FAIRFAX.
What is this? These dear little singing girls to be sold off?
WUN-HI.
Allo faultee you. Takee Mimosa away from greatee Marquis - spoil wedding – ruin poor Wun-Hi. English sailor belong number one big beastee!
BLOSSOM.
That’s right, it is the law.
FAIRFAX.
The law! And this is civilised Japan! Well, boys, we’re not going to stand it, are we?
OFFICERS.
No, certainly not!
FAIRFAX.
We will prevent the sale, anyhow.
MARIE.
Who is going to sell the little girls?
(To WUN-HI)
WUN-HI.
He most Noble Marquis Imari – he Governor of allee Province.
LADY C.
The Marquis Imari! Why, I know him. At least – when I say I know him, my dear, I have not met him yet, but I have a card inviting us all to a Chrysanthemum Fete in honour of his wedding tomorrow.
MABEL.
I shan’t go to his party, the brute.
LADY C.
Oh yes you will. We’ll all call on him and tell him we have come to accept his invitation. Then when I meet him I will talk him over and save these little geisha girls.
CUNNINGHAM.
I’d like to argue it out with a big stick!
MARIE.
Let us all go and tell him what we think of him!
CONCERTED PIECE – MARIE, FARIFAX,
CUNNINGHAM, OFFICERS and GEISHA
FAIRFAX.
This infamous lord shall have his reward
My anger each moment increases.
Let’s quietly slip away to our ship
And blow the old beggar to pieces.
CUNNINGHAM.
Of course to bombard a fellow’s back-yard
Is jolly good fun, but you’ll rue it!
You’d better instead try punching his head;
GIRLS.
We’d like to be there while you do it!
ALL.
We’re going to call on the Marquis
To pay off a nice little score
And won’t he be chatty when rat-a-tat-tatty
We knock at his dignified door?
We’ve something to say to the Marquis
It’s something too funny to miss,
For after pooh-poohing all how-do-you doing
We’re going to say it like this!
(Bus. with fists.)
OFFICERS.
You’ll pardon us, pray, for asking the way,
Our ignorance kindly forgiving,
But Oh! we are so impatient to know
Where Mr. Imari is living.
GEISHA.
We’ll show you the road to reach his abode,
Delighted your favour at earning.
Simplicity quite, keep well to the right,
And carefully look for a turning.
ALL.
We’re going to call on the Marquis, etc.
Exeunt, JULIETTE taking LADY C. off in a different direction from the rest of the chorus, leaving FAIRFAX and WUN-HI.
FAIRFAX.
Tell me how this sale is to be put a stop to.
WUN-HI.
No power stop Number One Marquis.
FAIRFAX.
But have you no laws here – no courts, or anything in this country?
WUN-HI.
Marquis Imari, he the law, he the courts, he everything! Wun-Hi ruined mannee!
(Crash off.)
Whattee whattee? Oh, velly funny! Little English lady pullee coolie in rickshaw!
(Crash off.)
Now she droppee him out, nearly breakee neck!
A noise outside of a cart upsetting. Enter MOLLY SEAMORE, in smart yatching costume, drawing an empty rickshaw. She is stopped by FAIRFAX.
MOLLY.
(Comes down and sees consternation – looks round at empty rickshaw)
I have had a run! I’ve lost him!
FAIRFAX.
Lost him? Lost whom?
MOLLY.
Why, my fare, to be sure! I engaged this cart and a man, but I didn’t like him in front of me.
FAIRFAX.
Why not?
MOLLY.
He had so few clothes on, so I tucked him inside and took him for a drive round.
FAIRFAX.
(Laughs)
He must have come untucked.
(WUN-HI takes rickshaw off)
Tell me, why didn’t you come on with Lady Constance and the others?
MOLLY.
I wanted to find you.
FAIRFAX.
How sweet of you! You wanted to be alone with me?
MOLLY.
No, it wasn’t that altogether – I wanted to see what you were up to with the Japanese girls.
FAIRFAX.
Molly, surely you don’t doubt me? You don’t forget my promise to marry you?
MOLLY.
I don’t forget – but I don’t know what papa’ll say – you see, he has only one daughter.
FAIRFAX.
That will be all right. I only want one. But I say, look!
(Points off, bus. kisses her.)
MOLLY.
No, no flirting – not this morning! I believe you learnt that in there – take me inside!
FAIRFAX.
You surely don’t want me to go in there amongst a lot of Japanese tea-girls?
MOLLY.
Yes, I do -
(Catches sight of flower in his coat)
I want to see which of them gave you that!
(Snatches flower)
FAIRFAX.
(Hesitates)
I bought it for you – and I bought a pin, too!
MOLLY.
(Turns away and laughs)
Did you? Now take me into the doll’s house.
FAIRFAX.
It’s not a doll’s house, it’s a Tea House.
MOLLY.
A Tea House with live dolls in it! And I believe you’ve been nursing some of them!
FAIRFAX.
Oh no, I haven’t! I’m too old for dolls!
MOLLY.
You usen’t to be. Do you remember when you used to nurse mine, and then try to nurse me?
DUET – MOLLY and FAIRFAX
MOLLY.
When I was but a tiny tot
My dollies were a lovely lot,
For one, a lady born and bred,
Could shut her eyes and move her head.
“Papa!” “Mama!” another talk’d,
And when you wound her up – she walk’d,
But more than any other toy
I loved a little drummer boy.
FAIRFAX.
Of course I know the sort you mean,
That drummer boy I’ve often seen.
MOLLY.
For he beats a feeble rum-ti-tum-tum
FAIRFAX.
When he hits his little drum-ti-tum-tum,
MOLLY.
And his arms seem rather numb-ti-tum-tum,
FAIRFAX.
As they rise and downward come-ti-tum-tum.
BOTH.
Oh, the dear old toys, and the simple ways
Of those childish versery
Might be worsery,
Sweetly cursory
Nursery days!
FAIRFAX.
I know I had a famous top,
A painted gun that used to pop,
A spotted horse that boasted legs
Exactly like four wooden pegs;
But though I own’d a box of bricks,
And crimson monkeys climbing sticks,
My infant joys were centred in
A nodding Chinese Mandarin.
MOLLY.
Of course I know the sort you mean,
That Madarin I’ve often seen.
FAIRFAX.
For his bells will tinkle ring-a-ding-ding
MOLLY.
When his head he’ll gravely swing-a-ding-ding,
FAIRFAX.
And his hands together bring-a-ding-ding
MOLLY.
When you pull a piece of string-a-ding-ding.
BOTH.
Oh, the dear old toys, and the simple ways
Of those childish versery
Might be worsery,
Sweetly cursory
Nursery days!
MOLLY.
What jolly games I used to play
With little boys across the way!
We rac’d and romp’d as children do
I gave them backs at leap-frog, too!
We bowl’d our hoops and flew our kites,
At hopscotch had some splendid fights;
But life was only quite complete
With Punch and Judy in the street.
FAIRFAX.
How well its varied charms I know!
I’ve seen that Punch and Judy show!
MOLLY.
Mister Punch comes up with a root-ti-toot-toot
FAIRFAX.
To the baby he’s a brute-ti-toot-toot:
MOLLY.
And his Toby makes him scoot-ti-toot-toot
FAIRFAX.
And the beadle bids him scoot-ti-toot-toot.
BOTH.
Oh, the dear old toys, and the simple ways
Of those childish versery
Might be worsery,
Sweetly cursory
Nursery days!
Exeunt. Enter LADY CONSTANCE and JULIETTE.
LADY C.
But how am I to know the truth of this report of yours? Who are you?
JULIETTE.
I am a French girl engaged at the Tea House.
LADY C.
And you say you have seen Mr. Fairfax here every afternoon?
JULIETTE.
Yes, milady, every afternoon, and always for O Mimosa San, the most expensive Geisha in the Tea-House.
LADY C.
I wish I were a Lord of the Admiralty! I’d soon order his ship to another station.
JULIETTE.
But it will soon be over. All the geisha are to be sold off to-day.
LADY C.
Then he might buy this girl – this O Mimosa San – for himself?
JULIETTE.
You must not let him do that.
LADY C.
I? How can I prevent it?
JULIETTE.
Buy her yourself.
LADY C.
What on earth should I do with her?
JULIETTE.
I don’t know. I suppose there is some use for girls in every country. Anyhow you could keep her away from your officer.
(Aside)
And from my friend the Marquis!
LADY C.
Of course I’ll do it.
JULIETTE.
Don’t let any one else know.
LADY C.
Not a word, and thank you for the information!
JULIETTE.
(On exit)
That will leave the Marquis for me, and if I cannot console him – well, I’m no good!
(Exit.)
LADY C.
Well, I didn’t come to Japan to buy singing girls, but if Molly can’t keep her young man away from this girl…
(MOLLY enters over bridge, carrying bowl with chopsticks) …
I must take this girl away from Molly’s young man. Oh, there you are!
MOLLY.
I say, Lady Constance, I have been having such fun!
LADY C.
What with?
MOLLY.
I have been talking to a Chinaman, and he has promised to teach me how to eat with chopsticks.
(Bus. trying to eat with them.)
LADY C.
(Seriously)
I wish you would be more serious.
MOLLY.
I have nothing to be serious about.
LADY C.
Oh yes, you have – Reggie Fairfax. If you are fond of him, you ought to keep him from going on anyhow with a geisha.
MOLLY.
(More seriously)
Oh, Constance, what do you mean? Reggie adores me.
LADY C.
Does he, my dear?
MOLLY.
Yes, I ought to know. He told me so himself.
LADY C.
And he tells a singing girl the same story.
MOLLY.
Does he? Hold the plate.
LADY C.
Now take my advice, pull him up short before you are married, or he won’t let you afterwards.
(Takes bowl. Exit.)
MOLLY.
Reggie in love with another girl? After all he has said to me! I hope it is not really true that a sailor has a wife in every port. Oh dear!
(Sits down under tree and cries.)
Enter MIMOSA.
MIMOSA.
(To MOLLY.)
Pretty English lady is in trouble – can I help?
MOLLY.
Go away, you horrid Japanese girl!
MIMOSA.
Tell me what is wrong. Mimosa loves the English.
MOLLY.
I daresay you do. Why don’t you love your own countrymen instead.
MIMOSA.
Because the English like us so much.
MOLLY.
Yes, that’s what I find fault with. Oh, why did I leave Reggie and come to this country where all the pretty girls live?
MIMOSA.
Reggie? Who is Reggie? Is he your gentleman husband?
MOLLY.
No, I haven’t a husband. And now I shall never have one!
MIMOSA.
What has Reggie done, pretty English lady?
MOLLY.
He has fallen in love with a Japanese girl - in there. I believe he likes Japanese girls best! Why wasn’t I a Japanese girl?
MIMOSA.
Why not let me make you a Japanese girl.
MOLLY.
Me a little Japanese girl like you? What fun! Oh, but I couldn’t be half as sweet as you!
MIMOSA.
Oh yes, you could. Can you sing?
MOLLY.
Yes!
MIMOSA.
And dance?
MOLLY.
Yes!
MIMOSA.
Very well, I’ll lend you a kimono.
(Runs to Tea House.)
Here, Wun-Hi!
(Enter WUN-HI from Tea House.)
Take the pretty English lady to the Tea-House and give her one of Mimosa’s kimonos.
WUN-HI.
Little English girl going to put on Japanese clothes?
MIMOSA.
Yes.
WUN-HI.
Oh, Klismas!
MOLLY.
(On exit)
A geisha! I think a Japanese geisha must have the most delightful life in the world. I’ll give master Reggie geisha! Come along, Klismas!
(Smacks WUN-HI on back. Exit into Tea House with WUN-HI.)
MIMOSA.
(Alone)
Thinks a geisha’s life must be the most delightful in the world. Poor little English fool! How can she know the troubles and disappointments of a singing girl?
SONG – MIMOSA
A geisha’s life imagination tints
With all the charming colour of the rose,
And people won’t believe her when she hints
Its beauties are not quite what they suppose.
Because I’m rather quaint and picturesque,
They think that for a butterfly like me
Existence is delightfully grotesque,
How very much mistaken folks may be!
“Oh, dance, my little geisha gay,
And sing your pretty songs!” they say,
But don’t you see
It’s hard on me,
Who sing and dance the livelong day?
“Oh, dance and sing your pretty songs!” they say,
But don’t you see
It’s hard on me,
Who sing the livelong day?
And ever as my samisen I play
Come lovers at my pretty feet to fall,
Who fancy – till I bid them run away -
A geisha’s heart has room enough for all!
Yet love may work his will, if so he please;
His magic can a woman’s heart unlock
As well beneath kimono Japanese
As under any smart Parisian frock.
“We love you, little geisha gay,
Oh won’t you love us, too?” they say;
But don’t you see
It’s lost on me,
Who hear the same thing day by day?
“Oh, dance and sing your pretty songs!” they say,
But don’t you see
It’s hard on me,
Who sing the livelong day?
Exit into Tea House. Enter GIRLS, also CUNNINGHAM and GRIMSTON, meeting FAIRFAX. CHORUS enter in small groups during following dialogue, so that everybody is on just as “Jack’s the Boy” commences.
FAIRFAX.
What did the Marquis say?
CUNNINGHAM.
Nothing. He wasn’t at home when we called.
MARIE.
The foreign nobility are very seldom at home – they’re generally at Newmarket or Monte Carlo.
FAIRFAX.
So the sale is still to take place?
GRIMSTON.
I hope so. Rather like a Monday at Tattersall’s, eh, boys?
CUNNINGHAM.
Well, I think it’s rather a pity to break up such a well-selected stock.
MABEL.
Well, I don’t see that we have any right to interfere with the amusement of this barbarian.
CUNNINGHAM.
Oh yes we have, or what’s the use of our Navy?
GRIMSTON.
Keeps a lot of young fellows out of mischief on shore.
FAIRFAX.
Yes, and gives them good work to do at sea. Now, Arthur, don’t run down your profession – Jack’s a useful lad when he’s wanted.
CUNNINGHAM.
I should think he was, indeed!
SONG – CUNNINGHAM and OFFICERS
CUNNINGHAM.
Of all the lads that be
There is only one for me,
And his home is on the waters deep and blue;
But a friend he’ll never lack,
For the world’s in love with Jack -
He’s the smartest and the best of fellows, too!
So his hand we like to grip
As he goes aboard his ship,
While the girls are fit to break their pretty hearts –
For he loves them by the score,
When he gaily comes ashore,
And they’re sad when their Jack departs!
Jack’s the boy for work,
Jack’s the boy for play,
Jack’s the lad, when girls are sad,
To kiss the tears away!
Hard as nails afloat,
Best of friends ashore,
Jack ahoy! You’re just the boy
That all our hearts adore!
ALL.
Jack’s the boy for work, etc.
CUNNINGHAM.
When Jack has got his pay
He’s the gayest of the gay,
For the money in his pocket burns a hole,
And he’s never happy quite
Till he’s spent it left and right,
Like a jovial and careless hearted soul!
Though he’s very far from shy
When a pretty girl is by,
Yes a lad may surely kiss and never tell.
And when duty calls him back
Taut and trim goes jolly Jack,
To the ship that he loves so well!
Jack’s the boy for work, etc.
ALL.
Jack’s the boy for work, etc.
Exit FAIRFAX into Tea House. CHORUS exit in groups. Enter LADY CONSTANCE
LADY C.
Where’s Molly?
CUNNINGHAM.
I don’t know. Who saw her last?
LADY C.
I left her here.
MARIE.
Where can she be? This may be serious.
GRIMSTON.
I daresay she has gone back to the yacht.
LADY C.
Most likely. I am not uneasy. Molly Seamore is quite able to take care of herself. I look on her as a young lady with all the modern improvements.
(Enter IMARI, TAKEMINI and 2 POLICEMEN. Eyeing IMARI) Take care, Marie, you’ll be run over.
(Laughs)
He looks like a Japanese steam roller!
IMARI.
(Eyeing LADY CONSTANCE)
Wonderfully fine women, these Europeans. What a pity their marriage laws are so restricted!
(To TAKEMIMI)
Make arrangements for the sale at once, and see that all foreigners leave the place at sunset.
(TAKEMINI bows and instructs POLICE, who cross to Tea House. To LADY C.)
It’s against the law for foreigners to remain outside the city boundaries after sunset, you know. And now,. I’m just going through the formality of shutting up this Tea House, confiscating all the portable property and selling the apprentices. No more delay.
Enter CHORUS gradually, including JULIETTE. POLICEMAN rings gong. Enter GEISHA and WUN-HI, who prostrates himself before IMARI.
WUN-HI.
Most Noble, do stoppee sale! Do stoppee sale!
IMARI.
(To POLICEMEN)
Throw him away!
WUN-HI is carried off.
A dais is brought on for TAKEMINI.
IMARI.
Commence the sale!
RECITATIVE
TAKEMINI.
Attention, pray! And silence, if you please!
The Tea House Regulation Act decrees
By Section Seventeen, Sub-section Three,
That if a holder of a licence be
Found guilty after trail – or before –
Of disobedience to superior
Authority; by this enactment old
His Tea House and its contents must be sold;
And all indentures of his geisha too,
By public auction unreserved must go!
Such is the law!
ENGLISH PARTY turn backs.
IMARI.
It is! I made it so!
TAKEMINI.
My duty I must now proceed to do.
Lot Number One! Bring forth Mimosa San.
The Champion Geisha, pride of all Japan!
CHORUS.
Come forth, Mimosa, pride of all Japan,
Queen of the Tea House, O Mimosa San!
MIMOSA is brought in as CHORUS sing. She stands on stool, hands across chest.
TAKEMINI.
Lot Number One is the gem of this collection – Mimosa San – the pride of the Tea House and the Champion of all Japan! There are two years of her apprenticeship unexpired. How much for the remainder of the time?
IMARI.
One thousand dollars!
(Aside)
She won’t sing any more for the English Officers.
1ST BUYER.
We can’t bid against him.
2ND BUYER.
It’s useless our staying here.
JULIETTE.
(To LADY CONSTANCE)
Now is your chance, if you want to get this girl away from the English Officer!
LADY C.
I will buy her away from him, if I have to raise money on the yacht!
JULIETTE goes to side of IMARI.
IMARI.
Go on, I said one thousand dollars!
MIMOSA.
(Rushing to FAIRFAX)
Save me from him! He wants to force me to marry him. Oh, English Lieutenant, do help me!
(She throws herself on her knees.)
FAIRFAX.
A thousand dollars! I have not the money!
MIMOSA.
(To LADY CONSTANCE)
Oh, handsome lady, do buy me! I will sing for you, or work for you, or do anything you ask me, only save Mimosa from the Marquis!
TAKEMINI.
For the last time, one thousand dollars.
LADY C.
Two thousand!
IMARI.
Two thousand five hundred!
LADY C.
Five thousand!
IMARI.
Six thousand!
LADY C.
(Cross to IMARI – lorgnette bus.)
Ten thousand!
ALL applaud. FAIRFAX turns to LADY CONSTANCE, who turns and meets him. “Bravos!” from ENGLISH PARTY.
JULIETTE.
(To IMARI)
Why should you go to all this expense?
IMARI.
Well, it does seem a lot of money, but you see I sent out invitations for my wedding an I cannot get married without a bride.
JULIETTE.
(Insinuatingly)
But there are other girls who would be proud to be your bride and save your money.
IMARI.
(To TAKEMINI)
This French girl has very proper notions. I’ll bid no more. I am not going to ruin myself for a singing girl. I am not an English marquis.
TAKEMINI.
For the last time, going for ten thousand dollars! For the last time…
(FAIRFAX hands him a card. He reads.)
“Lady Constance Wynne.” Thank you.
FAIRFAX takes indentures from TAKEMINI.
MIMOSA.
(To LADY CONSTANCE)
You shall never be sorry you were kind to the poor Japanese girl; I will be your slave, and I will bring plenty of customers to your Tea House.
CUNNINGHAM.
(Aside to GRIMSTON)
We’ll take two tickets for that, won’t we, George?
FAIRFAX.
How can I thank you, Lady Constance?
LADY C.
I do not see that you have to thank me for much. Certainly, you will not see her again!
(To MIMOSA)
Come along, Mimosa, my dear.
Exeunt LADY CONSTANCE, MIMOSA and KATANA into Tea House.
TAKEMINI.
Lot Number Two is Roli-Poli. She is believed to be as great a singer and dancer, but without much experience.
IMARI.
(Looking at catalogue)
I thought I knew all the geisha here. Who’s Roli-Poli?
JULIETTE.
(Aside)
She is a new geisha, not good enough for you, Extraordinary Marquis.
IMARI.
Second class goods, eh?
TAKEMINI.
Lot Number Two - Roli-Poli! Where is she?
Enter MOLLY, demurely, from Tea House.
MOLLY.
How do you do?
(To IMARI. Going to FAIRFAX – bus.)
English boy buy Roli-Poli?
(Bus. with large fan, lantern, etc.)
FAIRFAX.
No, thanks! I got tired of roly-poly when I was at school.
MIMOSA.
English boy never get tired of this Roli-Poli – Roli-Poli can kissi-kissi!
ENGLISH OFFICERS now all in straight line try to get at her and pull each other back.
FAIRFAX.
They’re all learning it!
(to OFFICERS)
Here – backwater!
BUYERS have been consulting.
1ST BUYER.
We can’t make you a fair bid, Takemini, for a geisha we know nothing about.
2nd BUYER.
Of course not.
1st BUYER.
What can she do?
2nd BUYER.
Yes, what can she do?
IMARI.
Quite right – these people are right. What can she do?
MOLLY.
Kissi-kissi!
GRIMSTON rushes forward and is pulled back by CUNNINGHAM.
IMARI.
Roli-Poli’s a bit squeaky-squeaky – no danci-singi!
MOLLY.
No danci-singi! Hold fast! Sit tight! Roli-Poli’s going to sing!
SONG – MOLLY and CHORUS
I’m the smartest little geisha in Japan,
And the people call me Roli-Poli San,
Lost in admiration utter
At the variegated flutter
Of my cleverly manipulated fan!
I can dance to any measure that is gay,
To and fro in dreamy fashion I can sway,
And if still my art entices,
Then at extra special prices
I can dance for you in quite another way!
Chon Kina – Chon Kina
Chonm Chone – Kina, Kina
Nagasaki – Yokohama
Hakodate – Hoi!
CHORUS.
Chon Kine – etc.
MOLLY.
Please to note how correct and highly bred
Is the hair erected on my head,
All severely coiled and braided
While my cheeks are pinkly shaded
And my lips are tinted elegantly red!
I’m a votary of fashion as it flies,
And my latest new kimono will surprise;
But the charms of Roli-Poli
Will not captivate you wholly
Till you gaze into her liquid almond eyes.
Chon Kina – etc.
CHORUS.
Chon Kine – etc.
MOLLY.
I’m considered quite an Oriental belle,
And they tell me I perform extremely well
On the samisen or koto,
While my very latest photo
Is an article that’s always sure to sell!
When they daily over dainty cups of tea
The attractions of the “Chaya” come to see,
Rich and haughty, poor and lowly,
Call for pretty Roli-Poli,
Every customer is sure to order me!
Chon Kina – etc.
CHORUS.
Chon Kine – etc.
Dance, playing particular attention to IMARI.
FAIRFAX.
(Applauds after the others)
Excellent! Bravo!
MOLLY.
English boy buy Roli-Poli now?
TAKEMINI.
How much for Lot Two?
MOLLY on box.
IMARI.
(To JULIETTE)
Now, I’ve taken a great fancy to that girl. I like the way she does –
(Bus.)
Chon-Kina!
(Imitates dance)
JULIETTE.
It’s a very common trick – she’s not worth your nobility’s attention.
IMARI.
She’s very nice indeed. I will buy her cheap, I can always sell her again.
JULIETTE.
No, you can’t. Can’t you see she is an English girl?
IMARI.
An English girl? Is she? Then I will buy her. I will teach these English people to come here and buy our Japanese girls!
TAKEMINI.
Any bid for Lot Two?
IMARI.
I should think there was. A hundred dollars.
(Several people commence to shout “Two! Three! Four!” and “Five hundred!”)
Silence! I shall consider it an act of disobedience for anyone to bid against me.
BUYERS.
Oh! Oh!
(They turn away.)
TAKEMINI.
One hundred dollars – for the last time – going, going – gone! The Marquis Imari.
MOLLY.
Only a hundred dollars! Well, I’m a bargain!
JULIETTE.
This may upset all my arrangements.
IMARI.
(Confidentially to JULIETTE)
I think I have got the best of the sale after all. Mimosa is only a singing girl, and this geisha will make a splendid addition to the Japanese Court.
Lights dimming.
TAKEMINI.
Lot Number Three is Blush Rose.
IMARI.
It is sunset. All foreigners must now leave.
Lights down to show sunset.
TAKEMINI.
All foreigners must now leave.
FINALE ACT I
CUNNINGHAM.
Though of staying too long you’re accusing us,
Yet Japan has such wonders to show,
And you’ve all been so good in amusing us,
That no wonder we’re sorry to go.
While the freest of fun is permissible,
And such excellent tea we obtain,
And the girls are so quaint and so kissable,
We shall certainly come here again!
OFFICERS.
For to pass the most pleasant of days
You should always contrive when you can
To attentively study the ways
Of the dear little girls of Japan!
CHORUS.
For to pass the most pleasant of days, etc.
Night approaches clear and starry
Silver shadows softly fall,
Bringing rest to great Imari
Welcome rest to one and all.
Enter KATANA and MIMOSA.
KATANA.
Pearl of the radiant Eastern sea,
Light of a soldier’s life,
Time in its course will set thee free
Free to become my wife!
All that my heart desires to say
Would that my lips could tell,
Fairest of fortunes bless thy way,
Light of my life, farewell!
KATANA & CHORUS.
Rose of my fancy’s garden fair
Fortune foretells joy that excels.
Almond-eyed maid of beauty rare,
Fondest of fond farewells!
MIMOSA.
Sorry and sad I go from thee,
Lord of my loving heart,
Ever and ever think of me,
Though for a time we part.
Saved by a friend from hapless fate,
Whither she goes, go I;
So till I come, my soldier, wait!
So till I come – good bye!
MIMOSA & CHORUS.
Son of the Sword, whose gleaming blade
Guarding its prize danger defies,
Truest of knights to trusting maid,
Sweetest of sweet good-byes!
KATANA exits slowly.
MOLLY.
Oh, what will they do with Molly,
With poor little madcap me?
I’ve got in a mess in a Japanese dress,
And what will the consequence be?
No doubt with a girl like Molly
They’d try to take liberties free,
But if they’ve the folly to take them with Molly,
They’ll have to be sharper than she!
CHORUS.
Now who is this Roli-Poli,
And what is her little game?
We’re bound to admit that we’re puzzled a bit,
For nobody knows her by name.
It’s hard upon Roli-Poli
To hint that she’s open to doubt,
And yet we’re suspicious and rather ambitious
Of finding a thing or two out!
CUNNINGHAM.
(Aside)
Do you know Reggie, tho’ he’s bought that one
By buying sweet Mimosa; we’ve spoilt his fun.
FAIRFAX.
Most Noble, we’re heartbroken, I may say,
To take Mimosa from you.
IMARI.
Laugh away!
But don’t make sure you’ve got the best of me!
FAIRFAX.
Take care, my lord, in English hands is she!
So don’t you dare
To touch a hair
Of the head of that dainty geisha fair!
If truth be told
To a Marquis old,
It’s you – not the girl – who’s just been sold!
CHORUS.
It’s only the way
Of sailors gay,
Yes it seems uncommonly rude to say
That if truth be told
To a Marquis old,
It’s you – not the girl – who’s just been sold!
IMARI.
This conversation we will not prolong;
(Significantly)
It may turn out that after all you’re wrong!
CHORUS.
Please to go! Please to go!
Fast the sun is setting!
Due respect to custom show;
Orders you’re forgetting.
Bus. ENGLISH PARTY move up stage to bridge.
Please to go! Please to go!
Seek the city’s shelter;
Time is pressing, swift progressing.
Hurry, helter-skelter
Please to go! Please to go! etc.
FAIRFAX left on bridge. IMARI pulls MOLLY down on her knees.
CURTAIN
