In Many Rooms in the House at Pau Lyrics
In Many Rooms in the House at Pau
ROSEThis is what I ought to feel on stage...
Soaring up like snow-capped mountains...
I feel your beauty and your rage...
I could be those tumbling forests,
I could play those jagged hillsides...
Star of mountain,
Star of valley...
ALEX
Would Madam care for breakfast?
Will croissants and fresh coffee do?
Wonderful view!
Whenever we see those mountains,
We will think of me and you...
George insists on magnificent views.
ROSE
I think I should like your uncle...
ROSE
Alex, she's beautiful. Who is she?
ALEX
My aunt Delia. She was an actress too.
ROSE
Delia! Was she famous?
ALEX
Yes. But she died very young. That's why my uncle doesn't
come down here very often. Too many memories.
ROSE
Haven't I seen that somewhere before?
ALEX
Not the one you're thinking of. That's in the Louvre.
George did that one. Some people call it fraud, but he prefers to
think of it as a tribute.
ALEX (brandishing a rapier)
En garde!
ROSE (parrying with a tennis racket)
Fifteen love!
BOTH
Promise me today will never ever end!
ROSE (pulling out various tins)
Caviar! Anchovies! Peaches in brandy! We can have a banquet tonight!
ALEX
When he does get down here, George doesn't believe in having to rough it.
BOTH
I could get to like it here!
Let's not ever think of leaving!
ALEX
Look at this. Pierrot. Carmen.
For the ballroom? Or the bedroom?
ROSE
M?rim?e, "L'Occasion". I know this -- it's a wonderful play!
ALEX
Really?
ROSE
Let's do it. You can be the priest, I'll be Do?a Maria Colemenares.
ALEX
But I don't know anything about the theatre.
ROSE
I'll teach you. We'll do it. Tonight.
ALEX
"What are you doing? Pull yourself together..."
ROSE
This one is gorgeous!
ALEX (looking up)
It was her favorite dress...
ROSE
He must have loved her so much.
ALEX
Rose, leave things as they are...
ROSE
I can just see her...
I feel I know her...
Song Overview
Review and Highlights
Quick summary
- What it is: A long Act One scene-song from Aspects of Love (1989) where quiet nostalgia turns into a shock of recognition.
- Who sings it in-story: Rose Vibert and Alex Dillingham, while George Dillingham arrives and is pulled into the moment.
- Where it happens: George's villa at Pau, inside rooms filled with Delia's portraits, costumes, and the kind of silence money can buy.
- Why it matters: It is the pivot where George stops being a distant figure and becomes emotionally exposed, triggered by Rose wearing Delia's ball gown.
Aspects of Love (1989) - stage musical - diegetic. Act One at the house in Pau: Rose and Alex explore the villa, uncover paintings of Delia, and Rose tries on a spectacular ball gown that belonged to her. George returns unexpectedly and, seeing Rose framed like the portrait come to life, nearly collapses. This placement matters because it turns the villa into a memory trap and gives George a wound the audience can finally see.
This track is theatre doing what theatre does best: one object, one image, and suddenly the past is standing in the doorway. The music moves through rooms the way a camera would, not lingering on a catchy chorus, but letting atmosphere stack up until the reveal lands. When Rose uncovers the portrait and says Delia is beautiful, you can feel the air thicken. The house is not just a setting. It is a biography.
- Key takeaways: slow-burn scene-writing, a prop-driven twist, and a transition from youthful thrill to adult grief.
- Best detail: the ball gown. It is a costume, a relic, and a key that unlocks George whether he wants it or not.
- Why it sticks: it is suspense without violence. The danger is memory, and the house is full of it.
Creation History
Andrew Lloyd Webber wrote the music and book, with lyrics by Don Black and Charles Hart, adapting David Garnett's novella into a mostly sung-through structure. Tracklists for cast releases and digital editions preserve this number as a longer scene sequence, often tagged live, running just over four minutes. As stated in Concord Theatricals' show description, the piece follows shifting relationships across generations, and this scene is where that generational pressure starts to bite: the living are forced to compete with the dead.
Song Meaning and Annotations
Plot
Alex brings Rose into George's villa at Pau. They wander through covered furniture and stored-away life, pulling dust sheets from paintings. Rose uncovers a portrait of Delia in a sumptuous Edwardian ball gown and learns Delia was George's wife, a famous actress who died young. Rose later finds the same gown, tries it on, and becomes a mirror of the portrait. At that exact moment, George arrives. The stage direction leans into the illusion: for a heartbeat the audience can believe the portrait is moving. George is devastated and needs brandy, and the triangle begins to form.
Song Meaning
The meaning is about inheritance and substitution. Alex thinks he is making a private paradise with Rose, but the villa is already occupied by Delia's presence. Rose is pulled between curiosity and ambition: she is an actress looking at a legend, then literally stepping into her silhouette. George is pulled into grief he has kept locked away, and the house becomes the mechanism that forces it open. The title idea, many rooms, is not just architecture. It is how the show describes memory: you can shut a door, but you still live in the building.
Annotations
"My aunt Delia. She was an actress too."
Alex says it casually, like a family fact, but the line changes the scene. Rose is not only being desired by a teenager. She is walking into a legacy that already has a leading lady.
"This one is gorgeous!"
It is a simple reaction, yet it lands like temptation. Rose is drawn to the gown as an object of glamour and craft, which makes the later shock feel inevitable rather than random.
"For a moment we half believe we are seeing the portrait come to life."
The stage direction is the heart of the number. The show openly admits it is doing a theatrical trick, and then uses that trick to make George break. The image is beautiful, and that is why it hurts.
Genre blend and emotional arc
This is musical theatre as cinematic montage: sung dialogue, atmosphere, and a reveal engineered by props and blocking. The arc moves from curiosity to awe to emotional rupture. Wikipedia's plot summary even singles out the gown moment as the trigger for George being overcome, which matches how the scene plays on stage: a single visual rearranges the story.
Symbols and touchpoints
The portrait is the museum label, the gown is the artifact, and Rose is the living exhibit. The show uses performance as a cultural touchpoint too. Delia was an actress, Rose is an actress, and the audience is asked to watch how easily admiration turns into replacement. If you have ever walked through someone else's house and felt their life staring back at you from the walls, you know the mood.
Technical Information (Quick Facts)
- Song: In Many Rooms in the House at Pau
- Artist: Original London Cast of Aspects of Love
- Featured: Rose Vibert and Alex Dillingham (with George Dillingham in the scene)
- Composer: Andrew Lloyd Webber
- Producer: Andrew Lloyd Webber (cast release credits vary by edition)
- Release Date: 1989 (cast recording era, with later remastered editions)
- Genre: Musical theatre, narrative scene
- Instruments: Voices and orchestra (pit arrangement)
- Label: Really Useful Records (common cast release listing)
- Mood: Curious, haunted, escalating
- Length: 4:19 (common digital listings) or 4:20 (some release listings)
- Track #: Act One, Track 9 on common cast-album tracklists
- Language: English
- Album (if any): Aspects of Love (Original London Cast Recording, remastered editions)
- Music style: Sung-through scene writing with a staged reveal
- Poetic meter: Mixed stresses (dialogue-led, flexible)
Frequently Asked Questions
- Who sings this number in the musical?
- Standard song lists assign it to Rose and Alex, with the dramatic payoff involving George when he returns to the villa.
- What is the key stage event in the scene?
- Rose appears wearing Delia's ball gown, creating the illusion that the portrait has come to life and triggering George's collapse.
- Why is Delia important if she never appears alive?
- Delia functions like a ghost in the architecture. Her portrait, her gown, and George's grief shape how he sees Rose and how the triangle forms.
- Is the house itself a symbol?
- Yes. The villa is a storehouse of memory, and the scene treats rooms as locked compartments that can be reopened by accident.
- How long is the cast recording track?
- Many services list it at 4:19, while some release listings show 4:20 depending on the edition.
- Where does it sit on Act One tracklists?
- It is commonly shown as Track 9, after the Paris interlude and before "On the Terrace."
- Is this a typical stand-alone concert piece?
- Less often than the big ballads. It is scene-dependent and lands best when staged with the portrait and the gown reveal.
- Does it change how we read Alex and Rose?
- It does. Their affair stops being a private rebellion and becomes entangled with George's past, which changes the stakes for everyone.
Additional Info
The craft move here is simple and ruthless: let the audience fall for Rose's glamour, then reveal that glamour is borrowed. In the script, Rose first uncovers Delia's portrait and asks who she is. Later, when Rose wears the same gown, the stage direction underlines the illusion and George is wrecked. That is not just a plot twist. It is the show explaining how desire can be confused with mourning.
Tracklist data helps explain why the number feels bigger than its label. Many releases keep it at roughly four minutes, which is generous for a scene-song, and it earns that space by doing several jobs at once: exposition about Delia, a house tour that feels like a confession, and the visual moment that flips George from distant uncle to vulnerable man.
Key Contributors
| Entity | Type | Relationship (S-V-O) |
|---|---|---|
| Andrew Lloyd Webber | Person | Andrew Lloyd Webber composed the music and wrote the musical's book. |
| Don Black | Person | Don Black co-wrote the lyrics for the musical. |
| Charles Hart | Person | Charles Hart co-wrote the lyrics for the musical. |
| Rose Vibert | Work | Rose Vibert uncovers Delia's portrait and later wears Delia's gown. |
| Alex Dillingham | Work | Alex Dillingham reveals Delia's identity and brings Rose into the villa. |
| George Dillingham | Work | George Dillingham returns to the villa and is overcome by the resemblance to Delia. |
| Delia Dillingham | Work | Delia Dillingham is represented by a portrait and a ball gown that drives the scene's reveal. |
| Pau, France | Location | Pau hosts the villa that functions as a memory archive. |
Sources
Sources: Aspects of Love script PDF, Wikipedia song list and plot summary, Discogs release listings, Muziekweb track listing, Spotify track listing, Apple Music track page, YouTube track upload, Concord Theatricals show page