Post on 04-Sep-2020
For Those In PerilA Chamber Opera in Two Parts
Libretto by
Francis L. Lynchand
Raymond Humphreys
Music by
Francis L. Lynch
Vocal Score
Far Voyager MusicSheet Music Back In Print Inc.
sheetmusicbackinprint.com
2
Inquiries regarding performance licenses can be made to sales@sheetmusicbackinprint.com
Copyright © 2017 by Francis L. LynchFirst Edition, Third Impression: October 2017
Special thanks to Raymond Humphreys, for permission to adapt and includehis “The First and Last Letter to his Wife from Thomas Griffith,” which wasthe main impetus for the creation of this opera. Thanks also to Paul Ryder,who originally suggested the story might be the basis for a chamber opera.
3
For Those in PerilTABLE OF CONTENTS
Cast and Brief Synopsis .............................................................................
Part 1 Prologue: The Morning and the Evening Star (Narrator) .....................
Scene 1: Departure and Arrival of the Keepers (Gwendolyn, Madeleine, Howell, Griffith, and Williams) ...........
Scene 2: Madeleine’s First Letter (Madeleine) ..................................... Scene 3: The Night Watch (Narrator) ...................................................
Scene 4: Madeleine’s Second Letter (Madeleine) ................................. Scene 5: The First Incident (Howell and Griffith) ................................. Scene 6: Madeleine’s Third Letter (Madeleine) .................................... Scene 7: The Second Incident (Howell and Griffith) ............................
Scene 8: The Coming Storm (Narrator) ............................................... Scene 9: The Third Incident (Howell and Griffith) ...............................Part 2
Scene 10: Gwendolyn’s Prayer (Gwendolyn) ........................................Scene 11: Griffith’s First Letter (Griffith) .............................................Scene 12: Anxiety (Gwendolyn, Madeleine, Whiteside, and Williams)Scene 13: Griffith’s Second Letter (Griffith) .........................................Scene 14: For Those in Peril
(Gwendolyn, Madeleine, Whiteside, and Williams) ...................Scene 15: Griffith’s Third Letter (Griffith) ............................................
Scene 16: Madeleine’s Prayer (Madeleine) ............................................ Scene 17: Griffith’s Fourth Letter (Griffith) ........................................... Scene 18: The Prayer Vigil (Gwendolyn, Madeleine, Whiteside, and Williams) ................... Scene 19: Madness and Relief (Whiteside, Griffith, and Williams) ....... Scene 20: Coming Home (Gwendolyn and Madeleine) ......................... Epilogue: Final Reflections (Narrator) ..................................................
Appendix: Notes on Sources ......................................................................
Instrumentation:Flute, Clarinet, Violin, Viola, Violoncello
Approximate Performance Time: 113 minutes if no intermission
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Cast and Brief SynopsisNarrator (The Morning and Evening Star)Gwendolyn Howell, wife of HowellMadeleine Griffith, wife of GriffithThomas Howell, lighthouse keeperHenry Whiteside, lighthouse architectThomas Griffith, lighthouse keeperRhys Williams, lighthouse service officer
Note: one singer may sing both tenor roles.
SopranoSopranoMezzo-sopranoTenorTenorBaritoneBass-baritone
PART ONEPrologue & Scene 1. The narrator muses on her distant view of the world that she perceives as the morning and the eveningstar, then introduces this tale of those in peril on the sea. Madeleine and Griffith come to the dock where Griffith is to meetthe lighthouse service officer, Captain Williams, to be taken to the lighthouse for his tour of duty. Madeleine pleads withhim to stay, but Griffith reiterates his need for the pay he will earn, having taken bad financial advice the year before.Gwendolyn and Howell arrive; Gwendolyn also begs her husband to stay, but he dismisses her concerns. Howell noticesGriffith, and the two exchange ominous remarks before Williams arrives to take them away. Madeleine offers her friendshipto Gwendolyn, and the two sing a prayer for their husbands’ safety. After a brief musical interlude, the scene shifts to thelighthouse where Williams has just shown the two men around and now asks for questions. In the ensuing dialogue, itbecomes clear that Griffith and Howell do not like each other. After a trio that begins with Williams’ advice to the menthe scene concludes with Williams’ aside, hoping they can avoid killing each other during their stay at the lighthouse.Scene 2. Madeleine reads from a letter she is writing, to help keep her husband in her thoughts during his absence.Scene 3. The narrator sings of the sacrifices that lighthouse keepers make, while Griffith is seated in the background.Scene 4. Madeleine explains that she has devoted each Sunday evening to her letter writing, and tells of events at home.Scene 5. Howell accuses Griffith of taking his bible, and continues to accuse him even after Griffith locates the bible.They sing a duet bemoaning the ill-feeling between them, but neither shows any thought of actual reconciliation.Scene 6. On a warm autumn evening, Madeleine worries about Griffith’s safety when winter storms arrive.Scene 7. Griffith begins to sing the Ballad of Grace Darling, and Howell joins him. After the song, Howell disparagesGriffith’s singing, then points out that the behavior of the sea-birds suggests that bad weather is coming.Scene 8. The narrator sings of the coming storm at harvest time, and warns that the “west wind [shall] thresh the grain.”Scene 9. When Griffith returns from the light with the news that the storm is here, Howell complains that Griffith’scooking is awful. In the middle of the ensuing argument, Howell loses his temper and charges at Griffith, who stepsaside to watch Howell clutch his chest and collapse. Griffith is shocked to discover that his companion is dead.PART TWOScene 10. Gwendolyn comes to the chapel to pray for her husband; she has an awful feeling that he might well be dead.Scene 11. In the now raging storm, Griffith begins a letter to his wife to relate the tale of Howell’s unexpected demise.Scene 12. Madeleine asks Gwendolyn, Captain Williams, and lighthouse architect Henry Whiteside to the chapel to hearher concerns about the safety of the light-keepers during the storm. Whiteside tells the story of the improvements to thelighthouse structure that were made shortly after it was built and assures her that it is safe. The women are skeptical butforced to accept his judgment. After they depart, Whiteside and Williams sing a duet, “God help our men at sea.”Scene 13. Griffith continues his letter with a description of his building a box to contain Howell’s body and hanging itfrom the lantern rail of the lighthouse, in the hopes that a passing ship will see it and investigate.Scene 14. Whiteside and Williams summon the wives to the chapel to inform them of the sighting of something unusualat the lighthouse, but explain that the storm has created such high seas that they cannot yet land on the rocks toinvestigate. The quartet sings the Mariners’ Hymn, “For those in peril on the sea.”Scene 15. Griffith sings wistfully of his wife and children at home, and continues his letter, expressing his fear that hecannot retain his sanity for the remaining three weeks of his tour of duty.Scene 16. Madeleine comes to the chapel and sings a prayer for her husband’s safety.Scene 17. Griffith continues his letter with the gruesome tale of Howell’s dead arm appearing outside his window.Scene 18. Madeleine and Gwendolyn meet in the chapel to pray for their hubands’ safety. Williams and Whitesideburst into the chapel in great excitement with the news that the seas have subsided sufficiently that a ship with a reliefcrew can now be sent to the lighthouse. The ladies give them portraits of themselves to give to their husbands asreminders of their faithful love. After the others leave, Madeleine sings another brief prayer.Scene 19. A haggard and worn Griffith breaks down and collapses after writing the last few paragraphs of his letter.Williams and Whiteside discover him, then recoil in shock at Howell’s body hanging outside the window. Griffithsuddenly revives and wildly asks if they are the Devil’s demons come to drag him down to hell. They try to calm himand the trio sings a traditional sailors’ song, “Homeward bound.”Scene 20. Madeleine and Gwendolyn are in the chapel and sing a duet, “Coming home,” as they await their husbands’return. A grim-faced Williams and Whiteside enter; the ladies rush to them, then reel in shock as they learn the news.The narrator enters and reflects on the endless prayers that are made for those in peril on the sea.
Misterioso
NARR.
10
NARRATOR I am the
morn ing
and the
-
NARR.
19 eve
ning
star;
I watch the
world in
won der
- -
NARR.
27 from
a
far.
First born and
fi nal
rel ic
of the
- - - -
5PART ONE
Prologue : The Morning and the Evening StarNarrator
NARR.
35 night.
I dwell a
loof
in dim im
men
si
- - - -
NARR.
43 ty;
Vivace
The grey sky spark les with my
-
NARR.
48 fair y light;
I mix a mong the dan cers
- - -
NARR.
52 of the sea;
molto rit.
Andante
Yet stoop not from the throne I
6 Prologue: The Morning and Evening Star
For Those in Peril
NARR.
56 must re tain
High o’er the sil ver sour ces
of the rain.
Vi cis si tude I
subito
- - - - - -
NARR.
60 know not, nor can
know, yet much dis
cern strewed ev erywhere a
round;
- - -
NARR.
64
Vivace
The ev er stir ring race of
men be low
- - -
NARR.
69
Much do I watch, and wish I
were not bound
molto rit.
7Prologue: The Morning and Evening Star
For Those in Peril
NARR.
73
Andante
The chain less cap tive of this
lone ly spot,
- - -
NARR.
76 Where light winged Mu ta bil i
ty is not.
I see great ci ties
subito
rise, and fall to
- - - - - -
NARR.
80 war, And slow ly
crum ble in to dust a
gain;
Vivace
- - - -
NARR.
85 And roar ing bil lows prey ing
on the shore;
- - -
8 Prologue: The Morning and Evening Star
For Those in Peril
NARR.
89 And vir gin isles a scend ing
from the main;
molto rit.
Andante
- - -
NARR.
93 The pass ing wave of the per
pe tual riv er;
And fros ty nights
- - - - -
NARR.
96 when men and wo men
shiv er.
- -
NARR.
99
The up turned eyes of
man y a mor tal maid
- - -
9Prologue: The Morning and Evening Star
For Those in Peril
NARR.
102 Glass me in gath ering
tears, soon kissed a
way;
Then walks she for a
- -
NARR.
106 space, and then is laid
Swell ing the bo som of the
qui et clay.
- - -
NARR.
109
NARR.
111 I muse what this all kind ling
Love may be,
And what this Death that
-
10 Prologue: The Morning and Evening Star
For Those in Peril
NARR.
114 ne ver comes to
me.
Misterioso
-
NARR.
122
NARR.
131 Now comes the
dawn to
shed its
mea
ger
light
-
NARR.
139 On two whose
des ti
ny a
waits
at
sea;
And two who
- - -
11Prologue: The Morning and Evening Star
For Those in Peril
NARR.
147 must wait,
help less
at their
plight,
-
NARR.
154 Not know ing
what their
loved ones’
fate shall
be.
-
NARR.
161 Watch with me
now, as
fades the
sha dowed
night,
-
NARR.
167 And pray for
those
in per il
on
the
sea.
attacca
-
12 Prologue: The Morning and Evening Star
For Those in Peril
Tranquillo
(Exit narrator.)
(Scene: a dock on the coast of Wales. Griffith and Madeleine enter.Griffith wears a cloak and carries a sack. He sets this down and looks about him.)
accel.
GRI.
7 I was told to
Andante
GRIFFITH meet Cap tain Will iams here,
on the dock. But
I do not yet see him...
- -
MAD.
11
accel.MADELEINE
(clinging to Griffith)
Oh, Thom as dear, why
Moderato
must you go?
You know that I will
miss you so!
-
GRI.
16 I on ly wish that
GRIFFITH
I could stay.
But with my debts, I
need this pay.
-
13Scene 1: Departure and Arrival of the Keepers
Gwendolyn, Madeleine, Howell, Griffith, and Williams
GRI.
20 Last year I took some
bad ad vice,
And now I have to
pay the price.
-
GRI.
24 Oh, dear Lord.
(Howell and Gwendolyn enter on the opposite side of the stage.)
Is that How ell?
Moderato
-
GWEN.
HOW.
28 Fare well, my dear
HOWELL
wife.
I bid you pray for
Please do not
me.
GWENDOLYN
-
GWEN.
32 go— I
have the most aw ful
feel ing I may nev er
see you a gain.
- - - -
14 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
HOW.
36 What
HOWELL non sense!
Be on your
way, and take care of our
-
HOW.
40 home in my
ab sence.
(He turns away dismissively, sees Griffith and takes a few steps toward him.Gwendolyn watches him but does not leave the stage.)
-
HOW.
GRI.
44
HOWELL Mis ter Grif fith.
GRIFFITH
Mis ter How ell.
So we are to be com
- - -
- -
HOW.
48 pan ions at the light house.
I hope that you have seen
the er ror of your
ways.
- -
15Scene 1: Departure and Arrival of the Keepers
For Those in Peril
GRI.
WIL.
52 It is I who hope that
GRIFFITH you have seen your er ror.
WILLIAMS
(Williams enters and strides up to the men.)
How ell? Grif fith?
Comewith me.
-
- -
HOW.
GRI.
57 Aye, Cap tain Will iams.
Aye, Cap tain Will iams.
HOWELL
GRIFFITH
(Griffith turns to Madeleine after gesturingto Williams to wait a moment.)
Good bye, my dear
wife, I will be back be
- -
- - - -
MAD.
GRI.
61
fore you e ven
Good
know it.
MADELEINE bye, my dear hus band.
(Williams, Griffith, and Howell exit. Madeleinecomes over to Gwendolyn and takes her hands.)
-
- -
16 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
GWEN.
MAD.
66 I want you to know
Andante
MADELEINE
that you can count me
We can
as a friend.
GWENDOLYN share our wor ries and our
-
GWEN.
MAD.
70 fears.
Moderato
We must be strong, and
We must be strong, and
wait and pray;
wait and pray;
GWEN.
MAD.
74 And think of them, while
And think of them, while
they’re a way—
they’re a way—
Take com fort know ing
Take com fort know ing
that they are
that they are
- - -
- - -
17Scene 1: Departure and Arrival of the Keepers
For Those in Peril
GWEN.
MAD.
78 Still near and yet so
Still near and yet so
ver y far.
ver y far.
We can but pray that
We can but pray that
they shall be
they shall be
-
-
GWEN.
MAD.
82 Safe from all per ils
Safe from all per ils
of the sea.
of the sea.
(They exit and the lights go down for a musical interlude.)
-
-
88
rit.
Tranquillo
93
18 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
98
rit.
(The lights come up on the lighthouse interior. Williams, Griffith, and Howell enter from the doorleading to the platform. Howell closes the door behind him. Williams makes a gesture indicating the lighthouse as a whole.)
Andante
WIL.
103 That’s the lot, then, me
WILLIAMS lads.
Now you know the lay
of the land, so to
WIL.
107 speak.
You’ve three months sup
plies;
Your du ties are sim
- - -
WIL.
111 ple: just keep the lamps
lit at all times.
So:
an y quest ions?
- - -
19Scene 1: Departure and Arrival of the Keepers
For Those in Peril
GRI.
115
GRIFFITH
(after an uncomfortable glance at Howell) So do the
HOW.
GRI.
119 lamps burn ev en in the
But of
day?
HOWELL (before Williams can reply) course, as a ny fool who
-
-
HOW.
WIL.
122 looks from shore can see!
Yes, the
WILLIAMS (with a cautionary gesture to Howell)
lamps are an aid to na vi
ga tion at all hours.
- - -
20 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
HOW.
GRI.
125
How then are our
GRIFFITH
du ties di vi ded
Well, how man y are
up?
HOWELL
- - -
-
HOW.
WIL.
128 we? And how man y hours in a
day? What would you
WILLIAMS
think?
(with a cautionary gesture to Howell)
One man is on
più mosso
-
WIL.
132 du ty half the
day, from six in the
mor ning to six in the
eve ning, the
- - -
21Scene 1: Departure and Arrival of the Keepers
For Those in Peril
HOW.
WIL.
136 oth er on du ty for the
oth er twelve hours.
I be lieve
Allegro HOWELL
I should be the one on
- - -
-
HOW.
GRI.
140 du ty dur ing the
day.
GRIFFITH
Well, I have no
(flaring up)
in t’rest in your be
liefs— as you
- -
- -
HOW.
GRI.
145 know.
(with a step toward Griffith) That’s be cause your own be liefs
are so wrong!
- -
22 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
WIL.
148
meno mosso
WILLIAMS
(stepping between them)
Hold, both of you!
Is there some his to ry be
- - -
GRI.
WIL.
151 tween you?
GRIFFITH
(turning and walking away) This one fan cies him
self a wan d’ring
- - -
HOW.
GRI.
155 preach er who spreads his
Me tho dist non sense
wher ev er he
HOWELL (also turning away) He calls him
goes.
- - - - - -
-
HOW.
159 self “In de pen dent”
but that on ly means he re
jects right ful au thor i ty.
- - - - - - - - -
23Scene 1: Departure and Arrival of the Keepers
For Those in Peril
WIL.
163
I think it would be
WILLIAMS (rolling his eyes)
best to a void the
sub ject of re li gion
while you are sta tioned
- - - - -
WIL.
167 here. The
re gu la tions
call for the keep ers to
al ter nate their du ty shifts
- - - - - - -
WIL.
171 ev ery fort night.
If How ell wish es to
take the first stretch of day
- - - -
WIL.
175
du ties—
(looks at Griffith questioningly,who makes a dismissive wavewithout turning around)
Ver y well, then.
Grif fith shall move to the
day shift in two weeks.
- - -
24 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
WIL.
179 An y oth er ques tions?
(The other two menremain silent, facingaway from each other.)
Then I
just have one last
piece of ad vice.
- - --
WIL.
183 Make an
Vivace
ef fort to be kind and work to
geth er; Or you’ll
- --
GRI.
WIL.
186 find this tour of du ty heav y
I don’t
weath er.
GRIFFITH care to be be rat ed by this
- -
- - -
HOW.
GRI.
189 preach er; In all
mat ters of my faith I need no
It is
teach er.
HOWELL
- - -
25Scene 1: Departure and Arrival of the Keepers
For Those in Peril
HOW.
192
plain to see this man lacks com pre
hen sion; To the
truth he nev er pays the least at
- - - - -
HOW.
GRI.
WIL.
195 ten tion.
Make an
WILLIAMS
It is
I don’t care to be be
ef fort to be kind and work to
GRIFFITH
plain to see this man lacks com pre rat ed by this preach er;
geth er; Or you’ll
-
- -
- - -
- -
-
HOW.
GRI.
WIL.
198 hen sion; To the
In all mat ters of my
find this tour of du ty heav y
truth he nev er pays the least at faith I need no teach er. weath er. Make an
ten tion. It is
I don’t care to be be
ef fort to be kind and work to
- - -
-
- -
- - -
-
- -
26 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
HOW.
GRI.
WIL.
201 plain to see this man lacks com pre rat ed by this preach er;
geth er; Or you’ll
hen sion; To the
In all mat ters of my
find this tour of du ty heav y
truth he nev er pays the least at faith I need no teach er.
weath er. MakeMake an
- -
- - -
- - - -
-
-
-
-
HOW.
GRI.
WIL.
204 ten tion. It is
I don’t care to
ef fort to be
plain to see this be be rat ed kind and work to
man lacks com pre by this so called
geth er, work to
hen sion. preach er. geth er.
- -
- -
-
-
-
- -
-
-
- -
209
molto rit.
Andante
27Scene 1: Departure and Arrival of the Keepers
For Those in Peril
WIL.
215 Then I leave you to your
WILLIAMS du ties.
I shall re turn in three
months to bring your re
- - -
WIL.
219 lief.
God be with you
both. (I
(aside)
WIL.
222 pray He will keep you from
3
kill ing each oth er.)
rit.
(Exit Williams via the downstage entrance.)
- -
28 Scene 1: Departure and Arrival of the Keepers
For Those in Peril
Moderato semplice
(Lights come up on Madeleine seated at her desk, finishing a letter. She stands to sing.)
MAD.
6 My
MADELEINE hus band, I write you this
let ter; Al
though I should sure ly know
- - - -
MAD.
10
bet ter. I
know it shall ne ver be
sent, And
- -
MAD.
13 yet I am some how con
tent To
put in to words what I
feel; This
- - -
29
For Those in Peril
Scene 2: Madeleine’s First LetterMadeleine
MAD.
17 let ter makes you seem more
real. I
pray that you shall be con
- -
MAD.
20
soled By
warm thoughts of me when you’re
cold. The
MAD.
23
light house shall now be your
home; No
3 3
more in our fields will you
-
MAD.
26 roam.
Tranquillo
Now that you’re gone,
30 Scene 2: Madeleine’s First Letter
For Those in Peril
MAD.
30 we are so far
a part;
I feel as if
-
MAD.
34 there’s a hole
in my heart.
Moderato semplice
MAD.
40
I’ll
think of you each pass ing
-
MAD.
44
hour, Re
mote from the world in your
tower. And
-
31Scene 2: Madeleine’s First Letter
For Those in Peril
MAD.
47
tend ing the light that shall
save Lost
sail ors from their wat ’ry
- - -
MAD.
50
grave. I’ll
wait for you here on the
shore, Re
-
MAD.
53 3 3
mem b’ring the days from be
fore. How
lone ly our cot tage now
meno mosso
- - - -
MAD.
56 seems— Per
haps we shall meet in our
5
rit.
dreams...
a tempo
-
32 Scene 2: Madeleine’s First Letter
For Those in Peril
Moderato tranquillo
NARR.
6
(Narrator enters downstage and sings whilethe seated Griffith makes entries in the logbook.)
Allegretto
NARRATOR As the eve ning
slow ly gath ers
- - -
NARR.
11 A round the
lone ly tow er,
And the long night
falls, And the
- - -
NARR.
15 light shines on in the
cold and the dark ness,
Tranquillo
Qui et and still at his
desk, the Lone ly
- --
33
For Those in Peril
Scene 3: The Night WatchNarrator
NARR.
20 Light Keep er Holds his
vi gil.
Allegretto
Lured from far, The be
wil dered sea gull
- - - - - -
NARR.
24 beats Dul ly a
gainst the lan tern;
Yet he stirs
not, lifts not his
- - -
NARR.
28 head From the desk where he
reads, Lifts not his
eyes to see
The
Tranquillo
chill blind cir cle of
-
NARR.
33 night Watch ing him
through the panes.
Moderato tranquillo
-
34 Scene 3: The Night Watch
For Those in Peril
NARR.
37 This is his coun try’s
guar dian, The
out most sen try of
peace,
- - - -
NARR.
41 This is the man Who gives
up what is love ly in
liv ing
For the means to
live.
rit.
- -
NARR.
46
a tempo
Po e try cun ning ly
gilds The life
of the Light Keep er
- - - - - -
NARR.
50 Held on high
in the black ness
In the burn ing
ker nel of night, The
- - -
35Scene 3: The Night Watch
For Those in Peril
NARR.
54 sea man sees and bless es him,
The Po et,
deep in a son net,
Num bers his ink y
- - - - - -
NARR.
58
fin gers Fit ly to
praise him.
- -
NARR.
63
On ly we be
hold him,
Sit ting,
pa tient and
- - - -
NARR.
68 stol id,
Mar tyr to a
allarg.
sal a ry.
- - - -
36 Scene 3: The Night Watch
For Those in Peril
Andante cantabile Œ.= 48
(As before, she is seated at her writing deskto finish the letter, then stands to sing.)
Each
MADELEINE Sun day eve ning be
longs to you; I
- - -
MAD.
6 set a side this
time each week To
bring your mem o ry
in to view And
gaze in to your
- - - - -
MAD.
11
eyes and speak. On
these frail pa ges I
pour my love; With
words I weave a
tap es try And
- - -
MAD.
16
draw the one I am
dream ing of— My
dis tant guar dian
of the sea.
- - -
37
For Those in Peril
Scene 4: Madeleine’s Second Letter
MAD.
21
Now from the peo ple who
Andante con moto Œ.= 60
hold you so dear,
I bring you news of the
-
MAD.
25
fa mi ly here.
Though they would nev er ad
mit it, I know,
All of the chil dren are
- - - - -
MAD.
29
miss ing you so.
Em i ly prays for you
ev er y night;
Ev ery child’s proud of you
- - - - - -
MAD.
33 tend ing the light.
Down in the vil lage, life’s
still much the same.
- -
38 Scene 4: Madeleine’s Second Letter
For Those in Peril
MAD.
36
All that I speak with will
men tion your name,
Wish ing for your sake the
- -
MAD.
39 weath er stays fair,
Glad that they know of your
ser vice out there.
- -
MAD.
42
I can’t be lieve how time
crawls now you’re gone—
Some times I don’t know if
- -
MAD.
45 I can keep on.
Andante cantabile Œ.= 48
But
when I think of you,
out to sea, My
39Scene 4: Madeleine’s Second Letter
For Those in Peril
MAD.
50 woes don’t seem so
much to bear; I
know that soon you’ll come
back to me And
MAD.
54
once a gain our
life we’ll share. So
now I must put my
self to bed, And
bid a dieu to
- - -
MAD.
59 this long day; But
ere I lay down my
wear y head, For
you I kneel and
soft ly pray.
- -
MAD.
64
Keep
rit. watch, dear Lord, with
Andante tranquillo Œ.= 44
those who work, or
40 Scene 4: Madeleine’s Second Letter
For Those in Peril
MAD.
69
watch, or weep this
night, And
give thine an gels
charge o ver those who
- -
MAD.
73
sleep.
Tend the sick, Lord
Christ; give rest to the
wear y, Bless the
-
MAD.
77
dy ing, soothe the
suf fer ing, pi ty the af
flict ed, shield the
joy ous; And
- - - - - - -
MAD.
81
all for thy love’s
sake.
A
rit.
men.
- - -
41Scene 4: Madeleine’s Second Letter
For Those in Peril
Moderato
5
(Griffith is seated at the table, reading his bible.Abruptly Howell enters from the platform door.)
HOW.
GRI.
10 What have you done with my
HOWELL
bi ble?
Your bi ble?
GRIFFITH
It is not in its
pro per place by my
-
-
-
HOW.
GRI.
14 cot— you must have ta ken it.
Why would I take your
bi ble? As you can
-
-
42
For Those in Peril
Scene 5: The First IncidentHowell and Griffith
HOW.
GRI.
17 see, I have one of my
own.
HOWELL You are try ing to
-
HOW.
GRI.
21 make things dif fi cult for
me. As if your
mere pre sence were
not e nough of a
- - - -
HOW.
GRI.
25 trial.
Well, have you looked for your
43Scene 5: The First Incident
For Those in Peril
HOW.
GRI.
28 bi ble? Most like ly
you have sim ply mis
laid it.
- - - -
HOW.
GRI.
31 Where have you hid den it?
HOWELL
-
HOW.
GRI.
34 Do you re mem ber where you
GRIFFITH
were when you last read your
I read it
bi ble?
- - -
44 Scene 5: The First Incident
For Those in Peril
HOW.
GRI.
37 ev ’ry eve ning be fore
bed, of course.
But did I not see you
read ing it this morn ing?
- - -
- -
HOW.
GRI.
41 When you re turned from your
walk out side?
(Griffith walks over to the wall beneath the window.)
Yes, here it is;
- -
HOW.
GRI.
45 you must have left it
here.
(holds bible out to Howell)
I don’t re call that I
(seizing the bible roughly from Griffith’s grasp) left it there.
-
45Scene 5: The First Incident
For Those in Peril
HOW.
GRI.
49 You must have ta ken it
from my bed side.
That is n’t
true. Why do you
- -
-
HOW.
GRI.
53 blame me with out
In the
rea son?
fu ture, keep your hands off my pos
- -
- -
HOW.
GRI.
56 ses sions.
I have touched noth ing of
yours ex cept this bi ble, and
-
- - -
46 Scene 5: The First Incident
For Those in Peril
HOW.
GRI.
59 on ly to hand it to
you just now.
(They turn away from each other to sing the following duet.Howell is angry and animated, Griffith weary and resigned.)
-
HOW.
GRI.
62
Why does he tor ment me so?
Why does he tor
Allegro agitato Œ.= 72 Why does he tor ment me so?
ment me so?
Why can’t he just let it go? Why can’t he just
- -
-
HOW.
GRI.
65 Why can’t he just let it go?
let it go?
Once we could call our selves friends;
Once we could call
-
47Scene 5: The First Incident
For Those in Peril
HOW.
GRI.
67 Once we could call our selves friends;
our selves friends;
Why can’t he now make a mends? Why can’t he now
- -
-
HOW.
GRI.
69 Why can’t he now make a mends?
make a mends?
-
-
HOW.
GRI.
71
Set all our diff ’rence a side?
Set all our diff
Set all our diff ’rence a side?
’rence a side?
Shake hands and swal low his pride? Shake hands and swal
- - - - -
- - -
48 Scene 5: The First Incident
For Those in Peril
HOW.
GRI.
74 Shake hands and swal low his pride? low his pride?
How did this state come to be?
How did this state
-
HOW.
GRI.
76 How did this state come to be?
come to be?
Why does he per se cute me?
Why does he per
Why does he per se cute me?
se cute me?
- - - -
- -
79
(Griffith stands and crosses to sit on the cot.Howell seizes his vacated chair and sits down aggressively.)
Largo rit.
81
Moderato
49Scene 5: The First Incident
For Those in Peril
This
Molto tranquillo
MADELEINE
night a soft, warm
(As before, she is seated at her writing desk to finish the letter, then stands to sing.)
breeze be stirs My
-
MAD.
4
cur tains in the
pale moon light;
This
- -
MAD.
7
e cho of the
sum mer past Is
- -
MAD.
9
pre cious now as
days grow short.
Too
-
50
For Those in Peril
Scene 6: Madeleine’s Third LetterMadeleine
MAD.
12 soon the win ter
poco più mosso
winds will roar, And
shut tered shall our
- -
MAD.
15
win dows be A
gainst the chill that stings our eyes And
grays the world with
- -
MAD.
18 frost and ice.
And
now, my love, I
Tempo primo
think of you, A
-
MAD.
22
top your fra gile tower of
stone. When
wind and wave come
ra ging in, Will
- -
51Scene 6: Madeleine’s Third Letter
For Those in Peril
MAD.
26
you be safe a mid the
storms? To
God I send my
fer vent prayers That
- -
MAD.
30
you from dan ger might be
saved, And
when your tour of
du ty ends, I
- -
MAD.
34 once a gain shall hold you
close. But
for the mo ment let us take This
- -
MAD.
37
plea sant wea ther as a gift That
we can qui et ly en joy.
- - - - -
52 Scene 6: Madeleine’s Third Letter
For Those in Peril
MAD.
39 3 3
3 3 3 3
What time shall bring we can not
-
MAD.
41
know; For now we can but
rest and wait To
see what lies in store for
us.
MAD.
45 And
so I send you
all my love; Good
MAD.
48
night, dear heart, I
miss you
so.
Adagio
53Scene 6: Madeleine’s Third Letter
For Those in Peril
Allegretto
(Griffith is seated at the table, arms clasped behind his head, deep in thought.After a moment he leans forward and begins to sing softly, gradually becoming louder as he sings.)
GRI.
7 ’Twas
GRIFFITH at the Long stone Light house, There
dwelt an English maid, Pure
- -
GRI.
10 as the air a round her, Of
dan ger ne’er a fraid, One
morn ing just at day break, A
- - - - -
GRI.
13 storm tossed crew she spied, And
though to try seemed mad ness, “I’ll
save the crew,” she cried.
- -
54Scene 7: The Second Incident
Howell and Griffith
GRI.
16 And she
pulled a way o’er the
roll ing sea,
O ver the wa ters
blue. “Help,
- - - -
GRI.
21 help!” she could hear the
hope less cry Of the
men of the ship wrecked
crew. But
- -
GRI.
25 Grace had a fear less
Eng lish heart, As the
ra ging storm she
braved. And she
- - -
GRI.
29 pulled a way o’er the
dash ing spray, And the
strand ed crew she
saved.
- - -
55Scene 7: The Second Incident
For Those in Peril
HOW.
33 That’s no way to
HOWELL(Howell again bursts in from the platform door.)
sing this! You’re no
bet ter a sing er than you
are a church man.
- - -
HOW.
37 Lis ten: They
to the rocks were cling ing, A
crew of nine all told, Be
- --
HOW.
40 tween them and the light house The
seas like moun tains rolled. Cried
Grace, “Come help me, fath er, To
- - -
HOW.
43 launch the boat.” said she. “’Tis
mad ness,” cried her fa ther, ”To
face that ra ging sea.”
- - -
56 Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
46 And she
And she
HOWELL
GRIFFITH
pulled a way o’er the pulled a way o’er the
roll ing sea, roll ing sea,
O ver the wa ters
O ver the wa ters
blue. “Help,
blue. “Help,
- - - -
- - - -
HOW.
GRI.
51 help!” she could hear the help!” she could hear the
hope less cry Of the
hope less cry Of the
men of the ship wrecked men of the ship wrecked
crew. But
crew. But
- -
- -
HOW.
GRI.
55 Grace had a fear less
Grace had a fear less
Eng lish heart, As the
Eng lish heart, As the
ra ging storm she
ra ging storm she
braved. And she braved. And she
- - -
- - -
57Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
59 pulled a way o’er the
pulled a way o’er the
dash ing spray, And the dash ing spray, And the
strand ed crew she
strand ed crew she
saved.
saved.
- - -
- - -
HOW.
GRI.
63 One
One
mur mured prayer, “Heav’n guard us!” And mur mured prayer, “Heav’n guard us!” And
then they were a float. Be then they were a float. Be
- --
- - -
HOW.
GRI.
66 tween them and des truc tion: The tween them and des truc tion: The
planks of that frail boat. Up planks of that frail boat. Up
spoke the maid en’s fath er: “Return, spoke the maid en’s fath er: “Return,
- - - -
- - - -
58 Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
69 or doomed are we!” But or doomed are we!” But
up spoke brave Grace Dar ling: “A
up spoke brave Grace Dar ling: “A
lone I’ll brave the sea.” lone I’ll brave the sea.”
- -
- -
HOW.
GRI.
72 And she
And she
pulled a way o’er the
pulled a way o’er the
roll ing sea,
roll ing sea,
O ver the wa ters
O ver the wa ters
blue. “Help,
blue. “Help,
- - - -
- - - -
HOW.
GRI.
77 help!” she could hear the
help!” she could hear the
hope less cry Of the
hope less cry Of the
men of the ship wrecked
men of the ship wrecked
crew. But
crew. But
- -
- -
59Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
81 Grace had a fear less
Grace had a fear less
Eng lish heart, As the
Eng lish heart, As the
ra ging storm she
ra ging storm she
braved. And she
braved. And she
- - -
- - -
HOW.
GRI.
85 pulled a way o’er the
pulled a way o’er the
dash ing spray, And the dash ing spray, And the
strand ed crew she
strand ed crew she
saved.
saved.
- - -
- - -
HOW.
GRI.
89
They
They
brave ly rode the bil lows And brave ly rode the bil lows And
- -
- -
60 Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
93 reached the rock at length, And reached the rock at length, And
saved those storm tossed sail ors, In saved those storm tossed sail ors, In
heav’n a lone their strength. Go heav’n a lone their strength. Go
- - -
- - -
HOW.
GRI.
96 tell the wide world o ver What tell the wide world o ver What
Brit ish pluck can do, And Brit ish pluck can do, And
sing of brave Grace Dar ling Who
sing of brave Grace Dar ling Who
- - -
- - -
HOW.
GRI.
99 no bly saved that crew. no bly saved that crew.
And she
And she
pulled a way o’er the pulled a way o’er the
roll ing sea,
roll ing sea,
- --
- - -
61Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
103
O ver the wa ters
O ver the wa ters
blue. “Help, blue. “Help,
help!” she could hear the help!” she could hear the
hope less cry Of the hope less cry Of the
- - -
- - -
HOW.
GRI.
107 men of the ship wrecked
men of the ship wrecked
crew. But
crew. But
Grace had a fear less
Grace had a fear less
Eng lish heart, As the
Eng lish heart, As the
- - -
- - -
HOW.
GRI.
111 ra ging storm she ra ging storm she
braved. And she
braved. And she
pulled a way o’er the
pulled a way o’er the
dash ing spray, And the dash ing spray, And the
strand ed crew she
strand ed crew she
- - - -
- - - -
62 Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
116 saved. saved.
(At the conclusion of the song, the singers look at each other.)
GRI.
121 Well, we may be no vi ces at
meno mosso
GRIFFITH (with a quiet smile) light keep ing, but at
least we know the bal lad of Grace
Dar ling.
- - - - - -
HOW.
125 In the fu ture,
HOWELL(turning away)
spare me your bad
sing ing.
(Shaking his head, Griffith crosses to the platformdoor, then turns for a final word.)
- -
HOW.
GRI.
129 On ly if you prom ise to
GRIFFITH
spare me yours.
HOWELL
(Starts to open the door to exit.)
3
Have you no ticed the sea birds?
(quickly, before Griffith can exit)
- -
- -
63Scene 7: The Second Incident
For Those in Peril
HOW.
GRI.
132
What do you
(stopping and turning)GRIFFITH
mean?
HOWELL They know what’s com ing—
hea vy weath er.
- - -
HOW.
136
HOWELL I hope the farm ers can
bring in the har vest be
fore the storm ar
rives.
- - - -
HOW.
GRI.
141 All seems calm e nough for
(opening the door and looking out)GRIFFITH
now.
HOWELL 3Yes, we’ve had it ea sy so
far. But mark my
-
-
HOW.
GRI.
145 words. There are
rough times a
head.
GRIFFITH
Don’t I know it.
(sotto voce, as he steps through the door)-
64 Scene 7: The Second Incident
For Those in Peril
Moderato
(Narrator comes downstage to sing while the lights are down on the lighthouse set.)
The
NARRATOR
NARR.
5 white, white gulls wheel
in land, The
break ers rake and
grind. The
- -
NARR.
9 shag ging clouds go
swift ly with a
shat ter ing gale be
hind. What
- - - - -
NARR.
13 are the white gulls
cry ing a
bove the ri pened
corn?
- - -
65
For Those in Peril
Scene 8: The Coming StormNarrator
NARR.
17
“O,
har vest will be
meno mosso
o ver Be
- - -
NARR.
21 fore the mor row’s
morn. No
need to whet the
sick le, No
- -
NARR.
25 need to bring the
wain. The
storm shall reap on the
Moderato
cliff side steep, And the
-
NARR.
29 west wind thresh the
grain.”
The
66 Scene 8: The Coming Storm
For Those in Peril
NARR.
33 white, white gulls whirl
gai ly, They
keep a mer ry
call. But the
- -
NARR.
37 farm er’s heart is
hea vy For
all his months of
toil: He
- -
NARR.
41 hears the white gulls’
chor us, Their
cries of joy ous
scorn:
- -
NARR.
45
“O,
har vest will be
meno mosso
o ver Or
- -
67Scene 8: The Coming Storm
For Those in Peril
NARR.
49 ev er comes the
morn. Now
go you to your
bed, Farm er, Lie
- -
NARR.
53 down and take your
ease; The
wind shall reap while you
Moderato
rest and sleep, And the
NARR.
57 storm shall scour the
leas.”
The
NARR.
61 white, white foam flies
up ward, The
black rocks show their
teeth, Dark
-
68 Scene 8: The Coming Storm
For Those in Peril
NARR.
65 frowns the tower ing
head land, They
grin and gird be
neath; What
- --
NARR.
69 are the wild gulls
cry ing, Far
up the val leys
grey?
- -
NARR.
73
“Hey
for the mid night
meno mosso
har vest, The
- -
NARR.
77 mer ry break ers
play! There’ll be
har vest out at
sea, Far mer, And
- - - -
69Scene 8: The Coming Storm
For Those in Peril
NARR.
81 har vest here on
land: There’ll be
rare ripe grain for the
Moderato
-
NARR.
84 hun gry main, And
drowned folk
meno mosso
for the
rit.
strand.”
-
70 Scene 8: The Coming Storm
For Those in Peril
Moderato semplice
(The lights come up on Howell, seated at the table, spooning gruel from a bowl into his mouth.From his actions and expression, it is plain that he is not enjoying the meal.)
HOW.
6
HOWELL Dear God, this is
HOW.
GRI.
10 wret ched stuff!
(The platform door opens and Griffith enters,wearing an oilcloth cloak that is dripping.)
GRIFFITH
You were right a bout the
-
-
GRI.
14 storm. It’s here,
and we must keep the lamps
burn ing more bright ly than
- -
71
For Those in Peril
Scene 9: The Third IncidentHowell and Griffith
HOW.
GRI.
17 ev er.
(leaping to his feet)HOWELL This por ridge
is dis gust ing!
-
- - -
HOW.
21 Ev i dent ly you don’t
HOWELL know the least thing
a bout cook ing.
- - - --
GRI.
26 You should n’t be so an gry
(heaving a sigh as he removes and hangs up his cloak)GRIFFITH
all the time.
It can’t be good for your
heart.
- -
HOW.
30 It’s not my heart I’m
(angrily)HOWELL
wor ried a bout, it’s my
sto mach!
This gruel is o ver cooked and
- - - - -
72 Scene 9: The Third Incident
For Those in Peril
HOW.
GRI.
34 fla vor less. I would n’t
feed it to swine.
If you have n’t no ticed,
- - -
- -
GRI.
38 our lar der here in the
GRIFFITH light house is rath er
lim i ted.
- - - - -
HOW.
42
HOWELL As for the rest of your
meals: bah! A
HOW.
45 child could do bet ter.
You have no sense of how to
use what we have. There are
-
73Scene 9: The Third Incident
For Those in Peril
HOW.
48
spi ces, you know—
more than just salt!
-
GRI.
52
GRIFFITH I did n’t know that you were
such a gour met. I’m
- -
HOW.
GRI.
55 sor ry if my cook ing dis ap
HOWELL points you.
(becoming more agitated) It’s all part of your
più mosso
plan to make life
- - - -
HOW.
GRI.
59 mis er a ble for me
here!
(becoming angry himself)GRIFFITH
You make life mis er a ble
for your
- - -
- - - -
74 Scene 9: The Third Incident
For Those in Peril
GRI.
63 self!
GRIFFITH
I have made ev er y
ef fort to be con
- - - -
GRI.
67 si de rate of all your de
mands, but there is a
lim it to what I can
- - - -
HOW.
GRI.
70 Quite the
do.
HOWELL con trar y— there seems to
be no lim it to what you
- - -
HOW.
GRI.
73
will do to an ger me!
GRIFFITH
But why are you so
Moderato semplice
-
75Scene 9: The Third Incident
For Those in Peril
GRI.
76 an gry all the time? Is
ev ery thing all right with
you and your wife?
- - -
HOW.
79 How dare you! You leave my
più mosso
(furiously)HOWELL wife out of this! We are quite
hap py to geth er.
- - -
GRI.
82
But sure ly you are
Moderato semplice
GRIFFITH miss ing her. Per
haps that is why you
- - -
HOW.
GRI.
86 are so un hap py.
HOWELL The on ly rea son I am
più mosso
so un hap py is be
- -
- - - - -
76 Scene 9: The Third Incident
For Those in Peril
HOW.
89 cause you have hound ed me
so!
Per haps you need to be
- -
HOW.
GRI.
92 taught a les son!
(Howell suddenly charges at Griffith, who steps aside in surprise.Howell cries out, clutching his chest, and falls to the floor.)
Thom as!
GRIFFITH-
-
GRI.
95 Are you all
right?
(Griffith kneels and reaches out to shake Howell’sshoulders. There is no response.)
GRI.
98
Dear God, Thom as.
What are you play ing at?
- -
77Scene 9: The Third Incident
For Those in Peril
102
(Howell is perfectly still, his eyes open and staring. Griffith staggers to his feet and fetchesa hand mirror from the wall above the cot, then holds it under Howell’s nose.)
GRI.
105
Oh my Lord, he’s not
breath ing!
-
GRI.
109
rit.
Andante
(He stands and stares down in horror at Howell’s body.)
Tho mas, Tho mas—
- -
GRI.
113 you can’t be dead!
Ne ver did I
wish this!
What shall I
più mosso
-
78 Scene 9: The Third Incident
For Those in Peril
GRI.
117 do?
What shall I
do?
120
rit. (trying to calm himself)
GRI.
126 I know—
Andante
Will iams told us
that we can sig nal dis
tress with a white flag from the
- - -
GRI.
130 rail ing be low the light.
I will set out the
sig nal and hope
that some pass ing ves
- - - --
79Scene 9: The Third Incident
For Those in Peril
GRI.
134 sel will see it and
come to my aid.
-
139
(He rummages among a pile of goods in one corner, finds a strip of white cloth, and goes out onto the platform.The music continues while is away for a few minutes.)
143
147
152
80 Scene 9: The Third Incident
For Those in Peril
157
161
GRI.
165 The storm be gins to rage in
(He returns, again with dripping cloak.)GRIFFITH
ear nest. Who knows how
long it will be be fore a
- - -
GRI.
168 ship sees the sig nal and is
a ble to re spond?
- - -
81Scene 9: The Third Incident
For Those in Peril
GRI.
171
Cer tain ly no boat can
land up on this rock in these
- - -
GRI.
174 ter ri ble winds!
(He staggers to the table and sits down,staring at the body on the floor.)
rit. Oh, Thom as, may God
Largo
have mer cy on your
- - - -
GRI.
178 soul. I pray that
you may rest in
peace.
Tranquillo
rit.
End of Part One
82 Scene 9: The Third Incident
For Those in Peril
Misterioso
9
(In the chapel, Gwendolyn kneels at the prie-dieu,then stands to sing with anxious pleading.)
GWEN.
18
Moderato tranquillo
GWENDOLYN My hus band, dear est
Tho mas,
- - -
GWEN.
22 I do pray that you are
well.
Last night I came a wake
-
GWEN.
26 in dark ness, filled with
sud den dread,
As if I sensed the dis tant
e choes
- - - -
83
For Those in Peril
Scene 10: Gwendolyn’s PrayerGwendolyn
GWEN.
30 of a toll ing
bell.
Of a toll ing
- -
GWEN.
35 bell.
I feared with in my heart of
hearts
-
GWEN.
38 that you might now be
dead.
GWEN.
43
That you might now be
dead.
Oh, why did you de cide
-
84 Scene 10: Gwendolyn’s Prayer
For Those in Peril
GWEN.
47
to go
and stay in that far
tower?
I need you now to be
GWEN.
51
with me in this our
time of fear.
GWEN.
56
accel.
Allegretto
GWEN.
60 The
storm grows ev er
fier cer with each
slow ly
- - -
85Scene 10: Gwendolyn’s Prayer
For Those in Peril
GWEN.
64 pass ing
hour;
Oh,
-
GWEN.
67 how I wish that
you could be with
me as
GWEN.
70 I wait
here.
GWEN.
74
rit.
Moderato tranquillo
86 Scene 10: Gwendolyn’s Prayer
For Those in Peril
GWEN.
79
GWEN.
84 My hus band, dear est
Tho mas,
I do pray that you are
well.
- - -
GWEN.
88 I wish that I could still
these fears that fill my
anx ious heart.
-
GWEN.
92 What fate you may have
suf fered,
nought but time a lone will
tell.
- -
87Scene 10: Gwendolyn’s Prayer
For Those in Peril
GWEN.
96
Nought but time a lone will
tell.
-
GWEN.
100 I hope that we will ne ver
be
a gain so far a
part,
-- -
GWEN.
104
I hope that we will ne ver
be
-
GWEN.
108 a gain so far a
part.
rit.
--
88 Scene 10: Gwendolyn’s Prayer
For Those in Peril
Misterioso
(Griffith is seated at the table, writing a letter.)
6
GRI.
11
(He stands and peers out the window, shakes his head.)
GRIFFITH The storm shows no
sign of re
lent ing; if
- -
GRI.
16 an y thing, it grows
strong er.
- - -
20
89Scene 11: Griffith’s First Letter
Griffith
GRI.
25
rit.
Andante
My Be lov ed
(He reads from the letter.) Wife,
Strange it may be to re
- - -
GRI.
30 late that
this is the first
let ter I have penned to
you in
-
GRI.
34 all the years of our
mar riage.
Some might call it
-
GRI.
38 strange for me
to be wri ting this at
all, when
there can be no
-
90 Scene 11: Griffith’s First Letter
For Those in Peril
GRI.
42 hope of you read ing the
let ter un til
I am re lieved from my
- - --
GRI.
45 du ty
one month from to
day.
But it gives me a
- -
GRI.
49 few crumbs of com fort to
know you will e ven tu al ly
see my words.
- - - - -
GRI.
52
I will sure ly need
a ny thing fall ing from the
- - - -
91Scene 11: Griffith’s First Letter
For Those in Peril
GRI.
55 Good Lord’s ta ble be
fore this month has
passed. Last
night my friend— I do
- -
GRI.
59 call him my friend be fore the
Lord— Tho mas How ell
died.
- - -
GRI.
62 His pass ing was ra pid
and I have not
the me di cal know ledge
- - - - -
GRI.
65 to say what ailed him.
Misterioso
Now I fear to be
92 Scene 11: Griffith’s First Letter
For Those in Peril
GRI.
69 left a lone with
out him for so long.
The thing that claimed poor Tho mas.
- - -
GRI.
73 be it sick ness or
de mon, may
seek me out
next.
- -
GRI.
78
And now I must
be a bout my
du ties in the
- -
GRI.
83 light house.
There are all the more
tasks to per form with my
self a lone to
- - - -
93Scene 11: Griffith’s First Letter
For Those in Peril
GRI.
87 turn my hand to
rit. them.
Andante
But I shall re
turn
to this let ter be
- - -
GRI.
92 fore me on the
ta ble as
soon as I
may. As
-
GRI.
96 soon as I
may.
GRI.
99 As soon as I
may.
rit.
94 Scene 11: Griffith’s First Letter
For Those in Peril
Allegro agitato
5
(In the chapel, Madeleine paces and wrings her hands. Gwendolyn, Whiteside, and Williams enter.)
9
13
MAD.
18
MADELEINE Thank you all for
com ing.
(She takes the hand of each in turn.) I just need to
-
95
For Those in Peril
Scene 12: AnxietyGwndolyn, Madeleine, Whiteside, and Williams
MAD.
22 talk to you and
air my fears.
I hope you
MAD.
WHI.
26 will for give my
weak ness.
WHITESIDE
Ma dam, there is
no need for
- -
-
WHI.
30 you to make a
po lo gy. We
all are con
cerned for the
- - - -
WHI.
34 keep ers’
safe ty.
- -
96 Scene 12: Anxiety
For Those in Peril
MAD.
38
MADELEINE This storm has been
ra ging for a
-
MAD.
42
week now, and we
wor ry for our
hus bands.
- -
GWEN.
46
I am sure that
GWENDOLYN
some thing has gone
wrong— I feel it
in my ver y
bones.
- -
WIL.
51
WILLIAMS Yet we must be
lieve that, since the
lamps are burn ing,
- -
97Scene 12: Anxiety
For Those in Peril
WIL.
55 sure ly all is
well.
-
MAD.
59
rit.
MADELEINE Yes, we go,
Andante con moto Œ.= 66
night af ter night, to the
sea side to
- -
GWEN.
MAD.
64
search for the light.
GWENDOLYN So far we
al ways have found it.
But how
long can this last?
-
98 Scene 12: Anxiety
For Those in Peril
GWEN.
MAD.
69 Day af ter
day, the storm keeps
com ing.
Are the men tru ly
Are the men tru ly
safe in the
safe in the
- -
-
-
GWEN.
MAD.
WHI.
74 light house a midst these high
light house a midst these high
waves?
waves?
WHITESIDE
Ma dam, as the
Allegro agitato
- -
-
- -
WHI.
78 ar chi tect of the
light house, I can as
sure you that it was
built for just this
kind of wea ther.
- - - - -
99Scene 12: Anxiety
For Those in Peril
83
rit.
GWEN.
MAD.
87
MADELEINE
How can you be
How can you be
Moderato semplice
GWENDOLYN so sure of that?
so sure of that?
GWEN.
MAD.
90 This storm is worse
This storm is worse
than a ny we can re
than a ny we can re
mem ber.
mem ber.
- - -
- - -
100 Scene 12: Anxiety
For Those in Peril
GWEN.
MAD.
93 Who knows how high
Who knows how high
the seas will mount?
the seas will mount?
GWEN.
MAD.
95 Will the light house
Will the light house
be swept a way in some
be swept a way in some
great wave?
great wave?
-
- -
-
GWEN.
MAD.
98
Allegro agitato
Our hus bands
Our hus bands
lost for ev er
lost for ev er
- - -
- - -
101Scene 12: Anxiety
For Those in Peril
GWEN.
MAD.
WIL.
102 in the
in the
deep.
deep.
WILLIAMS
No, no— this will not
Moderato semplice
hap pen. Mis ter
- -
WHI.
WIL.
107
White side and I can re
mem ber worse.
WHITESIDE Cap tain Will iams is so
right. Let me
- - -
- -
WHI.
111 tell you the
stor y.
Andante con moto Œ.= 66
It was
nigh on to twen ty five
- - -
102 Scene 12: Anxiety
For Those in Peril
WHI.
116 long years a go— The
new ly built light house had not
faced a real blow; So when
- --
WHI.
119 win ter’s cold winds be gan
fierce ly to roar, My
black smith and I were swift
- - - -
WHI.
122 dropped on the shore Where
we worked like mad men for
sev en straight days. We
- -
WHI.
125 bol stered the pi lings and
strength ened the stays, And
when we were fin ished there
- - - -
103Scene 12: Anxiety
For Those in Peril
WHI.
128 came a great storm!
We
WHI.
132 hud dled in side and we
tried to stay warm.We
ran out of oil and fresh
wa ter was low; Our
- - -
WHI.
136 looked for re turn boat some
how did not show; So we
draft ed a let ter to
- - - - -
WHI.
139 place in a cask;For im
me diate as sis tance we
hum bly did ask. But
while we were wait ing in
- - - - - -
104 Scene 12: Anxiety
For Those in Peril
WHI.
143 hope of re lief, The
storm be came fierce with a
strength past be lief!
-- -
146
Allegro agitato
rit.
WHI.
WIL.
151
But the light
Andante con moto Œ.= 66
WILLIAMS
house stood firm a
gainst all of that
fu ry.
WHITESIDE And that’s
- - -
WHI.
156
why I tell you
both now
not to wor ry.
For the light house
did wea ther
- - -
105Scene 12: Anxiety
For Those in Peril
WHI.
161 those storms
in the past,
And more
work was done to
make sure
it would last.
GWEN.
MAD.
167
MADELEINE
Oh, how I wish
Oh, how I wish
Moderato semplice
GWENDOLYN I could be lieve
I could be lieve
-
-
GWEN.
MAD.
171 that they are safe
that they are safe
a gainst the wind and the
a gainst the wind and the
fierce waves.
fierce waves.
-
-
106 Scene 12: Anxiety
For Those in Peril
GWEN.
MAD.
174 What if we find
What if we find
that some thing has
that some thing has
-
-
GWEN.
MAD.
176 hap pened to them
hap pened to them
that you have not thought could
that you have not thought could
hap pen?
hap pen?
- -
- -
179
Allegro agitato
WIL.
184 Now, la dies, I
Moderato semplice
WILLIAMS think you are wor ry ing too
much.
The
- - -
107Scene 12: Anxiety
For Those in Peril
WIL.
188 fact is that this is why we
have light house keep ers.
Their job is e ven more im
- - - -
WHI.
WIL.
191
por tant in this kind of
Be
wea ther.
WHITESIDE lieve me, they are well e quipped to
- -
- - -
WHI.
194 deal withthe storm. Their sup
plies are more than a de quate. And
think of the
light! If
- - -
WHI.
WIL.
198 they are a ble to
keep it lit, all is
well. So
All is well.
please go home and
put your wor ries a
- - -
108 Scene 12: Anxiety
For Those in Peril
GWEN.
MAD.
WHI.
WIL.
203
side.
Put your wor ries a
MADELEINE
We will take our
side.
leave, then, and say good
GWENDOLYN But our
night.
- -
GWEN.
MAD.
WHI.
WIL.
207 wor ries will not be so
ea si ly left be
hind.
Good night for
Good night for
now.
now.
Good
Good
night.
night.
- - - -
109Scene 12: Anxiety
For Those in Peril
213
(Gwendolyn and Madeleine exit. Williams and Whiteside remain.)
rit.
WIL.
218 I reck on the keep
Allegro WILLIAMS
ers are safe e
nough. But in a
storm like this,
- --
WHI.
WIL.
222
some one will sure ly be
lost.
Allegro agitato
The
WHITESIDE wild night comes like an
- -
WHI.
WIL.
226 owl to its lair, The
The
WILLIAMS
black clouds fol low
black clouds fol low
fast.
fast.
And the
-
-
110 Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
230 sun gleams die, and the
light nings glare, And the
And the
ships go hea ving ships go hea ving
- - -
-
WHI.
WIL.
233 past, past, past— The past, past, past— The
ships go hea ving
ships go hea ving
past.
past.
-
-
WHI.
WIL.
237 Bar the doors, and
Bar the doors, and
high er, high er, high er, high er,
Pile the fag gots Pile the fag gots
on the fire: on the fire:
- - -
- - -
111Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
241 Now a broad, by Now a broad, by
man y a light,
man y a light,
Emp ty seats there Emp ty seats there
meno mosso
are to night— are to night—
Emp ty seats that Emp ty seats that
- - - - -
- - - - -
WHI.
WIL.
246 none may fill, For the none may fill, For the
storm grows loud er storm grows loud er
a tempo
still: How it still: How it
-
-
WHI.
WIL.
249 sur ges and swells through the sur ges and swells through the
gor ges and dells, gor ges and dells,
Un der the led ges and
Un der the led ges and
- - - -
- - - -
112 Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
252
o ver the lea, Where a
o ver the lea, Where a
wa ter y sound goes a
wa ter y sound goes a
moan ing a round—
moan ing a round—
God help our
God help our
- - - - - -
- - - - - -
WHI.
WIL.
256 men at
men at
sea! sea!
Oh!
ne ver a tem pest
- -
WHI.
WIL.
260 blew on the shore But
But
that some heart did
that some heart did
moan
moan.
For a
113Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
264 dar ling voice it would
hear no more And a
And a
face that had left it face that had left it
-
WHI.
WIL.
267 lone, lone, lone— A lone, lone, lone— A
face that had left it
face that had left it
lone.
lone.
WHI.
WIL.
271 She is watch ing
She is watch ing
by a pane by a pane
Dar kened with the Dar kened with the
gust y rain, gust y rain,
- - -
- - -
114 Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
275 Watch ing through a
Watch ing through a
mist of tears,
mist of tears,
Sad with thoughts of Sad with thoughts of
meno mosso
oth er years, oth er years,
- -
- -
WHI.
WIL.
279 For a loved one For a loved one
she does miss In a she does miss In a
storm y time like storm y time like
a tempo
this. Ah! the this. Ah! the
-
-
WHI.
WIL.
283 tor rent howls past, like a tor rent howls past, like a
fiend on the blast, fiend on the blast,
Un der the led ges and
Un der the led ges and
- - -
- - -
115Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
286
o ver the lea; And the
o ver the lea; And the
pent wa ters gleam, and the
pent wa ters gleam, and the
wild sur ges scream—
wild sur ges scream—
- - -
- - -
WHI.
WIL.
289 God help our
God help our
men at
men at
sea. sea.
Ah,
WHI.
WIL.
293 Lord! they may grope through the
dark to find Thy
Thy
hand with in the
hand with in the
-
-
116 Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
296
gale.
gale.
And
cries may rise on the
wings of the wind From
From
WHI.
WIL.
300 mar i ners wear y and mar i ners wear y and
pale, pale, pale— From pale, pale, pale— From
mar i ners wear y and
mar i ners wear y and
pale.
pale.
- - - - - -
- - - - - -
WHI.
WIL.
304
’Tis a fear ful
’Tis a fear ful
thing to know, thing to know,
While the storm winds While the storm winds
- -
- -
117Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
308 loud ly blow, loud ly blow,
That a man can That a man can
some times come
some times come
Too near to his Too near to his
meno mosso
fath er’s home fath er’s home
- - -
- - -
WHI.
WIL.
313 So that he shall So that he shall
kneel and say, Lord, kneel and say, Lord,
I would be far a I would be far a
a tempo
way! Ho! the way! Ho! the
-
-
WHI.
WIL.
317 hur ri canes roar round a hur ri canes roar round a
dan ger ous shore, dan ger ous shore,
Un der the led ges and
Un der the led ges and
- - - - - -
- - - - - -
118 Scene 12: Anxiety
For Those in Peril
WHI.
WIL.
320
o ver the lea; And there
o ver the lea; And there
twink les a light on the
twink les a light on the
bil lows so white—
bil lows so white—
- - -
- - -
WHI.
WIL.
323 God help our
God help our
men at
men at
sea! sea!
WHI.
WIL.
327 God help our
God help our
Largo men at men at
sea! sea!
Allegro agitato
rit.
(Williams and Whiteside exit.)
119Scene 12: Anxiety
For Those in Peril
Misterioso
(Griffith enters from the platform door and hangs up his dripping cloak.He seats himself and begins to write a letter. After a few minutes of writing,he stands and reads from the letter.)
6
GRI.
11
GRIFFITH Three days and nights have passed
Grave
since I last put pen to
GRI.
15 pa per. As
well as main tain ing the
light for ship ping,
I have en gaged my
- - - - - -
120
For Those in Peril
Scene 13: Griffith’s Second LetterGriffith
GRI.
19 self on the most
grue some of tasks.
3 3
Fear ing
Allegro agitato
oth ers may read
- - -
GRI.
24 too much in to
our past quar rels
and say that
Tho mas How ell’s
death was by
- - - -
GRI.
29 my own hand,
I have con
meno mosso struct ed a box
from old tim bers
and placed his
- - -
GRI.
34 corpse in side it.
This I have
hung from the
lan tern rail of the
- -
121Scene 13: Griffith’s Second Letter
For Those in Peril
GRI.
38 light house so it
may be seen by
a ny ves sel that
pass es.
- - - -
GRI.
42 Sad ly, the wind has shred ded
and torn a way the
white cloth of my dis
- - - -
GRI.
45 tress sig nal and
I have noth ing more
to re place it.
But my
a tempo
- - -
GRI.
49 pray ers would be
an swered if a
ship sails near e
nough to see the
box and come
- - -
122 Scene 13: Griffith’s Second Letter
For Those in Peril
GRI.
54 to my
aid.
(Griffith sits and writes again, then looks up to read what he has written.)
60
65
69
GRI.
73
Misterioso
I would to God
123Scene 13: Griffith’s Second Letter
For Those in Peril
GRI.
78 Tho mas and I had
kept to hon est
la bor on our
farms in Math ry
- - - -
GRI.
82 Par ish.
Work on the light house
- -
GRI.
86 may have brought for
us more re ward in
sil ver coin but
here, twen ty miles out to
- - -
GRI.
90 sea from St. Da vid’s
Head,
I fear my sole com pan ion
Grave
- - -
124 Scene 13: Griffith’s Second Letter
For Those in Peril
GRI.
94
is the ver y Dev il
- -
GRI.
97 who sure ly lurks in
the sha dows of this tow er.
- - -
100
103
125Scene 13: Griffith’s Second Letter
For Those in Peril
Moderato tranquillo
6
(Whiteside and Williams are in the chapel, awaiting the arrival of Madeleine and Gwendolyn.)
MAD.
WHI.
11
Mis ter White side.
MADELEINE Cap tain Will iams.
You have news for
us?
Un
WHITESIDE- - - -
-
GWEN.
WHI.
15
cer tain news, I’m a
fraid. We don’t quite
know what to make of
GWENDOLYN I knew it!
it.
- -
126
For Those in Peril
Scene 14: For Those in PerilGwendolyn, Madeleine, Whiteside, and Williams
GWEN.
MAD.
WHI.
19 Some thing has happ ened...
GWENDOLYN
MADELEINE
Please tell us!
WHITESIDE
Cap tain Will aims will
tell you what we
- -
- -
WHI.
WIL.
23 know.
WILLIAMS
Well, we have had—
a re port from
-
WIL.
27 a pass ing ves sel.
Well, that is,
more than one re port,
as it hap pens.
- - - -
127Scene 14: For Those in Peril
For Those in Peril
WIL.
32 Let me gath er my
thoughts.
rit. The ves sels that
Andante
- -
WIL.
36 have sailed past the light house
in the last ten days
have re port ed they’ve
- - -
WIL.
39 seen some thing odd—
a large ob ject, per
haps of wood,
hang ing from the lan
- - - - -
WIL.
43 tern rail, just be low the
top of the light house.
We think
- - -
128 Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
WIL.
46
it may be some kind of dis
tress sig nal.
GWENDOLYN
MADELEINE
Dear God!
Dear God!
Dear God!
Dear God!
- -
WHI.
WIL.
50
But the
WILLIAMS
lamps are burn ing still, as
Which leaves us
al ways.
WHITESIDE
- -
MAD.
WHI.
53
puz zled as to what might have
You must
hap pened.
MADELEINE send them re lief at
- -
-
129Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
WHI.
56 Yes, please, at once!
once!
GWENDOLYN
WHITESIDE
Sad to say, we can not—
the cur rent weath er does
- --
WHI.
WIL.
59 not per mit this.
WILLIAMS
The ves sels that ob served
the strangeob ject
all went past in high seas.
-
- - -
WHI.
WIL.
63 There was no chance of
WHITESIDE land ing a ny boat on the
rocks.
And that is still the
WILLIAMS
- -
130 Scene 14: For Those in Peril
For Those in Peril
WIL.
66 case.
There is no way to
più mosso
know how much
long er this storm will con
- -
WIL.
70 tin ue. As
soon as the seas sub
side e nough to
land a boat—
- - -
WHI.
WIL.
74 we shall set out at
we shall set out at
WHITESIDE once!
once!
Allegro
To send a res cue team
now
-
131Scene 14: For Those in Peril
For Those in Peril
WHI.
WIL.
78 would be to en dan ger their
lives as well.
WILLIAMS
We can on ly
wait.
- -
-
WHI.
82 And of course, we can
WHITESIDE al so pray!
Moderato semplice
-
GWEN.
MAD.
85 Oh! Thatis all
Oh! Thatis all
GWENDOLYN
MADELEINE
that we have done for a
that we have done for a
fort night!
fort night!
-
-
132 Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
89 They tell us to
They tell us to
wait and pray;
wait and pray;
We can’t stand to
We can’t stand to
wait one more day!
wait one more day!
GWEN.
MAD.
93 This night mare goes
This night mare goes
on with out end—
on with out end—
We sim ply can not
We sim ply can not
com pre hend How
com pre hend How
- - - - - -
- - - - - -
GWEN.
MAD.
97 long we can last while we
long we can last while we
wait with out a
wait with out a
clue as to their
clue as to their
fate!
fate!
-
-
133Scene 14: For Those in Peril
For Those in Peril
WHI.
101 We un der stand how
WHITESIDE dif fi cult this is for
you. We con si dered
not tell ing you a
- - - - - - - -
WHI.
105 bout the dis tress sig nal.
But we felt you
would have wan ted to
know, and that’s why we
- - -
GWEN.
MAD.
WHI.
109
brought this news.
GWENDOLYN
MADELEINE
Yes, I sup pose we should
Yes, I sup pose we should
thank you. It is
thank you. It is
-
-
134 Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
WHI.
WIL.
113
bet ter to know,of
bet ter to know,of
course.
course.
Per haps we should
WILLIAMS
nowsing the Mar i ners’
WHITESIDE
A prayer for
Hymn?
-
-
- - -
GWEN.
MAD.
WHI.
WIL.
118
all those caught in this
storm.
Moderato
GWENDOLYN
MADELEINE
WHITESIDE
WILLIAMS
E ter nal Fa ther,
E ter nal Fa ther,
E ter nal Fa ther,
E ter nal Fa ther,
strong to save,
strong to save,
strong to save,
strong to save,
- - -
- - -
- - -
- - -
135Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
WHI.
WIL.
123 Whose arm hath bound the
Whose arm hath bound the
Whose arm hath bound the
Whose arm hath bound the
rest less wave,
rest less wave,
rest less wave,
rest less wave,
Who bidd’st the might y
Who bidd’st the might y
Who bidd’st the might y
Who bidd’st the might y
o cean deep
o cean deep
o cean deep
o cean deep
- - -
- - -
- - -
- - -
GWEN.
MAD.
WHI.
WIL.
127 Its own ap point ed
Its own ap point ed
Its own ap point ed
Its own ap point ed
lim its keep;
lim its keep;
lim its keep;
lim its keep;
Oh, hear us when we
Oh, hear us when we
Oh, hear us when we
Oh, hear us when we
cry to Thee,
cry to Thee,
cry to Thee, cry to Thee,
- - -
- - -
- - -
- - -
136 Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
WHI.
WIL.
131 For those in per il
For those in per il
For those in per il
For those in per il
on the sea.
on the sea.
on the sea.
on the sea.
-
-
-
-
WHI.
WIL.
135 O Christ! Whose voice the
O Christ! Whose voice the
WHITESIDE
WILLIAMS
wa ters heard
wa ters heard
And hushed their ra ging
And hushed their ra ging
at Thy word,
at Thy word,
- -
- -
137Scene 14: For Those in Peril
For Those in Peril
WHI.
WIL.
139 Who walk edst on the
Who walk edst on the
foam ing deep,
foam ing deep,
And calm a midst its
And calm a midst its
rage did sleep;
rage did sleep;
- - -
- - -
WHI.
WIL.
143 Oh, hear us when we
Oh, hear us when we
cry to Thee,
cry to Thee,
For those in per il
For those in per il
on the sea.
on the sea.
-
-
GWEN.
MAD.
147
GWENDOLYN
MADELEINE
Most Ho ly Spi rit!
Most Ho ly Spi rit!
Who didst brood
Who didst brood
- -
- -
138 Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
151 Up on the cha os
Up on the cha os
dark and rude,
dark and rude,
And bid its an gry
And bid its an gry
tu mult cease,
tu mult cease,
- - - -
- -- -
GWEN.
MAD.
155 And give, for wild con
And give, for wild con
fu sion, peace;
fu sion, peace;
Oh, hear us when we
Oh, hear us when we
cry to Thee,
cry to Thee,
- -
- -
GWEN.
MAD.
159 For those in per il
For those in per il
on the sea.
on the sea.
-
-
139Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
WHI.
WIL.
163 O Tri ni ty of
O Tri ni ty of
O Tri ni ty of
O Tri ni ty of
GWENDOLYN
MADELEINE
WHITESIDE
WILLIAMS
love and power,
love and power,
love and power,
love and power,
Our breth ren shield in
Our breth ren shield in
Our breth ren shield in
Our breth ren shield in
dan ger’s hour;
dan ger’s hour;
dan ger’s hour;
dan ger’s hour;
- - - -
- - - -
- - - -
- - -
GWEN.
MAD.
WHI.
WIL.
167 From rock and tem pest,
From rock and tem pest,
From rock and tem pest,
From rock and tem pest,
fire and foe,
fire and foe,
fire and foe,
fire and foe,
Pro tect them where so
Pro tect them where so
Pro tect them where so
Pro tect them where so
e’er they go;
e’er they go;
e’er they go;
e’er they go;
- - - -
- - - -
- - - -
- - - -
140 Scene 14: For Those in Peril
For Those in Peril
GWEN.
MAD.
WHI.
WIL.
171 Oh, hear us when we
Oh, hear us when we
Oh, hear us when we
Oh, hear us when we
cry to Thee,
cry to Thee,
cry to Thee,
cry to Thee,
For those in per il
For those in per il
For those in per il
For those in per il
on the sea.
on the sea.
on the sea.
on the sea.
-
-
-
-
GWEN.
MAD.
WHI.
WIL.
176
For those in
For those in
For those in
For those in
per il on the
per il on the
per il on the
per il on the
sea!
sea!
sea!
sea!
(The chapel group breaks up and exits.)
rit.
-
-
-
-
141Scene 14: For Those in Peril
For Those in Peril
Grave
GRIFFITH
(Griffith paces the lighthouse chamber.)
A noth er day has passed,
- -
GRI.
5 and the un ceas ing storms
con tin ue un a ba ted.
- - - - - - -
9
Andante
GRI.
13 Oh, Ma de
leine—
how I hope that I will
see your face a
- - -
142
For Those in Peril
Scene 15: Griffith’s Third LetterGriffith
GRI.
17 gain, And
take your hands in
mine and
gaze in to your
-
GRI.
21 eyes.
Oh, my dear
wife—
GRI.
25 how I miss those qui et
days of farm ing
life, Which
now seems to
- -
GRI.
29 me like
some long lost par a
dise.
Long lost par a
- - - - --
143Scene 15: Griffith’s Third Letter
For Those in Peril
GRI.
33 dise.
Oh, chil dren mine— how I
long to see those
eyes that do so bright ly
- -
GRI.
37 shine,
And fill your heads
with tales of far off
-
GRI.
41 mys tic lands,
far off mys tic
lands. Oh,
Tho mas Howell, how I
- - - -
GRI.
45 miss you e ven
with your bit ter
scowl,
And pray that
Grave
you have found
- -
144 Scene 15: Griffith’s Third Letter
For Those in Peril
GRI.
50 peace in the
good Lord’s hands.
Misterioso
rit.
Andante
GRI.
55 Oh, Ma de
leine—
how I hope that I will
see your face a
- - -
GRI.
59 gain, And
take your hands in
mine and
gaze in to your
-
GRI.
63 eyes.
in to your
eyes.
rit.
-
145Scene 15: Griffith’s Third Letter
For Those in Peril
GRI.
67
Grave
No pass ing ves sel has set down
(Griffith sits down and resumes writing on the letter.)
- -
GRI.
71 a boat to row near by
and in ves ti gate the rea son
- - - - -
GRI.
75
why a tim ber con struction
- -
GRI.
79
should be hung from the lan tern rail.
-
146 Scene 15: Griffith’s Third Letter
For Those in Peril
GRI.
83
Andante
accel.
But in these seas I
Allegretto
do not think I can
GRI.
87 blame them.
None has been a
ble to ap proach the
- -
GRI.
91 light house by so
much as half a league.
Worse, the winds have
buf fet ed the wood en
- - - -
GRI.
95 box in such a way as to
loo sen its lid.
-
147Scene 15: Griffith’s Third Letter
For Those in Peril
99
Misterioso
GRI.
103 My re lief from the
light house is still
more than three weeks a way.
- - -
GRI.
107 I do not see how I
can re tain my san i
ty for such a length of
time.
- - -
GRI.
111 All that is left to me
is to pray to the
good Lord for my
soul.
rit.
148 Scene 15: Griffith’s Third Letter
For Those in Peril
GRI.
115
Andante
And it is my
hope
that safe ly a
- -
GRI.
119 bed in Math ry
Par ish,
my be lov ed
wife prays
- - - -
GRI.
123 to the Lord,
too.
GRI.
126 She prays to the
Lord.
rit.
149Scene 15: Griffith’s Third Letter
For Those in Peril
Allegretto
(In the chapel, Madeleine kneels at the prie-dieu,then stands to sing with quiet pleading.)
MADELEINE Lord, hear this
prayer I
MAD.
7 make to
Thee;
MAD.
13
Watch o’er my
love, a
midst the
sea.
-
MAD.
19
Calm all the
storms that
rage a
round;
-
150
For Those in Peril
Scene 16: Madeleine’s PrayerMadeleine
MAD.
25
Make smooth the
MAD.
30 waves that
crash and
pound.
MAD.
36
Let peace de
scend on
sea and
land;
-
MAD.
42
May your sweet
voice these
151Scene 16: Madeleine’s Prayer
For Those in Peril
MAD.
48 things com
mand.
-
MAD.
54
God of all
things that
are to
be,
MAD.
61
Hear now my
prayer, my
MAD.
67 fer vent
plea:
-
152 Scene 16: Madeleine’s Prayer
For Those in Peril
MAD.
73 Bring home to
me all
safe my
love,
MAD.
79
Guard ed by
an gels
from a
bove.
- - -
MAD.
85
Lord, hear this
prayer I
MAD.
92 make to
Thee;
153Scene 16: Madeleine’s Prayer
For Those in Peril
MAD.
98
From my dread
fear, now
set me
free:
Molto tranquillo Lord,
MAD.
103
hear this prayer I
make to Thee; Bring
MAD.
105
my love safe ly
home to
me.
-
154 Scene 16: Madeleine’s Prayer
For Those in Peril
Moderato semplice
7
15
(Griffith is sleeping uneasily on his cot. There is the sound of a thump offstage, and suddenly the silhouette of a handcan be seen in the window above his cot, swaying back and forth. Griffith comes awake with a start and leaps to his feet.When he looks at the window, he is visibly shaken and staggers to the table and takes up his pen with shaking hand.When he has written for a time, he looks up to sing.)
19
24
155
For Those in Peril
Scene 17: Griffith’s Fourth LetterGriffith
GRI.
28 Now I know
GRIFFITH this place is wick ed
-
GRI.
32 be yond the pow er of the
dark est dream.
The lid of the wood en
- - - -
GRI.
35 box has quite fal len a
way
- -
GRI.
38 and Thom as How ell’s
dead right arm now
hangs with in in ches
- - - -
156 Scene 17: Griffith’s Fourth Letter
For Those in Peril
GRI.
41 of the light house win dow.
- -
GRI.
45 And I swear
3
it is beck on ing
me out side to face the
- - -
GRI.
48 harsh ness of the waves and the
e vil spi rits that
man i fest themselves on the
- - - - - -
GRI.
51 sur face of the
sea.
più mosso
-
157Scene 17: Griffith’s Fourth Letter
For Those in Peril
GRI.
55
Back and forth the
arm swings like a
dread pen du
lum.
- -
GRI.
59
The fore fing er of Thom as
Grave
- - -
GRI.
62 is ex tend ed as a poin ter
to the spi rit world
- - - -
GRI.
65
on ly his dead eyes can see.
-
158 Scene 17: Griffith’s Fourth Letter
For Those in Peril
68
Misterioso
GRI.
72 I know not how much
(He stands and begins to pace.) long er I can
last.
-
GRI.
76 The du ty of the
lamps is all that keeps me
go ing on.
- -
GRI.
79 And the vi sion of my wife and
chil dren wait ing,
wait ing on the
shore for my re
- - - --
159Scene 17: Griffith’s Fourth Letter
For Those in Peril
GRI.
83 turn.
rit.
Andante
I pray to
God
that I shall
GRI.
88 see you a
gain.
Grave
That I shall see you a
- -
GRI.
92 gain.
That I shall see you a
rit. gain.
-
160 Scene 17: Griffith’s Fourth Letter
For Those in Peril
Moderato semplice
(Gwendolyn enters the chapel where Madeleine has just finished her prayer.)
Per
GWENDOLYN
-
GWEN.
MAD.
7
haps if we pray to
geth er?
This is the prayer I have
cho sen.
I’m
MADELEINE
- - -
GWEN.
MAD.
11
hap py to join you in
prayer. To
geth er our strength will be
The
great er.
GWENDOLYN
- - - -
161
For Those in Peril
Scene 18: The Prayer VigilGwendolyn, Madeleine, Whiteside, and Williams
GWEN.
15 Good Lord will hear us, I’m
sure, for
two prayers are bet ter than
one!
-
19
Moderato tranquillo
(She hands an open prayer book to Madeleine. They kneel at the prie-dieu and sing.)
GWEN.
MAD.
24 O God, whose fath er ly
O God, whose fath er ly
GWENDOLYN
MADELEINE
care
care
reach es to the ut ter most
reach es to the ut ter most
parts of the earth;
parts of the earth;
- - - - -
- - - - -
GWEN.
MAD.
28 We hum bly be seech Thee We hum bly be seech Thee
gra cious ly to be gra cious ly to be
hold and bless
hold and bless
- - - - -
- - - - -
162 Scene 18: The Prayer Vigil
For Those in Peril
GWEN.
MAD.
32 those whom we
those whom we
love,
love,
now ab sent from
us.
-
GWEN.
MAD.
37
Now ab sent from
us.
De fend them from all
De fend them from all
-
- -
GWEN.
MAD.
41
dan gers
dan gers
of soul and
of soul and
bod y;
bod y;
- -
- -
163Scene 18: The Prayer Vigil
For Those in Peril
GWEN.
MAD.
46
and grant that both they and
and grant that both they and
we,
we,
GWEN.
MAD.
50 draw ing near er to
draw ing near er to
Thee,
Thee,
may be bound to
may be bound to
geth er geth er
by Thy
by Thy
- - - -
- - - -
GWEN.
MAD.
55 love
love
in the com
in the com
mu nion of
mu nion of
the Ho ly
the Ho ly
Spi rit,
Spi rit,
- - - -
- - - -
164 Scene 18: The Prayer Vigil
For Those in Peril
GWEN.
MAD.
60
and in the
and in the
fel low ship
fel low ship
of Thy
of Thy
- -
- -
GWEN.
MAD.
65 saints;
saints;
through Je sus Christ our
through Je sus Christ our
Lord.
Lord.
-
-
GWEN.
MAD.
70 A
A
men.
men.
A
A
men.
men.
rit.
- -
- -
165Scene 18: The Prayer Vigil
For Those in Peril
WIL.
77
Allegro agitato
(As they finish, Williams and Whiteside burstinto the chapel in great excitement.)
WILLIAMS We were told we
might find you here. We
WIL.
82 have great news!
The storm has
less ened suf
fi cient ly that
- - - -
WHI.
WIL.
86
we be lieve that
we can land on the
I will go
rock.
WHITESIDE with the re
-
-
WHI.
90 lief ship and
make sure that
your hus bands are
well.
-
166 Scene 18: The Prayer Vigil
For Those in Peril
95
WHI.
99 Do not wor ry
WHITESIDE o ver much; I
built the light house
strong a gainst the
- - - -
WHI.
103 waves.
rit.
GWEN.
MAD.
108 Please take them these
Please take them these
Moderato semplice
GWENDOLYN
MADELEINE
por traits of ours,
por traits of ours,
-
-
167Scene 18: The Prayer Vigil
For Those in Peril
GWEN.
MAD.
110 so that they might
so that they might
re call their wives who are
re call their wives who are
wait ing.
wait ing.
-
--
-
WHI.
WIL.
113 We will be glad
We will be glad
WHITESIDE
WILLIAMS
to take them these
to take them these,
and to re mind
and to re mind
-
-
WHI.
WIL.
116 them that you faith ful ly
them that you faith ful ly
love them.
love them.
Allegro agitato
(The men take the small portraits, clasp handsbriefly with the ladies, and then exit in haste.)
- -
- -
168 Scene 18: The Prayer Vigil
For Those in Peril
GWEN.
MAD.
120 Our hus bands
Our hus bands
GWENDOLYN
MADELEINE
will be com ing
will be com ing
home at
home at
last!
last!
- -
- -
125
Moderato semplice
(Gwendolyn exits after embracing Madeleine.)
Andante cantabile Œ.= 48
MAD.
130 I
MADELEINE wait with qui et
con fi dence For
you, my hus band,
- - - -
MAD.
134 to re turn. What
ev er may have
come to pass, I
know that you have
- - -
169Scene 18: The Prayer Vigil
For Those in Peril
MAD.
138
done your best. This
ver y day I
shall see you, And
hold you close a
- -
MAD.
142 gainst my breast. So
now, un til you
take my hand, My
prayer shall see you
-
MAD.
146 safe ly home.
See you safe ly
Tranquillo
home.
- -
170 Scene 18: The Prayer Vigil
For Those in Peril
Andante
(Griffith is again seated at the table, writing spasmodically at a letter. He is haggard and worn.)
6
11
17
(He stops writing, picks up his bible, and clutches it to his chest.)
GRI.
21 I have ta ken to
GRIFFITH sleep ing with the
Good Book as my
- -
171
For Those in Peril
Scene 19: Madness and ReliefWhiteside, Griffith, and Williams
GRI.
24 pil low, in the
hope that it will pro
tect me from the
- -
GRI.
27 dark ness of the
un der world.
- - -
GRI.
31
E ven so, I
close my eyes in
rest for scarce ly an
- -
GRI.
35 hour through the hours of
night.
172 Scene 19: Madness and Relief
For Those in Peril
38
GRI.
42
Andante con moto Œ.= 66
As I
lay in my bunk last
night,
scarce af ter one o’
- -
GRI.
47 clock, the
De mon’s knock
in ter rup ted my
fear ful
dreams.
- - - - -
GRI.
52 Then I saw
Grave
it was the sound
173Scene 19: Madness and Relief
For Those in Peril
GRI.
55
of the dead hand
GRI.
58 of Thom as How ell
tap tap ping a
- - -- -
GRI.
61 gainst my night win dow that I
heard.
Misterioso
-
GRI.
65
Allegretto
It was then
that I knew, as
sure ly as I know the
-
174 Scene 19: Madness and Relief
For Those in Peril
GRI.
70 grass and flow ers
may grow on a
land I fear will
nev er be mine to
see a gain,
- - -
GRI.
75 that the dead fin ger
of Tho mas
was point ing out for the
sea gob lins and
- - - - -
GRI.
79 wraiths on the wa ter
the way
in to
the light house.
- - -
GRI.
83 There they will
Andante
find the wretch
shiv er ing
with in.
- - -
175Scene 19: Madness and Relief
For Those in Peril
GRI.
87 My ver y soul
is im per illed.
- --
GRI.
90
(He staggers to his feet, staring at the silhouette of thedead man’s arm in the window. The bible falls from his hands.)
Allegretto
This is some thing
-
GRI.
94
I can no long er
en dure.
- -
GRI.
99 O, be lov ed wife!
O, my dear est Lord!
- - -
176 Scene 19: Madness and Relief
For Those in Peril
GRI.
103 God... Save...
Me...
(Griffith collapses on the floor, moaning and muttering, and finally falling silent.)
WIL.
108 A hoy!
(offstage, in the distance)WILLIAMS A hoy the
light house!
- --
111
116
(Griffith does not stir as Williams and Whitesideenter from the downstage entrance.)
WHI.
119
WHITESIDE Oh, my God! Is that
Grif fith?
Is he a live?
- -
177Scene 19: Madness and Relief
For Those in Peril
WHI.
123
rit.
Andante
(Williams kneels next to the prone form of Griffith andgrasps his shoulder. Griffith utters an inarticulate moan.)
WIL.
127 Yes, praise God.
WILLIAMS But o ver come by
some thing, I know not
what.
- - -
WIL.
131 But where is
Allegretto
How ell?
-
134
(Whiteside looks around him and recoils in horrorwhen he sees the dead arm of Howell in the window.)
178 Scene 19: Madness and Relief
For Those in Peril
WHI.
138
rit.
WHITESIDE He is here, I think.
Andante
In this win dow that
-
WHI.
143 looks out on death and some
mys ter y that we may
nev er dis cov er.
- - - - -
WHI.
WIL.
146 What could have hap pened
(Williams stands and notices the letters on the table.)
here, I won der?
WILLIAMS
Per haps the an
swer is here, in these
-
-
-
-
WIL.
150 let ters he wrote.
(As Williams reaches for the letters, Griffithsuddenly scrambles to his feet.)
-
179Scene 19: Madness and Relief
For Those in Peril
154
Allegro agitato
GRI.
159 Who are you?
Andante con moto Œ.= 66
GRIFFITH Are you the De vil’s
ver y de mons
come to drag me
down to
- - -
GRI.
WIL.
164 hell?
WILLIAMS
No, no—
(Griffith cowers against the wall in terror as the other two men slowly approach him.He shudders violently when they each grasp an arm.)
we are your friends!
Do not fear
us!
WHI.
WIL.
169 Still, now, Still, now,
WHITESIDE
WILLIAMS
still: we have
still: we have
come to
come to
take you take you
(Reaching into his vest, Whiteside pulls out a portrait,glances at it, then presents it to Griffith.)
home. home.
rit.
180 Scene 19: Madness and Relief
For Those in Peril
WIL.
175 Look
Andante tranquillo Œ.= 44
WILLIAMS here, O Tho mas,
at the face of
your de vo ted
wife, who
- - -
WHI.
GRI.
WIL.
180
has prayed for you,
ev er y day and
GRIFFITH (staring at the portrait)
Dear Ma de leine! night.
WHITESIDE Now the time has
Now the time has
- -
- -
WHI.
WIL.
184 come for you to go come for you to go
home. Calm your home. Calm your
self, think of
self, think of
your dear wife’s love for your dear wife’s love for
-
-
181Scene 19: Madness and Relief
For Those in Peril
WHI.
WIL.
188 you, and take you, and take
heart: you’ll heart: you’ll
soon be home a
soon be home a
gain.
gain.
Home a
Home a
rit.
gain.
gain.
- -
--
WIL.
194
Andante con moto Œ.= 66
You re
WILLIAMS mem ber the sail ors’
song that they
sing when they’re head ed for
- - - -
WIL.
199 home?
Hoo
roo, my boys, we’re
-
182 Scene 19: Madness and Relief
For Those in Peril
WHI.
WIL.
204 Good
home ward bound, Good
WHITESIDE bye, fare well, good
bye, fare well, good
bye, fare well.
bye, fare well. Hoo
roo, my boys, we’re
- - - - - -
- - - -
WHI.
WIL.
208 Hoo
home ward bound, Hoo
roo, my boys, good
roo, my boys, good
bye, fare you well. We’re
bye, fare you well. We’re
home ward bound, we’re
home ward bound, we’re
- - - -
- - -
WHI.
WIL.
212 home ward bound, good
home ward bound, good
bye, fare you
bye, fare you
well!
well!
O
fare you well, I
- -
- -
183Scene 19: Madness and Relief
For Those in Peril
WHI.
GRI.
WIL.
217 Good
Good
wish you well, Good
bye, fare well, good
bye, fare well, good
bye, fare well, good
bye, fare well.
bye, fare well.
bye, fare well. O
fare you well, I
- - - -
- - - -
- - - -
WHI.
GRI.
WIL.
221 Hoo
Hoo
wish you well, Hoo
roo, my boys, good
roo, my boys, good
roo, my boys, good
bye, fare you well. We’re
bye, fare you well. We’re
bye, fare you well. We’re
home ward bound, we’re home ward bound, we’re
home ward bound, we’re
- - -
- -
- - -
-
184 Scene 19: Madness and Relief
For Those in Peril
WHI.
GRI.
WIL.
225 home ward bound, good
home ward bound, good
home ward bound, good
bye, fare you
bye, fare you
bye, fare you
well!
well!
well!
We’re
We’re
We’re
home ward bound, and
home ward bound, and
home ward bound, and
- - -
- -
- -
-
-
WHI.
GRI.
WIL.
230 so they say, Good
so they say, Good
so they say, Good
bye, fare well, good
bye, fare well, good
bye, fare well, good
bye, fare well. We’re
bye, fare well. We’re
bye, fare well. We’re
-
- - - -
- - - -
- - -
185Scene 19: Madness and Relief
For Those in Peril
WHI.
GRI.
WIL.
233 home ward bound and
home ward bound, and
home ward bound, and
so they say, Hoo
so they say, Hoo
so they say, Hoo
roo, my boys, good
roo, my boys, good
roo, my boys, good
- -
- -
- --
-
-
WHI.
GRI.
WIL.
236 bye, fare you well. We’re
bye, fare you well. We’re
bye, fare you well. We’re
home ward bound, we’re
home ward bound, we’re
home ward bound, we’re
home ward bound, good
home ward bound, good
home ward bound, good
- - -
- - -
- - -
186 Scene 19: Madness and Relief
For Those in Peril
WHI.
GRI.
WIL.
239 bye, fare you
bye, fare you
bye, fare you
well!
well!
well!
(By the end of the song, Griffith seems somewhat moreself-possessed, but is still shaky and confused. Williamsushers him to the downstage entrance.)
rit.
WIL.
244 Best not to ques tion our
Andante
WILLIAMS (with an arm around Griffith, aside to Whiteside)
friend here just now.
I’ll take him
-
WHI.
WIL.
247
down and send the oth ers
We’ll need some
up.
WHITESIDE
-
187Scene 19: Madness and Relief
For Those in Peril
WHI.
249 help in bring ing back poor
How ell.
(Williams nods; he and Griffith exit.Whiteside looks at the arm in the window.)
How I pi ty his poor
-- -
WHI.
252 wife.
Oh, what mis for tune
Largo
could havebe fall en
- - - -
WHI.
255
him? I pray his
soul may rest in
peace.
Tranquillo
(He moves over to the table and picks up the letteras the lights go down on the lighthouse scene.)
rit.
188 Scene 19: Madness and Relief
For Those in Peril
Tranquillo
GWEN.
MAD.
5
Soon they will be here
MADELEINE
(Madeleine and Gwendolyn are in the chapel and sing together.)
and all will be well.
GWENDOLYN All we can do now
GWEN.
8 is wel come them home.
rit.
a tempo
-
12
189
For Those in Peril
Scene 20: Coming HomeGwendolyn and Madeleine
GWEN.
MAD.
15 There is
There is
GWENDOLYN
MADELEINE
man y a step goes light er, com ing
man y a step goes light er, com ing
home; There is
home; There is
- - -
- - -
GWEN.
MAD.
18 man y an eye grows bright er, com ing
man y an eye grows bright er, com ing
home. All the
home. All the
way seems to re mind you Of sweet
way seems to re mind you Of sweet
- - - -
- - - -
GWEN.
MAD.
21
mem o ries that bind you To dear
mem o ries that bind you To dear
dis tant days be hind you, com ing
dis tant days be hind you, com ing
rit.
home! You for
home! You for
a tempo
- - - - - -
- - - - - -
190 Scene 20: Coming Home
For Those in Peril
GWEN.
MAD.
24 get your load of sor row, com ing
get your load of sor row, com ing
home; It will
home; It will
wait un til the mor row, com ing
wait un til the mor row, com ing
- - - - -
- - - - -
GWEN.
MAD.
27 home. You can
home. You can
see the kind smiles beam ing And the
see the kind smiles beam ing And the
ten der eyes a gleam ing: Oh! the
ten der eyes a gleam ing: Oh! the
- - - -
- - - -
GWEN.
MAD.
30 long ing and the dream ing, com ing
long ing and the dream ing, com ing
home. Ah!
home. Ah!
Ah!
Ah!
- - -
- - -
191Scene 20: Coming Home
For Those in Peril
GWEN.
MAD.
33 Oh, the
Oh, the
long ing and the dream ing, com ing
long ing and the dream ing, com ing
rit.
home.
home.
allarg.
- - -
- - -
GWEN.
MAD.
37
Tranquillo
(A grim-faced Williams and Whiteside enter, and theladies rush to them, then reel in shock as they learn the news.)
42
accel.
Andante
47
Misterioso
192 Scene 20: Coming Home
For Those in Peril
Epilogue: Narrator’s Final WordsNarrator
NARR.
59
(Enter narrator as at beginning of opera.)
NARRATOR Let the sea
go as
it has
gone
be
fore,
-
NARR.
69
Reach ing with
i dle
fin gers
for
the
shore;
- - -
NARR.
78 Let storm clouds
fly a
cross the
sea and
land,
-
NARR.
86 As ev er
shall their
threat be
here at
hand;
So let them
-
193
For Those in Peril
Epilogue: Final Reflections
NARR.
94 go, and
ex er
cise their
power,
And let some
oth ers
go to
- - -
NARR.
102 that
far
tower.
Sleep, sleep, now sleep in
Andante
subito
death or
NARR.
108 sleep in mad ness,
While those who loved you
weep in sad ness.
- -
NARR.
111
I will shine on, a
-
194
For Those in Peril
Epilogue: Final Reflections
NARR.
114 bove this world of woe,
And won der at this
Love that I shall ne ver
know;
- -
NARR.
118 And lis ten to the
prayers made end less ly
For those in per il on the
sea.
- - - -
NARR.
122 For those in
per il
on the
sea.
Tranquillo
(Exit narrator.)
-
129
rit.
End of Opera
195
For Those in Peril
Epilogue: Final Reflections
196
For Those in Peril
Appendix: Notes on Sources
Prologue: opening verses adapted from “The Even-star” by Richard Garnett (1835-1906)
Scene 3: text adapted from “The Light-Keeper” by Robert Louis Stevenson (1850-1894)
Scene 4: final prayer “Keep watch, dear Lord” from The Book of Common Prayer
Scene 7: traditional folk song “Grace Darling” adapted to a new tune by the composer
Scene 8: text from “A Midnight Harvest” by Rosamund Marriott Watson (1860-1911)
Scenes 11, 13, 15, 17, 19: letter portions adapted from “The First and Last Letter to hisWife from Thomas Griffith” by Raymond Humphreys, used with permission
Scene 12: final duet from “God Help Our Men at Sea” by Henry Kendall (1839-1882)
Scene 14: final quartet uses the hymn text “Eternal Father, strong to save” by WilliamWhiting (1825-1878)
Scene 18: prayer “O God, whose fatherly care” from The Book of Common Prayer
Scene 19: trio beginning in bar 202 adapted from the traditional capstan chanty “HomewardBound,” collected by Cecil Sharp at Crowcombe, England, on April 21, 1914
Scene 20: final duet “There is many a step” adapted from the art song “Coming Home,”music by Charles Willeby (1865-1955), words by D. Eardley-Wilmot (1883-?)