Paddle to New Orleans

By David Serafino

This two-act play is a companion piece to Traders on the Border and takes place during the two-year interval not presented in Traders (1812-1814). This is the years between the beginning and end of the war. The setting is primarily the Mississippi River. Peter and Polly, now married leave Niagara to journey by raft down the Ohio River and into the Mississippi to board a Paddle-wheeler in Natchez. It is a rustic honeymoon since there is no comfortable boat that can carry them down the river. Peter, being a trader, decides that they can profit on the voyage by paddling a raft down the river and trading in the markets they encounter.
An American pacifist, Peter is also apolitical. Polly, however, a British subject, fears recrimination. During the voyage, they examine the drama of the ongoing Indian/American war and realize why the Indians are British allies. In addition, they encounter slave boats taking slaves to market in New Orleans.
There is action and romance involving people they meet, some of whom become part of their company and bring their own dramatizations to the forefront to interweave with the main plot.
When Peter & Polly eventually arrive in Natchez and board their Paddlewheeler, they get a surprise in the form of the woman entertainer on stage that Polly recognizes. The relationship is strained when Polly chastises the woman for her ‘lewd’ performance.
It resumes when Polly and her two friends are hired to perform to pay their fare. Peter on the other hand is busy making deals, the most lucrative and dangerous is to deliver guns to the Americans and bring rum from Jamaica to the soldiers.
After some time on the boat, Mary reveals a family secret to Polly which leaves her flabbergasted. Before things can be resolved, Polly and Peter leave for Jamaica. When they return, Polly is visibly pregnant, and Peter anxious to deliver his rifles to the militia in preparation for the British invasion.
The final act is filled with cannon and musket blasts, played against the loud screams of Polly giving birth. Peter is wounded in the battle and ends up in hospital with Polly and their child and the friend. The play ends with the 1812 overture playing to the climax but stops short and ends on a baby’s high-pitched and loud cry.

• Language: English
• Publisher: David Serafino
• Release date: Jul 20, 2020
• ISBN: 9781005999285

David Serafino

David Serafino was born in 1947 and grew up in Niagara Falls Ontario but has lived almost all of his adult life in the historic town of Port Dalhousie, now a suburb of St. Catharines Ontario. He began writing while a young adult, contributing to local publications and attempting a first yet-to-be published auto-biographical novel. In 1997 he began publishing Dalhousie Peer Magazine which ran for 14 years and 150 monthly issues. He is a published author by virtue of having a short story adjudicated for inclusion in a Canadian literary journal in 2009. In 1997 he co-authored and printed a history book of Port Dalhousie titled “A Nickel a Ride” In 2020 he produced, published and co-authored a more detailed and complete history of Port Dalhousie titled “Port Dalhousie: An Intimate History. Serafino has also written a series of five plays based on the War of 1812 and two children’s plays, some of which were performed locally and in New York State. He has also published two novels and a book of short stories & poems as eBooks. He is an amateur musician who uploads self-produced music videos of original songs to YouTube. Together, with his wife Lana, they have built an off-grid, solar-powered retreat in Central Ontario where they spend much of their summer. Since retirement in 2010 they have spent part of their winters in Latin America.

Book preview

PADDLE TO NEW ORLEANS

A TWO-ACT PLAY

(historical comedy)

by DAVID SERAFINO

ISBN: 9781005999285

Copyright © 2012

David Serafino

Dalpeer Productions

6 Pine Street, St. Catharines ON L2N4T1

905-934-9676

[e-mail]

All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review or scholarly journal. This play may be performed for free by any school group or not-for-profit community theatre group with permission from the author.

ACT I

ACT I

Scene I

Setting: The date is mid-October, 1812 in Pittsburgh on a waterfront dock with a flatboat tied to it. In the background is the Ohio River. The flatboat deck is set on a frame about 6" deep and extends beyond the length of the stage. Bow and cabin are stage right; stern is implied off stage left. Beyond stage left it is implied that cargo and crew quarters exist. On the deck, stage right, there is the enclosed cabin of the pilot and mate. The cabin is accessed by a door from the deck and is at stage (water) level. This setting is maintained throughout Act I but enhanced in Scene VI.

Before Rise: Peter and Polly run in from the audience in their wedding attire singing and dancing before the closed curtains. They sing We Promised We’d Wait.

Song: WE PROMISED WE’D WAIT

sung by PETER & POLLY

PETER: [A] At night I close my eyes

[D] thinking of you

In the [B7] morning you’re still on my [E] mind

POLLY: [A] All day long I linger over

[B7] what we’re gonna do

[D] Later on to[A]night

BOTH: But we [F#m] promised we’d wait

[Bm] beyond our first date

POLLY: And now [E] we’ve had one and a [A] few

PETER: I [F#m] think it’s time we

[D] broke out the wine

BOTH: At [B7] least a bottle or [E] two

POLLY: [A] I can hardly wait,

PETER: [F#m] I’m in quite a state

BOTH: [Bm]I just want to hold you in my [E]arms

PETER: [A]Don’t worry what to wear

POLLY: [F#m] I don’t really care

‘cause [B7] I won’t be wearing it [E] long

BOTH: And we [F#m] promised we’d wait

[Bm] put trust in our fate

POLLY: To [E] make the moment

worth so much [A] more

PETER: But now [F#m] the time has come

BOTH: and [D] when all is said and done

We’ll be in [B7] love like never [E] before

(Instrumental for 16 bars)

[A] [D] [B7] [E] [A] [B7] [D] [A]

[F#m] [Bm] [E] [A] [F#m] [D] [B7] [E]

PETER: Now [A]that we’re finally here

There’s something [D] you should hear

POLLY: I’ve been [B7] waiting for such a long [E] time

PETER: [A] I hope you’re not upset

The bedroom’s [B7]not quite ready yet

And I forgot to [D] decant the [A] wine

BOTH: But we [F#m] promised we’d wait,

be [Bm] true to our faith

POLLY: And that [E] seems such a long time [A] ago

PETER: Now [F#m] we’ve taken our vows

POLLY: [D] no more what, when or hows

BOTH: To[B7]night’s the night for the [E] show

(Instrumental for 8 bars)

[A] [D] [B7] [E] [A] [B7] [D] [A] (end)

(Peter & Polly exit while the music continues to play to allow time for a quick costume change.)

(At Rise: Peter & Polly are standing on the stage (implied boardwalk) in overcoats in front of the flatboat looking out at the audience. Peter is tying a blindfold over Polly’s eyes. )

PETER

We’re nearly here and, since it’s a surprise, you need to wear a blindfold.

POLLY

If you insist, but please take my hand.

PETER

I’ve kept my plans a secret because I wasn’t sure if they’d work out or not; but I received word from the owner this morning.

POLLY

So your surprise will work out?

PETER

Yes indeed.

POLLY

And will it please me?

PETER

Just a few more steps.

POLLY

And then can I take this blindfold off?

PETER

Yes, but don’t turn around until I tell you.

POLLY

I know where we are. I can smell the water and hear the waves lapping the shore. I believe I’m standing on a boardwalk by the river.

(Polly removes the blindfold and giggles with anticipation)

PETER

But do you know why we’re here on the banks of the Ohio?

POLLY

You said it was a surprise. I’m hoping to turn around to find a paddle-wheel steamboat behind me.

PETER

This is better. What’s behind you has more value than passage on a paddle-wheeler.

POLLY

Hmm. And will it still take us to New Orleans?

PETER

It will not only take us there but will more than pay our way. We’ll have money in our pockets by the time we reach our destination and prospects of wealth after that.

POLLY

Well now I am intrigued. I can’t imagine what it is floating behind me. So may I turn around now?

PETER

Please do.

(Polly turns. Her shoulders slump and her upheld arms drop to her side. There