#Chester Kallman

[buckieduckie2]

I wanna talk about a hyperfixation of mine: a little but of Queer History- W.H. Auden and gay poets

i would like to share with you a little bit of queer history, not super in depth but i want to share it with anyone whos not aware nonetheless (also i have no idea how many people know about this, so if this turns into a "oh everybody knows THAT"... hush. i dont care.

Okay, so a while ago I had to do a project on some poets asigned to me and write a short bio on them, talking about their life and career and things like that. So to get our information, our teacher had us looking in the archives and read a larger biography already written on them.... yeah.

So as I was reading this biography, i came across a part discussing his collaborators and one of the paragraphs mentioned W.H. Auden writing librettos with “Chester Kallman, an American poet and close friend who lived with him for more than 20 years," BITCH be so frrr 💀💀💀

So I read that like and immediately was like, hmm that sounds familiar 😐.... 🤨 but then I read farther into the biography and it said he had a wife and he was also super Christian so i was like... aw gUeSs hEs nOt gAy 😞

So yeah then I had to include a poem if his on the little infographic we were all making so i found one that I really, really liked called "Stop All The Clocks"

Stop All the Clocks

by W.H. Auden

Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead Scribbling on the sky the message He Is Dead, Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong.

The stars are not wanted now: put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood. For nothing now can ever come to any good.

Wow that poem is reall beautiful and really, really heartbreaking.

Yeah so I read that poem and immediately noticed the use of He/Him pronouns and thought... thats gay Soooooooo what did I do? I looked up if he was gay or not! And you know what google said? Yeah! He was!

One google search told me more about this man than an official archive with professionals 😐

W.H. Audens lifelong partner was Chester Kallman, and they translated/wrote (?) librettos together <3

Didn't you say he was super Christian tho...

Yeah, I did, and yeah, he was. But guess what? Gay people can be Christians too, and this man managed to do it in the fucking 40s till his death in '73. Albeit this came with many struggles internally, he still lived with Kallman till his death. So yeah, gay people had happy endings back then, even the religious ones :)

He also had some pretty rocking views on religion. Auden, thoughout his younger life, hadn't ever been part of any faith until a trip to Spain... we could get into that but we won't. Anyways, his pretty rocking opinion on religion? Don't force it on children. It's dumb and it brainwashes them cause they can't make the decision themselves. He probably said it better but you get my point.

Also he had a lot of kick-ass political opinions too.

Wait but didn't you say he had a wife?

Yeah but like, what gay man in the last 1084308394 centuries didnt? I mean c'mon.

Anyways so heres where things really start kicking....

W.H. Auden's wife was Erika Mann. Erika Mann was an actress from Germany, and the only reason she married W.H. Auden was so she could get an American passport.

And GUESS WHAT??? She was a lesbian.

MUAHAHAHHAA anyways.

Erika Mann also had a lover named Therese Giehse, a German actress as well who was introduced to John Hampson, an English novelist, via Auden. Hampson and Giehse both married so they could to go to the United States.

Anyways so things got more fun when I found out that Erika's brother was also gay. :DDDDD

His name was Klaus Mann, and he was an openly gay man. I don't want to get into too much detail here though because his life was tragic and there's a hole burning into my stomach because it makes me sad :((((

ANYWAYYSYSYYYYYSSSSS

So yeah! That was my "brief" little dive into W.H. Auden and his mutuals :)))))) I was literally SO greatful that I was asigned W.H. Auden when I started researching him in a little bit more depth because the poets had been assigned at random, so yeah this was really perfect :)

and BRO I LITERALLY COULD NOT IT WAS SO HILARIOUS TO ME- THE MORE AND MORE RESEARCH I DID THE MORE PEOPLE ENDED UP BEING QUEER AND IT WAS JUST SO HILARIOUS IN THE BEST WAY 😭😭😭 i was reeling i was literally so happy

ANYWAYS hope yall enjoyed that <333 hopefully this wasnt all TOO commonly known stuff i hope i taught at least one person something but either way- if you got this far THANKS FOR LISTENING TO ME TALK ABOUT THIS I REALLY LOVE TALKING ABOUT THIS ITS TOTALLY A HYPERFIXATION OF MINE

and agh~ can we talk about the amount of queerplatonic and mlm wlw solididarity? i love.

also disclaimer if anyone wants to call me out on my bullshit: yeah Kallman ended his sexual relationship with Auden in 1941 cause of like... a problem with mutual fidelity. they still lived together till death tho and Auden described their relationship as a marriage so shhhhhhhhhhhhhhhhh i dont wanna go in depth rn 😡

also anyone please tell me if i got something horribly wrong dont be afraid to burst my bubble with the sweet smell of truth

Below the cut: photos of W.H. Auden Chester Kallman

W.H. Auden

W.H. Auden with Chester Kallman

@l0v3c0r3e you better read this or istg 👹

[ripplefactor]

Chester Kallman in drag, 1945 ..

[aschenblumen]

Kurt Weill, The Seven Deadly Sins (Die sieven Todsünden, 1933). Libreto de Bertolt Brecht. Traducción al inglés de W. H. Auden y Chester Kallman.

[mayolfederico]

Ischia ~ Raffaele La Capria

Ischia ~ Raffaele La Capria

Luigi De Angelis Questi luoghi dai nomi numinosi, pur appartenendo tutti alla Campania antichissima e varia, sono anche dei microcosmi diversi l’uno dall’altro, che danno forma a stati d’animo, modi e stili di vita, predisposizioni e inclinazioni, gusti e abitudini talmente differenti, che scegliere l’uno o l’altro come luogo d’elezione, significò anche farsi un abito mentale…

[llovelymoonn]

favourite poems of october

alfred starr a dark dreambox of another kind: the poems of alfred starr: "didn't you ever search for another star?

stephen spender new collected poems: "auden's funeral"

marianne boruch keats is coughing

noa micaela fields zoeglossia: poem of the week, may 17, 2021: "echolalia"

kevin young diptych

richard siken real estate

crisosto apache kúghą/home

mikko harvey for m

nathan hoks nests in air: "the barbed wire nest"

john a. holmes noon waking

crisosto apache 37 common characterisi(x)s of a displaced indian with a learning disability

oliver de la paz requiem for the orchard: "at the time of my birth"

zhang xun jiangnan song (tr. bijaan noormohamed)

paul violi fracas: "extenuating circumstances"

tianru wang after "yellow crane tower"

lloyd schwartz cairo traffic: "nostalgia (the lake at night)"

kamiko han the narrow road to the interior: "the orient"

rigoberto gonzalez unpeopled eden: "unpeopled eden"

adelaide crapsey verse: "to the dead in the graveyard underneath my window"

chester kallman night music

alan shapiro covenant: "covenant"

tom clark light and shade: new and selected poems: "radio"

tc tolbert my melissa,

charlie smith in praise of regret

carolyn kizer cool, calm, and collected: poems 1960-2000: "fanny"

julie sheehan orient point: "hate poem"

arthur sze the redshifting web: poems 1970-1998: "streamers"

joumana altallal everything here...in the voice of tara fares

abid b al-abras last simile

w.s. merwin to lingering regrets

george scarbrough music

shout me a coffee

[waywordsstudio]

Review: "The Rake's Progress" by W.H. Auden & Chester Kallman -

A strong Stravinsky score cannot quite disguise a rather tried Faustian tale with little freshness.

[aibidil]

I'm reading When Brooklyn Was Queer (book rec, btw), and I'm fucking DELIGHTED at how 2022 this man Chester sounded in 1941. The context is that W.H. Auden was head-over-heels for Chester Kallman, considering them married. Kallman, however, didn't like to limit his indulgences to one man.

At first, Kallman tried to keep his indiscretions relatively secret, at least from Auden, but he would soon flaunt them openly. By the end of 1941, he had no qualms in writing to Auden about his escapades, such as how

"just the other night I picked up a 6 ft 2 ½ in merchant sailor from Brooklyn. Wildly attractive, young, strong, perfectly built, and large. I was all prepared for an absolutely relentless fucking—but—as it turned out in the end, that is what I had to provide him with."

[yourdailyqueer]

Chester Kallman (deceased)

Gender: Male 

Sexuality: Gay

DOB: 7 January 1921

RIP: 18 January 1975

Ethnicity: Ashkenazi Jewish

Occupation: Poet, translator

Note: Lover of W. H. Auden

[opera-simplified]

Opera Simplified #2: The Rake’s Progress

The Rake’s Progress

Opera Simplified #2

The Basics:

Music: Igor Stravinsky

Libretto: W.H. Auden and Chester Kallman

Premiere: September 11, 1951; Teatro La Fenice; Venice, Italy

Based on: William Hogarth’s eight-painting (later engraving) series A Rake’s Progress

Setting: England (mostly London), an unspecified point in the 1700s

Characters:

Tom Rakewell, a young man- tenor

Anne Trulove, his girlfriend- soprano

Nick Shadow, a devilish manservant [the libretto’s words, not mine]- bass-baritone

Baba the Turk, a bearded lady- mezzo-soprano

Trulove, Anne’s father- bass

Mother Goose, a brothel owner- contralto

Sellem, an auctioneer- tenor

Keeper of the Madhouse- bass

Requested by: @harry-leroy, who also very generously and enthusiastically read excerpts of this over—thank you!

The Opera:

Act I:

Scene 1:

A spring afternoon. The garden of the Trulove house in the countryside, with the house at right, a gate in the back, and a bunch of trees at left, where Anne and Tom are sitting together.

Anne: It’s May, and the whole world is enjoying the beauties of spring!

Tom: This is Venus’ season and she’s making everyone fall in love and helping restore the Age of Gold… **

Anne and Tom: How sweet it is to enjoy nature together!

*Trulove enters from the house and stands aside, watching Anne and Tom.*

Trulove: They look so happy and in love, and I really hope that’s the case and my fears don’t come true. We think we know everything when we’re young, and then we realize too late that we actually don’t, and I hope that doesn’t happen to my Anne…

Anne and Tom: WE’RE IN LOVE AND IT’S BEAUTIFUL AND WE’LL BE IN LOVE FOREVER

*Trulove steps forward.*

Trulove: Anne?

Anne: Yes, Dad?

Trulove: They need your help in the kitchen.

*Anne curtsies and goes inside. Trulove goes over to Tom.*

Tom, I talked to a friend of mine who lives in London, and recommended you to him, and he’s offered you a job at his counting house! ***

Tom: That’s very nice of you, and I don’t want to seem rude, but...I have other prospects.

Trulove: Son, you don’t have a job, and you’re not looking for one, and that worries me.

Tom: Look, I get it. But I assure you, Mr. Trulove, that your daughter will want for nothing if she marries me.

Trulove: My issue isn’t if you’re poor. If she wants a poor husband, that is fine by me, but no matter what, I will not let her take a lazy one, because she is too good for that. You understand?

Tom: Understood.

*Trulove goes inside.*

The old fool doesn’t get it! Here I am: I’m young, I’m happy, I’m in the prime of my life, and I’m supposed to waste the best years of my life in drudgery? I’m supposed to spend my life working just so some boss can become rich, I can barely survive, and ultimately I’ll just be thrown away and replaced with the next worker? No! Heaven has predestined our fates, so I will abandon myself to that. After all, if something is supposed to happen, just let it happen! I’ll live by my wits and trust my luck; the whole world is out there, just waiting for me...and I’ll live by my wishes. Like this one: I wish I had money.

*Nick immediately appears at the gate.*

Nick: Tom Rakewell?

*Tom, startled, turns around.*

Tom: Uh…

Nick: I’m looking for Tom Rakewell; I have a message for him. Is this his house?

Tom: No, but you’ve found him wandering in his thoughts and footsteps.

Nick: So you’re Tom Rakewell?

Tom: Indeed I am! Tom Rakewell, at your service.

*Nick bows.*

Nick: Nick Shadow, at your service, and ready to bear you a bright future. You recall an uncle, sir?

Tom: No? My parents never mentioned an uncle.

Nick: I think they had a falling out, sir. But...do you have any friends?

Tom: More: I have a wonderful girlfriend.

Nick: Lovely, sir. Go get her and anyone else who will listen.

*Tom runs into the house as Nick unlatches the gate and lets himself into the garden. Tom returns from the house with Anne and Trulove, and Nick bows to them.*

Forgive me for intruding, but I have a lot to tell you all. I once served Tom Rakewell’s uncle, who lived abroad for much of his life. I worked for him for many years, in many different trades, and he was very successful in all of them and became very wealthy, but all that wealth didn’t do him much good when he lay dying and dreamed of England and happiness. He did know about Tom, though, and figured the best use for his wealth would be to bequeath it all to his nephew. Well, he is dead. Tom, you’re rich.

Tom: I knew it! I made one wish, and Fortune made it come true. Shadow, sir, stay by me, would you?

Nick: Thank goodness, because without a master, I would soon die!

Anne: Thank God! We can get married soon!

Trulove: Thank God! And make sure that Tom never gets too big for his britches and that this doesn’t go south.

*Tom puts one arm around Anne and gestures outward with the other.*

Tom: Look, Anne, there’s no more obstacles and the world is ready and waiting for us!

Anne: And we’ll have peace and love forever!

Trulove: God bless you both!

Nick: I hate to burst your bubble, but there are new problems that come with such a large fortune: you have to get the inheritance approved and legally secured, and in order to do that, we have to go to London.

Tom: Those things can wait! I want to marry Anne.

Trulove: No, you should settle your estate and get it secured and then you and Anne can get married and have a secure future!

Anne: Dad does have a point, Tom.

Nick: There’s a coach waiting down the road.

Tom: Well then, what are we waiting for? Let’s go!

Nick: I’ll get the coachman.

Trulove: And I’ll explain this whole situation.

*They go off together.*

Anne: Goodbye for now, but remember: whatever may happen and wherever you may go, my love will go with you.

Tom: I know you’ll always be with me. I love you.

Anne: Farewell!

*Nick and Trulove come back.*

Nick: Everything is ready, sir.

Tom: Shadow, sir, I’m not entirely sure how this works because I grew up very poor, so I’m wondering: what are your normal wages?

Nick: I’ll give you a year and a day to figure that out. On that day, we’ll settle our accounts and you will pay me no more and no less than what you think my services are worth.

Tom: Agreed. Mr. Trulove, as soon as my estate is settled, I’ll send for you and Anne to come to London. And when Anne gets here, all London will be at her feet, because I’ll make something of myself and London will be mine, and London will treasure my magnificent soon-to-be wife.

*Tom and Trulove shake hands as Anne, overcome with emotion, hides her face.*

Everything good waits for the one who can win the game.

Anne: I’m so happy but at the same time, I’m crying…

Trulove: I’m worried that this new comfort may lead to even more problems with him, but maybe it won’t…

Anne: Tom, I’ll always be near you, and you’ll always be near me…

*Nick lets Anne, Tom, and Trulove through the gate.*

Anne and Trulove: Goodbye, Tom!

*Nick turns to the audience.*

Nick: THE RAKE’S PROGRESS begins. ****

Scene 2:

An unspecified amount of time later, at Mother Goose’s brothel in London. Tom, Nick, and Mother Goose (not the one from the fairytales) are sitting at a table downstage right and drinking. Meanwhile, a bunch of roaring boys, prostitutes, and clients are hanging around. There is a cuckoo clock at upstage left. *****

Roaring Boys: WE JUST LIKE TO HANG AROUND AND ROAM THE STREETS AND GET INTO FIGHTS AND STUFF LIKE THAT

Prostitutes: WE’RE GREAT AT GETTING PEOPLE TO LOVE US AND GIVE US THEIR MONEY

Roaring Boys: WHAT’S BETTER THAN FIGHTING FOR NO REASON OR BASHING PEOPLE’S HEADS IN OR WHATEVER

Prostitutes: WE SURPRISE ALL KINDS OF GUYS AND WE CHARM THEM AND THEY GIVE US MONEY AND THAT’S HOW WE LIVE

Everyone: A TOAST TO OUR TWO FAVORITE GODS VENUS AND MARS

Nick: C’mon, Tom, show Mother Goose here what I’ve taught you in preparation for your new life and all its pleasures. So, what are you supposed to do above all else?

Tom: My duty to myself.

Nick: Isn’t he smart, Mother Goose?

Mother Goose: And handsome too.

Nick: What is that duty to yourself?

Tom: To scorn the advice of any who disapprove and follow Nature.

Mother Goose: What is Nature’s secret?

Tom: What beauty is and where it grows.

Nick: What is beautiful?

Tom: Whatever is pleasure for the eyes, but it has just one flaw: it dies.

Nick: Exactly!

Mother Goose: What is pleasure, then?

Tom: It’s different for every person, but it’s whatever someone wants it to be, whatever makes them happy.

Mother Goose: Bravo!

Nick: One final question: what is love?

Someone: WHAT IS LOOOOOOOOOOOOVE BABY DON’T HURT ME DON’T HURT ME NO MORE WHAT IS—

Mother Goose: NO ONE ASKED FOR THAT STUPID SONG

Tom: Love? That word burns every part of me…

Nick: No answer?

Tom: NO MORE

Mother Goose: Do you need more wine?

Tom: LET ME GO

Nick: Are you afraid?

*The cuckoo clock chimes one, and Tom gets up.*

Tom: BEFORE IT’S TOO LATE

Nick: WAIT

*He turns to the clock, which turns back and chimes twelve.*

See? Even time itself obeys you, so enjoy life! You can worry later.

*Tom sits down and starts drinking a lot of wine.*

Chorus: Who cares about time passing when we have food and drink and fun and love and the night?

*Nick gets up and indicates Tom.*

Nick: My friends, fellow worshipers at the Temple of Delight, it is my privilege to present a newcomer who wants to be initiated and as custom, will sing for you. He is young and rich and will be perfect for our group. I present my master and (if he will allow me to call him this) my friend, Tom Rakewell!

*Tom comes to the center of the room and sings.*

Tom: Love, you are too frequently betrayed in the name of desire or the world, and I’ll admit that I still dream of you. You are my sorrow and shame, and yet I always forget you, but please don’t forget me; if I die, in my last hour I will call upon you!

Prostitutes: It’s such a sad song, but it’s so charming! Forget your sorrows in our arms, in our lips—

Mother Goose: UH UH I’M THE LEADER AND I CALL DIBS ON HIM TONIGHT

*She takes Tom’s hand as the patrons form two lines, between which Tom and Mother Goose walk to get to the door on the back wall. Nick watches.*

Chorus: LANTERLOO LANTERLOO THE KING IS COURTING HIS QUEEN AND THEY’RE GOING TO BED AND HE’LL CHOP OFF HER “HEAD” IF YOU KNOW WHAT WE MEAN LANTERLOO LANTERLOO ******

*Nick raises his glass as if making a toast to Tom’s success.*

Nick: Sweet dreams, Tom!

Chorus: LANTERLOO LANTERLOO

Nick: Dreams may lie, but dream, for when you wake, you die.

Scene 3:

The same as Scene 1. Anne, dressed in traveling clothes, enters the garden from the house.

Anne: No word from Tom...has he forgotten my love, our vows? Regardless, he needs my help. I love him, and I can feel that he needs me, so I will go find him!

Night, find him wherever he is, and tell him I’m coming for him! And you, Moon, guide me and shine warmly for him; even if his heart is cold, you can’t be more cold for him, could you?

Trulove: *from inside the house* Anne! Anne!

Anne: Can I leave my father and his love behind for a man who’s deserted me?

*She starts walking back to the house, but then stops and turns.*

No! My father is strong, but Tom is weak. He needs me. He needs my comfort and he needs my help.

*She kneels.*

Dear God, protect Tom, help my father, and strengthen me.

*She gets up.*

I’ll go find him. Even if he’s forgotten me, I still love him and that’s not going to change, and if he still loves me we’ll pick back right up from where we left off. I’ll go find him, and love will help me.

*She goes through the gate.*

Notes

Act II:

Scene 1: 

Morning, some time later. A room in Tom’s house, which overlooks a busy London square. A window is open, letting in light and noise from the street. Tom is sitting and eating breakfast when a particularly loud blast of sound comes in; he gets up, annoyed, and shuts the window.

Tom: LET THERE BE SOME DIFFERENT NOISE FOR GOODNESS SAKE BECAUSE IT ALL JUST ANNOYS ME AND EVEN YOUR BEST MUSIC CAN’T FILL THE HOLE IN MY HEART

“Follow Nature,” they said. “It'll be great,” they said. I wanted to be free, but now I have no choice but to be a slave of fashion. The food and wine is overrated! Cards are stupid! And always with the women bringing by their daughters to talk about marriage! There’s only one truly good person in the world, and I refuse to think about her!

*He gets up.*

Well, the hunt is on! On and on we go, following Nature blindly! And happiness and freedom always evade me, and there are empty smiles everywhere and my heart is full of darkness!

*He sits down.*

I wish I were happy.

*Nick enters with a broadsheet in his hand.* **

Nick: Master, are you alone?

Tom: Don’t remind me.

Nick: *handing Tom the broadsheet* Do you happen to know this lady?

Tom: Baba the Turk! No, I haven’t gotten a chance to see her at the fair yet, but I heard that even brave soldiers faint at the sight of her. Is any of this even possible?

Nick: Well, two licensed doctors have said she’s the real deal. Do you want to go see her?

Tom: You’re up to something, aren’t you?

Nick: AT LEAST LOOK AT HER PICTURE

Tom: She’s ugly.

Nick: Do you desire her?

Tom: Ew, I desire her as much as I desire gout.

Nick: Do you even remotely like her?

Tom: Heaven forbid I do.

Nick: Then marry her!

Tom: HAVE YOU LOST YOUR MIND

Nick: Look at it this way: everyone is wretched because they are a slave to either pleasure or conscience. The only way to be happy is to be a slave to neither, and since you don’t like Baba and since marrying Baba would be seen by society as a very odd thing to do, it’s perfect! You won’t have to worry about being a slave to anything, and you’d be free, and then you’d be happy! At least think about it.

Look: first, we’re all chasing girls; then, we chase wealth and rank; and then, when we’re old, we chase virtue. Always chasing something that is already fated to be. You need to step away from that and be free! Free from passion and reason alike! Well?

*Tom and Nick look at each other, and the former starts laughing, soon joined by the latter. They shake hands, and Nick helps Tom get dressed to go out.*

Tom: PEOPLE WILL TELL AND HEAR MY STORY FOREVER BECAUSE META AND ALSO BECAUSE WHO WOULD’VE THOUGHT THAT I MARRY THE INTERNATIONAL CELEBRITY BABA THE TURK

Nick: Let’s make you look your best in order to win Baba the Turk, and then the whole world will love you. How does that sound?

Tom and Nick: WELL LET’S TRY TO WIN OVER BABA THE TURK

*They leave.*

Scene 2:

Autumn, dusk. A street in front of Tom’s house. A staircase of semi-circular steps leads up to the front door at center. The servants’ entrance is to the left; a tree to the right. Anne enters, hesitates for a moment, and then knocks on the front door. She sees a servant coming from the left and hides behind the tree until he passes.

Anne: My heart is brave, but I’m afraid—my mind just keeps screaming, “YOU’RE ALONE IN LONDON!!!! BE AFRAID!!! BE VERY AFRAID!!!” I need to be strong in order to find him and win his love back, though...Dear Lord, help me, but even if I have to go this one alone, I can and will win him back from damnation!

*She turns to go back to the door, but stops when she sees a procession of servants bearing oddly-shaped packages coming from the right. Night begins to fall.*

What? What is this? Whatever it is, I have a really bad feeling about it.

*Two servants bearing torches come in from the left, as well as other servants bearing a sedan chair.* ***

Oh, lights!

*The servants set down the chair and Tom gets out.*

It’s him!

*She runs over to Tom, who makes sure to stay a little way away from her.*

Tom: Anne? What are you doing here?

Anne: Well, look at you.

Tom: ACCUSE ME

Anne: Tom, no.

Tom: DENOUNCE ME TO THE WHOLE WORLD

Anne: TOM NO

Tom: GO HOME ANNE

Anne: ...Are you coming with me?

Tom: ME?! WITH YOU?!

Anne: I’m not leaving without you.

Tom: YOU HAVE TO

Let me not think about going back home!

Anne: I need to love him in order to have any chance of winning him over.

Tom: Anne, please, listen to me. I know you’re virtuous, and London is not the place for you. Virtue only exists on the surface and in the daytime here, Anne. Be afraid.

Anne: What do I need to fear, when I have your help and I love you?

Tom: My help? Look, London has ruined me. I am unworthy of you. Go home.

Anne: You still love me; you are worthy.

*Tom, moved, steps over to her.*

Tom: Anne!

*Baba the Turk, who is heavily veiled, sticks her head out of the sedan chair window.*

Baba: TOM YOU KNOW I NEED SOMEONE TO HELP ME OUT OF THIS AND I’VE BEEN WAITING IN HERE FOR PRACTICALLY FOREVER SO COULD YOU PLEASE FINISH UP WITH WHATEVER YOU’RE DOING THANKS

*She puts her head back in.*

Anne: Who’s that, Tom?

Tom: ...My wife.

Anne: your WHAT

...Oh. I see. So I’m the unworthy one.

*She turns away. Tom steps toward her.*

If only I had known then that it would turn out like this...oh well. If you’re not going to be faithful, then at least I will—forever.

Tom: It’s done, it’s too late, the world is dying, my heart is dying...I’ll bury my heart and never let it feel anything again!

*Baba pokes her head out again and sees Anne.*

Baba: C’mon, what’s the delay? And who’s that girl who’s keeping Tom occupied? Whoever she is, I’m getting more than a little annoyed with all this waiting. COME HERE TOM YOU KNOW I DON’T LIKE WAITING AND I DON’T THINK YOU WANT ME TO SUFFOCATE IN HERE

*Anne runs off, distraught.*

I’m still here, Tom. I haven’t run off.

*Tom helps her get out of the chair.*

Tom: I’m here, my wife.

Baba: Who was that girl, my love?

Tom: Just a maid.

*The doors open and several servants come out with torches as other servants take the chair away.*

Townspeople: *from offstage* BABA THE TURK IS HERE WE LOVE HER

*Baba begins to go up the stairs as the people pour onstage.*

BABA SHOW YOURSELF TO US

*Tom and Baba get to the top of the staircase. Tom goes inside the house as Baba sweeps around and removes her veil.*

BABA AHHHHHHHHHHHHHHHHHHHHHHHHHHHH WE LOVE YOU SO MUCH AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

*Baba blows them a kiss and keeps her hands outstretched like the great performer she is.*

Scene 3:

The same as Scene 1, except that Baba has now fully moved in and as a result, there are a bunch of oddities everywhere. Tom and Baba are eating breakfast; he’s sulking while she’s talking.

Baba: ...So yeah, there were two brothers and they both had mustaches and they gave me a really cool set of musical glasses in...Vienna, right? No, wait, it was Milan because there were a bunch of donkeys there and I guess there are a bunch of donkeys in Milan. And it was the Chinese fan I got in Vienna, no, actually, maybe it was the water from the Jordan River, or was it the Chinese fan? I get so confused with all these awesome stories I have, you know. I got the snuffboxes in Paris and the gravels from a Cardinal in Rome— ****

You’re not eating, my love!

Count Moldau got me the gnome, and Prince Obolowsky got me those cute little statues of the Twelve Apostles, which are probably my favorite gifts after the fossils. Oh, right, I need to tell Bridget to never touch the mummies ever, not even to dust them; she can do the wax dummies. And, oh yes, I love my birds too! Have you seen my great auk? Oh no, the moths will try to get in them! 

What’s wrong? Why aren’t you talking?

Tom: Nothing’s wrong.

Baba: Talk to meeeeeeeeeeeeeeee

Tom: Why?

*Baba gets up and hugs Tom.*

Baba: come ooooooooooooooooooooooooon why are you so saaaaaaaaaaaaad smile because I love you and I want you to be happy, dear husb—

Tom: *pushing her away* SIT DOWN

*Baba bursts into tears and gets very angry very quickly.*

Baba: I’ve been SCORNED—

*She picks up an object and smashes it on the ground.*

ABUSED—

*ditto*

NEGLECTED—

*ditto*

BAITED—

*ditto*

oh I SEE HOW IT IS I KNOW YOU LOVE THAT GIRL AND HATE ME AND REGRET EVER MARRYING ME BECAUSE SHE’S SO MUCH PRETTIER AND CLEVERER AND YOU LIKE HER SO MUCH MORE SO THAT’S WHY YOU’RE SO UPSET ALL THE TIME BUT DEAL WITH IT BECAUSE YOU’RE MY HUSBAND AND YOU WILL NEVER BE HER HUSBAND, NOT—

*At this point, Tom suddenly gets up, grabs a wig, puts it over her head, and thus cuts her off. Then he walks around aimlessly until he goes to the sofa.*

Tom: ...Man, I just need to lie down and sleep.

*Which he does. During this time, Nick peeks his head through the door at right and after seeing the coast is clear, he wheels in a large object covered by a sheet. He removes the sheet to reveal a large machine. He then picks up a loaf of bread, opens a door in the front of the machine, puts in the loaf, and closes the door. Then he picks a piece of a broken vase from the floor, which he drops into a hopper on the machine. He turns a wheel and the loaf of bread falls out of a chute. He opens the door, takes out the piece of china, replaces it by the loaf and repeats the performance, so that the audience sees that the mechanism is a false bottom. The second time he ends with the loaf in the machine and the piece of china in his hand. Then he puts back the sheet, wheels the machine backstage near Tom’s sofa, and takes up a position near Tom’s head. And before you ask, yes, I did copy-and-paste most of this stage direction from the libretto because...yeah.*

Nick: Fa la la la la la la la la ‘tis the season to be jolly fa la la la la la la la la don we now our gay apparel fa la la la la la la la la troll the ancient Yuletide carol fa la la la la la la la—

*Tom wakes up.*

Tom: I wish it were true…

Nick: Oh, you’re awake?

*Tom starts.*

Tom: Who’s there?

Nick: It’s me, master, your shadow.

Tom: Oh hey! I had the strangest dream. I dreamed that I made a machine that turned stones to bread so no one would go hungry or want for anything ever again, and the world became so beautiful…

Nick: Was it, perhaps, this machine?

*He pulls off the sheet to reveal the machine.*

Tom: I must still be asleep because that is exactly it.

Nick: How does it work?

Tom: I need a stone!

Nick: *handing him the piece of china* Perhaps this will do?

Tom: *doing what he narrates* I place it in the top here, and then I turn the wheel, and then—

*The bread falls out.*

HOLY SHIT THE BREAD

Nick: Does it taste good?

*Tom samples the bread.*

Tom: YES IT DOES MAYBE THIS GOOD DEED WILL MAKE ME WORTHY OF ANNE AGAIN

*He falls on his knees.*

WITH THIS DEVICE THE WORLD WILL BECOME A SECOND HEAVEN BECAUSE NEED CAUSES ALL THE HORRIBLE THINGS AND THE CRIME IN THE WORLD AND WITH NO NEED WE’LL ALL BE GOOD

Nick: *to the audience* He’s a fool, you see, but know this: you can do good business with me.

Tom: THERE’LL BE NO LABOR AND NO HUNGER AND NO GRIEF AND NO POVERTY AND EVERYTHING WILL BE GOOD AGAIN

Nick: If you try hard enough, make it flashy and cool enough, play to people’s fears enough, people will believe anything you tell them.

Tom: MAN WILL BEAT NATURE AND RULE THE WORLD

Nick: INVEST IN THIS IMMEDIATELY

Sorry to burst your bubble a bit, Tom, but we’ve got to mass-produce, we’ve got to advertise, we’ve got to get partners, and that’s all gonna take money and time and work before your dreams come true.

Tom: ...true. That does burst my bubble a bit, because I don’t want this to be empty and not do anything and not help people.

Nick: Hey, I already spoke to some people to get help because let’s be honest here, there’s really no way to be self-made in this day and age. You have to have outside investment, you have to help from influential people, and anyone who says otherwise is kidding everyone.

Tom: HOW COULD I LIVE WITHOUT YOU LET’S GO

*They begin wheeling out the machine. Nick suddenly stops and turns to Tom.*

Nick: Shouldn’t you tell your wife about all this first?

Tom: What wife? I have no wife. I buried her.

*They leave.*

Notes

Act III:

Scene 1:

A spring afternoon. Otherwise the same as Act II, Scene 3 (complete with Baba still stifled by the wig), except there’s cobwebs and dust everywhere and it looks super-rundown and creepy. An auction is about to begin.

Crowd: Ruin! Disaster! Shame!

*More people enter.*

WOW LOOK AT ALL THIS COOL STUFF LET’S BUY IT ALL

*They turn to address the audience like they’re on an 18th-century version of The Office.*

You know, this sort of thing happens to a lot of people. People hope to make it rich and then they end up throwing themselves into the Thames. Tom Rakewell is the latest one ruined. Perhaps he’ll throw himself into the Thames next. Perhaps he already has.

*They turn back to look at all the cool stuff like they’re all little kids in a candy store. Meanwhile, Anne comes in alone and also starts looking around, but not like a little kid in a candy store.*

Anne: Does anyone know what happened to Tom?

Some People: We heard he went to America.

Other People: NO HE SPONTANEOUSLY COMBUSTED

Some People: uh what that’s not even a thing

Other People: YEAH IT IS YOU’RE JUST STUPID

Anne: ENOUGH seriously does anyone know

Another Group: He’s Methodist now!

Yet Another Group: No, he’s Catholic!

Still Another Group: No, he converted to Judaism!

Anne: I DON’T CARE WHAT RELIGION HE IS THAT’S NOT THE PROBLEM HERE WHAT HAPPENED TO HIM

People: uhhhhhhhhh he went into debt and we guess people are looking for him

Anne: well since none of you are being helpful I’ll look for him myself

*She goes off to search the rest of the house.*

Some People: who’s she?

Other People: probably some ex-girlfriend, idk

*They go back to looking at all the stuff. A group of servants starts setting up an auction platform. Eventually Sellem shows up to begin the auction.*

Sellem: okay everyone let’s— NO NO NO YOU’RE SUPPOSED TO SET THE PLATFORM UP OVER THERE

Servants: ugggggggggggggh

*They start moving the platform.*

People: ‘kay everyone let’s get those bids ready

*When the platform is set up, Sellem mounts it and begins the auction.*

Sellem: OKAY EVERYONE welcome to the best auction ever

Everyone Else: WOOOOOOOOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOO

Sellem: there’s a thing called the balance of nature which states that for everyone who loses, as many people win. Congrats, you’re all winners and you’re helping restore nature and I guess the balance of money and stuff like that

Some People: ...that doesn’t really make sense but okay we could get stuff so we’ll let that slide

Everyone Else: YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAY

Now then, lots one and two, which cover the categories of vegetable, animal, and mineral—

Someone in the Crowd: I AM THE VERY MODEL OF A MODERN MAJOR GENERAL**

Sellem: EXCUSE ME WE’RE STARTING

okay who wants this stuffed auk that’s really cool and who wants this dead fish that’s also really cool

*People start putting up their bids.*

One...two...three...five...seven...eleven...fourteen...nineteen...twenty...twenty-three...twenty-three once, twenty-three twice, sold! to that guy over there.

Next up: a Roman marble, a consecrated palm branch, and...all this other stuff, idk. I wasn’t briefed on all this before coming here. Owner’s a crazy guy who skipped town and his wife’s down for the count, so I don’t know. Anyway, let the bidding begin!

*People put up more bids.*

One...two...three...six...eleven...fifteen...fifteen and a half...fifteen and three quarters...fifteen and seven-eighths, not sure that’s even a thing...finally, sixteen...seventeen...seventeen and a half...seventeen and a half going once, going twice, sold! To you, madam.

People: YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAY

Sellem: Alright. Lot 666, then, ladies and gentlemen—

People In the Crowd: what happened to the other six hundred and something lots

Sellem: SHUT UP IT’S FOR THE EFFECT

People: Is it at least a chandelier in pieces? ***

Sellem: SHUT UP anyway no it’s not a chandelier or a chandelier in pieces actually maybe it could be because we don’t know what this is either. It could be a cake. Maybe we should cut into it to see if it’s a cake. Maybe it’s an organ or a golden apple tree or an oracle or a pillar or an octopus or— ****

People: AHHHHHHHHHHHHHHHHHHHHHHH LET’S SEE WHAT IT IS

*They start putting up their bids but keep shouting.*

Sellem: Fifty...fifty-five...sixty...sixty-fi-GUYS I CAN BARELY HEAR MYSELF THINK-ve...seventy...seventy-five SHUT UP...EIGHTY...EIGHTY-FIVE...NINETY...NINETY GOING ON-...OH NEVER MIND THERE’S A HUNDRED...HUNDRED GOING ONCE GOING TWICE SOLD 

*At that moment, he pulls the wig off Baba, who immediately revives and continues with the last thing she said before Tom silenced her.*

Baba: ...EVER!

People: WHAT IT’S HIS WIFE

Baba: excuse me what the FUCK is going on here why are you selling all my stuff GET OUT and if you so much as touch any more of my stuff you’re gonna have to deal with ME

Tom and Nick: *in the distance* lalala old wives for sale lalala

*Anne runs in and goes straight to the window.*

Anne: was that him was that hi—he’s gone.

Baba: looks like they already sold all my stuff

*She turns to Anne.*

My dear—

Anne: His wife!

Baba: More like the woman he married and then dumped, his little joke. Come here, my child.

*Anne goes over to her.*

Sellem: uh this is getting a little awkward so this auction is over I guess everyone please leave

People: GET THE POPCORN THIS IS WAY BETTER THAN AN AUCTION

Baba: Hey, you know what? Maybe there’s some good in him. Maybe not, I don’t know. But he still loves you.

Anne: He still loves me? Then I should’ve kept looking when I came here a long time ago.

Sellem and People: He still loves her? Aww that’s sweet but also really sad.

Baba: Watch out for that guy who’s always with him. Tom may have rejected me, but out of those two, he’s not the snake. Go. Find your true love.

Anne: But what about you?

Baba: Hun, don’t worry about me. I’ll pick right back up with my career.

People: That girl’s gonna go find him!

Sellem: well looks like no one’s interested in buying anything anymore so rip me and rip this auction I guess

Tom and Nick: *in the distance* lalala let’s sing songs about boys having wings and gold falling from the sky and other stuff lalala

Anne and Baba: IT’S HIM

Baba: GO FIND YOUR LOVE

Anne: I WILL SAVE TOM

Baba: GO SAVE TOM

People: TOM REALLY SCREWED UP SO IF YOU WANT TO SAVE TOM DO IT QUICKLY

Anne: God bless you, Baba!

Everyone Else: GO SAVE TOM TRUE LOVE RULES

*Anne runs out.*

Tom and Nick: *in the distance* lalala who cares about Tories and Whigs I don’t lalala

Baba: SELLEM GO GET MY CARRIAGE

Sellem: ...Yes, ma’am.

*Sellem grabs the carriage from the pile of stuff about to be auctioned and helps Baba in.* *****

Baba: GET OUT OF THE WAY ALSO NEXT TIME I SEE YOU YOU WILL ALL PAY FOR THIS

*She leaves.*

People: ...what even was this day

Notes

Scene 2:

A starry night, a little after the events of Scene 1. Tom and Nick, who is carrying a small black bag, come to a churchyard with several graves (including one empty freshly-dug grave). There is an elevated tomb with a spade leaning against it. On the right there is a yew tree.

Tom: *out of breath* Are...we...there...yet?

Nick: We’re here, you dum-dum.

Tom: WHY ARE WE HERE THIS PLACE LOOKS SO CREEPY AND SO DO YOU

Nick: Remember, it’s been a year and a day since we made our deal. I upheld my end of the deal, so now it’s your turn.

Tom: BUT I DON’T HAVE ANY MONEY

Nick: But you still have your soul. Look at me. This is who you chose to hire, and here is your price. **

*He takes four objects out of the bag and shows them to Tom as he points to the fresh grave.*

That grave will be your grave. Look: here’s a dagger, a noose, a vial of poison, and a gun. You have progressed to the end, you rake.

Tom: noooooooooooooooooooo why did my uncle ever choose me as his heir

Nick: you screwed up big-time and it’s too late for you buddy so you might as well join all the damned in hell

Tom: I know but this suuuuuuuuuuuuuuuuuuuuuuuuuucks

Nick: It’s about to strike midnight. You choose one of these four objects, and on the stroke of twelve, you will use that object of your choice to end your sorry little life and deliver your soul to me, as is the price.

*A clock begins to strike.*

One, two, three, four—

Tom: I DECLARE A THUMB WAR

Nick: SHUT UP five, six, seven—

Tom: HAVE MERCY ON ME HEAVEN

Nick: STOP TRYING TO BE WITTY AND RHYME now it’s eight

Tom: IT’S TOO LATE

Nick: No, wait!

*The clock strikes once more, but Nick holds up his hand and it stops.*

Tom: ...did we just inadvertently write a poem?

Nick: what?

Tom: ...we rhymed.

Nick: You’re trying to distract me and it’s not going to work. But you are a very dear friend to me, and although I sense you’re trying to mess with our agreed-upon conditions, I am a gentleman and I am amenable enough to change said conditions and suggest a game.

Tom: A game? That’s it?

Nick: A game of chance. Do you, by any chance *ba-dum-ch*, have a pack of cards?

Tom: That’s all I have left in this world and for the next.

*He takes out a pack of cards from his pocket and hands them to Nick.*

Nick: Haha, I like a good joke! Keeps our spirits high and makes the game go well. Now down to the serious business: the game is very simple, the result simpler still. Nick will cut three cards from the deck.

Tom: Can I ask a question?

Nick: Questions for the end, please. If you can name all three, you are released from the contract. If not, you pick your method of death. Your question?

Tom: ...Why are you referring to yourself in the third person?

Nick: Because Nick wants to. Do you understand the rules of the game?

*Tom nods.*

Then let us begin.

*He cuts the cards, shuffles them, and holds up the Queen of Hearts, his card of choice, so the audience, but not Tom, can see it.*

Tom: oh no I just can’t 

Nick: Try.

Tom: BUT I CAN’T THINK

Nick: Just think of one. You wish you could control the game, but all you can do at this point is think of one card.

Tom: Anne!

*He calms down.*

I’m not afraid anymore. I choose the Queen of Hearts.

Nick: *holding up the card to Tom* You have chosen correctly. It’s such a simple game, you see?

*He tosses the card aside as the clock strikes ten, then turns to the audience.*

He loves games; they’re how he tries to keep the hope alive but it will all end in despair.

*He turns back to Tom.*

Round two.

*As before, he cuts the cards and holds the top one towards the audience.*

Tom: ...Now how am I supposed to win back my soul?

Nick: Try. Maybe Fortune will help you a second time.

Tom: luck be a lady toniiiiiiiiiiiiiiiiight luck be a lady toniiiiiiiiiiiiiiiiiight luck if you’ve ever been a lady to begin with luck be a lady toniiiiiiiiiiii—

*The spade falls with a loud crash.*

THE HELL WAS THAT THAT SCARED ME

*He looks and sees that the spade fell.*

You know what? It’s fine. It’s a sign: my choice is two of spades.

Nick: Two of spades?

Tom: Two of spades.

Nick: Not even queen of spades? ***

Tom: did I stutter

Nick: *barely hiding his anger* Two of spades it is.

*He throws aside the card as the clock strikes eleven.*

Congratulations. Luck is indeed being a lady to you tonight. BUT there is still one more to go. This is your last chance and as your friend, I don’t want you to mess this up. I’m a very compassionate fellow, after all. So if nothing else, think about your hopes.

Tom: WHAT HOPES DO I EVEN HAVE

*He puts his head in his hands and leans against the tomb.*

Nick: OH STOP BEING SUCH A WHINY TENOR oh wait actually he’s a tenor which means he has no brain cells which means—

*He reaches down, picks up one of the two discarded cards, and holds it up to the audience.*

Simplest trick of all time. I told him there’s no return, he believed me, and he doesn’t think anything is going to repeat.

*He slips it into the middle of the deck.*

Tom, stop whining for long enough that we can get this last round over with.

*He shuffles and cuts the deck as before.*

Tom: well I can’t figure out anything from what he’s saying so luck be a lady toniiiiiiiiiiiiiiiiiiiiiiiight (again)

Nick: he’s toast

Nyah nyah Tom are you scared, you little lover boy?

Tom: oh lordy this is the worst day EVER

Nick: they’re comin’ for ya!

Tom: ALL I WANT IS A RETURN AND LOVE BUT I CAN’T HAVE EITHER

Nick: IT’S TOO LATE

Tom: RETURN! LOVE! LO—

Anne: *from offstage* TRUE LOVE CAN REDEEM YOU

*Tom and Nick both freeze momentarily.*

Tom: LOVE, RULE FOREVER I CHOOSE THE QUEEN OF HEARTS AGAIN

*He grabs the pack of cards as the clock strikes twelve, then screams with joy and collapses.*

Nick: DAMN it I literally cheated against a tenor and STILL lost also the demons are hungry for SOUL FOOD AND I DON’T HAVE IT FOR THEM AND NOW I HAVE TO GO BACK TO HELL EMPTY-HANDED

You know what, though? I can still do some damage.

*He turns to Tom.*

I MAY NOT BE ABLE TO TAKE YOUR SOUL AWAY BUT I CAN TAKE YOUR SANITY AWAY SO NOW YOU’RE INSANE FOREVER

*He sinks into the grave. Blackout, then the set changes. It is spring. Tom is sitting on the grass, and having lost any trace of sanity he may have had, he’s singing and putting grass on his head.*

Tom: I am crowned with roses...my name is Adonis...I’m in love with Venus… ****

Scene 3:

Tom’s cell in the Bedlam mental hospital. There is a straw pallet on the floor, and Tom is standing before it, facing a group of fellow patients. *****

Tom: Alright, everyone, time to get ready, clean yourselves up because VENUS IS COMING TO VISIT

Patients: No she’s not.

Tom: Yes she is.

Patients: NO SHE’S NOT

Tom: BUT SHE PROMIIIIIIIIIIIIIIIIIIIIIIIISED

Patients: But you’re insane.

Tom: So are you.

Patients: She’s not coming.

Tom: VENUS COME NOW OR I’M GONNA DIE

*He sits on the pallet and buries his face in his hands as the patients start to dance mockingly.*

Patients: Lalala it’s foolish to hope because we’re all insane and nobody cares a scrap about us out there and anyone who may have before doesn’t now and life sucks and we don’t have any friends and night never ends lalala

Tom: ...was that supposed to make me feel better?

*A key turns in the lock and the door opens.*

OH NO CRUEL MINOS IS COMING EVERYONE RUN BECAUSE HE’LL WHIP YOU IF YOU DON’T

*Everyone else runs to their cells as the Keeper of the Madhouse enters with Anne and indicates Tom.*

Keeper: He’s not dangerous, so don’t be afraid.

Anne: Tom!

Keeper: He doesn’t respond to that; he believes he is Adonis, so you should probably call him that instead.

Anne: Oh, I see. You’re very kind.

*She gives him money.*

Keeper: Thank you.

*He leaves. Anne goes up to Tom.*

Anne: ...Adonis?

*Tom sees her and jumps up.*

Tom: Venus! At last! You know, everyone said you’d never come, and I almost believed them, but look! You’re here! Come, sit on my throne.

*He helps her sit down on the pallet and then kneels before her.*

Look, so I really screwed up because I went out into the big wide world and chased useless dreams and left you behind, but I want to be faithful to you forever and I hope you forgive me.

*Anne gets up and helps Tom up as well.*

Anne: What’s there to forgive? You’ve come around and everything is okay.

Anne and Tom: There’s nothing to worry about now; we’re in Elysium together and nothing can mess with our love… ******

*Tom suddenly staggers. Anne helps him back down to the pallet.*

Tom: I’m so tired...let me lay my head on you...and sing me to sleep?

*Anne lets him do so.*

Everything is good now.

Anne: *singing* You little boat, the sun is going down, go sail to the Islands of the Blessed...

Patients: *from their cells offstage* What’s that voice?

Anne: There are gardens and streams and music everywhere there...and it is the dream of every weary soul…

Patients: This music is beautiful and somehow it’s making us forget our sorrow...

Anne: The animals all live together in harmony, and the plants sway with the wind…

Patients: SING FOREVER HELP US FORGET OUR PAIN AND BRING US PEACE

*The Keeper shows in Trulove.*

Trulove: Anne, I’m sorry, but it’s time to go home.

Anne: Yes. Tom, I have to go, but I will love you forever. You don’t need me now. You just need to sleep. Goodbye, my dear.

*She joins Trulove.*

Everyone has to die and release their soul at some point, and I think now is your time. I don’t think we’ll see each other again in this life, but I will always love you…

Trulove: God knows what must be, and this must be, and yet I’m crying.

*The Keeper goes out with the Truloves. Tom wakes up after they leave.*

Tom: Venus? Venus? It’s spring, everything is ready for our wedding, where are you?

*He looks around.*

Achilles, Helen, Eurydice, Orpheus, Persephone, Pluto, everyone! WHERE DID YOU TAKE MY GIRLFRIEND WHY DID YOU TAKE HER WHERE IS SHE *******

*The patients all come in.*

Patients: Venus? No, you’re crazy, no one took her.

Tom: My heart is breaking, I’m dying, everyone, sing for Adonis, who loved and was loved by Venus…

*He falls back onto the pallet again and dies.*

Patients: Mourn for Adonis, Venus’ love, forever young...weep and mourn…

*The curtain falls and the house lights come up.*

Notes

Epilogue:

(You thought the opera was over, but no!)

*Tom, Anne, Nick, Baba, and Trulove appear in front of the curtain.*

Tom, Anne, Nick, Baba, and Trulove: HEY EVERYONE JUST A MOMENT BEFORE YOU GO BECAUSE EVEN THOUGH THE STORY IS TECHNICALLY OVER THERE’S STILL A FEW LESSONS TO LEARN FROM THIS WHOLE THING

Anne: Not everyone is lucky enough to have an Anne in their lives to rescue them and to take the place of duty.

Baba: Whether a man is good or bad, ladies, remember this: all men are mad and everything they do? Theatre. All theatre.

Tom: Don’t get a big head out there and don’t dream too much because it’ll lead to nothing but sorrow.

Trulove: I wholeheartedly agree with that!

Nick: I just have to do what I’m told. People often say I don’t exist, and at times, I wish I didn’t.

Tom, Anne, Nick, Baba, and Trulove: So let’s tell the ultimate moral as one: since the beginning of time, everywhere, one lesson has proven true. For idle hearts and hands and minds, the Devil finds work to do. If you don’t take care, he’ll find work for you, and you, and you!

*They all bow and exit.*

The End

Up Next: Benvenuto Cellini [yes, I have decided to slightly change the schedule]

[mystics-and-metaxy]

Auden and Kallman, Venice, 1951. Source: Coda Magazine 

“...Because it is through you that God has chosen to show me my beatitude;       As this morning I think of the Godhead, I think of you.

Because in the eyes of our bohemian friends our relationship is absurd;       As this morning I think of the Paradox of the Incarnation I think of you.

...Because our love, beginning Hans Andersen, became Grimm, and there are probably even grimmer tests to come, nevertheless I believe that if only we have faith in God and in each other, we shall be permitted to realize all that love is intended to be;

      As this morning I think of the Good Friday and Easter Sunday already implicit in Christmas day, I think of you.”

–Auden, a Christmas letter to his lover, Chester Kallman, 1941

[perry-tannenbaum]

Deadly Sins Upstage Jazzy Ravel in Fun-Filled CSO Concert

Deadly Sins Upstage Jazzy Ravel in Fun-Filled CSO Concert

Review: Charlotte Symphony Plays Ravel’s Piano Concerto By Perry Tannenbaum You could arguably call it a facelift. After Charlotte Symphony’s powerful performance of Mahler’s somber, morbid, mercurial, epic, and sometimes phantasmagorical Ninth Symphony, almost everything seemed changed two weeks later. A new conductor was onstage, Australia-born maestra Jessica Cottis, making her Queen City…

[artmutt]

The Rake’s Progress at Northwestern

Northwestern University’s excellent opera program staged an innovative interpretation of Stravinsky’s opera The Rake’s Progress at the end of February and beginning of March. The production alternated two different casts in the leading roles. I saw the performance on March 3, and can only speak to the performers in that particular performance.

The Rake’s Progress has an interesting Chicago connection, because Stravinsky was initially inspired by seeing a series of Hogarth prints at the Art Institute of Chicago, and thought that the subject of a well-off young man brought to poverty and madness by his dissolute lifestyle might provide a suitable plot for an opera in English. He then brought in poet W.H. Auden, who in turn brought in his sometime-lover Chester Kallman, resulting in one of the most literate librettos ever written (really, only Hofmannsthal’s libretto for Der Rosenkavalier surpasses it). It also means that sometimes the theatrical action takes second-place to poetic stylization, but in a work as full of pastiche as this one, it hardly seems relevant.

Auden and Kallman seemed to realize that the plot suggested by Hogarth’s prints would leave them with a not-terribly-sympathetic main character. How do you create empathy for someone who seems to throw his life away? They quickly figured out two things: you provide him with a devoted love interest, whose unflagging commitment to the hero creates a similar urge in the audience to pull for the hero. And then, you provide a villain who leads our boy astray: he’s not responsible for his bad behavior because the devil made him do it. As a result, Gounod’s Faust seems to lurk in the background of this work, with Anne Truelove as Gretchen, ready to redeem Tom Rakewell with her devotion, and Nick Shadow as Mephistopheles. 

It can be surprisingly effective at times. Kallman, who had been going to the Metropolitan Opera his whole life, brought an opera queen’s sense of theater to the project, and Stravinsky’s music rapidly transcends its origins in 18th-century pastiche and finds an idiom that is both modern and romantic (can you say “Postmodern”?). Given its premiere at La Fenice in Venice, with Elisabeth Schwarzkopf as Anne, the work presumes singers with excellent diction and plenty of endurance. It’s a tough call for college students to pull off, either in the pit or the stage.

(Note: this photo does not show the performers I’m describing)

The kids at Northwestern came very close to making the whole thing work. Particularly, Ben DaCosta-Kaufman’s performance as Tom really delivered the goods in a challenging tenor role. (The part sits rather high, and I suspect Stravinsky had in mind a French tenor voice - rather like the soloist in his Persephone - whose voice blooms in the area from about middle c to the sixth above it.) Certainly a fair amount of Tom’s part is in that range, and after a couple of hours that can be rough. DaCosta-Kaufman showed no sign of strain, and belted out his part with conviction and meaning. (Tom’s first act aria “Love, too frequently betrayed,” was as touching as the plot needs it to be.)

Alas, his Anne was not as convincing. Carla Fuster certainly tried very hard to pull off the difficult role, and succeeded in most of the scenes. But Anne is not just a delusional milkmaid besotted with Tom, but a plucky and defiant young woman, who deserts her aging father and runs off to look for Tom in London on her own. Foster had the devotion, but not the pluck. Anne’s first act cabaletta and aria (”No Word from Tom”) should provide a crucial emotional moment in the opera, but even though Fuster could deliver a reliable high C at the end of the aria, she seemed slightly hesitant rather than determined.

Andrew Payne, on the other hand, was a delightfully oily Nick Shadow, preening and arrogant, and terribly certain that he had a prize fool in Tom Rakewell. So in the last act, when Tom beats him at his own game, Nick Shadow’s anger and frustration seemed very real. 

The opera has a number of delightful “character” roles (which is probably why Northwestern chose it), and for the most part those were managed well enough. I wish that Kristyna Gocova, who sang Baba the Turk, had a bigger voice. Baba is meant to be over the top, and Gocova’s voice just didn’t have the power it needed. Similarly, Madison Rice as Mother Goose, allowed her costume do handle most of her character: her singing and acting did little for the part. On the other hand, Madison Rice as Seller the auctioneer was delightful. The chorus did a fine job with Stravinsky’s challenging choral writing, in the three scenes involving lots of singers (the brothel scene, the auction, and the final madhouse). Jana Anderson’s costumes, which reinforced the Postmodern aspects of the work with a kind of 18th-century steam punk aesthetic, were lovely and provocative. All told, it made for a fine production overall, and a lovely chance to hear this music in person.

[thefoxhuntingman]

As for Wystan [Auden], he's quite middle-aged, with a thick waist and such a sad anxiously lined face. We sat together this morning on the boulevard in the sunshine, and suddenly it was like a scene from Chekhov. I thought: "Here we are, just two old bags—and only a moment ago, it seems, we were boys, talking about our careers. Like Truman [Captoe] and Gore [Vidal]. How sad." Wystan still fusses and rags anxiously at Chester [Kallman], and screws up his eyebrows when he fears that Chester will say or do something tiresome or upsetting to his plans. Chester teases him, of course. But, watching them, you feel: "They are together, now, till the end."

Christopher Isherwood, diary entry dated April 28, 1948

[ice---queen]

I remembered one night in Ischia when I had guests and Lisa, aged four, kept coming into the room in her nightie. At her third appearance Wystan said, 'My dear, you are not wanted now.' It worked! The next day, as a reward, Wystan took out his teeth for her; she felt truly compensated. Wystan supervised her reading and was pleased when she loathed 'Winnie the Pooh' without any prompting from him. He sometimes read to her himself; Beatrix Potter was a favourite when she was little, although I remember a dreadful row when each wanted to be Mrs Tiggywinkle in an elaborate game they played. Chester was called in to arbitrate and declared that Wystan, with his feet, could only be Jemima Puddleduck. Wystan began her collection of Andrew Lang fairy tales and was pleased when she burst into tears at the mere mention of 'The Yellow Dwarf' or 'The Wonderful Sheep'. I once came upon them after a reading to find Lisa in floods and Wystan saying it was quite right to weep as the tale was based on ritual and myth and as such needed to be believed. Lisa agreed to believe it only if Wystan would take his teeth out again.

Wystan and Chester: A Personal Memoir of W.H. Auden and Chester Kallman by Thekla Clark

[perpetual-fondness]

It is such a comfort, during times like these, that I can retreat into Auden’s poetry for my class but also for myself, and feel all of these feelings knowing that Auden struggled with the same heartsickness - different circumstances, surely, but age-old pain