ACT I


Prologue and Scene 1
 
(The ghosts of the court of Louis XVI arrive at the theatre
of Versailles. Bored and listless, even the King is uninterested
when Beaumarchais arrives and declares his love for the Queen.
As Marie Antoinette is too haunted by her execution to
reciprocate his love)

WOMAN WITH HAT
With my charger out of breath...
(Alas, how weary is my heart!)
I wandered from field to field...
...at the whim of my steed,
without page or squire,
...close by a fountain....

LOUIS XVI
(playing cards with Marchis)
My glass! Thank you, my friend.

MARQUIS
The Queen languishes in despair, Your Majesty.
Hopeless, afraid, she clings to the past.

LOUIS XVI
A commoner is courting her.

MARQUIS
But will he have her?

LOUIS XVI
(furiously throwing down cards)
Let him have her. I don’t care.

MARQUIS
He’s in love! He’s in love!
 
(Three elegantly dressed women skitter in from the back
like insects. The first carries a parasol. The other wear
under fluency dresses. They are mindlessly gossiping and
find each other hilarious)

CHORUS (Three female ghosts)
- Beaumarchais is in love.
- He’s in love with Marie Antoinette.
- The Queen is sad. She longs for death.
- She’s been dead for two hundred years!

(laughter)

Cuartet and Chorus

SOPRANO
Another evening at the opera.

TENOR and ALTO
I’m so bored.

BASS
Perhaps Beaumarchais can amuse us.

CHORUS (Three female ghosts)
- Bored as a rug.
- Bored as an egg.
- Bored as a potato.

SOPRANO
Well, I know you cont. I loathe you

BASS
Oh, Lucienne how you bore me

WOMAN WITH HAT
With my charger out of breath...
(Alas, how weary is my heart!)
I wandered from field to field...
...at the whim of my steed,
without page or squire,
...close by a fountain....

MARQUIS
The Queen languishes in despair, Your Majesty. Hopeless, afraid,
she clings to the past.

LOUIS XVI
I don’t care. I don’t care. I don’t care!

BEAUMARCHAIS
(Enters)
Coldly clenyng, Boldy declining,
Grieving, deceiving
She lies when she tells
me she’d like expel me
And cars for me not
 
All-powerful Queen of Beauty
and ruler of my willing heart,...
...to make you smile is my duty;
to make you laugh is all my art.

MARIE ANTOINETTE
Is there no escape from you, Beaumarchais?
Why do you persecute me with your love?
I no longer long to love.
As color fades from flowers,
feeling leaves the soul.

BEAUMARCHAIS
Orion, even the moon moves
and is laced gently by leaves.

MARIE ANTOINETTE
They are always with me:
the unbounded waiting,...
...the odor of blood on steel,
the terrible sound.
They are always with me:
my crying children,...
...the crowds pushing,
severed heads on pikes. Ah! Ah! Ah!
Lord, let me forget!
Once there was a golden bird
in a garden of silver trees.
From the courtyard could be heard
the laughter of women at their ease.
 
They are always with me:
the breaking windows,...
...the throngs pushing,
hawking souvenirs,...
...stuffing food into jeering mouths
that foam with wine;...
...a screaming horse,
a man mounting a girl. Ah! Ah! Ah!
Lord, let me forget!

(Ring the chimes of a clock)
 
It is time: eleven o’clock.
“What will you eat?” they ask.
“You will wear white,” they say.
They cut my hair.
They give me back my ring.
Am I going to my wedding?
The back of an oxcart
in the October sun.
My people insult me, they scorn me,
they spit on me as I pass.
What are those flames?
Flags in the streets of Saint Honoré.
What is that sound?
My funeral drums. I climb the stairs.
Am I dreaming? Someone awake me!
Three steps. Four.
I want to cry out, “I am innocent!”
Seven. Eight.
Take care of my children! Nine. Ten.
Don’t take me! Ah! Ah! Ah!
Lord, let me forget!

LOUIS XVI
My wife was always hard to please

(to Marie Antoniette)
 
Antonia, you must change with the times.
We are dead! It is time to rejoice!

CHORUS (The women)
It is time to rejoice!
- Dead.
- Bored.
- Rug.
- Potato.

(Beaumarchais announces his intention
to change her fate through the plot of his
new opera ‘A Figaro for Antonia.’)

LOUIS XVI
Beaumarchais, you promised us an opera.

BEAUMARCHAIS
Only if Her Majesty desires it.

LOUIS XVI
- To please us, Antonia?

CHORUS (The women)
It is time to rejoice!
- Dead.
- Bored.
- Rug.
- Potato.

Scene 1

BEAUMARCHAIS
I am a doctor, Your Majesty.
My opera can cure melancholy.
My words are a spell.
Listen to my title:
“A Figaro for Antonia”.

GHOST
Fígaro?! Ooooh!
A Figaro for Antonie?!

(The Almaviva drawing room in Paris.
Elegant with many doors, sofas, chairs a
chest and large windows. It is empty.
The cast of the opera-within-the-opera is
introduced. Following the familiar escapades
of the Figaro characters, Almaviva has
divorced the Countess after she had a son,
Leon, with Cherubino. The opera-within-in
opera begins in the Paris house of Almaviva,
the Spanish Ambassador to France Figaro is
besieged and persecuted by men and women
of the village.

BEAUMARCHAIS
Watch!

(A door opens and Fígaro peaks into
the room. He quietly enters, mopping
his brow. He has been sunning)

Chorus of Pursuers

A BOURGEOIS
There’s Figaro!

SEVERAL PURSUERS
Stop! Stop! Stop! Fígaro!

FIGARO
No here we go again!

(The muscovite traders block the door)

OTHER
You owe me money!

AN OLD MAN
You thief, you stole my daughter!

SUSANNA
You’ll pay!

FIGARO
My wife!

SEVERAL PURSUERS
Stop! Stop! Stop! Fígaro!

A WOMAN
Figaro! How could you leave me like this?

OTHER WOMAN
Figaro! Look at your son. Give him a kiss.

SEVERAL PURSUERS
Stop! Stop! Stop! Fígaro!

OTHER WOMEN HOLDING BABIES
(dolce)
Where are you, Figaro? Come to me

ALL
Stop! Stop! Stop! Fígaro!

(Susanna threatens Figaro with a rolling pin)

FIGARO
They love me! Just listen to them.
Adorable!

(Figaro ducks, runs away forward Count
Almaviva. Almaviva grabs Figaro by the collar)

THE COUNT
Wretch!
Did you forget to deliver the letter?

FIGARO
No, master, I swear it.

(Susanna pont to the childrens one by one)

SUSANNA
Is that your child? Is that your child?
Is that your child? Is that your child?

(She continues to point the
baby and mouths the words)

FIGARO
I’ve never seen them before

ALMAVIVA
Fígaro!

FIGARO
Yes Ser?

ALMAVIVA
Did you forget to deliver the letter

FIGARO
No Ser… Yes Ser!

(Fígaro runs into man
with lather on his face)

ALL
Stop! Stop! Stop! Fígaro!

A WOMAN
Fígaro! Give him a kiss. Give him a kiss.

WOMEN WITH CHILDREN
Fígaro! Fígaro! Fígaro! Come to me. Fígaro!

MAN WITH LATHER ON FACE
Fígaro! Finish my shave!

A JEW CREDITOR
Fígaro!

ALMAVIVA
Fígaro!

FIGARO
Yes Ser?

ALMAVIVA
Did you forget to deliver the letter

FIGARO
No Ser… Yes Ser!

SUSANNA
Fígaro, Is that your child?
Fígaro, Is that your child?

FIGARO
I’ve never seen them before

(all harassing again and repeated their demands
Figaro. The group is stunned by Figaro’s outburst)
(Fígaro darts away and resumes the chase)

CHORUS OF PURSUERS
(They all pursue Fígaro)
Get’im! Get’im!
Get’im! Get’im!
There hi is!
Over here, I see him.

(Exited by onstage chose scene the ghosts imitate
a chose of their own, with Marie Antoniette,
Beaumarchais and Louis does not participate in.
Madness has broken out, onstage and off)

OPERA GHOSTS
Dead, bored, egg,
rug, potato!

(all laughter)
 
(the pursuers continue to shout
as they search for Fígaro)

CHORUS OF PURSUERS
Stop! Fígaro stop!

OPERA GHOSTS
Stop! Fígaro stop!

(Laughter)
 
(The music grows softer as the group onstage
grows smaller. They finally disappear)

OPERA GHOSTS
Fígaro! Fígaro! Fígaro! Fígaro!

(Fígaro appears through another door and races
toward the closet. The quartet of ghosts whisper
among themselves, until the door slams indicating
the start of Figaro’s aria)

FIGARO
They wish they could kill me.
They wish they could stop me.
They hate me. They loathe me.
Tell me: why do they torment me so?
They’re jealous!
They’re jealous!
They’re jealous!

(Fígaro slams hand against
door to stop its banging)

FIGARO
Of what...you may ask.
I pant when I walk.
I wheeze when I talk.
My muscles are slack.
I’ve a pain in my back.
My money is low, my status less than quo,...
...I’m poor, I’m weak,
my future’s rather bleak.
I’m stooped, I’m spent, I’m almost...
...impotent.
Once master, now valet.
As fortune would have it, I’ve been...
...diplomat, acrobat, teacher of etiquette,
student and swordsman, spy and musician.
I’ve been satirist, pessimist, surgeon
and Calvinist, Spanish economist,
clockmaker, pharmacist,...
...veterinarian, egalitarian,
heathen comedian, pious tragedian.
I’ve been orator, poet, and pirate and prophet,...
...a man for the ladies
and father of babies, drunken and sober,
a husband and sailor,...
...banker and barber and brother and lover.
And now I’m a failure!
I’ve seen everything,
done everything, had everything,...
...and lost everything.
Of what then are they jealous?

(pause)
 
My spirit:
...a vapor deliquescent,
an effervescent liquid pervading,
invading, taking my body,...
...making me fluid, light, buoyant.
I’m sunlight, a moonbeam,
and carefree I fly to the stars.
Capella, Carina, Spica, Auriga, Libra, Lyra,
Andromeda, Fornax, Phoenix, Bellatrix, Pollux.
Joy! Joy!
Carefree I fly to the stars.
Vulpecula, Vela, Columba, Ara,
Lacerta, Lupus, Lepus.
Joy! Joy!
Pegasus, Perseus, Aquila.
They wish they could kill me.
They wish they could stop me.
They hate me. They loathe me.
We know why they must torment me so!
They’re jealous!
They’re jealous!
They’re jealous!
I’m Fígaro! I’m Fígaro! I’m Fígaro!

(the scene turns to audience of spirits)

MARQUIS
Brillant!

LOUIS XVI
Bravo Beaumarchais!

GHOSTS
Bravo! Bravo! Bravo!

(applause)

FIGARO
I’m home again!

(Beaumarchais notices Marie Antoniette weeping)

BEAUMARCHAIS
Then, whay are you weeping Your Majesty?
It was so beautiful, so full of life.
Antonia, I can bring you back to life,
home again.
May I borrow your necklace, Your Highness?

QUARTET OF GHOSTS
Her necklace? Her necklace? Her necklace?

BEAUMARCHAIS
With your necklace, I shall change your past.
I shall show you history
as it should have been.

MARIE ANTOINETTE
I want to live again.

BEAUMARCHAIS
I’ll make you live again.
I...will change the course of history with a necklace.

MARIE ANTOINETTE
You are mad.
You risk your inmortal soul

BEAUMARCHAIS
The Revolution never happens!
There is no guillotine!
A new age dawns! Marie Antoinette lives!
Love me, Your Majesty!

MARIE ANTOINETTE
I cannot love.

LOUIS XVI
Believe her, Beaumarchais.

BEAUMARCHAIS
I have the powers of a god. Watch me!

(Beaumarchais pours the necklace
from one hand to the other)
 
Diamonds...I see diamonds...
I see a room with many doors....
Magic!

(Beumarchais turns his back to the
audience and holds the diamonds aloft)
 
I am a wizard!

(pause)

MARIE ANTOINETTE
Save me! I want to live!

LOUIS XVI
Get on with it, Beaumarchais!

(Beaumarchais lowers arms. The curtain opens again,
revealing the same drawing room. But this time, Count
Almaviva is kneeling in the middle of it, frozen position,
holding aloft a diamonds necklace identical to the one
Beaumarchais turns around. He has no necklace.
Soldiers are marching around the square. They can be
seen through the drawing room windows)

BEAUMARCHAIS
It is Paris... The autumn of ninety three. Terror...
Revolution.
The King is dead.
The Queen awaits her fate in prison.

MARIE ANTONIETTE
(a cry of pain)
Ah!

(Louis XVI goes to his wife’ side)

LOUIS
How can you be so cruel?
You open old wounds!

BEAUMARCHAIS
I can help her. Believe me.

(to Marie Antoniette)
 
You have entrusted your diamonds
to your old friend, the Spanish ambassador,
Count Almaviva, a character from my first
two operas. He has a plan to save you.

MARIE ANTONIETTE
Save me! Save me! I want to live!

BEAUMARCHAIS
My opera will save you, your Majesty.
Let me tell you about my other characters:
Almaviva’s wife, Rosina!
For the last twenty years
her husband has resented her.
Remember Almaviva’s young page Cherubino?
He and Rosina had a child named Léon.
Léon has fallen in love with Florestine.
She is the Count’s offspring by a nameless woman...
...of high rank.... Here’s the problem!
Almaviva has never forgiven his wife’s infidelity
and refuses to give his consent...
...to the marriage of his daughter and her son.
Almaviva has promised his daughter
to his best friend,
our villain in the book,...
...Patrick Honoré Bégearss…
To complete the cast, Figaro and Susanna…

LOUIS
(interrupting)
Get on with it Beaumarchais!
I never could follow the last act of
“The marriage of Fígaro” and this is even worse!

Scene 3
 
(Resumes opera within the opera. In the Count’s salon
Figaro and Susanna discover the jewels on the Count’s
person and Figaro’s inquiries about them lead to his
instant dismissal. They are interrupted by the appearance
of Begearss and his servant)

COUNT DE ALMAVIVA
O heavenly Father, hear my vow:
On my life I promise to set free
Thy persecuted daughter,...
... a Marie Antoinette of France.
And if it be Thy will, O Lord,
I shall sell these jewels...
...to the English Ambassador
at the reception of the Turkish Embassy,...
...and, with the one million pounds,
grant Her Majesty
a safe refuge
in the New World.
Ave Maria gratia plena,
Benedictus fructus ventris tuus.

(spoken)
 
Who is it?

FIGARO
(knocking on door, interrupting Chant)
Fígaro

SUSANNA
And Susanna

ALMAVIVA
Those two.
They mustn’t see the jewels

(Almaviva hides the jewels in his pocket
and open de door. Fígaro and Susanna enter)

SUSANNA, FIGARO
Just cleaning the room, master.
Tidy and clean, neat as a pin.
We won’t be a minute.

(Figaro and Susanna quickly search the room
while pretending to clean. Susanna spies the
necklace striking out of Almaviva’s pocket and…)

SUSANNA
What’s this?

(snatches the necklace)
 
And devote Susanna?

ALMAVIVA
None of your hus’ness

FIGARO
Secrets from your loyal Figaro

ALMAVIVA
Devoted and loyal to Rosina and her son.
I’ll never forgive that woman.

SUSANNA
For the love of God, forgive your wife.

FIGARO
Forgive her son.
Let him marry your daughter.

SUSANNA
My lady has already given her permission.

ALMAVIVA
How dare she?
Florestine will marry Bégearss.
He’s the only man I trust.

FIGARO
But master, he only pretends to be your friend.

ALMAVIVA
Mind your place!

FIGARO
He’s a spy for the revolutionaries.

ALMAVIVA
Don’t be absurd!

FIGARO
I caught his servant
searching your room,…

ALMAVIVA
I don’t believe you!

FIGARO
… nreading your letters.

(see the necklace of the Queen that the
count has with himself)

ALMAVIVA
I won’t listen!

FIGARO
Where did you get that necklace?

ALMAVIVA
This time you’ve gone too far!
I dismiss you, Figaro.
Leave at once!
You will obey! My wife will obey!
I’m still king in this house!

(Exist Almaviva)

LOUIS XVI
I said the very same words.

SUSANNA
(crying out after Count, and then to Figaro)
Stubborn!
Oh Fígaro, what are we going to do?
We’ll starve…

FIGARO
(Figaro tapping his head)
Not so long as I have my wits.

SUSANNA
What’s the world coming to?
Master sneaks around with stolen jewels;
our mistress cries all day.
And outside, Paris has gone mad.
A King has lost his head;
the Queen languishes in jail.
I am frightened for simple folk like us.

FIGARO
Susanna, at least we have each other.

(They hear the door hit)
 
But who is that coming?

SUSANNA
Bégearss and his servant Wilhelm.

FIGARO
He’s always beating him.

WILHELM
Ouch! Ooh! Argh! Ow! Yeow!
No, no, no, no, no!

FIGARO
Miserable man.
Let’s hit's hede and see we can learn.
Come Susanna

(Figaro and Susanna are hiding.
Enter Bégearss and his servant Wilhelm)

BÉGEARSS
(furious)
Fool! Moron!
You forgot where Almaviva plans to sell the jewels?
How could you?
I need to know so I can expose the plot
to save the Queen.

(Begears kicks Wilhelm)
 
Think you, idiot! Idiot! Idiot! Idiot!

WILHELM
I read the letter,
but Figaro scared it out me.
I’m sorry, I’m sorry.
I can’t, I can’t, I can’t,
I do not remember what the letter said

(Bégearss hits him)

WILHELM
Pity!

GHOSTS ATTENDING THE FUNCTION
Think, lunatic! Hit him!
Guilty. Guilty. Guilty

(mocking Wilhelm)
 
Sorry he can’t!
Sorry he can’t!
Sorry he can’t!

MARIE ANTONIETTE
Shhhhh! Imbeciles!

GHOSTS
Shhhh! Shhhh! Shhhh!
 
(Giggles)

(Beaumarchais offer Marie Antoniette
a cushion. She smiles at him)

WILHELM
Forgive me.
Master can do I do?

BÉGEARSS
Can do you do?
What you’re good for
Polish my boots!
And keep thinking!
I can’t wait to betray Almaviva

(Begears smiles malevolently thinking ahead)
 
When they arrest him,
I’ll make him crawl to me on his hands
and knees like a dog.

(al Wilhelm)
 
Good boy!
But I’ll send him to the scaffold anyway!
And then! I’ll make the Countess
my maid. Yes!
If she doesn’t like that, I’ll send her
to the cart, also.
Léon will be my page,
as his father was to the Count.
Florestine will be my mistress, my wife, my slave.
Florestine will be my love.

(We see Florestine as in Begears imagination. She is
elevated, and behind a scrim, dressed in white, radiantly
beautiful. She is reading back a letter. She has just written.
She holds a quill in her hand)

FLORESTINE
(voice in off)
Come to me, my love!
I am yours: your mistress, your wife, your slave!
Totally, abjectly, passionly,
savagely yours!…
Oh, Léon! Ah! Ah! Ah!

BEGEARSS
(Imitating Floretine with pinched falsetto)
Leon? Leon? Leon?

(Begearss rises abruptly and kicks Wilhelm
out of the way. The vision fades immediately)

Out of my way
Out of my way
Leon and Florestine?
Me!
What about me…
Patrick Honoré Begearss?
It’s true: I’m low, base, vile.
But don’t know the king of beasts…
is the worm?

Praise the worm as a symbol of evil

(fourios)
 
The lion may roar, and the eagle may soar,
and man may sail the darkest sea,
but...
...the worm lives on eternally.
Long live the worm!
 
Cut him in two, each part’ll renew.
Slice him to bits, the worm persists.
He still crawls on,
scales walls on sheer will,
and burrows burning sand.
Long live the worm!
 
He travels on by the poor man’s sty.
Grovelling past the royal palace,
And enters the coffin of the red-haired dauphin
Long live the worm!
 
The wind whistles,
And the storm bristles
And mud covers the ground
The worm wanders round and round,
morning and night, hidden from sight,...
...over mountain and shore,
wanting more and more,...
...devouring city and plain,
enduring snow and rain.
Long live the worm!
 
Oh, the lion dies, the eagle dies,
and man dies.
But the worm lives on eternally.
Long live the worm!

WILHELM
(after being beaten again)
I remember, master, I remember:
To night, Almaviva is goin to sell the jewels
to the Engris Embassador,
at the Embassy of Turkey.

(Susanna and Figaro look alarmed. They grow more
and more exited as they realize what Begearss is planning.
Wilhelm grovels at Begearss’ feet kissing them)

BÉGEARSS
(exultant)
Good Boy.

WILHELM
Thank you master

SUSANNA
(from hiding)
We must tell the Count.

FIGARO
(Idem)
He’ll never believe us.

(Begearss pets Wilhelm who starts to look puzzled)

WILHELM
…or was it the Turkish Ambassador
at the English Embassy?
No, it definitely was the Turkish Embassy,
and the English... or was he Spanish?

BEGEARSS
Enough! I Know which one!

SUSANNA
What will we do? All is lost!

FIGARO
As long as I have my head,
I’ll never give up!
Come, Susanna, I have an idea!

(Figaro and Susanna sneak out)

Scene 4
 
(In the Almavivas’ garden Begearss
hypocritically implores Almaviva to
forgive his wife’s infidelity, but the
Count is unmoved in his vindictive refusal)

BÉGEARSS
I have him now! I have them all!
Ah!
Florestine will marry me!
or Dr. Guillotine...
Come Wilhelm.

(they exit)

WOMAN WITH HAT (Ghost)
(which has been taken off the hat and
looks completely disheveled)
Oh! That terrible man!

GHOSTS (QUARTET)
Rogue! Villain! Murderer! Etc

(Marie Antoinette compares Florestine’s plight
to her own when she came as a child-bride
to France. Louis hears Beaumarchais alluding to his plans
for the Queen’s future with himself)

MARIE ANTOINETTE
Poor Florestine.
I pity her. She is so young.
When I first came to France,
I was only fourteen.

BEAUMARCHAIS
It was May.
There were parades in Lorreine.
¿Do you remember?

MARIE ANTOINETTE
I remember I was lonely.

BEAUMARCHAIS
(still encouraging warm)
Ribbons in the trees of Compiègne
¿Do you remember?

MARIE ANTOINETTE
I remember I was frightened.

BEAUMARCHAIS
Fireworks at Versailles,
and as the people cheering and applauding you
Remember?

MARIE ANTOINETTE
I was such a homesick little girl.
Poor Florestine. Don’t let him marry her!

BEAUMARCHAIS
(in plan of conquest)
Do not worry majesty…
Almaviva and Fígaro will foil Bèggearss,
and you and I will go and live happily
in the New World.
And I’ll be there to amuse you
just the two of us

LOUIS XVI
(to Beaumarchais)
The two of you?

(Reacts with jealousy. Takes a
word and faces Beaumarchais)

This time you go too far!
I warned you. Defend yourself! How dare he!

MARIE ANTOINETTE
Don’t be absurd!

(Marie Antoniette makes a disdainful face)

GHOSTS (Quartet)
Dare he! Dare he! Let them flight!

MARIE ANTOINETTE
Do something Beaumarchais.

(Marie Antoinette comes between them. Beaumarchais,
to calm the situation presents a new scene of his opera.
Beumarchais leaps onto apron of little stage. He open
the curtains)

BEAUMARCHAIS
New scene: Rosina’s boudoir
(They say New York is a lively town)

LOUIS
(Louis stamps his foot)
After all, she is my wife!

BEGEARSS
Turn the other cheek and forgive your wife.

LOUIS XVI
So is my wife.

BEAUMARCHAIS
Now we go back in time,
let it be Spain, twenty years before. Let it be Seville…
The full bloom of spring.

(raises the curtain. The scene in a garden)

CONTESS ROSINA
(to Almaviva)
Forgive me, I beg you, my husband.

COUNT ALMAVIVA
There’s no mercy in my heart.

COUNTESS
Forgive me, my lord.

BEGEARSS
Forgive her, my friend

COUNT
I’ll never relent.

BÉGEARSS
(aside)
His hatred fills me with joy!

COUNTESS
If you love me, let our children marry
and forgive our son.

COUNT
You loved Cherubino!
Now live with your shame.

COUNTESS
Forgive our son.

COUNT
(to Bégearss)
Come, my friend,
let us discuss your wedding plans.

BÉGEARSS
(Hypocrite, to the Countess)
I did my best.

(exit Count and Bégearss)

COUNTESS
(alone) (to herself)
That man is a saint, but even
he can’t help me now.
I am truly lost.

(Beaumarchais presents the next scene
The Countess and Cherubino are in
a bucolic landscape)

COUNTESS ROSINA
Oh, Cherubino, I gave up my life for you!
Cherubino... Cherubino... Cherubino...

(Rosima’s call slowly change to question)

Cherubino... Cherubino?... Cherubino?...
Where are you taking me, young shepherd?

CHERUBINO
Look at the green here in the glade.
Feel the mild breeze
and the scent of wild thyme.
Hear the vixen’s shrill cry
and the lamb’s complaint.
We’re in the Garden of Earthly Delights.

COUNTESS
(to herself)
I’m not acquainted with these parts.
I’m lost in this land and frightened.

CHERUBINO
To the north is the Village
of Shy Glances.

COUNTESS
My soul is closed to sweet pleasures.

CHERUBINO
To the east is the Grove
of Tender Touching.

COUNTESS
Rage, bitterness, and hate consume me.

CHERUBINO
To the west is the River of Sighs.

COUNTESS
Oh, Cherubino, take me home.
I am unworthy of paradise.

CHERUBINO
South, past the arching willow,
is the Temple of Love.

(Rosina turns toward Cherubino,
and relents at last won over)

Duetto

BOTH
Come now, my darling, come with me.
Come to the room I have made for thee.
Let us strew the bed with flowers.
There we will spend the hours.

(in the audience, Beumarchais moves closer to
Marie Antoinette, whom is listening entranced
to Rosina. Luois grown uncomfortable as
Beaumarchais and Marie Antoinette become
more intimate)

CHERUBINO
There we will spend the Hours.
There we will spend the Hours.

CHERUBINO, ROSINA
There we will spend the Hours.
We will spend the Hours.

Cuartteto

BEAUMARCHAIS
(to Marie Antoniette)
Look at the green here in the glade.
Feel the mild breeze
and the scent of wild thyme.
Hear the vixen’s shrill cry
and the lamb’s complaint.
We’re in the Garden of Earthly Delights.

CHERUBINO, ROSINA
Though hours pass swiftly,
Love is eternal

BEAUMARCHAIS
To the north is
the Village of shy glances

COUNTESS, MARIE ANTOINETTE
I’m not acquainted with these parts.
I’m lost and frightened.

CHERUBINO, BEAUMARCHAIS
To the north is
the Village of Shy Glances.

COUNTESS, MARIE ANTOINETTE
My soul is closed to sweet pleasures.

BEAUMARCHAIS
To the east is the Grove
of Tender Touching.

MARIE ANTOINETTE
Rage, bitterness, and hate consume me.

BEAUMARCHAIS
To the west is the River of Sighs.

COUNTESS, MARIE ANTOINETTE
Cherubino/Beaumarchais, let me be.
I am unworthy of paradise.

BEAUMARCHAIS
South, past the arching willow,
is the Temple of Love.

ROSINA, CHERUBINO
The birds are hushed.
Your cheeks are flushed.
The earth is sweet and soft, cool and safe.
There we will spend the hours.

MARIE ANTONIETTE
My soul is closed to sweet pleasure.

BEAUMARCHAIS
Come now my darling.
Come with me, come to the room.
I have made for thee let us strew the bed with flowers,
there we will spend the hours.

ALL
Come now my darling.
Come with me, come to the room.
I have made for thee let us strew the bed with flowers,
there we will spend the hours.
The earth is sweet and soft, cool and safe.
There we will spend the hours.

(Marie Antoinette turns toward Beaumarchais. She is
at last won over. Rosina and Cherubino kiss. Luois
reacts to this kiss and moves near Beaumarchais and
Marie Antoniette at the moment they are supposed to
kiss. He Places his sword between their lips and say;

LOUIS XVI
No!

(The image on the stage fades to back. Marie Antoinette
allows herself to become more intimate with the auther.
A kiss is prevented by Lois who furiously challenges
Beaumarchais to a duel)

LUOIS XVI
(growing more and more exited)
I’ve enough.
I see what’s happening here.
You want to steal my wife.

(to de ghosts)
 
He wants to steal my wife!
He pretends to seduce my wife

BEAUMARCHAIS
I’ve written an opera to amuse Antonia

LOUIS
Antonia! Now it’s Antonia!
Have your arrogance and presumption no limits?

BEAUMARCHAIS
With pleasure!

WOMAN WITH HAT
(to Marie Antoniette)
How exiting
He’s going to flight over her

LOUIS
En garde Beaumarchais!
I warned you. Defend yourself! How dare he!

BAUMARCHAIS
Give me a sword

(Beaumarchais draws his sword)

THE THREE LADIES AND OTHER GHOSTS
He will cut you into pieces.
He will slice you for the pot.

LUOIS XVI
There’s another of his caprices.

MARIE ANTONIETTE
(He regains it)
Watch out Louis!

GHOSTS
(tumultuously in the middle of the duel)
- That’s how men do the gavotte.
- He will feed him to the dogs.
- He’s not good enough for hogs.
- He’s consumed by a raging fire.
- Thrust it deeper, get him, sire.
- He will stop him. - He will chop him.
- He will cut you into pieces.
- He will slice you for the pot.

LOUIS XVI
There’s another of his caprices.

GHOSTS
- That’s how men do the gavotte.
-He will feed him to the dogs.
-He’s not good enough for hogs.
- He’s consumed by a raging fire.
- Thrust it deeper, get him, sire.

(The king with his sword through Beaumarchas. The
queen attends him, but Beaumarchas removed the
sword from the wound and, unharmed, returned the
weapon to the king The ghosts realize the impossibility
of such a second death and the situation dissolves into
farce with all the ghosts stabbing each other)

Scene 5
 
(The sward play is interrupter by a change of scene to
the Turkish Embassy. Giant duelists are amusing the
Pasha’s guests. Leon secretly declares his love to
Florestine, Begearss and his servants prepare to catch
Almaviva rehanded with the jewels and the Count and
the English Ambassador attempt to make their exchange)

SULEYMAN PASHA
Selamünaleyküm!
Welcome!
I bid you welcome to my humble abode.
Haydi bakalim gelecek oyun ba slasin.
(Let the next act begin)

(The Pasha claps his hands signalling the start of a
new entertainment. An onstage Oboe, or optional Oboe,
Flute duo, and 2 percussionists start playing. They are
fairly deep into the stage, so their volume will not be
overwhelming. The play without conductor and do not
synchronize with the other music. The performers’
curtain is raised and several dancers emerge and
entertain the guests. The Pasha sit)

LOUIS XVI
(He says from the audience)
I can’t stay angry with you, you old magician.

MARIE ANTOINETTE
I feel tipsy.

(Leon peeks from behind the tree)

LEÓN
Say it, darling, say it!

(Florestine sees Almaviva turning towards them)

FLORESTINE
Quick, Léon, hide!

(Leon Hides)

CONDE DE ALMAVIVA
Oh, where is he?
The Ambassador is late.

LEON
I don’t care about your father.
Say it, I beg you.

FLORESTINE
Quickly, dearest...

COUNTESS ROSINA
(to the Count)
Listen to reason.
Don’t sell the jewels tonight.

CONDE DE ALMAVIVA
My mind is made up.

SUSANNA
But, master,,,

LEON
I no longer know who I am or what I’m doing.
One moment, I’m on fire;
the next, I’m like ice.
Say it, darling: Do you love me?

FLORESTINE
Poor lad.

MARCHIS
(to Bumarchais)
She loves you.

LEON
Awake, I think of you.
Asleep, I think of you.
Walking, running, reading, eating, breathing,...
...I think of you.

FLORESTINE
Oh, why do I love such a silly, useless boy?

LEON
She loves me! You love me! Say it again.

BEAUMARCHAIS
(to himself, with wonderment))
She loves me!

MARIE ANTONIETTE
Shhhh, I’ listening!

LEON
(angry)
Swear you won’t marry Bègearss!

FLORESTINE
Not now, my pet.
Where is Figaro?
He said he’d be here.

SUSANA
(to Almaviva)
Listen to Figaro.

ALMAVIVA
That man is a saint.

LEON
That traitor!

(Enter Begearss, Wilhelm and Guards Revolutionary
from a far door. The guards are goons thinly disguised
as gentlemen)

SUSANNA
Bégearss is the traitor!

BÉGEARSS
(instructing Wilhelm)
Remember, you are a foreign diplomat.

COUNT DE AMAVIVA
That man is a saint...

FLORESTINE
I’ll never marry him.

COUNT DE AMAVIVA
...and my daughter’s fiancé.

LEON
Say it again!

BÉGEARSS
(to Wilhelm)
When he gives him the jewels,...
you attack like wild dogs
and hold the Count in your jaws.

FLORESTINE
(to León)
Quick, Hide.

(Leon hides again)
(Almaviva sees Begears)

ALMAVIVA
Ah! Begearss, my friend!

BEGEARSS
My dear friend

MASTER OF CEREMONIES
Pay attention please
His excellency, the English Ambassador

(the British Ambassador looks askance at the duo,
He looks less and less happy at the rendition while
the Pasha beans at his musician. The Ambassador
bows to the Pasha, them goes to Almaviva’s group.
The dancers exit through the performers’ curtain
and are replaced by some acrobats. The Ambassador
approaches Almaviva)

COUNT DE AMAVIVA
Oh, Richard, my friend!

ENGLIS AMBASSADOR
My dear Almaviva,
it has been a long time.

COUNT DE AMAVIVA
Too long, Your Excellency.
How is your cousin and Lady Alice?

ENGLIS AMBASSADOR
We have so much news to exchange.

(to Rosina)
 
You will excuse us, madame.

(They both walk off arm in arm with exaggerated
politeness toward the palm, no noticing that they are
being followed by Susanna, Leon, Rosina, Florestine,
Bégearss and the Revolutionary Guards. The Pasha
notices this procession and curious, join the line. As
other people notice the “watches”, they too, turn to
stare at the English Ambassador and Almaviva, who
notice nothing. Finally, everyone, including acrobats,
musicians, guests and Turks is silently starring The
Ambassador and Almaviva put their hand in their pocket)

COUNT DE ALMAVIVA
I have a little gift for you, sir.

ENGLIS AMBASSADOR
And I, for you. Shall we…

BEGEARSS
Damn!

SULEYMAN PASHA
(Sneeze)
O excellent ones! O noble gathering!
To the singing of Samira,
attend!

(The performers’ curtain parts, and Samira enter.
She is elaborately garbed as an Arab dancer.
The Pasha places himself between Almaviva and
the Ambassador, all facing the performers’ curtain)

SAMIRA
The fragrance of jasmine, the warmth of
the desert, the beauty of the moon—Samira.
I am in a valley and you are in a valley.
I have no she- or he-camel in it.
In every house there is a... ...cesspool.
That’s life!

(Pause)
 
He beat me, then wept,
stole my water, and then complained.
Some days it’s honey,
some days... ...onions.
But repetition will teach even a... ...donkey.
That’s life!

(pause)

SULEYMAN PASHA
Long live my Baby!

SAMIRA
Far from the eye, far from the heart,...
...keep away from evil and sing to it.

(pause)

SULEYMAN PASHA
Sing my Beauty!

VIOLINIST
Ya habibi, My love,
Limatha hajartani? Hattamta kalbi.
Why did you leave me? You broke my heart.

SAMIRA
Ya habibi, My love,
Limatha hajartani? Hattamta kalbi.
Why did you leave me? You broke my heart.
Kayfa tafal biya hatha?
How could you do that to me?
Ya rohi, habaitak, laken tansa woo-oo-dak.
My soul, I loved you,
but you broke your promises.
Tafaddaloo marhabun bikoom.
Would you have some, please...have some.

(Samira goes to the performers’ curtain, with was closed
after her entrance. She reaches through its centre opening
and gracefully pulls out the hand of a beautiful dancing girl,
who enters pulling through the hand of another girl. The
sixth of these elaborately clothed female dancers Figaro in
disguise. He sing and dances with girls hoping to be unnoticed)

DANCERS
Ya rohi, habaitak, laken tansa woo-oo-dak.
My soul, I loved you,
but you broke your promises.
Tafaddaloo marhabun bikoom.
Would you have some, please...have some.

(The ballet dance and repeat the verses of Samira.
Figaro and a dancer stand between the Count and
the English Ambassador. Figaro hinders the sale of
jewels. Samira, Dancing girls and Figaro freeze. Pasha’s
audience and ghosts applaud them. After the applause,
Samira exits. The other dancers, including Figaro,
acknowledges the applause by bowing from large bowls.
At the same time, Almaviva and the Ambassador once again
try to sneak off together; Once again the principals, minus
Pasha, follow them. Fígaro makes his way to the head of the
line of pursuers, offering each one in turn some fruit)

DANCERS AND SINGERS
Tafaddaloo marhabun bikoom .

FIGARO
(to the Count)
Some fruit, Sir?

COUNT DE ALMAVIVA
No. Thank you.

FIGARO
(to the Ambassador)
Some Flowers?

AMBASSADOR
No. Thank you.

FIGARO
(to the Conde)
Love?

CONDE DE ALMAVIVA
¡Oh. No!

COUNT AND EMBASSADOR
She’s offensive.

(Meanwhile Figaro tries to steal
the necklace to the count)

FIGARO
I’m offensive.
An Orange?
Ya Habibi. My Love.

(Almaviva and the Ambassador try to ignore Figaro.
In the guise of being seductive, Figaro searches
Almaviva’s pockets for the jewels)

COUNT AND EMBASSADOR
She’s repulsive.

FIGARO
I’m repulsive.
Tafaddaloo marhabun bikoom.
An Orange?

BÈGEARESS
Will you please go, madam?
She’s loathsome.

ALMAVIVA
She’s loathsome.

FIGARO
I’m loathsome.

(Figaro throws a large avocado at Begearss.
Fígaro frantically searches Almaviva.
Fígaro accidentally tickles Almaviva)

ALMAVIVA
What are you doing?
No stop that!

FÍGARO
Tafaddaloo marhabun bikoom.
An Banana?

COUNT DE ALMAVIVA
I beg your pardon.

(Figaro find the jewels and snatches them discretely
from Almaviva’s pocket while distracting him with
the banana. But Wilhelm has witnessed)

WILHEIM
(shouted)
The Jewels!
She’s got the jewels!
Arrests that woman!

MARIE ANTONIETTE
My Diamonds!

WILHEIM
(to Bégearss)
She took it off!
Catch him!

BEGEARSS
Arrest her!

(Almaviva tries to snatch the jewels back
from Fígaro, but by mistake pull off his wig)

ALL
There’s Figaro!

FIGARO
Oh no! Here we go again!

(Figaro begins the chase)

WILHELM
Stop!

CHORUS OFF PURSUERS
Stop!

(Figaro flees to elude their pursuers
in the midst of an uproar)

CHORUS
He stole the jewels! Stop!

(The Revolutionary Guards block
the door. Figaro races past Begearss)

COUNT DE ALMAVIVA Y BÈNEARESS
You thief, my plan is shattered!

ALL
Stop Fígaro! Stop Fígaro! Stop Fígaro! Stop Fígaro!

WILHELM and ALMAVIVA
You’ll pay. You’ll pay.
You’ll pay. You’ll pay.

ALL
You’ll pay. You’ll pay.
You’ll pay. You’ll pay.

MARIE ANTONIETTE
Bravo Beaumarchais!

GHOSTS OPERA
Dead! Bored! Egg! Rug! Potato!

(Laughter)

CHORUS OF PURSUERS
You’ll pay. You’ll pay.
You’ll pay. You’ll pay.

(Figaro hides behind palm tree)

WILHELM
Stop!

FIGARO
They love me!
Just listen to them…

CHORUS OF PURSUERS
Stop Fígaro! Stop Fígaro!
Stop Fígaro! Stop Fígaro!

FIGARO
Adorable!

CHORUS OF PURSUERS
Where are you, Figaro?
Come to me, Figaro.

(Ghosts point to parts of the
stage increasing confusion)

GHOSTS OF VERSAILLES
Fígaro’s where?
Fígaro’s there?
Fígaro’s here?
Fígaro’s near!

CHORUS OF PURSUERS
Stop Fígaro! Stop Fígaro!
Stop Fígaro! Stop Fígaro!

GHOSTS OPERA
Dead! Bored! Egg! Rug! Potato!

(enter a strange “Wagnerian
character” dressed like a Walkiria)

“WALKIRIA” (WOMAN WITH HAT)
This is not opera! Wagner is opera!

(Enter a Turkish band - troupe playing with a great
noise. Figaro manages to flee between Fireworks)

FLORESTINE, SUSANNA, LEON, ROSINA
Fígaro Fly! Fígaro!

CHORUS OF PURSUERS
Stop Fígaro! Stop Fígaro!
Stop Fígaro! Stop Fígaro!

FLORESTINE, SUSANNA, LEON, ROSINA
Go! Go! Fígaro go!

FÍGARO
I’m home!
I’m home!
I’m home!
 

 
ACT II
 

Scene 1

(The Ghosts, feeling better thanks to the hilarity of
the previous act’s finale and the wine they’ve had
during intermission, return to the auditorium.
Beaumarchais assures the Queen, to Louis’s cynical
disbelief, that art can change the course of history.
Marie Antoinette warns the author that such meddling
might cost him his immortal soul, but he replies that his
only desire is to make her happy)

WOMAN WITH HAT
(dishevelled and drunk)
I want...

MARIE ANTOINETTE
Beaumarchais, are you claming
that you can bring me back to life
You think you’re God?

BEAUMARCHAIS
I can change history.

MARQUIS
Forever scheming.

LOUIS
Abracadabra

MARQUIS
Hi will changes history

(at the same time develops the opera
within the opera)

Scene 2

(Figaro returns to Susanna’s bedroom with the
jewels but refuses to restore them to Almaviva.
He deviates from his script and, to the collective
horror of his author, his audience, and his family,
declares his revolutionary sympathies with a cry
of “Down with Marie Antoinette!”)

COUNT DE ALMAVIVA
I’ve waited long enough;
Figaro won’t return the jewels.

SUSANNA
My husband is an honest man.

FLORESTINE
And Bègearss is…

COUNT DE ALMAVIVA
(interrumping Florestine)
I won’t listen to your lies.
Somehow I’ll save the queen.

BEAUMARCHAIS
My words have power.

COUNT DE ALMAVIVA
I have the power.

BEAUMARCHAIS
My music has power.

COUNT DE ALMAVIVA
You’ll see

BEAUMARCHAIS
I want to make you happy.

MARIE ANTOINETTE
I want to live again.
Can you do that Beaumarchais?

COUNT DE ALMAVIVA
Well?

BEAUMARCHAIS
Yes! We shall live in Philadelphia.

LOUIS
If you call that living

ROSINNA
It’s late

MARIE ANTOINETTE
You don’t undertand.
None of you were ever
truly alive.
I loved life. I want to live again!

LOUIS
Excessive in life, excessive in death.

FLORESTINE
I’m worried.

MARIE ANTOINETTE
I believe you.

BEAUMARCHAIS
At last.

COUNT DE ALMAVIVA
(to Susanna)
Tell me, where is that husband of yours?

BEAUMARCHAIS
Watch now Figaro comes back.

LOUIS
Finally.

COUNT DE ALMAVIVA
Finally.

BEAUMARCHAIS
Now Figaro come back… listen

SUSANNA
Where have you been?

FIGARO
All over. I was followed.

BEAUMARCHAIS
(to Marie Antoniette)
Figaro returns the necklace and then he
and the Count rescue you from prisons

COUNT DE ALMAVIVA
Just give me the necklace.

FIGARO
I was thinking...about that necklace.

(Figaro takes the necklace out of his pocket.
He toys with the necklace and paces. Count
Almaviva follows him)

SUSANNA
Just give it to him

BEAUMARCHAIS
What?
The idiot hasn’t learned his lines!

FIGARO
I said to myself:
“Why does my master want it?”
To save the Queen, idiot!

SUSANNA
¡Figaro!

FIGARO
Why save her?
She’s spoiled, arrogant,…

LOUIS
What an idea!

BEAUMARCHAIS Y MARIA ANTONIETA
What!

FIFARO
…decadent, and a traitor to France.

MARIE ANTONIETTE
I am innocent.

FIGARO
(to the count)
Save your family instead.

BEAUMARCHAIS
Those are not my words!

LOUIS
Fígaro rebels against Beaumarchais!

WOMAN WITH HAT AND MARCHIS
Bravo!

FIGARO
She’s a vampire.
She’s a vulture.

MARIE ANTONIETTE
They called me that.

LOUIS
A theatrical revolution!

FIGARO
What do I care if she loses her head?

MARIE ANTONIETTE
What are doing this to me?

COUNT DE ALMAVIVA
I’ll kill him!

BEAUMARCHAIS
I’ll kill him!

COUNT DE ALMAVIVA
Give me the Jewels!

LOUIS
Brillant!

SUSANNA, FLORESTINE, COUNTESS
Figaro!

FIGARO
What has the Queen ever done for Figaro?

SUSANNA, FLORESTINE, COUNTESS
Figaro!
Give him the jewels!

MARIE ANTONIETTE
What have I do to deserve this?

BEAUMARCHAIS
Who told him to say that?

SUSANNA, FLORESTINE, COUNTESS
Figaro!
Give him the jewels!

MARIE ANTONIETTE
What have I done?

FIGARO
Down with Marie Antoinette!
We will escape to London
with the money from the jewels

(Fígaro leaves)

(Marie Antoinette turns on Beaumarchais and
accuses him of treachery and insincerity. But his
passionate declaration of how history and her
destiny will be changed through his art manages
to keep her from leaving the theater. The Queen is
finally persuaded of his sincerity, but begs him not
to enter the opera to deal with the recalcitrant Figaro
and put matters to right. Nevertheless Beaumarchais
fades through the curtains of the theater and vanishes
into the play)

MARIE ANTONIETTE
I thought you were my friend.
But all this time you’ve hate me

BEAUMARCHAIS
Antonia!

MARIE ANTONIETTE
Thank you for a splendid evening,
Monsieur Beaumarchais

(tries to leave)

 WOMAN WITH HAT
Is only an Opera

BEUMARCHAIS
(to the queen)
Please, don’t go,
I beg you. I’m Innocent.
Figaro was supposed to return the necklace.
The Count was supposed to set you free.
The children were supposed to marry.
The villain was supposed to die.
You were supposed to flee.
I risk my soul for you, Antonia.
Is it all in vain, Antonia? All in vain?
Wait! The Revolution never happens.
There is no guillotine. A new age dawns.
Poverty is abolished.
Education is free.
A canal in Egypt!
A tower in France!
Balloons deliver mail!
Antonia lives!
Vast theaters play our visions.
Salons ring with unheard-of-sounds;...
...and there are new fabrics,
dyed in unbelievable
colors;... ...and new kinds of roses,
tulips, orchids;...
...and new industries, powered by wind, water, sunlight!
...and new sciences: mesmerism,
magnetism, electricity!
And Antonia lives!

MARIE ANTONIETTE
History as it should have been.

BEAUMARCHAIS
I do this out of love for you,
all-embracing love for you, Antonia.
I will save you!

MARIE ANTONIETTE
What are you doing?

BEAUMARCHAIS
I will force Figaro to return the necklace

MARIE ANTONIETTE
Don’t

LOUIS
Sensational!

BEAUMARCHAIS
The Count will rescue her

WOMAN WITH HAT
What effect!

MARIE ANTONIETTE
Stop him!

MARQUIS
A coup the theatre.

BEAUMARCHAIS
I will enter the opera

MARIE ANTONIETTE
No! Change the past and will lose your power

(Beaumarchais passes through the closed curtain of
the little stage. They glow and them become transparent,
The opera characters are frozen exactly in the same
position they were in before, The Count closed they
reanimate as light up on them)

Scene 3

(The story resumes where it left off. Almaviva
reminds Rosina of the ball they are to give that
night: probably the last ball of its kind before
the revolution devours them all. Rosina and
Susanna sadly compare their husbands of today
with the lovers they married and deplore the
passing years, which have robbed them of their
youth)

COUNT DE AMMAVIVA
Damn that Figaro! He’s your husband.
You find him.

SUSANNA
I don’t know where he went.

COUNT DE AMMAVIVA
Find him, or I’ll throw you out.

MARIE ANTONIETTE
It’s not Susanna’s fault.

COUNT DE AMMAVIVA
(to Rosina and Florestine)
Come, we have to prepare
for the ball tonight.
It looks as if this will be the last one.

COUNTESS (Rosina)
I’ll be along in a moment.

SUSANNA
On my mother’s grave,...

COUNTESS (Rosina)
My dear little Susanna,...

SUSANNA
I swear, I don’t know where he is.

COUNTESS (Rosina)
...I believe you.

SUSANNA
My husband is grossly unfair.

COUNTESS (Rosina)
And mine is, too.

SUSANNA
He gets us both in trouble
and then runs away,
leaving me to deal with the Count.

COUNTESS (Rosina)
Mine was always difficult,
but now he’s impossible.

SUSANNA
Mine used to be gentle.

COUNTESS (Rosina)
Mine used to be loving.

SUSANNA
But what’s the use of complaining?

COUNTESS (Rosina)
Time changes all.

SUSANNA
As summer brings a wistful breeze,
cooling houses, blowing trees,...
Women dream their bridal day.

COUNTESS
As autumn brings its windy chil
and water freeses on the hill…
...women love and hate their men,
wishing they were young again.
O time, O thieving time,
give me back my stolen years.

SUSANNA
As winter brings a longer night,
and women read by candlelight,...

BOTH
...they come to know–like sun, like rain–
nothing lasts, not love or pain.
O time, O thieving time,
give me back my stolen years.

MARIE ANTONIETTE
My stolen years!

LOUIS
Oh let her go!

COUNTESS
And now I must go.

SUSANNA
Bless you, Madame, bless you.
What a kind woman. Ha!

FIGARO
(enters)
Quick, hide me!

SUSANNA
Where were you?

FIGARO
I was followed.

SUSANNA
That’s what you said the last time.

FIGARO
It’s true.

SUSANNA
I don’t believe you....

(seeing Beaumarchais into the scene)
 
God! How did he get in?

FIGARO
That’s him.

LOUIS
Oh, there he is.

SUSANNA
It’s witchcraft!

FIGARO
Who are you, sir?

BEAUMARCHAIS
I am your creator.

FIGARO
(joking)
And I’m the Queen of France.

SUSANNA
Do as he says.

BEAUMARCHAIS
Return the necklace!

FIGARO
Never!

WOMAN WITH HAT
They don’t believe him!

BEAUMARCHAIS
How dare you
argue with me?
You do not exist!

FIGARO
I’m frightened!

BEAUMARCHAIS
You are my fantasy!

FIGARO
Run!

BEAUMARCHAIS
You can’t escape

MARIE ANTONIETTE
Fígaro, Fígaro, Fígaro

BEAUMARCHAIS
Stop!
We must save the Queen....

FIGARO
We must save ourselves!

BEAUMARCHAIS
The necklace!

MARIE ANTONIETTE
Fígaro, Fígaro, Fígaro

Scenes 4

(Beaumarchais transports Figaro and Susanna
to meet the Queen, who requests the return of her
necklace. When Figaro again refuses, suspecting
some kind of black magic, Marie Antoinette
commands Beaumarchais to restage her trial)

SUSANNA
Who is that calling?

(Beaumarchais takes Fígaro by the hand)

BEAUMARCHAIS
Come with me.

FIGARO
More tricks.

SUSANNA
Black magic.

(Beaumarchais and Fígaro desappear)
 
Where is he?
Where are They?
What is happening?

(Beaumarchais, Susanna and Fígaro enter the
ghost world. Fígaro and Susanna move slowly,
like somnambulist, looking around in wonder.
Marie Antoniette stand in front of the temple,
summoning Fígaro)

MARIE ANTONIETTE
Fígaro.

FIGARO
It is black magic!

SUSANNA
Be careful

MARIE ANTONIETTE
Figaro, approach.

FIGARO
Who are you?

MARIE ANTONIETTE
I am your Queen.

FIGARO
Impossible. She’s on trial
this very moment.
Why have monster, you Brought me here?

MARIE ANTONIETTE
To save my life, return the jewels.

FIGARO
You are an evil spirit. You are a monster!

MARIE ANTONIETTE
Beaumarchais,
prove to him I’m innocent.
Show him the trial of the Queen of France.

(With a gesture Beaumarchais changes the projection
to that of revolutionary tribunal in the palace of justice.
The enormous hall is lit only bay two candles. We can
barely see the unruly citizens who have come to enjoy
the spectacle. The ghost enters, dressed ad the judges,
jury, soldiers and witnesses. Beaumarchais put on a wig
assuming the role of the Public Prosecutor. He carries
 leavy walking stick. Marie Antoniette plays herself)

Scene 5

(The trial of Marie Antoinette takes place with
Beaumarchais playing the part of her judge and chief
accuser. Figaro is so horrified at the miscarriage of
justice that at last he agrees to help save the Queen.
Instantly, Marie Antoinette disappears from sight
and Figaro, Susanna, and Beaumarchais find
themselves transported to…)

REVOLUTIONARY WOMEN
Antoinette, we want your head!

CITIZEN 1
Long live the Republic! Etc,

CITIZEN 2
Down with the Monarchy! Etc,

CITIZEN 3
Kill the aristocrat! Etc.

BAUMARCHAIS
Order! Order! Order!
Behold: a woman who formerly possessed
all the glory that the pomp
of kings could invent...
...now occupies the tribunal.
Let no one say she did not reap
the benefits of the people’s justice.

CITIZEN 1
Hange her royal neck

CITIZEN 2
To the scaffold wither

CITIZEN 2
Look at her now!

CITIZEN 4
You reap what you sow

BAUMARCHAIS
Silence!
What is your name?

MAIRE ANTOINETTE
Maire Antoinette of Lorraine and Austria,
wife of Louis Capet,
once King of the French,...
...thirty-eight years of age.

CITIZEN 1
Kill her!

CITIZEN 2
Kill the austrian!

CITIZEN 3
Make her pay with her blood!

BEAUMARCHAS
Widow Capet, do you think that kings
are necessary to the happiness of France?

MARIA ANTONIETTE
That is not for me to decide.
My only desire is the happiness of France.

CITIZEN 1
Make her bleed… That’ll make me happy!

CITIZEN 2
Give her to me… She can me happy!

CITIZEN 3
Antoniette, You want to make me happy!

BEUMARCHAIS
Widow Capet, you are charged
with squandering enormous sums
for your pleasures and intrigues,...

MARIA ANTONIETTE
I spent more than I wished,
but let the truth come to light.

BEAUMARCHAIS
...and committing treason with your brother,
the Emperor of Austria.

MARIA ANTONIETTE
I loved my husband!
I loved France!

BEAUMARCHAS
You are responsible for the outbreak of war.

MARIA ANTONIETTE
I tried to bring peace.

(Citizens laughter and catcall)

REVOLUTIONARY WOMEN
A chop, chop, chop,
the guillotine is working overtime
Ka thump, tump tump,
The heads are rolling
puoring out their rosy wine.

BEAUMARCHAIS
You tried to corrupt the regiment of Flanders.

REVOLUTIONARY WOMEN
Come, march, we’ll slaughter the hough
ty with join us, we’ll…

MARIE ANTONIATTE
No!

REVOLUTIONARY WOMEN
We’ll butcher the bitch.
She gave feasts and orgies.
She slept with everyone.

CITIZEN 1
Butcher the bitch

BUMARCHAIS
And finally, there is no doubt that there has been
an act of incest between you and your son,...
... de seven years old.

CITIZEN 1
She gave fest and orgies
She got me others
“whore”, “slut”, “adulteress”

CITIZEN 2
She gave fest and orgies
She got me others
“whore”, “slut”, “adulteress”

MARIE ANTONIETTE
Lies! Lies! Lies!

(Bumarchais bangs the floor with his staff)

FIGARO
For God’s sake. Leave her alone”

BEAUMARCHAIS
The accused does not reply.

MARIE ATONIETTA
If I did not reply, it was because my nature
cannot answer such a charge.

BEAUMARCHAIS
The court demand an answer

MARIE ANTONIETTE
(She estand and turn to the sitizen)
I appeal to all mothers
in the courtroom!

WITNESSES
She had a packet of hair of different colours…

MARIE ANTONIETTE
They come from my dead and living children,
and from my husband.

WITNESSES
…And a page with ciphers on it.

MARIE ANTONIETTE
I was teaching my son to count.

WITNESS 3
A gold ring

WITNESS 4
A looking glass

WITNESS 5
A portrait of a woman

MARIE ANTONIETTE
My mother.

WITNESS 1
Her mothers was a cow!

WITNESS 2
Mama, mama.

WITNESS 3
Moo, moo.

WITNESS 2
Baaaah

WITNESS 5
Oink, oink, oink, oink, oink, oink,

WITNESS 1
Ruff, ruff, ruff, ruff, ruff, ruff, ruff,

WITNESS 4
Oooh whip, whip, whip, whip,

REVOLUTIONARY WOMWN
Antoniette, we want your head!

BAUMARCHAS
Widow Capet,
you are the declared enemy
of the French nation.
Do you have anything to say in your defense?

MARIE ANTONIETTE
The accusations are....

BEAUMARCHAIS
(walking stick)
Silence, blood sucker!
What is the judgment of the people of France?

FIGARO
No! No! Unjust!
This trial is unfair.
Set her free!

JUROR 1, 2, 3, 4
Yes, to all questions.
In accordance with the first article of the first section...
...of the first chapter of the second part
of the penal code,...
...the accused should be condemned to death.

BEAUMARCHAIS
Have you anything to say?

MARIE ANTONIETTE
Nothing

FIGARO
(kneeling)
Your Majesty, Forgive me!

(Marie Antoniette touches Figaro’s hand)

BEAUMARCHAIS
Today a great example is given to the universe.
Nature and reason are satisfied at last.
Equality is triumphant with respect to
the Widow Capet.

(The Revolutionary Women start to march
as the scene changes)

REVOLUTIONARY WOMEN
A-chop, chop, chop,
the guillotine is working overtime.
Ka-thump, thump, thump,
the heads are rolling, pouring out their rosy wine.
Come, march,
we’ll slaughter the haughty witch.
Join us.
We’ll butcher the bitch.
Antoniette, we want your head.

Scene 6
 
(The streets of Paris.
The city is peopled by a mob of revolutionary women
and their children, incited to bloodlust by Bégearss,
who urges them to invade the Almavivas’ ball and
capture the aristocrats. Figaro and Beaumarchais
resolve to warn the Almaviva and the Queen.)

(This following scene cross fades with the previous
one. The stage is transformed into a active Paris
street. A parade of ferocious revolutionary women
carrying several head on pikes march onstage.
A ragtag band of street musicians enters with
them. On a makeshift platform punch and Judy
performer working a miniature guillotine mimic
the daily executions. Parent with children watch the
frightening procession with glee. Bégearss silences
the women with a gesture. Muttering)

BEGEARESS
(For himself)
Monarchy. Revolution.
It’s all the same to me.
Belief is for fools.
I merely lust to rule.
I will bend these women to my will.
Watch them squirm with delight
as I whip them into a frenzy.
They want to hate. They need to hate.

(To the people)
 
Women of Paris!...

REVOLUTIONARY WOMEN
Begearss,
Begearss, Begearss,
Begearss, Begearss!

(The women come forward with pikes,
some with svered heads)

BEGEARSS
Women of Paris!....
Listen! Hear!
Listen to their little feet!
Hear them scurry from the corners.
Listen! Hear!
They are coming to spread their plague.
They assemble in secret cabals.
They whisper in private rooms against us.
They slyly creep down dark streets.
Their shiny fur is pressed against the wall.
They are trying to be invisible.
But we see them.
We see their greedy eyes and hungry mouths.
They want to free the Queen of Rats.
They want to release her from her trap.
But we have her by the tail.
Shall we let her go?
Shall we let her go?

REVOLUTIONARY WOMEN
Antoinette, we want your head!
Antoinette, we want your head!
Antoinette, we want your head!
Come, march, we’ll slaughter the haughty witch.

BEGEARSS
Ah!

REVOLUTIONARY WOMEN
Join us, we’ll butcher the bitch!

(Revolutionary Women play drums
and percussion instruments)

BEGEARSS
(He silences them - whispered)
The chief rat Almaviva has summoned
his rat troops for a rat meeting in his rat hole.
They are there right now,
sharpening their fang and claw.
What do we do when rats
infest our houses?

REVOLUTIONARY WOMEN
(unruly)
Exterminate them!
Exterminate them!
Exterminate them!
Exterminate them!
Exterminate them!
Exterminate them!

BEGEARSS
What we do when rat
eat aour food

REVOLUTIONARY WOMEN
(idem)
Exterminate them!
Exterminate them!
Exterminate them!
Exterminate them!
Exterminate them!
Exterminate them!

BEGEARSS
What we do when rats rule us?

REVOLUTIONARY WOMEN
(idem)
Exterminatión!
Exterminatión!
Exterminatión!
Exterminatión!
Exterminatión!
Exterminatión!

BEGEARSS
The vermin are having a party tonight
at Almaviva’s house!

REVOLUTIONARY WOMEN
Exterminate them!

BEGEARSS
We’ll get them then!

REVOLUTIONARY WOMEN
Exterminate them!

BEGEARSS
What do you say?

REVOLUTIONARY WOMEN
Antoniette, we want your head!
Antoniette, we want your head!
Antoniette, we want your head!

REVOLUTIONARY WOMEN, BEGEARSS
A chop, chop, chop,
The guillotine is working overtime,
Kathunmp, tump, tump,
The heads are rolling
pouring out their rosy wine,
Come, march we’ll slaughter the haughty witch.
Join us we’ll butcher the bitch!

REVOLUTIONARY WOMEN
Antoniette, we want your head!
Antoniette, we want your head!
Antoniette, we want your head!

Scene 7

(The remaining nobility of Paris gather for the last
ball, haunted by their own ghosts. In a short-lived
romantic episode, Léon gate-crashes the festivities
to find Florestine, while the Count is almost persuaded
by Rosina to forgive her son)
 
(The peers of Paris Those who have not fled or been
thrown un jail or executed-assemble for one last time.
Liveried servants take their wraps. The aristocrats are
decked out with a pre-revolutionary splendour. They are
dressed à la victim, with thin ribbons around their necks,
commemorating relatives and loved lost to the guillotine)

ROSINA (COUNTESS)
Welcome, Madeleine, welcome

FIRST GOSSIP GHOST
I knew that woman... Madeleine!

ALMAVIVA
Your Excedlency, welcome!

(The ghos, gossip, haunt the ball. They are dressed in the
same fashion as the guests, but their clothing is all white
and their makeup has a waxy pallor. The first and de second
ghost mingle with the guests; the third ghost sits on a
chandelier. The ghosts cannot be seen, heard or touched.
Rosina and Almaviva stand to one side, greeting people.
Nearby, next to the pillar Florestine paces nervously)

FLORESTINE
Have you seen Léon?

MARQUIS
No, I’m sorry.

SECOND GOSSIP GHOST
Her young man left her.

FISRT GOSSIP GHOST
Marguerite.

FLORESTINE
(to another young man)
Have you seen Léon?

SECOND YOUNG MAN
Not since Easter.

FLORESTINE
I don’t know where he is.

(she cries in her friends arms)

BISHOP
We must never give up hope.

FIRST GOSSIP GHOST
Poor Florestine.

SECOND GOSSIP GHOST
Poor Girl.

FLORESTINE
Where did he go?

(Alvaviva goes to where the musicians are seated)

ALMAVIVA
(he claps for silence)
Friends, welcome.
For one last time we have come together
in the name of love and amity.
But even as I speak, all of France suffers,
and our Queen awaits her verdict.
When I think of her, I reproach myself the air
I breathe and am torn between pain and rage;...
...but tonight, let us forget our sorrows
and celebrate this moment of freedom.
Let the golden days return!
Musicians!

(Everyone dances, even the ghost, except Almaviva’s
household. For a moment all pains are forgotten as the
salad days of the monarchy revived. After a while Leon
enters. He stand partially hidden near Florestine)

LEON
(spoken, sotto voce)
Florestine.

FLORESTINE
(embraces Leon)
Leon.

LEON
Your Father!

FLORESTINE
I don’t care!

(Leon holds her, Almaviva sees them)

ALMAVIVA
(pointing out Leon to Rosina)
Your son!

ROSINA
Don’t…

FLORESTINE
Thank God you’re safe!

ALMAVIVA
Darling:
How dare he come here?
I’ll have him thrown out!

FLORESTINE
I thought you had left me.

LEON
Leave you?

ROSINA
Will you?

FLORESTINE
I was so frightened.

(tries to speak, but Rosina cut him off)

ALMAVIVA
(aside)
I know she’s right.
We committed the same sin,...

ROSINA
(aside)
What can I do to make him forgive me?

ALMAVIVA
...yet I can’t forgive her.

(the dancers continue dancing, even though
the ball orchestra is music has faded away)

LEON
How could I leave you?
Remember the chestnut trees
in the gardens of the Tuileries?

FLORESTINE
You took me by the hand.

ALMAVIVA
I’d like to touch her hand.

LEON
Remember the mist on the Seine
and the bridges in the easy rain?

FLORESTINE
You held my face and kissed me.

LEON
I held you. I kissed you

FLORESTINE
Remember the fallen birch
in the cloister of the little church?

LEON
I Took you by the hand.

FLORESTINE
Remember us drifting,
afloat in the silence of the gliding boat?

LEON
I held your face and kissed you.

FLORESTINE
You shivered and trembled.

ALMAVIVA
Look how she loves him.

LEON
You quivered and sighed.

ROSINA
Look how he loves her.

LEON
Remember the fragrance of mushrooms in the air?

ROSINA
(impassioned)
I remember a shimmering light.

ALMAVIVA
(impassioned)
I remember a star-filled night.

FLORESTINE
I remember there were raindrops in your hair.

FLORESTINE, LEON
I swore to love you always.
I gave myself to you forever.

ALMAVIVA
I swore to love her always.

(Florestine, Leon, Rosina and
Almaviva stay frozen in positión)
 
(Bégearss and his bloodthirsty crew arrive. In an
attempt to pay off Bégearss and to save the family,
Figaro returns the necklace to Bégearss, against the
objections of Beaumarchais and Almaviva. Bégearss
accepts the jewels in the name of the revolution but
persists with the arrests. He gives Almaviva until
morning to agree to his (Bégearss’s) marriage to
Florestine. In the confusion, Susanna helps Figaro and
Beaumarchais escape but is captured herself. At Figaro’s
insistence Beaumarchais has attempted to use his powers
as puppet-master to have them all released, but his effort
has failed. The Queen realizes that her predictions have
been fulfilled and that Beaumarchais has sacrificed
his powers for love of her)

(Suddenly, the doors bursts open with a crash,
interrupting the dance and singer ’innce thoughts.
Bégearss enters, leading the revolutionary women
and soldiers. The musicians stop playing, there is
beat of stunners silence)

BEGEARSS
I hope I’m not too late for your party!
My dear Almaviva,
what did you not invite your good friends Bégearss?

ALMAVIVA
My friend; I don’t understand.
What is the meaning of this?

GHOST 1
Let’s tell the other

GHOST 2
Let’s tell her majesty!

BEGEARSS
Now do you understand?

ALMAVIVA
You have betrayed me!

LEON
Traitor!

FLORESTINE
Judas!

ROSINA
We are lost!

BEGEARSS
The necklace.

ALMAVIVA
I don’t have it.

BEGEARSS
Where is it?

ALMAVIVA
I don’t know where it is.

BEGEARSS
Give it to me!
Or perhaps you would prefer to talk
to my friend here.

(Figaro and Beaumarchais
enter and watch unnoticed)

REVOLUTIONARI WOMEN 1 AND 2
Me, me, me, no!
Me, me, me, no!
Me, me, me, no!

REVOLUTIONARI WOMEN3 and 4
Give to me,
Give to me,
Give to me,

ALMAVIVA
I’ don’t know!

FLORESTINE
He doesn’t know!

ROSINA
He doesn’t know!

FIGARO
Stop! I have it, you traitor!

(Figaro gives the necklace to Bégearss)
(Bégearss hold the diamonds aloft)

BEGEARSS
At last. I have you, Almaviva.
I seize this in the name of the people.

CHORUS
Yes!

BEGEARSS
It will be used to feed the poor
and house the homeless.

(Bégearss put the necklace in his pocket)
(Revolutionary women applause ad libs)

ALMAVIVA
Forgive me, Figaro.
Once again, you have proved me a fool.

(Susanna enters and hides behind a pillar.
From time-to-time, she peeks her head out.
The rest of the ghosts, led by Marie Antoniette
and Luois enter)

BEGEARSS
My hatred is in full bloom.
Almaviva, I am now your equal.
Now we are all aristocrats.
I want to marry Florestine.

ROSINA, LEON
No!, No!

ALMAVIVA
I will never allow it!
No! No!

BEGEARSS
You will give me your daughter’s hand.
I want that pleasure. Deny me...
...and you all will die.

(to the soldiers)
 
Take them to prison!

FIGARO
(to Beaumarchais)
Free us. Use your powers.

BEGEARSS
Powers!? What powesrs?
I have all the power.

BEAUMARCHAIS
(make a magical gesture to the soldiers)
Release them!

(Nothing happens)

MARIE ANTONIETTE
I knew it. He’s lost his power.

LOUIS
He’s become mortal.

MARQUIS
Poor man.

BEAUMARCHAIS
(He does it again)
I command you!...
I am weak as smoke.

(again nothing happening)

BEGEARSS
(to Fígaro)
Your friend is mad.

(to Almaviva)
 
Almaviva, I’ll see you at dawn.

(to the ball orchestra)
 
Musicians, play.
Amuse the aristocrats as they go off to their cell

(leaves)

WILHELM
(to the prisoners)
This way and be quick about it!

SUSANNA
(to Fígaro)
No, that way and be quick about it!
Go!

(Susanna tries to distract Wilhelm as Fígaro and
Beaumarchais sneak away. Wilhelm traps Susanna
as she is about to join Fígaro)

SUSANNA
Go, Fígaro, go!

WILHELM
No, you woman.

(turmoil as the aristocrats are herded off.
Susanna among them, and Figaro and
Beaumarchais escape)

SUSANNA
Fly, Fígaro, fly!

WILHELM
(Holds Susanna)
Stop them! They’re escaping, you fools!
Master will kill me!

(Wilhelm, the soldiers, Revolutionary women, guests
and the Almaviva household all leave. The stage is
empty, except for musicians and the ghosts. The stage
is silent but for music. The ghosts star dancing a spectral
version of the ball, gracefully exchanging heads and limbs)
 
(Pause)

MARIE ANTONIETTE
He sacrificed his powers and risked his soul
because he loves me.

Interludio

Scene 8

(The prison of the conciergerie. The ghosts who made up
the audience of the opera are imprisoned here in real life,
along with the historical Marie Antoinette. The Almaviva
family is incarcerated with them. In this predicament, the
Count realizes the shame of his earlier behavior and forgives
both his wife and her son, and the family is reunited. All this
is observed by the ghost of Marie Antoinette, whose former
self is heard in prayer, asking God’s forgiveness for herself
and for her enemies. In the early hours of the morning,
Figaro and Beaumarchais arrive to rescue the party: Figaro,
apparently now invested with the manipulative powers of his
literary creator, has obtained the prison keys by bribery, but
the key to the Queen’s cell is in the possession of Wilhelm,
Bégearss’s servant)
 
(The curtains open, revealing the dismal Gothic- vaulted
interior of the Conciergerie prison. It is night. Candle and
torchlight disclose two levels. In the first is a large, barrack
like cell containing a group of terrified, disheveled aristocrats
awaiting execution, An ancient, demented duchess with grand
manners, wearing a decaying, extravagant hat and ball-gown,
is serving imaginary tea to imaginary guests. (She is the living
version of the Woman With Hat)
 
(Two men are sitting in a corner quietly talking. Most of the
other prisoners are lying on straw pallets, trying to sleep.
Stone steps with iron railing lead to a walk way and second
level of smaller cells, the barred doors of which are visible.
The duchess is seen chatting with imaginary guests. She walk
forward)

DUCHESS
I am very well, my dear Marchis
Would you like a cup of tea?

(to imaginary servent)
 
Madeleine,
bring Marguerite some chocolate.

(she walk away, chatting)

1º ARISTOCRAT
(handing him a letter)
If you should survive tomorrow,
please give this to my wife. It is my last request.

2º ARISTOCRAT
How could I, my friend?
No one survives a visit to the guillotine.

DUCHESS
(to another “guest”
She was wearing a gown of red Pekin,
trimmed with tiny white roses. It was exquisite.

(reacting to a compliment)
 
I’m so fond of rubies.
Grandmother gave them to me.

(walking away again)
 
She lived to a hundred and three
and drank only wine.

(slowly change to free speech)
 
But say what you will,
Diane’s trout were divine

(to gossip, becoming more and more distant)
 
…shocking, my dear and with a Bishop?

(Laughter)
 
(A cell doors rattles. The cell door bangs open. Wilhelm
backed by a group of guards pushes the Almaviva’s group
into the cell. The Duchess freezes and stares at Wilhelm
and the guards… and retreats into the shadows)

WILHELM
(to Rosina, pulling her by the arms)
In your go, aristocrats.
Here, you stay with me, Countess…

(Almaviva pushes Wilhelm away from
Rosina and then stands betweens them)

ROSINA, SUSANNA
Leave him alone!

FLORESTINE
Don’t hurt him!

WILHELM And GUARDS
No! No!

LEON
Don’t hurt him!

(Wilhelm holds up his hands to silence them)

WILHELM
Don’t worry, I won’t harm him,
He’s a especial guest of Citizen Begearss

(to Almaviva)
 
Perhaps he’ll invite you
to join our gracious queen.
She‘s staying in the royal suit. Upstairs.

(Wilhelm points to second level and dangles his keys)
 
They say she’s leaving for long voyage in the morning.
Sleep well, aristocrats!

(Wilhelm leads the guards off, banging the doors shut
behind them. The Almaviva group look around
disconsolately. Almaviva sit on a bench near de door,
staring at the floor. With a sigh Rosina sit next to him.
Florestine and Leon go to another bench nearby.
Susanna stand. Silence. The door bang shut. Almaviva
doesn’t at Rosina)

ROSINA
(to Almaviva)
You were very brave.

FLORESTINE
(to Susanna)
He could have been hurt.

SUSANNA
(to Florestine)
His only thought was for your mother.

LEON
I am proud of you, Father.

(Leon falls to his knees in front
of Almaviva and embraces him)

ALMAVIVA
(after a long pause look up it Leon)
You can still me father
the way I’ve treated you?
I am so ashamed! I beg your forgiveness.

ROSINA
It is I who caused you pain.

ALMAVIVA
I was arrogant and prideful.

ROSINA
I was foolish and vain.

ALMAVIVA
You were lonely. Rosina!

(Rosina y Almaviva embrace. Leon and Florestine
approach Almaviva and Rosina. Susanna join them.
They embrace each other for a moment)

ALMAVIVA
O God of love, O Lord of light,
redeeming, embracing Savior,...
thank You for this moment of peace.

ROSINA
O God of love, O Lord of light,
redeeming, embracing Savior,...
thank You for this moment of peace.

ALMAVIVA
Storm and fire overwhelm me,
fear and death are at my door,...
...but the thought of these dear faces brings
me rest in this time of war.

LEON, FLORESTINE
O God of love, O Lord of light,
redeeming, embracing Savior,...
thank You for this moment of peace…

(They hears Marie Antoniette and
cut off abruptly, looking up)

MARIE ANTONIETTE
(in the cell)
Please, hear my last prayer
that You will receive my soul.

ALMAVIVA
I ask forgiveness of these I have known
for the sorrow I have caused them...

(He runs up the stairs and fall to his knees
in front os Marie Antoniete’s door)
 
Your Majesty!

 MARIE ANTONIETTE
I forgive my enemies the evil they have done me.
I say farewell to my family and friends.
Adieu, adieu.

Miserere mei, Deus,
secundum magnam misericordiam tuam.
Dele iniquitatem meam,
et a peccato meo munda me;...
...et peccatum meum contra me est semper,
et in peccatis concepit me mater mea,…
…lavabis me, et supernivem de albabor,
et exsultabunt ossa humiliata,
miserere mei Deus!

ALMAVIVA
O God of love, O Lord of light,
redeeming, embracing Savior,...
thank You for this moment of peace.

SUSANNA, FLORESTINE
LEON, ROSINA
O God of love,
O Lord of light,
redeeming, embracing Savior,...
thank You for this moment of peace.

(Maríe Antoniette blows out her candle. Almaviva returns
to the lower level. The prisoners make themselves as
comfortable as possible and go to sleeps. From the sky
through the barred windows, morning gradually dawns)
 
(Pause)
 
(Susanna awakens suddenly as a cook crows. She looks
around. She starts to relax again. But the cell door starts
to slowly creak open, and, as the watches, two ominous,
cloaked figures enter)

SUSANNA
We are finished.

ROSINA
Farewell, my faithful friend.

FLORESTINE
I’m frightened.

LEON
At least we shall die together.

SUSANNA
I wish Figaro were here.

ALMAVIVA
(holding Rosina)
Stay close to me.

(the figures approach Almaviva)

FIGARO
Almaviva, prepare to meet your maker.

ALMAVIVA
(free, blustering)
See here, how dare you disturb our sleep?
We are the private prisoners of Citizen Bégearss.

FIGARO
The private prisoners of Citizen Bégearss.
Ha, ha, ha!

ALMAVIVA
You can’t frighten me.
If you don’t withdraw immediately,
I shall be forced to...

(Fígaro pull back Almaviva leads)

SUSANNA, FLORESTINE
ROSINA, LEON
Fígaro!

DUCHESS (Womand with Hat)
(to Beaumarchais)
Would you like a cup of tea?

BEAUMARCHAIS
Thank you!

FIGARO
We’ve come to lead you to freedom...

(Fígaro dangle a large key)

LEON
(seeing the key)
How did you get it?

FIGARO
Bribery, larceny, and a little violence.
But we haven’t the key
to Her Majesty’s cell.
Wilhelm has it.

BEAUMARCHAIS
What will we do?

ALMAVIVA
What will we do?
Wilhelm has the key!

SUSANNA
Wilhelm has it? Wilhelm?
You men can rest now.
Let the women do some work.
Come, Ladies!...

(Susanna organizes the women, and Wilhelm is seduced,
knocked out, and relieved of the essential key. The escape
is foiled, though, by the reappearance of Bégearss, who
has come to claim his bride, but he is unmasked by Figaro
and the ungrateful Wilhelm. There is pandemonium in the
prison as Bégearss and Wilhelm are dragged off by the
revolutionary soldiers, and the Almaviva family escapes.
Figaro restores the jewels to his author. Beaumarchais bids
farewell to both Figaro, his favorite character, and to his
own hopes for a future with Marie Antoinette)
 
(Susanna, Rosina and Florestine have a little conference.
They laugh and titter under the men’s lines. The mens
descend the stairs)

LEON
I’m afraid the game is over.

ALMAVIVA
All is lost, dear Figaro.

FIGARO
Not with my Susanna in command. Just watch.

(the women break for action.
Rosina calls through the cell bars)

ROSINA
(she calls dolce)
Oh, Wilhelm!

(dolcissimo)
 
Wilhelm!

ALMAVIVA
Rosina, what are you doing?

(Rosina puts her hand over Almaviva’s
mouth. Wilhelm appears)

WILHELM
You called, Countess?

(Rosina pretends that
she is about to faint)

ROSINA
Oh, help me, help, someone help!

SUSANNA
My mistress feels faint.

ROSINA
(opening her bodice)
- I can’t breathe.

FLORESTINE
We can’t untie the knot.

WILHELM
(brandishing a pistol)
No tricks or you’ll regret it.

SUSANNA
(to Wilhelm)
For the love of God, go to her!

FLORESTINE
Look, her breathing is diminished.

ROSINA
Another second and I will be finished.

ALMAVIVA
(aside to Rosina)
Rosina!

BEAUMARCHAIS
(to Figaro)
Your wife is bolder than I thought her.

FIGARO
She’s your idea, you must have taught her.

LEON
My stomach’s turning into water.

ROSINA
Please, open my bodice!

WILHELM
I don’t know what to do!

FLORESTIN
A man like you is heaven sent.

ALMAVIVA
(to Leon)
A wife should be obedient.

LEON
It’s just a small divertissement.

BEAUMARCHAIS
(to Figaro)
These women are magnificent!

WILHELM
Let me out of here!

(he plugs his ears)

SUSANNA
(to Wilhelm)
Don’t be so belligerent.

FLORESTINE
(stroking Wilhelm’ pistol)
What a piece of armament!

SUSANNA
(aside to Florestine)
Look, her face is turning white.

FLORESTINE
She’s giving up the fight.

ROSINA
Commend me to your sight.

FLORESTINE, SUSANNA, ROSINA
Ah!

ALMAVIVA
(aroused)
She is doing it for spite.

LEON
(overjoyed)
Oh, Father, what a night!

BEAUMARCHAIS
A woman free is man’s delight.

FIGARO
And what’s a bitch without a bite?

SUSANNA
(to Wilhelm, arms autstretched, intense)
You must go to her. Ah!

FLORESTINE
(swooning)
- You’re so strong.

ROSINA
(swooning)
And such a man.

ALMAVIVA
(shouts)
Rosina!
how can you!

WILHELM
(seduced)
Do you think so?

ROSINA
(sultry)
Please!

(Wilhelm goes to touch Rosina’s bosom. Without realizing
it, he hand his pistol to Susanna, who immediately knocks
him senseless it. Dropping the gun, she snatches his key sing
and throws into Almaviva)

SUSANNA
(to Almaviva)
So much for endless talk.
Free her Majesty!

(Almaviva runs towards the stairs leading to Marie
Antoniete’ cell. The queen has lit her candle, again
casting a silhouette. Sound cue: door slam. Begearss
appears. He and his men stand at the head of the stairs)

BEGEARSS
(to Almaviva)
No escape.
My dear Count, you disappoint me.

WILHELM
(coming to, and crawling to Begearss)
Oh, Master, they tricked me.
Will you ever forgive me?

BEGEARSS
Of course I forgive you

(Wilhelm smile, relieves, and kisses Begearss’ hand)

WILHELM
Thank you. Thank you.

(Begearss pulls his hand away. Suddenly)

BEGEARSS
But the Revolution does not.
You are unfit to serve her.

(to guards, pointing Wilhelm)
 
Seize him!

(Guards seize him)

WILHELM
(whimpering)
No... Please

BEGEARSS
(to Almaviva)
And now, my friend,
about that little matter we discussed:
Your daughter’s hand or death to you
and your family… You answer.

FLORESTINA, ALMAVIVA
Murderer!

ROSINA
You Traitor!

SUSANNA
Monster!

FIGARO
(Interrupting. Points to Begearss)
Wait.
I denounce that man in the name of the Revolution!
Search his coat and you will find the Queen’s necklace.
He has kept it for himself.

BEGEARSS
(laughing)
That’s ridiculous. Take him away!

WILHELM
It’s true! It’s true!
He plans to sell it in London

BEGEARSS
He’s lying.

WEILHELM
I know all his secrets. He hater the revolution.
All he cares is himself and what’s more.

(The guards halt and listen to Wilhelm,
who is shouting bay now)

BEAUMARCHAIS
(interrupting)
They say his mother was a Duchess.

DUCHESS (Woman with hat)
Son, my son!

(the guards look confused)

BEGEARSS
(pushing her away)
Get away from me!

FIGARO
(catching on to Beaumarchais plan)
He’s a spy for the English!

BEAUMARCHAIS
He is a counterrevolutionary!

BEGEARSS
No!

(the guards start to believe it)

(The music gradually accelerates)

BEGEARSS
No! I’m inocent! No! No!

(In the following ensemble he
constantly repeats the same)

BEAUMARCHAIS
(taking the necklace from Wilhelm)
May I see!

WILHELM
Give it back!

(in the confusion, Fígaro starts to lead the
group out the door and down the corridor)

BEGEARSS
No! I’m innocent! No!

(Almaviva is torn between freeing the queen and leaving
with his family. Beaumarchais recognizes his dilemma and
takes the keying from his hand)

BEAUMARCHAIS
(to Almaviva)
Allow me.

FIGARO
This way! Hurry! Quickly!

BEGEARSS
No! I’m innocent! No!

(Begearss notices the escape)
 
Fools! They’re escaping!

WILHELM
(seeing Beaumarchais with necklace)
My necklace!

BEGEARSS
Tat them!
 
CORO
Stop! Stop! Stop! Stop! Figaro!

(Constantly repeat the same)

(the guards chase Fígaro and the prisoners out, dragging
Begearss and Wilhelm along. Fígaro waves goodbye
Beaumarchais who waves back. Fígaro exits pursued by guards)

BEAUMARCHAIS
(He is left alone on the stage)
Goodbye Fígaro. Take care.
Safe journey

(he sighs)
 
You were my favourite child.

(wistfully)
 
Goodbye, Figaro. Goodbye, Beaumarchais.
You have come to the end of your road...
...all for the sake of the ghost of a woman
who doesn’t even love you.

(pause)
 
But I love you, Antonia.
Your Majesty, I give you your life.
Be ready for freedom.
I am opening the door.

(the silhouete of the prisoner queen stand)
(Beaumnarchais goes to put the key in the lock)

Scene 9 and Finale

(The Queen’s ghost refuses to let Beaumarchais help her
escape. She explains that his love and his art have enabled
her to rid herself of her bitterness and to accept her destiny:
her surrogate self must go to the guillotine while she herself
now humbly returns Beaumarchais’s love. The blade falls,
history is fulfilled, and Marie Antoinette finds herself in
paradise with Beaumarchais)

MARIE ANTONIETTE
No, Beaumarchais.

(Beaumarchais sprins around and sees
the ghost of Marie Antoniette)

BEAUMARCHAIS
Antonia, what are you saying?

(to the ghost)
 
She must escape for you to live.

(Marie Antoniette shakes her head
 “no” as he tries to convince her)
 
Almaviva brings her to London!
The Revolution fails!
A new age dawns!
Antonia lives!
History as it should have been.

MARIE ANTONIETTE
She must stay, ride the cart,
see the crowds, hear the drums,
count the stairs, feel the blade.
She must stay, Beaumarchais,
and she must die.
Once there was a golden bird,
a bird who lived in a silver cage.
I never saw the world outside.
I never knew the orld of pain.
I did not know!
I have to stay, Beaumarchais,
and I have to die.
For there was no peace
I wandered, cold, bitter, empty,...
...until with your art and love you called me.
You taught me that acceptance
is the only road to freedom,...
...and forgiveness sets our spirits free to fly.
Floating, rising, soaring, delight,
rapture, paradise!
Thank you for this moment of peace.
I suffered here in endless night,
and then you came and brought me light.
I love you!

(she kneels before him)

BEAUMARCHAIS.
Come, Antonia.

(the two figures glow. Beaumarchais gestures ans the
soldiers appears. They take the prisoners queen away)

(pause)

(Immediately the walls of the prison rise, revealing the
enormous “Place de la Révolution”. Toward the back of it
looms a towering guillotine. On the apposite side of the stage
is a gaily painted Montgolfier balloon. Large crowds of
Parisians in their Sunday best have come to view the executions
of their monarch and balloon ascent. The “Gardens of Aguas
Frescas” appears high up, hazily lit, as if in a vision:
Beaumarchais and the ghost Marie Antoniette slowly ascend
toward it arm in arm)
 
(Led like a tethered animal by a cord tied to her hands, the
prisoner queen is brought by the soldiers to a shabby cart
drawn by two dray horses. To further humiliate her, they
place her in it so that shi is sitting backward. She is wearing
a simple white gown and bonnet and is accompanied by the
executioners and a revolutionary priest. As the cart slowly
makes its way to the guillotine the crowds shout and Chants)

CROWD
(shouting, variously)
Long live the Republic!
Down with tyranny!
Death to the Austrian!
There’s the wicked Antoniette!
She’s finally finished!
Antoniette, we went your head!

(At the same time, the now forgotten Almaviva household
stealthily makes its way to the balloon. When the cart drowns
up beside the scaffold, the queen, refusing help, descends by
herself and quickly mounts the steps. The executioner place
her head on the block. Total silence. Figaro severs the mooring
rope of the balloon. It rises. The crowd stand and sings motionless)

Le Marseilles

CROWD
Allons enfants de la Patrie,
Le jour de gloire est arrivé!
Contre nous de la tyrannie,
L'étendard sanglant est levé,
Entendez-vous dans les campagnes,
Mugir ces féroces soldats?
Ils viennent jusque...

(From this point the music and lighting on the «Place de la
Révolution” slowly fade out. The balloon rises and disappears.
Beaumarchais and Marie Antoniette have arrived in “Aguas
Frescas”, witch glows radiantly. Louis is waiting there with
the other ghosts, holding the Duchess’ hand and smiling)

(A spotlight illuminates Beaumarchais and Marie Antoniette
more and more as the light on “Aguas Frescas” dim. Finally
only Beaumarchais and Marie Antoniette are illuminated as
he plases the jewels around neck and then kisses her hand)
 
(Fade to black)