The Stage Manager removes his spectacles, claps his hands, and begins the wedding scene, in which he plays the role of minister. He comments that everything about a wedding cannot be represented, so he will include only a few details. As clergyman, he speaks about weddings in general and repeats Mrs. Gibbs’ statement that “people were made to live two-by-two ” The hero of this scene, he assures the audience, is nature. From marriages come more people and “every child born into the world is nature’s attempt to make a perfect human being ”.
Handel’s “Largo” begins, the guests take their seats on the pews, and church bells sound. Mrs. Webb stops on the way to her seat and blurts out to the audience that it is terrible to send young girls into the cruel world without their knowing anything about marriage. She hopes that some of Emily’s friends have enlightened her about what to expect.
Three of George’s baseball teammates pass by and whistle and catcall to him, teasing him about his sexual innocence. The Stage Manager intercedes and good-naturedly pushes the boys offstage. He apologizes by saying that since Roman times there has been a lot of off-color innuendo connected with weddings, but now Grover’s Corners is more civilized. “So they say,” he adds. As the choir sings “Love Divine, All Love Excelling,” George arrives and withdraws from the congregation. His mother goes to him. He tells her that he does not want to get old. Mrs. Gibbs sternly admonishes him for shaming her. They trade roles, with George comforting her and promising to bring Emily each Thursday night for dinner.
Meanwhile Emily appears dressed in traditional white. She calls to her “papa,” who leaves his seat and advances toward her. She frightens him by expressing her dislike for George and her desire to go off with her father. She reminds him of how he used to say she was his girl. Mr. Webb calls George over and formally hands over his daughter. George and Emily embrace. The march from Lohengrin sounds. The wedding begins.
Mrs. Soames, a wedding guest, drowns out the couple’s vows with shrill comments on the loveliness of the wedding. The minister ponders the two hundred couples he has married, who follow the pattern of home, family, approaching old age, and death. George and Emily exit to Mendelssohn’s ‘Wedding March ” The Stage Manager notes, “That’s all the Second Act, folks ”.
