The30MinuteShakespeare

CHARACTERS IN THE PLAY

The following is a list of characters that appear in this cutting of The Tempest.

For the full breakdown of characters, see Sample Program.

PROSPERO: Former Duke of Milan, now a magician on a Mediterranean island

SAILORS

MASTER OF THE SHIP BOATSWAIN OF THE SHIP

ALONSO: King of Naples

SEBASTIAN: Alonso’s brother

ANTONIO: Usurping Duke of Milan, and Prospero’s brother

FERDINAND: Prince of Naples, and Alonso’s son GONZALO: Counselor to Alonso, and friend to Prospero MIRANDA: Prospero’s daughter

ARIEL: An airy spirit, servant to Prospero

CALIBAN: A savage inhabitant of the island, servant to Prospero

TRINCULO: Servant to Alonso STEPHANO: Alonso’s drunken butler STRANGE SHAPES

DOGS NARRATOR

✴ SCENE 1. (ACT I, SCENE I)

On a ship at sea.

STAGEHAND sets stool upstage right.

SOUND OPERATOR plays Sound Cue #1 (“Storm sounds”).

Enter PROSPERO from stage left. He stands on stool upstage right and “directs” the storm with his staff. Enter SAILORS from stage right, pulling ropes in slow motion as NARRATOR speaks.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

On board a ship carrying King Alonso of Naples and his men, a boatswain directs the crew to fight agreat storm (raises voice over growing storm noises) . . . but the ship appears destined to sink!

Exit NARRATOR stage left. Exit PROSPERO and SAILORS stage right.

Enter MASTER and BOATSWAIN from stage right.

MASTER

Boatswain!

BOATSWAIN

Here, master: What cheer?

2 ✴ THE TEMPEST

MASTER

Good, speak to the mariners: fall to’t, yarely, or we run ourselves aground: bestir, bestir.

Exit MASTER stage right.

Enter SAILORS from stage right, pulling on rope.

BOATSWAIN

Heigh, my hearts! Cheerly! Yare, yare! Take in the topsail!

Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, and GONZALO

from stage right.

ALONSO

Good boatswain, have care. Where’s the master?

BOATSWAIN

I pray now, keep below.

ANTONIO

Where is the master, boatswain?

BOATSWAIN

You mar our labor: keep your cabins!

GONZALO

Nay, good, be patient.

BOATSWAIN

When the sea is. Hence! What cares these roarers for the name of king? To cabin: trouble us not.

Out of our way, I say.

GONZALO (aside to ANTONIO and ALONSO)

THE TEMPEST ✴ 3

I have great comfort from this fellow: methinks he hath no drowning mark upon him.

Exit ALONSO, SEBASTIAN, ANTONIO, FERDINAND, and GONZALO

stage right.

SOUND OPERATOR plays Sound Cue #2 (“Thunder”).

SAILORS lurch stage left, pulling rope.

BOATSWAIN

Down with the topmast! Yare! Lower, lower!

Re-enter SEBASTIAN, ANTONIO, and GONZALO from stage right.

Yet again! What do you here? Have you a mind to sink?

SEBASTIAN

A pox o’ your throat, you bawling, blasphemous, incharitable dog!

BOATSWAIN

Work you then.

ANTONIO

Hang, cur! Hang, you whoreson, insolent noisemaker! We are less afraid to be drowned than thou art.

SOUND OPERATOR plays Sound Cue #3 (“Thunder”).

SAILORS lurch far stage right, pulling rope.

BOATSWAIN

Lay her a-hold! What, must our mouths be cold?

4 ✴ THE TEMPEST

ANTONIO

We are merely cheated of our lives by drunkards: Let’s all sink with the king.

Exit ANTONIO and SEBASTIAN stage right.

GONZALO

Now would I give a thousand furlongs of sea for an acre of barren ground.

Exit ALL stage right.

✴ SCENE 2. (ACT I, SCENE II)

The island. Before PROSPERO’S cell.

STAGEHANDS remove stool from upstage left and place chair downstage, just right of center.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Prospero, the former Duke of Milan, has been stranded on a barren island for twelve years with his daughter, Miranda. He explains to her that he used his magic to raise the recent storm, but no one was harmed. King Alonso’s son, Ferdinand, falls instantly in love with Miranda, to Prospero’s delight.

Exit NARRATOR stage left.

Enter PROSPERO and MIRANDA from stage right. MIRANDA sits in chair.

MIRANDA (standing, looking over the audience to the sea) If by your art, my dearest father, you have Put the wild waters in this roar, allay them.

A brave vessel, dash’d all to pieces.

PROSPERO

Be collected: There’s no harm done.

I should inform thee farther. Pluck my magic garment from me.

(lays down his mantle)

Thou must now know farther. Twelve year since, Miranda,

Thy father was the Duke of Milan.

MIRANDA

O the heavens!

PROSPERO

Thy uncle, call’d Antonio, did believe he was indeed the duke;

The King of Naples and Antonio prepared a rotten carcass of a boat;

There they hoist us, to cry to the sea that roar’d to us.

MIRANDA

How came we ashore?

PROSPERO

By Providence divine.

(dons his mantle again)

MIRANDA

I pray you, sir, your reason for raising this sea-storm?

PROSPERO

By accident most strange hath mine enemies brought to this shore. Here cease more questions: Thou art inclined to sleep.

PROSPERO waves his hands, casting a spell over MIRANDA. SOUND OPERATOR plays Sound Cue #4 (“Ding”).

MIRANDA sleeps.

Come, servant.

Approach, my Ariel, come.

Enter ARIEL from stage right, playing the recorder.

ARIEL

All hail, great master! I come to answer thy best pleasure;

To ride on the curl’d clouds, Ariel and all her quality.

PROSPERO

Hast thou, spirit,

Perform’d to point the tempest that I bade thee?

ARIEL

To every article.

I boarded the king’s ship; I flamed amazement.

The king’s son, Ferdinand, was the first man that leap’d,

Not a hair perish’d;

In troops I have dispersed them ’bout the isle. The king’s son have I landed by himself.

PROSPERO

Ariel, there’s more work.

ARIEL

Is there more toil?

Let me remember thee what thou hast promised, My liberty.

PROSPERO

Do so, and after two days I will discharge thee.

Go make thyself invisible.

Exit ARIEL stage right.

SOUND OPERATOR plays Sound Cue #5 (“Ding”).

(to MIRANDA) Awake, dear heart, awake! Thou hast slept well; awake!

MIRANDA awakes.

Re-enter ARIEL from stage right, invisible, playing and singing, with FERDINAND following.

FERDINAND

Where should this music be? I’ the air or the earth?

ARIEL

Full fathom five thy father lies; Those are pearls that were his eyes.

FERDINAND (agitated, sad)

The ditty does remember my drown’d father.

MIRANDA

What is’t? A spirit? It carries a brave form. I might call her a thing divine.

PROSPERO (aside to ARIEL)

It goes on, I see,

As my soul prompts it.

ARIEL, still invisible, turns FERDINAND around to face MIRANDA.

FERDINAND

My prime request is, O you wonder! If you be maid or no?

MIRANDA

No wonder, sir; but certainly a maid.

PROSPERO (aside)

They are both in either’s powers.

SOUND OPERATOR plays Sound Cue #6 (“Ding”).

MIRANDA freezes.

FERDINAND

My father’s loss, the wreck of all my friends, are but light to me,

Might I but through my prison once a day Behold this maid.

PROSPERO (aside)

It works.

SOUND OPERATOR plays Sound Cue #7 (“Ding”).

FERDINAND freezes.

(to ARIEL) Thou hast done well, fine Ariel! Thou shalt be free

As mountain winds: but then exactly do All points of my command.

ARIEL

To the syllable.

SOUND OPERATOR plays Sound Cue #8 (“Ding”).

MIRANDA and FERDINAND are unfrozen.

PROSPERO (sternly)

Come, follow.

Exit ALL stage right.

✴ SCENE 3. (ACT II, SCENE II)

Another part of the island.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Having escaped the apparently sinking ship, Trinculo hides under a cloak to weather the storm, where he discovers the island’s ornery monster, Caliban. Drunk Stephano finds them both and shares his bottlewith them, which livens things up!

Exit NARRATOR stage left.

Enter CALIBAN from stage right, carrying a bundle of wood.

SOUND OPERATOR plays Sound Cue #9 (“Thunder”).

CALIBAN

All the infections that the sun sucks up From bogs on Prosper fall.

Enter TRINCULO from stage right.

Lo, now, lo!

Here comes a spirit of his. I’ll fall flat.

(hides under his cloak)

TRINCULO

Another storm brewing;

I know not where to hide my head:

What have we here? A man or a fish? Dead or alive?

(lifts up the cloak)

A fish: he smells like a fish.

A strange fish! Legged like a man (noticing

CALIBAN’S arms) and his fins like arms!

Warm o’ my troth!

SOUND OPERATOR plays Sound Cue #10 (“Thunder”).

TRINCULO panics at the sounds of the storm.

Alas, the storm is come again! My best way is to creep under his gaberdine.

TRINCULO holds his nose to block the smell and crawls under the cloak. CALIBAN immediately sticks his head out from under the cloak with a startled look.

Enter STEPHANO from stage left, singing, with a flask in his hand.

STEPHANO

I shall no more to sea, to sea, Here shall I die ashore—(drinks)

This is a scurvy tune too: but here’s my comfort.

(drinks)

CALIBAN (frightened by STEPHANO’S singing and arrival)

Do not torment me: oh!

STEPHANO jumps at the sound and notices the four legs sticking out from under the cloak.

STEPHANO

I have not scaped drowning to be afeard now of your

(counting) four legs.

CALIBAN

Do not torment me, prithee.

STEPHANO

He’s in his fit now. He shall taste of my bottle: Open your mouth.

STEPHANO passes flask to CALIBAN, who takes a few long swigs with large breaths between sips.

TRINCULO

I should know that voice: it should be—but he is drowned.

STEPHANO

Four legs and two voices: a most delicate monster!

I will pour some in thy other mouth. (moves to pour drink on TRINCULO’S side of the cloak)

TRINCULO

Stephano!

STEPHANO shrieks.

Stephano! I am Trinculo—be not afeard— thy good friend (emerges from cloak, revealing himself) Trinculo.

STEPHANO

I’ll pull thee by the lesser legs.

STEPHANO pulls TRINCULO by his legs; TRINCULO protests when pulled.

Thou art very Trinculo indeed! How camest thou to be the siege of this moon-calf? Can he vent Trinculos?

TRINCULO

But art thou not drowned, Stephano?

STEPHANO shakes his head.

O Stephano, two Neapolitans ’scaped!

TRINCULO grabs STEPHANO as they dance around in a circle.

STEPHANO

Prithee, do not turn me about; my stomach is not constant.

CALIBAN (aside)

That’s a brave god and bears celestial liquor. I will kneel to him. (kneels)

STEPHANO

How didst thou ’scape?

TRINCULO

Swum ashore. Man, like a duck.

STEPHANO

Here, kiss the book.

STEPHANO hands flask to CALIBAN, who drinks greedily.

CALIBAN

I’ll kiss thy foot; I’ll swear myself thy subject. I’ll fish for thee and get thee wood enough. A plague upon the tyrant that I serve!

I’ll follow thee, thou wondrous man.

(singing drunkenly)

Farewell master; farewell, farewell!

TRINCULO

A howling monster: a drunken monster!

CALIBAN

’Ban, ’Ban, Ca-caliban

Has a new master: get a new man. Freedom, hie-day! Hie-day, freedom!

STEPHANO

O brave monster! Lead the way.

Exit ALL stage left, singing CALIBAN’S song and dancing merrily.

✴ SCENE 4. (ACT III, SCENE I)

Before PROSPERO’S cell.

STAGEHAND places stool stage right.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Ferdinand is visited by Miranda. Prospero observes them, unseen, as they exchange marriage vows.

Things are starting to heat up!

Exit NARRATOR stage left.

Enter FERDINAND from stage right, picking up logs.

FERDINAND

This my mean task would be heavy to me, but The mistress which I serve quickens what’s dead And makes my labors pleasures.

Enter MIRANDA from stage right. PROSPERO follows; he lingers upstage, unseen.

MIRANDA sits. PROSPERO continues to hang back, upstage right. Upon seeing MIRANDA, FERDINAND drops a logfrom his bundle.

MIRANDA

Work not so hard: rest yourself;

MIRANDA takes FERDINAND by the hand, leading him gently to the stool.

I’ll bear your logs the while.

MIRANDA pretends to struggle to pick up a log, looking over at FERDINAND. FERDINAND gently leads MIRANDA back to the stool while speaking, kneeling as she sits.

FERDINAND

No, precious creature;

I had rather break my back,

Than you should such dishonor undergo, While I sit lazy by.

PROSPERO

Poor worm, thou art infected!

FERDINAND

What is your name?

MIRANDA

Miranda.—O my father,

I have broke your hest to say so!

FERDINAND

Admired Miranda!

O you are created of every creature’s best!

MIRANDA

How features are abroad,

I am skilless of. I would not wish

Any companion in the world but you.

MIRANDA takes FERDINAND’S arm.

FERDINAND

The very instant that I saw you, did My heart fly to your service;

THE TEMPEST ✴ 17

And for your sake am I this patient (pauses, gesturing to logs) log-man.

MIRANDA

Do you love me?

FERDINAND

I beyond all limit of what else i’ the world Do love, prize, honor you.

MIRANDA

I am a fool

To weep at what I am glad of.

PROSPERO

Fair encounter

Of two most rare affections!

MIRANDA

I am your wife, if you will marry me.

FERDINAND

Ay, with a heart as willing

As bondage e’er of freedom: here’s my hand.

MIRANDA

And mine, with my heart in’t; and now farewell.

FERDINAND

A thousand thousand!

Exit FERDINAND and MIRANDA stage left.

PROSPERO

So glad of this as they I cannot be,

Who are surprised withal; but my rejoicing

At nothing can be more. I’ll to my book, For yet ere supper-time must I perform Much business appertaining.

Exit PROSPERO stage left.

✴ SCENE 5. (ACT III, SCENE II)

Another part of the island.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Trinculo and Caliban quarrel with the help of the invisible fairy Ariel. Caliban urges Stephano to kill Prospero. What a monstrous thing to do!

Exit NARRATOR stage left.

Enter CALIBAN, STEPHANO, and TRINCULO from stage right, drinking and carousing. They stand downstage fromstool.

STEPHANO

Servant-monster, drink to me.

STEPHANO hands a drink to CALIBAN, who takes a long gulp.

TRINCULO is not happy with this.

CALIBAN

Let me lick thy shoe. (kneels on floor)

I thank my noble lord.

Enter ARIEL from stage right, invisible to all. She stands on stool.

CALIBAN

As I told thee before, I am subject to a tyrant,

a sorcerer, that by his cunning hath cheated me of the island.

ARIEL

Thou liest.

CALIBAN (to TRINCULO)

Thou liest, thou jesting monkey, thou! I do not lie.

STEPHANO

Trinculo, if you trouble him any more, I will supplant some of your teeth.

TRINCULO

I did nothing.

STEPHANO

Didst thou not say he lied?

ARIEL

Thou liest.

STEPHANO

Do I so? Take thou that.

(beats TRINCULO with his hat)

Proceed.

CALIBAN (conspiratorially, pulling STEPHANO closer)

Why, as I told thee, ’tis a custom with Prospero

I’ th’ afternoon to sleep: there thou mayst brain him, With a log or cut his wezand with thy knife.

Remember first to possess his books; for without them He’s but a sot, as I am, nor hath not

One spirit to command:

And that most deeply to consider is The beauty of his daughter;

She will become thy bed,

And bring thee forth brave brood.

STEPHANO

Monster, I will kill this man: his daughter and I will be king and queen—save our graces!—andTrinculo and thyself shall be viceroys. Come on, Trinculo, let us sing.

(singing)

Flout ’em and scout ’em And scout ’em and flout ’em Thought is free.

ALL sing the song together, happily dancing as they start to exit.

ARIEL plays the tune on a recorder.

CALIBAN

Be not afeard; the isle is full of noises, That give delight and hurt not.

STEPHANO

This will prove a brave kingdom to me, where I shall have my music for nothing. Lead, monster; we’ll follow.

Exit ALL stage right.

✴ SCENE 6. (ACT III, SCENE III)

Another part of the island.

STAGEHANDS set banquet table upstage center and place stool center stage. They place second stool upstage left.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

King Alonso and his party are visited by strange shapes that invite them to a banquet. Ariel appears as a large winged bird called a harpy and accuses three of the men of overthrowing Prospero’s dukedom,threatening them with a fate worse than death. Rule number one: Never mess with a harpy!

Exit NARRATOR stage left.

Enter ALONSO, SEBASTIAN, ANTONIO, and GONZALO from stage left.

GONZALO

I can go no further, sir. My old bones ache.

ALONSO

Sit down, and rest.

GONZALO sits on floor, stage right; ALONSO sits on stool center stage.

Even here I will put off my hope; he is drown’d Whom thus we stray to find. Well, let him go.

ANTONIO (standing stage left with SEBASTIAN)

(aside to SEBASTIAN) I am right glad that he’s so out of hope.

SEBASTIAN (aside to ANTONIO)

The next advantage will we take throughly.

ANTONIO

(aside to SEBASTIAN) Let it be tonight.

SOUND OPERATOR plays Sound Cue #11 (“Strange shapes music”).

ALONSO

What harmony is this?

GONZALO

Marvelous sweet music!

Enter PROSPERO from stage rear. He stands on upstage left stool, invisible to all. Enter several STRANGE SHAPES from stage rear. They move gracefully around the stage, dancing about the banquet table with gentle actions. After inviting ALONSO, ANTONIO, and SEBASTIAN to eat, STRANGE SHAPES depart.

SEBASTIAN

Now I will believe

That there are unicorns.

GONZALO

If in Naples

I should report this now, would they believe me?

ALONSO

I will stand to and feed.

24 ✴ THE TEMPEST

SOUND OPERATOR plays Sound Cue #12 (“Thunder”).

Enter ARIEL, as Harpy, from stage left. She stands on center stage stool.

ARIEL

You are three men of sin, whom Destiny,

Hath caused to belch up you; I have made you mad.

ALONSO, SEBASTIAN, and ANTONIO draw their swords.

SOUND OPERATOR plays Sound Cue #13 (“Ding”).

You fools! Your swords may as well Wound the loud winds, or

Kill the still-closing waters.

SOUND OPERATOR plays Sound Cue #14 (“Ding”).

You three

From Milan did supplant good Prospero; Exposed unto the sea,

Him and his innocent child.

(to ALONSO) Thee of thy son, Alonso,

They have bereft; and do pronounce by me: Lingering perdition.

SOUND OPERATOR plays Sound Cue #15 (“Thunder”).

SOUND OPERATOR plays Sound Cue #16 (“Strange and solemn music”).

Re-enter STRANGE SHAPES, dancing, from stage rear. PROSPERO

follows, unseen, and stands on upstage left stool to observe.

ARIEL, as Harpy, descends from stool, removes bird mask, and moves upstage left to stand with Prospero.

Exit STRANGE SHAPES stage left.

PROSPERO

Bravely the figure of this harpy hast thou Perform’d, my Ariel. My high charms work And thesemine enemies now are in my power.

Exit ARIEL and PROSPERO stage left.

ALONSO

O, it is monstrous, monstrous.

Exit ALONSO, SEBASTIAN, and ANTONIO stage right.

GONZALO

All three of them are desperate: their great guilt, Like poison now ’gins to bite the spirits.

Exit GONZALO stage right.

STAGEHANDS remove banquet table.

✴ SCENE 7. (ACT IV, SCENE I)

Before PROSPERO’S cell.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Prospero gives his daughter’s hand to Ferdinand and the couple are married. He suddenly remembers

the threat posed by Caliban and company and drives them out with spirits disguised as dogs. Rule number two: Never mess with a magician.

Exit NARRATOR stage left.

Enter PROSPERO, FERDINAND, and MIRANDA from stage right.

PROSPERO

Take my daughter.

FERDINAND

I hope for quiet days, fair issue and long life.

PROSPERO

What, Ariel! My industrious servant, Ariel!

Enter ARIEL, humming, from stage right.

ARIEL

Here I am.

PROSPERO

I must use you in such another trick. Go bring the rabble,

O’er whom I give thee power, here to this place.

ARIEL

Before you can say ‘come’ and ‘go,’ Each one, tripping on his toe, Will be here with mop and mow. Do you love me, master? No?

PROSPERO

Dearly my delicate Ariel.

Exit ARIEL, humming, stage left.

PROSPERO (aside, suddenly very angry)

I had forgot that foul conspiracy

Of the beast Caliban and his confederates Against my life: the minute of their plot Is almost come.

FERDINAND

This is strange: your father’s in some passion That works him strongly.

MIRANDA

Never till this day

Saw I him touch’d with anger so distemper’d.

PROSPERO

My brain is troubled.

FERDINAND

We wish your peace.

Exit FERDINAND and MIRANDA stage right.

PROSPERO

Ariel: come.

Enter ARIEL from stage left.

ARIEL

What’s thy pleasure?

PROSPERO

Spirit,

We must prepare to meet with Caliban. Where didst thou leave these varlets?

ARIEL

(gestures offstage, miming a pool)

I left them i’ the filthy-mantled pool beyond your cell.

PROSPERO

This was well done, my bird.

Thy shape invisible retain thou still.

SOUND OPERATOR plays Sound Cue #17 (“Ding”).

ARIEL (twitching nose)

I go, I go.

Exit ARIEL stage left.

PROSPERO

I will plague them all, even to roaring.

Enter CALIBAN, STEPHANO, and TRINCULO, each wet from the pool, from stage right. PROSPERO and ARIEL remaininvisible.

CALIBAN (gesturing for STEPHANO and TRINCULO to follow) (whispering loudly) Pray you, tread softly.

TRINCULO

Monster, I do smell all horse-piss;

at which my nose is in great indignation.

STEPHANO

So is mine.

CALIBAN

Be patient, my king, be quiet. This is the mouth o’ the cell:

Do that good mischief which may make this island Thine own for ever, and I, thy Caliban,

Thy foot-licker.

PROSPERO gestures toward offstage. Enter DOG ONE from stage rear. DOG ONE starts after TRINCULO, who runsaway and hops on stool, afraid, trying to kick DOG ONE away with his feet.

PROSPERO

Hey, Mountain, hey!

ARIEL gestures toward offstage. Enter DOG TWO from stage rear. DOG TWO starts after CALIBAN, who growls and bears his teeth; DOG TWO growls and bears his teeth back.

ARIEL

Silver I there it goes, Silver!

PROSPERO

Fury, fury! There, there! Hark! Hark!

Enter DOG THREE from stage rear. DOG THREE starts after

STEPHANO and chases him around the stage.

Exit TRINCULO, CALIBAN, and STEPHANO stage right, pursued by

DOGS.

ARIEL (laughing hysterically)

Hark, they roar!

PROSPERO (laughs merrily, then becomes serious) Let them be hunted soundly. At this hour Lie at my mercy all mine enemies: Follow, and do me service.

Exit PROSPERO and ARIEL stage right.

✴ SCENE 8. (ACT V, SCENE I)

Before PROSPERO’S cell.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Prospero releases Alonso and his party from their charmed state and renounces the further use of his magic. Prospero’s dukedom is restored, all is

forgiven, and family members are reunited. Almost everyone is well on the way to being free! This must be a Shakespearean comedy!

Exit NARRATOR stage left.

Enter PROSPERO, in his magician’s robes, and ARIEL from stage right.

PROSPERO

Now does my project gather to a head: My charms crack not; my spirits obey. How fares the king and his followers?

ARIEL

Just as you left them; all prisoners, sir,

Gonzalo’s tears run down his beard, like winter’s drops From eaves of reeds.

PROSPERO

I am struck to the quick, The rarer action is

In virtue than in vengeance: Go release them, Ariel:

My charms I’ll break.

ARIEL

I’ll fetch them, sir.

Exit ARIEL stage right.

PROSPERO

I have bedimm’d

The noontide sun, call’d forth the mutinous winds, And ’twixt the green sea and the azured vault

Set roaring war: but this rough magic I here abjure, I’ll break my staff,

I’ll drown my book.

SOUND OPERATOR plays Sound Cue #18 (“Hypnotic music”).

Re-enter ARIEL from stage right. ALONSO follows, attended by

GONZALO, SEBASTIAN, and ANTONIO. As PROSPERO “conducts”

their movements, ALL walk around the stage in a circle, ending by forming a semicircle that faces the audience. They stand, charmed.

SOUND OPERATOR plays Sound Cue #19 (“Ding”).

ALL unfreeze.

There stand,

For you are spell-stopp’d.

Most cruelly didst thou, Alonso, use me and my daughter:

Thy brother was a furtherer in the act, Would here have kill’d your king; Quickly, spirit; thoushalt ere long be free.

ARIEL (singing)

Merrily, merrily shall I live now

Under the blossom that hangs on the bough.

PROSPERO

My dainty Ariel! To the king’s ship,

There shalt thou find the master and the boatswain. Enforce them to this place, presently.

ARIEL

I drink the air before me, and return.

SOUND OPERATOR plays Sound Cue #20 (“Ding”).

Exit ARIEL stage left.

PROSPERO (to ALONSO)

Behold, sir king,

The wronged Duke of Milan, Prospero.

ALONSO

Thy pulse

Beats as of flesh and blood; and, since I saw thee, The affiiction of my mind amends,

Thy dukedom I resign and do entreat Thou pardon me my wrongs.

PROSPERO (aside to SEBASTIAN and ANTONIO)

But you, my brace of lords, were I so minded, I here could justify you traitors.

SEBASTIAN (aside)

The devil speaks in him.

PROSPERO (to ANTONIO)

No. For you, most wicked sir, I do forgive Thy rankest fault.

ALONSO

I have lost my dear son Ferdinand.

PROSPERO

I have lost my daughter.

I will requite you with as good a thing.

Enter FERDINAND and MIRANDA from stage left. ALONSO is astonished and joyful to see his son alive.

ALONSO

If this prove

A vision of the Island, one dear son Shall I twice lose.

SEBASTIAN

A most high miracle!

FERDINAND (to ALONSO)

Though the seas threaten, they are merciful; I have cursed them without cause.

(kneels)

MIRANDA (looking at men with amazement and attraction)

O, wonder!

How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in’t!

PROSPERO

’Tis new to thee.

ALONSO

Is she the goddess that hath sever’d us, And brought us thus together?

FERDINAND

Sir, she is mortal;

But by immortal Providence she’s mine:

She is daughter to this famous Duke of Milan, And second father this lady makes him to me.

ALONSO

I am hers:

(to MIRANDA) I must ask my child forgiveness!

(to FERDINAND and MIRANDA) Give me your hands.

GONZALO

Be it so! Amen!

Re-enter ARIEL from stage left, with MASTER and BOATSWAIN

following in amazement.

What is the news?

BOATSWAIN

We have safely found

Our king and company. Our ship— Which we gave out split—

Is tight and yare and bravely rigg’d as when We first put out to sea.

PROSPERO (aside to ARIEL)

My tricksy spirit! Thou shalt be free.

Set Caliban and his companions free; Untie the spell.

Exit ARIEL stage left.

PROSPERO (to ALONSO)

How fares my gracious sir?

There are yet missing of your company.

Re-enter ARIEL from stage left, driving in CALIBAN, STEPHANO, and TRINCULO.

SEBASTIAN

Ha, ha!

What things are these, my lord Antonio? Will money buy ’em?

ANTONIO

One of them

Is a plain fish, and, no doubt, marketable.

PROSPERO

This misshapen demi-devil

had plotted with them to take my life.

CALIBAN

I shall be pinch’d to death.

ALONSO

Is not this Stephano, my drunken butler? And Trinculo is reeling ripe:

How camest thou in this pickle?

TRINCULO

I have been in such a pickle since I saw you last.

SEBASTIAN

How now, Stephano!

STEPHANO

I am not Stephano, but a cramp.

PROSPERO (pointing to CALIBAN)

Go, sirrah, to my cell.

CALIBAN

Ay, that I will; what a thrice-double ass Was I, to take this drunkard for a god And worship this dull fool!

Exit CALIBAN, STEPHANO, and TRINCULO stage left.

PROSPERO

Your highness; in the morn I’ll bring you to your ship;

And thence retire me to my Milan, where Every third thought shall be my grave.

ALONSO

I long

To hear the story of your life, which must Take the ear strangely.

PROSPERO

I’ll deliver all;

And promise you calm seas, auspicious gales.

(aside to ARIEL) My Ariel, chick,

To the elements be free, and fare thou well!

Exit ARIEL stage left.

PROSPERO

Now my charms are all o’erthrown, And what strength I have’s mine own, But release me from my bands

With the help of your good hands:

As you from crimes would pardon’d be, Let your indulgence set me free.

Re-enter ALL from stage left.

ALL

Our revels now are ended. These our actors, Were all spirits and

Are melted into air, into thin air: We are such stuff

As dreams are made on, and our little life Is rounded with a sleep.

 CHARACTERS IN THE PLAY

The following is a list of the characters that appear in this cutting of Othello.

Twenty-eight actors performed in the original production. This number can be increased to about thirty or decreased to aboutfifteen by having actors share or double roles.

For the full breakdown of characters, see Sample Program.

IAGO: An ensign and villain; husband to Emilia

RODERIGO: A gullible gentleman trying to woo Desdemona

BRABANTIO: A senator; father to Desdemona DUKE: Duke of Venice, a great admirer of Othello MESSENGER

FIRST SENATOR: A senator in the council chamber DESDEMONA: Wife to Othello, daughter to Brabantio CASSIO: An honorable lieutenant

MONTANO: Governor of Cyprus

LODOVICO: A noble Venetian, brother to Brabantio

EMILIA: Wife to Iago BIANCA: A courtesan SOLDIERS

SINGERS NARRATOR

✴ SCENE 1. (ACT I, SCENE I)

Venice. A street.

STAGEHANDS set bench center stage, downstage of pillars. SOUND OPERATOR plays Sound Cue #1, (“Ominous music”). Enter BRABANTIO from stage left, lying down on bench to sleep. Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

In the streets of Venice, Roderigo and Iago inform the Senator, Brabantio, of his daughter Desdemona’ssecret marriage to Othello. Enraged, Brabantio sets out in search of his daughter.

Exit NARRATOR stage right.

Enter IAGO and RODERIGO from stage left.

 IAGO

Call up her father,

Rouse him, poison his delight.

 RODERIGO

What ho, Brabantio! Signior Brabantio, ho!

 IAGO

Awake! Brabantio! Look to your daughter!

 BRABANTIO awakes. He stands on bench and looks down, as though from a balcony.

 BRABANTIO

What is the matter there?

 IAGO

’Zounds, sir! Even now, now, very now, an old black ram is tupping your white ewe. You’ll have your daughter covered with a Barbary horse, you’ll have your nephews neigh to you! Your daughter and the Moor are making the beast with two backs.

BRABANTIO

Give me a taper. Call up my people. Light, I say, light!

Exit ALL stage right.

STAGEHANDS remove bench and place table, set with maps, downstage center.

✴ SCENE 2. (ACT I, SCENE III)

Venice. A council-chamber.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

The Duke, preparing for a Turkish invasion of Cyprus, welcomes the arrival of Othello and Brabantio. Brabantio announces his dismay at Desdemona’s marriage to Othello. Iago begins to outline his plot to use Cassio in order to make Othello jealous.

Enter DUKE and FIRST SENATOR from stage left. They move to the table and examine the maps.

Enter MESSENGER, with a letter, from stage right.

 DUKE

Now, what’s the business?

MESSENGER

A Turkish fleet, of thirty sail:

Their purposes toward Cyprus.

Exit MESSENGER stage right.

 FIRST SENATOR

Here comes Brabantio and the valiant Moor.

Enter BRABANTIO, OTHELLO, IAGO, and RODERIGO from stage right.

DUKE

Valiant Othello, we must straight employ you Against the general enemy Ottoman. (to BRABANTIO) Brabantio, why, what’s the matter?

BRABANTIO

My daughter! O, my daughter!

FIRST SENATOR

Dead?

BRABANTIO

Ay, to me;

She is abused, stol’n from me, and corrupted. Here is the man, this Moor. (points to OTHELLO)

DUKE (to OTHELLO)

What, in your own part, can you say to this?

OTHELLO walks downstage center and stands left of DUKE.

My very noble and approved good masters, Rude am I in my speech,

And little bless’d with the soft phrase of peace; And little of this great world can I speak, More thanpertains to feats of broil and battle; I won his daughter.

BRABANTIO

To fall in love with what she fear’d to look on! It is a judgment maim’d and most imperfect.

FIRST SENATOR

But, Othello, speak:

Did you subdue and poison this young maid’s affections?

OTHELLO

I do beseech you,

Send for the lady to the Sagittary,

And let her speak of me before her father.

DUKE

Fetch Desdemona hither.

Exit IAGO and MESSENGER stage right. They re-enter immediately with DESDEMONA. DESDEMONA moves to BRABANTIO’S right side; OTHELLO stands to his left.

 BRABANTIO

Come hither, gentle mistress.

Do you perceive in all this noble company Where most you owe obedience?

DESDEMONA

My noble father,

I do perceive here a divided duty:

I am hitherto your daughter: but here’s my husband;

(moves to OTHELLO’S side)

That I did love the Moor to live with him

My downright violence and storm of fortunes May trumpet to the world. My heart’s subdued Even to the very quality of my Lord.

(turns to BRABANTIO)

Let me go with him.

 BRABANTIO

Come hither, Moor:

I here do give thee that with all my heart

I would keep from thee. For your sake, jewel, I am glad at soul I have no other child.

BRABANTIO turns away from DESDEMONA.

DUKE

To mourn a mischief that is past and gone Is the next way to draw new mischief on.

The Turk with a most mighty preparation makes for Cyprus.

FIRST SENATOR

You must away to-night.

 OTHELLO

With all my heart.

DUKE

Good night to every one. (to BRABANTIO)

And, noble signior,

If virtue no delighted beauty lack,

Your son-in-law is far more fair than black.

BRABANTIO (to OTHELLO)

Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee.

Exit DUKE and FIRST SENATOR stage right.

OTHELLO (to BRABANTIO)

My life upon her faith! (to IAGO)

Honest Iago,

My Desdemona must I leave to thee: Come, Desdemona; I have but an hour Of love, of worldlymatters and direction, To spend with thee.

Exit ALL, except for IAGO, stage right.

 IAGO (moves downstage center; addresses audience)

I hate the Moor;

And it is thought abroad, that ’twixt my sheets He has done my office: I know not if ’t be true; But I, for mere suspicion in that kind,

Will do as if for surety.

Cassio’s a proper man: let me see now; After some time, to abuse Othello’s ear That he is too familiar with his wife:

I have’t; it is engender’d: hell and night

Must bring this monstrous birth to the world’s light.

Exit IAGO stage right.

✴ SCENE 3. (ACT II, SCENE III)

Cyprus. A hall in the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

We are now in Cyprus. Iago persuades Cassio to drink too much, which is part of Iago’s devious plan of action.

Exit NARRATOR stage left.

Enter OTHELLO and DESDEMONA from stage rear. Enter CASSIO

from stage right.

OTHELLO (to CASSIO)

Good Michael, look you to the guard to-night: Good night.

Exit OTHELLO and DESDEMONA stage rear. Enter IAGO from stage right, carrying a flask.

CASSIO

Welcome, Iago; we must to the watch.

IAGO

Come, lieutenant, I have a stoup of wine; to the health of black Othello.

CASSIO

Not to-night, good Iago: I have very poor and unhappy brains for drinking.

IAGO

What, man! ’Tis a night of revels: the gallants desire it.

CASSIO

’ll do’t; but it dislikes me.

IAGO (steps downstage; addresses audience)

If I can fasten but one cup upon him, He’ll be as full of quarrel and offense As my young mistress’ dog.

Enter CASSIO, RODERIGO, MONTANO, and SOLDIERS from stage right, holding goblets.

 CASSIO

To the health of our general!

ALL drink. CASSIO drinks quickly and refills his cup.

 MONTANO

I am for it, lieutenant; and I’ll do you justice.

IAGO

O sweet England!

ALL (singing)

And let me the cannikin clink, clink And let me the cannikin clink.

A soldier’s a man,

O man’s life’s but a span,

Why, then let a soldier drink Why, then let a soldier drink!

 IAGO

Some wine, ho!

CASSIO (pours more wine for himself)

Why, this is a more exquisite song than the other. Do not think, gentlemen. I am drunk: this is my ancient;this is my right hand, and this is my left:

I am not drunk now; I can stand well enough, and speak well enough.

Exit CASSIO stage left.

 IAGO (aside, to RODERIGO)

How now, Roderigo!

I pray you, after the lieutenant; go.

Exit RODERIGO stage left.

 RODERIGO (from offstage)

Help! Help!

Enter RODERIGO, chased by CASSIO.

 CASSIO

’Zounds, you rogue! You rascal!

A knave teach me my duty! (strikes RODERIGO)

 MONTANO

Nay, good lieutenant; I pray you, sir, hold your hand.

CASSIO

Let me go, sir, or I’ll knock you o’er the mazard.

MONTANO

Come, come, you’re drunk.

CASSIO

Drunk!

CASSIO and MONTANO fight; MONTANO is injured.

 IAGO (aside, to RODERIGO)

Away, I say, go out; and cry a mutiny!

Exit RODERIGO stage rear.

SOUND OPERATOR plays Sound Cue #2 (“Ringing bell”).

Enter OTHELLO and DESDEMONA from stage rear.

 OTHELLO

What is the matter here?

Are we turn’d Turks? Honest Iago, Speak, who began this?

 IAGO

I had rather have this tongue cut from my mouth Than it should do offense to Michael Cassio;

But men are men; the best sometimes forget.

OTHELLO

I know, Iago,

Thy honesty and love doth mince this matter, Making it light to Cassio. Cassio, I love thee; But never more be officer of mine.

 Exit OTHELLO and DESDEMONA stage rear. Exit ALL but IAGO and

CASSIO stage right.

CASSIO (falls to his knees)

Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial.

 IAGO (helps Cassio to his feet)

As I am an honest man, I’ll tell you what you shall do. Our general’s wife is now the general: confess yourself freely to her; importune her help to put you in your place again.

 CASSIO

You advise me well. In the morning I will beseech the virtuous Desdemona to undertake for me: Good night, honest Iago.

Exit CASSIO stage right.

 IAGO (walks downstage center, addressing audience)

Whiles this honest fool

Plies Desdemona to repair his fortunes,

And she for him pleads strongly to the Moor, I’ll pour this pestilence into his ear,

That she repeals him for her body’s lust; So will I turn her virtue into pitch;

And out of her own goodness make the net That shall enmesh them all.

Exit IAGO stage right.

STAGEHANDS remove table, then set two chairs, one stage right and one stage left, slightly facing each other.

✴ SCENE 4. (ACT III, SCENE III)

Cyprus. The garden of the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

Desdemona pleads for Cassio’s reinstatement while Iago causes Othello to doubt Desdemona and her friendship with Cassio. Keep an eye out for a very important handkerchief.

Exit NARRATOR stage right.

Enter DESDEMONA, CASSIO, and EMILIA from stage left. CASSIO

sits in chair stage right.

 CASSIO

My general will forget my love and service.

DESDEMONA (touches CASSIO’S hand comfortingly)

If I do vow a friendship, I’ll perform it

To the last article: my lord shall never rest;

I’ll watch him tame, and talk him out of patience.

 EMILIA

Madam, here comes my lord.

CASSIO

Madam, I’ll take my leave.

Exit CASSIO stage right.

Enter OTHELLO and IAGO from stage rear; IAGO stands to

OTHELLO’S right.

 IAGO

Ha! I like not that.

OTHELLO

Was not that Cassio parted from my wife?

IAGO

Cassio, my lord! No, sure, I cannot think it, That he would steal away so guilty-like, Seeing you coming.

DESDEMONA (stands; moves toward OTHELLO)

How now, my lord!

I have been talking with a suitor here,

A man that languishes in your displeasure.

 OTHELLO

Who is’t you mean?

DESDEMONA

Why, your lieutenant, Cassio. Good my lord, If I have any grace or power to move you,

I prithee, call him back.

 OTHELLO (moves downstage center, away from DESDEMONA)

No, not to-night.

 DESDEMONA (follows OTHELLO)

Why, then, to-morrow night; or Tuesday morn.

 OTHELLO (takes a step stage left, away from DESDEMONA)

Prithee, no more: let him come when he will; I will deny thee nothing.

OTHELLO kisses DESDEMONA’S hand.

 DESDEMONA

Whate’er you be, I am obedient.

DESDEMONA bows, then exits stage right with EMILIA.

 OTHELLO

Excellent wretch! Perdition catch my soul, But I do love thee! And when I love thee not, Chaos is come again.

IAGO

For Michael Cassio,

I dare be sworn I think that he is honest.

OTHELLO

I think so too.

IAGO

Men should be what they seem.

OTHELLO

Certain, men should be what they seem.

IAGO

Why, then, I think Cassio’s an honest man.

OTHELLO

Nay, yet there’s more in this: Give thy worst of thoughts The worst of words.

IAGO

O, beware, my lord, of jealousy;

It is the green-eyed monster, which doth mock

The meat it feeds on: that cuckold lives in bliss Who, certain of his fate, loves not his wronger; But, O, what damned minutes tells he o’er

Who dotes, yet doubts, suspects, yet strongly loves! Look to your wife; observe her well with Cassio; She did deceive her father, marrying you;

And when she seem’d to shake and fear your looks, She loved them most.

My lord, I take my leave.

IAGO begins to exit stage left, but he stops and moves behind left pillar.

 OTHELLO (walks downstage center)

Why did I marry? This honest creature doubtless Sees and knows more, much more, than he unfolds.

 IAGO (comes out from behind pillar)

My lord, I would I might entreat your honor Note if your lady strain Cassio’s entertainment With any strong or vehement importunity; Much will be seen in that. In the mean time Let me be thought too busy in my fears.

I once more take my leave.

Exit IAGO stage left.

 OTHELLO

This fellow’s of exceeding honesty, If I do prove her haggard,

Though that her jesses were my dear heartstrings, I’ld whistle her off, and let her down the wind,

To prey at fortune. Haply, for I am black, And have not those soft parts of conversation That chamberers have; or, for I am declined Into the vale of years, yet that’s not much;

She’s gone; I am abused; and my relief Must be to loathe her. O curse of marriage,

That we can call these delicate creatures ours, And not their appetites!

OTHELLO sits in stage right chair and hears DESDEMONA

approaching on his left.

Desdemona comes:

If she be false, O, then heaven mocks itself! I’ll not believe’t. (rubs his temples)

Enter DESDEMONA and EMILIA from stage left. EMILIA stands back by left pillar.

 DESDEMONA (approaches OTHELLO; embraces him)

How now, my dear Othello! Are you not well?

 OTHELLO

I have a pain upon my forehead here.

DESDEMONA

I am very sorry that you are not well.

DESDEMONA takes out her handkerchief and swabs OTHELLO’S

forehead. She helps him to his feet and they begin to exit stage right. DESDEMONA drops the handkerchief by accident as they walk off stage.

 EMILIA (spots handkerchief and picks it up)

I am glad I have found this napkin:

This was her first remembrance from the Moor: My wayward husband hath a hundred times Woo’d me to steal it; I nothing but to please

his fantasy.

Enter IAGO from stage left.

 IAGO

How now! What do you here alone?

EMILIA

Do not you chide; I have a thing for you.

Why, the handkerchief the Moor first gave to Desdemona;

That which so often you did bid me steal.

IAGO

A good wench; give it me.

EMILIA teases IAGO with the handkerchief. IAGO hugs EMILIA and snatches the handkerchief from her.

I have use for it. Go, leave me.

Exit EMILIA stage left.

I will in Cassio’s lodging lose this napkin, And let him find it. Trifles light as air Are to the jealous confirmations strong

As proofs of holy writ: this may do something. The Moor already changes with my poison.

Enter OTHELLO from stage rear.

 OTHELLO.

Ha! Ha! False to me?

 IAGO

How now, my lord!

OTHELLO

What sense had I of her stol’n hours of lust? Farewell the tranquil mind! Farewell content!

(turns to IAGO)

Villain, be sure thou prove my love a whore, Be sure of it; I’ll have some proof: her name,

that was as fresh

As Dian’s visage, is now begrimed and black As mine own face.

Give me a living reason she’s disloyal.

IAGO

 She may be honest yet. Tell me but this,

Have you not sometimes seen a handkerchief Spotted with strawberries in your wife’s hand?

 OTHELLO.

I gave her such a one; ’twas my first gift.

IAGO

I know not that: but such a handkerchief— I am sure it was your wife’s—did I to-day See Cassio wipe his beard with.

OTHELLO

Now do I see ’tis true. Look here, Iago;

All my fond love thus do I blow to heaven: ’Tis gone. (drops to his knees)

Arise, black vengeance, from the hollow hell! Yield up, O love, thy crown and hearted throne To tyrannous hate! O, blood, blood, blood!

IAGO (drops to his knees next to OTHELLO)

Patience, I say; your mind perhaps may change.

OTHELLO (rises)

Never, Iago. Like to the Pontic sea,

My bloody thoughts, with violent pace,

Shall ne’er look back, ne’er ebb to humble love, Till that a capable and wide revenge

Swallow them up. I will withdraw,

To furnish me with some swift means of death For the fair devil. (turns to IAGO)

Now art thou my lieutenant.

 IAGO

I am your own for ever.

Exit IAGO and OTHELLO stage right.

✴ SCENE 5 (ACT III, SCENE IV)

Before the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

Othello asks Desdemona for the handkerchief that she has lost, but she tries to talk to him about Cassio. (pauses) Not a good idea.

Exit NARRATOR stage right.

Enter DESDEMONA and EMILIA from stage left.

 DESDEMONA

Where should I lose that handkerchief, Emilia?

 EMILIA

I know not, madam.

Enter OTHELLO from stage left.

How is’t with you, my lord?

 OTHELLO

Well, my good lady. (aside)

O, hardness to dissemble!

How do you, Desdemona? (takes her hand and looks at it)

DESDEMONA

Well, my good lord.

I have sent to bid Cassio come speak with you.

 OTHELLO

Lend me thy handkerchief.

DESDEMONA (takes out a plain handkerchief)

Here, my lord.

 OTHELLO

That which I gave you.

DESDEMONA

I have it not about me.

 OTHELLO

That is a fault. That handkerchief

Did an Egyptian to my mother give; she, dying, gave it me;

Fetch’t, let me see’t.

DESDEMONA

Why, so I can, sir, but I will not now.

OTHELLO

Fetch me the handkerchief: my mind misgives.

Exit OTHELLO stage right.

DESDEMONA sits in stage right chair, EMILIA in left.

 EMILIA (holds DESDEMONA’S hand)

Is not this man jealous?

I ne’er saw this before.

Something hath puddled his clear spirit Alas the day! I never gave him cause.

 EMILIA

Jealous souls will not be answer’d so; They are not ever jealous for the cause,

But jealous for they are jealous: ’tis a monster Begot upon itself, born on itself.

DESDEMONA (stands)

Heaven keep that monster from Othello’s mind!

EMILIA

Lady, amen.

Exit BOTH stage right.

Enter CASSIO from stage left, followed by BIANCA.

 BIANCA

Save you, friend Cassio!

CASSIO

Sweet Bianca,

They embrace; CASSIO gives DESDEMONA’S handkerchief to BIANCA.

Take me this work out.

 BIANCA (suspicious)

Why, whose is it?

CASSIO

I know not, sweet: I found it in my chamber. I like the work well: I’d have it copied:

Take it, and do’t; I’ll see you soon.

BIANCA

’Tis very good; I must be circumstanced.

Exit CASSIO stage left. Exit BIANCA stage right.

✴ SCENE 6 (ACT IV, SCENE III)

Cyprus. Another room in the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

While Desdemona is preparing for bed, she talks to Emilia about unfaithful wives.

Exit NARRATOR stage right.

Enter DESDEMONA from stage left. Enter OTHELLO from stage right.

 OTHELLO

O, Desdemona.

DESDEMONA

My lord?

 OTHELLO

Get you to bed on th’instant; I will be return’d forthwith.

DESDEMONA

I will, my lord.

Exit OTHELLO stage right. DESDEMONA sits in stage left chair. Enter EMILIA from stage right.

EMILIA

How goes it now? (brushes DESDEMONA’S hair)

DESDEMONA

O, these men, these men!

Dost thou in conscience think,—tell me, Emilia,— That there be women do abuse their husbands

In such gross kind?

 EMILIA

There be some such, no question. Let husbands know

Their wives have sense like them: they see, and smell,

And have their palates both for sweet and sour, As husbands have. What is it that they do When they change us for others? Is it sport?

I think it is: and doth affection breed it? I think it doth: is’t frailty that thus errs? It is so too: and have not we affections,

Desires for sport, and frailty, as men have? Then let them use us well: else let them know, The ills we do, their ills instruct us so.

 DESDEMONA (rises and turns to face EMILIA)

Good night, good night: God me such usage send, Not to pick bad from bad, but by bad mend!

Exit DESDEMONA stage rear. Exit EMILIA stage right.

Enter SINGERS from stage left. They stand downstage center and begin singing.

 SINGERS

The poor soul sat sighing by a sycamore tree Sing all a green willow.

Her hand on her bosom, her head on her knee Sing willow willow willow.

The fresh streams ran by her and murmured her moans,

Sing all a green willow.

Her salt tears fell by her and softened the stones. Sing willow willow willow.

Sing all a green willow must be my garland.

Exit SINGERS stage left and right.

✴ SCENE 7 (ACT V, SCENE II)

Cyprus. Outside of a bedchamber in the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

The scene takes place outside Desdemona’s bedroom. The hard truth is revealed.

Exit NARRATOR stage left.

Enter OTHELLO from stage right.

 OTHELLO (walks downstage center)

She must die, else she’ll betray more men. Put out the light, and then put out the light.

Exit OTHELLO stage rear.

SOUND OPERATOR plays Sound Cue #3 (“Intense, disturbing music”).

OTHELLO re-enters from stage rear. He has just smothered

DESDEMONA.

Enter EMILIA from stage right. She glances at OTHELLO, enters the offstage bedchamber, and screams. EMILIA re-enters from stage rear.

 EMILIA

O, my good lord, foul murders done!

O, who hath done This deed?

 OTHELLO

She’s, like a liar, gone to burning hell: ’Twas I that kill’d her.

EMILIA

O, the more angel she, And you the blacker devil!

OTHELLO

She turn’d to folly, and she was a whore.

 EMILIA

O, she was heavenly true!

OTHELLO

Cassio did top her; ask thy husband else.

EMILIA

That she was false to wedlock? My husband?

OTHELLO

Ay, ’twas he that told me first: An honest man he is.

EMILIA

My husband!

OTHELLO

My friend, thy husband, honest, honest Iago.

EMILIA

If he say so, may his pernicious soul

Rot half a grain a day! He lies to th’heart: Help! Help, ho! Help!

The Moor hath kill’d my mistress! Murder! Murder!

Enter MONTANO and IAGO from stage left.

 MONTANO

What is the matter? How now, general!

EMILIA

O, are you come, Iago? You have done well, That men must lay their murders on your neck. My mistress here lies murder’d in her bed,

(to IAGO)

And your reports have set the murder on.

OTHELLO

Nay, stare not, masters: it is true, indeed.

MONTANO

O monstrous act!

OTHELLO

O, she was foul!

’Tis pitiful; but yet Iago knows

That she with Cassio hath the act of shame

A thousand times committed; Cassio confess’d it: And she did gratify his amorous works

With that recognizance and pledge of love Which I first gave her; I saw it in his hand: It was a handkerchief, an antique token My father gave my mother.

EMILIA

O heaven! O heavenly powers!

IAGO

Come, hold your peace.

IAGO tries to stab EMILIA.

 EMILIA

I will not.

O thou dull Moor! That handkerchief thou speak’st of I found by fortune, and did give my husband;

For often, with a solemn earnestness—

More than, indeed, belong’d to such a trifle— He begg’d of me to steal it.

IAGO

Filth, thou liest!

EMILIA

By heaven, I do not, I do not, gentlemen.

O murderous coxcomb! What should such a fool Do with so good a wife!

OTHELLO

Are there no stones in heaven

But what serve for the thunder? Precious villain!

OTHELLO runs at IAGO; IAGO stabs EMILIA and exits stage left.

 EMILIA

Ay, ay: O, lay me by my mistress’ side.

EMILIA staggers offstage rear to DESDEMONA’S bedchamber.

OTHELLO

Who can control his fate? Where should Othello go? O cursed, cursed slave!

O Desdemona! Desdemona! Dead! (falls down, writhes)

O! O! O!

Enter LODOVICO, MONTANO, and CASSIO from stage left, holding

IAGO prisoner.

LODOVICO

Where is that viper? Bring the villain forth.

OTHELLO

If that thou be’st a devil, I cannot kill thee.

OTHELLO wounds IAGO.

LODOVICO

Wrench his sword from him. (CASSIO takes

OTHELLO’S sword)

IAGO

I bleed, sir; but not kill’d.

From this time forth I never will speak word.

OTHELLO

How came you, Cassio, by that handkerchief That was my wife’s?

CASSIO

I found it in my chamber:

And he himself confess’d but even now

That there he dropp’d it for a special purpose Which wrought to his desire.

OTHELLO

O, Fool! Fool! Fool!

LODOVICO (to OTHELLO)

You must forsake this room, and go with us: Your power and your command is taken off, And Cassio rules in Cyprus.

 OTHELLO

Soft you; a word or two before you go. I pray you, in your letters,

When you shall these unlucky deeds relate, Speak of one that loved not wisely, but too well.

OTHELLO pulls out a dagger he had hidden on his person and stabs himself.

 CASSIO

He was great of heart. (to IAGO)

O Spartan dog,

Myself will straight aboard, and to the state This heavy act with heavy heart relate.

ALL freeze briefly, then stand up, hold hands, and bow. Exeunt.

Greetings and welcome to another merry and dramatic romp together!

It's our monthly "Let's Make a Scene!:"  A Zoom round-robin reading of Twelfth Night: The 30-Minute Shakespeare!

Monday February 16th, 2026 7:30 to 8:30 PM EST

It's my favorite Shakespeare play, full of longing, melancholy, mirth, poetry, music, mistaken identity and gender-bending, perfect for January.

Here is the Script as a Word doc: (look for the little blue download link after the script image)

CHARACTERS IN THE PLAY

The following is a list of characters that appear in this cutting of

Twelfth Night.

Twenty-three actors performed in the original production. This number can be increased to about thirty or decreased toabout twelve by having actors share or double roles.

For the full breakdown of characters, see Sample Program.

FESTE: Jester to Countess Olivia MARIA: Olivia’s waiting gentlewoman OLIVIA: An Illyrian countess

VIOLA: A lady of Messaline shipwrecked on the coast of Illyria (disguised as Cesario)

MALVOLIO: Steward in Olivia’s household

ORSINO: Duke of Illyria

CURIO: Gentleman serving Orsino

SIR TOBY BELCH: Olivia’s kinsman

SIR ANDREW AGUECHEEK: Sir Toby’s companion

ATTENDANTS MUSICIANS NARRATORS

✴ SCENE 1. (ACT I, SCENE V)

Olivia’s house.

STAGEHANDS set bench stage right, chair stage left, and table center stage.

Enter NARRATOR from stage rear.

As NARRATOR introduces the roles, players enter from stage rear, cross the stage in character, and exit stage right (see Performance Notes).

NARRATOR

Our story takes place in Illyria, an ancient (and mythical) country in Southern Europe on the Adriatic Sea. Two twins, Sebastian and Viola are separated in a shipwreck. Viola, believing her brother Sebastian to be dead, disguises herself as a man and takes a position as a page in the Court of the Duke Orsino, who is romantically pursuing the wealthy Countess Olivia, still mourning the sudden death of her brother. Livingat Olivia’s household is her drunken cousin Sir Toby, with frequent visits by his goofy party friend Sir Andrew Aguecheek.

Also at Olivia’s house are the puritanical and fun- hating Malvolio, the maid, Maria, and the court Fool, who comes and goes as he pleases, Feste: So, our tale begins, with Viola being sent to Olivia’s estate to deliver a love message from the Duke Orsino,

(whispering to audience) whom Viola herself secretly loves. The scene takes place in the courtyard of the estate of Countess Olivia.

Exit NARRATOR stage rear.

FESTE, stage right, by bench, is practicing balancing a broom on his chin. Enter MARIA from stage rear. When she enters, FESTE gives a surprised yelp, and the broom drops.

MARIA (takes the broom from the ground and sweeps under the table and chair)

Tell me where thou hast been!

My lady will hang thee for thy absence.

FESTE

Let her hang me: he that is well hang’d in this world need to fear no colours.

MARIA

That may you be bold to say in your foolery.

(sweeps FESTE’S shoes playfully)

FESTE

Well, God give them wisdom that have it; and those that are fools, let them use their talents. (juggles, center stage, and bows to audience)

MARIA

Peace, you rogue, no more o’ that. Here comes my lady: make your excuse wisely, you were best.

(places the broom against the table)

Exit MARIA stage rear.

FESTE (looking upward)

Wit, an’t be thy will, put me into good fooling!

(winks at audience)

Enter LADY OLIVIA stage left with ATTENDANTS behind her and

MALVOLIO bringing up the rear. OLIVIA sits in stage left chair, MALVOLIO stands to her right, and ATTENDANTS standon either side of the table.

FESTE (with a big bow and flourish of his hat)

God bless thee, lady!

OLIVIA (to MALVOLIO)

Take the fool away.

MALVOLIO starts to take FESTE’S arm, but the latter nimbly escapes, spins around, and lands on the bench in a cross-legged pose, smiling cleverly.

FESTE

The lady bade take away the fool; therefore, I say again, take her away.

OLIVIA

Sir, I bade them take away you.

FESTE

Lady, I wear not motley in my brain. Good madonna, give me leave to prove you a fool.

OLIVIA

Make your proof.

FESTE (approaches the chair and kneels at OLIVIA’S feet)

Good madonna, why mourn’st thou?

OLIVIA

Good fool, for my brother’s death.

FESTE

I think his soul is in hell, madonna.

OLIVIA

I know his soul is in heaven, fool.

FESTE

The more fool, madonna, to mourn for your brother’s soul being in heaven. Takeaway the fool, gentlemen.

FESTE stands, puts the fool’s cap on OLIVIA’S head, pauses, and puts it on MALVOLIO’S head instead. He begins tolead MALVOLIO out, stage right, but the latter realizes what is happening and indignantly pushes FESTE away.FESTE tumbles over backward, spins around the stage right pole, and finishes leaning against the pole, smiling. MALVOLIO stiffly assumes his position at OLIVIA’S right, and she cracks a small smile at this foolery.

OLIVIA

What think you of this fool, Malvolio? Doth he not mend?

MALVOLIO

Yes, and shall do till the pangs of death shake him. Infirmity, that decays the wise, dothever make the better fool.

FESTE

God send you, sir, a speedy infirmity, for the better increasing your folly! (begins to balance the broom on his chin again)

OLIVIA

How say you to that, Malvolio?

MALVOLIO

I marvel your ladyship takes delight in such a barren rascal.

MALVOLIO crosses to FESTE and casts the broom across the room with his cane, knocking FESTE to the ground in the process.

FESTE shoots him a dirty look.

Look you now, he’s out of his guard already.

ATTENDANT picks up the broom, casually sweeping a little dust toward MALVOLIO, places it at the side of the table,and resumes her position.

OLIVIA

O, you are sick of self-love, Malvolio.

Exit MALVOLIO stage right, cocking his ear as if hearing a knock at the door.

(calling after the departing MALVOLIO) There is no slander in an allow’d fool, though he do nothing but rail.

FESTE (regains his composure and grasps the broom once more, dancing around the room)

Now Mercury endue thee with leasing, for thou speak’st well of fools!

Exit FESTE stage right, still dancing with the broom. Enter MALVOLIO stage right, passing the dancing FESTE andgiving him a dirty look. FESTE sweeps the feet and pants of MALVOLIO, who hurries away, indignant, and takes his place at OLIVIA’S right.

MALVOLIO

Madam, there is at the gate a young gentleman much desires to speak with you. What isto be said to him, lady? He’s fortified against any denial.

OLIVIA

Tell him he shall not speak with me.

MALVOLIO

Has been told so.

OLIVIA

What kind o’ man is he?

MALVOLIO

Why, of mankind.

OLIVIA

Of what personage and years is he?

MALVOLIO

Not yet old enough for a man, nor young enough for a boy; one would think his mother’smilk were scarce out of him.

OLIVIA

Let him approach: call in my gentlewoman.

MALVOLIO (calling toward curtain)

Gentlewoman, my lady calls.

Exit MALVOLIO stage right. Enter MARIA from curtain.

OLIVIA stands and crosses to table, facing the audience. ATTENDANTS brush her hair and hold the mirror as sheapplies her lipstick.

OLIVIA

Give me my veil: come, throw it o’er my face. We’ll once more hear Orsino’s embassy.

MARIA places OLIVIA’S veil over her face and then dons her own, as do the ATTENDANTS. They all stand in a line in frontof the chair.

Enter VIOLA, clutching in her hand a rolled up scroll of paper tied with a ribbon. She is confused by the ladies,approaches them, sits on the bench, stands, and tentatively approaches them again.

VIOLA

The honourable lady of the house, which is she?

OLIVIA

Speak to me; I shall answer for her. Your will?

VIOLA (reading from her paper)

Most radiant, exquisite, and unmatchable beauty, (stops reading) I pray you,tell me if this be the lady of the house, for I never saw her: I would be loathe to cast away my speech.

OLIVIA

What are you? What would you?

VIOLA

What I am, and what I would, are as secret as maidenhead: to your ears, divinity; to any other’s, profanation. (looks atATTENDANTS and motions with her head for them to leave)

OLIVIA

Give us the place alone: we will hear this divinity.

Exit MARIA and ATTENDANTS stage rear.

VIOLA

Good madam, let me see your face.

OLIVIA (moves toward the table and takes a quick peek at the mirror)

You are now out of your text: but we will draw the curtain, and show you thepicture. (removes her veil) Look you, sir, such a one I was, this present: is’t not well done?

VIOLA (with a look of admiration, and perhaps some envy or disappointment)

Excellently done, if God did all.

OLIVIA

’Tis in grain, sir; ’twill endure wind and weather.

VIOLA

My lord and master loves you.

OLIVIA

How does he love me?

VIOLA

With adorations, with fertile tears,

With groans that thunder love, with sighs of fire.

OLIVIA

Your lord does know my mind; I cannot love him.

(returns to her chair, and sits)

VIOLA

If I did love you in my master’s flame,

With such a suffering, such a deadly life, In your denial I would find no sense;

I would not understand it.

OLIVIA

Why, what would you?

VIOLA (strolls to the stage right pole, leans against it, and gazes out toward the audience)

Make me a willow cabin at your gate, And call upon my soul within the house; Write loyal cantons of contemned love,

And sing them loud even in the dead of night; Halloo your name to the reverberate hills, And make the babbling gossip of the air

Cry out, “Olivia!”

OLIVIA (stands up from chair and moves slowly and somewhat seductively toward VIOLA, backing her into the stage right pole)

You might do much. What is your parentage?

VIOLA

Above my fortunes, yet my state is well: (clears her throat and tries to speak in a lower, more masculine voice)

I am a gentleman.

OLIVIA

Get you to your lord;

I cannot love him: let him send no more; Unless, perchance, you come to me again, To tell me how he takes it. Fare you well:

I thank you for your pains: spend this for me.

(gives her a large coin)

VIOLA

I am no fee’d post, lady; keep your purse: (starts to leave stage right, stops, and turns back)

My master, not myself, lacks recompense. Farewell, fair cruelty.

Exit VIOLA stage right.

OLIVIA (walking excitedly in a semicircle toward the table, stopping to inspect herself in the mirror)

Thy tongue, thy face, thy limbs, actions, and spirit, Do give thee fivefold blazon: not too fast;

(stops center stage to keep herself in check)

Soft, soft!

Even so quickly may one catch the plague?

(catches her breath, leaning against the table for support; takes a sip of wine, fans herself, looks at the wine glass, then drains it in one gulp)

Methinks I feel this youth’s perfections With an invisible and subtle stealth

To creep in at mine eyes. Well, let it be. What, ho, Malvolio!

Enter MALVOLIO stage right.

MALVOLIO

Here, madam, at your service.

OLIVIA

Run after that same peevish messenger,

The county’s man: he left this ring behind him, If that the youth will come this way to-morrow, I’ll give him reasons for’t. (hands him the ring)

Hie thee, Malvolio.

MALVOLIO

Madam, I will.

Exit MALVOLIO stage right.

OLIVIA (facing front)

I do I know not what; and fear to find Mine eye too great a flatterer for my mind.

Fate, show thy force: ourselves we do not owe; What is decreed must be, and be this so!

Exit OLIVIA, quickly, stage left.

STAGEHANDS remove bench, place chair stage right, bring on throne and place it to the right of chair, and placetable stage left, setting it with wine bottle, glasses, and a plate of fruit.

Enter NARRATOR from stage rear.

✴ SCENE 2. (ACT II, SCENE IV)

Duke Orsino’s palace.

NARRATOR

Back at Duke Orsino’s palace, the Duke has a “man to man” talk with Viola about men’s passions, as Viola struggles to keep her own feelings for the Duke secret.

Exit NARRATOR stage rear.

Enter DUKE ORSINO, VIOLA, and CURIO from stage left. Enter DUKE ORSINO’S BAND from stage rear, comically playing over one an- other. DUKE ORSINO sits in his throne, with VIOLA in the chair to his left and CURIO standing to the right of the table. CURIO offers an apple slice to DUKE ORSINO, who takes a thoughtful bite and puts the slice back on the tray. The music stops.

DUKE ORSINO

If Music be the food of love, play on! Now, good Cesario, but that pieceof song,

That old and antique song we heard last night: Methought it did relieve my passion much, Come, but one verse.

CURIO

He is not here, so please your lordship, that should sing it.

CURIO offers an apple slice to VIOLA, who reaches for it then changes her mind. As CURIO passes by BAND, a membergrabs

a slice, and the other members roll their eyes. Before she can eat it, CURIO snatches the slice away, looks around,cleans it off a bit, and puts it back on the tray. He then takes a bite of fruit himself, and puts the rest in his pocket.

DUKE ORSINO

Who was it?

CURIO (regaining his composure, trying not to reveal that he has eaten the fruit)

Feste, the jester, my lord; a fool that the Lady Olivia’s father took much delight in: he is about the house.

DUKE ORSINO

Seek him out: and play the tune the while.

Exit CURIO stage left.

Once again, BAND begins to play, each member playing over the other.

Come hither, boy: if ever thou shalt love, In the sweet pangs of it remember me; How dost thou like this tune?

VIOLA

It gives a very echo to the seat Where Love is throned.

VIOLA leans against DUKE ORSINO while the music plays, and both feel a strange sense of discomfort. The music stops.

DUKE ORSINO (regains his composure)

Thou dost speak masterly:

My life upon’t, young though thou art, thine eye

Hath stay’d upon some favour that it loves; Hath it not, boy?

VIOLA

A little, by your favour.

DUKE ORSINO

What kind of woman is’t?

VIOLA

Of your complexion.

VIOLA moves her chair closer to his, beginning to lean against him, when they are surprised.

Enter CURIO and FESTE from stage rear.

DUKE ORSINO

O, fellow, come, the song we had last night. It is old and plain,

And dallies with the innocence of love, Like the old age.

FESTE

Are you ready, sir?

DUKE ORSINO

Ay; prithee, sing.

BAND MEMBER is about to get her chance for a solo, and there is a silence as she takes time to prepare. Shetriumphantly blows one note, but it is interrupted by a sudden whistle from FESTE. Enter DRUMMERS stage right, followed by other members of

FESTE’S BAND. ALL dance and move to the music, with DUKE ORSINO’S BAND eventually joining in.

FESTE (with singers repeating certain words) Come away, come away, death, And in sad cypress letme be laid; Fly away, fly away, breath;

I am slain by a fair cruel maid.

My shroud of white, stuck all with yew, O, prepare it!

My part of death, no one so true Did share it.

Not a flower, not a flower sweet,

On my black coffin let there be strown; Not a friend, not a friend greet

My poor corpse, where my bones shall be thrown: A thousand thousand sighs to save,

Lay me, O, where

Sad true lover never find my grave, To weep there!

Exit FESTE, SINGERS, BANDS, and CURIO stage right, all dancing and drumming. DUKE ORSINO and VIOLA look onamusedly. They are alone now.

VIOLA

My Lord,

Say that some lady, as perhaps there is, Hath for your love as great a pang of heart As you have for Olivia . . .

DUKE ORSINO

There is no woman’s sides

Can bide the beating of so strong a passion As love doth give my heart; no woman’s heart So big, to hold so much. Make no compare Between that love a woman can bear me

And that I owe Olivia.

VIOLA (crosses to the table and sneaks a look at herself in her pocket mirror)

Ay, but I know—

DUKE ORSINO

What dost thou know?

VIOLA (turns to face him; walks slightly forward, center stage)

Too well what love women to men may owe: In faith, they are as true of heart as we.

My father had a daughter loved a man, As it might be, perhaps, were I a woman,

I should your lordship. (throws him a coy, sidelong glance)

DUKE ORSINO

And what’s her history?

VIOLA (turns her head away from him again; speaks out to audience)

A blank, my lord. She never told her love. And, with a green and yellow melancholy, She sat like Patience on a monument,

Smiling at grief. (turns to him) Was not this love indeed? We men may say more, swear more: but, indeed,

Our shows are more than will; for still we prove Much in our vows, but little in our love.

DUKE ORSINO (walks sympathetically toward VIOLA and puts his arm around her shoulder)

But died thy sister of her love, my boy?

VIOLA (liking his touch but also finding it hard to bear; pulls away, turns, and takes a step forward)

I am all the daughters of my father’s house,

And all the brothers too; and yet I know not.

(pauses; turns back to him)

Sir, shall I to this lady?

DUKE ORSINO

Ay, that’s the theme.

To her in haste; give her this jewel; say, My love can give no place, bide no delay.

Exit VIOLA stage right and DUKE ORSINO stage rear, both stopping to look back at each other as they leave.

STAGEHANDS remove throne, move table to center stage, and place two more chairs around the table, setting it withtwo mugs (one large and one small), bottle of wine, pot, pan, and two wooden spoons.

Enter NARRATOR from stage rear.

✴ SCENE 3. (ACT II, SCENE III)

Olivia’s house.

NARRATOR

Meanwhile, back at Olivia’s house, Sir Toby,

Sir Andrew, and Feste sing and dance the night away. This does not sit well with Malvolio.

Exit NARRATOR stage rear.

Enter SIR TOBY BELCH and SIR ANDREW AGUECHEEK from stage rear. SIR TOBY immediately fills the huge mug forhimself and the small one for his companion. He takes a center stage seat.

SIR TOBY BELCH

Approach, Sir Andrew: not to be a-bed after midnight is to be up betimes. (hands the small cup to SIR ANDREW, who examines his meager portion)

SIR ANDREW AGUECHEEK (sits in stage right chair)

I know not: but I know, to be up late is to be up late.

(clink their mugs and drink to that)

SIR TOBY BELCH

A false conclusion: I hate it as an unfill’d can. (holds up empty wine bottle and tries to shake out its last fewdrops) To be up after midnight, and to go to bed then, is early; let us therefore eat and drink. (calls to stageleft door) Maria, I say! A stoup of wine! (waves the empty bottle about, attempting to suck out more liquid, somehow)

SIR ANDREW AGUECHEEK

Here comes the fool, i’ faith.

Enter FESTE from stage right.

SIR ANDREW spots FESTE, who motions for him to be quiet as he taps SIR TOBY on his right shoulder, then his left, and hides behind the chair. He peers over the top of the chair, surprising SIR TOBY, who gives a whoop and nearly jumps out of his seat.

FESTE

How now, my hearts! Did you never see the picture of We Three?

FESTE puts his arm around the two men and produces a flask from his pocket, which delights SIR TOBY. He sits in stage right chair.

SIR TOBY BELCH

Welcome, ass. Now let’s have a catch.

SIR ANDREW AGUECHEEK

By my troth, the fool has an excellent breast. Now, a song.

SIR TOBY reaches into his own purse, which is empty, so he reaches into SIR ANDREW’S, who doesn’t even notice. SIR TOBY hands a coin to FESTE.

SIR TOBY BELCH

Come on; there is sixpence for you: let’s have a song.

FESTE

Would you have a love-song, or a song of good life?

SIR TOBY BELCH

A love-song, a love-song.

SIR ANDREW AGUECHEEK

Ay, ay: I care not for good life.

FESTE gives a flourish and a whistle, and FESTE’S BAND enters noisily to see what the commotion is about. Once thedisorder dies down, SINGERS perform the song, standing between FESTE and TOBY, slightly upstage.

SINGERS

O mistress mine, where are you roaming? O, stay and hear; your true-love’s coming, That can sing both high and low:

Trip no further, pretty sweeting; Journeys end in lovers’ meeting, Every wise man’s son doth know. What is love? ’Tis not hereafter; Present mirth hath present laughter; What’s to come is still unsure:

In delay there lies no plenty;

Then come kiss me, sweet-and-twenty, Youth’s a stuff will not endure.

SINGERS curtsy coyly to the men as MARIA grabs one of the wine jugs for them to share. Exit SINGERS and MARIA stage left.

SIR ANDREW AGUECHEEK (leaning on his elbows, his face close to SIR TOBY’S, gazing fondly toward where the women once were)

A mellifluous voice, as I am true knight.

SIR TOBY BELCH (smells his breath and falls back in his chair)

A contagious breath.

SIR ANDREW AGUECHEEK (not realizing SIR TOBY is referring to his breath)

Very sweet and contagious, i’ faith.

SIR TOBY BELCH

To hear by the nose, it is dulcet in contagion. But shall we make the welkin dance indeed?

SIR ANDREW AGUECHEEK

Most certain. Let our catch be, “Thou knave.” Begin, fool: it begins, “Hold thy peace.”

FESTE

I shall never begin, if I hold my peace.

SIR ANDREW AGUECHEEK

Good, i’ faith. Come, begin.

They all stand and sing the song, accompanied by FESTE’S BAND, and dance around the table banging pots and pans, singing, “Hold thy peace, Thou Knave,—Huh! Hold thy peace!”

Enter MARIA stage right.

MARIA

What a caterwauling do you keep here! If my lady have not call’d up her steward Malvolio,and bid him turn you out of doors, never trust me.

SIR TOBY BELCH

Tilly-vally, lady! (sings) “There dwelt a man in Babylon, lady, lady!”

SIR ANDREW, FESTE, and FESTE’S BAND join in, repeating “Lady lady,” and the noise level rises again.

MARIA

For the love o’ God, peace!

Enter MALVOLIO from stage rear. He is dressed in a ridiculous nightshirt, nightcap, and slippers.

MALVOLIO

My masters, are you mad? Or what are you? Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night? Do ye make an ale-house of my lady’shouse? Is there no respect of place, persons, nor time, in you?

SIR TOBY BELCH

We did keep time, sir, in our catches. Sneck-up!

(offers his mug to MALVOLIO, who recoils in disgust)

MALVOLIO

Sir Toby, I must be round with you. My lady bade me tell you, that, though she harboursyou as her kinsman, she’s nothing allied to your disorders.

DRUMMERS start up again.

SIR TOBY BELCH (sings)

Shall I bid him go?

FESTE (sings)

What an if you do?

SIR TOBY BELCH (sings)

Shall I bid him go, and spare not?

FESTE (sings)

O, no, no, no, no, you dare not.

MALVOLIO takes a drumstick from DRUMMER and breaks it. DRUMMER immediately produces another drumstick fromhis jacket pocket.

SIR TOBY BELCH (walks right into MALVOLIO’S face)

Out o’ time, sir? Ye lie. Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale? Go, sir, rub your chain with crumbs. A stoup of wine, Maria!

MALVOLIO (takes a step toward curtain and turns around) Mistress Mary, if you prized my lady’s favour at anything more than contempt, you would not give means for this uncivil rule: she shall know of it, by this hand.

Exit MALVOLIO stage rear.

MARIA (calling after him)

Go shake your ears!

ALL join in with a rousing chorus of, “Go shake your ears! Go shake your ears!”

SIR TOBY BELCH

Come, Come. I’ll go burn some sack; ’tis too late to go to bed now.

Drums start softly as a prelude to singing of the last song. Enter NARRATOR from stage right, coming downstage.

NARRATOR

In time, Viola’s twin brother Sebastian reappears alive and well,

Enter VIOLA from stage right (as Sebastian) with her hair still up.

and marries the happy Olivia,

Enter OLIVIA from stage left; she dances with VIOLA (as Sebastian).

and the Duke Orsino finds love with the ecstatic Viola.

VIOLA turns around, lets down her hair, spins back around, and dances with DUKE ORSINO, who has entered from stage right.

Sir Toby and Maria even get married!

SIR TOBY and MARIA dance.

What a life! And, even though there is still some ill will between Malvolio andthe revelers, for the

end of our merry play, we invited him to join in the dance too!

Enter MALVOLIO from stage rear, who stands stiffly with arms crossed, scowling, and then gradually begins to smileand dance a little.

Enter ALL, dancing.

ALL (singing “The Wind and the Rain”)

When that I was and a little tiny boy, With hey, ho, the wind and the rain, A foolish thing was but a toy,

For the rain it raineth every day.

But when I came to man’s estate, With hey, ho, the wind and the rain,

’Gainst knaves and thieves men shut their gate, For the rain it raineth every day.

But when I came, alas, to wive, With hey, ho, the wind and the rain By swaggering could Inever thrive, For the rain it raineth every day.