AIDA

(complete libretto)
Music: Elton John
Lyrics: Tim Rice
Book by Linda Woolverton, Robert Falls & avid !enry !"an#
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ACT ONE.
MUSIC N 1: Prologue
THE MUSEUM
Li#hts u% on the E#y%tian Win# o& a Modern 'rt Museum in (e" )ork* +arious arti&acts,
all under #lass: a small boat, a model o& a soldier "ith a bo" and arro", a manne,uin o&
'M(ER-., ancient &emale /haraoh o& E#y%t* 'lso behind #lass, is a mysterious ob0ect $
an ancient burial chamber, a tomb*
+arious characters enter* They are tourists visitin# the E#y%tian Win#, a #rou% o& school
children "ith their teacher as "ell as a tour #uide "ith a small #rou% o& tourists*
'mon#st the visitors "e see t"o lone &i#ures, they both end u% #a1in# at the mysterious
tomb* They are t"entieth 2entury versions o& AIDA and RADAMES* .he dro%s the
museum %ro#ram and he bends do"n to hand it to her* Their eyes meet and music starts*
-n a musical moment, AMNERIS, "earin# a royal headdress, emer#es &rom the #lass
encasement* .lo"ly the rest abandon the %lace leavin# the youn# cou%le a"k"ardly
#a1in# at each other as i& they3d reco#ni1ed each other*
MUSIC N 2: EVERY STORY
AMNERIS
Every story, tale or memoir , every sa#a or romance
Whether true or &abricated "hether %lanned or ha%%enstance
Whether s"ee%in# throu#h the a#es castin# centuries aside
4r a hurried brie& recital 0ust a thirty$minute ride
(AMNERIS steps off of the pedestal and stands before the audience.)
Whether bri#ht or melancholy rou#h and ready, &inely s%un
Whether "ith a thousand %layers or a lonely cast o& one
Every story, ne" or ancient ba#atelle or "ork o& art
'll are tales o& human &ailin# all are tales o& love at heart
(The lights change violently with a rock and roll chord. Frozen on stage we find
the Man staring at a model of the boat. He leaves. The WOMA looks at the fig!re of
the Archer."
This is the story 4& a love that &lourished in a time o& hate
4& lovers no tyranny could se%arate
Love set into motion on the (ile5s shore
estiny i#nited by an act o& "ar
6
E#y%t sa" the mi#hty river as its very heart and soul
.ource o& li&e &or all her %eo%le that only E#y%t could control
estruction o& her southern nei#hbor 0usti&ied
(ubia e7%loited, le&t "ith little more than %ride
ACT ONE Scene One
A SLAVE AR!E
The WOMA moves off. #$%&T'A (O)*'#+( man the sails as
riches and the s,oils of war are loaded on to the deck of the shi,.
"ORTUNE "AVORS THE RAVE
SOLDIERS
4h, 4h Fortune Favors the Brave
4h, 4h Fortune Favors the Brave
(+A*AM#(- an #gy,tian Army .a,tain enters."
RADAMES
We have s"e%t to #lory, E#y%t5s mastery e7%ands
From the (ile5s northern delta To the dry, dry southern sands
The more "e &ind, the more "e see, The more "e come to learn
The more that "e e7%lore, The more "e shall return
SOLDIERS
4h, oh Fortune &avors the brave
RADAMES
-t5s all "orked out, my road is clear
The lines o& latitude e7tend
Way beyond my "ildest dreams
To"ard some #reat trium%hant end
We sei1e the day We turned the tide
We touched the stars We mocked the #rave
We moved into uncharted lands
RADAMES # SOLDIERS
Fortune &avors the brave
RADAMES
The more "e &ind, the more "e see
The more "e come to learn The more that "e e7%lore
The more "e shall return (othin# is an accident
We are &ree to have it all We are "hat "e "ant to be
-t5s in ourselves to rise or &all This is easy to believe
When distant %laces call to me -t5s harder &rom the %alace yard
Fortune &avors the &ree
SOLDIERS
4h, oh
RADAMES
Fortune &avors the youn#8
9
SOLDIERS
4h, oh
RADAMES
Fortune &avors the brave8
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((!ddenly- A'*A and /0'A WOM#- in chains- are ,!shed onstage. They carry an
assortment of !bian baskets- bowls- ta,estries- etc. All ,art of the loot the soldiers are
after. Aida st!mbles. +A*AM#( goes over to ins,ect the !bians."
RADAMES: What have "e here: (to (O)*'#+" /ut her in 2hains
((O)*'#+ begins ,!tting A'*A in chains. +A*AM#( t!rns to another (O)*'#+."
(A'*A has taken a sword from a dr!nken soldier and is ,ointing it at the
man who shackled her."
SOLDIER $1 %&'ou(&) My s"ord8 My s"ord8
(A'*A sword fights with the soldiers- taking one ca,tive."
AIDA: Release them*
RADAMES: ;2rossin# to '-'< !and it over* (o"8
(+A*AM#( smiles in acknowledgement- then ,oints to TH# WOM#. (O)*'#+(
instantly grab them. A'*A lays down the sword. A (O)*'#+ snatches it !,."
Radames %ushes 'ida &or"ard and to one side as the scene behind them #oes into slo"
motion* 'mon#st the thin#s is a stool and a basket "ith a cloth and a bo"l "ith a s%on#e*
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ACT ONE Scene T*o
RADAMES' QUARERS
+A*AM#( leads A'*A off.
Once in his 1!arters- +A*AM#( lifts his hand. A'*A covers her face.
AIDA: ;Thinkin# that Radames is #oin# to strike her< on5t*
RADAMES: )ou don5t "ant me to remove your shackles:
((he holds !, her hands for him and he !nlocks her manacles."
+ery im%ressive u% there* - should enlist you in my army*
AIDA: 're you mockin# me, 2a%tain:
RADAMES: (o* 'dmirin# you* o you kno" "hat5s #oin# to ha%%en no": )ou5re
#oin# to scrub the &ilth o& battle &rom my skin*
-t5s been a lon# time since -5ve &elt clean.(He throws a s,onge at her" )ou5re %robably
much better "ith a s"ord than you are "ith a s%on#e*
=
AIDA: - "ish - had a s"ord no"*
RADAMES: There5s mine* !el% yoursel&* Who tau#ht you to &i#ht:
AIDA: My &ather*
RADAMES: Because he kno"s that (ubian men can5t %rotect their "omen:
((he straightens- f!rio!s and starts to leave.")ou5re not &inished*
AIDA: )es, - am*
RADAMES: 4n your knees8 (He stands to confront her.")ou en0oy livin# dan#erous,
don5t you:
AIDA: 'bout as much as - en0oy "ashin# your &ilthy E#y%tian skin
(A'*A throws the s,onge to the gro!nd. +A*AM#( raises his hand to strike her."
RADAMES: )ou***
MUSIC N +. THE PAST IS ANOTHER LAND
AIDA : (o***
)ou kno" nothin# about me and care even less
!o" could you understand our em%tiness
)ou5ve %lundered our "isdom, our kno"led#e, our "ealth
-n bleedin# us dry )ou lon# &or our s%irit
But that you "ill never %ossess
The %ast is no" another land &ar beyond my reach
-nvaded by insidious &orei#n bodies, &orei#n s%eech
Where timeless 0oys o& childhood lie broken on the beach
RADAMES ;s%eaks<: What is your name:
AIDA: 'ida***
(+A*AM#( scoo,s !, the shackles from the floor and forces them on A'*A."
AIDA: /lease, leave them o&&*
RADAMES: )ou5re a slave no"8 'nd i& you "ant to survive you better remember it*
AIDA ;sin#s<
The %resent is an em%ty s%ace bet"een the #ood and bad
' moment leadin# no"here too %ointless to be sad
But time enou#h to lay to "aste every certainty - had
>
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CHAN!E O" SCENE
(The soldiers f!rl the sails of +A*AM#(2 shi,. The images of the #gy,tian dock a,,ear.
The slaves e3it from the shi, and onto the dock."
The &uture is a barren "orld From "hich - can5t return
Both heartless and material -ts "retched s%oils not my concern
.hinin# like an evil sun as my childhood treasures burn
.hinin# like an evil sun as my childhood treasures burn
ACT ONE Scene T'ree
THE DOC,S
The scene has now changed to the docks in #gy,t- where +A*AM#(2 soldiers are
!nloading the shi, and sec!ring the slaves. M#+#0- +A*AM#(2 yo!ng servant enters.
(+A*AM#( comes down the ,latform and onto the docks."
RADAMES: Mereb8
MERE: ;!e turns*< Master, - am so #lad you5ve returned*
(4O(#+ and his M''(T#+( enter from (+ to +A*AM#( and M#+#0."
-OSER: !ere you are my son, home at last8 .te% aside Mereb8
MERE (He bows to 4O(#+" )es, oh 2hie& Minister ?oser*** loved by the @ods, the
%eo%le and './&el0.
RADAMES: (He embraces 4O(#+." -t5s #ood to see you &ather*
-OSER: )ou brou#ht us ca%tives* @ood*
(4O(#+ motions the $/A+*( forward"
RADAMES: .to%8 (ot this one* (He takes A'*A from the $/A+*."- need a #i&t &or the
%rincess*
-OSER: )es* .he5ll be e7%ectin# somethin#*
RADAMES: Take the others to the /alace @roundskee%er* They can hel% "ith the
harvest*
(To 4O(#+." They5re all "omen* They "ouldn5t last a day under#round*
-OSER: 's you "ish* They5re your slaves*
A
(+A*AM#( t!rns A'*A to face him."
AIDA: Thank you*
RADAMES: @ive me your hands, 'ida*
MERE: )our name is 'ida:
RADAMES: Mereb* (To Aida- taking her chains off." -5m #oin# to remove these* But
kno" that i& you dare try to esca%e, - "ill come a&ter you mysel&*
AIDA: )ou &latter me, 2a%tain* )ou don5t look like a man "ho "ould chase a&ter any
"oman*
RADAMES: -5ll make an e7ce%tion &or you* (To Mereb." Mereb, take her to /rincess
'mneris "ith my com%liments*
(A'*A and M#+#0 e3it."
-OSER: )ou5ve been #one si7 months* E#y%t needs you no"* /haraoh is not the
%o"er&ul leader he "as "hen you le&t*
1. ANOTHER PYRAMID
-OSER
While you5ve been a"ay cavortin# Matters here have moved a%ace
(o" - need you home su%%ortin# 'll the %lans -5ve %ut in %lace
First o& all this means your "eddin# )ou5ll recall your &uture bride
For the "ay that /haraoh5s headin# Time5s no lon#er on our side
'ccordin# to the ha"k #od, !orus 4ur most re#al invalid
-s not that much lon#er &or us Build another %yramid8
RADAMES ;s%oken< )ou mean /haraoh has &allen ill: -s it serious:
-OSER: -5m a&raid so*
RADAMES: - must #o to him*
-OSER: )es** -5ll see you toni#ht at the ban,uet, 2a%tain*
;sin#s<
There are many "ho5ll be tear&ul 's our leader &ades a"ay
But our architects are cheer&ul 'nd each do# must have its day
-& our country is to &lourish Then my son must take the lead
Be our ins%iration, nourish 'll our ho%es our dreams our creed
.oon our monarch "ill have &illed a Tomb 0ust like his &athers did
.ummon E#y%t5s #reatest builders Re: another %yramid
B
MINISTERS:
Build it, build it 'nother %yramid
There "ill be a time &or mournin# But &or no" %ut %lans on hold
MINISTERS: !old
For - #ive the nation "arnin# That be&ore the cor%se is cold
MINISTERS 2old
-OSER
We5ll e7tend &air E#y%t5s %o"er E#y%t5s #lory stren#th and style
We shall have our &inest hour Far beyond the mi#hty (ile
!e must have a vault that5s #rand by 'ny standards, &loor to lid
/ut &ive thousand slaves on stand by Build another %yramid8
MINISTERS
Build it, build it, Build it, build it Build it, build it, Build it$
(DAN!E "REA#)
-OSER ;s%eaks<.omeone has been tellin# /haraoh about our %rivate meetin#s*
MINISTERS: .hhhhhhhh
-OSER (To the A../(#* M''(T#+" Traitor8 !e5s become a liability*
(The other M''(T#+( instantly s!rro!nd the A../(#* M''(T#+. A((A(('
M''(T#+ crosses to M''(T#+- ,!lls o!t a knife- and kills him. The *ance
goes into high gear."
MINISTERS
Build it, build it Build it$
(DAN!E "REA#)
-OSER
!e must have a vault that5s #rand by any standards, &loor to lid
/ut &ive thousand slaves on stand by Build another %yramid8
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ACT ONE Scene "our
HALL2AY IN THE PHARAOH3S PALACE
MUSIC N 4
A'*A a,,ears in a !niform of a &alace (lave.
MERE
Well no" you look like a handmaiden* But at least the 2a%tain sa" that you are s%ecial*
C
AIDA:That man sees and understands nothin#8*
MERE: When - "as ten, Radames saved me* !e %romised he5d look a&ter me &rom then
on* !e has ke%t his %romise* (A'*A t!rns away." Look, - kno" "hat you are
thinkin#***that -5ve become one o& them* But - am still (ubian* - "ill al"ays be (ubian*
AIDA: 4& course
MUSIC N 5. HO2 I ,NO2 YOU
MERE
- #re" u% in your hometo"n 't least be#an to #ro"
- hadn5t #ot to my &irst shave be&ore the body blo"
E#y%tians in the courtyard, m y &amily in chains
)ou "itnessed our abduction "hich %ossibly e7%lains
!o" - kno" you ho" - kno" you
Be&ore that &ate&ul mornin# My &amily en0oyed
' %rivile#ed e7istence For my &ather "as em%loyed
's advisor to the Din# no less Which surely rin#s a bell
For as your are his dau#hter )ou %robably can tell
!o" - kno" you )es - kno" you
AIDA
)ou kno" too much and "hat you say is better le&t unkno"n
'nd no" -5m 0ust a slave like you 4ur lives our not our o"n
MERE
- never have abandoned 'nd nor - think could you
That s%ark o& ho%e &or &reedom (o terror can subdue
AIDA
My only ho%e is silence )ou5ve never seen my &ace
MERE
(o you remain a %rincess -n any time or %lace
AIDA
)ou don5t kno" me
MERE
)es, - kno" you
'-'
)ou don5t kno" me
E
MEREB
!o" - kno" you !o" - kno" you*
/rincess***
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AIDA: Mereb, you must treat me like any other slave* -& the E#y%tians kne" - "as
the dau#hter o& the (ubian Din#***
MERE: They "ould kill you* But our %eo%le "ill kee% your secret*
AIDA: (o* )ou must not tell anyone "ho - am* From no" on, - am nothin# but a #i&t
&rom an E#y%tian ca%tain to his /rincess*
MERE: Just so you kno", 'mneris is more than that to Radames* They3re to be
married*
AIDA: !e5s to be married: When:
MERE* 2omeF let5s #et you to the /rincess*
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ACT ONE Scene ".6e
MUSIC N 17: THE ATHS
(team begins to fill the stage. WOM# OF TH# &A)A.# enter
AMNERIS: -t is such hard "ork maintainin# %er&ection* But "orth the e&&ort, don5t you
think: Then maybe one o& you can e7%lain to me "hy Radames, is ne#lectin# me:
(A'*A and M#+#0 enter !nseen."(AM#+'( ,owders herself."
MERE: (0owing low." /rincess 'mneris $ &irst in beauty, "isdom, and accessories*
2a%tain Radames has not &or#otten you* !e sends you this #i&t*
AMNERIS (T!rns to see A'*A." 'nother handmaiden: - don5t need another handmaiden*
oes this #i&t have a name:
AIDA: 'ida*
AMNERIS: ;shocked< id you 0ust s%eak:
AIDA: My name is 'ida, /rincess* 'nd - think you mi#ht "ish to kno"***
AMNERIS: ;an#ry< !o" dare you8 )ou do not lo"er your eyes* )ou do not tremble*
;/u11led< 're you not a&raid o& me:
AIDA: ;matter o& &act<* Would it %lease you i& - "ere:
AMNERIS: ;Thinks< (ot so much*
G
AIDA: Then - am doin# as you %lease*
AMNERIS: ;Thinks< True* Well that5s true* )ou started to say somethin# about***
AIDA: 2a%tain Radames*
AMNERIS: What do you kno" o& the ca%tain:
AIDA: 4nly that he is "ell*** - thou#ht you mi#ht "ant to kno" that*
AMNERIS: - did* )ou see -5ve been so*** ;Reali1in# the trick 'ida %layed on her< )ou5re
very astute, aren5t you, 'ida:
AIDA: 4nly on occasion* But my true talent lies "ith a needle* 'nd i& you "ill
allo" me, /rincess, - "ill make you a robe in a shade closer to that o& your eyes** -t5s a
secret that "as %assed do"n by the handmaidens o& Hueen (e&erteti*
AMNERIS: ;deli#hted< ' slave "ho kno"s her &abrics: -5m kee%in# her8 4h Radames,
he kno"s me* !e really, really kno"s me* @o, Mereb, sho" 'ida the se"in# room*
(A'*A and M#+#0 e3it." 'll ri#ht ladies, ;re&errin# to hersel&< let5s %olish this #em*
MUSIC N 11. MY STRON!EST SUIT
AMNERIS ;hal& s%oken<
-n li&e one has to &ace a hu#e assortment o& nauseatin# &ads and #ood advice
There5s health and &itness iet and de%ortment and other %ointless &orms o& sacri&ice
2onversation: Wit: - am a doubter* Manners: 2harm: They5re no "ay to im%ress
.o &or#et the inner me , observe the outer - am "hat - "ear and ho" - dress
4h no" - believe in lookin# like my time on earth is cookin#
Whether %olka dotted stri%ed or even checked
With some #lamour #uaranteein# every &iber on o& my bein#
-s dis%layed to ,uite remarkable e&&ect
From your cradle via trousseau to your deathbed you5re on vie", so
(ever com%romise, acce%t no substitute
- "ould rather "ear a barrel than conservative a%%arel 'h
For my dress has al"ays been my stron#est suit
4ver "ear , under"ear, anytime , any"here
.tayin# in or hittin# to"n "ards
From the to% and "orkin# do"n"ards
- ensure that every stitch is stitched in time
Whether "i# or hat or turban
Whether clad boudoir or urban -s stitched in time
(ot to strut your stu&& outra#eously5s a crime
6I

'nd the &e" "ho are invited .uch a crime
To my "ardrobe are deli#hted
's they "ander throu#h my thin#s
To &ind en route "e5re "anderin# throu#h your thin#s
That in ne#li#ee or &ormal - am anythin# but normal
For my dress has al"ays been my stron#est suit
'nytime, any"here , 4ver"ear, under"ear
- am "hat - "ear 4ver"ear, under"ear
'nytime, any"here - said anytime 'nytime , 'ny"here
.o brin# me all my &inest most audacious, most revealin#
Most e7%ensive and to boot most arrestin#
Most heart sto%%in# most &ree$&lo"in#
Most eye$%o%%in# most arrestin# most heart$sto%%in#
ress has al"ays been my stron#est suit
- am "hat - "ear my stron#est suit
- am "hat - "ear you kno" that
- am "hat - "ear - am "hat - "ear
ress has al"ays been
My stron#est My stron#est suit My stron#est
My stroooooooooon#est suit My stron#est suit
DANCE
My stron#est suit8
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ACT ONE Scene S.8
THE PHARAOH3S PRIVATE AN9UET ROOM
MUSIC N 12 THE AN9UET
(The m!sic b!ilds. Here we have a great ceremonial entrance of the &haraoh ,receded
by a gro!, of yo!ng n!bile dancers who litter the way with ,etals and incense. The
&HA+AOH makes a grand entrance on a s,ecial sedan chair- carried on sho!lders by
&alace (ervants. He a,,ears very ill. The stage is set with a long low table filled with
delicacies."
MUSIC N 1+: PHAROAHS ENTRANCE
PHARAOH: (He is hel,ed to his feet. Holding his chalice !, for a toast."
2a%tain* To a success&ul e7%edition* Thanks to the routes you have
discovered, our troo%s "ill no" be able to attack (ubia "ith over"helmin#
&orce* The @ods "illin#, this lon# "ar shall soon end, "ith E#y%t5s com%lete
and &inal victory* (The co!rt drinks to the toast."'mneris, shall - continue:
66
AMNERIS: What ever you think is best, &ather*
PHARAOH: 's you all kno", 2a%tain Radames and my dau#hter have been betrothed
&or nine years no"* Lon# enou#h, -5d say*
(&HA+AOH la!ghs- b!t is sto,,ed by a debilitating co!ghing attack."
- "ant to see her and our nation ha%%ily settled be&ore - leave this "orld*
There&ore, in seven days, Radames, son o& ?oser, "ill "ed the /rincess
'mneris* The .on o& -sis has s%oken*
(AM#+'( r!ns to her father2s side and shows her a,,reciation for the anno!ncement.
The men gather and congrat!late +A*AM#(. (!ddenly- &HA+AOH has another attack-
co!ghing !ncontrollably. The co!rt gathers aro!nd him and escorts him offstage.
MUSIC N 11: AN9UET E:IT
(4O(#+ and +A*AM#( are left alone in the ban1!et hall with A'*A and another
servant."
-OSER: ' toast to the bride#room* -& -5d kno"n such an a"k"ard youn# #irl "ould turn
into such a stunnin# youn# "oman, - "ould have o&&ered &or her mysel&*
RADAMES: -t5s not too late*
-OSER: - thou#ht you loved 'mneris:
RADAMES: 4& course - do* We #re" u% to#ether*
-OSER: Then "hat is it:
(He waits for an answer." Radames -5ve s%ent years "orkin# to"ard this day* 'nd you are
not #oin# to ruin it $ not &or yoursel&, or me8 Welcome to your ne" li&e, son*
MUSIC N 11:. "ORTUNE "AVORS THE RAVE %Re;r.&e)
RADAMES
(othin# is an accident "e are &ree to have it all
We are "hat "e "ant to be it5s in ourselves to rise or &all
(+A*AM#( ,icks !, a goblet from the table."
This is easy to believe "hen distant %laces call to me
-t5s harder &rom the %alace yard *Fortune &avors the***
(+A*AM#( t!rns !,stage and throws the chalice off. A'*A and the (#+5AT t!rn
and begin to walk off."
RADAMES ;To 'ida*< (o, stay***
69
AIDA: )es, 2a%tain:
RADAMES: Where are you &rom:
AIDA: -kaita* -t a villa#e near***
RADAMES: ***near the .econd 2ataract* The river5s an entirely di&&erent color there*
AIDA: (o, it5s an entirely di&&erent color here*
RADAMES: Fair enou#h*
MUSIC N 1<: ENCHANTMENT PASSIN! THROU!H
RADAMES
To sail a"ay to hal& discovered %laces
To see the secrets so &e" eyes have seen
To see moments o& enchantment on our &aces
The moments "hen "e smile and those bet"een
AIDA %&;e=>&)'re you talkin# about (ubia no":
RADAMES: )es, in a "ay*
AIDA %&.ng&)
-& - could leave this %lace then -5d be sailin#
To corners o& my land "here there "ould be
."eet southern "inds o& liberty %revailin#
The beauty so ma0estic and so &ree
RADAMES ;s%eaks< - "ill take you sailin#* .outh, you can be my #uide*

RADAMES ;sin#s<
There5d be no ties o& time and s%ace to bind me
AIDA
'nd no hori1on - could not %ursue
RADAMES
-5d leave the "orld5s mis&ortunes &ar behind me
AIDA
-5d %ut my &aith and trust in somethin# ne"
6=
RADAMES # AIDA
But "hy should - tell you this
AIDA
' stran#er - 0ust met
RADAMES
' "oman "hom - hardly kno" at all and should &or#et
RADAMES # AIDA
' 0ourney "e can only dream o& enchantment %assin# throu#h
'nd ho" is it - say these thin#s so easily to you
RADAMES ;s%eaks< This is meanin#less8 -5ll never take you sailin#* -5m never #oin# to
leave E#y%t a#ain*
AIDA ;s%eaks< )ou talk as thou#h you5ve been enslaved*
-& you don5t like your &ate, chan#e it* )ou are your o"n master* There are no shackles on
you* .o don5t e7%ect any %ity or understandin# &rom this humble %alace slave* (she starts
to stor$ out)
RADAMES %&;e=>&): .to%8 - command you to sto%8 ;'ida kee%s on "alkin# and e7its<
RADAMES ;sin#s<
But "hy did - tell her this: ' stran#er -5ve 0ust met
' "oman "ho - hardly kno" at all and "ill &or#et
'nonymous and #one tomorro"
Enchantment %assin# throu#h
'nd all -5ve done is tell her thin#s
she already kne" .he kne" ***.he kne"****
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ACT ONE
Scene Se6en
MUSIC N 1?: AMNERIS3 DRESSIN! ROOM
AM#+'( sits at her dressing stand- br!shing her hair- forcibly. A'*A enters.
AIDA (Offers to br!sh AM#+'(2 hair."
!ere, let me* (AM#+'( hands her the br!sh. A'*A br!shes the &rincess2 hair."
!o" is your &ather:
AMNERIS: - don5t understand it* This illness o& his came on so suddenly* Weeks a#o he
"as healthy* 4h, there is so much to do to #et ready &or the "eddin# ceremony*
AIDA: -t must be di&&icult*
AMNERIS: /lannin# a "eddin#:
6>
AIDA: (o* Bein# a /rincess*
AMNERIS: 4h, you have no idea* The res%onsibilities are*** over"helmin#*
AIDA: )our %eo%le must e7%ect so much*
AMNERIS: They "ant a #oddess and -5m 0ust***
AIDA: !uman*
MUSIC N 14. STRON!EST SUIT %Re;r.&e)
AMNERIS
- may leave a #reat im%ression as - race throu#h a succession
4& the latest cra1es, chase the ne"est &ad
- &eel better "hen be#uilin# &ind that &ashion kee%s me smilin#
But in my heart - kno" it5s rather sad
AIDA
That a li&e o& #reat %otential is dismissed, inconse,uential
AMNERIS
'nd only ever seen as bein# cute so -5ll &lutter to deceive
AIDA
4h no you must believe that one day you5re bound to &ind
AIDA # AMNERIS
' .tron#er .uit
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(+A*AM#( enters the room- catching A'*A 6 AM#+'( off g!ard."
AMNERIS
Radames8 'ida, leave*
(A'*A t!rns to walk o!t."
RADAMES
(o, stay* /our the %rincess a cu% o& "ine*
(A'*A goes to the wine ,itcher and ,o!rs the wine."
AMNERIS
- must &inish dressin#*

(AM#+'( t!rns and r!ns offstage."
6A
RADAMES: )ou think you can s%eak to me like that, scold me like a shre" then "alk
a"ay: )ou &or#et that - can have you carried o&& to the co%%er mines*
AIDA: 'nd you &or#et that - am her %ro%erty no", not yours*
(A'*A t!rns to leave."
RADAMES: -t doesn5t matter* Because - kno" no" that you "ere ri#ht*
(A'*A gives him a disconcerting look."What:
AIDA: -5m shocked* Even in enli#htened (ubia, one never hears a man admit he5s
"ron#*
RADAMES: 'ida, - "as "ron#* - have been sel&ish* -& /haraoh does not recover, E#y%t
is #oin# to need a ne" leader* ' stron# leader* 'nd - don5t think that is 'mneris*

RADAMES: Were you a noble"oman be&ore you "ere ca%tured:
AIDA: What does it matter: There5s nothin# noble about me no"*
RADAMES: )ou5re "ron#* )ou are noble and coura#eous* +ery &e" o& us dare to s%eak
so honestly* 'nd considerin# you5re a slave***
AIDA: )es, "e mustn5t ever &or#et that -5m a slave*
RADAMES: - cannot take back the %ast, 'ida* But even i& - could*** -5m not sure -
"ant to* 'ida, - $
(AM#+'( interr!,ts him- storming into the room."
AMNERIS: Radames8
;R''ME. looks around and then runs out o& the room*< Was it somethin# - said:
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ACT ONE
Scene E.g'(
MUSIC N 15: THE NUIAN SLAVE CAMP
As AM#+'( e3its offstage- the set changes to the !bian cam,. A'*A stands in
the middle of the stage as M#+#0 a,,roaches her.
MERE: 'ida, there you are* Will you come "ith me:
AIDA: Where:
MERE: The (ubian cam%* Look, everybody kno"s that -5m the one "ho can #et
thin#s* 'nd our %eo%le*** They5ve have asked me to brin# them*** you*
6B
AIDA: Why: .o they can see a reckless &ool dressed as a servant: (o that is "hat -
am, Mereb* - deserve this* 'nd our %eo%le deserve a leader "ho thinks o& them* (ot
o& her o"n sel&ish %leasures*
MERE: 'ida, the (ubians "ant their %rincess*
17. DANCE O" THE ROE
AIDA
-t5s kno"in# "hat they "ant o& me that scares me
-t5s kno"in# havin# &ollo"ed that - must lead
-t5s kno"in# that each %erson there com%ares me
To those in my %ast "hom - no" succeed
But ho" can "hatever - do &or them no"
Be enou#h , Be enou#h
NUIANS
'ida8 'ida8 'll "e ask o& you
-s a li&etime o& service, "isdom, coura#e
To ask more "ould be sel&ish
But nothin# less "ill do 'ida8 'ida8
NEHE,A
)ou robe should be #olden, your robe should be %er&ect
-nstead o& this ra##ed concoction o& thread
But may you be moved by its des%erate beauty
To #ive us ne" li&e &or "e5d rather be dead
Than live in the s,ualor and shame o& the slave
To the dance8 To the dance8
NUIANS
'ida8 'ida8 'll "e ask o& you
'll "e ask is a li&etime o& service, "isdom, coura#e
To ask more "ould be sel&ish but nothin# less "ill do
'ida8 'ida8
(the /0'A give A'*A her robe and she ,laces it on her head. (he is escorted onto the
back of another /0'A and is carried aro!nd the cam,. "
DANCE
NUIANS
'ida8 'ida8 'ida8 'ida8 'ida8
AIDA
- kno" e7%ectations are "ild and almost
Beyond my &ul&illment but they "on5t hear
6C
' "ord o& a doubt or see si#ns o& "eakness
My ni#h on im%ossible duty is clear
-& - can rekindle my ancestors5 dreams
-t5s enou#h , -t5s enou#h
AIDA
-t5s enou#h
NUIANS
'ida8
'ida8 'ida8 'ida8 'ida8 'ida8
AIDA
-t5s enou#h
NUIANS
'h,ah,ah,ah,ah,ah
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ACT ONE Scene N.ne
THE NILE3S ED!E
MUSIC N 21: DANCE O" THE 2ASHER2OMEN
The great washing day. /nder the m!sic- a ,arade of WOM# enters with baskets
of la!ndry on their heads. A rit!alistic rhythm takes hold as the linens are
soaked- wr!ng and beaten to dry. A'*A enters and 7oins in the work. +A*AM#(
enters with a (O)*'#+. As they talk- A'*A watches him covertly. +A*AM#(
dismisses the (O)*'#+.
RADAMES ;To '-'*< 'ida*
AIDA ($etting !, from the bank- ,icking !, her basket and linens."
E7cuse me, 2a%tain, but - have linen to "ash*
RADAMES (As A'*A walks away from him- he t!rns after her."
- do not e7cuse you* .to% there*
AIDA ;.he turns to look back at him*<
)ou "anted somethin# &rom me:
RADAMES: 4h yes* - "ant to make your li&e easier, 'ida* Tell me ho"* What can - do
&or you:
AIDA: !el% my %eo%le*
RADAMES: - "ant to hel% @ou*
6E
AIDA: I am my %eo%le* 'nd - cannot continue to live in the com&ort o& the %alace
"hile my countrymen are dyin#*
RADAMES* - "ant to kno" i& you &eel anythin# &or me $ aside &rom contem%t*
AIDA: - don5t kno"*
RADAMES: Then let5s &ind out*
(+A*AM#( kisses A'*A- she dro,s her basket8 they are sto,,ed when M#+#0
enters."
MERE ;(hocked at the sight of seeing +A*AM#( and A'*A kissing."
'ida, - 0ust sa" $ 'ida, 'mneris re,uests your %resence* The %rincess***
%To R''ME.*< ***your betrothed*
(A'*A leaves"
MUSIC N 22:11. NOT ME
RADAMES
- once kne" all the ans"ers - stood on certain #round
' %icture o& true ha%%iness con&idence so e&&ortless
(o bri#hter could be &ound
MERE
4h (o
RADAMES
- never asked the ,uestions that trouble me today
- kne" all there "as to kno"* Love "orn li#htly %ut on sho"
My con,uest on dis%lay
MERE
- can5t believe !e5s chan#in# and "ho5d have thou#ht that
4h, no 2on&idence could die:
(ot me, (ot me, (ot me, not me
That all - took &or #ranted "as a lie
(ot me, (ot me
'nd "ho5d have #uessed -5d thro" my "orld a"ay
To be "ith someone -5m a&raid "ill say* (ot me, not me This can never be
(+A*AM#( e3its as the backdro, rises above the stage."
MERE
!e5s in love but he5s not the only one
Who5ll be chan#ed
6G
(AM#+'( and A'*A enter. A'*A is carrying a ,iece of cloth. AM#+'( is
carrying an !mbrella."
AIDA ;s%eaks< ((howing AM#+'( the cloth in her hand."
This "ould be lovely on you* -5ll say this &or you E#y%tiansF your thread
count is ama1in#*
AMNERIS ;s%eaks< Why hasn5t Radames come to see me a#ain: We5re to be married in
three days and yet***'ida, - must make thin#s ri#ht "ith him*
AIDA ;sin#s<
- shall not envy lovers but lon# &or "hat they share
AMNERIS
'n em%ty room is merciless don5t be sur%rised i& - con&ess
- need some com&ort there
AIDA # AMNERIS
'nd "ho5d have thou#ht that love could be so #ood:
(ot me, not me
'nd sho" me thin#s - never understood (ot me, not me
NEHE,A (#ntering with clothes and other items." (s,eaks"'ida*
AIDA: ;.%eaks< (ehebka, "here did you #et that:
NEHE,A: The E#y%tian 2a%tain8 !e5s #ivin# a"ay everythin# he o"ns* 'nd he5s
#ivin# it all to us*
ACT ONE Scene Ele6en
RADAMES3 TENT
/0'A( and other #gy,tian slaves stand aro!nd +A*AM#(2 tent. +A*AM#( a,,ears
from the tent with a basket of food- and a 7!g of wine. M#+#0 a,,ears with another
basket handing o!t fr!it.
AIDA # AMNERIS
Who5d have #uessed he5d thro" his "orld a"ay
To be "ith someone till his dyin# day (ot me, not me
RADAMESA AMNERISA AIDA
'nd "ho5d have thou#ht that love could be so #ood
(ot me, not me
MyJhis secrets & MyJhis %assions understood
(ot me, not me
9I
Who5d have #uessed
-5dJ he thro" MyJhis "orld a"ay
To be "ith someone till myJhis dyin# day
(ot meJnot me
MERE
(ot me, not me (ot me, not me
This can never be
AMNERIS %&;e=>&): Look, he is %re%arin# to move into the /alace* )ou stay, 'ida*
'%olo#i1e &or me*
AIDA: ;s%eaks< 4h, no8 - can5t*
AMNERIS ;s%eaks< )ou can* )ou al"ays say the ri#ht thin#* - never do*
AIDA: (o %rincess, %lease don5t make me*
AMNERIS: - "ould never make you* But - am askin# you, as my &riend*
(AM#+'( e3its 7!st as +A*AM#( s,ots A'*A."
AIDA: 2a%tain, - 0ust came to tell you that the %rincess is sorry &or "hat she said
'nd she "ants you to kno" that***
RADAMES: 'ida***
(+A*AM#( tries to take A'*A2( hand b!t she ,!lls away."
AIDA: )ou are to marry my mistress8
RADAMES: -t "as arran#ed by my &ather, and it "ill be unarran#ed by me*
AIDA: Radames, you5re an E#y%tian8 (othin# "ill ever chan#e that &act* - don5t even
kno" "hy you bothered to do this*
RADAMES: on5t you:
12. ELAORATE LIVES
We all lead such elaborate lives "ild ambitions in our si#hts
!o" an a&&air o& the heart survives days a%art and hurried ni#hts
.eems ,uite unbelievable to me - don5t "ant to live like that
seems ,uite unbelievable to me - don5t "ant to love like that
- 0ust "ant our time to be slo"er and #entler, "iser, &ree
We all live in e7trava#ant times %layin# #ames "e can5t all "in
96
Knintended emotional crimes Take some out, take others in
-5m so tired o& all "ere #oin# throu#h - don5t "ant to live like that
-5m so tired o& all "ere #oin# throu#h - don5t "ant to love like that
- 0ust "ant to be "ith you no" and &orever , %eace&ul, true
This may not be the moment to tell you &ace to &ace
But - could "ait &orever &or the %er&ect time and %lace
AIDA # RADAMES
We all lead such elaborate lives "e don5t kno" "hose "ords are true
.tran#ers, lovers, husbands, "ives hard to kno" "ho5s lovin# "ho
AIDA
Too many choices tear us a%art - don5t "ant to live like that
RADAMES
Too many choices tear us a%art - don5t "ant to love like that
- 0ust "ant to touch your heart may this con&ession
RADAMES # AIDA
Be the start
(The lights fade o!t."
99999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999
9
MUSIC N 21: 2AR ;rums sound &rom o&&sta#e*<
AIDA: What is it:
RADAMES: My armies have returned* /haraoh "ill e7%ect a victory celebration* @o
back to the %alace* )ou5ll be sa&e there*
( He begins to walk away and then t!rns back."
(He starts to leave again."
AIDA: - love you*
RADAMES: - heard that* .ay it a#ain* - command you* - command***
((O)*'#+ enters." (A'*A t!rns her face away from the (O)*'#+."
SOLDIER: 2a%tain8 We have ca%tured the (ubian Din#8
RADAMES: The kin#: )ou have taken him alive: Tell the others -5m on my "ay*
SOLDIER: )es, 2a%tain*
99
RADAMES ;!e sees '-' is u%set by the ne"s*<
'ida, our countries are at "ar* - can5t chan#e that*
AIDA: But he5s my***!e5s my kin#*
(A'*A begins to cry as +A*AM#( e3its."
((he leaves him. +A*AM#( realizes what he2s done 9 and hates himself for it."
ACT ONE
Scene T*el6e
MUSIC N 2B THE NUIAN SLAVE CAMP 2
A crowd of !bians a,,ear and circle A'*A. The light changes and we are at
the !bian (lave .am,.
NEHE,A: /rincess $ say it5s not true8

AIDA: (o, (o8
MERE: 'monasro o& (ubia is alive* - sa" him taken to the %rison*
NEHE,A: But it5s only a matter o& time be&ore the E#y%tians slau#hter him*
MERE: When the kin# dies $ so does (ubia*
AIDA: (ubia "ill never die8 Whether "e are enslaved or "hether "e are &ar &rom our
native soil, (ubia lives in our hearts* 'nd there&ore, it lives*
MUSIC N 2<. THE !OD3S LOVE NUIA
Take me in my dreams recurrin# cheer&ul as a childhood dance
-nto one more taste o& &reedom one more lon#in# back"ard #lance
-n the s"ay o& somber music - shall never, never understand
Let me sli% into the s"eeter chorus o& that other land
The #ods love (ubia, the beauti&ul, the #olden
The radiant, the &ertile, the #entle and the blessed
The %ain o& (ubia is only o& the moment
the desolate the su&&erin# the %lundered, the o%%ressed
NEHE,A
The #ods love (ubia, their #lorious creation
-ts son#s roll s"eetly across the harvest %lain
NEHE,A # AIDA
The tears o& (ubia, a %assin# aberration
They "ash into the river and are never cried a#ain
AIDAA NEHE,AA MERE # NUIAN 2OMEN
9=
The #ods love (ubia, "e have to kee% believin#
The scattered and divided, "e are still it5s heart
AIDA
The &all o& (ubia, e%hemeral and &leetin#
The s%irit al"ays burnin# thou#h the &lesh is torn a%art*
ALL
The &all o& (ubia e%hemeral and &leetin#
The s%irit al"ays burnin# thou#h the &lesh is torn a%art
Take me in my dreams recurrin# cheer&ul as a childhood dance
-nto one more taste o& &reedom one more lon#in# back"ard #lance
The #ods love (ubia, the beauti&ul, the #olden
The radiant, the &ertile, the #entle and the blessed
The %ain o& (ubia is only &or the moment
the desolate the su&&erin# the %lundered, the o%%ressed
The #ods love (ubia "e have to kee% believin#
Thou#h scattered and divided "e are still it5s heart
The &all o& (ubia e%hemeral and &leetin# the s%irit al"ays
Burnin# thou#h the &lesh is torn a%art
The s%irit al"ays burnin# thou#h the &lesh is tornL
AIDA
'%art
AIDA # NUIANS
Take me in my dreams recurrin# one more lon#in# back"ard #lance
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ACT ONE
Scene
STARSCAPE
A'*A- +A*AM#( and AM#+'( are alone in their tho!ghts- frozen in se,arate
,laces. The laser forms the triangle aro!nd them.
MUSIC N 2?: A STEP TOO "AR
AMNERIS
-t5s so stran#e he doesn5t sho" me more a&&ection than he needs
'lmost &ormal too res%ect&ul never takes romantic leads
There are times "hen - ima#ine -5m not al"ays on his mind
!e5s not thinkin# "hat -5m thinkin# 'l"ays hal& a ste% behind
'l"ays hal& a ste% behind
4h,oh,oh,oh*4h,oh,oh,oh 4h,oh,oh,oh
9>
RADAMES
-5m in every kind o& trouble can5t you tell, 0ust look at me
!al& ecstatic, hal& de0ected all in all -5m all at sea
Easy terms - thou#ht - "anted &ill me no" "ith chillin# dread
)ou could never kno" the chaos o& a li&e turned on its head
4& a li&e turned on its head
4h,oh,oh,oh
RADAMES # AMNERIS
4h,oh,oh,oh 4h,oh,oh,oh 4h,oh,oh,oh
AIDA
- am certain that - love him but a love can be mis%laced
!ave - com%romised my %eo%le in my %assion and my haste:
- could be his li&e com%anion any"here but "here "e are
'm - leader: 'm - traitor: id - take a ste% too &ar:
AMNERIS
-t5s so stran#e he doesn5t sho" me more a&&ection than he needs
'lmost &ormal too res%ect&ul never takes romantic leads
There are times "hen - ima#ine -5m not al"ays on his mind
!e5s not thinkin# "hat -5m thinkin# 'l"ays hal& a ste% behind
'l"ays hal& a ste% behind
RADAMES
-5m in every kind o& trouble can5t you tell, 0ust look at me
!al& ecstatic, hal& de0ected all in all -5m all at sea
Easy terms - thou#ht - "anted &ill me no" "ith chillin# dread
)ou could never kno" the chaos o& a li&e turned on it5s head
4& a li&e turned on it5s head
AIDA
- am certain that - love him but a love can be mis%laced
!ave - com%romised my %eo%le in my %assion and my haste:
- could be his li&e com%anion any"here but "here "e are
'm - leader: 'm - traitor:
AIDA
4h,oh,oh,oh
AIDA # RADAMES
4h,oh,oh,oh
AIDAA RADAMES # AMNERIS
4h,oh,oh,oh etc*
id - take a ste% too &ar8
9A
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ACT T2O
MUSIC N 1: OVERTURE AND SON!: THE !ODS LOVE NUIA REPRSIE =nD
DANCE.
MUSIC N 2: THE PRISON
' %rison cell* '-' and MEREB are "ith a @K'R* MEREB #lances around and hands
the @K'R a sack o& #old the #!ard e3its. A'*A and M#+#0 enter the cell."
AIDA: Father:
AMONASRO: 'ida: - kne" you "ould survive* 't least, - "ould not allo" mysel& to
believe anythin# else*
AIDA: !ave they mistreated you:
AMONASRO: (o, - believe they are savin# that %art &or my e7ecution*** Three days
&rom
no"*
AIDA: -t "on5t come to that* We5ll #et you out o& here*
MERE: -n t"o days, the dau#hter o& the /haraoh "ill "ed* Most o& the #uards "ill be
needed to control the cro"ds
AMONASRO: 'nd "ho is this:
AIDA: This is Mereb* )ou remember*** !enu5s boy*
AMONASRO: !enu* )our &ather "as a #reat "arrior* *- remember him "ell*
MERE: .ire* The chie& 0ailor "ill attend 'mneris5 "eddin#* They5ve assi#ned a lo"ly
#uard to take his %lace $ a man - kno"*
AMONASRO: )ou are su##estin# you may be able to bribe this #uard:
AIDA: That "ould take a lot o& #old
MERE: - have it* For years -5ve been stealin# &rom the %alace* - thou#ht maybe,
someday, - could use it to #et back to (ubia* But i& - can send my Din# home***
AMONASRO: We "ill all be #oin# home soon, Mereb* (o", ho" are the docks
#uarded:
9B
AIDA: ' &i#ht "on5t be necessary* They5ll let us throu#h*
(Aida takes o!t the am!let +A*AM#( gave her. M#+#0 gas,s."
MERE: 2a%tain Radames #ave you that:
AMONASRO: Who is this 2a%tain: 'n E#y%tian:
AIDA: )es, but he5s not like the others, &ather*
AMONASRO: !e leads /haraoh5s army, and he did not lay "aste to our country like the
others:
AIDA: !e re#rets his %ast*
AMONASRO: 'ida8 o not shame yoursel& and me "ith such "itless sentiment* o not
tell me this E#y%tian #rieves &or the (ubian men e7ecuted, the "omen rava#ed, and the
children taken into slavery* 'ny so&t look you have #iven this 2a%tain, any so&t "ord,
betrays the innocents "ho su&&ered at his hands and at the hands o& every soldier he
commands* )ou *.ll cut this man &rom your heart* -, your kin# and &ather command it*
AIDA: )es, Father
AMONASRO: - "ould not have thou#ht it %ossible that these E#y%tians could #ive me
one
more reason to hate them*
;The #uard a%%ears and takes 'monasro, accom%anied by Mereb, back to his cell* 'ida is
le&t alone to %onder her situation*<
MUSIC N +. EASY AS LI"E
AIDA
This is the moment "hen the #ods e7%ect me to be# &or hel% but - "on5t even try
- "ant nothin# in this "orld but mysel& to %rotect me but - "on5t lie do"n, roll over and
die
'll - have to do is to &or#et ho" much - love him
'll - have to do is %ut my lon#in# to one side
Tell mysel& that love5s an ever$chan#in# situation
/assion "ould have cooled and all the ma#ic "ould have died
-t5s easy, it5s easy
'll - have to do is %retend - never kne" him
4n those very rare occasions "hen he steals into my heart
Better to have lost him "hen the ties "ere barely bindin#
Better the contem%t o& the &amiliar cannot start
-t5s easy, -t5s easy
9C
Kntil - think about him as he "as "hen - last touched him
'nd ho" he "ould have been "ere - to be "ith him today
Those very rare occasions don5t let u% they kee% on comin#
'll - ever "anted and -5m thro"in# it a"ay
-t5s easy, it5s easy as li&e
But then - see the &aces o& a "orn , de&eated %eo%le
' &ather and a nation "ho "on5t let a co"ard run
is this ho" the #ods re"ard the &aith&ul throu#h the a#es :
Forcin# us to %rove the hardest thin#s "e5ve done
're easy , .o easy
'nd thou#h -5ll think about him 5til the earth dra"s in around me
'nd thou#h - choose to leave him &or another kind o& love
This is no denial, no betrayal but redem%tion
Redeemed in my o"n eyes and in the %antheon above
-t5s easy, -t5s easy as li&e
-t5s easy as li&e , -t5s easy as li&e
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
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Scene T'ree:
MUSIC N 1: THE 2AR ROOM O" THE PALACE
4O(#+ is showing AM#+'( a giant ma, of the ile.
(+A*AM#( enters."
-OSER: -5ve been e7%lainin# our &orei#n cam%ai#ns to 'mneris*
AMNERIS: Radames, 2an5t "e s%end this a&ternoon to#ether:
RADAMES: 4& course* 4& course, "e can* But &irst, -5d like to have a "ord "ith my
&ather* (AM#+'( e3its."
-OSER: - can5t have you ne#lectin# the #irl* (ot a&ter all the trouble -5ve #one to*
RADAMES: )ou arran#ed a marria#e*
-OSER: There have been other arran#ements as "ell, son* Thin#s -5ve done on your
behal&*
RADAMES: - haven5t asked you to do anythin# &or me8
-OSER: (o you5re ri#ht, you haven5t because you5ve been too busy "ith that slave #irl*
RADAMES: 4h, your s%ies are #ood*
9E
-OSER: on5t you reali1e that "ench could cost you the throne:
RADAMES: - don5t care about the throne, &ather* Because, -5m not like you* ;'n#rily<
'nd - never "ill be*
MUSIC N BC LI,E "ATHERA LI,E SON
-OSER
on5t come on so cocksure boy, you can5t esca%e your #enes
(o %oint in &eelin# %ure boy, your back#round intervenes
Listen #ood and listen strai#ht, you5re not the master o& your &ate
To this you must be reconciledF you5ll al"ays be your &ather5s child
't times acclaimed, at times reviled
)ou5ll "ind u% doin# 0ust "hat -5ve done
Like &ather, like son
RADAMES
on5t assume your vices #et handed do"n the line
That a %arent5s blood su&&ices to condemn the child5s desi#n
-5ve done "ron#, - can5t deny, but at least - kno" that -
.houldn5t blame that on my stock, this may come as ,uite a shock
-5m no chi% o&& any block, - "ouldn5t "ish those "ords on anyone
Like &ather, like son
-OSER
.on you5re nervous, take my hand all is settled, all is %lanned
)ou5ve #ot the "orld at your command - don5t think you understand
o you really "ant to thro" a"ay your &uture: 'll &or some "retched slave8
RADAMES ;s%oken<: .he has a name8
-OSER: -n a &e" months, you "on5t even be able to remember her name8
RADAMES
- a%%reciate too "ell the s,ualor at "hich you e7cel it isn5t very hard to tell
Evil5s a distinctive smell
;s%oken< )ou can &or#et about your %lans, &ather* There "ill be no "eddin#8
(+A*AM#( storms off- leaving 4O(#+ horrified."
-OSER
!e5s lost all sense o& reason, and "hy:
.ome &orei#n slut not only is that treason,
.ome doors are slammin# shut
Just like me he5s &ound that &lesh can e7cite but "ill enmesh
4nce "e rid him o& this bli#ht* 4nce this harlot5s out o& si#ht*
9G
Then - think he5ll see the li#ht* !e "on5t "alk back to daddy he "ill run*
Like &ather, like son***
-OSER # MINISTERS
Like Father, like son Like Father, like son
Like Father, like
-OSER
.on
(4O(#+ t!rns to his men."
Find the slave #irl called 'ida* 'nd "hen you do***kill her*
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
$$
Scene "our
MUSIC N <CNUIAN SLAVE CAMP
M#+#0 enters alone- o!t of the shadows a,,ears #H#0:A. (he motions him to one
side.
NEHE,A: 4h Meereb* -s it true: - &eel scared* - &eel the end is dra"in# near* Will the
#ods %rotect us o& this bitter outcome:
MERE: Feel no &earF "hat the #ods have decided is &irm and immovable* We are 0ust
%a"s o& the &ates* We "ill live throu#h this li&e to#ether, and "hen 'nnubis comes &or us
"e "ill be ready &or the 0ourney into the ne7t li&e*
NEHE,A: - 0ust %ray that in the ne7t li&e, - "ill still be "ith you*
MERE: .tay calm (ehebka, &or 0ust as "e %layed on the banks o& the #reat river at 'bu
.imbel, "e "ill do so a#ain*
NEHE,A: 4h Mereb, you are so ri#ht, "hat has to be "ill be, and (ubia "ill rise
a#ain* (o one can dash our s%irits*
MUSIC N ?. THE MESSEN!ER
Everythin# is settled, immovable and calm*
(othin# that has %la#ued our lives can ever do us harm
Then the voices railed a#ainst us, then the %ath "as stee%*
(o" the sounds are so&ter, no" the road is ended
-n your arms -3ll slee%*
Turn a"ay &rom madness, burn the inner li#ht*
/ray &or me as cheer&ully as - sli% into the ni#ht*
eath is 0ust a visitor, "atchin# &or a "hile*
.ullen and %redictable* Love is versatile*
Everythin# is %eace&ul and &allin# into %lace*
- no lon#er &eel the "ounds su&&ered in the chase*
Then "e "ere by turns divided, then by turns o%%ressed*
(o" the %ain is over* (o" "e3ll lie to#ether*
=I
@rate&ully at rest*
/ut aside the notion that the end is near*
.tay "ith me eternally, the terrors disa%%ear*
eath is 0ust a messen#er, in a %oor dis#uise*
Foolin# no one, lost &or "ords, love is in your eyes*
(o" "e kno", as "e are kno"n, unima#ined thin#s*
eath is 0ust a messen#er, love the truth it brin#s*
MUSIC N 4 THE LETTER
They leave together. )ights come !,. A'*A stands alone. (!ddenly a slave woman
a,,ears o!tside the fence. (he sli,s A'*A a folded note and disa,,ears. A'*A begins to
read. 't is a letter form +adames. High !, +A*AM#( a,,ears in her imagination.
MUSIC N 5. RADAMES3 LETTER
RADAMES
-5m sorry &or everythin# -5ve said
'nd &or anythin# - &or#ot to say too
When thin#s #et so com%licated
- stumble at best muddle throu#h
- "ish that our lives could be sim%le
- don5t "ant the "orld only you
4h - "ish - could tell you this &ace to &ace
But there5s never the time never the %lace
.o this letter "ill have to do - love you****
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
(A crowd of /0'A( circle A'*A. A'*A hides the letter in the bosom of her dress as
+A*AM#( moves back and disa,,ears."
MERE. Tomorro" /rincess, you and your &ather "ill be &ree8
NEHE,A* We "ill live to tell our #randchildren o& the Din#5s #reat esca%e8
MERE: (ubia "ill %revail8 ;@lancin# around because he hears a sound< Huiet8
MUSIC N 17C!UARDS AND DEATH O" NEHE,A
((!ddenly two $/A+*( storm into the !bian encam,ment. M#+#0 backs off while
others ,!sh A'*A back into the crowd. &rotectively- the !bians s!rro!nd A'*A-
hiding her."
!UARD: We are here &or 'ida* Which one is she:
(0efore A'*A can s,eak- a !bian man clam,s a hand over her mo!th. More
/0'A( block her from view. #H#0:A ste,s forward."
=6
NEHE,A: - am the one you are lookin# &or* - am 'ida8
(The g!ards drag #H#0:A away. A'*A str!ggles to free herself. We hear a cry from
offstage followed by silence. The g!ards a,,ear ,!tting their daggers away. The
!bians hold Aida !ntil the g!ards are gone."
MERE: For#ive us, /rincess* But you cannot be sacri&iced* Every %erson here "ould
risk their li&e &or (ubia 0ust as (ehebka sacri&iced hersel& &or you and &or (ubia*
MUSIC N 11C AN!UISH
(The /0'A( begin a dance of ang!ish. A'*A is horrified- b!t she sees what her role is
to be. (he st!mbles away- she needs to see +adames. M#+#0 follows her."
MERE: Where are you #oin#:
((he doesn2t answer and she can2t look at him."
MERE: )ou5re #oin# to meet him, aren5t you:
AIDA: Mereb, - do not ask you to understand* - do not understand* - must meet him $
MERE: (o*
AIDA: But - do* - have to see him $
MERE (With rage*<: (o8 (o8 )ou cannot #ive yoursel& to him* The E#y%tians have
taken enou#h &rom us already* )ou are our /rincess, our ins%iration, our %romise o& a ne"
day*
AIDA: -5m sorry, Mereb*
((he r!ns off- M#+#0 watches her go."
MUSIC N 12 HO2 I ,NO2 YOU %Re;r.&e)
MERE
There is a time, there is a %lace "hen love should con,uer all
The rest o& li&e is %ushed aside as truth and reason &all
But only i& that sel&ishness can lead to somethin# #ood
- thou#ht - kne" you %rincess but - never understood
- don5t kno" you, - don5t kno" you
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
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Scene ".6e: RADAMES3 !ARDEN
=9
R''ME. "alks the (ile* '-' enters* They stare at each other &or a moment then
embrace %assionately*
RADAMES: 'ida8 - thou#ht you "ere***
AIDA: They came &or me* But they took another* - blame mysel&*
RADAMES: (o* - %ut you in dan#er* But - s"ear, it "ill never ha%%en a#ain* -5m callin#
o&& the "eddin#*
AIDA: 4h Radames $ ((he sto,s herself short- realizes this foils her father2s esca,e
,lans."
(o8 )ou can5t* )ou can5t call o& the "eddin#8
(A'*A ,!lls o!t of +A*AM#(2 arms and ste,s away."
RADAMES: )es, - can* 'nd - "ill*
AIDA: - love you, Radames* But you must marry the %rincess tomorro"* Tomorro"8*
What you "ant &or us is im%ossible* They "ould hunt us do"n* -t is a &oolish %lan*
RADAMES: - "ill &ind a "ay &or us to be to#ether*
MUSIC N 1+ 2RITTEN IN THE STARS
AIDA
- am here to tell you "e can never meet a#ain
.im%le really, isn5t it, a "ord or t"o and then
' li&etime o& not kno"in# "here or ho" or "hy or "hen
)ou think o& me or s%eak o& me and "onder "hat be&ell
That someone you once loved so lon# a#o so "ell
RADAMES
(ever "onder "hat -5ll &eel as livin# shu&&les by
)ou don5t have to ask me and - need not re%ly
Every moment o& my li&e &rom no" until - die
- "ill think or dream o& you and &ail to understand
!o" a %er&ect love can be con&ounded out o& hand
-s it "ritten in the stars: 're "e %ayin# &or some crime
-s that all that "e are #ood &or 0ust a stretch o& mortal time
4r some @od5s e7%eriment in "hich "e have no say
-n "hich "e5re #iven %aradise but only &or a day
AIDA ;s%oken< Marry the /rincess, Radames* )ou can hel% my %eo%le* This could be our
chance to do somethin# im%ortant* on5t you see: -t may be the "hole reason "e met*
==
RADAMES: ;s%oken< Then it "ould be a cruel trick8
AIDA: (ot i& the @ods %ut us to#ether &or some #reater %ur%ose*
;.in#s< (othin# can be altered, there is nothin# to decide
(o esca%e, no chan#e o& heart, nor any%lace to hide
RADAMES
)ou are all -5ll ever "ant, but this - am denied
.ometimes in my darkest thou#hts, - "ish -5d never learned
AIDA # RADAMES
What it is to be in love and have that love returned
AIDA
-s it "ritten in the stars are "e %ayin# &or some crime
-s that all that "e are #ood &or 0ust a stretch o& mortal time
AIDA # RADAMES
For some @od5s e7%eriment in "hich "e have no say
-n "hich "e5re #iven %aradise but only &or a day
RADAMES ;s%oken<- "ill do "hat you ask o& me* But you must also do somethin# &or
me* @o home, leave E#y%t &orever*
AIDA: What are you sayin#:
RADAMES: While - am takin# my "eddin# vo"s, there "ill be a boat "aitin# &or you
at
the docks to return you to (ubia* 't least - "ill have a messa#e o& ha%%iness kno"in#
you are &ree*
(+A*AM#( kisses A'*A one last time and leaves. A'*A looks to the sky...knowing her
gods have ,rovided a way. The irony of it nearly breaks her in two. (he e3its in the
o,,osite direction. AM#+'( emerges from the shadows. (he has seen everything."
MUSIC N 11. I ,NO2 THE TRUTH
AMNERIS
!o" did - come to this: !o" did - sli% and &all:
!o" did - thro" hal& a li&etime a"ay "ithout any thou#ht at all:
This should have been my time* -t5s over, it never be#an
- closed my eyes to so much &or so lon# and - no lon#er can
- try to blame it on &ortune some kind o& shi&t in a star
=>
But - kno" the truth and it haunts me it5s &lo"n 0ust a little too &ar
- kno" the truth and it mocks me - kno" the truth and it shocks me
-t5s &lo"n 0ust a little too &ar*
Scene S.8: AMNERIS3 DRESSIN! ROOM
AM#+'( is dressed for her wedding by fo!r handmaidens. They ,resent her with a
fantastic wedding gown. (he stands lifeless- still reeling from the shock of what she
witnessed.
Why do - "ant him still: Why "hen there5s nothin# there:
!o" to #o on "ith the rest o& my li&e to %retend - don5t care
This should5ve been my time -t5s over$-t never be#an
- closed my eyes to so much &or so lon# and - no lon#er can
- try to blame it on &ortune some kind o& t"ist in my &ate
But - kno" the truth and it haunts me - learned it a little too late
4h - kno" the truth and it mocks me - kno" the truth and it shocks me
- learned it a little too late Too late
(AM#+'( is now f!lly dressed and stands there like a ,ainted life9sized doll."
Scene Se6en
MUSIC N 1BC THE ROYAL 2EDDIN!
' %rocession o& children "ith &lower ,etals enter making way for the bride. They stand to
one side as 4O(#+- M''(T#+( and )A*'#( OF TH# &A)A.# enter. +A*AM#(
takes his ,lace at AM#+'(2 side. He looks as n!mb and d!ty bo!nd. The &HA+AOH-
sicker than ever- ,resides.
PHARAOH: -, all mi#hty /haraoh, sent to earth by ever %o"er&ul Ra ;he b!rst into yet
another co!ghing fit" 's "itnessed by the @ods and all o& E#y%t, - %ronounce you man
and "i&e* May your lives be &illed &orever "ith the 0oy o& this moment*
!UARD: )our ma0esty, the (ubian Din# has esca%ed8
PHARAOH: Radames, call your men to arms*
RADAMES: Fan out across the city8
-OSER: The &astest route to (ubia is by "ater* .end a re#iment to search the docks*
RADAMES (+emembers A'*A*< (o8 .eal o&& the docks8
-OSER: But***
RADAMES: (o one must reach the %ier be&ore - arrive there*
=A
(.haos ens!es. The dissi,ation of the wedding ceremony dissolves into the ne3t
se1!ence."
Scene E.g'(: THE DOC,S
A small boat floats at the water2s edge. 't is tied to the dock by a heavy ro,e. A'*A
enters- wearing +A*AM#(2 am!let aro!nd her neck. M#+#0 enters with AMOA(+O.
MERE: /rincess, "e must hurry* They5ve sounded the alarm*
(AMOA(+O climbs into the boat as +A*AM#( a,,ears."
AIDA: Radames8
AMONASRO: 'ida8 Kndo the ro%e*
AIDA: For#ive me Father, but - need one last moment "ith him*
AMONASRO: au#hter8
((he lea,s o!t of the boat and r!ns to +A*AM#(. He ,!ts it together."
RADAMES: 4& course, you5re the (ubian /rincess* 'nd you had me marry 'mneris 0ust
so your kin# could esca%e* What a &ool - am* -t "as all a lie* 'n act* Every "ord* Every
kiss*
AIDA: (o8 But - have made too many mistakes and too many %eo%le have su&&ered* -
could not act sel&ishly no"*
RADAMES: .o you lied to me:
AIDA: (ot "hen - said - love you* ;es%erate< .ay you believe me*
(As +A*AM#( str!ggles to find the answer- 4O(#+ a,,ears on the rise."
-OSER ((hocked to see A'*A. To one of the $/A+*(." .he5s alive:
(M#+#0 r!shes forward. He stands in front of 4O(#+- brandishing a sword."
MERE: .to% there8
(M#+#0 and $/A+* fight; M#+#0 c!ts down the $/A+*."
AMONASRO: 'ida, come8 - command it8
=B
RADAMES: 'ida, #et in the boat8 This is your last chance*
(4O(#+ ,!lls his sword and c!ts M#+#0 down."
AIDA: MEREB8
(A'*A ,!lls away from +A*AM#( and r!ns to M#+#0. +A*AM#( takes M#+#02(
sword and lifts it high above the ro,e that sec!res the boat."
-OSER: Radames8 For the love o& E#y%t sto% them8 (+A*AM#( brings his sword down
on the ro,e...severing it." (444448
AMONASRO: '-'8 (o, my dau#hter8 'ida8 Be stron#, be (ubian8
(The boat is swe,t away."
-OSER: Radames8 What have you done:
RADAMES: -t5s all over, Father* When they come &or me, they5ll take you a"ay too*
-OSER: (o $ that can5t ha%%en $ E#y%t needs me $
RADAMES: )ou5re the one "ho tied our &ates to#ether* Like &ather, like son* - think
you should run*
(4O(#+ e3its."
AIDA: Radames* !e5s***
MERE: For#ive me, /rincess* - &ailed you*
AIDA: (o***never8 )ou, Mereb, ins%ired me*
MERE: - "anted to #o back to (ubia* 'ida, take me home*
(A'*A holds M#+#0 as he dies. +A*AM#( moves forward and lifts A'*A into his
arms as the g!ards s!rro!nd them."
Scene N.ne
MUSIC N 1?CTHE EUD!EMENT HALL
AM#+'( a,,roaches +A*AM#( and A'*A as the $/A+*( ,!ll them a,art to ,!t
chains on them- A'*A is dragged to stage left- leaving +A*AM#( and AM#+'( in the
center.
RADAMES: 'mneris* - never meant to hurt you*
=C
((!ddenly dr!ms so!nd- anno!ncing &HA+AOH2( arrival. M''(T#+( and (O)*'#+(
begin to file on !,stage. AM#+'( is ,anicked."
AMNERIS: id you ever love me at all:
RADAMES: 'mneris* (He to!ches her cheek gently." -5ve loved you all my li&e*
(The $/A+* drags +A*AM#( away- ,!shing him to stage right. On stage left- a
$/A+* forces A'*A to her knees. Angrily- AM#+'( calls to him."
AMNERIS: Take your hands o&& her8 (AM#+'( crosses to A'*A." '&ter all, she is a
/rincess*
(The $/A+* backs away- leaving A'*A standing."
MUSIC N 14C PHAROAHFS SPEECH
PHARAOH: 'mneris let us be#in* -t is time* Brin# &orth the %risoners*(A'*A and
+A*AM#( are ,!shed forward. To AM#+'(." ?oser has been a%%rehended, and "e
have uncovered his %lot* Radames, - chose you* )ou "ere the s"ord destined to de&end
our motherland, the best commander ever to lead our victorious army into battle* (He is
seized by a co!ghing fit" Radames, ho" could you: )ou "ere like a son to me* - do not
understand this betrayal - trusted your &ather* That trust has been broken, and you "ill
&eel the &ull "rath o& the la"* (o" - "ill make thin#s ri#ht "hile - still can*
(&HA+AOH t!rns to the assembly." The criminals "ill receive their sentences8
AMNERIS: Father, - have a re,uest*
PHARAOH: ' re,uest:
AMNERIS: - kno" the traitors must die &or crimes a#ainst E#y%t* This is the la"* But -
"ould ask***that the %risoners be allo"ed to die to#ether*
PHARAOH: But that "ould be mercy $ a&ter they dis#raced you be&ore the entire nation*
AMNERIS: I "as "ron#ed* -t should be my decision*
PHARAOH: )ou don5t kno" your o"n mind* )ou are blinded by a&&ection* The dau#hter
o& -sis must be stron# (A ,rono!ncement." For their crimes, the traitors $
AMNERIS: )our Ma0esty, you have %oison in your blood* We both kno" this* .oon -
"ill
be com%letely alone, because everyone - love "ill be #one* .o you must allo" me to
e7ercise my "ill over E#y%t* Because - am to be your successorLand because - De/=nD
it*
=E
(&HA+AOH st!dies AM#+'( a long moment- then nods and waves her forward."
AMNERIS ;To the /E4/LE*<: For their crimes, the traitors "ill be buried beneath the
sands o& E#y%t, in one tomb***to#ether* The au#hter o& -sis has s%oken*
(AM#+'( t!rns and r!ns off- !nable to watch. The m!sic begins and A'*A and
+A*AM#( are isolated in two cages. 0ehind them- the <!dgment Hall disa,,ears."
MUSIC N 15 "INALE
ELAORATE LIVES %Re;r.&e)
AIDA
We all lead such elaborate lives Wild ambitions in our si#hts
!o" an a&&air o& the heart survives days a%art and hurried ni#hts
.eems ,uite unbelievable to me - don5t "ant to live like that
.eems ,uite unbelievable to me - don5t "ant to love like that
- 0ust "ant our time to be slo"er and #entler, "iser, &ree
We all live in e7trava#ant times %layin# #ames "e can5t all "in
Knintended emotional crimes take some out take others in
Too many choices tear us a%art - don5t "ant to live like that
Too many choices tear us a%art - don5t "ant to love like that
- 0ust "ant to kee% your heart may this con&ession be the start
- kno" you5ll #ive me coura#e to &ace "hat - must &ace
"ith all these com%lications in another time and %lace
AIDA # RADAMES
We all lead such elaborate lives "e don5t kno" "hose "ords are true
'n a&&air o& the heart survives "ill the %ain the "orld can do
RADAMES
-5m so tired o& all "e5re #oin# throu#h - don5t "ant to live like that
'-'
-5m so tired o& all "e5re #oin# throu#h
- don5t "ant to love like that - 0ust "ant to be "ith you
(o" and &orever %eace&ul, true
Scene Ten: THE INTERIOR O" THE TOM
The tomb comes forward. $/A+*( force A'*A and +A*AM#( into the tomb.
AIDA: ;s%oken< -t5s so dark*
RADAMES: ;s%oken< @ive me your hand* -5m ri#ht here "ith you* There is another
=G
"orld "aitin# &or us, 'ida* - can &eel it* The "ay - al"ays kne" there "as a "orld
beyond every bend in the (ile* Just "aitin# to be discovered*
AIDA: )ou "ill &ind me in that "orld:
RADAMES: -& - have to search &or a hundred li&e times, - "ill &ind you a#ain, 'ida*
ENCHANTMENT PASSIN! THROU!H %Re;r.&e)
RADAMES
There5ll be no ties o& time and s%ace to bind us
AIDA
'nd no hori1on "e shall not %ursue
RADAMES # AIDA
We5ll leave the "orld5s mis&ortunes &ar behind us
'nd - "ill %ut my &aith and trust in you
;the music s"ells and there is a blackout<
EPILO!UE: THE MUSEUM: AM#+'( enters- dressed as in the &rolog!e ...
&HA+AOH OF #$%&T. AM#+'( sings.
EVERY STORY %Re;r.&e)
AMNERIS
From dee% "ithin a tomb a #entle li#ht still shone
.ho"in# me my %ath as - ascended to the throne
2ertain in my heart that ancient "ars must cease
The lovers5 deaths #ave birth to a rei#n o& %eace
'nd their story , and my 0ourney
'nd the lesson they %rovide
ra" their stren#th and ins%iration &rom a love that never dies
(We are ret!rning to o!r own time and the m!se!m of the &rolog!e. Once again- the
contem,orary crowd gathers aro!nd vario!s e3hibits. The man and the woman circle the
model of the tomb. %es- they know this ,lace. They look !,. Their eyes meet. The man and
woman move towards each other. %ADE & "'A!#)
MUSIC N 27CEND MUSIC
END O" ACT T2O
>I