Heralds from the Emperor, maids-in-waiting to the Princess, screen bearers, Kago men, coolies, retainers, runners, servants, geisha, musume, priests, lantern bearers, banner bearers, incense bearers, gong bearers, jugglers, acrobats, torturers, carp flyers, imperial soldiers and Zakkuri's musket-men.
The Japanese musical instruments on the stage are the biwa, samisen, koto, tsudzumi and fuye.
FIRST SCENE: "The God in the Mountain."
SECOND SCENE: A look into the garden within the Yashiki of the Prince of Tosan. From sunset to dark.
"A Butterfly Catches a Butterfly."
THIRD SCENE: The great state hall during the night of "The Feast of a Thousand Welcomes."
"The Face in the Lantern's Light."
FIRST SCENE: Kanzashi Forks at the Hour of the Ox. (Two o'clock.)
Within the Shadows of the Gates.
SECOND SCENE: The shoji of Yo-San among the moonflowers.
"Nothing ever changed since the days of the Gods,
Water flows the same, love goes the same."
(Forty days later.) Behind the shoji of Yo-San's sanctuary.
"The Fate Hour."
(Later the same day.) The old sword-room — the cabinet of the Minister of War.
"Nothing for Nothing is Given Here."
FIRST SCENE: The meeting place at the ruined shrine of the Goddess Kwannon.
"Dusk Hour of the Third Day."
SECOND SCENE: The Red Bamboo forest.
"The Tryst of Death."
THIRD SCENE: A thousand years have passed. The Mountain of Sheide (between the heavens and the hells).
"The Brink of the River of Souls."
FOURTH SCENE: The First Celestial Heaven.
The action of the play takes place in Japan during the period of the "sword edict", when the Emperor took away the swords of the Samurai — the two-sword men.
The play deals with a band of ten patriots who refused to obey the edict and became outlawed.
The entire production under the personal supervision of Mr. Belasco.
Music under the direction of William Furst.
Scenery by Ernest Gros.
Stage decorations and accessories after designs by Wilfred Buckland.
Electricians, Louis Hartmann and Kliegl Brothers.
A glimpse of the gardens within the yashiki of the Prince of Tosan .
" A Butterfly catches a Butterfly ."
It is late afternoon, toward sunset. The shadows are long and dark; ht between them the sun is still bright. A beautiful garden with many flowers is seen stretching toward the back: trees, poppies, azaleas and plum-blossoms are faintly outlined. A curved bridge is thrown over a stream .
As the curtain rises, music is heard; it continues throughout this tableau, varying with the moods of Yo-San .
Setsu, Yo-San's maid, is kneeling, binding a bunch of blossoms to put into her basket .
Yo-San enters with an armful of flowers, looking about for more. She gives them to Setsu .
The last rays of the setting sun fall on a clump of azaleas from which a butterfly rises. Yo San watches it as it flies away and settles again. Then motioning to her maid to keep silent, she tip-toes into the red sunshine. As the butterfly rises again, she catches it and holds it in her closed hand .
As Setsu runs toward her, Yo-San opens her hand to set the butterfly free and finds that she has killed it. She is very sorry and, with the maid's help, tries in vain to make it fly — then blows it gently of her hand. It falls to the ground. As she looks at it, an ominous peal of thunder is faintly heard .
With a cry, she grasps Setsu in fright. As she stands in terror, the rumble is followed by another. Night comes on. In the distance the voice of Kaëde calls in a monotonous chant:
Banquet room of the palace during "The Feast of a Thousand Welcomes ."
Music is heard from the interior of the palace. The scene is dark at first, then lanterns flicker here and there and dim shadowy forms of servants and lantern-bearers are seen .
Soft blue moonlight shows the courtyard gardens, stone steps, and part of the palace .
The scene is gradually illuminated during the preparations for "The Feast of a Thousand Welcomes ."
A table, in the form of a maple-leaf, is placed at the left. Kneeling-cushions and rice bowls are set about .
When the servants bearing lanterns have gone off, Kaëde, a prim woman, appears on the balcony .
( They dart behind a large gong .)
( Shusshoö, the Majordomo, enters, followed by four servants bringing on the seat of honor to the center .)
( Followed by Niji-Onna, she goes off .)
( A pole-bearer and boy enter, taking their places on a platform .) The boy, climbing the pole, looks off to see who comes .)
( The Prince of Tosan, a man of noble type, his white hair worn in a queue, enters, preceded by Shusshoö who faces him, kowtowing obsequiously .)
( She goes into the palace, followed by Inu and women .)
( Tonda-Tanji strolls off .)
( A carp flyer enters, bearing a paper fish on a string. He runs twice round the stage followed by a tumbler. During the entrance of the guests, the carp flyer goes up, gives his carp to a retainer — and joins the tumbler in acrobatic feats. When the guests are all present, the tumblers leave the scene. Four servants enter, carrying four lanterns .)
( The guests are Sir Yuke-Yume, Lord Chi-Chi, Admiral Tano, Hassebe Soyemon, and gentlemen of rank, twelve guests in all .
( Musume enter .)
( A trumpet sounds, Shusshoö goes off hastily .)
( Drums are heard at right .)
( Both kowtow politely .)
( Kugo, panting, comes on from the left to Zakkuri .)
Kanzashi Forks at the hour of the ox ( two o'clock ). Within the shadows of the gates. A pass, showing a triangular point of rock which has been hewn out of the side of the hill to form cross roads .
On a rise of ground is a weather-beaten stone votive lantern, twelve feet high. A watcher stands inside, looking through the opening .
There is a heavy wood at back, in which a few flowers show, phantom-like, in the moonlight. As the scene comes into view, a far-off temple bell proclaims the hour of the ox .
As the curtain goes up, Kugo is kneeling, motionless, his spies stationed in various places. All appear to have been waiting for a long time. Tonda-Tanji is wearily sitting on a stone step .
( Footsteps now heard off right, coming nearer and nearer, — then the heavy breathing of an exhausted man .)
( Migaku dashes on, raising his arms as though to shield his head. His arms an encased in armor, on which the blows of the spies are heard to ring .)
The house of Yo-San among the moon-flowers. The only lights are those burning faintly behind her shoji. A heavy bar, laid across a balustrade, makes the steps to her balcony inaccessible .
Wistaria and moon-flowers creep up to her shoji. A silvery moon shines on a lotus pond, crossed by a curved bridge .
Inu is seen curled up like a watch-dog on the foot of the steps. The shadow of Yo-San is outlined on the shoji which she cautiously opens, calling softly .
( He carries a lantern and a stick with a chain which he rattles. He crosses the bridge, his cry dying away in the distance .)
( Yo-San has shrunk back into the doorway as he passed .)
( Yo-San sees Migaku. She knows that he has seen Kara .)
( As Migaku steals off the balcony, and runs up to the bridge, he is caught by Inu .)
( She retreats behind the shoji which she closes. Inu has taken his place on his mat as before .)
( Kugo, carrying a lantern, precedes Zakkuri, who has crossed the bridge, followed by Tonda-Tanji and the spies .)
( As Kugo throws down the bar, Inu darts to the bell which hangs in one corner of the balcony and rings it several times. Voices are heard .)
( Lantern bearers, attendants, torch bearers, and maids come running on .)
Forty days later, behind the shoji of Yo-San's sanctuary .
"The Fate Hour."
SCENE: The room contains a shrine to Buddha in an alcove with kneeling-cushions and incense. In the Tokonoma and on the shrine are Kaimyo made of ivory containing Japanese lettering. A small breakfast table is centre and on it a teapot, bowls and chopsticks. Kneeling-cushions are right and left of it. The shoji are closed, the sunlight giving them a pink tinge .
Yo-San and Kara are at breakfast, sitting on the cushions on the floor. His arm is in a sling made of a large handkerchief. Yo-San, in an attitude of abandon, is reading a red book. Setsu, kneeling and bowing low, holds out a bowl and a pair of chopsticks. Inu, kneeling and bowing, holds out the teapot and a cup. Both have the air of being resigned to Yo-San's romance, but not approving of it .
( All bow. Setsu moves a small screen from the alcove so that Yo-San may sit and not be seen by Tonda-Tanji .)
( Inu has entered and stands between the shoji and the next room as though on guard .)
( All bow .)
( The Crier's voice dies away in the distance .)
( She is carried off, murmuring "Kitsu, kitsu, kitsu." )
( Yo-San points to the shoji. Inu runs up to close it .)
The old sword room: the cabinet of the Minister of War .
Later in the same day .
"Nothing for nothing is given here."
SCENE: A large room with lacquered walls and ceiling; dark, yet livid in aspect. The floor is lacquered in black. A large double door at back is reached by a flight of four or five steps. A splendid corridor lies beyond the door. There is a large window in the corridor, sashed and filled, shoji-like, with translucent decorated paper. There are several doors in the cabinet — one leading to Zakkuri's apartments. Zakkuri's desk is placed on a platform at the left of the room. A trapdoor is set in this platform; when opened, it enables Zakkuri to see what is going on below. Two desks for the Secretaries stand behind Zakkuri's; they contain inktones, brushes, and scrolls. Down right is a large, thick trapdoor. A massive figure of Ojin Tenno, the war god, is at the right of the room, a number of swords and standards ( taken from the Samurai ) piled at its feet; incense in vases and bowls of rice are added to the offerings .
Zakkuri is discovered, standing; a large candle shines from over his left shoulder on his desk and papers. Four spies are sitting at the back, in a horizontal line. Two runners sit up near the door at left with the characteristic handkerchiefs around their heads .
Ato is seated behind the war god, unseen by the others. The First Secretary is writing. The Second Secretary is kowtowing low before Zakkuri, holding out a scroll for his approval and signature. Zakkuri is the picture of serene satisfaction as he reads the scroll .
( Kato is now out of sight, but the faint call of "Niji" is heard .)
( Kara is pushed back. The trap is closed suddenly .)
( Kojin and attendants bring in lanterns, wine, and smoking materials .)
( Ato enters with a bowl of steaming rice and incense, placing them in front of the war god. Four singing girls and six geisha enter to music with Asani .)
( All stop dancing .)
( The geisha, frightened, run off .)
( Asani hesitates, looks at Zakkuri .)
( Zakkuri bows .)
( It is evident that Kara is being tormented below, each time "In the name of the Emperor" is spoken )
The meeting-place at the ruined shrine of the Goddess Kwannon .
Dusk hour of the third day .
The shrine is at the foot of a steep mountain rising at the back. A long flight of stone steps leads down to the shrine; halfway up these steps is a rock landing, which leads to the Bamboo Forest. Kwannon, the Goddess of Mercy, stands with her ruined arms outstretched downward in benediction. A tori spans the centre of the scene and on it is the Japanese inscription: "Mercy to all who pass." A small fire is flickering under the tori. The ruins of a temple are seen at the left. Sunset is deepening to dusk .
As the curtain rises, Bento, wearing mail, is doing sentinel duty, looking off to the right. Halfway down the steps at the landing stands Nagoya, also in mail. He is looking off to the left. Nine men are present. All are waiting for Banza. Every man wears two swords .
Kara, tired and spent, is gazing into the fire abstractedly.
( Every sword is drawn .)
( As Bento reaches the top of the steps to see if the way is clear, he is shot down .)
The Red Bamboo Forest. The tryst of death. The light of the red and full moon illuminates a grove of bamboo trees riven and burnt by lightning. The scarred spikes of bamboo stand up like javelins .
Kara appears, spent, breathless, everything about him bespeaking desperate combat. He throws his armor on the ground. He pauses — recovers his breath and, putting his sword on the earth, steadies himself with it .
A Thousand Years Have Elapsed .
Only vague shadows are seen. The lower ones are dark, suggesting the border between the underworlds and the Celestial Heaven. Kara appears at the back, among the lighter shadows, waiting. His face is luminous, his arms outstretched. Yo-San, now in form, is seen drifting up toward him. With shining faces and arms outstretched, they meet. During this, music is heard: a slow crescendo to the point where they meet, when it swells into ecstasy, then dies note by note. As they ascend to the next Celestial Heaven, the refrain of "Nothing ever Changes" is vaguely heard. When the lights fade away, the curtain falls in darkness .