ACT ONE
Scene One—A small cottage surrounded by deep woods. What furnishings are visible betoken a simple life of poverty. As the curtain rises, Beauty is busy working at a butter churn, center stage, while her father is preparing his pack for a long journey. He expresses his worry about the doubtful outcome of his trip to restore their fallen fortunes. Beauty then assures him he does not need to go. They embrace warmly. He continues packing, while she stands meditatively.

Suddenly Beauty’s two Sisters burst in, besieging their father with requests for presents from the city. There follows a Quartet, where the Sisters press their demands for gifts and attentions, Beauty amusedly observes her Sisters’ small vanities and their Father assures them that if he can, he will fulfill all their requests. Following the Quartet, the Father asks Beauty what he can bring as a gift for her. She answers that she would like his safe return and after being pressed to name a gift, asks for a rose, since she misses the beautiful ones which bloomed around their splendid former home. Beauty’s Sisters observe that she knows the way to their Father’s heart and, making their farewells, depart. The Father sings the Aria “Ye little elves, who haunt sweet dells”, asking elven protection of his beloved daughter, after which he leaves, and she sings, waving to him as he disappears along the path, as the curtain falls.

ORCHESTRAL INTERLUDE
Scene Two—A moonlit garden adjacent to the Beast’s palace. Larger-than-life daffodils, lilies, flowers of all colors and strange kinds. Prominent in the background is a large Withered Tree. In the foreground, a shady garden bench, flanked by a large rosebush in full bloom; the flowers are lit by an unusual light, and often a slight movement can be perceived among them.

The Father enters wearily, and sits down on the bench to rest. He relates the events of his disastrous journey and final ruin. Penniless and wretched he became lost on his way back home finding refuge from a frozen blizzard in this strangely beautiful garden and palace. He has seen no one, yet all his needs are graciously met. As he sits he notices the rosebush, and remembering Beauty’s request he plucks a rose and begins to tuck it into his travel-robe. As he does so the roses and other flowers recoil violently, and a moan is heard, seeming to come from the garden itself.
Suddenly the Beast appears, heralded and surrounded by animals of all sorts: hedgehogs, squirrels, cats, a pony, monkeys, assorted birds, bears, reindeer, etc.; some hide in the shelter of his great cloak, others remain concealed in the garden shrubbery; still others advance towards their visitor under the protection of the furious Beast, who has not, as yet, seen the stricken rose, and knows not the cause of the disturbance in his garden.
He quickly sees the fallen rose, lying where the terror-stricken Father has dropped it; stooping to pick it up, the Beast turns on him in a rage.The Father throws himself to his knees, stammering his regrets. The Beast demands the Father’s life in forfeit, at which the Father says that his daughter Beauty’s request will cost him his life. At the mention of his daughter, the Beast says that if she will take her Father’s place and freely give her life in service to him, his life will be spared.

The Beast gives the Father the plucked rose and the Father departs. Several of the animals gather by the rosebush in sorrow and consolation. The Beast slowly joins them, kneeling by the rosebush, caressing the animals, in an attitude of misery. He sings of his sorrow and loneliness as he mourns the death of the Rose Lisette. He takes the withered stem of the plucked rose in his hands, weeping; the animals remain in attitudes of sorrow.

ACT TWO
Scene One—The main hall of the Beast’s palace. The structure and its furnishings are made from natural and growing things, that is, the pillars and beams are tree trunks and limbs, with hangings of greenery. On one side, a large main entrance; on the other, a smaller door leading to the castle kitchens and service areas. Placed foremost among the hall’s furnishings are an ornate dining table and chairs. A large stairway leads to a hallway and bedchamber above, containing a large canopy bed; a white gown can be seen laid out upon it. On the wall opposite the chamber door is a tall Dressing Mirror, clearly visible, and a dressing table.

At curtain-rise, various animals are completing preparations for Beauty’s arrival—setting the table for two, dusting, cleaning, and so on. As they finish, their chief, a housekeeper squirrel, receives word that Beauty has arrived, and sends them all scurrying off. With a low bow, she greets Beauty and retires.
Beauty is holding the plucked Rose, and weeping. She sings an Aria “How hard it is, to part from all l know and love”, expressing her determination to make a positive future despite her unhappiness at leaving all she knows and loves. She says she will not be afraid and that she will cherish her fate, whatever it may be. Immediately, several animals enter and happily crowd about her, leading her eventually up the stairway to the bedchamber above. They enter the bedchamber and Beauty delightedly sees the white gown—“. . . is it for me?” The attendant animals take up the gown and bring it to her where she stands, before the mirror. They remove her worn travelling clothes and help her to put on the gown. As they finish dressing her and draw back from her, she looks up and sees herself in the mirror.

She stands as if transfixed; the animals freeze. At the same time the Beast appears below in the main hall. As she begins to sing the Mirror Duet, his voice joins hers as he slowly mounts the stairs to the chamber door, attended by two reindeer holding candelabras, and contemplates her, but is unseen by her. The Duet expresses Beauty’s wonder at her appearance and her new life while the Beast, clutching his heart as he gazes at her, hopes that she will not be frightened of him and that he places his hope, his life, in her gentle heart, her gentle eyes.

After the Duet Beauty returns to adjusting details of her gown: the animals resume their movements and advance once more and busy themselves with final touches on the gown, her hair, and so on. As they finish, the Beast appears in the doorway. Beauty has not noticed his entrance, being absorbed in affixing the Rose to her gown. Suddenly, looking up into the mirror, she sees him standing behind her. Startled, she whirls around to face him, stifling a cry and staring fixedly at him, clutching her gown but betraying no other sign of fear at his awful appearance. He bows slowly and the animals withdraw respectfully. The Beast invites her to dine with him and Beauty accepts. With his invitation to dine, the Beast has extended his arm for her to take. Hesitating for a moment, she places her hand on his arm, and in stately procession he escorts her out and down the staircase into the great hall, to the table, attended by the reindeer.

At every stage of their meal they are attended by animals, who remain however at a respectful distance when their services are not required. Beauty’s and the Beast’s conversation is hesitant at first, as though only to cover mutual embarrassment. When Beauty remarks that she loves music, the Beast asks the animals to welcome Beauty to her new home with a dance. Several animals enter: two cats carrying a violin and a cello, and a dog with drums, followed by two peacocks with fans and finger cymbals, who dance a Moresca for Beauty and the Beast. They conclude their dance with a deep bow to their patrons. Beauty claps her hands with delight. The animals bow and withdraw, leaving the two alone in the hall.

The Beast rises and, coming to Beauty, kneels before her and asks her to share his kingdom, to marry him. She does not answer, but draws a little back from him, eyes downcast. The Beast assures her that she must answer from her heart, without fear. After a pause Beauty says she will not, she cannot, marry him. He bows his head; then, taking up the hem of her gown, he kisses it. Startled at the gesture, she draws back and asks permission to retire. She ascends to her bedchamber, where animals help her to prepare for sleep. While she does so, the Beast remains kneeling, with bowed head, in the main hall. At last he rises and sings the Lullaby Aria again placing his hope, his life, in her gentle heart, in her gentle eyes. He turns and contemplates the tableau of Beauty asleep, attended by the animals and watched over by two reindeer lords as the curtain falls.

ORCHESTRAL INTERLUDE
Scene Two—The curtain rises on a splendid dayroom in the Beast’s palace. In one corner, a table loom with a partially woven cloth. In another, a harp, a small harpsichord, and on the wall various smaller instruments, among them a lute. Against a rear wall is an immense clock, with life-size mechanical figures of a prince and princess. Tall windows and arches give out onto a veranda and the enchanted garden, radiant under the sun of a summer morning. As the curtain rises the housekeeper squirrel scampers in and winds the clock. It strikes, and the mechanical prince and princess move in a dance, climaxing in a kiss, as the clock starts marking the hour, before resuming their original positions. In the place of chimes, voices in the clock call Beauty’s name.

Beauty enters, carrying the Rose, which she sets down, and going to a window begins the Aria “Oh, what a lovely morning!”, in which she describes her pleasant life in the Beast’s palace and the strange dreams she has been having of a beautiful prince who asks her to set him free and not to desert him, for his heart would break and never more be mended. She feels these dreams seem more real than her waking life. After finishing the Aria she sits pensively for a moment, then goes to a window and brushes her hair. She takes up the lute distractedly, making as if to play but she suddenly bursts into tears. The Beast enters asking her what is wrong. She responds that she wants for nothing except “the touch, the voices of those l love”. The Beast understandingly says that when a young girl’s life seems less than her dreams and the way she has chosen is the road to despair, she longs to return to her family and a child’s happiness. He asks again if Beauty will marry him and Beauty, despairingly, in a low voice says no, she cannot accept him. After a moment’s pause he picks up the lute and offering it to her, asks her to sing for him a song of loneliness.

She takes the lute, and sings the Homesick Song, “0 for a moon to light me home”. While he has been listening to her song, the Beast has been standing quietly, reflectively, sadly, sometimes moving to examine some small personal article of Beauty’s—her brush, her mirror. When her song is done, he turns to her, full of emotion, and says,“You wish to leave me! lt pains me to say it.” Beauty eagerly asks for a few days with her family, promising to return as cheerful and resolved as the day she first arrived. The Beast tells her he relies upon her word and that if she does not return, he will surely die. There follows the impassioned Farewell Duet where Beauty pledges to return to him and the Beast begs her, implores her, not to stay away so long that she returns to barren gardens and an empty house. He says that without her love he will die. Upset, she says that though her heart’s desires are not clear to her, she knows her place is by his side.

Beauty turns to leave, approaching the doors to the garden. The Beast says farewell. At the doors she hesitates, then rushes back to kiss his hand, which he tries too late to draw away from her; then she hurries from the room without looking back. The Beast, left alone, calls after her, “Don’t leave me, Beauty!” He bows his head in despair. Caressing the hand she has just kissed, he goes out into the garden and sinks down under the Withered Tree. As he passes the clock, it again chimes Beauty’s name; the mechanical figures kiss as the act ends.

ACT THREE
Scene One—The curtain rises on the interior of the woodland cottage which is the home of Beauty’s family. The room’s furnishings are simple, almost rustic; there is a large cooking hearth in one wall. To one side, in a small room or alcove is Beauty’s bedroom. At curtain rise, Beauty, her Sisters and her Father are busy in separate parts of the cottage. Beauty sits embroidering before the hearth; her Father sits at table, attended by the First Sister; the Second Sister is at a spinning wheel. Beauty distractedly sings a folk-song as she works; as the others add their voices to hers they become a Quartet, expressing their thoughts individually, then joining her in the folk-song.

As the Quartet ends, Beauty rises to help her Sisters clear the table. Her Father takes her hand and pleads for her to stay. Beauty’s Sisters join their Father in entreating her to remain with them. Beauty knows she cannot and says perhaps tomorrow’s new day will bring them fresh hope and quicken her resolve to leave. She goes to each one and kisses them, wishing them good night. She leaves them and enters her bedroom; the stage darkens except for the candlelight in her room, as she prepares for sleep. She sets the Rose on the bedside table, and reclines on the bed.

The lights dim. On the other side of the stage, the Dressing Mirror appears, the same as in her chamber in the Beast’s palace. The Dream Ballet begins. Beauty is seen as in Act Two, Scene One, before the Mirror. The Prince appears behind her and the Beast simultaneously appears in the Mirror, visible also to the audience—in action and dress they are mirror images. As in the former scene, she looks up and sees the Beast in the mirror—but when she turns, it is the Prince she sees. She waltzes with him— the Beast fades from view. Then the Prince is replaced by the Beast in her dance, who holds out his hand to her imploringly, and she turns in fear and confusion to discover the Prince, beckoning to her with the same gestures as the Beast. The Prince comes towards her and is about to reach her when she turns again to the Beast, who begins to fade away, pleading with her to follow. She tries but remains immobile—and when she looks for the Prince, he too has disappeared.

The light suddenly returns to Beauty’s bed; darkness again covers the rest of the stage. She suddenly sees with a cry that the Rose, which she had placed on her bedside table, is wilted. Hoping that her Father and Sisters will understand she says she knows something is wrong and she must return to her Beast. She runs quickly out, taking the Rose, as the curtain rapidly descends.

ORCHESTRAL INTERLUDE
Scene Two—The curtain rises during the Interlude, revealing gradually by moonlight the enchanted garden. All the flowers are wilting, the animals are in fear and confusion—all are dying. Moans and laments are heard, seeming to come from the garden itself. The light gradually reveals the Beast, dying also, in the place beneath the Withered Tree where we last saw him. He sinks to the ground, and with him, all the remaining animals and wilted plants. The stage is motionless and silent.

Suddenly there is a rush of wind in the garden; a moaning and trembling come from the flowers. Beauty hurries in, sees several animals lying on the ground and goes to them. She becomes increasingly distraught, and finally sees the Beast and rushes to him. She tries unsuccessfully to make him rise, then lays his head in her lap. The Beast opens his eyes and looks up at her. He says that she is “too late ... too late”. Beauty says “You must not die! l love you, l love you—You can not die!” She kisses him; but his face falls away from hers, lifeless. She gasps, then lays his head down on the ground. Moving away, the full realization of his death overcomes her, and she collapses weeping, burying her face in her hands.

The moon disappears behind a cloud, and the stage is in complete darkness, punctuated only by the sound of Beauty’s weeping. Then, slowly, the moonlight returns. A blossom appears on the Withered Tree, then another and another; soon it is in full bloom. The rosebush becomes visible, but it is no longer a rosebush—the flowers have returned to being children. The light expands, gradually revealing more of the flowers and animals, all now transformed into the Beast’s courtiers. Real flowers bloom. Day breaks. Beauty remains collapsed in tears, unaware of the Transformation.

Finally behind her, rising from the Beast’s cloak, stands the Prince. He speaks her name and she looking up, and in disbelief asks if she is dreaming. The Prince answers, “. . . your eyes do not deceive you. I am the Prince of your dreams and the Beast as well.” The Prince describes in the Aria, “I was not always the way you first saw me”, how he and his court were enchanted by “a woman well versed in the arts of love, and magic”, and how he had “needed one to love me and accept me for what l was.” Only Beauty has seen the Prince beneath the Beast.

The Children approach them, bearing the Rose which, the Prince explains, was a child named Lisette who can never be a little girl again, but who would be glad of the happiness that has come to them through her. All bow; some of the court exit. Others, in stately procession, present gifts to the royal couple, as the scene changes to the interior of the palace, in the main hall.

A Children’s Chorus begins the Finale and the courtiers join in. As Beauty and the Prince join the ensemble, each places a crown on the other’s head. Beauty’s family enter, all ceremonially attired; each of the Sisters is escorted by a handsome young courtier and the housekeeper squirrel, now a dignified matron, leads in the Father. All join in the Final Chorus and Court Dance. Beauty and the Prince exit as the courtiers dance. Finally, curtains in the central alcove are drawn ceremoniously aside to reveal the Prince and Beauty regally crowned and cloaked. They walk in procession down to the footlights. All dance a grand, stately court dance as festive garlands descend. The courtiers bow to the royal couple as they kiss, to form the final tableau as the curtain descends.

Edited by Erwin Vrooman 2014

Illustrations by Louis Latorra
© 1974, 1976 and 2010 Frank DiGiacomo and 2014 Sing DiGiacomo