George's House at Pau Lyrics — Aspects of Love

George's House at Pau Lyrics

George's House at Pau

JENNY
I think by now I'm old enough
To put myself to bed.
Why don't you go and forge
Another masterpiece instead?

GEORGE
Oh, Jenny, you're a monster!
I should have had a son!
It seems, alas, a father's lot...

BOTH (she chiming in, as it is a line she has heard often before)
...Is not a happy one!

JENNY
You know I need my donkey.

GEORGE
Why can't you just count sheep?

All right, you have your donkey --
Now will you go to sleep?

JENNY
I'm really thrilled for Mummy!
Weren't they wonderful reviews?
She'll be the toast of Paris!
Mummy's always in the news!

GEORGE
You're right, it is amazing
How the work keeps flooding in,
With appearances in London
And movies in Berlin.

JENNY
Now off you go to bed --
I'll wake you when I hear the car!

GEORGE
Look, Jenny, go to bed --
God, what a chatterbox you are!

Jenny,
You're a miracle!
Is there nothing you conceal?
Jenny,
You astonish me!
Never hiding
What you feel...



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Song Overview

George's House at Pau lyrics by Diana Morrison and Kevin Colson
Diana Morrison and Kevin Colson sing 'George's House at Pau' lyrics in the original London cast recording upload.

This track is a quiet reset in Act II: Paris fades, and the story returns to the country house in Pau. The cast album treats it like a camera pan across familiar rooms, except the point is not scenery. The point is that Jenny and George now carry the scene, and that shift changes the balance of the whole family.

Review and Highlights

Quick summary

  1. Work: Aspects of Love (1989) - stage musical scene in Act II.
  2. Who is heard: Jenny and George (performed on the original London cast recording by Diana Morrison and Kevin Colson).
  3. What it does: A short domestic bridge that pulls the story back to Pau after the Paris theatre sequence.
  4. Album role: A connective cue - it sets the mood for the ensemble material that follows.
  5. Running time: About 1 minute 27 seconds on the 1989 cast release.
Scene from George's House at Pau by Diana Morrison and Kevin Colson
'George's House at Pau' in the official audio upload.

Aspects of Love (1989) - stage musical - not. Act II, at George's home in Pau, with Jenny and George in focus (approx. 0:00-1:27 on the cast track). Why it matters: it turns the story from public applause back into private power, where affection can sound polite while everyone keeps score.

I like this scene because it refuses to grandstand. It is short, direct, and slightly unsettling in its calm. The melody does not beg for attention. It behaves like conversation that has learned to sing, which makes the subtext feel sharper: this is a household where love is real, but it is also arranged.

Key takeaways
  1. Perspective shift: Jenny steps forward as more than a child in the background.
  2. Domestic tension: the house in Pau becomes a stage where rules are enforced softly.
  3. Momentum: it moves you toward the next sequence without letting you relax.
  4. Character shading: George sounds protective, but also practiced at steering conversations.

Creation History

As stated by Concord Theatricals, the musical follows changing relationships across three generations, set against post-war France and Italy. The original London cast recording (released in 1989) captured many of the show’s sung-through scene titles as separate tracks, with Andrew Lloyd Webber credited as producer and Olympic Studios in Barnes listed in the recording and mixing data. A later remastered edition (2005) is widely described as restoring material cut from the first release, which matters in a show where these small bridges are part of the storytelling engine.

Song Meaning and Annotations

Diana Morrison and Kevin Colson performing George's House at Pau
Video moments that frame the scene change back to Pau.

Plot

Act II opens in Paris with Rose in her theatre world, then the narrative cuts back to the country house in Pau. This cue is the landing. Jenny and George occupy the room, and the show quietly reminds you that family ties are not neutral. They are history, obligation, and the kind of closeness that can feel safe right up until it does not.

Song Meaning

The meaning lives in the location. A house is supposed to be private, but this one is a hub where people return, hide, and negotiate. In this moment, Jenny is both daughter and witness, learning how adults shape reality with tone and timing. George, meanwhile, carries the weight of a man who can make decisions without raising his voice. The music matches that: controlled, contained, and careful about when it lets warmth show.

Annotations

"George's House at Pau - Jenny and George."

That credit line matters more than it looks. The show hands the scene to a father and daughter, and the audience is asked to watch the family from the inside, not from the romance triangle.

"1:27 - Disc 2, Track 5."

The brevity is part of the craft. It does not solve anything. It sets the board, then lets the next number make the first move.

"A sung-through musical with only minor dialogue."

In a structure like this, a one-minute bridge can carry a lot. This is one of those places where the score does logistics and psychology at the same time.

Shot of George's House at Pau by Diana Morrison and Kevin Colson
A small scene cue that resets the story's temperature.
Sound and arrangement notes

On the cast recording, the orchestration stays lean. You hear a theatre-orchestra palette, but used like chamber writing: enough color to suggest place, not enough to distract from what is being implied. The vocal lines keep close to speech rhythm, which suits a scene where the real action is what people choose not to say.

Why Pau keeps returning

Pau is not just a map pin. It is the show’s pressure chamber. Characters arrive there with baggage, and the house turns that baggage into routine. That is why these location-titled cues work: they tell you the rules have changed before anyone admits it.

Technical Information (Quick Facts)

  1. Song: George's House at Pau
  2. Artist: Diana Morrison and Kevin Colson (Original London Cast Recording)
  3. Featured: Original London Cast orchestra
  4. Composer: Andrew Lloyd Webber
  5. Producer: Andrew Lloyd Webber
  6. Release Date: August 30, 1989
  7. Genre: Musical theatre
  8. Instruments: Voice, orchestra
  9. Label: Really Useful - Polydor
  10. Mood: Domestic, watchful, gently tense
  11. Length: 1:27
  12. Track #: Disc 2, Track 5
  13. Language: English
  14. Album (if any): Aspects of Love (1989 original London cast)
  15. Music style: Sung-through scene cue
  16. Poetic meter: Speech-rhythm phrasing

Frequently Asked Questions

Who sings this scene on the original cast recording?
It is sung by Jenny and George, performed on the original London recording by Diana Morrison and Kevin Colson.
Is it a full stand-alone song?
It functions as a short sung-through scene cue. It sets location and mood, then hands off to the next dramatic beat.
Where does it appear in Act II?
Right after the Paris theatre material and the backstage reunion. The plot cuts back to Pau and to George’s household.
Why does the show keep using house-and-place titles?
Because geography is a storytelling device here. A new room usually means a new set of rules, even if nobody says it out loud.
What does the scene reveal about Jenny?
It frames her as alert and observant, not just a child in the corner. The score gives her a space before the bigger conflicts arrive.
What does it reveal about George?
George comes across as composed and guiding, the kind of authority that feels gentle until you notice it directing everything.
Why is it so short?
Because it is a pivot. The scene lands the story in Pau and lets the following numbers do the heavy lifting.
Is there a "live" version?
Some streaming metadata labels the track as a live recording on the remastered album listings, even though it is associated with the cast recording program.
Did this track chart as a single?
No. The chart story belongs to the cast album and to the show’s best-known singles, not to this scene cue.
What is the simplest way to listen for its purpose?
Listen for the scene change: the music tightens, the focus narrows, and the narrative starts counting consequences again.

Awards and Chart Positions

This track is not a charting single, but the cast album was a real commercial moment. According to the Official Charts Company, the original cast release reached peak position 1 on the UK Official Albums Chart, with its first chart date on September 16, 1989 and a 29-week Top 100 run. The stage production also earned major industry recognition, including multiple Tony nominations in 1990, and the cast recording appears among the nominees for the BRIT Awards Soundtrack-Cast Recording category (1990).

Item Body Result Date
Aspects of Love (Original Cast album) UK Official Albums Chart Peak 1; 29 weeks (Top 100) First chart date: September 16, 1989
Aspects of Love (cast recording) BRIT Awards Nominated: Soundtrack-Cast Recording 1990
Aspects of Love (Broadway production) Tony Awards Multiple nominations (including score and performances) 1990

Additional Info

The show likes to travel, but it is not tourism. Each place is a mood. Paris feels like performance, Pau feels like permanence, and Venice feels like a dare. That is why these scene titles land: they tell you what kind of behavior the room allows.

A small casting note also shapes how this track is heard. The original West End production opened at the Prince of Wales Theatre in April 1989 with Kevin Colson as George and Diana Morrison as Jenny, and later revivals have kept the father-daughter dynamic as a core thread even when the romance triangle steals headlines.

Key Contributors

Entity Type Relationship (S-V-O)
Andrew Lloyd Webber Person Andrew Lloyd Webber composed and produced the score and cast recording.
Don Black Person Don Black wrote lyrics for the musical.
Charles Hart Person Charles Hart wrote lyrics for the musical.
Diana Morrison Person Diana Morrison performed Jenny on the original London cast recording.
Kevin Colson Person Kevin Colson performed George in the original London production and recording.
Olympic Studios (Barnes, London) Organization Olympic Studios hosted recording and mixing for the album release metadata.
Really Useful - Polydor Organization Really Useful - Polydor released the original cast album.
Concord Theatricals Organization Concord Theatricals licenses and describes the musical for productions.

Sources

Sources: MusicBrainz - Aspects of Love (1989 original London cast) release page; Official Charts Company - ASPECTS OF LOVE (Original Cast) album page; Concord Theatricals - Aspects of Love (Lloyd Webber) show page; StageAgent - Aspects of Love songs list; Aspects of Love - Wikipedia; Tony Awards - 1990 nominees listing; Brit Awards 1990 - Wikipedia; YouTube - Original 1989 London Cast upload (George's House at Pau).



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