On the Terrace Lyrics — Aspects of Love
On the Terrace Lyrics
What does this letter contain? Give it to me.
DO?A MARIA (ROSE)
But promise me not to read it while you are here. Read it
this evening -- wait till this evening. Promise me. And
tomorrow...no, never speak to me about it. If you give it
back I shall punish myself for my folly...but for God's sake
don't scold me.
FATHER EUGENIO (ALEX)
Hand it over.
DO?A MARIA (ROSE)
Have pity, I implore you. I have resisted as long as I could,
but you mustn't open it here. Oh, God, what are you doing?
Father Eugenio, I implore you. For pity's sake, give it back.
Father, you are killing me.
FATHER EUGENIO (ALEX)
What are you doing? Pull yourself together.
GEORGE
You must forgive this rude intrusion,
But I really felt I had to say "Well done"!
ALEX
Oh, uncle George,
Come in, come in...
ROSE
I've heard a million things about you...
GEORGE
And you are...?
ROSE
I am Rose Vibert.
GEORGE
I hate to spoil your fun,
But I was dying for a gin --
But don't let me disturb you.
ROSE
Oh, it's nice to meet you...
GEORGE (warming to the situation)
Surely M?rim?e's "L'Occasion"?
ALEX
Lemon? Ice?
ROSE
The perfect play.
GEORGE
Yet overstated...
ROSE
Yes, that's true.
GEORGE
...And somehow dated now --
A living fossil!
ROSE
How concise!
GEORGE
And Alex, you show promise.
ROSE
Well, he is my pupil!
GEORGE
Ah, so this is your profession?
ALEX
Rising star!
GEORGE
I'm sure, I'm sure.
ROSE
I'm playing Hilde...
ALEX
...In two weeks.
GEORGE
"The Master Builder"?
ROSE
Yes.
GEORGE
What a courageous girl you are.
ROSE
I hate to tear myself away,
But I must go and change --
Please promise me you'll stay.
GEORGE
I wouldn't dream of going far!
I'd like to be the first
To say "She's perfect!" --
A face like that
I haven't seen in years!
ALEX
You must forgive us
For breaking in here.
I'll make it up, George,
Have no fear --
But please don't throw
Us out of here,
I beg you...
Seeing is believing --
I saw her and I loved her...
You must understand what I'm saying --
She's not just someone...
GEORGE
A love affair is not a crisis.
Enjoy it like a fine champagne --
Taste, but never let it
Cloud the brain.
A memory of a happy moment --
That's what this time will one day be.
Life goes on,
Love goes free...
ALEX
Some girls are like that,
They'll love you and leave you,
But Rose --
There's only one Rose...
I'm telling you,
This is not some schoolboy game --
My life will never be the same.
GEORGE
I look at you and
ALEX
I knew it from the moment
I remember
That I saw her face...
How many times I've
There could
Felt this way --
Never be
Ah, the tricks
Any other
Love can play...
Love for me...
GEORGE
Alex, quick!
Some brandy!
ROSE
You go...
ALEX
I'll go...
ROSE
Quickly...
ALEX (hurrying out)
I'm going...
GEORGE
Do forgive me...
So unlike me...
You looked just like her...
My wife...
Delia...
I thought for a moment...
The dress was hers,
But you look just as lovely --
It should be worn...
I've caused such drama here...
ROSE
You mustn't think that...
GEORGE
It wasn't meant, my dear...
I'd better leave you two alone...
ROSE
You're in no state to travel --
No,
You won't go anywhere.
You're staying in that chair.
Why spend the evening on your own?
ALEX
Why, why must he spy on us?
It was perfect till he came!
Why, why must he ruin it?
GEORGE
...Of course, painting always was my first love.
ROSE
Oh, to be so gifted.
GEORGE
When I'm dead they'll fetch a fortune.
ALEX
We shall see.
ROSE
I'd buy one now.
ALEX (to GEORGE)
You'd better tell her...
ROSE
Tell me what?
ALEX
...Before you sell her one,
That they're just copies...
GEORGE
But by me!
ROSE (changing the subject, to GEORGE)
I'd love to hear your poems!
GEORGE
I shall write one for you...
ALEX
Byron isn't here to sue you.
ROSE
Alex, please --
Don't interrupt.
GEORGE
At least I do things.
ROSE
Yes, that's true.
GEORGE
...I see a few things through...
We often have disputes like these.
Did Alex ever tell you...
ALEX
We'll be here till breakfast...
GEORGE (ignoring him, continues)
...Why his final year
At school was rather short?
ROSE
No, not a word.
ALEX (horrified realization)
No, George, you couldn't...
ROSE
Please go on!
ALEX
No, George, you wouldn't dare...
GEORGE
I think it might amuse her...
I've had a splendid time,
A truly splendid time --
But I can see that I'm de trop...
I have a little tryst
Too tempting to resist,
And now I really ought to go...
I wish you both a charming fortnight,
Enjoy your little one-to-one --
Have your fling,
Have your fun...
A memory of a happy moment --
That's what these days will one day be...
Life goes on,
Love goes free...
ALEX
I think I know where he's gone --
He's off to take his Italian lessons!
ROSE
How could you have let me wear this dress?
He must think I have no feelings!
You should have said what he was like...
I must seem a heartless woman!
I must seem a soulless creature!
Anyway, let's not have a scene..
Song Overview
Review and Highlights
Quick summary
- What it is: An Act One terrace scene that starts as playful rehearsal and ends as a warning dressed up as charm.
- Who sings it in-story: George Dillingham, Alex Dillingham, and Rose Vibert.
- Where it happens: The terrace at Pau, with George arriving unseen and watching Rose and Alex act out a scene in costume.
- Why it matters: George becomes the adult voice of the story, and his advice lands like prophecy that nobody wants to hear.
Aspects of Love (1989) - stage musical - diegetic. Act One, Scene Ten: terrace at Pau. George approaches, hears voices from inside, and sees Rose and Alex rehearsing from Merimee's "L'Occasion" in costume. He steps back into the shadows, then interrupts with a genial "Well done!" The placement matters because it turns the villa from a teenage hideout into George's world again, with rules, taste, and consequences.
This is one of those theatre numbers that feels like a summer evening that is too perfect to trust. It begins in play. Rose and Alex are dressed up, pretending to be other people, and that is already the point: their affair is half romance, half performance project. Then George appears and the air changes. He is witty, hospitable, and quietly in charge. The music lets him glide into the scene like a host pouring drinks, but the subtext is blunt. He can see what is happening, and he can also see how it ends.
- Key takeaways: a tonal pivot from flirtation to foreboding, driven by stagecraft more than big melody.
- Best detail: George watching from the shadows. The show tells you he is looking before it tells you what he thinks.
- Why it sticks: the number makes kindness feel dangerous. George is polite, yet his presence rearranges the power in the room.
Creation History
Andrew Lloyd Webber wrote the music and book, with lyrics by Don Black and Charles Hart, shaping the score as narrative-first musical theatre. In the published libretto, this terrace scene is explicitly introduced as Act One, Scene Ten, with George approaching and Rose and Alex rehearsing "L'Occasion." According to the official show licensing description, the musical tracks relationships across time and shifting roles, and this number is where those roles start to lock into place: George as guardian and patron, Rose as star, Alex as the boy who wants adulthood on credit.
Song Meaning and Annotations
Plot
At the villa in Pau, Rose and Alex rehearse a scene from "L'Occasion" on the terrace, half as entertainment, half as foreplay with better diction. George arrives, pauses to watch without being seen, then steps in and compliments them. They scramble into polite introductions. George warms quickly, jokes about needing a gin, and begins to treat Rose like a fascinating guest rather than a scandal. Underneath the ease, he steers the conversation toward reality: Alex is young, Rose is older, and this interlude will not last. As stated in Wikipedia's plot summary, George counsels Alex that all good things end and that the affair will become a memory, pushing the story toward its next break.
Song Meaning
The meaning sits in the tension between play-acting and truth. The terrace is a stage, and the characters keep changing costumes: priest, lover, host, guardian. George speaks in the language of endings, calendars, and experience, while Alex keeps trying to make the moment permanent. Rose, caught in the middle, can perform confidence but cannot control the fallout. The terrace is where George takes back the house and, without raising his voice, begins taking back the story.
Annotations
"GEORGE steps back into the shadows, unseen"
This stage direction is pure character. George watches first, acts later. He collects information the way he collects art, and that habit makes him hard to outmaneuver.
"But I really felt I had to say 'Well done!'"
It is a compliment with a hook in it. George praises the performance, then quietly claims the right to interrupt. He is charming, but he is also announcing ownership of the space.
"Surely Merimee's 'L'Occasion'?"
George recognizes the material instantly, which does two things at once. It flatters Rose, and it reminds Alex that George lives comfortably in culture and authority. Alex is not competing with a rival teen. He is competing with a man who knows the script.
Style, rhythm, and the emotional arc
The writing sits in sung-scene territory: conversational pacing, quick turns, and a sense that the music is carrying the evening air rather than chasing a hook. The arc is what counts. It starts with laughter and rehearsal energy, then tightens into a triangle. George does not need to shout. He only needs to stand there and make Alex feel seventeen again, in the worst way.
Key image
The terrace is open space, yet everyone becomes trapped. That is the trick of the number. Outdoors, under a big sky, and still the characters feel cornered by etiquette, age, and who owns the keys. I have always read this as the show quietly shifting from romance to power play, without changing the weather.
Technical Information (Quick Facts)
- Song: On the Terrace
- Artist: Original London Cast of Aspects of Love
- Featured: George Dillingham, Alex Dillingham, Rose Vibert
- Composer: Andrew Lloyd Webber
- Producer: Andrew Lloyd Webber (cast release credits vary by edition)
- Release Date: 1989
- Genre: Musical theatre, narrative scene
- Instruments: Voices, orchestra (pit arrangement)
- Label: Really Useful Records (common cast album listing)
- Mood: Elegant, tense, twilight-realistic
- Length: 8:12 (common remastered cast listing) or 8:13 (some release listings)
- Track #: Act One track 10 on standard song lists
- Language: English
- Album (if any): Aspects of Love (Original London Cast Recording, later remastered editions)
- Music style: Sung-through scene writing with character-driven pacing
- Poetic meter: Mixed stresses (dialogue-led, flexible)
Frequently Asked Questions
- Who sings On the Terrace in the musical?
- Act One song lists credit George, Alex, and Rose, with George entering the scene after watching them rehearse.
- Where does the scene take place?
- On the terrace at the villa in Pau, early evening, with the house behind them and the open air in front of them.
- What are Rose and Alex rehearsing?
- A scene from Merimee's "L'Occasion," with Alex playing Father Eugenio and Rose playing Dona Maria in the libretto.
- Why does George hide in the shadows at first?
- It shows his temperament. He watches before he intervenes, then steps in when he can control the tone.
- Is this number a romance duet?
- No. It is a triangle scene where hospitality and manners cover sharper truths about age, power, and what comes next.
- What is the dramatic function of the terrace setting?
- It keeps the scene public-adjacent. Outdoors means anybody could appear, and that sense of exposure makes the advice and the flirtation feel riskier.
- How long is the cast recording track?
- Many remastered listings show 8:12, while some release listings round it as 8:13.
- How does this connect to At the House at Pau?
- It sets up the emotional fall. George argues for impermanence, Rose begins moving back toward her professional life, and Alex starts to realize he is not in control of the story.
- Does the musical have later versions of this scene?
- Yes. The song list includes later variations such as "On the Terrace (Version 2)" and "On the Terrace (Version 3)" for later story periods.
Additional Info
The little theatrical joke in this scene is that everybody is acting. Rose and Alex are acting because they are literally rehearsing, but George is acting too: the genial uncle, the cultured host, the man who just wants a drink and a quiet evening. The number lets you enjoy the surface, then slips the knife under it. According to the libretto stage direction, George watches unseen before he speaks, and that choice explains a lot about how he later handles conflict: he prefers control to confrontation.
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. |
| George Dillingham | Work | George Dillingham arrives at the terrace and interrupts the rehearsal after watching from the shadows. |
| Rose Vibert | Work | Rose Vibert rehearses in costume and is introduced to George as a professional actress. |
| Alex Dillingham | Work | Alex Dillingham performs the rehearsal scene and is repositioned as a young man under George's gaze. |
| L'Occasion | Work | L'Occasion provides the rehearsal text that frames the terrace scene. |
| Pau, France | Location | Pau hosts the villa terrace where the triangle tightens in Act One. |
Sources
Sources: Aspects of Love script PDF (Copioni Corriere Spettacolo), Spotify track listing (Remastered 2005), Discogs release listing, Wikipedia song list and plot summary, Concord Theatricals show page, YouTube cast-audio upload
Music video
Aspects of Love Lyrics: Song List
- Act 1
- Love Changes Everything
- A Small Theatre in Montphile
- Parlez-vous Francais?
- The Railway Station
- Seeing is Believing
- The House in Pau
- An Art Exhibition in Paris
- A Memory of a Happy Moment
- In Many Rooms in the House at Pau
- On the Terrace
- Outside the Bedroom
- Chanson d'Enfance
- At the House at Pau
- Everybody Loves A Hero
- George's flat in Paris
- First Orchestral Interlude
- She'd Be Far Better Off with You
- Second Orchestral interlude
- Stop. Wait. Please.
- A registry office
- A Military Camp in Malaysia
- Act 2
- Orchestral introduction to Act 2
- A theatre in Paris
- Leading Lady
- At the Stage Door
- George's House at Pau
- Other Pleasures
- A Cafe in Venice
- There is More to Love
- The garden in Pau
- Mermaid Song
- The Country Side Around the House
- The Garden at Pau
- On the terrace
- The First Man You Remember
- The Vineyard at Pau
- Up in the Pyrenees
- George's Study at Pau
- Journey of a Lifetime
- Falling
- Jenny's Bedroom in Paris
- Hand Me the Wine And the Dice
- A Hey Loft
- On the Terrace
- Anything But Lonely