THEATRE. "WHEN SHE DANCED"

[1] [2] When She Danced. © Martin Sherman Characters: Isadora Duncan Sergei Esenin Mary Desti Miss Belzer Alexandros Eliopolos Luciano Zavani Christine Jeanne ACT II The same. Early evening. Belzer sits on the floor looking through a large open trunk, sifting letters and photographs and newspaper clippings. Jeanne walks in, wearing a coat. She looks at the contents of the trunk. Jeanne: Les photographies. Elle devrait oublier ses photographies. (She turns on some lights) Isadora enters, also wearing a coat. She carries a bottle of champagne and a glass. She sips from the glass. She flings her coat off. Jeanne leaves. Isadora: We had a lovely drive in the city. Spring is in the air. Would you like some champagne? We looked into every gutter on the right bank. No Sergei Alexandrovich. Well, well, I did my duty. I looked. I went to a chemist. I found this marvellous poison for rodents. Here. (She shows Belzer a bottle) Do you think it's the sort of poison that hurts? What to do. Suicide, or what, or what? I don't want to take any of the unpleasant stuff. I'll throw this away. What I want to do really is to walk into the sea. There's always a spot where the moon meets the water, do you know it? I would dance out through the waves and meet the moon. But there is no sea in Paris. Just the river… Oh Belzer, I'm such a fool, such a fool. How many nights did he read that poem to me? I am a fool for love. A born sucker. I'm just trying to stay alive. Ever since Deirdre and Patrick drowned, I have been only half alive. Perhaps I died with them. There's just a shadow left walking about. You can divide my life in two. Before. After. I mustn't speak about them. My friends begin to tiptoe out of the room when I speak about them. "Isadora, you are being sentimental," they say. That's such a bad word in Europe. It's perfectly harmless in America. I am endlessly American. I looked sentimental up in the dictionary. Having an excess of sentiment. I looked sentiment up. A mental attitude, thought or judgement permeated or prompted by feeling. Feeling! My babies are snatched from me, a dark fate descends upon my life, but I mustn't show feeling. Ohh, la, la. Well, I try to be happy. Have you ever had children? But of course not. Belzer: Yes. Isadora looks at her. Isadora: Yes? But, Belzer, why didn't you say so? Are you married? Have you lovers? Where are the children? I must know. Have you had adventures? (She sees a photograph in the trunk and picks it up) Look, it's Deirdre in Egypt. At the Grant Temple at Karnak. Look how calm she is. She would never have made a mess of her life. I was carrying Patrick then. Ye gods, watch out, sentiment! Put the trunk away, Belzer, I've changed my mind. I don't want to find another photograph. It's torn. It's gone. It's best. Belzer closes the trunk. Isadora pours herself another glass of champagne. Are you sure you don't want some? Belzer: No. Thank you. (Pause) Miss Duncan? Isadora: Yes, Belzer? Belzer: I saw you dance. Isadora: You did? Belzer: In St. Petersburg. Isadora: When? Belzer: Many years ago. Isadora: Oh. (Pause) And…? (She is waiting for a comment) Pause. Belzer is flustered. Belzer: You were very good. (She blushes) There is a commotion. Jeanne enters, followed by two men, who are carrying Sergei. Sergei is a mess, his clothes are torn and muddied, and he is asleep. The men carry him into the bedroom, led by Jeanne. Jeanne closes the door of the bedroom after them. Isadora and Belzer follow their progress in silence. Isadora: Well, well. The bedroom door opens. The men walk out and across the room, followed by Jeanne. Jeanne: Merci de nous avoir aide. Au revoir. The men exit. Isadora: Jeanne? Jeanne: Oui Madame? Isadora: Ou etait-il? Jeanne: Allonge en face des Galeries Lafayette. Isadora: (To Belzer) He passed out, dead drunk, in front of a department store. That's perfect. He was probably checking the spring fashions. My Bolshevik is quite a dandy. He makes me buy him clothes at least once a week. That's where the money goes. And the children of Russia are starving. And he cries for his people in his poetry. (To Jeanne) Jette de l'eau sur sa tete. Jeanne: Avec plaisir, Madame. Jeanne goes into the bedroom. Mary enters from the hallway. Mary: News, news. Wonderful news! Isadora: Of course. What else? Isadora and Mary kiss. Belzer: I think I will make some tea. Please, excuse me. Belzer leaves. Mary: I've seen her some place before. Isadora: Yes, Mary, you have. You brought her. She's the interpreter. Mary: Oh yes. Of course. She's wearing her hair differently. I do have good news, Isadora. The contract has arrived. Signed. And here, your train fare for Vienna. Mary takes out an envelope and offers it to Isadora. Isadora does not take it. Mary puts it on the desk. Isadora: Oh. Mary: Everyone is thrilled. Aren't you? Isadora: No. Mary: Is it the visa? Don't worry. It will come. Isadora: It's not the visa. Mary: What's wrong? Isadora: I don't want to dance in Vienna. Nothing's wrong. I don't want to dance. Do you know what I thought, Mary? I thought I would give back to man his lost beauty. Ha. Ha. I can not dance without hope. Tear up the contract. It's a rum world. A rum world. And cancel tonight. I don't want to fawn over some sleazy dago. They won't give me money for a school. They never do. Cancel everything. Jeanne comes out of the bedroom. Jeanne: Il est reveille, Madame. Jeanne leaves. Mary: Ah, it's him. I should have known. What happened? Isadora: Go away, Mary. Go away. The bedroom door opens. Sergei enters. He is dazed and sheepish. He looks at Isadora. She turns away. Mary: Do you want the interpreter? Isadora: No. Go away, Mary. Mary leaves. There is a long silence. Sergei stares at Isadora. She does not look at him. They stand next to each other, not speaking. Sergei suddenly grabs the mandolin from the floor. He starts to play and sings a Russian folk song. Isadora will not look at him. Sergei circles Isadora, singing, and playing the mandolin. She constantly turns her head away from him, although she is now trying, with some difficulty, not to smile. Sergei drops the mandolin, and now humming the folk song, he starts to dance, a Russian peasant dance, much of it on his knees, interspersed with shouts and yells, ending in front of Isadora, his hands outstretched to her. Isadora has melted. She laughs. She takes his hand. Damn you… They kiss. Sergei: Sidora. Isadora: (running her hand through his hair) Mary! Mary rushes back in, she has not been far away. Don't tear the contract. (To Sergei) Go on now, take a long, hot bath. That's a good boy. Sergei lets go of her hand. He walks over to Mary. Mary instinctively backs away. Sergei takes her hand and kisses it. He grins and returns to the bedroom. Mary: I'm not saying a word. Isadora: What can I do? He's the image of Patrick. As Patrick would look. Those golden curls… How can I hurt him? So, he is a wee bit eccentric. So what? Did Jeanne get the lobsters? Do Italians like lobsters? Do you think he'll give me a school? All I need is five hundred, a thousand Italian children, and I can lead them to glory. The lights dim. Black-out. A light shines on Mary. Mary: She comes from antiquity. She makes dancing a religion. When she moves across a stage she is in touch with the divine. But how do I describe it? She doesn't do steps. She walks. She runs. She jumps. Skips. Stands. She takes her time. Her arms, her hands, her shoulders, sing. How do I describe it? Once she and I were in Rodin's studio examining some of his sketches, searching for the right words to capture the magic we held in our hands, and he said, "It doesn't matter, there are no right words, whatever you see in it, that's what it is". Rodin loved her. What sculptor would not? It is as if the Winged Victory swayed from her pedestal. No, how can I describe it? I know only this, when I saw Isadora dance for the first time, I saw myself for the first time. I heard a voice calling my name. I looked into my own eyes. I am Isadora. I move across the stage. I come from antiquity. I am in touch with the divine. Black-out. Pause. During the black-out Mary exits. Isadora, Sergei, Belzer, Alexandros, Luciano and Jeanne enter. The lights come up. Late evening. Dinner is in progress. The table is lit by candles. Isadora is presiding. Sergei, Belzer, Alexandros and Luciano Zavani are at the table. Luciano is dapper, in his thirties. Alexandros sits next to him. Belzer sits next to Sergei. Jeanne is pouring champagne. They are all devouring lobsters. They are all except for Belzer, quite drunk. Isadora: Oh, my hands! These silly things drip all over you. Luciano: Le aragoste sono squisite, Signora Duncan. Isadora: What, sweetie? Alexandros: He says, lobsters superb. Isadora: Oh Luciano, thank you. Thank Jeanne. (To Jeanne) Bravo Jeanne. Nos invites ont dit que les homards sont superbes. Jeanne smiles. Sergei: Chto on skazal? Belzer: He asks what he said. Isadora: He said the lobsters are superb. Belzer: Omari velikolepnie. Sergei: Da. Da. Velikolepnie. Belzer: Yes. Isadora: (To Jeanne) Oui. Luciano: Si. Alexandros: Ney. Isadora: My, aren't we getting on? Oh, I'm oozing butter. Jeanne, encore du champagne, s'il te plait. Jeanne pours more champagne. Thank you, cookie. Now, Luciano, you must have some champagne. Make him drink some more, Alexandros. The two of you are getting a long very nicely. And isn't Sergei behaving well? Belzer, why don't you drink? Do you have something against champagne? Or is it your liver? You must tell me. We need things for our hands. Finger-bowls. Oh merde, how do you say finger-bowls in French? Why isn't Mary here? She would know. Alexandros: Finger-bowl. In Greek, mbollaki. Isadora: That doesn't help. Belzer: In Russian it is, I think, chashechka. (To Sergei) Dlia paltsev. Po Russki? Chashechka? Sergei: Da. Chashechka. Belzer: Yes. Chashechka. Isadora: Chashechka, Jeanne. Jeanne pays no attention. She will only listen to French. Nothing else exists. Alexandros: (To Luciano) Come dice "finger-bowl"... (he mimes a finger--bowl)... in Italiano? Luciano: Che cosa? Non Io so. Alexandros: Italians do not have them. Isadora: Of course not. Have you ever seen their fingers? They laugh. Don't you dare translate that. It's been a lovely dinner. No one has understood a blasted word anyone else has said. Jeanne, il nous faut une coupe d'eau pour nos doigts. Jeanne: Oh, un rinse-doigts, Madame. Isadora: Oui. Rinse-doigts. It's rinse-doigts. I should have known. Chashechka is nicer. (She laughs) Now, Luciano, I think we should discuss my school. Alexandros: Lei vuole parlare con te della sua scuola. Sergei: Shkolu! Sergei raises his glass, rises, kisses Isadora, then goes into the bedroom. Isadora: Thank you, Sergei. And you, Belzer. Belzer rises and goes off with Jeanne. (Turning to Luciano) Now, Signor Zavani, what you must tell your government - who is your government, by the way? - is that I simply need a building, that's all, and a few liras to keep it all in working order. And I will find the children, we can start small, only five hundred to begin with. And I won't teach them anything, that's the secret. You see, every child is a born genius. But only a few grow up to be called genius and to my mind that is simply because they have been lucky enough to have escaped education. What I try to do is guide my children away completely from education, but instead toward understanding the movements of nature, toward discovering the beautiful rhythms of the human body. Oh if you only saw the children in Moscow. But, of course, you must come to Moscow. She signals Alexandros to translate. He takes a deep breath. Alexandros: Di al tuo governo di darle un palazzo e i soldi per la sua scuola povera. Lei trovera i bambini Italiani sono insegnati i movimenti della natura, del corpo. Tu devi vedere i suoi studenti a Moscow. There is a pause. Luciano: Vuoi che ceniamo insieme? Another pause. Isadora: What does he say? Alexandros: He asks if tomorrow I have dinner with him. Isadora: Yikes! Alexandros: He has, I think - how you say it in English? - the words, oh, a desire to suck the cock. This I can not help. This with him I do not want. But I give him my smile and do not say no, I will hold him from a string. So Isadora can have her school. Isadora: (giggling) My sweet, sweet child. Luciano: Signora Duncan, abbiamo sentito tanto parlare di voi. Alexandros: He says they have heard so much about you. Isadora: Oh. (She smiles a devastating smile for Luciano) Yes. Luciano: Il vostro nome e cosl famoso. Alexandros: He says your name is very famous. Luciano: Voi siete una leggenda. Alexandros: He says, you are a legend. Isadora: Oh. Well. Yes. Luciano: E allora vi prego, Signora Duncan, ditemi che cosa fate. Alexandros: (angry) Ma che domanda! Lei e Isadora Duncan. Silence. Alexandros doesn't translate. Isadora: What did he say? Alexandros: He says please tell him what it is you do. Pause. Isadora: I don't understand. Alexandros: Lei non capisce. Isadora: (Laughing) I dance. Alexandros: Lei danza. Luciano: Si, si, ballerina. Isadora and Alexandros: (together) No ballerina. Luciano: Ma che tip di danza? Alexandros: He says, yes, but what type of dance do you do? Isadora: Oh, poor me, poor me, what will I tell him? (Pause) Mon dieu. (Pause) Say to him, and this is the truth, the complete truth, I listen to the music within my soul, and I dance. Just that. Alexandros: Lei ascolta la musica nell'anima poi danza. Luciano: Si, ma di che tip di danza si tratta? Alexandros: He says, yes, but what kind of dance is that? Pause. Isadora: Oh dear, oh dear. (Pause) This makes my stomach hurt. (Pause) What would he understand? Well, Italy, I suppose. Tell him I love Florence. Alexandros: Lei adora Firenzi. Luciano: Grazie. Grazie. Grazie tante. Isadora: Tell him, in Florence I performed in palaces. I sat for days before the Primavera of Botticelli. I absorbed the Primavera of Botticelli. I turned this painting into dance, this message of love and spring into movement, capturing its central figure, half Madonna, half Aphrodite, who held, somehow, the key, the very key, to the richness of life. This I did in Florence. Pause. Alexandros considers how to translate this. Alexandros: Lei in Firenze trasforma Botticelli in danza, con aurore, con primavera, con Afrodite, con La Madonna. Luciano: Si, si, La Madonna! Ma quale tipo di danza? Alexandros: He says, yes, but what kind of dance was it? Isadora: I have no answer. Pause. Luciano: Non no mai visto la Signora Duncan danzare. Devo descrivere la sua arte aimiei superiori. Che cosa.posso dire? Alexandros: You know I give concert in Warsaw. Last year. Rachmaninov. Great success. Much applause. Well, for Polish people, much applause. Not like French. I meet a Jew there. We have little romance. He teaches me Yiddish word. Schlemiel. (He nods towards Luciano) This man is schlemiel. He says, he never see La Duncan dance. He asks how to describe her to his higher-ups. Isadora: I have no answer. Luciano: Signora Duncan, pensi che vogua darci una dimonstrazione? Isadora: I do not demonstrate! Silence. Alexandros flashes a smile at Luciano. Alexandros: Where do you meet this man? I smile at him only for you. If he fall down now with dead heart, I do not care. Isadora: Tell him to come to Moscow. He will see my pupils. He will see a new world. A revolution. Tell him to come to Moscow. He will see brotherhood, equality and joy. He will see children dancing. He will see everyone dancing and singing together. Tell him to give me a school. I only need a building. I will pay for everything else out of my own earnings. Let the children of Naples and Moscow dance together! Luciano: Non capisco. Che stai dicendo? Alexandros: Isadora, the Italians, they do not like Moscow. There is now in Italy this man, Mussolini. He is not for Moscow. Moscow is not for Mussolini. They do not dance together. They do not fuck together. Even a Greek knows this. You have perhaps your politics upside down. Luciano: Non capisco… Alexandros: He will not give school. Luciano: Non capisco. Che stai dicendo? Isadora: Perhaps not. But I don't ever give up. I keep asking. You have to keep asking. Jeanne enters with finger-bowls. Oh, Jeanne, bless you. The chashechkas. Give one to Luciano. I was about to lick his fingers for a school. Now he can dip them like everyone else. Jeanne distributes the finger-bowls. Belzer returns and helps Jeanne. Sergei comes out of the bedroom. Sergei: Sidora? Isadora: Yes, my darling? Sergei: On tebe dal shkolu? Belzer: He asks if he gave you a school. Isadora: No, Seryezha, not yet. (She kisses him) Sergei: (To Belzer) Perevod menye ne nuzhen. Pause. Isadora: What? Belzer: He says he does not need a translation. Sergei: Skazhi yei chto ona ne nuzhdaetsia v Evrope. Evropa pogriasla. Tolko Rossia ponimaet yeyo. Belzer: He says you do not want Europe. Europe sinks into the sea, only Russia understands you. Sergei: Ne nado perevodits. Belzer: He tells me not to translate his words. Sergei: Skazhi yei chto ya liubliu yeyo. Belzer: He says to tell you that he loves you. Sergei: Ne nado perevodits. Belzer: He says not to translate his words. Sergei walks away. Miss Duncan, I don't know what to do. Isadora: (smiling) Play it by ear, duckie, play it by ear. Mary enters from the hallway. Mary: News, news! Wonderful news! My darlings, I have a coup. (She sees Jeanne handing out the finger-bowls) Oh, thank God, we're just in time for the soup. I'm famished. I have brought you Christine. Isn't that brilliant? (She motions a young girl, Christine, into the room) Christine is seventeen, pretty and very intimidated. She wears a coat, and carries a bouquet of flowers. Isadora: (To Mary) Where have you been? Sergei fixates on Christine. Sergei: Eto eshcho kto? Mary: Now where is his excellency. (She sees Luciano) Oh, my dear, how are you? Che placere di vederti. What a sweet man. Have you given Isadora her school? Luciano: Non capisco. Sergei: Kto eta devochka? Belzer: Mr Esenin wants to know who the young woman is. Mary: (To Belzer) Oh, I'm sorry, we haven't met. I'm Mary Desti. (She shakes Belzer's hand) And this, (pointing to Christine), prepare yourselves, is Christine Duncan. Silence. Christine goes to Isadora and curtsies. She hands Isadora the bouquet. Isadora: Thank you. (Pause) Mary, what on earth is going on? Mary: Well, darling, Christine Duncan! She studied with one of your former pupils. They all call themselves Duncan and their pupils call themselves Duncan. Isn't it thrilling? She knows the Isadora Duncan technique. She is a disciple. I found her on the rue de Rivoli, well, in a cafe, not on the street. And someday she will be teaching little Duncans. The art of Isadora will live on forever. Isadora: Mein Gott! (She reaches for a champagne glass and quickly downs it. She pours herself another) Mary: Sometimes I don't think you realize quite what you've started. I've asked Christine to dance for us. Isadora gulps down another glass of champagne. Isadora: Mary, I don't think that's a good idea. Mary: Oh, but it is. It will show Signor Zavani the benefits of a school. (To Luciano) Christine Duncan danzera pervoi, Signor Zavani. Luciano: Si, si, Christine Duncan, si, si. Isadora: Mary, I don't know this girl. Mary: (taking Isadora aside) Isadora, you're not any good at this. You never know how to squeeze money out of these people. You think you do, but you're always a disaster. There is a technique to do it, you know. You work so hard and yet you're always penniless. You must let your friends help you. You must take our advice. My advice at least. Trust me. Let the girl dance. She may be a trifle awkward. So what, she's very pretty and very young. And that means money. Now where is that nice Greek boy? Sergei: (looking suspiciously at Mary) Sidora, ot etoy korovi odni nepriyatnosti! Mary: Tell Rasputin to stay out of this. (To Alexandros) Ah, there, Aristotle, would you accompany Christine? Alexandros: Alexandros. Mary: Well, whatever. Something familiar, please. Alexandros looks at Isadora. Alexandros: Do I do it? Isadora: What the hell. Botticelli didn't work. Alexandros: A waltz, perhaps? Mary: No. Play that nice thing by Chopin. Alexandros: What nice thing? Mary hums a tune. Ah, you mean perhaps Grande Valse Brilliante No.1 in E Flat Major, Opus 18. Mary: That's the one. Alexandros: Vivo. Mary: Yes. Yes. Vivo. Alexandros sits at the piano. (To Christine) Are you ready? Christine takes off her coat. She is wearing a Grecian tunic. She has already slipped off her shoes, and is barefoot. Sergei puts his hand on Isadora's shoulder. Sergei: Nyet, Sidora. Isadora: (patting his head) It's all right, Seryezha, it's all right. Christine walks to the centre of the room. She stands quite still. Alexandros plays a waltz. Christine continues to stand still. Then, suddenly, she lurches forward. She leaps. She hops. She skips. She jumps. She imitates figures on a Grecian urn. She allows an invisible wind to blow her to and fro. Isadora watches in mounting horror; at first, with a frozen smile on her face. The smile fades. Sergei's hand grasps Isadora's shoulder. He turns away. Christine is now weaving in and out of the most startling contortions. Isadora screams. Isadora flings the bouquet in the air. Alexandros stops playing. Isadora runs to Christine and pulls the startled girl to her breast. Hate me. Please, hate me. Or forget me. Or laugh at me. Or ignore me. But don't love me. Not like this. This isn't Isadora. These are not my dreams. These are not my dreams. Is this how I'm going to be remembered? (Pause) I wanted to make you free. I did not want to make you Isadora. Only I can be Isadora. Are there now going to be thousands of pathetic imitation Isadoras clumping around in tunics, destroying every hope I ever had? (Pause) Anyone can dance. Anyone. It's there, inside of you. Touch your own spirit, feel it, nourish it, release it, and then come forth with your own great strides, no one else's. With your own leaps and bounds, no one else's, with your own foreheads lifted and your own arms spread wide, come forth then and dance! (To Christine, who is trembling in her arms) Do you understand me? Dear child, do you understand? She releases Christine from her grip. Christine looks up at her. Christine: Stroken Duncan, gjorde jag nagot fel? Blou mi missnojd mod mim dans? Jag bars zille vara sam Isadora. Isadora stares at her for a moment, and then begins to laugh. Isadora: Ye gods! Does anybody here speak Swedish? Sergei goes to Mary. He is agitated. He looks Mary in the eye and shakes his fist. Sergei: Chto ti natvorila? (He walks away and pours himself another drink) Alexandros embraces Isadora. Alexandros: Do not be sad. Isadora: Oh, my poor Alexandros, I'm afraid you will have to schlep to Vienna if you want to see why your name is part mine. You must surely be wondering. Mary: No, dear. Vienna is out. Isadora: What? Mary: You heard me. Isadora: What do you mean? Mary: I mean Vienna is out. Simply that. Isadora: What are you talking about? Mary: I said it in English. Vienna is out. Isadora: Mary! Mary: You can't get a visa. Isadora: Your attorney was working on it. Mary: He sent word a few hours ago. They won't grant you a visa. You can not dance in Vienna. Isadora: Why? Mary: Because you're very, very foolish. Isadora: Mary, on what grounds? Mary: What do you think? Isadora: On what grounds? Mary: Political grounds, of course. They say you're a communie. Well, of course, you would go to live in that dreadful country with all those dreadful Bolshies running around. And you would wave that silly red flag in everyone's face and even wear it to dinner parties, and talk, all the time, about things you don't understand. We all warned you against it. But you never listen to your friends. (She takes Christine by the hand) I think you were very hard on this poor girl. Cruel, in fact. Yes, Isadora, cruel. Not everything has to be great art. People try in their own way. People try. Mary puts Christine's coat over Christine's shoulder. Christine runs away from Isadora. Isadora: More champagne, Signor Zavani? Sergei: (To Belzer) Skazhi Sidore chto ya pokonchu s soboi. Belzer: Oh, Miss Duncan, forgive me, but he says he will kill himself. Isadora: Not now, Sergei. Sergei: Zdes nikto nichevo ne ponimaet v iskustve. Belzer: He says they do not respect art in this room. Sergei points dramatically to Mary and Christine. Sergei: Eta devoushka i eta zhenschchina tebia oskorbili. Belzer: This girl and this woman have dishonoured you. Sergei: V znak protesta, ya veshayus. Belzer: As a protest, I will hang myself. Isadora: That's very comforting, Sergei. Sergei: Ya prinoshu sebia v zhertvu revoliutsii, ya veshayus. Belzer: As a contribution to the revolution, I will hang myself. Isadora: Later, Sergei. Would anybody like some coffee? Sergei: Ti pravelno perevela? Belzer: He asks if I translate correctly. He did say he would hang himself, Miss Duncan. Sergei: (to Mary and Christine) Filistimliane! Mary: Murderer. Sergei walks away. Isadora: Mon dieu, he was behaving so well. (She, almost by rote, takes a small white pill from her pocket and drops it into a glass of champagne. She hands the glass to Belzer) Give him this. Belzer looks horrified. It's a sleeping pill, Belzer. That's all. I give him one most every night. Usually when he's going to hang himself. Belzer: Oh. (She stares at the glass) Isadora: Take it. Belzer hesitates, then takes the glass. Thank you. What would I do without you? Belzer walks back to Sergei. Mary, we're sunk. Without Vienna, we're sunk. Mary turns away. Mary! Belzer hands the glass to Sergei. He drinks. Then he walks into the study. Jeanne enters with two men. Jeanne: Les messieurs sont arrives. Ils demandent leur table, Madame. Isadora: The table? What table? Jeanne: On a vendu la table, Madame. Isadora: Sold the table? Jeanne: Pour la champagne, Madame. Isadora: But shouldn't they come tomorrow? Jeanne: C'est la vie, Madame. Par terre. Jeanne leads the men to the dinner-table. She removes the dishes and glasses and champagne bottles from the table and puts them on the floor, instructing the men to help her. Sergei returns from the study, holding a rope. Sergei: Ya veshayus! Isadora: Signor Zavani, the coffee will be a little late. Sergei takes a chair and stands on it. The men carry the table out of the room, followed by Jeanne, during the following Belzer tries to divert Isadora's attention to Sergei. Not now, Belzer. (To Luciano) I always prefer my coffee without a table. Luciano: (watching the table go) Stanno portando via la tavola? Non capisco. Alexandros: (To Isadora) This is not good. I can stop them. Make fight. I rescue table. Isadora: Oh, sweet child. Alexandros: I am not child. Isadora: You have to protect your hands. She restrains him and kisses his cheek. Sergei watches this with displeasure. He holds the rope over his head. Sergei: Ya veshayus! Belzer: (whispering to Isadora) I gave him the champagne. Isadora: Good. It takes a while to work. Christine watches the table go and starts to cry. Christine: En kvall med Isadora Duncan hade job inti tanakt mig sa har… Jog vill ga hen. Mary: Damn right, sweetie. Isadora: Speak to your attorney again. Mary: What about? Isadora: The visa. Mary: Oh that. It's hopeless. Isadora: Nothing is hopeless. Mary: They will not let you dance, Isadora. There will be no money for Moscow. You will have to stay here. Isadora: Here? Mary: In Paris. With your friends. With those of us who love you. Jeanne and the men have left with the table. Mary helps Christine on with her shoes. Sergei ties the tope around his neck. Sergei: Proshchai Sidora! (He searches the ceiling for something to attach the rope to) Isadora: Sergei Alexandrovich, this is no time for suicide. I am having a cris de nerfs. Sergei: Ya protestuyu protiv tovo kak mir otnositsa k Sidore Duncan. Belzer: He protests against the world's treatment of Isadora Duncan. Isadora: How did this suddenly become his tragedy? I'm the one with no visa, no concert, no school, no table. I'm the one everybody imitates and no one understands. Can't you ever let me have my own rotten night, Sergei, just for myself! All these horrible things happen to me and I don't even get to enjoy them. (She clasps Alexandros to her) Oh, Alexandros, sweet, sweet child, hold my hand. I'm losing the threads. Alexandros: I am not child. This man is not good. If horse bite him on nose, I would not care. Isadora: What horse, darling? Belzer tugs at Isadora's dress. Belzer: He does seem to be hanging himself, Miss Duncan. Isadora: For pity's sake, Belzer, when are you going to catch on? He never kicks the chair away. Sergei finds a lighting fixture and tries to attach the tope. Luciano, who has been observing the most recent events with complete confusion, goes to Isadora. Luciano: Vi prego di sousarmi, ma devo lasciarvi. E stata una serata incantevole. (He bows to Isadora) Alexandros: He says he must leave now. But he enjoys evening. Isadora: He ain't going nowhere, sweetie. Luciano: Ti posso accompagnare? Alexandros: He want to see me home. For you, Isadora, for you, I perhaps sacrifice myself. I will go home with him, now. Isadora: I'm not giving up. (To Luciano, sweetly) Signor Zavani, I hope you will think about my school. Alexandros: Lei spera che tu ricordi la sua scuola. Luciano: Si. Faro il possibile. Ma ricorda che sono solo uno scrivano. Alexandros: Scrivano? Luciano: Scrivano. Alexandros: He says he do what he can. But… (He laughs)… This is fun. Isadora: What is? Alexandros: This is. Isadora: What's this? Alexandros: Scrivano. Isadora: Scrivano? Alexandros: Clerk. He says he is only clerk. (He laughs again) Isadora: Clerk? Alexandros: Clerk. Isadora: Nonsense. He's the vice-consul or something like that. Alexandros: Ah, non sei il vice console? Luciano: No, lavoro in archivio. Alexandros: No. He is clerk. For papers. Isadora: Papers? Alexandros: Yes. Papers. In one pile. In another pile. Isadora: Filing? Alexandros: Yes. Isadora: A file clerk? Alexandros: Yes. Isadora: But I was sure he was the vice-consul. He was standing there at the embassy reception looking so diplomatic. Did I sell my table for a file clerk? Alexandros: I almost give my pee-pee to file clerk. (He laughs again) Isadora: Mon dieu. (She laughs) It's not funny. (She laughs) How do you say "mon dieu" in. Italian? Alexandros: Dio mio. Isadora: (looking at Luciano) Dio mio. Dio mio. Isadora and Alexandros laugh. Mary: The creep's a file clerk. Christine: Vasa? Mary: Fila clerka. Luciano: Ma permetietemi di dirvi che la danza della fanciolla e stata bellissima fantastica. Adesso finalmente capisco la vostra arte. Silence. Alexandros stops laughing. Isadora looks at Alexandros. Alexandros: No. I cannot tell you. Isadora: Of course you can. Alexandros: No. Isadora: How much worse can it be? Alexandros: Worse. Isadora: Much worse? Alexandros: Much worse. Isadora: Tell me. (She takes another glass of champagne. Pause) Alexandros: He says he thinks girl's dance very beautiful. He now understand your art. Isadora takes a deep breath. She downs the champagne. Isadora: You're right. Much worse. Asshole! She hurls her champagne glass at Luciano. Luciano ducks. Sergei stops attempting to tie his rope to the lighting fixture. He looks at Isadora amazed. Sergei: Sidora! Luciano: Siete impazzita? Sergei jumps down from the chair, elated. Luciano marches for his jacket. Isadora takes a stock of glasses and plates from the floor. She hurls them one after another at Luciano. Sergei runs to her. Sergei: Bravo, Sidora… Christine is crying hysterically. Mary manoeuvres her toward the door. Mary: Isadora, this is perfectly childish, those glasses were a gift from Marie Bonaparte… Isadora continues to hurl plates. Luciano is ducking them. Luciano: Da hatta legare! Una putiana! Alexandros: (Laughing) Bastardo. Alexandros throws a plate at Luciano and whoops with joy. Mary: (screaming) Isadora, you never, ever, ever reach dessert. Mary and Christine leave. Isadora, Alexandros and Sergei are now throwing plates. Isadora is breathing heavily, but Alexandros and Sergei are laughing. Luciano has managed to retrieve his jacket. Luciano: Volgare stronzo! Cretino! Va fa'b calo. Alexandros: Idiota! Malaka! Vlaka! Aide ghamissoot! Sergei: Idiot! Luciano: Idiota! Va mors ammazzato! Luciano runs out. Isadora shouts in triumph. Sergei and Alexandros embrace her. Sergei: Sidora… Sidora… Milaya. Dorogaya moyai. Alexandros: Never, never, never, I have such wonderful night! Belzer, on the side, has poured a glass of champagne, her first of the evening, and drinks it very quickly. Isadora suddenly starts to cry. Isadora: My plates, my beautiful plates. (She tries to rescue pieces of dishware on the floor) Sergei picks up one last glass. He holds it up. Sergei: Da zdravstvuet revoliutsia! (He throws the glass. He yawns. He sits down) Isadora looks up at Alexandros. Isadora: Oh, my dear child, it's been a most unusual night. Usually it's Sergei who breaks things. Well, at least he's forgotten about his rope. Alexandros: It is best dinner party I ever go to. Isadora: Yes? Alexandros: Yes. (Pause) Lobsters superb. Isadora: (Laughing) Good. Alexandros takes her hand. Alexandros: I hope you get money for Moscow. I hope you have many schools. I hope you dance many times. I hope I see you many times. (He kisses her hand) Now I am sad. It is over. Evening is over. I must leave. Isadora: Leave? Alexandros: In morning I go to Marseilles. Another concert. Well. Pause. Applause. Flowers. Pause. Very nice. Pause. I am lonely. Pause. I want to have great passion. Great love. Not just piano. Pause. You have great love. Many times. (He looks at Sergei) Even this bad man. Pause. I leave. Isadora: Oh, child, child… Alexandros: I am not child. I want, more than all else, I want to see Isadora… Pause. Isadora: Then come to Russia. Alexandros: Russia? Isadora: Yes. You can play for the children. Alexandros: Yes? Isadora: Chopin for the children. Alexandros: Yes? Isadora: And I will dance for you. And the children will dance for you. In Moscow. Alexandros: Yes. Isadora: In June. Come in June. Alexandros: Yes. (Pause) No. In June I have concerts. In Berlin. Isadora: Ah. Well, July. Alexandros: July, Amsterdam. And Geneva. Isadora: Oh. (Pause) August. Pause. Alexandros: Stockholm. Gottenburg. Pause. Stuttgart. Mannheim. Pause. Hamburg. Isadora: Later then. Later, when you are able to. In Moscow. Or somewhere. Perhaps I'll have a school in Greece. Perhaps I'll dance there some day just for you. Pause. Alexandros: I do not want to go. Pause. Isadora: Go. They embrace. Alexandros: Yassoo, Isadora. Isadora: Yassoo, Alexandros Duncan. Alexandros leaves. Sergei yawns. Isadora turns and looks at him. The pill is working. Belzer: (rising) Will you need me still? Isadora: Oh, Belzer. No, of course not. You've been very kind. Get some sleep. Sergei: Belzer. (He yawns again) Belzer: Da? Sergei: Skazhi Sidore chto bi ona uvolila tebia. Pause. Belzer: Chto? Sergei: Skazhi Sidore chto bi ona uvolila tebia. Belzer: Pochemu? Sergei: Skazhi Sidore chto bi ona uvolila tebia. Belzer: Nyet. Proshu vas. Sergei: Ne hochu tebia vides. Skazhi Sidore tebia uvolits. Isadora: What's wrong. What is he saying. A long silence. Belzer? Belzer: He wants you to dismiss me. Isadora: Oh, Sergei! Sergei: Ne hochu tebia vides. Ti slishkom spokoynaya. Ti shpionka. Ti prinosish nepriyatnosti. Pause. Belzer: He does not like me around. (Pause) I am too quiet. I am a spy. I bring trouble. Isadora: Oh, my dear. (She looks at Sergei) He is too cruel. (To Belzer) You told him his poetry was only beautiful in Russian. Not English. Remember? That was a mistake. Sergei: (shouting at Belzer) Von! Vigoni yeyo! Ya nastaivayu! Ne hochu yeyo zdes! Ya trebuiu chto bi yeyo uvolili nemedlenno. Sergei goes into the bedroom. Pause. Isadora: Tell me, is he any nicer in Russian? Belzer: No. Isadora: I thought not. Oh, my dear, I'm so sorry. Belzer: Perhaps… Isadora: What? Belzer: Tomorrow, he will change his mind. Isadora: No. He thinks you insulted him. I know him. You should not have said anything about his poetry. He's a wild man. When I return him to Russia, I will leave him. He has drained me of everything. He was very cruel to you. I love him. But I will leave him. I must return to Moscow. Oh, Belzer, poor Belzer. (Pause) Did you need the money? Pause. Belzer: Yes. Isadora takes her purse from the desk. Isadora: Here. Take this. (She empties her purse, holds money out to Belzer) It's all I have. Belzer: No. I can not. I work, always, for my money. Isadora looks at Belzer. A long silence. Isadora: I don't know who you are, do I? Pause. Belzer: No. Pause. Isadora: I don't know anything about you. (Pause) Why did you leave Russia? How? Where is your family? Why do you speak English? Were you married? Why are you in Paris? Where are your children? (Pause) I don't know anything about you. Belzer: It is not of interest. You are artist. I am not. You kiss all the time. You shout. You laugh. You throw things. You have dramas. Isadora: What do you have? Pause. Belzer: Just life. Pause. I am not an artist. Pause. But I hear music. Inside my head. Pause. I am not of interest. Isadora holds out her hand. Isadora: Belzer. Belzer does not take Isadora's hand. Belzer: Hannah. Isadora: What? Belzer: My name is Hannah. My first name. Isadora: Oh. Belzer: Belzer is my surname. Isadora: Oh. Belzer: Hannah Belzer. Isadora: Please, take this… (She holds out the money) Belzer: No. Isadora: Take it. And wait… (She takes an envelope from the desk) This too. It's my fare to Vienna. I won't need it now. Take it. Belzer: I can not. A long pause. Belzer looks away, then turns and quickly takes the money. Miss Duncan, you… (She puts the money in her pocket. She takes her hat) You know, I saw you dance. Isadora: Yes. You said. Where was it? Belzer: St Petersburg. Isadora: Oh yes. Belzer: I was young. (Pause) Goodbye. Belzer looks at Isadora for a second, then leaves. Sergei enters from the bedroom. He is wearing a dressing-gown. He is very tired. He sits on the sofa. Sergei: Ya ochen ustal. Ochen ustal. Isadora: Tired? Sergei: Ochen ustal. Isadora: Ustal? Yes. Me too. Very ustal. (She brushes his forehead. She walks to the windows. She closes the curtains. She puts out most of the lights. She sits on the sofa) Sergei lies next to her, his head in her lap. He kisses her. Sergei: Ya ochen ustal. Prosti menya Sidora. Ya plohoi malchik. Prosti. (He weeps) Forgive, forgive. Isadora: Don't… don't… Sergei turns and drapes his leg over her body. He falls asleep. It's all right, Sergei. Sergei? Don't fall asleep. Sergei! Don't fall asleep. Not yet. Move your leg. Sergei, I can't get up. Sergei! I don't want to spend another night on this couch. I want to sleep in my bed. Sergei! Pause. Damn, damn… Pause. Merde. Pause. I have to take you home. I have to take you home. I have to find the money to take you home. (She kisses him) Just look at your curls. Golden curls. Oh, my angel. I have to take you home. (She hums a tune then stops) I would like to kill myself, Seryezha. Pause. I wish you'd move your leg. She tries to push Sergei's leg away, it is hopeless. I had a rehearsal, Sergei. I have a new dance. Oh God! Pause. Please, can't you move your leg? Pause. Tomorrow I'll call that princess we met last night. She seemed a vice-princess. Perhaps she can give us some dough. I've got to keep after people. I've got to be nice to people. I've got to keep asking. I must have a concert. I must get you home. Pause. (She runs her hand through his hair) Why do you have these curls? Pause. Move your leg! Sergei mores. Isadora sighs. She closes her eyes and then opens them. I have to return to my school. To my children. My beautiful children. Pause. My babies. (She falls asleep) The lights freeze on Isadora and Sergei. A light shines on Alexandros. Alexandros: I never see Isadora again. I am one place. She another place. Four years later, she is dead. Famous death. Later that year my mother also dying. I go to her. I ask her, why, Mama, why, why you name me for Isadora? You must tell me, Mama. I must know. What do you see when she dance? What is it that happen when she dance? Tell me, Mama. My mother smile. She is remembering. And she look at me. And she take my hand. And she press my hand. And she kiss my hand. And she say, "O yornou" - "Oh my son". "Then mboro na to exiyi so." - "I can not explain". Curtain <<