Enya's Works

The street about me silent; until he looked my way,

'Twas a shame I had nothing to say.

Tall, attentive, aware I was morning, my majestic grief. He assumes vulnerability, to my humility.

As I passed him by, my hands glowing with tears.

Raising, flaunting the top hat above his head.

Analyzing me, his eyes still as a statue.

Confidence as in a tranquility, he drank.

From his eyes, scary remarks which I fear,

The sweetness that terrifies and the pleasure that kills, me.

No spark... suddenly it's dark! Fastly fleeting

By whose glance I was suddenly dismay,

Will this occur every time I wander out for eternity?

I need go elsewhere, far, far from here! too quick! never again I pray! For he know not where I fled, I no care where he goes, I know he would have loved me, O who would not have?

Père Goriot: The Musical brings the ability to sing and dance to Balzac's enlightening and inspiring novel. Presenting the story as a musical does a lot a television show or movie can’t do. Hearing the many impactful monologues within Père Goriot acted out allows it to have a sharper focus. The tone of voice, dramatic pauses, and movement while in a monologue scene are something the audience will remember. Balzac’s descriptive imagery throughout the novel allows for a very cinematic story to be created. Modernizing this novel would take away from its wise old advice on how to go about life. Therefore, I will keep this play as closely related to the novel as possible, adding only slight modern touches to language, characters, and musical renditions that were not originally part of the novel. Similar to the musical Hamilton, written by Lin-Manuel Miranda, where the only modern ideology is the presence of rap culture and an African American presence in politics. This musical will showcase all the moments of Père Goriot in such a heartfelt way that leaves the audience not only in tears but with a deeper understanding of Parisian life in the nineteenth century.

One thing I will do that the novel does not is designate the narrator as a character. This is important because when setting up a stage, a lot of visuals end up coming from words and movement. Goriot will be the narrator up until his death at the very end when Rastignac will take over. This will be done in order to symbolize the significance of the closing line Rastignac’s character would say to the audience when he challenges Paris: “It’s between the two of us now!” (263). Since this novel has the intimidating expectation of no one being able to comprehend it outside of Paris, a narrator as a known character may provide a better understanding of the modern era.

Setting the stage will not be as easy as describing it in the novel linguistically. Although these structural elements would be hard to satisfy, it makes it all the more appealing once worked through. On stage left, stretching till center stage will be the Maison Vaquer. This will reflect the interior of the boarding house so that it can be used dramatically. On the first floor of the boarding home, a small dining area will be present alongside the first-floor bedrooms. A staircase will be present and visible. The staircase will be utilized for great movement during musical renditions, while simultaneously emphasizing Balzac's message of Goriot moving upstairs, to worse conditions. As he moved up physically, he downgraded. This is a key part of the novel's symbolism, reminding the audience that Goriot would do anything for his daughters to remain wealthy.

The center stage will be empty to allow space for the sudden movements this play will feature. Since they are always adventuring to balls, center stage is where those events will take place. During those scenes, it’s imperative a spotlight shine on center stage while stage left is dimmed so Maison Vaquer is less visible. I think this small detail is so important in meeting my goal of us outsiders comprehending this story because the audience needs to understand how historically relevant outings are. Just before this novel's time, one remained in their area, seldom traveling out. Understanding this shift helps understand the personalities of characters like Delphine and Rastignac who are rather caught up in Parisian high-class desires.

Meanwhile stage right will be home to makeshift places. For moments like when Rastignac visits the rue de Helder, stage right will be utilized. The door to this multipurpose home will be emphasized for many reasons. Doors give one the ability to enter into different lifestyles, a thing done often in Père Goriot. When Victorine tries to reason with her greedy father, Taillefer, the door is slammed in her face. Stripping her from her rightful inheritance as well as access to the lavish Parisian lifestyle. When Rastignac visits his cousin, the vicomtesse, he seeks guidance on navigating the mysterious Parisian society. She promisingly says to the student, “You will be very successful. In Paris success is everything, it is the key to power. If women believe you to have wit and talent, so will men, unless you disillusion them. Then you can set your heart on anything, every door will be open to you. Then you will learn what the world is really like: an assembly of dupes and knaves. Don't be counted with either” (73). The

novel is a sequence of doors closing and opening for the ambitious Rastignac. Doors close when he associates himself with Goriot, opening once he closes his textbooks and confides in Vautran's twisted advice.

The play will begin with Goriot the narrator entering stage left and slowly walking to center stage. Once he hits center, he begins the first of many monologues. He will recite his doubts about our ability to comprehend his story. Then in order to set the scene, this will quickly turn to a musical number. Giving the audience an insight into the location and major themes will be the goal of this musical number. This number will be titled “all is true.” Referencing the narrator's assertion that this story is real and relatable. Dancing and singing in this number will be Goriot along with Vautrin, Rustignac, Madame Vauquer, and all other boarding house members. Upon the song's end, boarding house members will be dancing their way around the boarding house; going up the stairs if they live upstairs; making their way to their rooms. The song ends as they all lay down in their beds. All lights go off.

Sound effects are a key element to following a play. An alarm will ring about 20 seconds after they all go into bed. All lights will come on, but only noticed is Madame Vauquer in the dining room as always at seven o’clock. She will be moving around hastily, preparing breakfast foods, and complaining here and there in an undertone. Here is where the audience will meet the cast. As each character rises from sleep, they join in the musical number where everyone gets introduced. This is important because Balzac uses such specific descriptions throughout and I

found some of them to be very funny. I want the characters to sing and embody the descriptions he provided. This scene will close with Vauquer bonding with Madam la Comtesse de l'Ambermesnil. She will confess her secret admiration for Goriot and then the two will walk to center stage to go shopping. At one point in this short scene, Madame la Comtesse de l'Ambermesnil will break out into a monologue revealing her fondness for Goriot as well. Then the two women head back and Madame la Comtesse de l'Ambermesnil finds out Goriot is not interested and leaves in anguish, without paying six months of rent.

One musical number that really excites me to include is Goriot moving upstairs. As he moves up literally, he joins a lower class. The song he could sing as he walked up the stairs. A mix of pride to have more money for his daughters blended with the humbleness he embodies throughout the novel will be significant here.

The plot will begin to thicken when two young women Madame Anastasie de Restaud and Madame Delphine de Nucingen begin visiting old Goriot. Questions of who these gorgeous and grand women will make great musical numbers, as well as Goriot explaining who these women are. While the other boarders dine, Madame Vauquer notices a woman heading to Goriot’s room. The boarders will sit at the table and sing the harsh remarks they make about Goriot and who the women could be. However, this scene is meant to be funny.

The turning point will occur when Rastignac discovers the unfortunate truths of making it in Parisian society. His entry on the social scene is the most relevant thing to showcase because it

reveals an understanding of Paris at the time. When Vautrin discloses to Rastignac what he should really be studying, his entire being shifts. This is another amazing opportunity for music. To have Vautrin sing his twisted advice to Rastignac will add to the significance of this turning point in his life.

Ending this musical will have a goal of putting into perspective the final line Rastignac says, “it’s between the two of us now!” (263). While this scene goes on, a projector with a panoramic view of nineteenth-century Paris will be seen in the background. This scene will begin with Rastignac and Christophe exiting the hearse. The funeral itself will be a moment of dramatic irony to show that one only misses what they have once it’s gone. The gravediggers will quickly throw dirt on the coffin and slowly every character, besides Rustignac, will exit the stage. Once he is alone, he will wipe a tear off his face and proceed to walk to the highest point of the cemetery. Once he is there he is thinking, so I will have him voice this as the final monologue. He will say something along the lines of "look at this dreadful city, this city I fought so hard for. I worked so hard to enter this society, only to end up here.” Then with a hungry look in his eyes, he will turn his back towards the audience, glancing at the panorama. In a powerful tone, he will proceed to shout “it’s between the two of us now!” Lights out.

The stage is set!