Stella-Rondo indignantly replies by having Shirley-T. Mama anxiously calls up to Stella-Rondo’s room and asks if her child can talk. may be “simple,” because she hasn’t said a single word since she arrived.
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Scene Four: In the kitchen, Sister tells Mama she fears Shirley-T. Sister defends him, they fight, and Sister storms off to make green tomato pickle. Stella-Rondo comments to Sister that Uncle Rondo looks like a fool in the kimono. Papa-Daddy tries to turn Uncle Rondo against Sister, but Uncle Rondo is too woozy to get turned for the time being. Scene Three: Uncle Rondo, dressed in one of Stella-Rondo’s kimonos and drunk on his “prescription,” reels into the yard toward the hammock. He refuses to hear her protestations of innocence, calls her a hussy, and storms out to lie in the hammock. Papa-Daddy, who is inordinately proud of his beard, is enraged at Sister. Scene Two: At the dinner table, Stella-Rondo turns Papa-Daddy against Sister by telling a deliberate, calculated falsehood - that Sister thinks Papa-Daddy should cut off his beard. Stella-Rondo angrily demands that Sister make no future reference to her adopted child, and flounces off to her room. Whitaker and Papa-Daddy, the family patriarch, if he were to cut off his beard, which of course he’d never do. could be adopted, noting a strong resemblance to both Mr. Mama greets them ecstatically, but Sister expresses her doubts that Shirley-T. (In one of her manifestations, Sister is the narrator, eager to tell her story in a way that casts herself in the most favorable light and in another, she is an active participant in the events being described.) Her peace is shattered when Stella-Rondo arrives with a two-year-old child named Shirley-T, whom she insists is adopted. Sister narrates her story, pointing to an incarnation of herself in the kitchen five days earlier, contentedly performing domestic chores for her family. Scene One: Sister walks into the story she is telling, back to her family home, back in time, to the Fourth of July.
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She had been doing fine until her sister Stella-Rondo came home from Illinois, where she’d been briefly married to Mr. She begins to tell us the story of why she is living at the P.O. Sister, the narrator, has set up housekeeping there with all the amenities of a cozy home. Prologue: The back room of the Post Office of China Grove, Mississippi, early July, 1941. by Eudora Welty © copyright 1941 by Eudora Welty, Why I Live at the P.O. tells the story of Sister, a young woman who decides to handle her conflicts with her family by moving into the Post Office where she works. UrbanArias is proud to be commissioning the completion of this work at a time when many families have been experiencing “togetherness” in a whole new way. Why I Live at the P.O. is a delightful addition to the opera canon which takes a short story from beloved author Eudora Welty and combines it with classic and contemporary American musical styles to tell the story of a supremely relatable family. The opera, set in 1941, uses musical idioms of the period - Big Band, Tin Pan Alley, film scores, and Southern white gospel - to capture the eccentricity and unpredictability of Ms.
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COMMISSION MUSIC CONTACTĮUDORA WELTY, the celebrated Mississippi writer, was born in 1909 and the performance of this opera, based on the story she claimed was her favorite, was presented in her honor, to celebrate her centennial year.