Elizabeth: Libretto
- Roman Mykyta
- Jun 29
- 6 min read
Updated: Sep 14
Dramatic Historical Ballet in One Act.
Libretto and Choreography by Roman Mykyta * Music by O. Respighi
CHOREOGRAPHERS NOTE: Concerning my choreographic vision and process, I believe and follow the five principles outlined by Michel Fokine, the first choreographer of the Ballet Russes, who profoundly influenced 20th century ballet choreography. Of particular note is Fokine’s 5th principle, the alliance of dancing with the other arts. Stylistically, this choreography was influenced by the artistic legacy of the Rossetti family, especially painter Dante Gabriel Rossetti. His work, ‘Found’, inspired the framing of this Libretto. While there were women who encountered Mother Seton, as depicted in this ballet, the real Fanny Cornforth was an art model who did not meet her; nonetheless, in paying homage to both the historical and artistic legacies, I preserved the name of the model while depicting the shared experiences of other women.
I will annotate the libretto with images of ‘Found’ and other works that inspired moments in the piece.
Finally, I use a minimalist set design when creating narrative ballets, emphasizing scene changes and narrative progression mainly through staging the corps de ballet and using only a few props.
LIBRETTO
BALTIMORE, 1811: In late August, Fanny Cornforth, a country lass from Winchester (the former name of Westminster) goes to Baltimore with two friends to work in the mills. Fanny is a free spirit who wants to embrace the richness of life and is excited by everything a big city has to offer. While enjoying a night on the town, the three girls are courted by three suitors who take them out dancing. One fateful night in September, while accepting the entreaties of the suitors, Fanny decides not to return to the mill with her friends, breaking curfew and effectively quitting her job. Through the beginning of autumn she is privately entertained by the suitors. Propelled by the excitement of new passions, she gives herself fully to her Seducer, but by the end of November the suitors depart for their family estates, playing a cruel trick on Fanny with no promise to return. Fanny, now left destitute, must rely on any passing charity. A country drover from Hampstead, who apparently recognizes Fanny from childhood, saves the girl, promising to escort her to the Sisters of Charity led by Mother Seton.
EMMITSBURG, 1811: In early December, the Sisters of Charity and their ward of school girls are led by Mother Seton through the evening activities and prayers during Advent. Fanny Cornforth appears as a novice. When the Sisters and school girls are dismissed to retire for bed, Fanny Cornforth remains to receive counseling from Mother Seton; two other sisters sit in the corner, beginning a prayerful meditation. Fanny Cornforth remains inconsolable; her heart feels more wounded than ever before and she rejects the invitation to join St. Joseph’s House. She finds herself there wounded and punished and she scoffs at the Sisters, insisting that they wouldn’t understand heartbreak. She collapses into tears and Mother Seton, along with her daughters, Anna Maria, Catherine and Rebecca Rebecca, rush to comfort her. Mother Seton reassures the young girl that she deeply understands and yet Divine Love heals all; she begins her story.
CHOREOGRAPHERS NOTE: The Advent activities of Sisters of Charity and their ward of school girls include a play on The Annunciation and Caroling. Further employing Fokine’s 5th principal, the alliance of dancing with other arts, this scene was inspired by two other Rossetti paintings: ‘The Girlhood of Mary Virgin’ and ‘The Annunciation’. Additionally, Rossetti’s sister, Christina Georgina Rossetti, was a writer, who penned the Cristmas Carol, “In the Bleak Midwinter”. The schoolgirls are miming the lyrics from the last verse, referring to the infant Christ, “What can I give Him, Poor as I am? ….. Yet what I can I give Him, —Give my heart.”
Drawing upon my own tradition, I have inserted other moments within the choreography that are allusions to the Sacred Iconography of the Eastern Orthodox Church that underscore the message of Love. In this scene, Mother Seton’s cheek to cheek embrace of the distraught Fanny, offering comfort and compassion, evokes the captivating image of the Theotokos Eleousa, or Virgin of Tenderness (or Showing Mercy) Icon that symbolizes the intimate connection between God and humanity.
NEW YORK CITY, 1781: At the conclusion of the Revolutionary War, the United States
promises to be a new country with endless possibilities.
NEW YORK CITY, 1793: A young, thoughtful and free spirited Elizabeth Bayley loses herself in a book. An Elegant Lady from New York Society and a member of the Seton clan, encourages Elizabeth to join the young people’s social gatherings. Elizabeth delights in the dancing; her and her partner William Seton are drawn to each other in every sense.
NEW YORK CITY, 1794: William and Elizabeth Ann Seton are married, enjoying the company of their relatives. When they are alone, their love initially finds expression as William takes up his Stradivarius and serenades Elizabeth, as she freely and elegantly dances. They begin their family, and have five children: Anna Maria, William, Richard, Catherine and Rebecca.
CHOREOGRAPHER’S NOTE: In addition to all of her other achievements, Elizabeth loved to dance and her dancing slippers are kept for posterity at her National Shrine in Emmitsburg, which adds significance to creating a ballet based on her life.
NEW YORK CITY, 1803: William Seton feels invigorated to undertake a business trip to meet his business partner in Italy. Elizabeth joins him with Anna Maria.
LIVORNO, 1803: The citizens of Livorno are celebrating the Feast of St. Andrew, led by Antonio and Amabilia Filicchi. Both Filippo Filicchi and his wife are expecting to welcome the Setons from their journey. However when the Setons arrive, they are sequestered in quarantine. William Seton is succumbing to tuberculosis, while Elizabeth tries to make sense of the circumstances. William dies in December as his two companion angels release him from the sickness and take him to his next destination, but he is grieved to leave Elizabeth. When William passes, Elizabeth feels like she has lost half of herself. When both she and Anna Maria are released from quarantine, they are hosted by the Filicchis. Elizabeth is uplifted by their kindness, but in her numb and vulnerable state, the emotional connection with Antonio becomes momentarily confused before she puts it in its proper place. Elizabeth releases her burden by turning to faith, experiencing spiritual renewal by encountering the Catholic Church.
NEW YORK CITY, 1805: Upon returning to the United States, Elizabeth converts to Catholicism but her relatives and former associates do not approve and withdraw from her.
EMMITSBURG, 1810: Elizabeth accepts the invitation to go to Emmitsburg, where she establishes Saint Joseph’s Academy and Free School. Elizabeth devotes herself to this project, becoming a haven for vulnerable girls, including Fanny Cornforth to be sheltered from the world’s cruelties.
CHOREOGRAPHER'S NOTE: Another allusion to Eastern Orthodox Iconography comes during a dynamic scene as the school for girls takes shape around Mother Seton. Mother Seton, at center stage executes an arabesque balanced in two sides by Sisters of Charity demonstrating her leadership of the effort. In executing this move, Mother Seton briefly passes through the posture of Christ on the Cross, depicted in the Icon of the Crucifixion, demonstrating her self sacrificing love and devotion to this effort.
EMMITSBURG, 1812: Coming into the present time, Mother Seton manages devoting herself to the school while continuing to be a mother for her five children. William, Jr. receives his mother’s blessing to embark on his naval career while she must admonish Richard for his prodigal living. Catherine remains quiet and reflective, but Rebecca has fallen on the ice, suffering a serious injury. However all of them turn their attention to Anna Maria who is succumbing to tuberculosis. After a painful battle, Anna Maria finds peace as she passes, escorted by her companion angels and reunited with her father.
Elizabeth sees a mystic vision of her husband, daughter and the angels; after years of heart-breaking experiences counterbalanced by her spiritual meditations, she suffers no anxiety about death but trusts that her loved ones have come closer to Divine Love as she herself longs to be. She is illuminated by a joyful peace motivated by perfected love. She feels supported on all sides by Faith, Hope, Experience and Love.
Meanwhile, Fanny Cornforth, moved by Mother Seton’s story expresses her gratitude for her counseling while basking in her own spiritual renewal. She is set free from her wounded heart, which now overflows with joy. The two of them are joined by Catherine and Rebecca as they frolic through the forest; it is unclear what Fanny Cornforth’s future will hold, but with this root of faith, anything is possible.