THE PUFFED UP PRIMADONNA, or LA PREPOTENTE IN PANTOFOLE (The Bully in Slippers)

Libretto ©2014 by Charles Anthony Silvestri

 

CHARACTERS

• Signor Giancarlo, the young DUKE of Bologna (Baritone)

• GIACOMO, his Minister of Merriment (Bass)

• GINA, daughter of Giacomo, betrothed to the Duke (Soprano)

• ALFREDO, an actor in the troupe (Tenor)

• ANNAMARIA, an actress in the troupe, and a diva (Mezzo)

 

[Text in blue is aria; text in red is recitative; text in black is spoken.]

********************************************************************* SCENE 1

In the grand palazzo of the Duke of Bologna. 

Giacomo sits alone at his writing desk, quill in hand, with papers scattered about.

 

GIACOMO 

In just a fortnight, just two weeks away!’

In just a fortnight will be the big day!

We’ll sing this new opera, ready or not;

A splendid performance securing my spot

As Minister of Merriment, Minister of Merriment--

I’m the very, very merry Minister of Merriment!

 

Years of performing, and paying my dues,

Singing and dancing right out of my shoes;

In villages, towns, and palaces fine,

And now for the Duke of Bologna I’m

The Minister of Merriment, Minister of Merriment—

I’m the very, very, merry Minister of Merriment!

 

Just a fortnight, just two weeks and then

The Duke will hear what’s come from my pen!

Will it be ready? Will it be great?

And if it isn’t, will the Duke hate

His Minister of Merriment, Minister of Merriment?

Oh, I should never have become the Minister of Merriment!

 

(GINA enters)

 

GIACOMO

Ah, my Gina!

 

GINA

Oh, papa! Are you fretting again about that opera you’re writing? Don’t worry about that. Every part of my wedding day will be absolutely wonderful—you’ll see. Gianni will be pleased with your show. I guarantee it!

 

GIACOMO

Yes, well, he may be “Gianni” to you; but to me he is His Grace Signor Giancarlo Francesco Antonio di Montecapo, Duke of Bologna—and my new boss! We are rehearsing the finale dance scene this afternoon, and I just can't seem to get it right. 

 

GINA

It’ll be fine, papa. Trust your little girl.

 

GIACOMO

Ah, my little girl. My little girl is getting married! And to a Duke! Who would have ever thought…

 

My little girl… My little girl… 

Your mother, bless her sainted heart,

Gave me a gift before she parted,

My little girl… My little girl…

You’re all grown up, your father’s pride,

And soon you’ll be a blushing bride,

My little girl… My little girl…

 

(ANNAMARIA bursts in, interrupting the moment)

 

ANNAMARIA

Giacomo, we have to talk! Oh, hello, Gina. Shouldn't you be with the Duke, making wedding plans? You still have SO much work to do—guest list, seating charts, menu planning, thank you gifts—so many decisions to make, and everything must be perfect. I’d be happy to help, my dear! Why don't I just be in charge of all that? (Gina leaves hurriedly, more worried than before about the planning.) 

Oh my…Well! (She stomps her foot.)

 

Now, good Giacomo, I have some notes for you for the dance scene in Act 2. It’s just not working, and with these revisions in choreography things should run much more smoothly. (She hands him a detailed piece of paper, perhaps in a color different from his papers.)

 

GIACOMO

With all due respect, AnnaMaria, this is MY show! 

 

(She is flustered at his rebuke, and she stamps her foot in a fit of pique.)

 

ANNAMARIA

Giacomo, you and I have worked together for years, and while I don't like to boast, I’ll have you know that I have far more experience than you realize. You see,

 

When I was the Prima donna at La Scala in Milan

Just as rehearsals for a show began,

The Maestro broke his knee

Suddenly the cast—they looked to me,

For I could direct as well as any man! (Giacomo sits back down at the desk, ignoring her)

 

On opening night we were a huge success

The toast of all Milan, I must confess!

When they asked who led the show 

I stood to take my bow,

But the Maestro took the credit in my place! (Giacomo starts to listen, but she doesn’t see)

 

Oh, yes! (She stomps her foot.)

 

The Maestro, he was jealous as can be

That the cast could sing so well when led by me;

He went behind my back--

My career he would hijack--

And drummed me out of town for all to see.

 

A lifetime of success

All ruined in a mess

And even here there’s no respect for me. (She stomps her foot and storms out.)

 

GIACOMO (to the audience)

They don't call her the Prima Donna for nothing, do they? Pretty puffed-up, if you asked me!

 

He gathers his papers, and exits.

 

 

********************************************************************* SCENE 2

In the Duke’s rooms. The DUKE is going over some papers, or practicing fencing, or some other dukey thing.  ALFREDO knocks.

 

DUKE

Enter!

 

ALFREDO

Your Grace. I’m sorry to bother you.

 

DUKE

Yes, Alfredo. What can I do for you, ragazzo?

 

ALFREDO

Well, Your Grace, you know I have been singing with Giacomo’s company for a while now, and I’m certainly very grateful to Your Lordship for appointing us to be your official palace performers. But…

 

DUKE

Yes, what is it?

 

ALFREDO (awkwardly)

My Lord, auditions for a new lead tenor have been announced at La Scala in Milan, the greatest opera house in Italy. My whole life I have dreamed of singing there! I have come, my Lord, to ask your permission to audition. 

 

DUKE

My good Alfredo, of course you may go to the audition, and with my blessings! We will be sorry to lose you if you get the part, but we will all rejoice in your good fortune!

 

ALFREDO                                                                  DUKE

Oh, thank you, My Lord!                                            No need, my boy,

Thank you, My Lord!                                                 To be, my boy,

I shall make you proud, My Lord,                              So formal, on your knee, my boy!

When I sing in Milan!                                                I’m just a man like you!

 

I’m grateful, Your Grace!                                           Oh please, my boy!

So grateful, Your Grace,                                             Quite all right, my boy!

It will be so great, Your Grace,                                  Oh, go ahead and bow, my boy,

When I sing in Milan!                                                After all, I AM a Duke!

 

(They laugh together.)

 

DUKE

Now go and rehearse!

 

ALFREDO (with outrageous, tongue-in-cheek flourish)

Certainly, Your Grace! 

Right away, Your Grace! 

Thank you, Your Grace!

 

ALFREDO exits as GINA rushes in, agitated.

 

DUKE

Oh, there you are, my darling! (They embrace.) But, whatever is the matter?

 

GINA

Oh, it’s the wedding! There is so much to do, so many decisions to make! There’s the guest list, the seating charts… oh, and the cake! We haven’t decided anything about the cake!

 

DUKE (calmly reassuring)

My darling, I have a battalion of servants working on every detail of our wedding. But the wedding itself is not important to me.

 

A wedding lasts only one day. 

It’s the marriage that follows it

That I want to be perfect—

Our marriage will last for years and years

Until we’re both positively ancient, 

Surrounded by our children, 

and grandchildren,

and great-grandchildren,

and…  

Well, as long as you’re standing beside me, 

Our wedding will be perfect too.

 

Oh… (just abut to begin an aria)

 

ANNAMARIA saunters in, warming up her voice.

 

ANNAMARIA

Oh… 

Oh I am sorry, Your Grace, am I interrupting? You two make such the charming couple, don't you? And what an unlikelyromance—the high-born Duke and the lowly actress, with absolutely nothing in common—it’s just too delicious! 

Why, it would make a good opera! (Gina is even more upset.)

 

DUKE

Now, see here…

 

ANNAMARIA

How are the wedding plans coming? Have you chosen a cake? I simply must say that when I was in Milan THE thing was to have a dramatic cake -- en flambé, you know. You simply MUST have gâteau en flambé if your wedding is to be the talk of the country! Why, anything less would be, well, a scandal! (She giggles, hinting at the scandalous nature of the wedding, not the cake.)

 

Gina is even more upset by the insinuation. The Duke straightens up, ducally.

 

DUKE

Our arrangements have been well-made, thank you. You may go.

(He dismisses the diva. AnnaMaria pertly stamps her foot, courtseys, and exits. But AnnaMaria secretly remains to spy on them)  

That Prima Donna’s got some nerve!

 

GINA

She’s so full of hot air, so puffed-up! (Two beats of realization) 

You don't think she’s right, do you?  

 

DUKE

About the cake?

 

GINA

No, about us having nothing in common. Your life here in the palace is so glamorous, and I? Well, I grew up in an actors’ caravan! I’ll never get used to all the servants, and ten-course meals, and which spoon is for the salad and which fork is for the coffee —oh, it’s all so much to get used to! Maybe this is all a big mistake.

 

DUKE

O Gina!

Whether high or whether low,

Wheresoever you may go,

I will love you

Forever and ever!

 

You are the sun; you are the moon;

And my darling, very soon

We’ll be together

Forever and ever!

 

GINA

I never dreamed I’d ever find

A man so generous and kind

To walk beside me

Forever and ever!

 

The stormy sky, the troubled sea,

Melt away when you’re with me,

Because you love me

Forever and ever!

 

DUKE and GINA (the bridge!)

Together

We’ll weather

Any storm!

 

In your arms

From all harms

I’m safe and warm! (Big key change!)

 

There’s never been a greater joy

Than when a girl has found her boy!

Oh yes, I love you (I love you!)

Forever and ever!

 

DUKE

And no puffed-up Prima Donna can ever mess that up!

 

(They exit, AnnaMaria stomps her foot in disgust.)

 

 

********************************************************************* SCENE 3

 

ANNAMARIA

No respect! These people don’t appreciate my talent! My valuable experience! It hurts my feelings to be ignored, cast aside. They’re all just jealous. Well, it’s time to put my foot down! (Stomps) I’ll show them just who they’re dealing with! 

 

Resist! Insist! Persist! (Like a personal motto)

“Show your strength,” my father always told me.

“The world won't give an inch,” he always said.

Well now I know that he was right,

And if I strike them back they might

Just regret the day they chose to mess with me!

 

Deep inside I’m just as gentle as a lamb;

But my feelings have me caught up in a jam!

I don't need to be adored,

But I will not be ignored!

If I don't get my way, they better scram!

Resist! Insist! Persist!

 

 

********************************************************************* SCENE 4

The following day, in the Grand Hall, for rehearsal. Everyone is present

 

GIACOMO

Alright, everyone. Your Grace. Please take your places for the Act 2 Finale dance number. This is when the Bride and Groom come forward from the audience and join us on the stage. You all have your score? Good. (He counts them down, directing in tempo.)

 

TUTTI (With ANNAMARIA overpowering the others??)

O joyful day! O wondrous day!

Today when all the world shall say,

“Love triumphant! Love divine!”

When love with love is intertwined,

You for me and I for you,

In joy together say, I DO!

 

(As they dance, Giacomo’s bad choreography gets them tripped up and stumbling and crashing into each other. They are demoralized.)

 

DUKE

Well, that was… interesting. It certainly needs work, Giacomo.

 

GIACOMO

Yes, my Lord, I am sorry. Perhaps we just need some more rehearsal time?

 

ANNAMARIA

Perhaps if I were to sing it alone, as an aria, with this new choreo… (she holds up her choreography papers)

 

GIACOMO (cutting her off)

I will look at the choreography again, Your Grace, and make some revisions. Perhaps we can rehearse again tomorrow? It’ll be fine, I assure you!

 

(ANNAMARIA is clearly frustrated. She stomps her foot, turns, and huffs out. After a beat or two, they all laugh at her, somewhat cruelly. 

 

DUKE

She’s such a…

 

GINA

A puffed-up Prima Donna!

 

ALFREDO

You can say that again!

 

(GINA and the DUKE exit.)

 

GIACOMO

Alfredo, your audition for La Scala is coming up. Have you chosen an aria for your audition?

 

ALFREDO

Yes, sir! I’ll be singing “Gli ucelli fanno” from Innamoriamoci by Cavolo Facchino. [Cole Porter rendered into Italian, “Cabbage Porter”]

 

GIACOMO

Splendid choice! Let’s hear it, then!

 

ALFREDO

Well, I’m not quite…

 

GIACOMO

Nonsense, my boy! I’d love to hear it. (He gestures to the pianist to begin. ANNAMARIA comes back in as he begins to sing.)

 

ALFREDO

[Bellini-esque recit and aria in Italian; he is OK, but not great. 

​

Aspetta! Che bella! Signorina! (Wait! How beautiful! Young lady!)

 

Gli ucelli fanno; (Birds do it;)

Le api lo fanno; (Bees do it;)

Anche le pulci istruiti fanno; (Even educated fleas do it;)

Facciamolo: (Let’s do it;)

Innamoriamoci! (Let’s fall in love!)

 

ANNAMARIA (interrupting Giacomo, who was about to speak.)

Oh no, no, no, Alfredo! That will never do. Only the very best performance will land you a part at La Scala! Now, let me show you how it’s done.  You see,

 

When I was the Prima Donna at La Scala in Milan,

I prepared my voice to sing the best I can

Strong discipline, my boy,

Is what you must employ

If you want to sing La Scala in Milan!

 

You must stand up straight with your chest out, proud and high; (he attempts to comply)

Chin up, that’s right, and plant your feet like mine.

Relax your jaw, like this, (he looks ridiculous)

And you’re sure to never miss;

Take a deep breath in, and let your spirit fly!

 

Now, try it again.

 

ALFREDO (struggling with the unnatural posture)              ANNAMARIA

Aspetta! Che bella! Signorina!                                               Enunciate!

Gli ucelli fanno; (his voice cracks)                                        Don’t pinch your chords—loosen up!

Le api lo fanno;                                                                      No slouching!

Anche le pulci istruiti fanno;                                                  Use your diaphragm!

Facciamolo:                                                                            Oh dear…

Innamoriamoci!                                                                      No, no, no!

 

ALFREDO

Oh, I sound even worse than before! Why do you have to be so mean? (He fixes to leave.)

 

ANNAMARIA

How badly do you want it, my boy?

 

When I was younger, not so long ago,

I studied under all the best, you know;

The lessons they were tough,

At times I had it rough;

But I was cast to headline every show! (Alfredo exits without hearing the next bit.)

 

(More reflective, almost soliloquy; but GIACOMO overhears her)

 

When I was a girl… (not more than four or five) papa always said to me,

“Anna!” he said, “come here and sing for me!

I’ll make you into a star,

And together we’ll go far—

You’ll be the greatest diva in opera history!”

 

I did what I was told

And now I’m… well, Now I’m growing old,

And whatever shall become my legacy?

 

Giacomo—did you look at the notes I gave you for the dancing sequence? 

 

GIACOMO

Not exactly, no. I have decided to use my original choreography. 

 

ANNAMARIA

And you decided this without even looking at my suggestions? I’ll have you know that…

 

GIACOMO

I am the director of this production, AnnaMaria, and I will decide what choreography we use! (He exits)

 

ANNAMARIA

Yes, of course, “Maestro!” (She stomps her foot.)

 

 

********************************************************************* SCENE 5

A corridor in the Palace. The DUKE is bustling by. ANNAMARIA is waiting to pounce on him.

 

ANNAMARIA (Flirtatiously pretends to be about to fall. He catches her.)

Oh Your Grace!  Thank goodness you were here! I could have rolled all the way down the stairs! You’re so strong… So gallant…

 

DUKE (Somewhat uncomfortable)

Well, yes, uh… (He sets her upright immediately)

 

ANNAMARIA (Almost like an auctioneer)

Your Grace, I am glad I saw you. As a discerning and sophisticated Patron of the Arts, you appreciate the hard work, expertise, and experience it takes to perform a successful show. Of course we all want your wedding celebration to be perfect, My Lord, and that is why I have attempted on numerous occasions to introduce to your “Minister of Merriment” some improvements to the finale choreography for the wedding opera; and in spite of my considerable experience on the stage—at La Scala in Milan—Giacomo refuses even to look at my suggestions. He’s a gifted composer, I’ll give him that. But as a director? Well, let’s just say he’s a few scenes shy of a full production. (She hands him a copy of HER choreography.) I would ask then that YOU have this choreography, as a token of my commitment to the quality of your wedding celebration. If ever you decide to get a NEW Minister of Merriment, I encourage you to consider ME!

 

DUKE

Well, I, uh…

 

ANNAMARIA sees GINA coming in and feigns another fainting spell and falls into the Duke’s arms compromisingly just as Gina enters.

 

ANNAMARIA

Oh, Your Grace! (Insinuating an interrupted liaison, she straightens herself up upon “seeing” Gina.)

Gina. Until we meet again, Your Grace! (She exits, GINA glaring.)

 

GINA

What was THAT all about?

 

DUKE

She was… I just… It’s not what you think!

 

GINA

And what exactly do I think?

 

DUKE

That AnnaMaria and I, that… that we…

 

GINA

What I think is that she engineered the whole thing to make me jealous. That’s just the sort of thing she would do. You and I are in love, and we are going to be married, and no puffed-up Prima Donna can break us apart, no matter how important she thinks she is!

 

DUKE

You’re wonderful, you know that?

 

GINA

Yes. Yes I do!

 

DUKE and GINA (Reprise)

There’s never been a greater joy

Than when a girl has found her boy!

Oh yes, I love you (I love you!)

Forever and ever!

 

 

********************************************************************* SCENE 6

In the Grand Hall.

 

GIACOMO

Thank you all for being here once again. Your Grace.  All right, everyone take your places. And, begin!

 

TUTTI

O joyful day! O wondrous day!

Today when all the world shall say,

“Love triumphant! Love divine!”

When love with love is intertwined,

You for me and I for you,

In joy together say, I DO!

 

(Once again, Giacomo’s “improved” choreography is a disaster.)

 

GIACOMO (Trying to smooth things over.)

Well, that was somewhat better. Shall we try it again?

 

ANNAMARIA

Your choreography doesn’t work, Giacomo; and it won't, no matter how many times we rehearse it. An aria, sung by me, would be more appropriate. And yet you refuse even to look at my suggestions. Well, I’ve had enough!

 

She stomps her foot, pivots, and exits once again in a huff. The others giggle.

 

TUTTI (or any combination you like)

(Chorus)

What does she do when she can't get her way?

She stomps her silver slipper!

What does she do when she’s something to say?

She stomps her silver slipper!

 

She stomps it just like a toddler does;

She stomps it sometimes just because!

She’s the diva-est diva there ever was

When she stomps her silver slipper!

 

ALFREDO

The other day I was in the Conservatory

When AnnaMaria burst in, in all her glory,

(imitating her) “Now, run along” she said,

And she patted me on the head!

I said she’d have her turn and not to worry!

And tell me, can you guess

Just what she did next?

She stomped her silver slipper!

 

TUTTI 

What does she do when she can't get her way?

She stomps her silver slipper!

What does she do when she’s something to say?

She stomps her silver slipper!

 

She stomps it just like a toddler does;

She stomps it sometimes just because!

She’s the diva-est diva there ever was

When she stomps her silver slipper!

 

GINA

The Duke and I were making preparations

About the wedding cake and decorations.

She said, “Your menu’s so passée—

You simply MUST do en flambée—

And your cake will be the talk of all the nation!”

We finally told her no, 

And before she turned to go,

She stomped her silver slipper!

 

TUTTI 

What does she do when she can't get her way?

She stomps her silver slipper!

What does she do when she’s something to say?

She stomps her silver slipper!

 

She stomps it just like a toddler does;

She stomps it sometimes just because!

She’s the diva-est diva there ever was

When she stomps her silver slipper!

 

GIACOMO

Last night while working on my last revision,

She announced that she had come to a decision:

“The dance scene in Act Two

Won't work for you-know-who.

I have some notes, so there’ll be no collision.”

(aside, figuring it out) I didn’t ask for her advice

                                    But now that I think twice… (Looking at her paper)

 

(the others go on…)    She stomped her silver slipper! (chorus, which Giacomo interrupts)

 

TUTTI 

What does she do when she can't get her way?

She stomps her silver slipper!

What does she do when she’s something to say?

She stomps her silver slipper!

 

She stomps it just like …

 

GIACOMO

Wait! Wait.

What if I’ve been all wrong about her? What if we’ve ALL been wrong? 

 

ALFREDO

Are you taking her side now? She’s a horrible bully. (The others agree.)

 

GIACOMO

Think about it. She has an exceptional voice—you all agree with that.

 

GINA

Yes, but so does a siren!

 

DUKE

Or a banshee!

 

ALFREDO

Or a harpy! (They all laugh, except Giacomo.)

 

GIACOMO

No, I mean it. She’s quite talented. She has a great deal of experience both as a performer and as a director. Perhaps my own pride has made me resist the help that she could give.

 

GINA

But why does she have to be so mean to everyone?

 

GIACOMO

Well, nobody has to be mean for any reason. 

 

But there are reasons why sometimes people act in a mean way. 

They may be angry, or hurting inside, or frustrated; 

And when a person doesn’t know how to let those feelings out, 

They can become a bully. 

AnnaMaria has been telling us about herself, 

But we have not been listening.

 

Do you know why she left La Scala?

 

ALFREDO

Because they couldn't stand her any more? (Laughs)

 

GIACOMO

No, because she directed an opera there, and the show was so good that the regular Maestro got jealous and fired her, and then took all the credit for himself.  

 

DUKE

That’s awful!

 

GIACOMO

Yes, it is. And wouldn't that make you angry or frustrated? Still, it isn't a good enough reason to act mean toward anyone.  But that goes for us as well! I have been ignoring her advice and brushing her off.

 

GINA

And I haven’t been very nice to her either.

 

DUKE

We have all laughed at her, or made fun of her at some point, either behind her back or even right in front of her.

 

GIACOMO

I think she got a little lost trying to be the best at what she does—a Prima Donna blinded by the footlights.  We should try to be more kind to her, and to include her more. Let’s start by looking at her notes for the finale. (They begin to practice her choreography.)

 

 

*********************************************************************

SCENE 9

In the Conservatory or Grand Hall. ALFREDO is warming up his aria. ANNAMARIA enters.

 

ALFREDO

AnnaMaria, I want to apologize to you.

 

ANNAMARIA (surprised)

Whatever for?

 

ALFREDO

I have not been kind to you, especially behind your back. Sometimes I don't like the way you treat me, but that’s no reason to be mean in return.

 

ANNAMARIA (Taken aback)

I… I don't know what to say. 

 

ALFREDO

You can answer a question for me. What’s it like, singing at La Scala?

 

ANNAMARIA (Becoming enraptured)

Oh, my boy, it’s wonderful! 

 

You take your place on stage as the orchestra plays the overture;

Your heart beats with the thrill of anticipation, then, oh then…

The crimson curtain rises like the fleeing night

To reveal the glittering glory of rank upon rank of golden boxes, 

Surrounding you, enfolding you;

Boxes filled with the faces of adoring fans who have come to hear you sing!

(She is softened, transformed.)

 

Oh, Alfredo, I do envy you.  You will love singing there.

 

ALFREDO

You really think I can win the audition?

 

ANNAMARIA

My boy, not only will you win the audition, but with your voice and good looks, you’ll be the toast of Milan for years and years!

 

ALFREDO

Will you help me with my aria? You know just what they are looking for.

 

ANNAMARIA

Of course I’ll help you! Let’s begin!

 

You must stand up straight with your chest out, proud and high; (he attempts to comply)

Chin up, that’s right, and plant your feet like mine.

Relax your jaw, like this, (he looks confident, professional)

And you’re sure to never miss;

Take a deep breath in, and let your spirit fly!

 

ALFREDO (absolutely nailing it)                                          ANNAMARIA

Aspetta! Che bella! Signorina!                                               Enunciate! Yes, perfetto!

Gli ucelli fanno;                                                                      Looser… well done!

Le api lo fanno;                                                                      Posture!

Anche le pulci istruiti fanno;                                                  Diaphragm!

Facciamolo:                                                                            Yes, si, si…

Innamoriamoci!                                                                      Magnificent!

 

ANNAMARIA

Alfredo, you are magnificent. Bravo! They’ll sign you on the spot.

 

ALFREDO

Thank you, AnnaMaria. I feel much better about it now. 

 

ANNAMARIA

And I would like to apologize to you. It’s true I have been less than nice to you for some time. The truth is, I was jealous. Of you. That you are just at the glorious beginning of your career, and I, well, … 

 

ALFREDO

Oh, come on. Things are looking up. You’ve made a new friend, right? Friends? (he offers his hand)

 

ANNAMARIA

Friends! (She accepts and shakes his hand.)

 

We might need a transition here – perhaps some pantomime of each character having a more positive reaction with AnnaMaria? Perhaps the other characters secretly rehearsing AnnaMaria’s choreography, as a surprise?

 

 

********************************************************************

SCENE 10

In Gina’s chambers. GINA is trying to choose a wedding gown or trying on veils. ANNAMARIA is assisting her.

 

GINA

It’s a shame my mother isn't here to see me married.

 

ANNAMARIA 

She is proud of you, no doubt about that. As I hope mine is of me. I lost my mother as a young girl, as well.  You know, I met your dear mother once, long ago. She was very kind to me.

 

GINA

Well, you’re the closest thing to a mother I have now.

 

ANNAMARIA (deeply moved)

Oh, Gina! If I had a daughter, I would want her to be just like you! (They have a moment.)

 

GINA                                                  ANNAMARIA

You could be

Like a mother to me:                          I could be

Sweet, and loving,                              Sweet, and

Gentle and mild.                                 Gentle; I could!

 

We could be

Like a family:

Living together,                                   Loving each other,

Lifting each other up!                         Lifting each other up!

 

(They embrace, as the DUKE enters.)

 

DUKE

I’m glad to see

You two could be

Closer together!

 

GINA and ANNAMARIA

Closer than ever!

 

DUKE, GINA, ANNAMARIA

We could be

Like a family:

Living together,

Loving each other,

Lifting each other up!

 

GIACOMO and ALFREDO enter

Now we see

That we all could be

Just like a family…

 

TUTTI

Just like a family:

Living together,

Forgiving each other,

Lifting each other up,

Just like a family!

 

Exeunt, except for GIACOMO. The following monologue fills time for costume change, etc.

 

GIACOMO (narrating)

And so the big day arrived, and the wedding was a splendid success! Royalty from all over Italy were in attendance, as was the new Maestro of La Scala in Milan! There was a solemn ceremony in the Cathedral, followed by a delicious Banquet, and then the Wedding Opera, in front of all those glittering guests, when the Duke, and the new Duchess, joined us on the stage for the Finale!

 

 

******************************************************************* SCENE 11

In the Great Hall, at the finale of the Wedding Opera. The DUKE and now DUCHESS are in their wedding finery, and join the others on the makeshift stage. They perform AnnaMaria’s choreography, and all goes smoothly, of course.

 

TUTTI

O joyful day! O wondrous day!

Today when all the world shall say,

“Love triumphant! Love divine!”

When love with love is intertwined,

You for me and I for you,

In joy together say, I DO!

 

DUKE

I thank you for this wondrous show;

I’m the luckiest Duke I know!

Now’s the perfect time, it seems,

To praise a member of our team:

Permit me, all, to take this chance

To name you Prima Donna of the Dance!

 

ANNAMARIA

My Lord! I don't know what to say!

I didn’t expect this news today!

 

GIACOMO

Well I for one am quite content,

As Minister of Merriment,

To have a partner for the Dance,

If you’ll forgive my prideful stance!

 

(Giacomo and AnnaMaria embrace… perhaps with a hint of romance???)

 

ALFREDO

I have some solemn news as well—

For very soon I say farewell;

La Scala has accepted me

As Singer of the Company!

You’re looking at the tenor lead

For Innamoriamoci! 

 

(They congratulate him)

 

GINA

We are the luckiest ones of all,

For after the cake, and fancy ball,

Our wedding banquet will be done;

But our new life has just begun!

 

DUKE

With you my joy is now complete;

Let’s celebrate, for life is sweet!

 

TUTTI 

Ah, the sweet life!

Dolce, dolcissima!

Dance and be merry,

Let wedding bells ring!

 

Ah, the sweet life!

Bella, bellissima!

Of true love and friendship,

Forever we’ll sing!

 

Before the Duke and Duchess cut their wedding cake, they light it en flambé, to great applause.

 

-- FINE --