For Those In Perilforthoseinperilopera.org/ftip_vs.pdfFor Those In Peril A Chamber Opera in Two...

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 [email protected]

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;

- - -


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

- - -


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

-


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

- - -


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

-


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.

- -


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.)

-

- -


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

- - -

- - -


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


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?

- - -


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.

- - -


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

- - -


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!

- -


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.

- - - - - - - - -


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.

- - -


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

- - -


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


GRIFFITH

plain to see this man lacks com pre rat ed by this preach er;


-

- -

- - -

- -

-

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


- - -

-

- -

- - -

-

- -


For Those in Peril

HOW.

GRI.

WIL.

201 plain to see this man lacks com pre rat ed by this preach er;


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


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.)

- -


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.


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.

-


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

-

- - -


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

-


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

- - - - -

- - -


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


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.

- - -


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



men of the ship wrecked men of the ship wrecked

crew. But

crew. But

- -

- -

HOW.

GRI.


Grace had a fear less



ra ging storm she

ra ging storm she

braved. And she braved. And she

- - -

- - -


For Those in Peril

HOW.

GRI.



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,

- - - -

- - - -


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



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





crew. But

crew. But

- -

- -


For Those in Peril

HOW.

GRI.





ra ging storm she

ra ging storm she

braved. And she

braved. And she

- - -

- - -

HOW.

GRI.




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

- -

- -


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,

- --

- - -


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


crew. But

crew. But





- - -

- - -

HOW.

GRI.

111 ra ging storm she ra ging storm she

braved. And she

braved. And she




strand ed crew she

strand ed crew she

- - - -

- - - -


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)

- -

- -


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)-


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

-


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.”

-


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

- - -

- - - -


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

-


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

- -

- - - - -


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?

- -


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

-


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

- - - --


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


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?

- - -


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


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


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.

--


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

- - - -


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


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

- - - -


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.


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,


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?

-


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.

- - -

- - -


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.


It was

nigh on to twen ty five

- - -


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

- - - -


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

- - - - - -


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


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

- - -


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.

-

-


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

- - -


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

- - -


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.

- - - -


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

-

-


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:

- - -

- - -


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


- - - -

- - - -


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


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,

- - -

- - -


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,



- - -

- - -


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

-

-


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

- -

- -


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,



- - - - - -

- - - - - -


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.)


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


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


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

- -

-


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

- -


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

-


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!

-

-


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!

-

-


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

-

-


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,

- - -

- - -

- - -

- - -


For Those in Peril

GWEN.

MAD.

WHI.

WIL.

123 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




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,

- - -

- - -

- - -

- - -


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,

- -

- -


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

- -

- -


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.

-

-


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




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,



fire and foe,

fire and foe,

fire and foe,

fire and foe,

Pro tect them where so




e’er they go;

e’er they go;

e’er they go;

e’er they go;

- - - -

- - - -

- - - -

- - - -


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.

-

-

-

-


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.

-


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.

-


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.

-


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.


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.


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.

-


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.

-


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,

- - - -

- - - -


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.

- -

- -


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.

-


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,

-

-


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.)

- -

- -


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.)


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

- - -


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.

- -


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


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

-


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.

- - -


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!

- - -


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?

- -


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.)


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.)

-


For Those in Peril

154

Allegro agitato

GRI.

159 Who are you?


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.


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

-

-


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


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

-


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


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

- -

- -


For Those in Peril

WHI.

GRI.

WIL.

217 Good

Good

wish you 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




home ward bound, we’re home ward bound, we’re


- - -

- -

- - -

-


For Those in Peril

WHI.

GRI.

WIL.

225 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



- - -

- -

- -

-

-

WHI.

GRI.

WIL.

230 so they say, Good

so they say, Good

so they say, Good




bye, fare well. We’re



-

- - - -

- - - -

- - -


For Those in Peril

WHI.

GRI.

WIL.

233 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









- - -

- - -

- - -


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

-


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.


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



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


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


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-?)

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