result? Tragedy!! KEAN'S VOICE Solomon! SOLOMON (Ushering them out the door) You'd better go now -- I'll tell him you asked after hin.11/2/61 2-4-2 (Entering) Solomon, Solomin, Solomon -- SOLOMON Yes, sir? KEAN Do you have @ hundred florins? SOLOMON I think so, sir, KEAN Give half to the servants and send them away, Keep the other half for yourself, SOLOMON Yes, sir, KEAN I shall never act again, “Now leave me, Solomon -- I shall wait for the police in this chair, (HE sits with a regal attitude) SOLOMON In Richard the Third's chair, KEAN Oh, dammit, you've right! I was maicing another gesture! Teil me, Solomon -- is there a school where one can forget how to act? SOLOYON Prison might be just the place, sir. What did I do last night? SOLOMON Insulted a royal prince and two thousand, one hundred and eighty-two paying customers. KEAN The result? Tragedy, Obviously there is only one solu- tion -- from now on we must live in the realm of farce, SOLOMON Yes, sir, (DOOREELL sounds ) KEAN, Answer it! But let no one in except24-3 1/2/62 Except her, Yes, sir. (HE leaves. SOLOMON KEAN goes to the window and strikes a sad and ironic pose, looking out. MUSIC begins, tremolando: "SWEET DANGER", The door opens and ANNA enters timidly) KEAN DANGER IN YOUR NOT -- (HE turns and sees her) Oh, good Lord? I came to say goodbye, KEAN Goodbye} Where are you going? ANNA To America, KEAN America? What on earth for? ANNA A manager from a New York theatre saw me last night -- he thought I was quite good. He offered me a contract. KEAN What? He had the incredibly bad taste to notice you while Iwas up there committing suicide? Really, there is nothing more to say. ANNA There 1s nothing more to say. KEAN leaving for America! Itis a little too easy, you know, to enter someone's life, plunder it, and then just fly away? Not to mention the really disgusting injustice of the climax: you provoke a scandal -- you shatter my heart and my career -- what 1s the result? You are engaged for New York and I am put in prison, In short, the wicked are rewarded and the good are punished! Obviously there's no place for you in my life, But if you had a little sensi- tivity -- oh, let's not ask too -- what is the name of this New York manager? ‘ANNA cannot think fast enough) Do you know what I'd do if I weren't @ gentleman? I'd give you 2 sound spanking - d'you hear? A spanking! (The door bursts open and SOLOMON rushes in)11/2/61 enh SOLOMON Sir -- sir -- } She's here! REAN Who's here? Oh! ANNA Tt's Elena, KEAN Yes. (HE thinks But don't think I'm finished with you, Get in there, If you get bored, think about the thrashing I'11 give you later. (HE pushes her toward one of two doors, waits until SHE has closed the door after her, then turns to SOLOMON) Now then -- send in the other one, (SOLOMON leaves, MUSIC REPEAT KEAN takes a mirror and changes his expression -~ from anger to ardor, then strikes the same pose at the window. EIENA enters, KEAN turns to meet her) Elena -- can you forgive me? ELENA There isn't time for that -- the police -- you must go -- if not for your sake, at least for mine} KEAN On one condition -- that you come with me. EIENA But it's impossible! What about my honor? And my husband? If I leave, don't you see it will Ict1l him? KEAN It is he or I, Elena -- we must save the younger man, EIENA And my children -- what about my children? KEAN What children, Madam? You don't have any,1/2fer 2ah-5 ELENA But I've sworn to have children ~- before God! KEAN And before God I swear you will have them! EIENA But Ive sworn to have his children -~ God will strike me owns KEAN God 4s only concerned with the preservation of the race, Elena -- not a particular family. ‘Taking her in his arms) Elena -- my love! EIENA (Wetting) Yes -- go on -- KEAN Him? Where? what do you mean? ELENA Go ont Talk to me -- if you wish me to ruin my life you must firBt make me lose my head! I want to hear all those Passionate words you told the others! (MUSIC BEGINS) Speak to me, talk to me, teach me desire: TELL ME YOU WANT ME IN ACCENTS oF FIRE; BRING YOUR INFINITE GENIUS TO ‘BEAR; TURN MY PEARS TO THIN AIR! SO THA T WILL BE -- SWEPT AWAY, A DAREDEVIL cHIID WHO IS SWEET Alay SUBLINELY SWEET Away BY THE HOLOCAUSTS YOUR INCADESCENT EYES CONTAIN} NOT KNOWING, NOP caRING, WHAT FRICE'T pay 2 HOPELESS TY "SHEET AWAY!11/2/61 2-6 EIENA (Continued ) YES, SPEAK TO ME, TAIX TO ME, POUR OUT YOUR SOUL: PROVE THAT OUR eo IS PASSING CONTROL: CONVINCE ME MY HEART IS A CHALICE GF FLAME, AND THAT YOURS IS THE SAME: (Pause; HE does not respond) AND THAT YOURS IS THE SAME: Elena -- do not prompt me, EIENA What did you say? You were giving me my cue! ELENA How dare you! KEAN Oh, I dare nothing -- I am finished with acting. Curtain! ‘ELENA YOU'RE SUFF ‘RING TE PANGS OF THE DAMNED, AND FOR MEL KEAN Well, not really, EIENA HERE! PRESS MY FINGERTIPS TO YOUR YEARNING, BURNING LIPS! KEAN Come now -- you're not going to pley the scene all by yourself, are you? ELENA I SURRENDER! I WILL FLY WITH you! ‘Surprised What? (seep ) ELENA CARRY ME OFF! DO AS YOU SWORE!eS 11/2/61 2-4-7 EIENA (Continued) Well, what are you waiting for? Carry me off. A pause . I see. For once in your life you are speaking the truth. You play the lover every night at Drury Iane and sometimes in the afternoon, you give private lessons, And I was fool enough to take you for a man, The Prince Regent is right, An actor is nothing but a mirage. } Oh, he said that, did he? (HE draws her violently to him) ELE] Kean! What are you doing? WHY, I'M SWEPE AWAY, COMPLETELY SWEPT AWAY BY THE MADNESS YoU ‘ HAVE SET IN MOTION IN MY HEART! ELENA Wait! Please watt! KEAN What for? Since we're both acting, why not finish the farce? ELENA But women are not very secure in farce, KEAN (Laughing ) Elena, admit it -- you're as big a fraud as I em! COUNT'S VOICE I tell you, sir, that I am going in there! SOLOMON'S VOICE And I tell you sir, that you are hot going in there! ELENA My husband! COUND'S VOICE 4nd I say you cannot stop me! KEAN He can't be in the jane play with us -- that's pure tragedy! Laughing You'll see -- he's come here to kill mes EIENA I'll wait in there ti11 he's gone. (Starting for the same door ANNA used )1jefr 248 KEAN Yes -- no -- not in there -- (Pointing to the second door) -- there! EIENA (Bursting into laughter agein) You mean -- somebody else is in there -- J (Zaughing ) Yes -- it's true! It's true! EIENA Iwouldn't have had it any other way. (ELENA exits. KEAN goes to the door on the other side of the room-and calls) KEAN Solomon, Show the Count de Koeberg in, (HE starts to strike the same pose at the window but catches himself, The COUNT enters and confronts KEAN grimly) counr Sir -- I have been insulted and I demand satisfaction, KEAN Insulted, sir? You astound me, sir, A man with your greatness of heart -- who would dare, sir? COUNT I tell you, sir -- I demand satisfaction] (Beligerently) Very well then, sir -- if I can’t dissuade you -- I'll be delighted to act as your second! cour (astonished ) My -- but I've come to challenge you, sir. KEAN Me, sir? Oh, no, sir, Impossible, sir. I haven't insulted you, sir. COUNT And I say you have, sir -- mortally.11/efe1 2aH-9 KEAN Sir, I cannot fight with you. Children fight -- and noblemen; T discovered last night I was no longer” the first, and could never be the second. count There is a lady here, sir -- one who is not a stranger to me, I think. KEAN A lady? couNr She was observed entering your house, sir, KEAN But, sir -~ I assure you (ANNA enters) ANNA Well, Edmund -- how long must I wait for my spanking? (Te COUNT looks at her, then at KEAN, not sure what to make of # all, but sure HE's been bad KEAN Excuse me, sir -~ you said a "lady! -- how was I to Imow you meant this child? counr (Making a diplomatic decision) Excuse me for disturbing you, sir, @ ) lowing Not at all, sir, COUNT (To aNNA) Good day, Mrs, Kean, ANNA Oh, not yet, Your Excellency, count But soon, Tt will mean so much to us all. (HE turns and Teaves KEAN (Alone with ANNA) Thank you. Do you realize you have made me a gift of your —; reputation?11/2/61 ° 24-10 ANNA Yes, KEAN Without knowing whether I would marry you or not? I thought the middle classes knew better than to give some- thing for nothing, ANNA, I never do, I always get what I want in return. SOLOMON (Entering) Siz -- KEAN Yes? SOLOMON Bwo officers here to arrest you. KEAN Yes, of course, SOLOMON I've brought your coat, sir, (HE helps KEAN change from his smoking jacket into the coat) KEAN Thank you, Solomon, Very well, you may show them in, SOLOMON (HE goes to the door and opens it, admitting the GUARDSMEN) FIRST GUARDSMAN By order of His Royal Highness, the Prince of Wales, Edmund Kean, the actor, is hereby placed under arrest. Yes, sir. (Bi ht e wing 8 Thank you, ute aNenety LENA fire has entered in time to hear s I'm sorry, Kean, that the farce has changed back to melodrama, KEAN © (Nock-heroic) ‘I hope all will be well, Good night, ladies; good night,11/2/61 24-11 KEAN (Continued ) sweet ladies; good night, good night," Hamlet, Act Four, Scene Five, (HE leaves between the TWO {UARDSNEN) @ CURTAIN11/2/61 2-5-1 AcT It Scene 5 The bare stage of Drury Lane, as seem from the rear, The FRINCE enters during the preparations to raise the curtain, STAGE MANAGER (To STAGE-HANDS Come on boys?! Move! Yove! Move! First position! Don't be of making a little noise now? You made enough during the performances, Barnaby! Where's Barn -- (HE sees the FRINGE, bows and exits, followed by EVERYONE else. Then KEAN enters, between the GUARDSMEN) KEAN Your Highness, FRINCE Edmund. (The GUARDS are dismissed) KEAN I was wondering why they brought me here to -- FRINGE To the scene of the crime, Not altogether unfitting, (A pause) What are we going to do? KEAN I dontt know, sir, FRINCE Insulting me in public 1s @ crime, you see, and something has to be done about it. You understand? KEAN Yes, sir, FRINCE Any suggestions? (KEAN shrugs ) Prison, I suppose -- but you wouldn't like that very much.11/2/61 PRINCE (Continued) Exile? But I confess I wouldn't like that very much, Of course, if you were to make a public apology -~ (HE sees KEAN's reaction to this) -- exile, then -- 2 year's enough, They might have for- gotten by then, You never really loved her, did you? KEAN Hm? Who? PRINCE Elena, KEAN on. PRINCE We're all three very much alike, you know -- all of us dependent on the love of others -- and all three quite ineapable of loving. Sometimes I truly envy the middle classes -- they always seem to get what they want. (Reaction from KEAN) Do you think we!ll ever get what we want, Edmund? No, I suppose not. A king's life can't be his own -- his responsibilities come first, And each of us must play the role for which wetve been cast. ‘Uneasy lies the head that wears a crown?! KEAN Henry the Fourth. FRINCE Part Two. (MUSIC BEGINS) Why can't you go out there and apologize? Is an actor's pride so indomitable? You realize I could conmand you -- ut no, I understand, It would be much too humi listing for you. (HE turns and leaves. KEAN has reacted to the FRINCE's taunt, and now, alone on the stage except for the STAGE MANAGER, who has begun directing the dressing of the stage, HE considers, Sud- denly, his decision made, HE turns to the STAGE MANAGER) KEAN Raise the curtain? iit.2-5-3 11/2/61 STAGE MANAGER But Mr, Kean -- they!11 Illi you! KEAN Raise it} STAGE MANAGER (Running off) Raise the curtain! (KEAN goes to the "curtain", rear, as it begins to rise, HE lifts his arms for silence BLACKOUT11/2/61 2-Finale-1 > cr IT Finale When the lights go on again, KEAN ig standing, down center, facing out into the real house. His arms are still raised for silence. The PRINCE and AMY are in one stage box; DELMCRE and another NOBIE are in the other, The silence continues for a moment. KEAN (Understanding what they want) 'Iet those that play your clown speak no more then is set down for them?! (His. gesture signifies his agreenent; HE turns to the FRINCE ) ‘Sweet Prince =~! (HE suddenly gets an idea) ? ‘Sweet Prince -- What I did I did in honour, led by the impartial conduct of my soul; tSome are born great, Some achieve greatness, ‘Pardon me, sir, your bad entertainment; ! "The Play, I remember, Pleased not the million,! ERINCE He's not apologising, the scoundrel. He's malding Shakespeare do it for him -- line by line! KEAN ‘0! My offense is rank! 'I would have put my kmife into him.! ‘This was the most uniindest cut of all.! All the perfumes of arabia Will not sweeten this little hand.! ‘But what's done Cannot be undone, !11/2/61 eo 2-Pinale-2 EAN (Continued) thlas, our frailty 1s the cause, not we! For such as we are made of, uch we be. ! 'All the world's a stage, And all the men and women merely pleyers.! land on this stage where we offenders now appear! 1I will give my thoughts no tongue:! "Tongues are as keen as is the razor's edge,! ‘ay, but yet, let us be keen!! FRINGE ch, I don't -~ KEAN + Yes, Your Highness -- ‘Measure For Measure’, Act II, Scene 1. Returning to his “improvisation') ( Yes -- ‘let us be Keen!! 'T0 THINE OWN SELF EE TRUE,' SEDMUND WAS BELOVED -- BELOVED -- 'AND RUIN'D LOVE, WHEN BUILT ANEW, GROWS FAIRER THAN AT FIRST, MORE STRONG, FAR GREATER! 'GIVE ME YOUR HANDS If WE BE FRIENDS -- | 'God give them wisdom that have it; And those that are fools, let them use their talents! 'NOW PLAY OUE THE PLAY,! (The lights suddenly go out except for an overhead on KEAN, KEAN appears lost in thought) Now IS AN ENDING To CONFUSION. FATE CAN NO MORE MY TASK CONCEAL: 70 DEAL IN TRUTH TOLD THROUGH ILLUSION -~ (Calling) Othello -~ (an enormous shadow of KEAN is thrown on the backdrop, left) Hamlet -- (Another shadow appears, right)2-Finale-3 1f2/6l KEAN (Continued) Richard -- . (A third appears, center; there are now three large shadows on the drop) I know -~ you create me -- you elone make me real -- MAKE MB REAL -- MAKE ME REAL, SUoW FINAL CURTATN