'3 HES‘S .vQOIQw’l "IT'TW 'I‘,‘=’ 7"".r1rn r CF TEES; LOT 1ILY LL L.SIALL STAGE UImll LE.IIJD Ti“1L3I.l’_-II..ZJS By Homer L. Paris A .1. ‘l‘II'JSIS Submitted to the Graduate Schosl cfliichigan otate College of L"“iculture Science in partial fulfillm requirements for the deg LLS”ZR ¥F ARTS Department of Speech, Drc1atics, 1948 303195 QILRIEUQL and Applied ent of the “ee of and Radio Educ atiun THE-TS"? THE GRADUATE SCHOOL and THE DEPARTMENT OF SPEECH, DRAMATICS, AND RADIO EDUCATION PRESENTS “BOLTED DO0BS” A Drama in three acts by Reginald V. Holland. Directed by Produced by REGINALD V. HOLLAND HOMER L. PARIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts. Studio Theatre, Auditorium March 4, 5, 6, 1948 8:15 P. M. CAST OF CHARACTERS (In order of appearance) Adam Spencer ....................................... . ........ . ............ John Cottrell Richard Courtwright ....................................................... Ted Brink Lorinda Spencer ............................. 7 ...................... Verna Jean Smith Peter Murray ........................................ . Fred Bell Annabelle Gray ........................................................... Sarah Dimmers Charles, a waiter . J. Kline Hobbs PRODUCTION CREW Assistant Director .................................. Dick Maher Stage Manager Keith King Assistant Stage Manager ............................ Claire Alubowicz Crew .............................................................................................. Bunny Bunnell, James Finucan, Barbara Beck, Bill Timm Property Manager Barbara Stover Lighting Manager .................................... Homer Paris Publicity .. ................................ Harold Callie Construction by .............................. Stage Scenery Class ACKNOWLEDGMENTS We wish to thank the following for their aid in making the produc- tion of BOLTED DOORS possible: Wilson B. Pauli, Head of the Depart- ment of Speech, Dramatics, and Radio Education, for his advice and assistance; Cecil H. Nickle, technical director, for’ assistance and advice in the settings, lighting and technical phases of the production; Ben Wampler, designer, for his advice on the decor of the settings; Donald 0. Buell, Director of Dramatics, for his encouragement, advice and super- vision; Virgil Scott, English Department, for his help on writing the play; Leslie Scott and the Staff of the Student Union Building for their kind- ness in loaning properties; Jeanette Lee, Home Economics Department, for the loan of costumes; and to all others whose c00peration made this production possible. 1-1321; C 51431? 1.1.133 For his assistance in ria‘2ing possible this produc- .1 tion of "Bolted Doors", and the thesis problem involved, I wish to thank Dr. Wilson B. Paul, head of the Department of Speech, Dramatics, and Radio Education. 'Iy gratitude is also expressed to Erofessor C. n. I.'icl :le for his advice on the technical a spects of this thesis and to Lr. Ben Nampler for his guidance and as sistanc in designing the p ay. Lo technical director is able to adequately ex- press his thanks to the many people who contribute so much toward the success of a play. I should be ungrateful in- deed, if I failed to thank: Reginald V. Holland, author and director of the play, ior his willingness to aid in solving the.many production problems; to Lyle Rouse who served as special assis nt on construction and staging; Keith King, Barbara Johnson, and Claire Llubowicz who serv- ed as crew managers and to their or w members; to Ralph Pienecke for his assistance on the preparation of working dra rJings. . I.Zy especial tha ks goes to Professor Donald C. Buell, director of dramatics, for his sympathetic under- flanding, expo rt advice, and careful supervision in the proparatior . of the writings this manuscript. Without his encouragement this thesis would have been much more difficult and much less worthwhile. Thanks goes, too, to i.wr u. Lucialiorgan Lesom for her advice on the writing of this thesis. And last, but by no means least, my heartfelt thanks and gratitude goes to my wife, Bonnie, who more than anyone else has been responsible for supplying that undefin- able quality known as "morale". Her cheerful encouragement, and her helpful assistance must not go unnoted. Homer L. Paris East Lansing, Michigan August, 1948 “‘1'“, “'71'1 .1 9-1 if I L t. |. -.—«~-- 13-1 ‘. f1"! I:- AEv—J“ -J\J—l‘ is tie counterp rt of an original H (D m: ° lills production thesis in playwriting an direct 1ng bv Zegingl U "\ V. Holland, and it concerns: (a) The LCS ping and tech- nical staging of the play "Bolted Doors”, on a sta3 with facilities; and (b) The production manual 0 p {.3 p1 -anited spac— for the same. Part of the _roblc n involved original work and part resolved itself in adapting standrrd theatre prac- tices. With the lhaitations in sttge space and facilities, certain comparisons will need to be node between what is considere' to be standard technical practice in the theat1e and what the necessary deviations.wonld be. Th plan of the na1ual will be centered around a discussion of the de- 0_ . .- L‘-‘ fl_ w ' I. ‘... ' r :y .L.‘ fi"‘V 313. deuo33 and illustrcted by arau1n3s and photographs Chapter I will include a discussion of theatre or hitectLre 1or an average plant with a further considera- tion of the *if1erences in the theatre where the play \JSS done. Following Chapter I will be a special section in- cluding ti o playing scr1pt of "Bolted Doors”, with all technical cues inserted. a . 't . ‘ -vx . p, u —‘ ' 1 . v\ j r: v f‘ " GGSlefl #310“ are t u1eal Io“ aranatic gzoaacti ons, and an .1: n 11‘ . .' 71.1.. .0 33‘)“ J— 1' p -1, ,1. 4.7 analys1s a. one SCrlJb o1 'oolced Doo1s" eonce rnin, one .1 - .n - .2 elements 01 des1gn. .. . 1 ’11. 4- n . 3 a ,. u ' snapper III Leals ul 1 the d.si no r s yTODlOLS . '1‘ . V~ l‘ ’ ' I '1‘ . {’V ‘\ (3‘ r“ v‘,‘ '" ‘ ‘- 1n this slay, and new unose gruDlQuS heie met. .11 J" /\ '1‘!‘\ Pin A: 'L" . ’1 chapter IV conCerns one or n-13at1on o1 a teen- staff for this particular glay to3ether with their working chapter V discusses the procedure followed in "— 1 V“ (1 . 4" 1 r ‘r . n " 4“ constructin , painting -d sniitlng UflO scenery. Q1 (—1-. DJ (D Cheater VI outlines the lighting problem an particu ar scheme followed. cussion of the Jroee r-ties {f1 Cheater VII gives a di used in the glay and outlines the work of the grorerty crew, and sound effects. Chapter VIII is the e noluding one, and offers a “O clusion or the results obtained in the groduction, and . ’3 a 3. (7' HM we ' r‘o -* now an Mn tfi Malteo -— QMJL, -L‘\J4Ab.) ‘. U... .rlP; V‘Jei.$0 V‘J- n) O .L -LC:ITIJI A 1~r~rrv ar~fi i‘.\J..._LdU 1144—1 " infirm n Fry-‘1 .u—J...’ -nJab n—T3r'1—1T3r‘1 I. "1“1 \J.4 P1"? "”7?" \JJ -.4.L 24.1-1.4.L-J 1:7 ~*r .4. Lu”-.. .7, T.) 1- 4- 0-. r'1.- TH“! I‘t'T"! "fi'r‘r'v'mm 13.31.21 b1“: CL‘1;1...1..'.Q ”I"! m "-"1 £3er "1‘f"1~":"1‘1‘.1 Y *TW 1 F'T‘TM :3 («i‘ L331 C LLL‘J‘L-n-gd-J (IE—0.4.514 LLB-l ”2'33 L..£.)L311‘ ) 1.1.3 T113 “Lolllml I 14.117 ~ 1.20:) nrfilCI' o o o o o o o o o A short description of a mo de rn theatre and the te1 minology used in theatre architecture-. . . . B. The tStudio ”ihea' tre a Iiichigan . “ta 0301.ng0 0 o o o o o o o 0 THE PIAI'SCRIIT FCR "BOLTED DOORS" ‘ TH . TJC::1‘: I‘J-‘.L 0 -:41:3 0 O O O O O O » O O O O filo-b I O O O O O O O O O O O O O O 0 II. Act 1.3.0 13 II C O O O O O O O O O O O O O 0 Scene I . . . . . . . . . . . . Scene 2 . . . . . . . . . . . . III C O O O O O O O O O O O Q C ".1? 1‘d31LYEJI3 CF TIE SCEIIT ”(53-131 II'fG TIE Ill-112133 C“ :33 I? a . . . . . . 5 :3. o B. The des1gner and his problem . . Analyzing the script of "Bolted Doors" for indications of th . detail in the setting . . . . . 1 1T!“ 0...... r.‘1".T".1 ”.3" 5" D;Q.Lm..Ll. 4.-..4 .LLuzI o o o o o o o o 0 Ci" 1‘ ‘le: ~J E'I‘lC C .3 ,1 A o 121; “111 CE 1‘12? 1133123212341. .313? . FT T m r "‘T‘".‘"‘ '1T~‘7F*1"“’ FC‘IJLJZUCLLVI , £41.41].le 43.13.) 01:13? TM.G' o I‘V-‘I “I ”'1 T -:1*1r1r1-“nc 1411...: 4301‘. 1:44.14 0-4.1.1..1... .U‘S o o o o 0 Construction . . . . . . . . . . “~71 1:..‘1‘J44 to 50 '76 99 124 125 132 142 165 172 173 fr" f ’Drf‘rj'j r1 7") f‘ ”*1 1.1..‘5— 4.141;») I .".LLA'..‘J B. Painting the set . . . . . . . . . . 189 C. Shifting the scenery . . . . . . . . 193 VI 0 LIGIZT—IIG' {IT-III? 11—4-1! 0 o o 0 o o o o o o o o 198 A. Preliminary Considerations . . . . . 199 B. Cue Sheet . . . . . . . . . . . . . 209 VII. PRCFBRTIES QED SCUKD EFFQCTS . . . . . . . 211 A. Properties . . . . . . . . . . . . . 212 B. Sound Effects . . . . . . . . . . . 218 VIII. CCECIUSICN . . . . . . . . . . . . . . . . 219 BIBLIOGRAFL . . . . . . . . . . . . . . . . . . . 224 ‘1'“ r ~ar'r‘”r‘!r1 D.‘.J‘..¥.L.’.‘.\TQoo00000000000000.0000 227 ‘1 ( C LIST CF SIZJTCEIJS AZTD DILLIE’TG P xGL" Sketch of Sight Lines . . . . . . . . . . . . . . A Sketch of Studio Theatre . . . . . . . . . . . . ll Director's Floor Plans . . . . . . . . . . . . . 146 Working Drawings for Construction of: Back Hall. . . . . . . . . . . . . . . . . . 177 wall "A" . . . . . . . . . . . . . . . . . . 179 Wall "3" . . . . . . . . . . . . . . . . . . 180 Well "D" . . . . . . . . . . . . . . . . . . 183 Wall "E” . . . . . . . . . . . . . . . . . . 185 bit :virall, Set III 0 O O O O . O O O O O O O O 188 Shifting Procedure . . . . . . . . . . . . . . . 197 Lig‘lting Plot 0 O O O O O O O I O O O O O O O 0 O 208 Property Plots: Set I . . . . . . . . . . . . . . . . . . . 215 Set II . . . . . . . . . . . . . . . . . . . 216 Set III . . . . . . . . . . . . . . . . . . 217 Isometric Drawings: N Ia) CO. ~ullr‘lfll-J-S "$1.1" and "B" O O O O O O O O O O O O 0 Wells "3" and "D" . . . . . . . . . - - ° ° N N W Ix) O \0 Plan View of 33 k U311 . . . . . . . . . . . . . Floor Plans: Set I . . . . . . . . . . . . . . . . . . . 231 Set II . . . . . . . . . . . . . . . . . . . 232 .3013 III 0 o o o o o o o o o o O o o O O O O 233 LIST OF ILLUSTRIEICITS 11111333123101? 3113.3 Qtlldlo 111103tre o o o o o o o o o o o o o o 0 ll.- Set I (I‘LCt I) o o o o o o o o o o o o o o 0 1-49 Set II (Act II, Scene 1) . . . . . . . . . . 154 Set III (Act II, Scene 2 and Act III) . . . 158 n_ 1' .1 17-571 :3 a -.fi :7 r; 'n' 1' rr fi1'f-r1 rrT'w ".1 4...“. I...) .J (and LJLJLU 1-1.4411“... '3"f"'_"")"1 r‘rjffi '7'; Axr ' ' 5 r3! j ff; "~ “rm '--3_ (Ill;‘._|J‘.L-jJ .LLJ—L‘J «LI—Lit; ”’ka —'-.LLC"—)L D) \JaJ AID T133 17113 ILI‘I‘IES FOR 14‘1ij ITIODUCTIC’I? GILLP'IER I JTJIALYSIS or swore TI-EATRB (1.15:3:113 TIE rig-.Y 1.223 14-2-10 Dump) AND ‘23 FACILITIES FOR PLAY ERODUCTICN "The theatre is a building or place with seats, and provided with a stage or open space upon which plays or dramatic spectacles are performed. It is a word de- rived from the Greek meaning 'to view' or see." --3ncyclopedia Britannica. A. 'é short description 9:.a modern theatre and the termin- ology used in theatre architecture. One of the major considerations of the designer and technician in producing a play is the plant in which he is going to work. The architecture of the modern theatre 1 building, in order to meet the demands of the producers, .4 directors, and playwrights, has becom conventionalize . In the analys's of Studio Theatre atlfiichigan State College, many of the general terms pertaining to the architecture of the thea re will be used; therefore, a short discussion of these terms will be in order. The theatre building, often referred to as a plant is generally divided into three parts; the auditorium, or "house" as it is sometimes called, where the audience sits to view the play; the stase, or stage-house, where the action of the play is presented and the setting is placed; and the work-shops, where the various work rooms are situated, i.e., saint-shop, property room, electrician's room scene-shops, make-up room, costume room and various storage rooms. In the auditorium, one of the main con erns is the seating arrangement.1 The audience.must be able to see and hear with the least possible strain on the individual. Seats are usually placed in a block, with each seat designed so that the spectator seated in it faces the stage. The f vision as he faces the stage is called 0 spectator's line the sight line. This sight line determines how much of the ib stage will be via 1e to each spectator from his particular position in the auditorium (the accompanying sketch diagrams this problem.) The floor of the auditorima is usually on an inclined plane so that spectators may see over the heads of the people seated in front of them. Proceeding from the stage to the rear of the auditorium, each row of seats is placed on a slightly higher plane than the one preceeding. Seats in.most theaters are also "staggered", i.e., placed in a position so that each spectator is in a position to look between the shoulders of the persons seated immediately in front of him. . The transverse wall which separates the auditorium and the stage is the proscenium wall, and the opening in that wall through which the audience views the play is called the_proscenium.arch. Projecting throush the arch is part of the stage platform, called the apron or forestage. The 1. Harold Burriséfieyer and Edward C. Cole, Scenery for the Theatre, Little, Brown and Co., (flew Yerh, 1946), p. 19. --.- *2 A-.- .- -..__.1 __._. ~~——- ~v-.—-,, -..- ..,._—..-_. .— _‘ r7--._1 Ii .II I I I I I I It I .III I III 7 I IIIIIII‘ M .. ”.‘IIQII Ill 1- III, . t L . « . J .I‘ r C L \ x \ N. l I g I a l I I 1.3 II eItl‘IIIIIO L . _ M II. It, ..I L \r . PIIIIII.II| .. .w. , . ... l . ~ x/ \ V _ .x \ a L r r. ‘ ‘ K “ . . J ‘ x . v. . r «I I I \ . I I I h s ‘ I IOIIU I I. I I I I I I I I .1 ll! til-0"!" mwfifi-‘o I, essery Sightv -, - -«H of borders I Sight-lines in a theatre where a raked-set is nec —-.'—.... ‘) 3 I I I -o‘.z. y- 1...... set necessary of .p.’ -n-.. uhd‘ sight-lines In Studio, no taxis area of the stage p1atform.from the curtain to the footlights is called the apron area. The footlights is a term denoting a strip of lights placed in the floor of the apron to provide illumination of the stage from below. The platform behind the arch is called the stage. The stage is usually divided into several areas. The area confining the action of the play, usually bounded by the "setting", is called the playing area or on-stage area. Any area beyond this area and still on the stage platform is called the off-stage area. The dcsis er and director, in order to gain consistency of terminology in their references to directions on the stage, use right and 1322 as from he actors point of view as he faces the audience. The areas near the proscenium arch are called down-stage areas, and the areas near the rear of the stage are called uo-stage areas. Inside the proscenium arch and at one side of the stage is a control for operating the act curtain, which is used to open and close each act or scene of the play. This curtain may be of two general types; a knife curtain, which rises vertically to disclose the stage or a traveller curtain, which parts in the center and moves horizontally to disclose the stage. In the area of the curtain control is usually located the stage manager's desk and the controls for light- ing the stage and auditorium. The fly-loft is the space above the stage extending fimmithe proscenium arch to the rear wall of the stage-house into which the scenery is drawn or "flown". Just below the roof of the stage-house is a metal frame called the saidiron. This frame is constructed as an integral part of the building. Fastened to the gridiron are grooved pulley-wheels called sheaves, or head-blocks, depending on their use. Through f these ropes c. 0 these pulleys pass ropes or cables. One en- or cables is fastened to a length of pipe or trip of wood U) called a batten. To this batten are fastened the lights or scenery or curtains used on the stage. The other end of the rope or cable is fastened around a railing, known as a pig; rail, and secured there by a belaying3pin. In some theatres the weight of the scenery is balanced by the use of a counter- weight system. The use of this apparatus is called rifising. "Rigging is the arocess of attaching units of scenery to the e machinery according to the so no technicians A narrow platform of wood or steel, called the bridge, is hung by cables from the gridiron. This bridge is placed in a position next to the act curtain and above the arch. It is used for the purpose of supporting lighting instruments. In order to hide or mask the fly-loft from the viev of’the audience, a series of curtains are hung at the arch level. The curtain used to mask or hide the bridge is called 1. Ibid., .0. 356. the teaser, the succeeding ones are called borders. Cn the (.0 stage floor, on each side of the proscenium arch, are piece of scenery called tormentors. They are used to mask or hide C) from view the portion of off--tage area Win cl might be seen between the mtting and the iain curtain. In the work-shop section, the area or room wiere the scenery is construct d is called the scene-shop. . 7 . r- . ' . .- r' "a 1“ “V: 1‘ -'. , I, IA .- , . - ‘ I a_nt-snoo is onetimes a part oi tne scene-snai, sometimes \* " (’1 4" I‘ j '1 " . "' . r ”‘0 r 4‘ I. I ~ : ‘ (a ‘2 4‘ . m seiarace and it In neie that scenery is painted. ihe elect- rician's room is wlere all lighting a paratus, electric cables, etc. are stored, along with the electric i as tools for epair. H ( The furniture and miscellaneous article sod to furnish a setting are kept in the property room. The clothes and the -4. accessories worn by the actor are stored and fitted in the ass rooms are used to store many items not 9L_ H costume room. Ste being used on current productions, i.e., furniture, scenery, properties and lights. In the discussion on lighting, specific terms will be explained as they are used. llowever, certain terms and tus are general and the use of ones equinmcnt is govern- ed by the structure of the theatre itself. As stated before, fo tlishts are located on tne apron. To the irid: e, is fastened a series of spotlights, and .. since thes; lights (as well as tne bridge) are in the area of ‘dhe teaser, tne’r are called teaser spots. To provide for more " . 1 --- . ‘4" . r I . ‘-n ' '1‘: .w 'r‘ 3‘, tit‘J‘ r v eneral illumination, a series oi strips oi lights are hang O)- behind the borders in the ioit and are called border lights. These lights, together with the teaser spots and the foot- lights, are use“3 to illuminate the acting area which is be- hind the grosceniua or n. Sometimes it becomes necessary ion of the :lay in the t down-stage or forestage areas and in rder to illuminate this a beam of the theatre roof and are referred to as bean syots. In certain thee res where no urovision has bean made in the ceiling, it becomes necessary to fasten these lights to the balcony railing and in this position they are called balcony soots. Further specific terms on lighting will be discussed ' as they are used in the enabter on "Lighting". :3 5:.) H f.) D Q; C) CD "1 H H o I ' J H O itectural parts found in many professio was groduced in a small theatre which had many variations from standard theatre plans. tate Col Ef‘e. (f) }__—3 L. 3. The Studio Theatre atijichigan The play "Bolted Doors", by Reginald V. Holland, was presented in the Studio Theatre in the Auditorium build- ing ofllichigan State College. The theatre is not a separate building, but a unit within a larger structure, and is used variously a a classroom, lecture room and theatre for the U) V f plays. The house of the theatre seats 125 ) prescnta‘i- o n 0 persons and is twenty-two fee, two inches wide and forty- three feet long. The rows of seats are parallel to the stage platform and their length does not exceed that of the pro- scenium arch width. This seating arrangement gives the design- er, as well as the audience, an advantage in the problem of sight lines. Settings on the stage do not have to have their walls slanted or "raked" and more playing area is thus gained for the action of the play. The floor of the auditorium is also inclined, as it is the usual practice, and a very good view of the stage is gained by the audience. »a he stage platform is at one end of the rectangular unit, and is raised fourteen inches from the auditorium floor. There is no proscenium wall, the arch being formed by the folds of the act curtain when it is opened, and by the teaser H. which 3 hung from a frame fastened to the auditorium ceiling. This gives an opening measuring nineteen feet in width and .nine feet in height. The stage platform has a depth of fifteen feet, ten inches and a width of twenty-six feet, two inches. 10 In the left wall of the stage-house is a double—door measuring seven feet in he ight and six feet in width, through which all scenery and props must be brought into the stage. The stage-house, as well as the entire theatre, is built in an area directly beneath the floor of the lairchild Theatre. he distance from the stage floor to the stage- house ceiling at the arch is ‘en feet, eleven inches, and near the back is nine feet, five inches. This difference in the height is caused by an air- -conditioning unit which has been built into the ceiling and extends across the entire width enough to occupy about one- I—J o p. pg CD of the stage-house, and half of the depth of the ceiling, (See sketch on following page.) The ceiling does not have a gridiron, and the urtains are hung from.battens which are fastened to the ceiling. The distance from the lower edge of these curtain- battens (called travellers) to the stage floor is ei ht feet, five inches. In the consideration of the off-stage space, the blargest area is on staje left, where the distance from the line of the arch to th 1e left stage-house wall is five feet. On the right side of the stage, the off-stage sgace is only provided for by the dep h of the arch itself. Thi distance can be increased by decreasing the size of the arch opening. ‘When the curtains are par rte d fully, the off- stage space on stage right is two feet. Since the stage depth is only fif- teen feet, ten inches, there is very little off-stage space -...I.. e- 23131.1. L— ~. . U1; N o . n.2,. a. .C... / - , u- O\Il n\ .. -i, 2. a. c. l.. :3 . . .. 11.. . mqasemo some we academia :Isatur a x. \ HQOAH omapm in. 4 omso: mo sees op .mq \ .,;.,::-a:+m . m . k\ I 4.. easements... .. w 0..., Tunes ll: . a, 5 w. W 4 a _. msoaowaum W s .3 n 93:30 noes 3866 as Hues “ n m a buomene enema Lia. «smashes» \. M 14 L filelJf - \\ i1— 11: F To ,.. W we .:xr _ a onsonoorpn Ho asaaaeo 353.. secs w... ._ - _ a. a 3 a guanopwesa no adaaqeo. gem Bragg OHQme ho ”BHBommwlmmOMO left at the rear after the play setting is on stage. This consideration, of course, depends on the dimensions of the Thus, as far as play production is concerned, one f the greatest limitations in Studio Theatre is lack of 0 space on stage. The auditorium stself is quite adequately equipped in the matter of seating arrangements, etc. The 1 I is net a ui C0 0) seating capacity is small. However, thi e of theatre since an intimacy between I :1 H r- .,, .1. 4-. advantage ioi this by 'U the audience and the stage is desirable for laboratory or classroom projects. The stare is only fo “ feet from the first row of seats. Thus the stage, actors and se ting are brought very close to the audience. In the larger, standard theaters qn intervening orchestra pit provides a distance vniich is an aid to the illusion the play attempts to provide. 0n the stage itself, the greatest handicap, archi- ixeetually, is the lack of off-stage space and the low ceil- which does not permit any rigging. The stage floor 1119‘ ‘ U curvers a concrete platform; consequently, the problem of blwicing the flats by fastening supports into the floor is eth‘eme ly diffic ult . 4.}1 The double door in one stage left wall is too low t5) i>ermit scenery to be shifted through it easily. The low Cel-ling prohibits the use of scenery which exceed eight feet, t ? ' ‘l ' ’ ‘ I :LPEBe incnes in height. The stage doesn't have an apron, and r 1 a . ,. .. ', . . l;L _playing area.must be coniined behind the curtain line. 13 Provision has been.made in the theatre for lighting apparatus to be mounted in the teaser and border positi ns. There is a provision made for beam spots in the auditorium ceilin3, and outlets installed the r to provide current. In he t~aser position and a3a in in the fi°st border position I) (—1. ( e * ov ided outlets :or li3htin3 apparatus. Because of the H i? ack of an apron, and the intimacy of the sta3e and auditorium, there has been no need for footli3hts, and 3onerally hone p.) are use In conclusion: The Studio Theatre although follow- ing F- enerally the architectural plans of the avera3e theatre, does have limitations Which determine the freedom which will be allowe d the desi3ner in hi: ideas and plans, and irnvoses :restrietions on the technician as he attempts to interpret the desi3ner's sketches and drar1in3s. The la ck of space and Zriggfing facilities, the limiting size of entrances onto the Stage, the lack of adequate li3htin3 facilities all had a Chaterminin3 effect on "Belted Doors" *hich will be discussed 1J1 later chapters. However, the intimacy offered between aiuiience and actor did have an advanta3c in that the two were bTCH13ht close together. On the other hand, this closeness Iflidra a difference in the use of details in design. (On the followin3 pa3e is a photo3raph of Studio 7‘: o v '1 .‘ .. ' . 1 . lfhaéltre, which may help to clarify the description made in this chapter.) L". :1 LI,»'/////////////////// L-.. (1/ ' BET "—.Y S 3 l) fry-vi "BOLTED DOORS" A Drama in Three Acts BY REGINAID V. HOLLAND 1'? CHARACTERS (In order of appearance) ADHJ SP ICER, father of Miss Lorinda. MISS LORINDA SPENCER. RICHARD COURTRIGHI‘. ANNABELIE GPEY, secretary to Peter Murray. PETER MURRAY, a young corporation lawyer, CHARLES, a waiter. SCENES ACT ONE The game room of Adam Spencer's Fifth Avenue home, late in June, 1919. ACT TWO Scene 1. The office of the Lehigh Velley Manufacturing Company in Upper New York. Spring, the present. Scene 2. The living room of Miss Lorinda Spencer's suite in the Belmore Hotel in New York City, the next day. ACT THREE The same. The next morning. 18 " B O L T E D D O O R S " THE Than: mm 30mm AT RIS [$1 ACT ONE Afternoon. June, 1919. The game or sunroom of the Spencer home. It is a cheerful room; a room that was made for relaxation. There is a door down right which leads to the garden, French doors up center and door down left. A long table stands by the wall left and on it are magazines, a brandy decanter and glasses, and a small tray on which is a glass and a bottle of medicine. Right of the table is a large comfortable leather chair - ADAM SPENCER'S own - and beside the chair a' large flat top smoking stand. There is a bookcase up left, and up right is a rather large portrait of the late Mrs. Spencer, and be- side it a two seated leather couch. A straight back chair stands against the wall near the door down right. There is a window up right through which the garden is visible. ADAM SPENCER and RICHARD COURTRIGHT enter down left. ADAM SPENCER is a short man but heavy and red faced. He is weaging a dark smoking jacket. 9 has been ill and it is an effort for him to get around; the least exertion causes him to breathe hard and rapidly and he does not move more than necessary. ADAM.SPENCER'S age is sixty but he looks older. What little hair he has left is gray. RICELARD COURTRIGHT is a tall man of thirty. He is well dressed in a light suit (three button coat and very narrow trousers). His shirt has a very narrow collar and he wears a narrow knit tie. He is a figure of a young and secure business man of the time, complete with a small mustache. The men have just finished lunch. l9 COURTRIGHT (Enters first, crosses to center.) That was an excellent lunch, hr. Spencer. SPENCER (Sitting in chair left.) You call that a lunch - soup and salad. U3h...Rabbit food“ I ate lunch at the Union Club for years and there a man got a real meal - meat and potatoes. That cock out there pays too much attention to my diet, and what's more she won't give me anything unless it's on the list the doctor left here when I was sick. High blood pressure, umphi It's just a slow way to starve a man to death. How would you like a spot of brandy, Richard? COURTRIGHT Fine - but do you think you should? Brandy's not on your diet. High blood pressure you know: . SPENCER Get that chess board. I'll beat your britches off for mak- ing a remark like that. My grandfather used to say that a spot of brandy after a meal put color in your cheeks. He lived to be 94 and that's good enough for me. COURTRIGHT (Gets the chess board from the small table up right) . I say, you'd better enjoy it while you can. No more brandy after next Tuesday. SPENCER And why not? COURTRIGHT Prohibition. Next Tuesday is July lst. SPENCER BY.George, that's right. But it won't bother me} You don't think I keep a cellar to hold a furnace, do you?.. COURTRIGHT Sh (Crosses back to center with the chess board) all we play on the smoking stand here? That! SPENCER abo S all right. Here, have your drink.....‘v‘mat do you think at prohibition, Richard? (Hands COURTRIGHT the brandy) COURTRIGHT well,.many.men still overseas aren't going to like it when they Come home and find they can't buy a drink. As for me, I'm.very passive on the subject. I can take this or leave it. 'Usually I leave it! SPENCER I suppose that's a good way to be....Prohitibion won't bother you very much then. It looks like a permanent thing though; most of the states have already ratified the 18th.Amendment. But I say they're going to have a big job enforcing that law. If a man wants a drink he's going to get it some way, even if he has to make it himself. I'm.afraid I never can feel as if I'll be breaking a law when I take a little drink, will you? COURTRIGHT To tell the truth, I probably won't take one, sir; not if it's illegal. . SPENCER Dammit - I will} Would you like a cigar? , COURTRIGHT No thanks. I never smoke cigars. SPENCER You don't? Short on vices, eh? COURTRIGHT (He takes out a cigarette.) I'll have one of these. SPENCER Oh, youfire one of those fancy cigarette smokers. I could never get any satisfaction out of those blame cigarettes myself; seems I just get one lighted and it's time to put it out. This is a real smoke; But now I have to enjoy each cigar even more than I used to since the doctor made me out down. It's one after lunch, one after dinner, and one in the evening. I used to smoke about fifteen a day at least. I guess you never really enjoy things until someone takes them away from you. COURTRIGHT You're right there..........Say, this is fine brandy. SPENCER It is good....Yes, when you get old they take things away from you. I wish I were thirty again. Look at you - young, strong - everything for you is to come.....For me, it's past. 21 COURTRIGHT I wouldn't say that, Hr. Spencer. SPENCER Son, that's because you don't understand what getting old means. It's not the gradual process everyone believes. When I was thirty I didn't feel any differently than when I was twenty.....When I was forty, I felt like I did at thirty. Then one day I was told I could have only three cigars. It was the same as if the doctor had said, "Adam Spencer you're an old mani" I felt old after that, Richard. Yes, I became an old manuin one day. COURTRIGHT Surely the success you have gained in your life must be a great satisfaction to you. ‘You have that to look back on.... SPENCER That's exactly what I mean. When a man looks back on what he has done instead of ahead to what he is going to do - then he's finished. I'm.starting to look back and I don't like it. COURTRIGHT Ybu're not finished,er. Spencer. It's just because you haven't felt well these past few months that makes you think that way. The hard work you did during the war, too - you're just tired that's all. . SPENCER I wish you were right, son. COURTRIGHT Of course, I'm.right. When you start going back to the office every day and get into your old routine again, you'll feel differently.....Where do you keep the chessmen? SPENCER I think they're on top of the bookcase....It's queer but I don't have any desire to go back to the office. COURTRIGHT Oh, come nowi (Gets the chessmen and crosses upper left) SPENCER ' Richard, I had a special reason for asking you to lunch today. It wasn't just to have our regular chess game.... COURTRIGHT No? (Puts the box of chessmen down on the table) .4 22 SPENCER I'm.going to be very frank - you don't mind? COURTRIGHT W , no. I'd prefer you to be that way. SPENCER I've known you a long time. Why, I even celebrated with your father the night you.were born; I think I was as happy that you were a boy as he. I've watched you grow up - followed you in the things you did, and I'm.as proud of you as if you were my own son. imany of the happiest moments in my life were when you came to me and let me help you with some of your pro- blems of growing up. Yes, when your father died, I always hoped you would in some small way, let me take his place. COURTRIGHT You have done that, sir. SPENCER I've never had a son, Richard. I've had most everything else in life, but never a son. A good business....yes. Richard, do you know there's been an Adam Spencer on Wall Street since 1810? Now the line is finished. COURTRIGHT But you do have Lorinda. SPENCER Yes, I have Ierinda; sorry to say, but I find little joy in here ‘You do love my daughter, don't you, Richard? COURTRIGHT You know I do, sir. Very.much1 SPENCER Yes, I suppose you do.....I suppose you do. COURTRIGHT Ybu don't seem.very pleased,‘Mr. Spencer. ” SPENCER Don't I? A COUR‘IRIGHT No, sir. Don't you think I'm good enough for her? SPENCER Yes, yes....of course I do, my boy. aJdJJQUI... .l, ‘M. R. a!” In . 23 SPENCER Nothing. Nothing. It's just that . . . . . . I CCURTRIGHT What, Sir? SPENCER Nothing. I'm a bit upset today is all.....I want to tell you something but I don't know how to get started. (He picks.up a red and a white pawn and hiding one in each hand holds them out to COURTRIGHT) Here, which hand do you want? (COURTRIGHT taps a hand.) Red, Good} I get white and first move. I suppose it seems pretty good to get back in the bank again? COURTRIGHT It surely does. SPENCER What department are you in now? COURTRIGHT Back in investments. The same as before I went in the army. SPENCER Investments. Yes, I knew you'd go back to that. You like the work, don't you? COURTRIGHT very'much} But you wanted to tell.me something, Mr. Spencer. Was it something about Iorinda? Was that why you asked me to lunch today - to find out if I loved your daughter? « SPENCER No.....No.....that wasn't it. It's much bigger} I told you today I felt I would soon be finished as far asumy business is concerned. Dammit, Richard, how would you like to take up where I leave off? In other words, I want you to take the place of the son I never had. COURTRIGHT 'You.mean you want me in your business? SPENCER In it? No}. I want you to run it} A COURTRISHT 'Ihat's a pretty big order, Mr. Spencer. SPENCER (3f course it's a big order...But, I know you can handle it; 24 you have the experience and a business head, too. Why, what you're making at the bank would be peanuts compared to work- ing for.me. I'll make it well worth your while, son: COURTRIGHT Oh, I know you would, sir. But..... SPENCER But what? Are you interested? COURTRIGHT Why certainly I'm.interested. I'd be a fool to say I wasn't. Only..... . SPENCER You mean Lorinda? Is that what you're thinking about? COURTRIGZH‘ Yes, in a way. SPZKCEI O, forget Lorinda! We don't even have to tell her....What do you say? C CURTRIGHT You know I couldn't afford to turn down the proposition you're offering me....... SPENCER Then you'll take it? COURTRIGHT I'll take it. SPENCER You'll never be sorry, Richard. I'll make you one of the big- gest men in this country.....Nothing is going to stop you. COURTRIGHT I wish I had as.much confidence in.my ability as you have. SPENCER I'll show you how.much confidence I have in you, son....nre you ready to go to work? C OURTIEIGHI‘ R ight now? SPENCER Right now: z... 25 COCRTRIGET Why...Why, sure. Ilm ready. SPENCER All right. I‘ve been thinking about investing some money but since I've been sick I haven't had a chance to do it. There are two things I want to do and the first concerns Lorinda. You probably knew that Lorinda's mother left her quite a smn when she died. Well, I've been handling that for her. ‘Most of it is tied up in stocks and with the market fluctuating like it has in the past few weeks, I'd rather the money were in something safe like bonds. Don't you think I'm.right? ccm’rnIcI-m Yes, I do. SPENCER What would you advise then? COURTRIGHT I'd rather not say, sir. I SPWCER Well, why not? COURTRIGHT Look, I'll work for you,er. Spencer, but I'd rather not hand- le any.of Lorinda's investments. It's a.matter of principle, Sir. - ‘ . SPENCER You and your principles....Sometimes I think you have too man, Richard. I never got where I am on Wall Street with principles. COURTRIGHT I'll do anything else. All I ask is not to have the respons- ibility for Lorind's.money. SPENCER Oh, all right, we'll talk about that later. Now, there's a lot of.money being made on the stock market today and I've .missed it. You've been following the stocks? COURTRIGHT I have. SPENCER Humm. . . . .Made any money? COURTRIGHT .A little. Ix.) C\ SPENCEI You have, eh? 'fiell, Richard, I want to get my feet wet, too. What have you been buying? COURTRICHT Oil. 0 O O O SPJ’ETCE . Oil? EImOOOOO 'Cmmnumm Yes, sir. Sinclair Oilo SPENCER Sinclair Oil 4 No: - I want something with a future. The war is over - there's no future in oil. COURTRIGHT Oil's future is in automobiles. SPENCER But there's no future in automobiles. The.market's too small; never sell enough. Look at the price of cars today; why, they are only a luxury for the rich. COURTRIGHT I can't go along with you there, sir. Henry Ford says he's going to make a car that will sell so cheaply that everyone can afford to have it. He's going to change the automobile from a luxury to a necessity. Squ C: The railroads won't let him: COURTRIGHT They can't stop him: Automobiles are in to stayt.....Just look at what automobile stocks have done recently. Chandler motor gained 34 points last week and General Motors 10%. Chandler is paying a 4% dividend the first of the month. They're all up - Stutz, Studebaker, Chevrolet and even Harwell. I'm.aure automobiles are going to have a lot to do with the future of America, and they can't run without gasoline. SPENCER What do you know about Sinclair? COURTRIGHT Gained 10 points last week. SPENCER Huh! What are they selling at now? “.5: 27 COURTRIGHT 61 yesterday. SPENCER Is the company solid? COURTRI uHT Their net earnings increased 70% over last year. They just bought land for four new refineries here in the east. STJYJER 61, hm? . O O O C O COURTRIGHT §_1_: SPENCER All right, all right, son, I'll take your word for it! Go out to the study and order me 200 shares. ‘You'll find the name of my broker listed beside the telephone. CCURTRIGHT I'll do it right away. SPENCER Wait a minute. You tell that broker to leave Lehigh Valley Manufacturing alone. He's been trying to get me to sell, but I have nearly a controlling interest in the company and I want to keep it. Now I'll admit, today it may not be worth much, but I think in a few years, it will amount to some- thing, and if my judgment is correct. . . . .well, Lorinda will be able to buy herself something extra. CCURTIIGH Right. Anything else? (exits) SETT‘TJ T‘Y'l') No, that's all. . . I'll get these chessmen set up while you- 're gone. . . . . Oil . . . .um . . . .oil . . .Sinclair Oil. . . . .l.iight be all right!! (As he sits there mumbling suddenly the French doors open and IORINDA SP‘NCER enters and stands in the doorway. She is impressive in her fine clothes. She is wearing a suit, the skirt of which is rather tight at the ankles and hangs about six inches from the floor. Her stockings are dark and her shoes high. She wears a large hat with a veil pinned over her face. She is vivacious, full of energy, and the center of attention.) L... TO 0) LORIIIDA Hello, Daddy . . . . SPENCER Lorinda, Lorinda. You're home again. I can hardly believe it. LORD? DA Yes, I'm.home again. srmscal Oh, it's good to have you here! Come here, Lorinda: . . .I've missed you so much, and worried about you too‘ a. IDRINDA That wasn't necessary. Be careful now . . .You'll.muss me; SPENCER Lorinda, you've been gone so long! Only about six months. . . . .Daddy, you don't look at all well to me. SPENCER Oh, I'm all right! LORINDA You're sure? You've been doing what the doctor ordered? Yes, of course. IORINDA Oh, I should have been here to look after you. Now you sit here and be comfortable. Isn't that better? SMECEH Yes, but I'm.all right: I want to know about you, Lorinda. How are you? ‘ IORIKDA Well, how do I look SPEICER Wonderful! Wonderful I But I mean, how do you feel? IORINDA I feel fine. The trip to Bermuda was wonderful. You haven't forgotten, have you, that I've been to Bermuda? SPENCER I haven't forgotten. " 1,thqu And everyone thinks that's were I've been? Everyone? SPENCER Yes, everyone! LOR INDA Daddy, you're a dear. I'll keep a secret for you sometime. . SPENCER I hope you'll never have to. But you're all right. I mean, you feel good and everything? LORINDA Perfect. I don't think I ever felt better in my life. PENCER I'm.glad to hear that. IORINDA And, did you miss me? SPENCER Of course, I missed you. I've been worrying about you since the day you left. IORINDA You shouldn't have. I was in perfectly good hands . . .Oh, it's good to get into some decent clothes again. Can you tell? Do I look any different? SPENCER If anything, Lorinda, you are more beautiful now than before you went away. ICRINDA When I went to Bermuda, you mean! Don't forget that! armrest: ' I won't forget. ‘ LORINDA But do you think anyone suspects, father? Everyone really beleives I've been away on a trip? SPENCER No one suspects! 3O IORINDA Thank you again, daddy, for helping me keep my secret. Now, no one will ever know I've had a child but you and me. No one will ever find out, will they? SPENCER You're right, Lorinda; no one will ever and out. But to think something like this should happen to you -.my daughter. I still can't believe it. LORINDA Don't let it bother you so much. It happens to thousands of girls. SPENCER But those girls aren't my daughter, Iorinda! You are... and the only child I have. I wish to God it hadn't happened to you. IORINDA It did though . . and there's nothing we can do about it now. I want to forget it. . . .How do you like my new suit? SPENCER Forget it! .Forget it! Do you think with just a shrug of your shoulders you can pass this thing off? Forget it? I'll never forget it. LORINDA Come now, it's not that important to you. I should be the one to be sad if anyone has any feeling about it. But I'm not. As far as I'm concerned it's over and done with! It's a chapter in my life that is closed, and closed forever. . . it will never be opened again. SPENCER But how could you keep going with this Iarry, and secretly - hiding all this from.me. LORD-IDA I loved him, daddy! SPEt-ICER Because he was a.Major and in a uniform. I told you he was no good - reckless, wild; he cared for nothing but himself. IORINDA Don't talk that way about Larry. Wasn't it enough that you drove him out of this house. It was you.who made me see.hhn secretly. h... .u '_,‘| Oil - '1 -9 SPENCER Now, Lorinda, calm down. IORINDA Is it my fault that he was sent overseas and killed before he had a change to marry.me? He would have.married me if he had known. That is, if I had wanted him to . . . . . . . SPENCER If you had wanted him.to? LOR IN DA That's what I said. SPENCER If he hadn't been killed, do you.mean to tell me you wouldn't have made him.marry you? LORINDA I'm.not sure whether I would or not! say :ch I don't understand you. . . . . . . . . IORINDA If I had married him, things would have been much more diffi- cult than they are now . . . . .Yes, and I'm not sorry he is dead! I'll admit he was exciting; he was a very romantic figure, father. Oh, I did love him then. He was tall and looked wonderful in a uniform . . . Yes, we danced well to- gether. But it's much more simple because he was killed. Sort of an act of fate, you.might call it. Now I have no husband, no child. I'm free to do anything, just as I was before. SPENCER I won't have you talk like that! LOR INDA Just think, he didn't know, did he? I wonder if he would have been thrilled to be a father? It's tragic - his not being alive. SPENCER Iorinda! IORINDA But, daddy, you're not sorry he is dead, are you? You told me yourself that you would have killed him! Didn't you? Spencer Lorinda, stop that! k.) 10 ICRINDA Stop it? Why shouldn't I say I'm glad he is dead? Because I really am. I don't have a husbgnd and it': much less complicated this way. You think I can say this because, unfortunately, he was the father of my child? True. It would have been better if this hadn't happened. But it did! And now it's over with. Oh, I paid for it. I gave up months of my life; I hid away from peeping eyes, and nosey old women, and paid my penalty. But outside of those few months away, I have lost nothing. Remember, father - I made a trip to Bermuda - as simple as that. $1.1" .‘fl'fm orflwmz. You haven't told me about the child. LORINDA The child? Oh, yes, the child! I suppose since you're now a grandfather you would like to hear about the child. They told me it was a girl. SPENCER Told you? Didn't you see your child? LORINDA No. I didn't see her. I didn't want to see her! SPENCER Lorinda, what kind of a mother are you? IORINDA I'm a woman! I'm.not a mother! SPENCER What did you name her, Lorinda? IORINDA Oh please stop playing the grandfather. I didn't name her. I didn't think it necessary. SPENCER Lorinda, you can't act this way toward your own child. After all she's a Spencer. You can't treat her like this; she's part of you. A IORINDA Not any more she isn't. Yes, she was part of me - when she made me afraid to look into a mirror. It almost makes me ill even to think how I looked. SPENCER Egank God, Lorinda, I'm the only one to hear you talk like 13. , LOP. INDA Come now, daddy, get down off that golden pedestal. Your daughter had a rather distasteful event in her life that put her out of circulation for a short time. But now she's back and as good as ever, isn't she? SPENCER Have you made up your mind what you are going to do now? LORINDA You mean you would like to know my plans for the future? SPENCER Yes - if you have any. LORINDA But I do! In fact, I know very definitely what I am going to do. SPENCER Yes? LORINDA I'm going to marry Richard courtright. SPENCER Liarry Richard? LORBIDA Yes, Richard! I've made up my mind. Nothing can change me. SPECCER But you don't love him. LURE-IDA Love him? Since when has love become necessary for marriage? I realize that he is not all that a woman would desire in a man, but he's firm and rather nice in his way. SPENCER There's nothing wrong in being firm and honest. He's too good for you, Lorinda. I don't think he'll have you. LORINDA But you know he's devoted to me, daddy, and fond of you, too. You once said I could make you happy by marrying him. SPENCER I would have been happy to have you marry Richard. Now, I don't know. What makes you so sure he will have you after what has happened? 34 LORINDA But he'll never know . . .I'm sure I'll never tell him, and I've seen to it that he won't find out any other way. SPENCER How can he help but know? You can't have your child taken care of without a husband finding out some day. LOB EIDA Didn't I tell you? I don't have the child. I gav it awa y. It's very simple, really; you just have to sign some papers and when the child is born they take it and you walk away a free woman. SPENC ER Lorinda . . . .you didn't! A terrible thing like that . . . LORINDA Yes, I did. And why shouldn't I? I didn't ask the child to come . . . A child didn't fit into my way of living and the easiest thing to do was .to give her away. So that's what I did. SPENCER Where is the child now, Lorinda? LORINDA Don't ask me where the child is because I don't know and even if I did I wouldn't tell you. SPY-SEWER No, Lorinda! You could have brought the child home until we found the proper place for it; at least we could look after it then . LORIN‘DA 'EPhat was too much trouble. I think I managed very nicely; in fact, I'm rather proud of myself the way it all turned out. SPENCER I won't let you do this! You forget that I know about the child, too. ,. IORDJDA I'm not worried about you, daddy. You're too proud of the name of Spencer to say anything about your daughter - especi- ally to Richard. You picked him for your son-in-law and now I'll see to it that your wish comes true. SPENCER You've gone too far this time, Lorinda. Do you think I can sit by and see you ruin Richard like you have ruined every IV: 35 other decent thing you've touched? I've seen enough! I've helped you each time you have gotten into trouble. Even helped you go away and have your child. You've made a cheat‘ out of me; you've made me lose what self respect I have left. I'm through lying for you: LORINDA Come now, daddy, you're being very melodramatic. SPENCE Don't call me daddy like that - each time you do, you make something curl up inside of me. IDRINDA But, daddy - I'm your daughter. SPENCER Yes, youre my daughter, but I wish you weren't. I wish to God you weren't. - LORINDA That's not a nice thing to say. SPENCER Nice? What do you know about being nice? I don't think you ever did a nice thing in your life. You're a spoiler, Lorinda everything you touch spoils. I won't let you spoil Richard. LORINDA You don't really mean that, you know. I've been with you too long toibelieve you would do anything I didn't want you to. SPENCER I do mean it. I won't let you marry Richard unless you tell him the truth! IORDJDA You're being very silly. SPENCE Why Can't you be a decent woman? You will have a chance. Tell him the whole story - tell him that you are sorry and ashamed. Tell him the truth about yourself. 10111111311 And if I don't? ' SP31ICEP. Then I will: ‘ 103111111 I'll never tell him. Neither will you: You're talking like 36 a martyr, and you're no more a martyr than I am. I know what the name Spencer means to you. You have never cared for me or what I did except that I was a Spencer. And now the Spen- cers have a child. No, daddy, you'll keep quiet. SPENCER Lorinda, I mean what I say. If you don't tell Richard, I willt LORE‘IDA. I Are you threatening me? SPENCER You may call it that if you wish. LCRINDA You make me laugh. You should know by this time that I'll do exactly what I want and if that means telling a few lies, it doesn't matter to me a bit. SPENCER Do it for me, Lorinda. Please . . .You know I'm not well. Per- haps this is the last thing you will have a chance to do for me. LORDIDA And lose the one thing I really want most? I want Richard and I'm going to have him. I'll do nothing that might spoil my chances. All I have to do is snap my fingers and he'll come running. He'll do anything I wish. I'll get him and I'll get him my way. And that won't be by telling him about the child. SvaCER it would kill me to have you marry that boy under your condi- ions. ICRINDA It would: That's too bad. I guess I'll have to take that Chance 0 SPENCER Please, Lorinda . . . . . . . . tell him I ‘ LOREIDA No. I'll never tell him'. " "smarts Think about it. Perhaps you'll change your mind. Perhaps you'll tell him for your father's sake, Lorinda. ‘ 1011111111 For your sake? (She laughs) That's the weakest argument you can think of- (She exits up-stage.) . SPENCER Iorinda . . Come back here . . . . .Lorinda . . . . . (He starts to follow her a few steps but the effort is very trying, and he crosses to side of sofa center. Then he turns and looks at the picture of his wife on the wall. He walks slowly, with great effort.) Mary, I've done a poor job of raising our daughter - a very poor job. 'You left too soon. And yet I'm glad you're not here to see her today. I've failed you.1 I've tried; I've tried so hard; maybe too hard. But she's not a daughter we can be proud of . . I've failed you, wary. I wish you could tell.me what to do. I don't know. I don't know. (As he stands there looking at the picture, RICHARD COURTRIGHT enterszhe stands in the doorway down left.) COURTRIGHT Tell, I placed your order, Mr. Spencer. SPENCER Ch, Richard, it's you. You startled me for a moment. Living .here all alone plays tricks on me sometimes. Come on in. COURTRIGHT 131d you get the chessmen all set up for our game? SPENCER 'Yes, yes, I've been waiting for you, Richard. COURTRIGHT 3Let me see, I think the last time I was here you won two games fr om me . SPENCER I believe I did. COURTRIGHT Iflere, let me do that. . .You had better take it easy, Mr. Eipencer. You seem to be a bit unsteady. Sit here. What liappened to you while I was gone? SPENCER THiank you, Richard . . . .This feels.much better. COURTRIGHT ztre you all right now? Is there anything I can get you? 38 SP EllCER No. I'm all right . . . Just let me rest here a few minutes and I'll take you on. I'm over these little spells in no time. COURTRIC—IIT What about your medicine here? Shouldn't you take some of this? Here, I'll help you. SPEECER No . . No . . that medicine is only for extreme emergencies. I've only had to take that once, but the doctor insists I keep it with me. It would hold me until he can get here. . . . .I'm all right now. You can put it back. COURTRIGHT That's good . . . . .You had me worried for a moment. SPENC Sorry about my acting like this; but get those chessmen ready and we'll have our game. CCURTRIGHT Not on your life. You sit right there and take it easy - no chess now. We'll save it for another time. SPENCER Come now, I can play you a game. COURTRIGHT Not on your life. You sit right back like you were . . .You didn't tell me at lunch if you had heard from Lorinda recently. SPENCER Why . . . .yes, I heard from her today. COURTRIGHT You did! Why didn't you tell me? What did she have to say? I haven't had a letter from her for some time and the last one took ages to reach me. '1’1'hen was yours dated? S “1"er --1 Ilkxvd Well, I didn't notice, but it seemed quite recent. CODRIRIGIIT Bermuda is too far away to suit me. I'll bet she doesn' know you have been feeling worse or she'd be here. Did she say when she was coming home? 511373.112 No, she didn't say just when she was coming home, but I'm sure it will be soon now. in, 39 COURTRIGHT I hope she'll let me know when she docks. She didn't give me a chance to see her sail, so I really want to meet her when she comes back. OT“. ‘Vn‘ Ch, I'm.aure she will. CCURTRIGHT What's she doing, did she say? S?“ "T” “m ‘A‘VH‘I L Just the usual things - parties, sightseeing, buying clothes - nothing really important. COUl—lTRIGI-ll‘ I know Lorinda - if she's buying clothes, I'm glad you're pay- in the bill and not me. I saw you admiring the pacture of 1.. LTS. Spencer when I came in. “‘rtn‘cm I 4.4; . will 5 Yes, sometimes I even talk to her. CCURTRIGHT Lorinda looks a lot like her, doesn't she? Is Lorinda like her too? I mean in the way she acts and does things? SPENCER No. . . . .Lorinda is nothing like her mother. COURTRIGET (Picks up Lorinda's hat.) This hat, Mr. Spencer, that . . that . .isn't it Lorinda's? What is it doing here? C173_ .‘Tfifi ul1.v..‘u I don't know . . . .I didn't notice it was there. Perhaps the housekeeper . . . CCURTRIGHI Wait a.minute. You're not fooling.me'. . .Lorinda's home. She's here, isn't she? I know she is- SPENCER Yes, she's here. COURTRIGHI Why didn't you tell me? She's all right, isn't she? SPENCER She's all right. 1w lo COURTRIGHT When did she get back? SPENCER Only today. COURTRIGHT But why didn't you tell.me? I wanted to.meet her. Where is she now? I must see her. SPENCER Richard . . . Wait a minute . . . . Come over here and sit down. I want to talk to you. COURTRIGHT Sir, I'd like to see Lorinda. I've been waiting six months for her to get back. SPENCER Please sit down, Richard. You'll have plenty of time to see Lorinda. I have something I.must talk to you about. COURTRICHT But I want to see her now. SPEL‘ICER Richard, please. COURTRIGHT All right,l£r. Spencer. SPEECHR I have something to tell you, son. I don't want to, but I have to. You told me you loved Lorinda very much? COURTRIGHT Very'muchq'Mr. Spencer. I'll.marry her whenever she'll say the word! SPENCER Then you are going to be hurt, Richard. COURTRIGHT . I don't understand what you mean. Nothing has happened to her? SPENCER Richard, I've known you for a long time. You're a fine young man; one whom I have always wanted for a son,. I have to tell you this because you're all I have left. Al COURTRIGHT What do you.mean, Mr. Spencer? SPENCER Boy, Lorinda was never in Bermuda. CCURTRIGII Never in Bermuda . . . .she must have been . . . . I received her letters from there. SPEN C 3R Yes, I know you did. But they were written in this country and remailed from Bermuda. C OURTRIGII‘I‘ What is this, anyway? If Lorinda wasn't there, then where was she? SPENCER She was somewhere near this city all the time. COURTRIGHT I don't understand, sir. She says she's in Bermuda. She's gone for six.months, and you say she has been near here all the time. It sounds very strange to me. SPENCER Yes, I know it does. COURTRIGIIT You knew all the time she wasn't in Bermuda; then why did you. let me believe it when I came here to see you? SPENCER Richard, I . . . . . . COURTRIGRT I hope you enjoyed your chess games, Mr. Spencer. Now I'll see Lorinda myself. I want to know what she has to say about this 0 SPENCER wait, Richard . . .I must tell you this. I know I haven't treat- ed you fairly and I apologize, but please let me explain. CCURTRIGHT Yes, sir. SPENCER Lorinda left home because she was going to have a child. [,2 COURTRIGHT A child: A child! I can't believe it! SPENCER Neither could I, but it happened! 0 OURTRISHT Then Lorinda is married! SPENCER No, Lorinda is not married. COURTRIGHT Do you mind if I ask who the father is? . SPENCER Does that matter? The child will never have a father. He was killed in the war before the baby was born. COURTRIGHT Anyone but Lorinda - I can't believe this could happen to her. And you, her father, are telling me this . . why?, . . O O 0 Why? 0 O O O O O SPENCER Because Lorinda.means to marry you now and tell you nothing of what has happened to her. COURTRIGET Marry'me now? What does she think I am? . . .But what of the child? Where is it? SPENCER I wish I knew. She wouldn't even see it. She had promised to give it away even before it was born. COURTRIGHT And she was going to keep all this from me. IMary.me as if nothing has happened? You're sure of what you say? _ SPENCER That's what she is planning to do, Richard. I can't sit by and see my daughter ruin you like she has ruined everything else that was good in her life. Do you think I would feel the way I do today if it hadn't been for the constant worry over my daughter? Don't marry her, Richard! COURTRIGHT You realize what you're telling me, hr. Spencer . . .You - her own father. If what you say is true . . . . . SPENCER It is true. Every word I told you: Ll. 43 CCURTRIGIIT If anyone else had told me what you have, I would have struck him down, Mr. Spencer, I would have.married Lorinda in a.min- ute. It's hard to hear things like this about the woman you love. But, by God, I do believe you, Hr. Spencer. I don't want to believe you, but I do . . . . I would have done any- thing she asked without question . . . I never would have told you this, yet always in the back of my mind I knew she was playing me for a fool . . . But I didn't want to see it. I didn't want to believe that she was anything but sincere with.me. I guess I can see lots of things she did that I wondered about, but I couldn't think she did them deliberately. Yes. I gag believe you,1ar. Spencer. SPENCER You won't marry her now! ‘ COURTRIGHT I don't know what to say. But I won't let her decieve me. I couldn't marry anyone who would do that! SPEB'ICER Will you do something for me, Richard? COURTRIGHT What? SPENCER Promise me that you will. COURTRICHT Why, yes . . . if I can . . . . _ S'ENCER Richard, if anything happens to me, find Lorinda's child and see that it is well taken care of. COURTRIGHT That's a very strange request to make of me of all people . . SPENCER Don't you see - you're the only person I can ask to do this. COURTRIGRT But why me? SPENCER I couldn't tell anyone else about the child - I only told you to keep you from marrying my daughter. Please help me. COURTRIGHT DO you realize what you're asking me to do,‘Nr. Spencer? 44 SPENCER Yes, I do. I'm.not asking you to do it for Lorinda - but for my sake, Richard. Find that child . . . do it for me. COURTRIGHT When you put it that way, I can hardly refuse you. Then you'll do it? COURTRIGHT Yes . . .if I can . . . I promise. SPEl-ICER Thank you, Richard . . Thank you . . . You're a true son. And see that Lorinda has help if she ever needs it. Take care of her investments. COURTRIGHT Knowing her as I do, I don't think she'll ever need any help, but if she does, I'll be there. SPENCER You're a good boy - a fine boy! COURTRIGRT I think I hear someome coming and if its Lorinda, I'd rather not see her now. I'll be out in the garden. I have to think this thing out. - (COURTRIGHT exits into the garden and Lorinda enters up-stage center.) IDRINDA Reading? SPENCER Not reading - Just thinking. LORINDA About what? SPENCER You, Lorinda, you. IORINDA I.must admit you have chosen someone interesting to think about. SPENCER Have you changed your mind, Iorinda? It's not too late; you can start over again and live a life of truth and sincerity. You can still have a contented, happy life. Be the kind of 45 a daughter your mother and I wanted you to he. LORINDA hy.mother's dead, and I am perfectly happy to be the kind of a daughter I want to be, not what you want.me to be. SPEICER Lorinda, I've given you everything. I always have since you were a small girl. I've loved, adored you. Perhaps I haven't always shown it like you wanted me to, but where I lacked af- fection, I gave you all money could buy. ICRINDA What are you driving at? SPlfl-ICER I'm telling you, Lorinda, that I have reached the end. I'm giving you a choice - either you do as I say, or we are thI' O ugh 0 L01“: Ill-IDA You're being very dramatic again, daddy: If you mean telling Richard about the baby. . . . . . SP1 303i That's exactly what I meant LORINDA Then you're wasting your time. I'll never tell Richard. I wouldn't dare take that chance. I told you I am going to marry Richard without telling him anything and that's exactly what I mean to do. SPENCER But you can't marry him and keep back the truth about the child. ‘Marriage has its roots in truth, not deception. Tell him the truth, Lorinda. ICRINDA And lose him? YOu know Richard - you know the kind of a per- son he is: He's a puritan. He'd never break a rule of society - he couldn't stand it: You know very well if I told him I had a child he wouldn't marry me. 'Naybe that's what you want. Perhaps you don't want me to marry him. 'Yes . . . that's it, isn't it? You won't let me have him because you want him: SPENCER That's not so, Lorinda. You know it isn't. ICRINDA Oh, isn't it! You've always been sorry I wasn't a boy; you've 46 always wanted a son instead of a daughter. You even treated me like a son - taught.me to ride horseback - to shoot a gun - to drive an automobile - even to think and talk like a man. Yes, I was your son until I had a child - that opened your eyes - sons don't give birth to children, do they? SPENCER Lorinda! LCRINDA But you can't take Richard away from me. I'll see to it that nothing will keep me from having him - not even you. SPENCER You won't tell him? LORINDA Never! SPENCER That's your final word? LORINDA YeSI.. ooooYeS: ' savor: Then I'll tell him myself. Lorinda, get out: Did you hear what I said? . . . .Get out! . . .You're no longer wanted in this housel- ‘ LOR IN DA Daddy, I believe you really mean it! SPEJCE'R I do.mean it! What you do from.now on is your own affair. I want nothing to do with you . . . You're no good: I was hoping there was at least a spark of decency left in you, but I can see now even that is gone. I'm writing you a check. This will take care of you for sometime. Now get Out! You and I are finished! » IDRINDA Why you silly old fool! Do you think you can rid yourself of me that easily? Do you think you can clear your conscience with a check? You should know by this time that you can't buy me. Here's what I think of you and your money too! If you wanted your daughter different than she is, you should have changed her years ago - not waited until now. Why, you're just a senile old man. SPENCER Gt Lorinda . .before we both say things that will hurt each 47 other. LORINDA I don't care if I hurt you or not. I know how that I've always wanted to hurt you . . . I hate you. SPENCER Get out, Lorinda. . . .There's no place in my home for a daughter who no longer loves her father} Get out, I say! IDRINDA Love you? I never have loved you. You know that. You and your money. You think you can buy anything. And now you want to buy Richard from me; you want to buy yourself a son. Your power is your money, but you have no power over me be- cause I don't need your money. I hate you. Do you realize what I have.said? I hate you: SPENCER (He sinks into the chair and through LORINDA'S speech is struck with a severe heart attack.) Stop! Lorinda . . . . don't say anymore: W: bgrimeimzir di mn 1: eus emsmts . Wiley e, 1; QJlér W LCRINDA Stop? 'Never: I'm just starting. I've been waiting to tell you this for years. Stop, Lorinda . . . . . . .Ny edicine . . . .quickly, my medicine. LORINDA You.thought you could control me with your money, but you can't buy what you wanted most, can you? SPENCER My medicine, Lorinda . . . . . . . .Get it! LORINDA (Picks up the bottle and holds it just out of his reach.) Is this what you want? Is this what you're begging for? SPENCER Yes: Yes, give it to.me quickly: LOR INDA What are you now, big Mr. Spencer? 'You're begging like a little child. - SPEICER Please, Lorinda, I'm your father. LOR INDA That doesn't mean a thing . . . .I'll give it to you when I'm good and ready. SPENCE. _ No, Ibrinda . . .You can't do this. You can't. Noz'Nol please, please, give it to me. . LOR DIDA Beg . . . Beg . . .You were going to tell Richard all about me. You were going to keep me from marrying him. Tell him now - go ahead - tell him: SPENCER This is the last thing you'll ever do to me, Lorinda, you'll never forget what you're doing now. You can't even escape me. Wherever you go I'll be with you. DORDIDA “ You still threaten me - even now . . . . . . .I'm not afraid of you! Your power is gone. . SPENCER Please . . . .my daughter . . . . please . . . .Lorinda. (He is dead and he sits staring at her.) LORINDA I have it all right here in my hand. Go ahead - sit there and stare at me. I'm laughing at you. ‘Yes, this is Ierinda - your daughter - holding this bottle. Why don't you reach for it? Don't you want it anymore? Oh, I hate you: (COURTRIGHT is seen standing in the doorway.) Do you hear? I hate you! Try to run my life if you can. I can do whatever I wish to do without your interference. Toll Richard and the world that you know about.my child. (Hears the door close, turns and sees COURTRIGLI.) Richard . . .Richard. . . . . . Oh, Richard, daddy is having an attack. I tried to give him some medicine, but I souldin't get any response from.him. Do something Richard . . .Call a doctor. Do something. Anything. 49 . COURTRIGHT Your father is dead, Lorinda. - .. .....- WRRNING; CURTAIN IDRINDA No . . . .Not dead! He was just talking to me. I tried to give him this medicine, but he didn't take it. I did all I could, didn't I? (COURTRIGRT starts to the door.) Richard, where are you going? I need you; please don't leave.me now. Why are you leaving? I don't know what to do. (COURTRIGHT tries to leave but she blocks his exit.) Richard, I love you! Don't you understand? I want to marry you. I won't make you wait any longer. Honest. I love you, Richard. Believe me! Can't you see what it will mean? we can go away somewhere - just you and I - together. . . Please Richard, you'll.marry me, won't you? Say you will . . . Talk to me - don't stand there looking at me like that. I haven't done anything. Really I haven't . . . . .I'll treat you differently than I have, I promise. I'll be the kind of a wife you want me to be . . . I love you, Richard: I do! I'm yours. . . . .all yours. (IDRINDA puts her arms around COURTRIGHT BUT he pushes her aside with such force that he falls in a heap on the floor. Without even looking at her, he exits.) Richard. . . .come back . . . .please, don't leave.me! Please come back. - (Slowly she picks up a piece of the torn check, then turns and see her father. His eyes seem to stare at her and she is afraid. She tries to look away but cannot; she tries to exit but in keeping away from her dead father she tips over the chessmen.) No. . . . no . . . .don't stare at me like that: leave me alone - don't stare at me . . .don't . . . .don't . . .no. . 0 .110. ~ (She runs screaming off-stage.) FAST CURTAIN 50 ACT TWO Scene 1 THE TIRE: The present. Afternoon, a spring day. THE SCELL: (PETER NURRAY'S modest office on the second floor of the Lehigh Valley Ihanufacturing Company located in upper New York State. The main ent- rance is located down stage left; upstage from the door is a secretary's desk which faces the door. On stage right is a large outside window and near the window is PETER'S large, modern desk; the desk is set on an angle, facing both the audience and the main entrance; it is covered with the usual amount of papers, pens, a telephone, etc. Upstage center is another door which opens to the.main office; on one side is a bookcase filled with books and on the other side two filing cabinets. On the whole, the office is very.modern in its furnishings. The two pictures on the wall are of the founder of the company and its present presi- dent.) AT RISE: (As the curtain rises ANNABBIIE GREY, PETER'S very attractive secretary,is seated at the desk at left busily typing. Suddenly she.makes an error and with an "Oh damn!" she pulls the paper out of the typewriter and throws it in the wastebasket. As she is putting a new sheet in the typewriter the telephone on her desk rings. She answers it . . . . . .) SOUND CUE: As sheet opraper goes into typewriter, ring tele- Rhone be II 13373.08! 1-1., ANNABBLLE lhu Murray's office . . .No, I'm.sorry,INr.'Nurray isn't back from lunch yet . . . .Yes, I expect him.most any minute now. . . .Yes, sir. . . . . . . .vqa:<..0v, 51 (She continues typing as PETERimUPRAY enters carrying a long tubular case. He is a good looking young.man about thirty dressed in a smart tweed bus- iness suit. He is full of spirit and pep as he enters.) P3 ER Hello, beautiful! I just bought myself a present. H 131,133 LIE Hello, Peter. What is it? PETE; Just a minute until I get it out. (Pulls a new fly rod from the case.) METABB LLB It looks like some sort of a fish pole. 12:3 .1111 It is! It's a fly rod. Isn't it a beauty? I just paid forty bucks for it. (He runs his fingers on his nose and then rubs them on the ferrules of the rod.) MINABBIIE What are you doing? PETER A little nose oil. You see if you get a little oil off your nose and put it on the ferrules, the rod goes together easier. ANNABELLE Nose oil sounds horrible! ADo you have to use that? ETER No, you can use oil off your hair or most anything. You know, these used to seal for fifty-nine dollars but old Watkins down the street sold it to me for forty dollars because I helped him.out with his income tax. MENABE ILE Peter, you're just like an old woman. . re TER Why? ANNABELLE You can't resist a bargain, can you? If you thought you were getting.one you'd buy something even if you didn't need it. I'm.sure that's why you have this job here as the company 52 lawyer - just so you can keep them from spending money unless they find a bargain. PE ER Sure, this is a bargain . . . .but I needed it, too. ANNABELLE Did you? Why? PE‘ER I expect to use it when we go up north on our honeymoon. AMIA‘BE LIE Who said I wanted to spend my honeymoon fishing? _ PETER Don't worry, honey, that isn't all were going to do. mom-331 1:” I didn't mean that. (Peter strikes her playfully with the pole.) Now, Peter, stop that . . . . . PETER Look . . .if you're going to marry me, you're going to have to learn to fish. ANNABELLE Oh, I know how to fish. PETE. You do? You haven't told me that. ANNABELLE Sure, I used to fish a lot when I spent my summers at camp. It's been quite sometime though. PETER Well, try that pole . . . .be careful . . . Don't jam it into anything. Isn't it balanced nicely? . ANNABELLE It's not bad, is it? What does it weigh? ETE Four and a half ounces - There you got one--- ANNABELLE What do I do now? PETER Take it easy - play him awhile . .Don't real him in too fast. Easy . . . . Easy now . . . . . . . .- 53 ANNABELEE Well, get the landing net, Peter. PETER All right, now ease.hhn over toward me . . . That's is. . That's it. ANNABELLE Don't lose him.now! ' PETER There! I got him! Gee, that's a dandy, Annabelle. A " mm ELIE Now what are you going to do with it? PETER Toss it back in the stream - The season isn't open yet, you know. Say, why didn't you tell me you knew how to fish? I probably would have asked you to marry me even sooner than I did. You handle that pole as if you know what yodre doing. ANNABELLE Oh, there are lots of thing about.me you don't know. PETER What for example? ANNABELLE I'm.probably a better secretary than I am.a housekeeper . . You'd better look over the mail that came while you were out instead of playing with that fish pole. PETER Was there anything important? ANNABELLE No. I don't think so. I've taken care of some of it. PETER Oh, I hate to get back to work on a day like this. There's something about a fish pole that gives me spring fever. . . You can aswer this one, too, Annabelle. Tell Mr. Fredricks that the 22nd will be fine for me. . . . Say, did you see this folder from.that hotel in Maine where I Spent a week last summer? Look at this, Annabelle - isn't it a beautiful spot? It's just as pretty around there as the picture too. ANNABELLE It is nice, isn't it? PETER How would you like to go up there? ANNABELLE When? PETER For our wedding trip. Just say the word and I'll write for reservations today. . ANNABEIIE I wish I could, Peter. PETER Then we could swing down and spend some time with.my folks - ‘Mother would love to have us. ANNABELLE I know she would, Peter, and I think she's grand. That trip we took before to meet your mother and father was just mar- velous . . .Their home is beautiful. Oh, I like them.very.much. PETER They liked you, too, Annabelle. ANNABELLE But don't you see, Peter. I can't take you to meet my mother and father because I've never had any. At least, not that I know anything about.1 PETER Oh, Annabelle, we've been over this before. And I'll tell you again that you're making something out of nothing.1 ANNABEIIE Yes, I know. But . . . . . ' PETER But nothing . . . .You love me, don't you? ANNABELLE ” 'You know I do - very much. I want to marry you, Peter, only. . . PETER Only . . . . . . ANNABELLE Ikm just sort of afraid. PETER Afraid? Afraid of what? Of me? 55 ANNABELLE No, of course not. But, how do you know I'll make a good wife? PETER You don't see me worrying about that, do you? I'll take my chance!) How about.me? How do you know I'll make a good hus- band? ANNABELLE It's different with you, Peter - youfve led a normal life. I haven't! I don't even know what its like to have a home because I've never had one. I've always shuttled between some girl's school in the winter and summer camp in the sum- mer. I never had any other place to go. The only homes I've known were those in which I've been a guest. PETER All the.more reason we should be married; then you'll have a home of your own. . ANNABELLE Yes, Peter. I hope I'll be able to make the kind of a home for you that you want. PETER IFm.sure you will! Come on, sweetheart, let's not wait any longer, let's set a date . . . Please, name the day for our wedding. ANNABELLE I will soon, I promise. Only sometimes I wish we were married already and didn't need to have a wedding. PETER I thought all girls liked weddings. I was sure you felt the same. ANNABELLE I do, Peter - that is if our wedding could be like someone else's. ETER It can . . .You can have any kind you like - just as big as you please . ANNABEIIE That's just it. I can almost see it now - your side of the church filled with relatives and friends and mine empty. I don't have anyone. PETER .But you have lots of friends; I'm sure they will come. \J‘( O\ ANNABELLE Yes, friends. But do you realize, Peter, that I don't have a single relative that I can invite - not even one - not a father to give me away - nor a mother to be there. Just nobody, Peter. ETER well, we don't have to have a big wedding, you know. we could just slip off somewhere and be married without any big ceremony and all that. ANNABELLE No, I want a wedding - at least I think I do. Peter, some- times I'm.so mixed up I don't know what I want. But if I only knew . . .even if I were sure that my parents were both dead, I'd feel differently then, but it's this not knowing- not knowing anything about them or even myself. Don't you see, Peter, I don't want to act like this but I guess I just can't help it sometimes. Itm sorry. Parse . I understand, Annabelle, but this can't go on forever . . . ANNABELLE I know it, Peter. I shouldn't be talking like this, I know; I should be very happy engaged to the nicest fellow there is, but I just can't keep myself from thinking. 'You're very patient, and Ieappreciate it very much, you know. PETER I only wish I could help you, Annabelle. ANNABELLE I do, too, Peter. It's not being fair to you. PETER It's not that, but it seems strange to me that you have never had the least clue. The part I don't understand about the things you've told me is how you went to school and these summer camps. The school that you went to takes money, I know; surely someone paid that . . . and yet you could never find out who. ANNABELLE I tried - I tried several times. I asked deans, the counsel- lors. Oh, I asked everybody and the answer was always, "we don't know, Annabelle." Then they would tell me not to worry about it - that I would find out someday, but I never have. PETER What about money for clothes and things like that? 57 ANNABELLE I had a checkbook. PETER Gee, that was convenient, wasn't it? Could you sign the checks yourself? ANNABELLE Yes, but they had to be countersigned.by my housemother. PETER What bank were they on? ' ANNABE LIE A.New York bank. That's no lead, Peter, because I went to the bank and talked to everyone from the President down and no one could give me the answer I wanted. PETER Well, what happened to the checkbook? 'You still have it? ANNABELLE No. On the day I finished college I received a very nice let- ter which congratulated me on.my work there but it also told me the check book was discontinued. There was a check for one thousand dollars and I was notified from.that day I was on my own. The letter was unsigned. PETER And then? ANNABELLE Nothing. That's the last I ever heard. PETER Someone looked after you, Annabelle, and very well, I'd say. ANNABEIIE Oh, they did. But who, Peter - who? I'd like to know. I must have someone - some place. PETER Yes, there must be, but we'll get nowhere talking about it like this. I guess we'd better get to work. I do have a lot to do this afternoon and I don't want to keep you late again tonight or we'll start some idle talk. Someone might think I have an interest in you . . . . . ANNABELLE Say, that reminds me, Mr. Barrett called just before you came in. He said he'd call back, but.maybe you'd better call him. He seamed ansious to get you. PETE-IR What about? ‘ AimABELLE He didn't say. " PETER Okay. I'll call him. 1r. Barrett, please . . . . Did you finish that report for Mr. Wright? ANNABEm I'm working on that now. PETER Hello, Mr. Barrett . . . Yes, Murray . . .Yes, I have the files on Lorinda Spencer. .Why no. .Who?. .Courtright . . . Richard Courtright. Umphum, New York banker, isn't he? All right . . .you give me about five.minutes and I'll have all the information ready on the Spencer case . . .Yes, sir. Bye. . . . . . . . Say Annabelle,‘Kr. Barrett is sending in a.Mr. Richard Courtright in about five minutes to go over some things on this Spencer case. Could you get all the information from the files for me? ANNABELIE The Spencer case? Who did you say was coming in? PETER Richard Courtright, Esq. Ever hear of him? ANNABELIE No. Who is he? PETER From what I can gather he's the banker of Miss Lorinda Spencer. Barrett sent for him as allast resort before we go to court about her. ANNABELIE What's he sending him in here for? PETER You remember the Spencer case - that old lady I went to New York to see and didn' t? ANNABELLE Oh, yes. 0 o 0 PETER Well, Barrett wants me to pump all the information I can from Courtright about Miss Spencer. ANNABELLE I never did understand much about this case, and I can't see anyone acting so strangely, especially a woman. PETER You.mean no one else could act so strangely but a woman - ANNABELLE All right, now . . . PETER Seriously, Annabelle, this is a funny one. Here for years we've been sending her annual dividend checks and she hasn't cashed one of them. 'You know she owns a lot of the stock in this company. left her when her father died, I think. ANNABEIIE But what could be her reason for not wanting this money? It must amount to a small fortune by now. PETER And how! Fifty-six thousand dollars! That ain't hay, sweet- heart; .We could live on that a long time. J A ANNABELIE I would think, Peter, the company would see to it that those checks are ashed. PETER They are seeing to it. That's why it's in my hands now. Barrett told me that if we couldn't get any satisfaction very shortly that we would have to go to court about it. look at this stack of letters. All written toldiss Spencer and not one of them.answered. This money has been accumu- lating year after year until now it has reached the point where the Board of Directors wants something done about it. Of course, if we don't have to take it to court it will save the company's face and a lot of needless expense. ANNABELLE Bargain hunteri But just think of someone not even bother- ing to sign her name to get all this money. There must be something to it that we don't know. PETER Right: I've only been working on this for a short time, but I'm sure there's a l93.we don't know. That's why I'm.anxious to see Mr. Courtright; I hope he can give us the answers. Is this everything now? ANNABELLE Yes.This is everything from our files at least. I could check the General Files. Shall I look now? PETER we'd better dig it all out. But wait until after‘Er. Court- right comes. ANNABELLE What did you find out about this woman? Doesn't she have any use for her money? PETER I don't know and that's what puzzles me. All I know is that the company has been sending these checks to her in New York and they've never been cashed. I'd like to see someone who can stick up her nose to fifty-six thousand dollars. She really must be some old girl: ANNABELLE Is she old? PETER I've never seen her and I guess no one heae really knows her age, but she's probably no youngster. Yet, she's'Miss Lorinda Spencer. Could be she's an old maid. Just like you'Il be if you don't marry me soon. ANNABELLE But I don't have fifty-six thousand dollars . . . PETER With what you've got, you don't need it, Annabelle. human LLE I still don't quite see where this Mr. Courtright fits in. PETER Well, he's Miss Spencer's banker. we can't find out anything about her ourselves and that's why Courtright is here. He probably knows more about her than anyone else. ANNABELLE Could he stop you from going to court? PETER Possibly - If he comes all the way up here from New'York to see us he must have a reason. , ANNABELLE 33f 1you could only get in to see this Lorinda Spencer and talk 0 er. PETER ' That's just it, Annabelle! You can't get in to see her. I told you what a time I had when I went to'New york for the purpose. For two whole days I tried every trick I knew to get in to see that woman. She is a legend at the hotel, No one sees her. Finally I was asked to leave in no gentle tenms by the hotel detective. ANIMBELIE I'd like to have seen you being excorted out'. ‘ PETER Yes, I'm sure you would. Get the door, will you, please. That must be Mr. Courtright. (ANNABELIE admits RICHARD COURTRIGHT who is now a nicely dressed man of about sixty.) COURTRIGHT I'm.Richard Courtright. ' mmAaELLE Come in, please. PETER Mr. Courtright, I'm.Peter Murray. -. COURTRIGHT I'm very happy to know you, Mr. Murray. PETER And this is my secretary, Miss Grey. COURTRIGHT It's a pleasure,ldiss Grey. ' ANNABELLE How do you do, Mr. Courtright. PETER Will you sit down, sir? COURTRIGHT Thank you. ANNABELLE If you gentlemen will excuse me? I'll see what I can find in the other files, Mr. Murray. COURTRIGHT By all means. 0 o PETER Surely, Miss Grey . . . (ANNABELLE exits.) COURTRIGHT A very attractive secretary you have,‘Er.'Murray. ETER May I take your hat, Mr. Courtright? Yes, Miss Grey is a very nice person. And she's a very good secretary, too. . A comgination of good looks and brains - something you don't always find together these days. I don't know what I'd do. without her. . J COURTRIGHT She hasn't worked for you too long, has she? PETER Oh, she's been with me about six.months but she's been with the company longer. COURTRIGHT Yes, I know. PETER You know, did you say? COURTRIGHT Well, I mean I had heard she was working here upstate. PETER Do you know her? COURTRIGHT No. No. That is, I just knew of her that's all. I believe you wanted to ask me something about Miss Iorinda Spencer. PETER You'll pardon me for asking, Mr. Courtright, but would you mind telling me what you know about Miss Grey? COURTRIGHT Nothing. INothing. It's just that I heard you and Annabelle were engaged to be married. PETER Yes, that's right. COURTRIGHT May I offer you my congratulations? 63 PETER Why . . .why . . .thank you But how did you know about us? COURTRIGHT I believe Mr. Barrett mentioned it when I was talking to him. PETER I would have sworn Mr. Barrett knows nothing other than that Miss Grey is my secretary. COURTRIGHT well,.maybe it wasn't Mr. Barrett - someone - perhaps I over- heard talking in the main office . . .1 doesn't really matter. PETER But it does; we've been keeping our plans a secret around here. we didn't thinkiit would be wise to announce our engagement since Miss Grey is.my secretary. No, I'm.sure no one knows in this office. I really don't htink anyone would know . . l . .unless they were keeping track of Miss Grey very careful- y. COURTRIGHT It's really unimportant,‘Mr.IMurrayl I merely mentioned your engagement to make conversation. l PETER I?m.sorry but I can't be satisfied with that, sir. I can't help but feel that you are acquainted with Miss Grey better than you are willing to admit. 'You know her well enough to know her first name - you called her Annabelle. COURTRIGHT I did? PETER Yes, you did. You know her pretty well, don't you? COURTR IGHT '- Perhaps. PETER Mr. Courtright, I don't know how well you know Annabelle or how much you know about her, but I don't mind telling you that the reason we aren't married today is because she knows noth- ing of her parents.- she has an idea that she doesn't want ‘ to marry until she can find out something of her background. COURTRIGHT I'm.sure she's better off not knowing. 64 PETER What do you.mean, sir? COURTRIGHT I mean, some things are meant be kept a secret. PETER And you think you are qualified to judge which? COURTRIGHT Yes, I'm.positive I am} 5 " PETER I'm not sure I believe you. COURTRIGHT That's up to you. However, I had no intention of bringing up this conversation and I think it has gone far enough! ‘ PETER No, Mr. Courtright, you're the first real clue that Annabelle had had regarding her past. COURTRIGHT But Annabelle knows nothing about our conversation, does she? PETER No, she doesn't. ' COURTRIGHT Then let's drop it. I'd rather we weren't talking about her when she comes back. A PETER But it's very important to me, sir. Go far you are the only one Who 0 0 0-0 COURTRIGHT Mr. Murray, I'm a busy man. I have to catch a train back to New York and I don't have too much time. IMr. Barrett told me you would like to ask me something aboutlfliss Lorinda Spencer. ETER Well, yes, I would. COURTRIGHT 0 what assistance can I be? PETER Of course, being her banker, you knew that she received sever- al dividend checks from.us which she never cawhed. 65 COURTRIGHT So Mr. Barrett told me. But, quite frankly, I didn't know it until today. All I knew until I arrived here was that he wish- ed to see me regardingfiMiss Spencer - that there was a poss- ibility of a court action. PETER And you came up here to see if you could prevent this case coming up in court. COURTRIGHT Quite naturally. ZMiss Spencer is one of my clients. PETER Well, tell me. Just what is Miss Spencer like, anyway? And why should she refuse fifty-six thousand dollars? COURTRIGHT One question at a time, my boy. I truthfully don't know why she won't accept the money, but anything she soes, does not surprise me. However, I can tell you little about the lady herself. (AMIABELLE enters and goes to her desk.) PETER Excuse me, please. . .Did you find anything else,ldiss Grey? ANNABELEE No. I'm sure you have all the information available. PETER Thank you. 'You might take some notes on.my concersation with Mr. Courtright. That is, if you don't mind, sir. GOURTRIGHT " No, that's quite all right. PETER You were telling aboutlfiiss Spencer. we've written her sev- eral letters and received no answer. I've also tried to reach her by telephone with no sucess. COURTRIGHT I can understand that. She doesn't have a telephone. PETER J Yes, so I found out. COURTRIGHT You see, she's a strange woman. She lives in a large hotel suite with no telephone, no radio; she never sees a newspaper and she allows no one to see her except by special appointment. O\ O“. I'm.her banker, and I only see her once a year. PETER Just once a year - well, what is she like when you do see her? And why do you suppose she doesn't want this money? COURTRIGHT In the first place she doesn't need the money. iMiss Lorinda has little use for it. Her life is simple; she hasn't left her hotel rooms since God knows when. She wears clothes that are thirty years behind time, but no one ever see her, so I guess that matters little. ETER a real hermit. COURTRIGHT That's it . . .a hermit. She will see no one except those whom she absolutely has to see. Even her banker, my meetings are very short. She wants to know how she stands financially and our meeting is over. In fact, she seems to resent my being there. PETER Just how could I get to see her? I've tried everything in the book and some things that weren't in the book. COURTRIGHT You tried? ‘You mean you've been to New York to see her? “PETER Yes, but I had no luck at all. COURTRIGHT When was this? PETER A couple of weeks ago. COURTRIGHT You didn't get in then? ' PETER Oh, I got to the door of her suite all right, but not in her rooms. COURTRIGHT Did she know you were there? PETER I know she did. I talked to Charles, her waiter, and with the help of a five dollar bill, of course, got him to take her a 67 mes sage o COURTRIGHT YGS?00000 PETER She just ignored it. Told Charles to tell me to be on my way! I tried to get something out of Charles since he sees herleveryday but she shut up like a clam. He would have nothing to do with anymore money I offered him - as much as told me that what I would give him was chicken feed to what he made from Miss Spencer. COURTRIGHT Yes. I wouldn't expect much from Charles. PETER I saw Mr. Gennamore, the hotel manager, but he couldn't tell me anything. In fact, he was surprised that anyone would insist upon seeing her. COURTRIGHT Then you didn't see her. PETER No! I even tried to get 1 through the fire escape and that was when the hotel detective threw me out. COURTRIGET And nothing from that correspondence? PETER Not a thing. We've never received one letter from her. Am I right, Miss Grey? ANNABELLE Yes, that's true. COURTRIGHT well, if she hasn't answered your letters, she doesn't want to see you. You just don't see her and that's final. As definite as that. You know, I'm.not used to being shut out of places. . COURTRIGHT Believe me, Mr. Murray, no one gets in to see Miss Lorinda unless she wants to see him. 68 PETER But you.do, MT. Courtright. I'm sure she must have some reason for holing up in a hotel that way. What is it? You are her banker. Surely you know.more than you're telling me o CCURTRIGHT Perhaps. ‘ETE: After all, you must know something about her psersonal affairs. What do you know aboutldiss Spencer - personally, that is? COURTRIGET Yes, I'm.her banker, and I have been for a good number of years. IMr. Murray, you're a lawyer, I can see by your man- ner. Ybu know that there are somethings we just don't tell about our clients. And, MI.IMurray, I'm cettainly not here to submit to a third degree. After all, the office isn't a courtroom and I'm not on the witness stand. PETER I'm sorry, sir, I didn't mean to offend you, but I have to do something about this situation. Just what would you suggest? I seem to be running into bottlenecks everywhere I turn! ‘Miss Grey will vouch for that. ANNABELLE Yes. This case has him stopped, Mr. Courtright. PETER You want to keep this out of court and so do we. What can I do? COURTRIGHT I really don't know what you can do. PETER Can you, as her banker, help me out? , COURTRICHT Perhaps - but I couldn't promise. " PETER You could get me in to see her? COURTRIGHT I -- get you in? No..no.. that's out of the question. Why is it? I know you get in to see her. COURTRIGHT Yes, but only on rare occasions, and by special appointment. PETER But you would get in if there was an emergency. CCURTRIGHT An emergency - yes. PETER This is an emergency, Mr. Courtright. YOu said you wanted this kept out of court. COURTRIGHT I do. PETER Then get me in to see her or else I'll have to proceed with this case. COURTRIGHT What good would that do? PETER I'm not sure. But I'll get her to sign those checks or know her reason for not doing it! What do you say? cofiRTRIGRT You don't leave me much alternative, do you? PETER No unless you want to go to court. COURTRIGHT You're right. I don't want that. PETER Then you'll get me in to see her? COURTRIGHT (to ANNABELIE) Mr. Murray strikes a hard bargain, doesn't he? ANNABELLE Sometimes he does, I'll admit. ‘ PETER 1Nell? o o o o o o o COURTRIGHT I'll see what I can do. I won't promise though. 70 PETER That's good enough for me. ' COURTRIGHT When could you come to New York? PETER Anytime you say. COURTRIGHT Suppose we make it the day after tomorrow. That will give me a little time to make arrangements. PETER That's fine. Where will I meet you? COURTRIGHT You know where Miss Iorind's suite is? PETER Yes. COURTRIGHT I'll meet you there - let's say at ten o'clock that morning. PETER A Good. I'll be there. ' COURTRIGHT Now, Mr. Murray, I must be going - that train won't wait for me. . ETER Thank you very much for coming, sir. I enjoyed our conver- sation. COURTRIGHT I'm.not sure whether I did or not. You're a very insistent young man. PETER Just doing my job, Mr. Courtright. COURTRIGHT Yes, I suppose you are. I'll be expecting to see you then - day after tomorrow. PETER Yes, sir. It's been a pleasure, Mr. Courtright. COURTRIGHT It has been nice to see you, too. Goodbye, Annabelle. 71 ANNABEIIE Goodbye , Mr . Courtright . PETER GOOdbyeo (COURTRIGHT exits.) You know, Annabelle, this thing about Miss Lorinda gets more and more strange every minute. I don't know much.more about her now than I did before I talked to.Courtright, and he didn't seem too surprised to learn that she wouldn't have anything to do with this money, did he? I'm sure he knows more about this woman than he cares to tell. Did you hear him say, "There are just somethings we don't tell about our clients"? He's hiding something he doesn't want anyone to know! . p ,0 ANNABELLE Maybe you'll find out when you're in.New York. I hope so. Well, I accomplished something anyway. At least‘ I'm.going to get a chance to see Miss Spencer - thanks to Mr. Courtright. ANNABELLE I really don't think he wanted you to. PETER I don't either - but I guess I was the lesser of the two evils. He seemed afraid to have this case go to court. , ANNABELLE Yes, I'm.sure he doesn't want that. pl PETER Are you sure you don't knowfiMr. Courtright - that you've never seen him.before? . ANNABEIIE Of course not} What.makes you say that? How did he know your name was Annabelle? ANNABE its Did he call.me that? ' PETER Sure he did. ANNABEIIE I remember now, when he left he said, "Goodbye, Annabelle". 72 PETER That isn't all. When you.were out he asked some questions about you, too. He seemed to know that you hadn't worked for me too long. _ ANNAEELLE Honest, Peter, I can't remember seeing him before. You're not kidding, are you? Please don't kid me about this - it means too much to.me. PETER I'm.not kidding. He didn't have anything to do with your coming to work here, did he? ANNABELLE No. I don't think so. PETER How did you happen to come here? You never told me. ANNABELLE I received a letter one day from.the school telling.me about a job up here and I came up to see about it. I was hired and here I ame Nothing strange about that, is there? PETER No. ANNABELEE Peter, do you suppose'Mr. Courtright does know something about me? Do you think he could tell me anything? PETER He knew you were engaged to me. ANNABELLE How could he know, Peter? PE I didn't tell him} ANNABELLE Then he does know something about me - I'm.sure he does . . He'd have to, Peter, if he knows we're engaged. PETER Now, don't get so excited; there's probably nothing to it. It's just because we were talking about it before he came in.and now we're trying to associate it with something he siad. 73 ANNABELLE But he did call me Annabelle and you said he knew we were en- gaged. PETER Annabelle, you're just clutching for a broomstraw. ANNABELLE Maybe you're right, but it's something . . .Peter, I've got to know. .I'll evengrasp a.broomstraw if it means finding out something about myself. You don't know what it means living everyday, wondering where you came from, who you are, who your parents were. Sometimes I think I can't stand it.much longer. ETER Annabelle . . . ANNABELLE Yes. ETER If you did find out about yourself, did you ever think it .might be something you didn't want to know? mums LIE What do you mean, Peter? PETER Perhaps it's better not to know; perhaps it's better for you not to find out. _ ANNABELLE on, Peter, not you, too - don't be like everyone else, tell- ing me that it's all for the best? I couldn't stand that! I have to know. I'm.alive . . .I walk . . .I breathe . . . But who am I? PETER I know who you are - you're Annabelle Grey, and I love you very much. That's good enough for me! ANNABELLE I'm.sorry, Peter. I didn't mean to go all to pieces like this. I'm.all right now. What are you going to do when you seelfliss Spencer. _ PETER I really don't know. I'll just have to wait until I see her, I guess. . . . ANNAEELLE You seem very positive that you'll see her this time. Remember '74 Mr. Courtright would make no promises. WARNING: CURTAm . PETER ‘ Oh, he'll get me in to see her. By the way, get me Mr. Barrett, will you? I'd better tell him that I'm.going to New York. I'll be glad when this case is finished - it's been nothing but a headache so far. ANNABELIE Mr. Barrett, please . .I r. Murray' 3 office calling. .Here you are. PETER Thanks. Hello . .Mr. Barrett, Peter Murray talking. . no, Mr. Courtright just left. . .Frankly, I didn't get much out of him. But he's going to get me in to see Miss Spencer. . . .Yes, day after tomorrow.all right. I'll call you then from New York. Bye. - ANNABEIJE Peter, take me to New York with you}. PETER Take you to New York with me . . . .What for? AMABELLE Peter, don't you see? I could corner Mr. Courtright and find out just what he does know about me. PETER At Miss Spencer's? ‘ AimABELLE Shy not? Will you take me with you, Peter? * PETER Well, I don't know; I hadn't thought about that . . Maybe we can work it .. . . Wait a minute. . Hello, get Mr. Barrett again, please, Mr. Murray calling. . .I've got an idea. . . Hello, Mr. Barrett, this is Peter Murray again. I'd like to take Miss Grey to New York with me . . Yes, that'sright - Miss Grey - You see, maybe she could get Miss Spencer to talk better than I could . . .You know, the woman's angle, Mr. Barrett. . .Yes, I think it's a good idea, too. Thank you, Sir. . .Right. I'll see you as soon as we get back. . . . All right, gal, you can pack your duds; you're going to New York with me in the morning. 75 ANNABELEE Oh, Peter, I'm.so glad. (She kisses him.) PETER Hey. if I get paid like that, I'll take you to New Ybrk everydaynfiiss Grey, don't you realize that there is a time and place for everything . . .and it isn't here in the office during working hours! - ANNABELLE Yes, Mr. Murray, I'll get to work right away, sir. (They both rush to their desks.) FAST CURTAIN THE TIME: THE SCENE: tr] U) tel 76 ACT TWO Scene 2 Afternoon the following day. (MISS TORINDA'S living room in the Belmore Hotel.in.New York City. It is a rather large room, very cold in color. Upstage center is a large window with the dark, heavy draperies drawn, and even though it is midaft- ernoon, little of the afternoon sun find its way through the window into the room. The furniture is of old vintage but very expensive looking ints antiquity. Perhaps at one time there may have geen bright colors in the furniture but they have long since faded. Near the center of the stage is a long heavy table with a lamp and two large plants. Down- stage of the table is a large, old sofa. At stage left is a 10V: seat and behind it a bridge lamp. There is a small table on rollers up-stage left, and upstage right is a tall secretary. There is a large, heavy chair at right center stage with a reading lamp beside it. The entrance to the outside corridor in the hotel is upstage left and the entrance to Miss IORINDA'S bedroom is downstage right. There is a straight back chair beside the secretary and one right center. Each peice of furniture seems to be in its precise plaée. It looks as if the room is never used. There is nothing in it, except the lamp burning on the table to show that anyone lives in it. That and the swinging pendulum of the large clock upstage. (As the curtain rises the stage is void of characters. There is a rap on the door up left and then silence. MISS ICRINDA SPENCER enters from stage left. She wears a dress which might have been the latest creation 77 about twenty-five years ago. She is very straight and almost masculine in her actions; each movement is brisk and precise. Her hair is al- most white and her face has a stern look, one of authority. In her way ‘HISS ICRINDA might have been called beautiful. It is her to tell her age; but for her hair, she may be forty but by her clothes, she may . be sixty. Her actions are not those of an old woman, nor is her carriage. Yes there seems to be a fear about her as she always appears to be quickly glancing from.one place to another, as if she is expecting to find something she does not want to find. Always she moves quickly; never can she remain in one place long. As'MISS IORINDA enters the room.she stands at the doorway for a.moment and looks at door up left. There is another knock on the door - louder this time, and a key is heard in the look as an attempt is made to enter, scum) CUE:M_SOlJl_Ep___O_EmI§EY IN rock, but the bolt inside prevents admit- tance. MISS IORINDA stand looking at the door, making no attempt to answer the knowk. The knock is heard again and is stopped by off stage female voices. "Don't knock on that door; get away from.there!" "I was just going in there to clean." "Oh, but you never go in that suite to clean. Some old lady lives in there and no one ever bothers her. 'You go down to 1123; that man just checked out." Voices trail off. ‘MISS IORINDA walks to the door and listens, then to the window and pulls the draperies closer together to cut out a stray ray of sunshine that may make it way into the room. She shakes the drap- eries a bit while she is at the win- dow. She picks up a pillow that is on the love seat, pats it a bit and replaces it. She turns the lamp on stage right. She crosses, sits and picks up her crocheting which is ly- ing on the arm. She begins to work and suddenly puts it down. She walks to the table, snipe off a few dead leaves from the plants and, as she moves some objects on the table, a book falls to the floor. She picks it up to where it has fallen open and reads silently for a moment. Then she begins to read aloud. LORINDA "Why all this cry for Immortality? Neither in Fame, nor in fact, do I Hope that my name or spirit will not die. Oh, I shall not go gladly. It will be With rage that I shall face the Ultimate; There will be songs unsung. There will be Mays Not smelled; there will be flaming autumn days Not seen; and suddenly will cease the spate Amont the waves, within the crowded town, I felt a lyric, Something hover down, And made my senses clear, I watfhed it pass. And if, after long years, one among men Should say, 'Why, he touched Beauty once! Well, 0 c o o othen o o o c 0" 'Why, he touChed Beauty once!' (She fiings the book to the table.) Touched Beauty! Beauty . . Not for me O C . C . O O ' (She begins to laugh softly, ironi- cally. . .She stops as suddenly as she began. The old clock strikes three. Slowly she turns toward the SOUND CUE: CLOCK STRIKES THREE TEES. clock. She brushed her dress and quickly walks to the door left and slides the bolt. A WAITER enters carrying a large tray. He is a small man dressed in black with a bow tie. He is about sixty and no doubt has been a waiter all of those sixty. ‘He sets the tray on the small rolling table up right. Both.IORINDA 79 and the WAITER seem.to have a mutual disrespect for one another.) "."u'AITER Good day, Miss Spencer. LOR INDA Good day, Charles. (All through the conversation the WAITER is making ready to serve LORINDA'S dinner. fie rolls the table to the center of the room and sets the table with the dish- es he has on the tray. The food is in covered dishes which he serves her one by one. After the table is set, he gets a chair from up- stage left and helps her as she is seated. All is very smoothly done, for this is a daily occur- ence. This is the one time each day that IORINDA talks with some- one. IORINDA stands on stage left and critically watches the ; WAITER as all the preparations for her dinner are made, then cross- es right and stands with arms fold- ed. Turns to Charles.) IORINDA Did you see anyone at.my door when you came in? CHARLES No, Miss Spencer. IORINDA There was someone - someone rapped three times. CHARLES I'm sorry, ma'm. ' ' LORINDA I won't have it Charles} 'You tell Mr. Fennemore that again today someone was at mysdoor and I want it stopped immediately. CHARLES It was probably some of the new help - there is a new.maid on this floor. She probably didn't know you were never to be disturbed. LCRDIDA I don't care who it was; I won't have it! 3 0mm IEJS Yes, lia'm! ' LORJEDA What do you have for me today? CHARIES Lobster a la.Newburg. Is that all right? LORINDA I guess it will do. CHARIES But last time you said you like lobster. IORINDA I said it will do, didn't I? ' CI-LAR LES Yes,.ma'm. ‘ LORINDA Wipe that silverware off before you put it on the table. CHARIES Yes,.ma'm. ' DORINDA Do I have to tell you that everyday? CHARLES No, ma'm. . 1012mm Surely, I pay you enough each week for what you do for me and I expect it done the way I want it. CHARIES Yes, ma'm. ' (Drops a knife on the floor.) Sorry.ma'm~ IORINDA Sometimes, Charles, I think you're getting too old to be a waiter. 'You've been serving me for a long time. CBARIES About eight years, Miss Spencer. LORINDA Do you like it? Bringing my meals up here each day, I.mean. CHARIES You pay me well; I serve you well, ma'm. LORINDA. Yes, I pay you well because you don't ask questions, because you mind your own business while you're in here. I hope this food is better than what I have been getting recently. What's the matter with those cooks anyway? CHARLES It's not the cooks' fault, ma'm.- It's just that things are hard to get with the Marshall plan and all. LOREIDA Marshall plan? Who is Marshall - someone new at the hotel? CHARLES Oh, no, ma'm, It's his plan that's gonna help the starving people of Europe.. We're sending food to Europe - that's why it's hard to get. LORINDA I'm.not interested in Europe. First it was the war - I had a hard enough time keeping that out of this room.- and now Marshall; it's always something. I'm.willing to pay for what food I get and I want you to bring me the best. Do you understand? CHARLES Yes, ma'm, Ybur dinner is ready. IORINDA Thank you. You seem to have little to say today, Charles. Why is that? CHARLES If you don't say nothin', nobody knows nothin! ' ' 1012mm ' Meaning'what? CHARLES Meaning - the less I talk to you, the less chance I have to say something I shouldn't. .. 1012mm You don't like your job, do you, Charles? CHARLES You pay me well; I serve you well,.ma'm. LOR INDA This food is not hot. Why can't you bring.me food that's hot? cszLss I try. But it's eleven floors up here and that's a long way from.the kitchen. IORINDA If you weren't so slow in getting up here, it probably would be hot. What do you do, stop on every floor and gossip about me? CHERIES No, ma'm. ' LORINDA Do you ever talk about me? CHARLES Why should I want to talk about you? IORINDA You're human, Charles. And I know servants - they're never happy unless they can talk about the people they serve. Isn't that so? CHARIES May I pour your coffee now? LORINDA You didn't answer my question. ' cmmms No, ma'me IORINDA well, are you going to answer me? CHARLES No , Ma 'm. ' LORINDA Sometimes I wonder why I put up with you, but I suppose if it weren't you who brought me my food up, it would be some- one eveniworse. At least, you're frank about things. ‘You know when you have a good thing, and that's what looking after me is - am.I right? CHARLES Yes,.ma'm. " LORINDA Yes, Charles, you may pour.my coffee. CHARLES Right , ma' m. LORIN DA What do the other people in the hotel say about me? CHARLES No one‘ knows you live here. LORINDA I mean the other people who work here - those women who rap- ped on my door. I heard them talking about me. CHARLES Very few of the help know you exist. LOR INDA But they do talk about me, don't they? enemas Not as.much as they do the other permanent guests . .It's a beautiful day outside,lJiss Spencer. . LORINDA Is it? CHAR ES Yes, lots of sunshine today. 'You ought to let some of it in your room. LORINDA Charles, leave those all alone! I don't like sunshine; in fact, I hate it. I want those draperies closed; I never want you to touch them, do you understand? CHARLES Yes, ma'm. I was only going to . . . . . . IDRINDA Never.mind what you were going to do. If I can't see out, then I'm sure no one can see in. Pour me some more coffee. CHARLES Yes, ma'm. LORINDA Did I have any mail this morning? CHARLES I would have brought it up if you had, ma'm. A telegram.came for you, though. LORINDA A telegram - where is it? HARLES I have it here. lORINDA Well, give it to me. Why didn't you bring it up before? CHARLES How could I have gotten in to give it to you? IDRIHDA Oh, never mind . . . . . . . I'm going to have a visitor. swarms Are you going to let him in? LORINDA Him? How did you know it was a man? Did you read this? CHARLES Why, no, ma'm. " LORINDA I know you're lying. But it doesn't matter since it's only Richard Courtright. I suppose you know who he is, too . . ? CHARLES Yes. He's your banker. He's been here before. IORINDA But this is not the time for him to come. Clear these things away. He says "around three" and it's that now. CHARLES Then, you're going to see him? LOR INDA Yes, I'll see him. Get these dishes out of here. CHARLES But you've hardly eaten anything. IORINDA Stop muttering and get out. 85 CHARLES Yes, ma'm. Is there anythinngore you want of me today? LORINDA No. Only be quick with what you're doing. CHARES ' Yes, ma'm ‘ LORLNDA I can't understand why Mr. Courtright would want to see me today. Charles is there anything wrong outside - I mean in government or business? But I don't suppose you would know, would you? . CHARLES Prices are mighty high, Miss Spencer. LORINDA They are? CHARLES Some places butter costs a dollar a pound. LORINDA No, I mean is there something wrong on the stock market? CHARLES I don't know, ma'm. Lots of people are worried about the Russians. Some people think the whole world is going Com- munistic. LOR INDA Even in America? a; RLES Some say so, but I don't think the Democrats will let that happen. LOR HEDA Do you know who Mr. Courtright is? Would you know him if you saw him? CHARLES I think so. IDRIHDA If you see him outside, send him in. CHARLES Yes, ma'm (He exits and re-enters.) Hr. Courtright is outside, maflm. LORLNDA Well, don't stand there, Send him on in. Send him.in1 CImRLEs Yes, Ma'm. (He exits and COUR RIGHT enters.) CCURTRIGHT Miss Spencer. LOR III-IDA Put the bolt on the door, please Mr. Courtright. COURTRIGHT Miss Spencer, you look the same as you did the last time I was here. You've been well, I trust. LDRINDA Yes, I've been well. And what may be the nature of this unexpected visit? Nothing wrong, I hope. COURTRIGHT Nothing wrong, Miss Spencer, I hope. I see you have my tel- egram. LCRINDA Yes, That stupid waiter just gave it to me. But why the telegram? Why are you here? COURTRIGHT I sent you the telegram because I wanted you to guess a bit. If you wondered, then I was sure you would let me in to see you. In that, I've succeeded. LCRINDA Please be seated, MI. Courtright, and let's get to the point. CCURTRIGHT ' Thank you. LDRINDA You wouldn't be here unless it were very important, and you know that I wouldn't see you unless I thought it was. CCURTRIGHT Don't you ever talk of anything but business? LDRINDA You know I don't. Is there something wrong with my holdings at the bank? 87 COURTRIGHT No . . it isn't that. It's something I don't quite under- stand. . I _ LORINDA Why, Mr. Courtright, I thought that a man with your experience in handling financial affairs would understand everything re- lating to my business dealings. They're not too complicated, are they? . CCURTRIGHT No. They arenot as complicated as all that. It's not only to discuss financial affairs that this call is made, Idiss Spencer. ‘You.must realize that I don't see you but once a year and only then because I.made a promise to your father to look after you. LORINDA You've told me that before. I know you would do nothing for me except for that stupid promise you made to my father . . But you're not here to discuss that. COURTRIGHT N0. IDRINDA What is it then? COURTRIGHT I've been able to look after your interests because you've given me a free hand in.managing them. LORINDA You still have - - COURTRIGHT No. Now you're keeping something from me. LDRINDA Why, that's absurd. You have my complete trust. COURTRIGHT Have I, Miss Spencer? What about the.matter of $56,000 worth of uncancelled checks from the Lehigh Valley Manufacturing Company? LORINDA Oh, those - why, they're nothing . . . But how did you know? COURTRIGHT I talked with aim . Murray - the company lawyer. C‘Zl C41 LDRINDA A lawyer . . . But those checks - I, I just negelected to do anything about them” That's all. COURTRIGHT No, that isn't all . . .One doesn't neglect to cash checks ear after year for such a long period. One doesn't ignore $56,000 . . unless there is a very good reason. What is it, Miss Spencer. LCRINDA No reason at all . . .If I don't wish to cash those checks it's my own business. If that is all you came up to see me about, then we.may consider this interview over. I don't wish to talk about this anymoer. Good day to you,'mr. Court- right. . COURTRIGHT But it's not quite as simple as that. You can't toos this off by a shrug of your shoulders like you do everything else. . . and a bolted door in a hotel room won't help you this time. If you don't do something about some of those checks immediate- ly, you'll.find yourself in court. LCRINDA In court? COURTRIGHT Yes, and I'm sure you don't want that: You.might haveto tell something you don't want known. , LCRINDA What do you mean? COURTRIGHT Iflm not sure, but I know you wouldn't shut yourself up in a hotel room all these years unless you have a very good reason - unless you are afraid of something, or unless you have done something you don't want the world to find out. IDRINDA Richard Courtright . . . I don't have to listen to you; counnucnr What are you going to do,about the checks? Do you want this thing brought into court? LOR IIIDA I don't know . .I don't know . .But they con't take this thing into court. . . CCURTRIGHT Yes, they can - And if I know this young Peter Murray, he won't wait much longer. LOR DEDA It's my money . . .I can do as I wish with it. CCURTRIGHT Yes, if you cash those checks . . .All the company is interest- ed is is getting this matter off their books . . . Sign those checks and you can do as you please with the money. You have the checks, haven't you? LOR mm Yes . . . yes, I have them. . .all of them. In here. (Goes to the secretary.) CCURTRIGHT Well, get them and let's get this thing over with. LORINDA They're all here, I'm.sure. Here you are. I ‘ comm IGHT This is beyond me. . .Why have you kept these all these years? LOR IIEDA But they can't go into court over this . . It is not important? COURTRIGHT Of course it's not important . . Come now, you sign these and I'll take them.with.me and deposit them to your account at the bank. LORINDA But just a minute . . . Let me think . . . CCURTRIGHT Come now, Miss Spencer, you're wasting time. . . These are no different than any other checks, and I know you have sign- ed a lot of others. . . LDRINDA It's not that important . . . They won't go to court over this. COURTRIGHT But they will, I tell youi IMr. Murray is coming to see you tomorrow about it. » LORDIDA Tomorrow? 90 COURTRIGHT Yes, tomorrow - I had to make an appointment for him to see you. It was the only thing I could do to keep him from go- ing to court immediately. LOREIDA But I won't see himt A COURTR IGHT You won't have to if you sign these checks. LOR DIDA I won't do it! ' COURTRIGHT I don't understand . . .Come . .sign these; it will only take a moment. Why,lfliss Spencer, what's wrong? You're as white as a ghost . . .Surely you're not afraid of those checks . . Or, are you? 'Yes. You're afraid to sign them, Miss Spencer . . .That's it isn't it? LORJI‘IDA No. No! I'm not afraid . . I'm.not afraid of them I tell you. COURTR IGHT Then; sit down and Sign them . . . . LDRINDA I will . . . .I'll Sign them . . . ‘ (She sits down quickly and grabs the pen. As she starts to sign the check she looks across the room horrified.) Don't stare at me like that - Please, dOn't stare at.me! You can't find me here . . . .Don't stare at me I tell you! COURTRIGHT Who was staring at You? What did You see, Lorinda? Why can't you sign these checks? LDRINDA I can't do it . . Do you hear? I can't do it . . .It's been the same everytime I try . . .I can't do it . . . . . COURTRIGHT ' But why? Why can't you sign them? You seemed to see someone- who was it? IDRINDA I don't know . . .I don't know . . .Please, go away and leave me alone. - COURTRIGHT No! I won't go until I know the reason for this . . . There 91 is a reason. Are you going to tell me? LCRINDA No . . .no. I won't tell you. Take those checks and get them out of here: .Please go away. I won't tell you anything. COURTRIGHT Perhaps I can tell you why you are so afraid. Perhaps I can tell you why you can't make yourself sign those checks. . . LORINDA What do you know? I've lived alone for all these years and no one knows anything - not even you. COURTRIGHT But remember - I knew your father very well, yes, perhaps I knew him better than you realize. . . . . IDRINDA But he didn't tell you anything about.me; he couldn't have . . .oh, I know he wouldn't . . .He was afraid to tell anyone anything . . .even if he hated.met COURTRIGHT He didn't hate you. It was you who hated him. LORINDA Yes, I hated him . . .Does that tell you anything,IMr. Court- right? I hated him.when he was alive and I've hated him.every minute since he has been dead . . COURTRIGHT You were glad when he died . . You.wanted to see him.dead, didn't you? IDRINDA N0. No! I didn't . . . COURTRIGHT Are you sure? You had reasons to wish he were dead . . He knew the kind of a daughter he had - a vicious, heartless daughter who would stop at nothing until she got what she wanted. But he had taken all he could; he wouldn't go along with your plans any longer. He was in the way, wasn't he? Oh, yes, you wanted him.dead: . LORINDA You're lying - you're.making this hp. COURTRIGHT No - it's taken me a long time to see through this completely but now I'm.beginning to understand. LORINDA What do you mean? COURTRIGHT Why did you come to live at this hotel? Why did you shut yourself off from the world like this? You - Lorinda Spencer - whose sole object in life was to have a good time and do exactly what you wanted even though it meant pushing aside those who loved you. . . .To think I loved you once, Lorinda. Yes, I did you know. Today I can laugh at you and your hermit life. LOR INDA But I'm not a hermit: I just would rather live by myself. COURTRIGHT I escaped you, Lorinda. A very narrow escape it was, too . . .I've often wondered what it would have been like to be married to you. Thank God, I didn't have to find out. LCRINDA Get out of here: Do you hear me? CCURTRIGHT I told you I wouldn't leave until I found out about those checks. . LCRINDA You'll never find out. COURTRIGHT They came from your father's investment, didn't they? An in- ' vestment that became yours-after his death. It's strange that the only money you refuse is that which comes directly from your father. LORD-IDA What are you talking about? CCURTRIGHT Perhaps there is somedirect connection between those checks and your father. LORD-IDA You're just immagining things. COURTRIGHT You know I'm not. As I said before, I could never quite just- ify in my mind your running away from everything and living all by yourself in these hotel rooms. I knew you had a rea- son, Lorinda, but I could never belieVe that reason was strong enough. 93 LORINDA What reason are you talking about? COURTRIGHT Your child. LDRINDA My child? COURTRIGHT Yes, your child. I knew about her. LORINDA But you couldn't: No one knew! COURTRIGHT Your father did. LDRIHDA He couldn't have told you . .He didn't have a chance to tell. COURTRIGHT He told me just before he died. You would never have told me, Lorinda. You would have had me marry you and told me nothing. LOR DIDA Then you've known all these years? ' coURTRIm-I Yes. LCRINDA That was why you wouldn't marry me? ' COURTRIGHT That, and other things. It only'made me see you as you really were. LOR DIDA Do you know what happened to my daughter? CCURTRIGHT Yes. LOR IN DA Where is she? CCURTRIGHT You're starting a little late to think about her now, aren't you? 94 LORINDA Tell me where she is! You know, don't you? COURTRIGHT Yes, I know. But you'll never see her! I'll see to that. LOR 11qu Tell.me, where she is! CCURTR IGHT No, I'll never tell you! I've look after your daughter, Lorinda. I've watched her grow each day to become a beautiful women. And each day I've grown to despise you more and more for what you did to her. I have but one feeling left for you, Lorinda, and that is contempt! Lonntoi So you raised my daughter? CCURTRIGHT I only helped in an unseen way. LOR INDA Tell me about her, Richard. COURTRIGHT I'll tell you nothing. You don't even deserve the pleasure of hearing about her. - LOR IN DA No, I don't suppose you will. So you know my child. How many other people have you told? COURTRIGHT NO one o LOR INDA Can I believe you? COURTRIGHT You have no reason not to believe me, have you? LDRINDA IIO . CCURTRIGHT Rest assured. Your secret has been safe with.me, though not because of you, Lorinda, but for your daughters sake. LORINDA You know now why I have lived all these years here alone in these rooms; you have known my secret all the time. 95 CCURTRIGHT I have known about your child, if that's what you.mean, but you can't make me believe having a child caused you to come here to live alone. LCRIIIDA ”hat do you.mean? 0013131? IGIL There w as more to it than just the child. The child didn't mean an Mtli Qto vou - you :onldn' t have come here because her. Youb were afraid of sore eth ing. You were afraid of the same thing that makes you unable to sign these checks. They stand for something ycu fear. ”hat is it? f you won't answer that question, I'll answer it for you . . .You're afraid of your father, Lorinda. LCI- {EDA But he's dead. I saw hi 1 dead. CCL’IITF: GET Yes, he's dead. But you've never been quite sure. You tried to escape him by running away . . you didn't even go to your fa ther' s funeral, did you? LC? 11:13.3 I couldn't CCU:- TI: GI: To, you couldn't because you lad to escape hir1.But you had no reason to be afraid of your father . . . unless . . . LORETDE‘. Unless, what? COURT REIGT Unless you killed him, Lorinda. LORIEDA ho. Ho! I didn't kill him. Cbon-h G: l at was your reason for coming here, wasn't it? You had to get away from him even though he we dead. But it's izposs- i is - even here. That's w.hy you can't sign these checks. Each time you try, you see him sitting his chair, staring at you, just as he was when I ma ked in on you the day he died. LCRIEDA no. No. You don't know what you're saying. \O O\ COURTRIGHT Yo u're afraid of these checks because they come from your father and you Killed him! LOR IDA But you were there - you Know how he died. CCURTRIGHT I saw him in that room with you. I also saw you hold- Yes, ing; his bottle of medicine. IDRlI-TDA I was trying to give it to him. COURTRIGET Or did you take it away from him? That medicine meant life or death to your father. Did you keep it away from him so he tvould die? umnmn No, I didn't, I tell you. . ' COURTRIGHT Tne bottle was unopened, Lorinda. LORDEDA I didn't have time to . . . . . COURTRIGHT I heard what you were saying when I came in. Leann» 3511: you didn't see him die. *here was no one there when he C1led - just my father and me . . What did you hear? You've got to tell me. Y COURTRIGHT on. don't Know, do you? You don't know when I came into the I"130.21? 'I‘ IORDIDA here was no one there. You couldn't have seen what happened. A COURTRIGH are you sure? LORIIIDA }" '1 «*0, I'm not sure . . .How much do you Know? COURTRIGHT . I‘ve learned enough today to know that you were responsible for your father's death. rl‘he things I've wondered about for Years all add up to murder! -- LOR IIJDA You're.mad! CCURTRIGHT I know now why you came here to live in seclusion. You wanted to be sure no one would find out what you had done: LORII‘EDA But you can't prove this. C tbRTI—Z IGEIT I don't have to - you proved it already because you can't sign these checks - your father won't let you: He may be dead as far as the world is concerned, but he's alive to you, isn't he? :11“, n: c: CURTAIN . ~— ‘—‘-.‘ LOR DIDA Yes. . . .ycs . . He is alive: de's here all the time! CCURTRIGHT And you'll never excape him - It.must have been terrible to live alone all these years with your conscience - wondering each day if you would do something that would give away your secret. I've found your secret, Lorinda - it's taken me years, but you know I've learned the truth. L02”: rum You're not going to tell anyone about this, are you, Richard? rromise me you won't. I'll pay you well. I'll give you any- thing you ask. CCURTRIGHT You can't buy.me, Lorinda. You know you can't. You tried years ago . .Remamber? LOR INDA Where are you going? CCURTRIGHT Does it matter? ICE-:11: DA But what are you going to do? CCURTRIGHT m I don't know yet - I'll have to think it over. jut you can be assured that I'll.make you suffer for what you've done, Lorinda and in my own way, too. Your secret is no longer safe behind this bolted door. \O C‘) LCRIIIDA I wish you were dead! CCLT LTRIGHT Yes, I believe you do. But I'll be here to see you in the morning . . at ten, let us say, and I wouldn't advise you to keep me locked out. Mr. Murray and I want to talk to you about a little matter of some uncashed checks. Good day, Miss Spencer! ( He exits. ICE IDA stands looking at the door for a.moment and walks over to it and slides the bolt. She walks to the table and picks up the checks. Slowly she goes to)the center of the stage and lights a match to the checks. LIG IT'E_ CITE. ' LIG IITS *DIII SLC .ILY, "‘IIVII G CI: Y"1 :3 IIGIIT FRC‘II, ‘ HWITWAM w-TTT‘WV'H UT ”'7 Ayn-«T vi ‘~'~.‘ TTT " fififitfifl." ‘ffitfinafi-Jhfi $5347: ihflfé'a’; *fi- : :3: IL\C nub-gs»- mfh" in! C 9v ”Em U: uCJPfi. ‘EJ-J I!" $.11. amt-emmiwaavv-uunu CURTAIN FALLS SLOULY AC T Tim THE TIRE: Ten o'clock in the morning the fol- lowing day. TEE sCENE. The living room.of LORINDA SPENCZR'S hotel suite. AT RISE: (As the curtain rises there is no one on stage and the room looks.much the same as it did the previous scene. The clock begins to strike. sown) our: CLOCILSTRHCI * As it reaches six, IORINDA enters and stands in the doorway down right un- til the clock has finished striking ten. She enters and goes to the door up left as if to open it and then stops suddenly, behind the table cen- ter and stands looking at the door. She is obviously afraid. She starts back toward the door down right. Again she stops and looks at the door up left. Slowly she walks over to the door up left. She stands look- ing at the bolt and finally slides it open. She opens the door slight- ly and sees RICHARD COURTRIGHT stand- ing there. He enters and walks down center. IDRIRDA bolts the door. COURTRIGHT Good morning, Miss Lorinda. I see you were waiting for me. You don't seem.very happy to have.me here. Am I not welcome this morning? Don't you have anything to say to.me today? IDRINDA ‘Jhat are you going to do, Richard? COURTRIGHT It's not what I'm.going to do, it's what you are going to do, Lorinda! - IBRIEDA But you haven't told anyone? . . . . . lOO COURTRIGHT No -not yet I haven't. " LOR III-IDA You won't will you, Richard? For my father's sake? COURTRIGHT I don't know - I don't know - Have you seen anything of Mr. Murray? He hasn't been here yet, has he? IORIHDA Ho. COURTRIGHT I waited for him in the lobby - I thought perhaps he had come up. [DRIHDA No one has been here since you left yesterday. COURTRIGHT He should be a long anytime now. LORBIDA I don't want to see him. ' CCURTRIGHT No. I don't suppose you do} IDRINDA You had no right - asking him to meet here: COURTRIGHT Perhaps that's true. P rhaps I should let Mr. Hurray go to court. - ILRIHDA Io; COURTRIGHT After what I found out yesterday, perhaps it would be best. IDRINDA You‘wouldn't. ' c OURTRIGHT Oh, wouldn't I? I'm sure I would be a star witness. Yes, you'll see Kr. Hurray, Lorinda; you have no choice. IDRINDA But I have nothing to say to him. 131 C OURTRIGIIT You had better start thinking of something to say. LOR III DA NO! KO! I won't see him I tell you. why can't you leave me alone--all of you. (A knock is heard on the door up left. LC? IRDA quickly exits down right. CC’RTR GIT follows her towards the door.) CCUT TRIGX Come back here. You can't run away this time. (Knock is heard again on the door up left. ) Lorinda. . . . Lorinda. . . . come out here I tell you. (Knock is he ard again. CCUIITRIGHT goes to the door and slides the bolt. AIRA3RIIE enters followed by PRT1R. ) IIITII.’C3_.LL_. Good.morning. PRTRR Good morning, Hr. Courtright -I hope we ha en't kept you wait- ing. . COURTRIGHT Why, no - but,I£iss Grey - I. . .I hardly expected to see you. Pram“; Yes, I brought her along. I thought perhaps you might need a secretary, then, too, it might putIdiss Spencer.more at ease to have another woman around. By the way, where islfiiss Spencer? r‘CUIL :LI I: She's here. She's here someplace - but I'm sure it won't be necessary for‘Kiss Grey to remain. I'm quite positive you won't need a secretary. RTRR I don't thinkILiss Spencer would mind if she stays. IRRAE LLR I'll keep quite out of the way; Mr. Courtright. COURTRIGHT You don't know what a time I've had to convince her just to see you, Ir.'Murray - No. I'd rather not have anyone else here. I'm.sorry,1fliss Grey, but I'm.going to have to ask you to leave. . TTMM LIE All right,‘fir. Courtright, I' ll go, but not until I have made 102 an appointment to see you. I must ta 1': to you. CCURIRIGHT Talk to me - why - what about? IRRIARR LL13 Peter said you seemed to know quite a bit about me. I was hoping you could answer some questions. C CUR TR IGI-IT taken. But I'll talk to you, only not new - so Im mmehe's.ms la e - not here! i and s me other p ICRIIDA You didn't tell me I was to have two visitors, Ir. Courtright. CCURTR GR I didn't know,liiss Lorinda, I was eXpecting onlylfir.1;urray myself. RJTRR I'mfiKr.‘Murr ay. I tool: the liberty of bringing my secretary, IJiss Grey. I didn't think you'd mind. MIABE L123 How do you do,1£iss Spencer. CC'RTR GET I was just telling them that I didn't think a secretary would be necessary. Iliss Grey was just saving. I’IITIIA'BELIE Yes, I'll go if you don't need me. .RIRDA Well, since you're here, you may as well stay. ' ccmmrcnr I'm sure we don't need.Riss Grey. IDRIRDA Please sit down. COURTRIGHT Butljiss Grey need not stay. I insist that she leave. IORIIIDA Oh: StOP bickering and let's get this over. This is still my apartment, Er. Courtright. Ifiiss Grey may stay if I choose. New, sit down, all of you! I'll be frank; I have no desire to see anyone, but Mr. Courtright demands it. 103 PETER Thank you,I£iss Spencer. Surely you know we mean no harm by our visit. We're here memely to help you. IDRIIDA I've gotten along for many years without your help. I'm.sure I don't need it now. _ IIIYIII‘IBRLLE Perhaps you'll help us then. LCRIIIDA I'm.not in the habit of helping people I don't know. COURTRIGHT fiiss Spencer is not in the habit of helping anyone. LORIIIDA Well, Mr. Murray, you have finally succeeded in forcing your way in here against.my will. I'm sure you found out when you were here before and made a nuisance of yourself that I didn't .want to see you. I still don't: PETER I apologize for being a nuisance,1£iss Spencer, but I had to talk to you. Really, I can be a gentleman. Why don't you wish to see me? IDRINDA let my reasons for not seeing you be as they may . .You're in here now. What do you want? . PETER I've been sent to see you by the Lehigh ValleyIIanufacturing 0013.me o o o IERIRDA I know that. Come to the point! PETER Yes, mafims As a principle stockholder, you've been receiving checks for a number of years which represent earnings from your investment. These checks have been not cashed. Is that true? LORINDA Yes, that's true . . .What of it? PETER You must realize that the company does not wish to cause you any unneccessary embarrasement . .It has the stockholders' interest at heart . . . - 104 ILRETDA Yes, yes . .go on. PETER I'm sure you understand the company cannot have the large amount of.money accumulated on its books without wondering about it . . We have been very patient with you,1iiss Spen- cer; we sent you several letters, but we never received an answer . . I trust you got them? IDRIIIDA I received them. "‘1FT nlflR Can you tell.me why you have never cashed the checks? ICRINDA Because I believe what I do with.my money is my business and not that of your company. ETER That's true - all we ask you to do is sign the checks and you may do whatever you wish with the money. LOR DIDA And if I don't choose to sign than . . . ETER Then we will be forced to take this matter into court. We don't wish to, you understand, but if you won't cooperate with us, you leave us no alternative. » IDRDIDA That won't be necessary. Then you'll sign them? ' LOR III-IDA No. I don't have the checks. . . . Pfim‘rfip You don't have them? I thought. . . . LOR IIIDA I don't hve them; now, will you go and leave me alone . .? CCURTRIGR .She's not telling the truth; she had them yesterday. I saw them. ‘RIIDI .LL v 1 Yes, I had them yesterday, but I don't have them now . . . CCURTRIGHT What did you do with them? L015? EDA I burned them. PRTTR You mean you actually bm ned $56,000? I don't understand . . CCUI-ITRIGII‘I‘ Miss Ierinda doesn't want you to understand . . .So that's what you did. I expected something 11 me that, just what I don't know. So you burned them . .No. These peiople don't understand why you would do that . . .but I do. IDRINDA No . . .Nol You don't. 'CCURTRIGRT Yes, I do, I.iiss Lorinda . . .but I can't prove it. I could tell what I know hochver it would be very interc sting to Iir .Ihuray. L0? INDA You don't dare. CCURTRIGR Oh, don't I. . . .? IDRINDA Con't believe him; he doesn't know wIat he's talking about. He' 3 just made up a fantastic story. . .and it's all lies. . all of it. I've known him for a long time - you can't be- lieve a thing he says. CCDT. lIIIGIZT Kiss Lorinda, I meant what I said. IDRIIDA Thy, years ago even a: young man he was selfish and deceitful. I remember the time when he tried to . . . C OUR TR IGIIT Ch, stop this nonsense. Jhy, you don't know what it is to be an honest woman and you call me decitful: LOZIIIIDA Ch, I won't listen to you talk 111 :e this. I tell you,'fir. Hurray, he knows nothing of these checks. You couldn't believe his word against mine, could you? I assure you he's not a man to be trusted in the least. CCL1~I11I1GRT You can't shut.me up with your slanderous talk, Lorinda Spencer. Either you tell them about those checks or I will' Then we'll know ju st who the lying and deceitful person is around here. LCRIITDA (To Peter.) Are you going to stand there and let him ta k to me this way, young.man? CKLRTRIGRI . If you want the *esults you car- o“ let me 1-...no In this my way. AT‘ARRLIR But it shouldn't be necessary to talk that way to anyone. IQREDA hike him get out of here. Please. I'll tell you everything, only not while he's here. IIake him go. “‘V‘TT'I") - Hug-J Jun-Jib Yes, you'd better leave, Rr. Courtright. 111171323 LLB (to Lorinda.) Here . . . .come and sitdown . . .There's no need for anyone to get so excited. n 11 l I have had a chance to talk. 1101211301“. Rleasc make him go . .I'll tell you anything - only after 1e's gone. '0 nn‘rwf‘s I said you had better leave, hr. Courtright. C CD I‘ITRI GIIT No. I'd rather you left. let me alk to her alone. . I should.have known better than to let you in here in the first place. IBRZEIDA You heard what I said,‘Kr.‘Kurray - I'll say nothing while he's still here. PRTRR hr. Courtright . . I mean it . . I said get out' 137 Roll, all right then .. \I. ll right: I'll go. You don't have to get belligerent. . This way, lir. Courtright. . . COURTRIGHT _ Hurray, you're an impetuous young feel. 1 know more about this than you do. You're making a mistake in listening to her. (CCURTRIGHT exits.) PETER You heard.what Kiss Spencer said - out! I'm sorryliiss Spencer, that hr. Courtright spoke as he did. IORINDA Th k you very much for getting rid of him like you did. ETER Why, did he act like that? What's the matter with him anyway ICRIII‘DA Why, I don't know. But of late he has acted so strangely . . Yesterday when he was here he frightened me so . . ANNABRLLE You shouldn't let him in to see you if you're afraid of him. IORINDA I know, but he has been my banker for such a long time. Living like this I don't have contact with anyone on the out- side. I wouldn't know.anyone else who would handle my affairs. But I think there.must be something wrong with him. . The last few times he's been here to see me he hasn't acted like himself at all. PETER Don't see him when you're alonel H‘H‘EABB LIE I think what Peter says is true. LOR IN‘DA Yes, I guess you're right . . I won't let him come again . . I'm so glad that.you.were here . . I can't thank you enough for getting him out. EFZSZUZL; That's all right,1fliss Spencer . . I'm.glad I was here. If he bothers you anymore I would get in touch with Hr. Fennamore, or even the police; you don't have to stand for that you know. 108 LOREIDA The police? I mean, I'm sure he won't bother.me anymore. . J mamartm I But I would be careful. LOREIDA I can assure you I will. And now, Hr. E “ray, since the matter of these checks is settled, I have several things I have to do today. . . . P3 Tl... I'm sorry,I£iss Spencer, that matter isn't exactly settled. You said you would tell us about them. Don't you remember? LORHEDA I have told you about them. I told you I destroyed them. I burned them.. . What.more is there to tell? They're gone, aren't they? . A ' P3 1212 You're right. These checks are gone. but that doesn't clear the.company's books. They'll just have to issue you another to cover the amount. ' LORHIDA You.mean they'll send me.more checks? Yes, that's right . . . . . ' DORE-DA But I don't want them. Don't you understand? I . mm You don't want $56,000? LORINDA No. . .no.,. .I don't . .I don't want anything that comes from outside. dll I want is to be left alone in here. Promise me you won't let them send me anymore - will you do that? YTRR M Why, I can't do that,liiss Spencer. Lhey wouldn't believe me if I told them you didn't want the money . . .But why? Can you tell me that? . LORINDA No, I cant tell you why. Tell them what you like, but don't send me anmore o o o o ‘ 109 1mm “Lil-Bk f‘ But there must be a reason . . Jhat is it: Perhaps I can help you . . . , LOR—HID}. I don't need the money. Yes, that's it. I have enough.money Isn't that a good enough reason? ANNA - 3 LE But if you don't need the money, then why don't you give it to some worthy cause? . LOR Ill-I DA Some worthy cause . . what do you.mean? ERINABEIIE You could give it to some charitable institution. Some place where they help people who are in need. LORINDA. Yes . . yes . .that's what I could do. Then you.wouldR't have to send the checks to me, would you? I would never have to bother with them at all. You could-fix it so I would never receive these checks? ‘You could do that, couldn't youlfir. 1mm}? Q37? . PRTRR g Why, yes, I think that could be arranged. “c you have any particular organization that you would li' {e to give the money to,I£iss Spencer? LORRCDA No. You take care of all the details. You pick the organiza- tion - any one - I don't care. Then they would never send me anymore checks, would they? PETl-fl-Z I Well, no. I suppose we could make arrangements for the.money to go directly to the chariaty and I'm.sure I could find one that wouid be pleased to receive your donations. of course, you would have to allot the money, but I‘d be very happy to take care of Ihis for you . . .I could bring the papers up to you tomorrow. Will that be all right? IORIKDA Yes, yes . . .anything you say. I'll be expecting you again tomorrow. - A" ”TITJBMJ I I." I think this is a wonderful thing for you to do, I.Iiss Spencer. There should be more fine people like you in the world. llO 7?” 1171-17") J. .4 .1....1.L' L encer. . .this is a fine gesture. he'll be up to Yes,I£iss Sp ay about ten—thirty. see you, s LOR 1171311 Yes. . .that will be fine. ”7' ",1 f—T J." .5 11:11". You will be sure to let us in new, won't you? LOREIDA Yes, of course, I will . . .Goodbye to you. TRULYBRIIR Goodbye,l£iss Lorinda. It has been a real pleasure talking to you. You're a wonderful person. (As PETER opens the door, CCURTRIGHT comes in.) PETER Here . . Here. . .where are you going, mr. Courtright? COURTRIGR Never you.mind . . I have a few things to say toIiiss Lorinda and I'll ask you to stay out of it this time: tram-x. 171:1...“ But there is no need to say anything to her now; everything is all settled. I knowIJiss horinda doesn't wish to see you. COURTRIGHT All settled? What to you.mean? PETER hiss Spencer has decided to send the money to some charitable institution. And I'm.sure I can take care of this for her. Row, if you will come with me we can work out the details together . . that is, if Miss Spencer still wishes you to handle her affairs after the way you acted today. . .Idm.sure I wouldn't blame her if she wefe to find soheone else.. COURTRIGHT Hr. Murray, you're a fool. She had you devise someway s she wouldn't have a thing to do with these checks, didn't you? 7'ij 5".‘ J- ...J .L .54.?» Why, yes, but what of that? She just doesn't wish to be bother- ered is all . . . » CCURTRIGH Ha! So, by playing the part of an innbcent old lady, she de- ceived you like shw had everyone else? Ill 5 71'": f1 Ali-[Linn ' She hasn't deceived us. She's just afraid of the world that exists outside these rooms and she's locked the world out for that reason. CCURTRIGHT hiss Spencer is not afraid of the world, nor any of the peeple in the world. She's afraid of herself . . If you're such a smart lawyer, have you found out why she refuses to Sign these checks? ICRIEDA 'Make him leave . . please, Er. Murray . . please. COURTRIGHT Don't worry. . .I'll get out of here as soon as I have had my say. . .I've tried to rotect you. . .Tried to shield you from these people but now I.m through: New, I want to talk and you won't stop me: IDRINDA Get him out of here . . Get him out of here, I say. COURTRIGHT You . . .giving money to a charitable institution - you'd give it to anyone as long as you didn't have to touch it, wouldn't you? You - giving money to the poor - that's a laugh, isn't itldiss Lorinda? 'Yes, that's a laugh . . I can see the head- lines now . . ."eccentric spinster turns over thousands to the poor." Why, you'll be a hero, won't you? Do you think you can clear your conscience by making such a gesture? Do you think that you can get rid of your haunts and fears this easily? Oh, yes, you'll rid your self of the checks that have been coming to haunt you, but that won't do it, Miss Lorinda. . .You'll still be haunted by what.you have done. You'll never escape . .Never . .Rot as long as I'm.alive. Now you'll start worrying about me and what I know . . You'll worry more than when you thought no one knew your secret . . But now I know, too. . . ILRIEDA No. No: No: Please leave me alone. . . PE JR What are you doing - frighteningifiiss Spencer like this? COURTRIGHT Ask her what I'm.talking about . . Ask her why she's afraid to have me talk and why she tried to bride me yesterday to {eep me quiet. . . ICRINDA Don't you believe a thing he's saying. I'll tell you what 112 he's doing. . Ie's trying to blackmail me - - Don't you under- stand - that's what he is trying to do? He wanted that money for himself, and now that we're going to give it to a worthy cause, he's not going to get it . .Help m.e Lr.‘£urray . .Don't let him do this to me. . w‘“ YF'T'WT) J- —.J-L¢-J$h '3 why you were so secretive concerning So that's it . . That Kiss Spencer. 1 IDRIEDA F4 m F5 u , "es - that's why! 1':~1r11‘-7-j 4. .4 1.1.4.; 0 I didn't expect this of you, Courtrigg ht. I can see why you wouldn't tell.me what you knew - you were afr id I would suspect something . . . E.) J. That's not tru . . .You damn fool, let me finisl who t I have to say 1 I‘~"l{—-T '1‘?) .qJ-L—J;b You thought y uha d a perfect set- -up, did an' t you? An old lady living alone in a hotel roo:1 . .I'm sure the police would be interested, hr. Courtright. Blackmail is a pretty tough rap in this state. Trym 1'r-n “Cbnu 4.10. GL‘J. Yes, es, that's right - call the police. Go ahead, call the police. I’m.sure Kiss Lorinda would like that. Do you want them to call the police, Iiiss Lorinda? Go on, tell them . . .tell them to call the police,I£iss Lorinda . . or are you afraid to? PETER That about it- shall I call the police? Annabelle, go out and send for the police . . .There's a house phone near the elevator. . LC? gm DIL . You Can't do that. (5110 runs to the door and bolts it.) fir Ifo . .130. C CURTR IIT how, will you be quiet and listen to me? 't’t‘l‘ 17") J-J-Lo-Jbu . . , _ I all right, but start talking and talk fast. I ve had enough this geing around in circles! ‘ 113 CCURTRIGHT I'll tell you what I know, I promise, but fi°st you must have Annabelle leave. I'd rather she didn't hear what I have to say. .- l‘ILLIJJ LIZ. I leave? Uhat have I got to do wi h this, Kr. Courtright? r are you going to tell something that.might answer my question? COLLLLIX GIIT I won't tell you Annabelle. . .I'm.asking you, yes, even beg- ging you to leave. Believe me, it's for your own happiness. Please, take my word for it and go. 1 11 IL IBELIE No. I won't go out of here. I have a right to hear what you have to say. If you are going to tell something that concerns me, I must know . . . .I've been waiting years to find out something about myself ... . . COURTRIGHT Please, make her go . . It's for your good, too; if you love her, make her leave this.mement. 13mm- IIR I think I know why you want her to leave,'ur. Courtright - it has some connections with the conversation we had a couple of days ago. COURTRIGHT Yes, yes, it does - How will you believe me; that it would be best fo or her to not be present? nKUAb T No. . .oh, no: Don' t.maI is me leave now. You won't, will you, Peter? Say I can stay, please. . . 'CT‘VTW) 4- .LJ «Aft I don't know what to say no . . . Perhaps . . . AENABELLE You do know something about me, don't you? COURTR IGHT'. Yes, yes,.my dear, I do . .I promise to tell you sometime. PETER Perhaps, later, hnnabelle- LaterI Ir. Courtright will talk to you. 112., £11413}; LIE Nol How. I have to know now . . .Pleasel I've waited so long. Peter, help me . . PETER It's really for Mr. Courtright to say - not me. But'if you are to learn sometime, well, it might as well be now. a? "n 1:)— 11- ¢nu$nilgdu You'll tell.me, won't you? U AOL.» .LL.IGIIT It might not be pleasant to hear. ."TTI‘T A151“. JLT‘?‘ iLLuL I'm.not afraid. what you have to tell.me never can be as terrifying as all these years of knowing nothing - of wonder- ing and trying to piece together small bits of information. CCURTPIGHT Ifm sorry if that is true, Annabelle. Believe me when I tell you it wasn't meant that you should suffer. It was for your wn happiness that you were never told. * But don't you see, I never will be really happy until i know who I am, he matter what you have kept noromme - - - - - o Can l; . ICE-H"1 I don't want to tell you, nnnabelle. MERGE HE But you will . . . CCURTRIGHT If you 'nsist. SHE-5531413 I do - I do. 'You knew my family - who tiley were - what they did —-H1ere they lived- everything? C OURTEEIGEI Yes. . . I knew all about them. T-.33L '7‘ Then, tell.me, please. CCUZTH GET Yes, I knew your fanlily. Annabelle - very well. Perhaps no one knew then better tzan I. 115 fi‘“? "v Vj‘qu' ‘.n ILLJAJLIJQ LII—Lu (‘3 Are they still live? ccuraznm They left this world, as you and I know it, shortly after you were born. 5’f’T 5")"17' T"? J‘LL'..L\.’1..J- JJLL-L-J‘ Then I have no living relatives? m “rum-a W'rw'rrm U DI}. .Ll'l. LULLJ. You.might say that. [£13133 LL23 Tell.me about them. Where did they live? CCURTRIGHT Here in.fiew York in a very beautiful home. They were people of means, Annabelle -fine people. Your grandfather was one of the finest persons I knew - he was one of the biggest men on Wall Street in his day. F. T TT‘T A ”j" .1 5“ Altrutugl ‘ He's dead, too? CCUZTRIGHT Yes, he died years are. You would have loved him, I know - he was jelly and even though your grandmother had did .many years before, he lived his life with a spirit I have tried to imitate. I would have liked to have bee. such a.man as yes your grandfather, Annabelle. mmmmlm But how is it that you Know all of these things? Do you . . .belong to my family? . COURT? GET 130, my dear, I don't. AI TIE-32 LLB Still you know so much about me - you even knew Peter and I are to be married. 0 “tr. Ta IGI—I‘ Yes, I've known everything about you since you were a small ALIABELLZ 116 mm nrrm C \LT'r-ZA Uta-L Because of a :romise I made to your grandfather just before he died. 1"“? 1 “-1“: 71 I'LL l.-L.-'_J-L-a A pronis e? Cf"wsrh ”TIT h’U sJ-nL JLJ. Yes. I gave my word to your grandfather that if anything 1appened to him I would look after you. Then you have been the uni n.0wn person in.my life? CCLT.&T.IGEET Perhaps you.might call me that . . . . .YHABBLLE you have kept your promise - oh, you have . . . . COURTRIGHT It wasn't only the promise, Annabelle - perhaps at first I cared for you only because of my obligation to your grandfather but soon I found myself doing things for you because of the fine person you are. I h“IJ“ It was you then who tookc care Loof me, looked afte r my bringing up- sent me through colle; e -paid for all of those things? CO'RTR GK Yes, I hope I've helped, my dear. Al'l'..:3:3 LE Ch,]§r. Courtright, how can I ever thank you enough. 1;er v.3 .4 .5“!- nnd I want to join in Annabelle's thanks, sir. We shall always be grageful to you for what you've done. CCURTR THT Ho need for that. I have been repaid a thousand times to watch you grow up; to see you as you are today has been.my reward. I couldn't be more proud of you if you have been my own daughter. AETUQ ELLE But, I'm.not, am I? CC ”RTELIGIIT ho what, my dear? ll? ’11" -r 9. —-. "-1 Not your daughter - you're not my father? C CRETE-“LIFE: he, I'm.sorry - Ifm.not your father, although I'd like to be. AEEABELLE You knew him? What was he like? C CUR TR IGIET No. I didn't know him. I knew of him, though. ill-TI 39.33 LE CCURTRIGE Your father was a hero,.my dear. He gave his life for his country before you were born - he was killed in France in the first World War. PETER He never saw Annabelle, then? CQQRTRIGHr No. He never saw his daughter. Ifm sure he would be pleased if he could so her today. MHIABE LE But my.mother,'Kr. Courtright - you haven't told.me about her. 0 URTRIGHT No - no — I haven't, have I? H‘TILIJE LIE Tell.me - I know I have thought about her more than anyone else. CCURTRIGHT Yes, I suppose a girl would naturally think first of her LID-the]? o ANKABELLE I wondered so often what she was like. COURTRIGHT hnat did you want her to be like, Annabelle? ARAB“: LLB Ifm not sure - why do you ask? C OURTRIQIT Have you ever picutred your mother? Has she been someone real? 1'“? a V‘W“ W1 “11.)... '3 Oh, yes, yes. She has. I .e dreamed of someone. . . . A COURTRIGHT £12313; LIE I'm not sure who she was. Probably the sum total of all the mothers I've known. The best in each of them put together to make one person. CGL..1.1IGZIT Yes. She must be wonderful. LI”TTLLs 1 Oh, she is she's kind, and beautiful. I think I ve passed her on the street a number of times. Often I've stopped and looked at her face. I've seen her in the street car, the subway, shopping in the stores. I've prayed that someday I might find her. - COW 1kIGHT She seems like someone alive and near to you? 1'3"? "'1 1&4..‘:.LLJ.'.J ‘ Yes. And still, I've always thou.g ht that.my real mother must be dead. I know if she were alive she never wo1ld have let me be so lonely. COURTRIGIT But, Annabelle, if your rea al.mother weren't all tr1ese tliings you hoped her to be? 21311331113 ‘.'."hat do you mean, lir. Courtright? ' CCL-hr-Z'PLI :Im Did you ever think that this picture you have drawn might not be accurate? 13331133 LIE Yes - that's why I have been so afraid - that's why I have had to find out. - CCU1- TRIGhT You've been afraid? Why, Annabelle? 11’1'11... LL. I don't knov. I've wanted to learn everything and yet - yet sometimes I've been afraid too. Sometimes I've felt ther was something evil following.me wherever I go. Something sin- ister lurking in the W1ado:s of my family. Perhaps that’s why I have fashioned a.mother who could only exist in.my mind. ll? -. ‘m‘ 1’0 $7-4 .L .141 L 1 And it's that fear that has kept us from oeing married. CC L:.11.ICHIT I see. And this mother of yours, she was your ideal . . . 1.171110 TILE Yes, I've tired to live my life as I imagined she ha'I lived. UCULu-LLLIG: Annabelle, you didn't expect to find anyone in real life like the mother of your dre cam. “Cw-Tl-fi- a, T~j ‘ud‘l AQA—Id J—LJ I'm not sure . . . . . But if she weren't like her - y ur real mother I.mean - what then? 211?: 11.313 LE I don't know - I don‘t know. COURTRIGH Would it make any dif:erence? “T b T-‘w-‘T Inl .LbiLlJQ-l—i How can I answer your qu estion,'hr. Courtright? COUh1nIGIT But what would you do if I told you your dr m1s could never come true? ’TZLILL. P aase don' t torture me like this. Tell.me - tell 11e about Bur mother.“ unfit differende does it make wl at I would do - how I would feel? I have to kn w - Tell me p ease. (ICRIIIDI‘. EICITS down right. VLIZTZII II y dear, my Iear - if you only knew wha you are ask1ng.me d .11 :1 I131. LL... But I have to know - you have kept the so things from.me all these years - wasn't that sufficient? are you going to build up all my hopes and anticipation and still leave me knowing only a little more than I did before? CCURTRIGHT But I ve told you about your family. I've assured you that your 1amily was one of the best. What more can you ask? in 123 .ET:.JL3 Tell me about my mother - that's Ah at I “ant to Lnow. ’0 1A firr—rw'rn-vm ‘u‘v -‘.‘.A..LU'--.L Would it help if I told you that I loved your: *.othcr or ce? ““‘Ifi'j 1 7-71 41.. A. -L-J_.: .14.: You were in love with.my mother? CLU‘TY G"T Yes, I loved her. Iced I tell you.morc? fiTQOI‘ -~\-~‘TTO.1 ILL .LsA‘L 4.4.1...“ I must know everything about her - everything! 1 Lie 0 o o o ‘ Oh, yes, yes! And you can tel CUEILIfiH Io . . .I can't make that choice, my dear. That decision does not belong to me. If you must know about your mother, you'll have to askljiss . . . .Lorinda, where are you? . .. Lorinda, Lorinda: He has taken a step or two when a shot is heard off right.) SOUND CUE: GUI? SHOT OFF RIGHT. (COM RTRIGHT rushes into the bedroom. ETER runs to the door. AIIABI IE folloxs. :ITTR 1001 :s in and then turns to stop AILAAAILA.) 7W1") Io. . .Iot Don't look in here. Quickly - go out and call a doctor.. (.IIABRLIJ goes to the door up left and then turns to face PITIR Again.) ”3er m 4.4 J.-J..L Eurr*, now, Annabelle. You' ll find a prone in the hallway. ('IIA33L tries to oven the door but cannot. AIIA ILLS I can't open the door . . . . P3T3R It's bolted, Annabelle - unlock it. (AIIARJLLB exits and COLAIA GIT comes indown right.) CCURTRIGIT It's no use lir.1£urra she s dead. You knew didn't voul ’ 2 J 121 :3 T3"? That she was Annabelle's.mother? Is that what you mean? CCUI “P ..L ILIT Yes. 1:3 “ILL { Yes..yes.. I was pretty sure. But why did she do it? COUILLLL GI: That's a question I cannot answer. We must never tell.Anna- belle who she was . . . . 'C‘I‘rm‘tm uLa-J-L-u It would be better not to, I agree. CCURTRIGHT You‘ve got to help me, son. I will, sir; I'll do all I can, you know that. I won't let anything hurt Annabelle; she‘s been hurt enough as it is. = COURT flI IT Yes . . .she.must never find out. (AIIARILIE enters.) AENABELLE I called a doctor. PETER It's too late, Annabelle. flIABELLE Then, She's o o o o ”STIR Yes, she's dead. CCURTRIGHT This had been a shock to you if dear. ’ xn’IABI LE She's dead . .I found her and now she‘s dead} A f‘ ‘TWT’T: ”’1' CC“ .L \J LL JJ..' You found her. . . . .? “‘ILAI“L*”‘ Iy.mother . .Oh, I Lnow she was. Don't try to tell me differ- ently. She was.my.mother, wasn't she? You know,]fir. Courtright. COURTRIGHT ‘Yes, Annabelle -I£iss Lorinda was your mother. METAL: LL3 You knew all the time - that was why you wanted me to leave. COURTRIGHT Yes. A “I"? ‘5 'D'T‘ ‘7'." likl‘ui “LI.“ P! She must have known I was her daughter. P. d "0 But why did she do She Knew that: ('1 -~. “fifl‘fifl nrvm UL 4.4.1.. will Yes. Ifm sure she did. But she didn't want you to know. AKK£33LL3 Why? Why? You know, don't you? CCURTRIGHT Yes, I know. .41 *4 “1 ~1 Yul-41331. N Then tell.me. CCURTRIGHT No, Annabelle - I told you that was her decision to make, not mine. Ifiiss Lorinda made her decision. She didn't want you to know. . . ,r AEEABELLE liiss Iorinda . . inss Lorinda . . .Ky mother wasn't married. I was her child but she wasn't married . .That's true, isn't it? ceLaTaIGz-IT Yes, it's true she was never married. ANKABELLE Then that was her reason for coming here to live alone all these years. She was ashamed - she couldn't face her father - her friends knowing she was an unwed.mother. That was why she came here to live . . .She had no other reason for living like this. No other reason, Er. Courtright? Uhy don't you answer me? CCURTRIGHT She had no other reason for coming here to live, Annabelle. LyvflwvaIE -LHLJ.LJ.._J Oh, if I could only have known before now - before it was too late. {ow awful it must have been living here - how long he years were . .I could have helped her; it wouldn't have made 23 any difference to me. We would have loved her just as much, wouldn't we, Peter? bETSIR Yes, Annabelle, we would have loved her, I'm sure. _ 5.11183 LL23 But you knew all these things - you acre the only one. It was you who kept us apart - kept me from findi-g my motor. CCW TR GK“ 0, Annabelle - you don't understand. AFRABR IE Oh, don't I? You told me you loved my mother once. But she wouldn't have you; she loved someone else. And this is your way of getting revenge. That's true, isn't it? I know it's true. It was you who made her suffer all these years - know- ing her secret and doing nothing about it. But you wanted for her to suffer, didn’t'you - to pay her back because of.me1 You got your revenge . .You killed her. . .do you understand? You killed her the same as if you had fired the shot! ”(QIJEEIG: CURTAIN. COURTRIGHT he, Annabelle. AYTADZ L3 Yes, she sacrificed everything just to protect me. The evil thing that I feared in my life was not my mother, but you. Oh, God, to think you.might have been my father' Take me away from here, Peter, quickly. You have been very kind to wait for me and I'm.no longer afraid to marry you because I know my mother a she was what I dreamed her to be . .I promise I'll spend the rest of.my life making up for your patience.- It's you I want now - nothing else. Let's leave Peter. I can‘t stay here with him. , ETER Yes, Annabelle - I'll help you for get what has happened here: (13:: "ER And AERIBJLLA exit.) COURTRIGHT Annabelle . . . .Annabelle. (He follows her to the door and slowly bolts it.) How well you have bolted your doors,.Aiss Lorinda. (Voices off left are heard: "This is the room, doctor." ”Yes, thank you." A loud rap is heard followed by another but is unanswered by CCURTRIGHT who is lost in thought.) CIURTAIII S ID :I .LJY .‘L. WAiLLS ' T231“. II 1, I sat ' 1 1 q -L.‘ u—J 11':— r‘. _ cry/'1' «Fr ‘1'? T n C CILUgith‘HJ (~171- ~. lJr-Tf'h) II viii; lib“ Ah AEALKS S ‘F T33 SCRIPT CCII 231213113”; TIE ALJJIZ‘S CF DILSIGI‘I A. The designer and his problem. After a working knowledge of the theatre plant has been gained, the actual planning of the setting begins. The person responsible for the setting is usually the designer, who works in close cooperation with the director in producing the play. In the.modern theatre, the designer has a particu- lar function to perform. Ee.must interpret the play and create an appropriate background for the play. The setting is the acting environment. The actors must walk about with- in it, in front of it, upon it. It is the concrete repre- sentation of the place of the action. It has a definite function to perform and armays exerts a direct influence upon the imagination and feeling of the audience. Since the scenery is so closely related to the actor and that individ- ual is controlled by the director, consideration of the dir- ector is essential if the settings are to be co-ordinated with the proposed action and scheme of the play. It is usu- ally the director who outlines the style of production in the first conference with the designer. This style serves as a guide for the designer in his planning of the scenery. The style of production is generally regarded as the particular manner or way in which a play is presented to an audience. Further: "The style of the setting is the function of the architectural detail, the lines, the forms, and colors, and the juxtaposition of parts in the design." t1! ach play must be treated in the style which will fit the purpose and in interpreting the general.meaning of that la ay. The author's purpose, as interpreted by the director, '0 f3 .ust be kept in hind by the designer so that the production will be unified. Each play with its purpose demands a part- icular treatment in design. A close analysis of the plot and cha acters will usually reveal the type of play he is dealing with, and the designer must concentrate on the wlements which will b st suit this type. According to Bernard Hewitt plays are usually divided into the main divisions of tragedy, comedy, melodrama and farce.2 The play of t1agedy culminated in the destruction of a character or group of people. The treatment of the situation is ser- ious, usually profound, and the ending is inevitable.3 In (’J scenic design, a tragedy i indicated by the use of long, straight lines which give a sense of dignity and serious- ness. The colors used tend toward the somber tones and darker hues and use of contrast. A profound, stately l. Burrisélieyer and Cole, pp. cit., p. 50. 2. Bernard Hewitt, The Art and Craft of Play Production, J. B. Lippindott Co.,'7hew Y rk, 1940), p. 52. 3. Ibido, PO 530 127 atmosphere found in tragic plays may be indicated by use of heavier, more solid masses. In comedy, where the avpeal is less exalted and more to the sense of humor, there is an un- impass1ioned observation. Comedy ends in success for the character or group, and stress is upon what happens to the average person. At no time is the average person in danger l -n .L‘ ' - ~ of permanent damage. when one deSigner con31dersedy, he uses a lightness of treatments with g ay, light colors designer may well make use of curves for a comed y be ckground. The third type of play, 1eloarana, makes its appeal to the emotions. ine aim of the dramatist here is usually eKCitement, 1 a superficial resemblance to real life. 0 (V *5 Li. (D U) C. I. O H ‘4 O H O 7 O :3 d H (J foremost, and is generally a series of sensational events 9 which are exaggerated. The background for this type of play is often romanticized. The era; oration o= used in flourishing curves, and the decoration can be quite ornate. Since the plot is Mir serious, the colors should indicate a thoug htful mo and cool colors may be used. With 0 ation of inciden and character reaches the ate 0 of imporbablity. Farce depends largely on physi real action and is a contrivance for inducing The basis of CD 0 i3. C2: 1‘ 54 C) laughter even when the objective is plot, however, is usually Inon some reference to reality. a sees this.nood of ii htness oy a wide lines, nvn~ er ti on of *‘L V-bhH‘U,“ e of olor broken and curved detail a d stress on vertical ferns. However, the design- '2 ep in the rind of the audience the reference to external realities. After the designer and director have decided which type the particular play belongs to, they turn to the floor plan of the setting. Since the director m.st plan the act- .s :hig out of the story upon the stage and within a certa setting, he will work out the arrangement of the doors, win- urniture, etc., and put this arra 5 enent on r a diagranatic sketch called a floor plan. The des M ner used his sketch as his basis for design. c+ Having decided upon the style and purpose of the Plagr, the designer turns to the script. He must examine the SCTjJQt for indications of details in the decoration which will. be cha ra teristic of the locale in.mind. Where does the zaction take place? Is it to be a living room, a garden, a PELlace or a railway station? Some of these determinators 113V toe node from the floor plan, but the details of decora- nau tlorl demand a closer decision. The liVes in this place, or ‘who axre the people who frequent this location? The social 29 position and rank in society of this person or these people must be indicated. Often the occupation of the principle character is indicated by the setting. After this has been considered the problem of tige.must be solved. Egan does the action take place? Is it the modern, contemporary period or a historical one? And what is the time of day and season of the year to be represented? Time of day is usually indicated by the lighting. Season of the year is shown by lighting, or by a fire in the fireplace or an open or closed window, etc. Concurrent with the above considera- tions is that of creating good, which is one of the most vital problems in desis . In their book, Burris-Meyer and Cole point out: "The mood of a scene is that quality which emanates from it as a result of the concurrence of all its elements to produce an emotional reaction of its observer."1 The designer.must do what he can to capture this elusive quality Known as mood and to concretely portray the feelings desired with wood and canvas, paint and light. Host of the answers to the questions confronting the designer can he found in a close search of the play script. Often the setting, the characters, and emotions are expressed in descriptive passages by the author. Again references.may be made in the dialogue, characters may make reference to certain physical elements of the place they are in, or they may express attitudes which give clues to their habitat. 1. Ibid., p. 51. This examination of the script cannot be performed too dilcgently. Ifiordecai Gorelik suggests that the analysis of the script would begin with the second reading. "In any ase the work begins the second time one reads the script. I say second time because the de- signer reads the script the first time for the joy of readinn a good play . . . . The lines of dialogue re really only a design for the action. Cne must learn to see back of the written lines, visualizing the movements which are taking place, seeing in one's mind the characters and the locale in which they move. Above all, the scene designer n.st k ep in mind that his setting, his creative imagination, must not pro- trude beyond the idea being portrayed on the stage. Robert Edmund Jones has said: "If the designer's work has been good, it disappears from our consciousn as at the moment the 2 actor enters." The scenery must support the action, and not compete with it. Seldon Cheney used the term staae dec- oration in describing scenery and states its purpose thus: "Stage decoration is, in simplest terms, the craft of creat- ing an adequate and appropriate background for theatre action."3 l. Kordecai Gorelik, "Designing the Play", Producing the Play, ed. John Gassner, Dryden Press, (flew York, 1951), p. KIT: 2. Robcr Edmond Jones, The Dramatic Imagination, Duell, Sloan, and Pearce, (Kew York, l94lY, p. 27. 3. Seldon Cheney, Stage Decoration, John Day Company, (flew York), p. 13. 131 In the next section the ilay "Bolted Doors" will these elenents of scenic design which will be analyzed for serve as an aid to the designer. 132 B. Analyzing the script 2: "Bolted Doors" for indications _f the detail in the setting. In the first conference with the director, the first question to be answered and agreed upon is the question of style and type of play. In this particular situation the director was also the author of the‘play selected to be oresanted. This combination of author-director provided a synthesis of ideas and interpretation. At the time of the first conference, the director had put the play into rehear- sal and had thus previously determined the style and type of play. His purpose was to create "a realistic play in three acts; a serious drama of character."1 In further dis- cussion with the author-director, he disclosed that the play was a serious drama of tragic nature. For purposes of syn- thesis, it was agreed to present the play as a tragedy, as far as the scenic design was concerned. The deviation from true form of tragedy was made in the writing and acting, and it was the author-director's purpose to do so. The setting for a tragedy must present a somber, serious atmospheric background. The colors used are general- ly deep along with darker, heavier lines and solid masses. 1036 fi—J Furniture and decoration is usually a bit severe. All t indications, however, are used selectively, adjusting the l. Holland, Reginald V}, Hasters Thesis,_(fiichigan State College, 1948), p. 24. 133 selection to other considerations. Act I Act I was played in one scene. The scene, as described by the author: Thus "The time: Afternoon, June 1919. The scene: The game room of the Spencer home. It is a cheerful room; a roam,that was made for relaxation. There is a door down right which leads into the garden, French door up center and door down left. A long table stands by the wall left and on it are mag- azines, a brandy decanter and some glasses, and a small tray on which is a g ass and a bottle of medi- cine. liight of the table is a large comfortable leather chair- Adam Spencer's own - and beside the chair is a large flat top smoking stand. There is a book- case up left, and up right is a rather large portrait of the late firs. Spencer, and beside it a two-seated leather couch. A straight back chair stands against the wall near the door down right through which the garden is visable." the author has given a complete descrip- tion of the main h sical elements of the settin . The y first point to consider was the reference to the time. "Afternoon, June, 1919." The date immediately indicates the time as not of the contemporary period. The designer was required to do some research to discover those part- icular elements which were indicative of that period. He needed to know the spirit and style of the period. Period- icals were found to be the best source, as the year 1919 134 was within publication time of.most magazines. Illustrated articles on interior decoration and {repliic advertisements were found in: "Ladies Home Journal", "House Beautiful", "House and Garden", and other periodicals whose publications covered the date s' oecified. Indications were also found in Lucy Barton's Historic Costume for the 1 Stage. The results of the designers findings will be dis- closed in the chapter on "Design". Tile.month stated, "June" indicated it was summer, and "afternoon" was a clue to the quality of light to be used. afurther sear eh revealed the name of the character who lived there and disclosed the type of room in which the action took place. ecific refei ence to position of doors and windows were given, which outlined the floor plan. In this description, the author has given many clues for the designer to follow. "The game room of the Spencer home", "cheerful", "made for relaxation". This one room was found not to be a recreation room with ping pong tables, fl etc. ‘ut a room in which Spencer cnose to escape the "cares This brourht up the question: Uhat kind of ma L) of the day." is Spencer? Kent in the script the autr or described hdam Y Spencer as a man of sixty, who has been ill and it is an ef- fort for him to get around. In the dialogue between .71L 1 and Y Courtright he mentions he has business _ I". afiiliations on W all 1. Lucy Barton,I Iistoric Costume For the Stage, Walter H. Baker Comoany, (Bo ston,fil935), Street. This reference to his occupation ind 10 notes his social oosition as high and his income as being ouite comp fortable. Thus the room will indicate his own choice of furnish gs and dec rations. Spencer is seen as a man who probably has lived in his house for sometime and does not change his s rroundings rap idly. Since the dialogue indicates that opencer's wife has been dear for some time, there would not be much of a feminine touch in tl1e room. Spencer has styled it for his own use. In the matter of properties, the author has given a complete list of necessary furniture.‘ Specific reference is made to the chair Spencer sits in as; "Spencer's own" indicating a personal touch. The chair then,.must reflect the “ersonalitv of the occupant. Cther pieces of furniture are not uite as personal and can be generally indicative of the man and the period. "A window up ri3nt through.which a g rden is visible", tells the designer what.must be seen through the open window. Searching further through the dialogue, the "door down left" is found to lead to the dining ro am, as the men have just finished lunch and are entering the game room. Their purpose in entering the room is found in Spencer's line, "Get that chess board." This line is also a clue to the.mood of ti 10 scene at the openin3 of the play. The room is cheerful and at the moment the characters on the stage are in a rather cheerful mood. The setting needs to indicate a light atmosphere, but not serious particularly gay, as the scene begins to be more later on. Iiood is an important factor in deter- mining color. There was no definite references to color in the script, therefore, a color schcm was not limited in the and the gard to Act II, and was respect. The color scheme was the result of research decisions of the designer and author-director in re— atmosphere of mood to be shown. Scene‘l A change of scene was given for the second setting, described by the author as follows: "The time: The present. Afternoon, a spring day. The scene: Peterlgurray's modest office on the second floor of the Lehigh Valleyljanufacturing Company located in upper New York State. The main entrance is located down- stage left; upstage from the door is a secretary's desk which faces the door. On stage reight is a large outside window and near the window is Peter's large, modern desk; the desk is set on an angle, facing both the audience and the main entrance; it is covered with the usual amount of papers, pens, a telephone, etc. Upstage center is another door which opens to the .main office; on one side is a book- case filled with books and on the ther side two filing cabinets. On the whole, the office is very modern in its furnishings. The two pictures on the wall are of the founder of the company and its present pres- ident." The designer was now dealing with the present, contemporary period. His research was delegated to surround- ing, existing conditions and places. The locale was stated l3? as an offi ice in upper lew York State. Since offices do not generallyd iff er in different sections of the United States, this particular reference was not a limiting one. Wiedest office" indicated a place of business which.was not ornately furnished and a place where business was conducted which need not express impressive showiness. The kind and position of the various furniture pieces is given and this description indicates no deviation from the usual setting found in an ordinary office. There is a refc rence ade here to the re- cency of the furnishings in the statement "modern in its furnishings". The qesigner found exeaples of this type of furniture in the vicinity of the town near where the play was produced. The occupant of the office was one Peter hurray. In order to draw.more conclusions for the detail igner needed to discover more about fir. p: C.) U) of design, the Hurray. Inga descriptive passage the author describedlhr. K "ray as "a good-looking young rzan about thirty". This description indicated tlat the man, being young, would have new furnishings about him if he had the choice. The next deci31nto be made was about the occupational duties of Peterifiurray. In the dialogue, Annabelle refers to Peter's job as the "company lawyer". Thus it was established that he had the job of handling legal.matters for a.manufacturing concern. A lawyer's office would probably have few visitors, and therefor e would not nee d a location for a reception section. The lawyer's affairs would be rather private. n further study of the dialogue revealed the fact that only three people were in the office at one time, and thus the need for space was not great. In order to discern the mood, an analysis of the dialogue was made. It was discovered that Peter and Anna- belle were in love with each other, and Peter was thinking about marriage and a honeymoon. Annabelle, although con- cerned about her parentage, was also anticipating.marriage with Peter sometime in the future. Thus the atmosphere was cheerful and gay. The general use of line and mass in de- sign would be light, with light colors. Decoration would be simple, with no embellishments, as this was a place for business to be conducted. The scene closes on a cheerful note and as the scene began in the same manner, the design- er could thus keep the same mood throughout. Act I, Scene I; (Same setting for Act III) For the last setting, the author chose a locale suite different from the other two. "The time: Afternoon the following day. The scene: liiss Lorinda's living room in the Belmore Hotel in.New York City. It is a rather large room, very cold in color. Upstage center is a large window with the dark, heavy draperies drawn, and even though it is midafternoon, little of the afternoon sun can find its way through the window into the room. The furniture is of old vintage but very expensive looking in its an- tiquity. Perhaps at one time there may have been bright colors in the furniture but they have long since faded. Hear the center of the stage is a long, heavy table with a lamp and two large plants. Down-stage of the table is a large, old sofa. At stage left is a love seat and behind it a bridge lamp. There is a small table on rollers up- stage left, and upstage right is a tall secretary, There is a large heavy chair at right center stage with a reading lamp beside it. The entrance to the out-side cor- ridor in the hotel is up-stage left and the entrance toldiss Lorinda's bedroom is down-stage right. There is a straight back chair beside the secretary and one down-stage right. Each piece of furniture seems to be in its precise place. It looks as if the room is never used; there is nothing in the room to show that anyone lives in it except the light burning on the table, and a large wall clock up- stage left center with its swing- ing pendulum. The time is still in the present, the geographical location is in a large city -- New York. It is a living room in a hotel, indicating one room in a suite. The description calls attention to the room being large, and "cold in color". This factor is a definative one, and guided the designer in his choice of color for the setting. The draperies are des- cribed and their purpose is suggested to be that of keeping out the light. This descriptive passage by the author is quite complete and gives the designer many guides for his desigl. The main demands on the designer were to furnish a back- ground that would catch the mood of the scene and to aid in the interpretation of the character oflfiiss Lorinda and her 140 attitude toward her life. lFurther indications of these purposes were to be found in the dialogue. liiss Lorinda does not acquaint herself with the outside world, and cares nothing about what is happening outside her room. She wants no light from the outside, nor has she any desire to see outside. Only when sne becomes curious about Courtright's visit does she inquire about business affairs outside, and this only because of the personal ramifications it might have for her. One of the.most important elements in desic, which i of great significance here is the one of light. Shadows U) are prominent in this setting. Decorations must be heavy and da*k. Contrast in mood is created by the characters. Kiss Lorinda's attitude t ward the other people in the play and her bitterness must be indicated by the setting. Several times in the dialogue reference is made to the door used as the main entrance. This door becomes the focal point in the play, andliiss Lorinda has bolted it to shut out the world. The title of the play is derived from the significance th's door has on the lives of the characters. The designer must consider the importance of the symbolism expressed here, and design the setting to place emphasis upon the door. In the third act, the setting has remained essent- ially the sam . Time of day has been changed, noticeable only in the hour indicated by the clock. The.mood of death lll t exaressed through change 0) is dominant here, and is be of tone in lighting. In the chapter on "Design" these indications of design elements found in the script will be further en- larged. L‘S aunts 33:: Hex CHAPT3R III Drama—nu 221:3 rmr The designer begins to plan the actual design of the settings after the type of play and style of production have been decide upon mutually by himself and the author- di: ector. With floor plans as a basic pattern, the designer begins to create the a'ctual design of the settings. C fi . The first consraerati n i U) C) the over-all requirements of all setti ”0 to be presented in the p a*. The play under 'eration was, as tated before, a realistic drama of C) serious nature and with tragic aspects. Because of various 1e designer decided to use a method of treat- ment known as simplified realism. Schoenberger describes this method as "suggesting a great deal of reality throuai careful selection of a few details."1 Realism itself refers to "representing actuality in every detail . . . . with furn- iture and accessories true to life."2 Thus not all of the decorative detail, furniture and accessories found in a "game room", ”office" or "hotel living room" were used - nlt those which wei e assent al to sugjest a real place of *L The first and last settings had some similarities in mood and tragic nature. 'T l. 3uanuel D. Schoenberger, Tlav rrocluction for Amateurs, Thomas Lelson and Sons, (Lew fork, l9~8 , p. l2'7. 2. Ibid., p. 127. 144 1 contrast, with a lighter atmosphere an‘ slight comedy element. All three settings were to represent places found in life, but with only the essentials needed to depict the locale. a very important consideration of the designer is the planning of the relation of the Scenery units in all settings so that they can be easily shifted. The schem the designer used for the play under consideration was a unique one, and constituted the main contribution to the production. The title of this thesis: "A Productioniianual of an Criginal Three-Act play on a Small Stage with.Idmited Facilities", indicated the problem to be solved. He was forced to place three complete box sets on a stage which offered very little off-stage space for storing units of scenery or for shifting scenery between scenes. The acting area outlined by the director included using the entire width of the proscenium arch and with a depth as great as could be given by the confines of the settings. The off-stage area was not spacious enough to allow storage of scenery except on stage left where a width of seven and one-half feet was left from the arch line to the right stage wall. In this area was placed the elect- rician and control board, curtain-puller and prompter. Also, this space was used by the property crew for assembly of props. Therefore, the requirements of these particular 145 settings had to include units which required very little storage, and which were easy to shift. An examination of the floor plans on the follow- ing page revealed that Set I (Act I) and Set III (Act II, Scene 2 and Act III) had.many similarities, and the designer decided to design for these two sets, a basic set which could be changed by altering the decoration and using a different wall stage right for Set III. The color scheme for painting the walls could remain the same, with the change resulting from different lighting. The setting for Set II (Act II, Scene I) was quite different from the other two. The time was the present, the locale was a business establishment rather then a home, and the.mood and atmosphere required a lighter treatment. The floor plan designated the use of two-walls instead of three. Thus a separate set of scenery units was need for Set II. Since there was no place to store this set, and it was necessary to change sets quickly, the designer de- cided that he must use a "reversible-wall technique". The flats for Set II were fastened to the back of the flats for Set I and the entire assembly reversed for a change of setting. This proved to be the outstanding feature of the design and this technique will be more fully explained in the section on "Construction, Painting and Shifting Proce- dure for all Settings". The two walls in Set II were set at almost a 90° angle to each other and provided the acting area with a Wu..- ‘ - - \----..-.._ __ -{ . _ -._ --. . A, ',_. ‘ 5 / ’f/I/v< \‘ : O / b , // \\ 1/ I ‘ r‘xA/‘lufl J '0 v—v ‘—D‘ vhu -:<— w s — .— a.” .. - I T. ‘ I" J“ < .h— 1 . l *- i i r, '91. I I :1 . 4 __________ Y in. \. ‘ I ‘ l . 1 - \‘i. ! l . k .z ‘ ' I : ‘\ a. f l: 4.. .. ,.r.....,-..;J ‘1 ”,1“ i ‘ P l 1 l .‘. | \ mu ; = ‘ '. r i.“ t! I ~l; ‘ . 3 J, 7' - ,4 SET I 13.0 t I SET II Act II, Scene 1 SET III Act II, Scene 2 & Act III 1L7 triangular shaped space for the action. The wall in stage right was reversed entirely, per— mitting the walls for Set II to come into view. A window was used in each wall, therefore, the openings needed to be oppo- site each other in order that adjacent flats in one wall would not black the Opening in the opposite wall. The door down right in Set I was net needed in Set II, therefore, a flat referred to as a plgg was used to close the opening. When the wall was in position for Set I, this plug was swung against the Set II wall to permit the down right door to swing freely. (See isometric drawing of right wall at back of thesis.) J The wall for stage left in Set I was reversed en- tirely for Set II with the Set II wall fastened to the back of the flat units of Set I, as was the case for the right wall. However, this wall for Set I was not long enough to complete the wall for Set II, so the wall in Set II was divided into two main sections. One section was that fastened to the back of Set I right wall, the other section was designed to swing face-to-face against Set II when the entire assembly was used for Set I. As the assembly came into position for Set II, the second section was lined up in the position shown in the floor plan. The down left door for Set I was used as the inner office door, up-stage center, in Set II. In order to be able to do this, it was necessary for the door openings in the flats 148 .\ m b {L L! in both Set I ‘et II to be opposite each other. 4 CT A; (SET I) Tne setting: As the curtains parted on Set I, the audience saw a man's lounging room. There was a French door in the back wall, and other doors down right and down left. In the right wall was a large window, framed by flowered curtains. The walls of this room.were decorated with light and dark magenta stripes running vertically. The decorations on the walls also included two picutres; one was a portrait of an old lady, the other a painting of a villiage by Cezanne. In the right center area of the room was a Victorian type scttee which was finished with light—green brocaded uphol- stery. To the left of center was a large, oak arm chair with a leather back and seat. Beside the chair was a mahogany, cabinet-type smoking stand. hgainst the left wall and beyond the door was a dark mahogany library table, rather narrow, with a b‘aidy decanter, medicine and glasses, and magazines placed idly on top of it. A large, dark-oak book case with pen shelves stood in the up left corner. These shelves contained many book , two vases, a box of chessmen and a pair of bull's horns arranged as a trophy. a soft, deep- green rug covered the floor slightly to the right of the center of the roar. (A clearer idea of this setting may be gained from the photograph on the following Page.) L. 150 \ The setting for Act I was to be a man's room.”n room meant for relaxation." This was k‘am Spencer's own room, and it was necessary to represent some of his personality characteristics to give the room a personal touch. Adam Spencer was a man getting along in years, "age 60". His personality was typically.masculine. The need was to ex- press a room which had very little famine touch, except that which may have been imposed by the housekeeper. As one article written in 1916 expressed the decorators ideas: Wfiasculine personality in general and also the occupants peculiarly individual characteristics ought to be reflected by the furnishings and arrangement both in a man's bedroom and in his study, book room, office or whatever he may choose to call the saEctum devoted to his personal use." To give the walls a masculine touch, vertical stripes were used instead of figures, both were in keeping with the period. (The period represented here was also that to be depicted in Set III, and this design of wall decoration fitted for both settings.) The tragic elements in the play indicated a use of straight line, and the designer utilized this factor through this use of many vertical lines. The color scheme chosen was used to serve a double purpose. Since the colors would remain the same for Set III, l. Abbot‘EcClure and H. D. Eberlein, "Furnishings for the hasculine man's Room", House and Garden, XXIX, 2 (February, 1916) ’ p. 160‘ ‘ l5l it was necessary to use a scheme which could serve as a base for both settings. The requirements for Set I indicated colors which were restful and rather rich and masculine. The play opens on a rather cheerful tone, so the somberness should not be too apparent to the audience at the beginning. To serve these needs, a.mixing of the warm and cool colors of red and blue resulted in a dull magenta for the heavier stripes. The alternating stripes were lighter in value, a tint of the darker ones. This scheme, by changing the lighting, created a lighter mood in the first set, and a foreboding atmosphere in the las set. The decorations were kept simple, in keeping with a man's room, and to facilitate easy shifting of scenery and ~properties. The draperies for the windows were of figured heavy material. Pictures were kept at a minimum and two were all that were necessary. Adam Spencer talks to a por- trait of the late Krs. Spencer for one, and the second was one which indicated Spencer's taste. A painting by Cezanne e enough to bal- \ of a small village was used which was larg ance the book ass on the other side of the French doors. In the selection of furniture, only the required pieces were used, and these indicated a "room for relaxation". A comfortable settee, with brocaded upholstery was used. To TO more clearly indicate the period, anti-macassars on the back of the sofa and arms were used and these were fringed With tassels. The color of this sofa was a light green, 152 Y which was he moiious with the color “c eme used. Spencer's H i own chair was a large, sturdy ch air with leather bottom 31‘. ° and back. inese two pieces r lected the Victorian and O H.) :H ena issahce tastes of the eeriod of 1919. A smoki ng-stand was reguired, and a modern stand was used which did not differ ii.a tae ones used in 191:. A narrow table was selected for the one against the ri,3h wall in order to provide more seace for s (1‘ the area. he shield dCSign on the legs was used in lurn- w‘ion DI the bookcase, the designer found it necessary to deviate from the period and use a movable one instead of the built-in type. The back wall was used in the third setting, th lorefore, it was necessary to have the bookcase portable. A large one was built, with open she elves An ordinary mt ai ht hair was used for the chair down right and a small, oval taole for the s and near .1. the French doors. The settinr: When the curtains partel at the be- ginning of Act II, the audience saw a modern office. The t 3. main entr;:nce was located down 1c center. In the center of the right wall was a large window, lurnished with a venetian blind. The color of the walls was a 1'ght ere am- buff, solid, with no figures or lines. 110 up-stare wall was decorated with a lar:;e, illustrated i, . ,3- a I the room was a large, earn H P l 1 3-» H cf (.0 H. p. (D ‘1 9—5 + calendar. In the mahogany excuti3we' desk, and placed behind the des h was a swivel arm-chair. 1‘ -h had on it a telephone and correspondence materials. n hall-tree stood in the up ri3ht corner, behind the desk. A 3reen metal filin3 abinet of the four drawer type was placed a: ainst the up-sta3e wall juSt to the left of the door. Down near the main entrance to the .r 2 v » . '3 r- ...° ', . ' room was a earn, nah03any typewriter seen, with a typewriter 4- '.‘ l.— , ., , . ,.,-_ ,3 “f. ~ g 1 3 .' in the QGSA top, and a small steno3rapner's cnalr behind ‘I I“ ’— m'fi D . -“\ '-'- '3 ‘ the ‘esh. lne floor was not COvelOQ. (The unotosreih of the setting on the followin3 Lara gives a clearer vis ualiaation of wha t was used.) The scr ipt desL ;nates this settin3 as the present, so the designer was now dea 1i n3 with contanlorarJ life and s. The locale was an office of a manufacturin3 concerz. Indications in the script were that it was an interior office, pos as bly one of many in a lar3e bui ldin3. There were three openin3s, a window and doors up center and down left. These were desi3ned, as stated before, to fit in with the plannin3 of the shifting problem and coincided with the doors in Set I. The floor plan and wall assembly having been decided upon and desi3ncd, the desi3ner be 3an to work out the decor- ative features of Set II. Since the quickest chan3es of settin3 had to come bet .een this scene and Act II, Scene 2, It'-[J the desi3ner planned to keep the ec corative scheme si ple, 155 to avoid shifting unnecessary articles. The dominate mood in this setting was a rather cheerful one, yet there was a mood of business-like attitude expressed. The "Lehigh Valley Kanufacturing Co." had been in business a long time and was quite successful, as indicat- ed by the checks sent toILiss Lorinda Spencer. A solid Color with no figures or pattern was used for the dignity of a business firm, and this solid color was light, cream- buff in hue, indicating the more cheerful.mood of this scene. In order to balance the window on the opposite wall and to bre—k up the monotony of the bare wall, a large calendar was hung on the up-stage wall. The door jam facings were designed without.molding or trim for a plain, simple effect. The doors were paneled, both being interior doors. The window was covered with a Venetian blind, with no draperies, as is quite generally found in modern office design. The most impor ant items in this setting were the furniture pieces. The script required two desks, one of the executive type and one for the secretary. A college profess- or's desk was selected for Peter'hurray. His secretary, Annabelle, was given a combination drawer and typewriter desk. Specific business in the script called for use of a filing cabinet and a four-drawer steel one was selected. A hat-rack was placed in the up-stage right corner. In order to aid Teterlfiurray in giving an air of casualness, a swivel arm-chair was used in which he could lean backwards. Anna- belle needed a chair she would turn in and 5et out of quick- ly to answer the telephone, and a swivel secretary's chair with no arms was selected. I All the furniture was dark, to contrast with the light tone of the walls. To bIeak up the monotony of the ‘nahogany color, the filing cabinet was :2ainted green. This setting could be changed quickly and easily, and this factor was an important one since the chan 5e came in the middle of the act. ACT __I_, seats g :11) ._:;_Lcr I__I__I (3 IT III) The settin5 for the last two scenes in the play was a sharp contrast to the first two. For this setting the audience saw: “ dimly li5hted living room in a hotel suite. There were windows in the center of the ri 5ht wall and direct- ly center of the back wall. These windows were heavily drap- ed with dark brown velour. Th walls were decorated with light and dark na5enta stIipes, runin5 vertically. The room had two doors: one down right, and the other, the.main ent- rance, up left. Above the main entrance was a small transom covered by dark curtains. In the center of the room was a large old-fashioned sofa, finished with dark green upholstery. Behind the sofa was a long table, and on it is a large leafed plant anda table lamp with a frin5ed shade. n5ainst the right wall, beside the door, was ml ced an occasional chair, 157 finished in dark red upholstery. An old-fashioned desk with a sloping lid stood in the up right corner, with a white 1H»- . ._ leIt was mantel clock on top of it. Close to the door u a small, light oak table and chair. Below the door was an oak sofa-bench with curved arms and paneled back, the seat covered with a green quilt. Beside the bench was a floor lamp fitted with a large shade. (This setting will also be clarified by the photo— graph on the nex page.) The basic floor plan for Set I was used as the scheme for Set III, the only change being in the location of the door in the left wall. In order to provide a more effective entrance, the up left position was chosen. Since it was found necessary to construct a special right wall for Set III, there was a problem.of a place to store it. The wall was designed in three sections and hinged so that it could be folded and stored in the up left off- stage area. This setting was used for the action in Act II, Scene 2, as well as Act III. The action of the play ends in this setting, and it is in this background that the cul- mination of the plot is told. The tragic elements in the play are found in the third act, so this setting deals with the sombre tones of a tr 5edy. lliss Lorinda Spencer has shut the outside world out of her life and has withdr wn into the shadows and confines of her hotel suite. The designer, a o as stated before, chose a color which could give this Ismal, shadowy and sombre effect from a lighter, cheerier mood by a change in the lighting, in which the magenta color was deep- ened and the shadows were made prominent. The window and French door openings in Set I were not used, but were heavily draped to further aid in provid- ing the dark atmosphere. The drapery chosen was dark brown velour, which had a tendency to absorb the light. The script described the locale as a "living room in the Belmore Hotel . . a rather large room . ." The extra size was needed to provide more room for action and to permit use of arger size furniture. Specific reference to type of furniture was given in the script. "The furniture is of old vintage but very expensive looking in its antiquity." A closer examination of the script was needed to determine how "old" the vintage should be. The dialogue between Kiss Lorinda and Courtright indicated she had come to live at the hotel shortly after her father's death. Adam Spencer, her father, had died in l9l9. The furniture in the hotel room in 1919 was probably up-to-date at that time, and sincelliss Lorinda had allowed no change to come into the room, the furniture would remain the same. When doing research for Set I, the designer also looked for indications of the furniture design which would be suitable for Set III. Furniture requirements in the script indicated; a 10n5, heavy table, large old sofa, love seat, bridge lam lSO small table and tall secretary. The arge, old sofa was placed center stage and drew the most attention. Sofas in I919 were heavy and usually 1 F . , . , . had curved arms a. The type 01 soIa used In names o: today has lost the massive look, but in general has not been chans— 9 n‘. .' ‘-"‘(‘1. “”0,“ h " m "r -,r~ v10 71 3 4“".(5 ed much In oasIc design. a larg soIa was used In this ';5 by padding the arms and draping the upholstery with gr~an burlap to give the areearance of a ”faded" quality} Lel Iind the sofa was a long table. Since the taole could not be seen by the audience, the style did not matter. The table used in Set I however, was used and was large enough for the purpose intended. A love seat was needed for the area down left. Love seats were quite popular in 1919. none of the dealers had a love seat. A further earch of uIniture available for 1se which w- s comparable to the tyse desired was a wooden bench with 4-7 A a .5." 'u " 7 ‘7‘ S wilt; 0.13.3.1“ IOI” nuam agon- f“; a) o i} [—01 0 }—~ ,.J y H m r C $ FJ (J m U '0 r\ car in Set I. Although it was admittedl LA :: 0 ct D H O <: O (’2 O f) C’- w -J the style an size w re correct so this bench was su ‘ ne bridge lamp needed to he one which was practical, k3 so a modern one was used. The one selected ha 1. Advertisement by U. I. Sloane in Better Homes and Card ns, III, October, l9l9, p. 42. '- 2. Ibid., Eovcmeber, l919, p. pl. lél n which resembled those DI the l9l9 weIIod The seeietary-desk offered a problen. The research revealed that secretary-desks of tha period were tall and quite large with ornate decoration, and usually had glass doors in the upper section. The designer reasoneL that an article of this proportion would he too large to shift easily and quickly on mt15e. Therefore, a subst essary. A type of desk which had the qualities of . J. I J— - h. v!- 1- '~ 71', '. \ ." q . Iod, yet was not a secretary tyne was used. InIs desk, aId J. ' -75.", ' l.- , ,. . ° eCtIon IoI books, so was noie aaSIly :3 O C p. H (.2 <: O (‘3 p g: H Y O '"3' U3 no-ved on and off sta5e. The small table, straight chair Ld occasional chair which were chosen were of a nondescri.t 93 pieces could be used. tvpe and thus modern Two articles which were clearly indicative of the period were the mantel-type clock and a l rap which bore the date "19l9" stamped on the lable attached to the base. This lamp was plra ced on the center table to lend atmosphere to the setting. a. The floor 01 are was hardwood, and since it ‘_) cl‘ the s was nounted on a concrete platfoI MI, a rug was needed to soften the sound of footsteps. A dark rug, green in color, A gas placed where the I: eat action occurred--in front of the sofa. ConsiIeration of the main entrance to this room.was very huportant. The door led into the hotel lallway and it was this door whichlfiiss Lorinda kept locked and bolted. is stated before, therefore, drew attention to door eliminated the possibility of using the was used in set i, as was A wall comprised of three flat a special door being built for hotel rooms have tr-asors over door. Since designed for this u. of the door facin5 and the top was decided to make the transog ‘ 0 would not be drawn to the snor similar treatment was given all an inside hei5ht of six feet wa impression of more height.) '+ lo the case for 152 it had a quality of symbolism attached to it, self. The position of the same wall as the other two walls. units was constructed, with the "Bolted door". Since.most the doors, a small one was the distance between the top d of the f ats was short, i attention (A .1). in the settings and hei5ht of the flats. ‘V Q0038 5 used in order to give the The settings for "Bolted Doors" were designed with several specific requirements in mind. These requirements were based upon some of those outline by Samuel Seldom:L and .1) were applied to the play under consideration as Iollows: l. "The setting should be -rpressive." The set- tings of the play suggested a realistic environment. The designer used real furniture, and closely imitated the real forms of the walls, windows and doors. The spirit of the play was suggested throu5h use of color, lighting and decor- ations. he the scenes changed, the different arran5ement and kinds of these elements were chan5ed to indicate the 5eneral atmosphere of that particular scene. ‘ 2. "A settin5 should be attractive." The use of color and surrounding forts was chosen with this factor in mind and the settin5s were given variety through the use of contrast. Balance was gained mainly through placement of furniture. Set I and II were decorated in pleasing tones F—l that were appealing. Set II, althou5h not as pleasant, did not appear repulsive, and harmony was 5ained throu5h use *5 of dif erent shades of the darker color. 3. "The stage scttin5 should be simple." Only those elements which were necessary for the development of the.main idea were selected. The main idea being the '“- -— l; Samuel Selden aid Hunton D. Bellman, Stare Scenerz and n Iiahting, F. S. rofts & 00., (Kew York, l943 , pp. 20 - 28. 164 presentation of a study of cl aracter. The character was the {.30 prota5onist, Ziss LOI nda, and the aL1thor- dir ector' s purpose was to present in dianatic media +he events in her life which affected her character. A. "The s are settin5 should be uti litar ian." Q The settin5s provided a place for the actors to pI me ent the action. Places were provided for cat ances and eIits, and the other.means, such as furniture, etc., de:1anded by the action. The doors were desi5ned so that actors could use them efficently and effectively. In Set I, for example, tn French doors made an effective Intrance for Le: inda, the door down ri5ht effective and efficent for Richard to observe Lorinda in the closin5 scene. Other places were planned with tM1 se chLirenents in mind. 5. "The sta5e settin5 should be practical." as the problem of desi5n was worhe d out this eler1ent of pr’ act- icality proved to be one of the main contributions made by this resi5ner. The settin5s were desi5ned with the follov- in5 purposes in mind: To make them capable of bein5 constrct- ed and assembled by amateurs in scene cons ruction; to nah them earn able of bein5 efficiently Si 1ifted on the Studio Theatre sta5e with its limited facilities and lacs of space; to make them or pable of bein 5 economically constructed, and decorated. “Whether or not all of these attempts were realized, will be discussed in the conclusions at the end of thi 1 401108118 0 IV '...u.n. ‘- r‘t‘j" " ‘7;n1"1~'\ VLJ—‘LJ— ‘ W F 4L (”7" -‘ UL L a 1 -q- (1 ~. .L'JI' p. up - I _. .LIIJV' v . Hm WW " -o-~.J CF ITIT ”A! :leC “ “‘1 .ng that: n r " )fT‘I") IV 1*er ~‘* ,- ' r71 -~.°' ~11 r,1'-'*fir1'* 3:7?” ~1-v1 aL'JJL... Lax-LIC'QLx .L LIL...‘ Id \1' '11.! 81:31:... r‘1 a J- ' .n . , a Ihe successful production oI a play denanus an efficient technical staff. The personnel of this staff comprises the persons responsible for the aspects of the production other than direction and actin5. The person es in different theatre Po who is in char5e of this staff var r a desi5ner or a tech- 0 r5anizations, but is chiefly eith nical director. The desi5nin5 of the play aI Id plannin5 of it's execution is lar5ely the responsibility of the desi5ner. He completes the designs and working drawin5s and turns these over to a technical director and crew who actually execute the settin5s. Harold Helvenston states the desi5ner as: "The particular artist of the theatre en5a5ed to des i5n and mana5e the artistic and sometimes, the technical part of a . l .. . I- . , production", wnIle BurrISIIeyer and Cole poInt out that Q in the.more professional theatres this division of *espons— ibility between desi5ner and technical director is quite distinct, while in the amateur theatre the duties of the desi5ner and technical director are often combined.2 With the play under consideration, the designer and the techni- cal director was the s ane person and he was responsible for the duties of both positions. l. Helvenston, 23. cit., p. 9. 2. Burris- Ilever and Cole, 92. cit., p. 29. lb? The technical d'rector usually selects his own production staff. This staff is a group of persons wi h v riously dele 5ated responsibilities. Each division of this staff has its chairman who is responsible to the technical diI ector The selection and appointment of this staff.must be carefully planned by the technical director, as the efficiency of the production of the play depends on the response of this staff. A typical amateur technical production staff come prises the following managers, listed with their respons- ibilities: Technical director is in char be of all technical elements of production, e: :cept desi5n, and super ises con- struction and operation of all settin5s. Production mana5er is the coordinator of all phases of the production includin5 the building and assemblin5 of all scenery and other technical phases of the production. Sta5_pmana5er is in complete char5e of the produc- tion durin5 the perforhance. He: d carpenter is h:ad of the scenery crew and is responsible for file assemblin5 of the set, shiftin5 durin5 performances and strikin5 after the final performance. Li5htin5 mena 5er has charp e of all electrical equipment used in the lludtlflb of all ti 1e production, and is res sensible for the li51tin5 operations durin5 the per- formance. lropert1.mana5er is responsible for assemblin5 of all properties, handlin5 them durin5 performances and strik- in5 them after the final performance. Costume manager has 5eneral supervision ove; all the work on cons tructin5, rezaIrInr handlin5 costumes durin5 erfornanc es, and re turning of costumes after the final per- ‘A ‘ .‘ 1. Dr. CaItg ton 3e ll, Syllabus for Thea e Practice coL‘se, 7'1- 0 ' J. ./ university of Denver, 1940. Hake-u? wanaMer is responsible for planning he make- -up for each ra1acter,assenblin3 the .aterials, 3iv1n3 instructions to t11e 1:0 e1forners in —3plication of nake- -up, and rder keepin3 the make-up room and nateria Publicitl mana3er is responsible for ar1an3_n3 press articles and all a”tertizin3. Hour-3 e mane ",er 1-11s cl1ar3e of ti- controls tne act1vities oi the usne is j _ 1‘.‘ J—- fir: rpl“ b uneat‘e or3 tions ~ , . - 1 v‘ 4- M '1 r "- -\- : -\ Y' 3, .r 4- ‘ -~, 1e requ1renencs oi eacn groduction. Jitn one glay e1scussod in this thesis, it was decided to use a small ”'r-t‘ n 1 ‘1 hf. '4' I‘. r1 f "I ’L 7'. 'fi staif, as no Sumac of otu11" in tie *as U00 snail 1or a "0 P12” IN H \1 r '1" n 'P 4-5-63 . -: , w“, 3W1 . large back- soa3e ciew U9 horn eiilciently. surtmi r, C1nee the designer and “‘cnnioal u1“ector vas tne same person, a close“ coordination resulted. The technical director ed that some of the dut 1es could be overla: ped with ann efficient crew and thus fewer people would be needed. Tne final staff conprised a sta3e mane r, an as- sistant stare nana3er, property mana3er, li3ntin3 r1ar a3er an1 idublicity ma a3er. The "crew" assisted backst a3e in niftin3 all proper‘ios an1 sooner“. The technica director n this case masked very closely with each pnase of the technical work and filled in the 3aps by s rvin3 as the oduetion manager, l°3m1bin3.ma1a3er and head carpenter. House mans: figerent was nandle" D? the Studio Theatre or3aniza- tion, and costumes and.aake-up were suoervised b GP, wno relieVea1 the tecnn1cal director of this resoons1b1l1tt. Since the stafi was small, it 2.as necessary that each.nember aofointea be very efficient. The d'ties of each nanag r followed, in general, those outlined previously. The director had aooointed an assistant director, who had charge of the cast and urembtel the actors. lhe stage.manager was in charge of shifting scenery, ssuning that responsibility usually delegated to the head carpenter. The construction an‘ oa nting of scenery was done largely by the stage scenery nd no special construction crew was appointed. 0 1...: f.) ('1 C) u C.) The final selection of the crew was as follows: Assistant Director . . . . . . . . . . . . . . . .Dich.fiaher Stagelfianager. . . . . . . . . . . . . . . . . . .Keith King Assistant Stage} anager. . . . . . . . . . .Claire Alubowicz Crew . . . . . . . . .Bunny Bunnell, James Finucan, Bar we Beck, Bill Tumn Property nan a3er . . . . . . . . . . . . . . .Barbara Stover Li3htingifiana3er . . . . . . . . . . . . . . . . Hr: ‘.er Paris Publicity. . . . . . . . . . . . . . . . . . . Harold Callie Construction by. . . . . . . . . . . . .Sta3e Scenery Class The play "Bolted Doors" was groduced in the Winter quarter, and the dramatic production schedule of that quarter was quite heavy. The actual construction for the scenery was done in three days. The following schedule was set up for the technical work of the production: Thursday, February 26. . . .l to 5 p.m. . . .construction in 170 work shop ’Friday, February 27. . . . .2 to 5 p.m. . . construction in work shop Saturday, February 28. . . .9 a.n. to 6 p.m. . construction and painting Sunday, February 29. . . . .l to 8 p.n.. . . . assembly of units on sta3e honday, Harch l. . . . . . .l to 5 *.m.. . .setting up sets on s are and 5) setting lights 7 to 10 p.m. . . Technical and Dress Rehearsal Tuesday, harch 2 . . . . . .2 to 5 p.m.. .Dressing the sets 7 to 9 p.m.. . .Dress Rehearsal Uednesday,ljarch 3 . . . . .2 to 5 p.m.. . Final Touches on sets 8 to lO p.m. . . . .Performance Thursday,}fiarch 4. . . . . .8 to 10 .n. . . . .Performance Friday3‘Harch 5. . . . . . .8 to lO p.m. . . . .Performance 10 to ll p.m. Striking the sets Saturday, harsh 6. . . . . .9 to 12 a.m. . .Return of props and storage of scenery (The above schedule follows roughly a timetable suggested by Burriséfieyer and Cole.)1 Construction The stage scenery class, under supervision of the technical director, aided in the construction and painting of scenery. Their work will be explained in the next chapter. _‘ l. Burriséfieyer and Cole,.g2. cit., p. 61. A special assistant, Lyle Rouse, aided the technical director in the assembly of the units. .— l Troperties Special had properties which were used by the actors were provided for rehearsals the week of February 16 and there- after. All properties were assembled for the technical re- hearsallfiar h 1. Sound The only sounds required were that of a clock strik- ing, telephone bell and the gun shot in the third act. These were handled by the assistant director. Lisntinq The technical director handled the setting of the lights and centre during the performance, and the problems involved will be explained in the chapter on "Lighting". n fi-j' '~ ‘rr'rf‘rfix v V A Ln”. ‘4‘ b caterers-21cm, aarzrr-ts 3.7:) star 117G l-ZZCCEDLCIJ FOR ALL SIJTTIZTGS C lion. CTICIT, P-‘.B TEEC— ‘i ”IJZTTIZ G 1"...- CdeU;; Ink-v1: .15 TIJ 0,—1.1.”1-1‘ us A. Construction After the overall desi3n had been indicated and the scheme of decoration selected, the designers problem is to present workin3 drawings, to the construction crew. In plan- in3 these dr “in s, the designer is concerned with size of scenery units, the placing of these units on the stage, and with shifting proceedure. "Scenery lust fully represent the concept of the playwri3ht, the director, and the desi i3ner, how ever unusual or dif.“ icult. The horizon of the theatre is expand- ed whenever a technician success- fully solves a new scenic problem."l Further, "the scenery must be inexpensive, portable, capable of quick, silent shiftin3 and be well assembled."2 These, in 3eneral, are the requirements of the scenery with which the technical director and crew are to be concerned. The desi3ner had planned the scenery for "Bolted Doors" to be constructed throu3h use of basic units which .a-‘C t:- ere a ready built and on hand in the scenery storage rows. r3 his plan was done to lessen the cost of the production and to shorten the time of construction. There were on hand a 1. Philip Barber, "Few Scene Technicians Handbook", Producing tie Flay, ed. John Gassner, 22. cit., p. 574. 2. Selden, Sellman, op. cit., p. 80. —* 174 number of units which had been built to be used on the Studio ‘ ° (V J- rv r OH n d ’. ' . r1‘ '1- ‘ -. ‘ v. Tleatre stabs, and were all o'-3" * in ASlQflU in order to fit under the low ce ilin3 on the sta3e. used with vei y little, if any, alteration and the main uro- blen.was tlat of assenolin3 these units. The actin3 er a ontlinea by the director included the entire width of the prosceni.n arch of the Studio Theatre an with a depth as 3reat as could be jiven by the confines of the set. In order to comply with these denanas , the desi3ner p anned the settin; to extend so that the walls of J—‘a‘ the curtain fo rming the arch, Ct either sia e of the set began a filus elimine tin3 the need for tor.entors. The back wall was olacea so that there was just cnou3h room for an actor to use the entrance of the French “oors. This plac cing of the walls, i.e., back wall 2'-O" from the rear sta3e wall and walls right and left at the ed3e of the arch, left an on- age area of 19'-0" x 13'-lO". The left wall, being placed r even with the arch, left room for the back-ste3e crew to work during the performance and for the actors to 3ather be- H.) *5 o e enterin3 the scene. Off-stage ri3nt, a space 2'-6" wide le t just enou3h roon for the door down right to open, since H.) this door swans off-stare. U y) The problem of determinin3 which way the doors were * Since hiis section is of a specific technical nature, the thhlical method of dirlension notation will be used, i.e., fioures will be used inst ad of words, and abbreviations of (' or foot and (") for inches. 175 to open was an i.noorte at one. With doors which opened on in3 as ea was i.wpo ed upon. The openin3 of the g (‘3 0 ct‘ I- F‘ 4" ‘\ St‘lfule , bile doors off—sta e was confined by the lack of off-s to go space. a g) Doors which lead outside aenerally open within3 the room, but since the actin3 are. was so limited, it was decided to ,3 [J H 3 tr cf (‘1' O desioi the door dow- open off-sta3e. The director C; '5: d‘ p C’) C p O C ‘J I U] ('1‘ D e area to as areat a degree as the D... dDHJn- ta 30 area, so that the Frencn doors could open on-sta3e Tnus the back wall or tnc set could as placed closer to the ‘ack wall of the stage. et *5 U) The first setting also served as a be is 'or III. The floor rlan and work n3 drawin3s called for a com- plete b X set, with three walls. Since heae was to be chan3e of scenery, this prohibited the construction of the set as one solid unit. The actual construction or ass mbly of the scenery was to be done in the worhsnoo and it was necessary to con- struct the scenery so that it could be brou3ht through the double door on sta3e left of Studio Theatre. The method used was that of hin3in3 the flats to3ether so that two or more flats could be folded to3ether and all carried tos other "Groups of hin3ed flats are referred to as 'two folds', 'three folds' or 'four folds ', accordin3 to the number of flats in them."1 1“ Barber, pp. ci ., 176 The unit of scenery referred to as a "flat" is a wooden franc which is covered on one side with canvas or muslin, stretched ti3htly, and then painted with scene paint.l (See workin3 drawin3 s for walls.) The first unit to be constructed for Set I was the bee]: wall. (See workin3 drawin3 for back wall, Set I, on next pa3e.) The back wall unit ands comeosed of two 3'-l§" flats, two 2'-O" flats, two l'-O" flats, and a 5'-9" door flat with an opening 5'-O" wide by 6'-O" high for the French doors. The French door unit we 5 assembled as follows: Q nro md the open in3 in the flat were fastened, by screws, strips of wood 2%" wide for the facing. Then the doors were set in and installed w.ith two ba ck-flap hin3cs on each door. Tnes hin3es are mounted on the front side or the doors and flat to pe‘mit t‘e doors to swin3 forward. Since these doors were set suite far up—sta3e, it was not necessary to provide thicl :ne ss pieces to give the illusion of depth in the wall. On either side of this French door unit was a ser- ies of fl ts as follows: a l'-O" flat, a 2'—O" flat and a 3'-l%" flat. These flats were joined to the French door unit and to each other by two back-flap hinges, then a piece of uslin (called a dutchnan) was 3lued over the crack where the two flats joined together. The entiie back wall thus l. Selden, Sel man, on. cit., p. 407. i .__..__--.._._ \2 x .l 2 . VI, s x y x \ y x r . . J m x .I‘ll. . ’ .z r a .I. I g f fl. \ \r a . .u J1: I I L! I . t , . ., L . .‘v . I . all I. . I). v v r . \. _ r L C .’ s. D \A . I , yl(4..l .l. .1.‘ Ivy... ...‘III .1) ‘1 u T rill «1 .r\ .K" . .: .‘ z . .n . . Vi ..... (y. '1" \ r1 . N, 1 x. v . , . y . L T . . . . \ '(Ill; m w x. . w . ‘ .L. L ‘ . . - a . ; .f‘ .. . . ‘ . , l\ n I . I . . 9.111 I. v 2' .. .11}? \.. :f, .txtvtl...‘ 4?... »l..; .)..\ .‘1 r . in-" 173 was 3iven a m1ooth wall surface over its entirety. in order to 3ive rigidity to the entire wall, a lon3 board 3" wide and 13' -O" lon3 was lastened ed3ewise to all flats on the back side and 4" down from the top of the flats. on the non L) The lef mall (wall "A" in the drawins case) was composed of a door flat 5'-9" mile, a solid flat 5' -4" wide and a solid flat 2' -93;" wide. These were assem— bled to3ether as in the rear wall. Into the door flat was placed a door frame 2'-S" wide on the inside and a thickness or depth of 6". The inside hei3nt was 6'-O", and into this frame a solid panel-type door was fitted with hinges mounted so the door would swing off-sta3e. Along the top of this wall unit, 2" from the ed3e, was fasteLed a 1" board, 4" wide and 13'-O" 10-3. This e and served as a stringger to fasten flail "A" to Hall "3". Similarly another board or 01 ed3e of fall "A”, (see Ca CI” 5Q strin3er was glaced on t isometric drawin3 of Halls ”A" SLd "3" to3ether at the end of the book) fitted flus n to the bottom ed3e of the wall. .I— This bottom strin 3er ran from the up-sta3e ed3e of the down left door to the up-sta 3e and of the wall, and was 1" X A" ll! _OH . The ri3ht wall (.Jall "3") was composed of a 4'-O" door flat, a 5'-9" window flat, and a 2'-O" solid flat. (See drawing, next pa3e.) These flats were secured to each other ‘ by hiiges and dutchaen, as before. Into the door flat was l I ,rl‘I 9-.“ fi . . u- -- - u m no- ~..... w.-_-...-.. n.- .a .._. .-—... F‘- .n .._‘v ~- v..—.’ Yr""""“"' 7‘~ . .-. a. 1‘03... 3 od.\ . . - *qmw-tl ——-.. ~c.—-~‘ “h “I —-—_.‘ u.-- -.<' -W-b— ---.-—‘.'v— . __~_w4 _-—..— ~s-.. . f. j , . 2 _ x . . 1 ‘35... , . r..\ a x . .5. .. / r‘ . _J .1 .-. a. .90 “.313... ll. iii-11 '1!“ THUS...” .- .u.‘ ”1.1.30. 1.44.21. Infiltlltl... ‘0. l. I“. .. .Cl Janna-V- uni» rib-.11.!) 4. .. -1 .r// «4.». ..\wL. ; m n... . 1 .1}..- J w . . ./ . . .\ . . .w . ‘14 . L .. /. i .. «m; 2--.. : z. i _. w m t . r\ h h . . n ._ ~ i . , “ fi ‘ Q 7 . _ L . _ L .. i M _ i . i _ .. . i L i . . a . v . . ,u— .0”- 05..“ ~~o¢n~~ a; -p—--’—.o~- O.“- r UWH— . - - _. M ""‘.-- ‘\V“'- ‘m. -d---——- w...‘_ v—P “MOW! m‘eg'; _ ......a...._.... i : ‘ . / /~ .--.&. I I - - "‘ll’ 7“. 3 h .. 0 . .. .. . .. -11 . , . - _ . . \L t m as I“ .. -....-1I9.. . .uL .4‘?‘ ’2'.” ”m-M- “-——- -'w—.—-.—.— —r‘ ...- r1! " I “W21 ) fl _ w i . t ..... 3 . w . ‘ . . i i. _.r-....§§--\.i i _ — -o... --—~—.-m-p—-—~ - ‘. ” u... . . «11...-..- a... ll— ... tlvts. 11...! Obi.- .. t ‘ll. I | p rill-I QC »\.' v. ..p. -us’u-c-‘ 5.1.0.- ... ...‘.v‘.h.-.£..V,. ideal. .1... '1‘ .-.l|j.. . II 1‘. {l s a. .i......:... o «Ills?- fitted a door fran and door, with dimensions of 2'—8" X 6'-O" in the same manner as in Hall "A". The window flat was fitted with a large window, with inside dimensions of 3'-5" x 4'-8". This unit was a French-window type and the two shall sashes were fastened securely, as it was not necessary for the win- dow to open. A stringer, l" K A" X 13'-O" was fastened to this wall, as in Hall "A", at the top and another one at the bottom. (See isometric drawin3 of Walls "C" and "3".) The bottom stringer, l" X 4" X ll'—O", similarly was fastened alon3 the bottom edge of this wall, as in wall "A". Since these two walls, "A" and ”B" were fastened to walls "C" and "D", eacl oair of walls supported each other, and it was not necessary to provide bracing. This elimina- tion of bracing made the shifting much easier and 3ave more room off-stage. The rear wall of this set had to be placed inside of the right and left walls, 2'-6" down-sta3e of the back stage wall in order to permit entrances threu3h the French doors. For Set III, this wall vas farther back and joined he ends of the ri3ht and left walls. To permit this rear wall to be secured in the Set I position, two loose-pin hinges were fastened at either end of the wall, at top and bottom and attached to the right and left walls. To re- lease the wall, the pins in the hinges were removed and the back wall was shoved back. In the Set III position this wall was secured at either end by lash lines. .4?) u»; SIT II The construction of set II followed Set I, since - ’- ”A 4" 'p ‘ . gr- > I", were lasts ned to tne each oi the (1‘ ;. .J (J CHI- 3 E (-3 I"! t; C. (J cf F' H r g;ht :nd l3 ft L'alls of Set I. Set II called 10? a door down left, a door up , 4. , :1 ,..: f1 . : 4-1.. .' “1 .x. - . r11.- 1 , ' . . center and a ”inLew in 'ne r13nt “all. iao booic wall 1 . ' -u r q' .'\- j ‘, r ' ' - v I r\ units were used, and tngse two walls were set at an an3le .1. A 1- . ., 3‘1', .° - ', 'v :v. . a. ' 4- . A to eacn other. his senene clininated the necessity 01 a .‘ -.. 1 w u q 1 .--. j ‘3 “ f '. ‘. ' .n 'l' - ,‘x - v \ - niid sail, and alder in sniicin3 scener1 as Lell as §ro- The risht wall was coxposed of a solid 2'— 5" flat, a solid l'-O" flat, a solid 3'-O" flat, two plu,s, *-5" x ll" and 3'-5" x 21-5", and a solid 21-0" flat which was used as'a plu3.' (See drawi n3 on the next :3a,e.) There was no door in this wall, the only openin3 being a window. A winder flat for this Openin3 was not available, 4" ' . 1 ! Wu - r 2w .1 ‘ v vu '0 J‘ r > 1- “‘ UhC window was framed by two ilats and tJO glu3s as C) 0 F13 U 'llows: A solid 3'-O" flat was placed up-s age of the opening, a plug, 3'45" x ll", was placed at the top, a 3'- 5" r 2'-5" plug was placed at the bot t011 a1d a solid '-0" flat was placed on the down-stage side of the opening. an3ement thus framed an ogenin3 thrOLgh which the 9 back side of the window in Wall "C" or otruded, and the plugs -h *3 CO H H and flats around the opening were fastened to this window unit. The opening was covered by a venetian blind, and sin- —‘ ulated a real winLOw. The 2'-O" flat which was L (0 ed Cf) co m 35:1 [I515 051 I‘m!" ..'1'Ill: .- ....-..m. ya... .-..u.w.u..n.....314... ex . . .1 f / w- -. ... ..- -—-_A ‘ . -v. '6‘ c... uth L¢v~~ d, ,4. ... “ I. ' in r l ‘ -...___u I“- "gut-00 -w- -m if \ _ L w _ 55"? “-1-“ 1. n M . . . 7 ! M O 5 \..\ i m 1/1 , N13! . . L555!!! ll! 51.... 50:55:51 ... _. I. ...-:ul..|'.'..-un .DL L, T; .5 I. 5..-... o (3.; .- :l‘l.... .lIkL . "*‘fl-V‘ w.--- -r . ‘._ ~..~._.—.p-—.—a~_— ..~_. '-.- H'-.“ ‘* , .. . i . Ah, p v iu‘ 1:1“: . Iii); . I ‘I}| v fill I. v I. .ll. ,1 o .r): lli‘. 1: ‘iv. z l. . .Iv‘ill. -11 L .77 1| .\e.$.,..l.‘l 71, u x y . . .u. . .~ v - . . rat! 3.. \hr. 5 . 1 _ 12" l86 in place, The 3'-lO" door flat was fitted with a door unit 6'-O" x 2'-5" and installed in the manner described before. These last two flats were raked on an an3le to each other, makin3 them.more ri3id, and a jack brace was fastened to the down-stage edge of the door flat for support. After the two walls, "A" and "3" had been fastened together, it was necessary to assimilate another door-frame unit in Wall "3". The rear side of the door unit in Wall "A" projected throu3h the openin3 in Jail "3". To 3ive the appearance of another door unit in Jall "3", a facihb 3" wide was fastened around the door frame which projected throu3h the opening. Thus the door unit in Hall "A" served U) 7311 '- (4 a dual purpose as a do ta3e door in Set I and as an up- stage door in Set II. At the bottom of this two-wall unit were nailed 3lider-buttons, to make the unit 3 ide more easily when shifting scenery. Jhcn the two walls of Set II were set up, they 3 with a lash line at the back of the |.—J were fastened to3etLe i. 1 ‘ . - . , . , - .-\ . v. r\ . up-s age corner. inus the two walls served to sup,olt each other. SET III As stated before, Set I formed the bas's for Set III. The only chan3e in construction was in the left wall, which had to be replaced with a special wall unit. The left wall unit for Set III was composed of a 5'-4" door flat, a lid 5._ 9" flat, and a solid 21-93" flat. (See drawin3 on nex pa3 .) These were fastened together as noted previously. Since the door in this wall had to have a tran- som over it, a simple opening was built into the 5'-4" door flat. A boald as placed l2" above the door opening, and two sziall uo*lsat were pl:a ced at either end. The transom th s ;m o ride d measured 9" X 2' -93". The door flat wa fitted “it: a door unit 2'-8" wide and the door was fitted with a larse bolt. This bolt \J r3 (v. H ar,e enou3h to be easily handled by the actors as it an important part in the action of the play. As ‘__J m ‘4 O p. p... m C” 93 d‘ (D pi before, the "Bolted Door" served as a symbol. This entire wall was folded t03ether as a "three fold" so it could be store' in the up-left corner of the q stage house. The flats in this unit folded face-to-lace, 4 C‘ U pa and thus the painted surface was protected while it a I" stored. Then this wall was in place for the last setting, it was supported by two jacks; one at the down-stage ed3c of the door, another at the down-sta3e edge of the wall. The whole unit was stiffened by a board 1” K A" x lB'-O", which was quickly "hooked" on the unit by means of strap- iron hooks. One end of these hooks were fastened to the board, on the ed3e, and the other end hooked over the top of the flats in the wall. lais scheme 3ave a ri3iditv to the entire unit. lhis wall was lashed to the rear wall. W ailllll-4c-1!ll.ts¢al!{ \V . .itllr L n _.. a, 2.3» t. 1V v... Krill}. nfil. 4+” \ x... .N\\ /1 4 _. . . \ . l L _.\ mo ‘f‘A <\ . .. .‘ K - '\ —W M ms-‘ ‘3- ~ “ .ia..lll-I.L 5 u- . I‘IO .l— IT.‘ I ’L I .t‘l’i}.)\r.$..x\.. lets-to .l‘so.. l j-' i i j/ // . . - —-7" ..// ‘ I .°/ // .- "1,- t‘ ,v" r / - rt 0 9 Painting in the theatre is an important the dlegl atlst to create a visual color. As Hel enston points "In the aesthetic sense, 80 ene painting may be defined as the art of usin31>aint on sta3e scenery to create color in combination with sta3e li3ht; and, in the technical sense, it is the process of using paint to approx imate the effect su33ested in the desi3ner' s 81 cetCh. "1 Scenery paintin in the theatre has its purpose in. creating illusion. The r'ainter in indicating a realistic seiztin3 of a roan attempts to represent real walls, ceilin3, etmz. Since the object is to represent rather than to £2" Orweate, paintin3 for the sta e must be done diff erenoly 'thln.architectural ;.>aintin3. As Selden points out: "All fflafiantin3.nust be done in a bold and free manner. Illpres sions 83?ea.made at a distance. Fussy details of desi3n and color consequently lost upon the audience."2 (D 'n .L (:3 do not carry, and Water color paint is usually used for scene painting, ‘Vfixtli glue bein3 used as a binder to adhere the paint to the Cullivas. The flats are usually 3iven a base coat of paint ffiil?st, followed by other coats as desired by the artist. The 39€liaat is usually applied with a brush, althou3h sometime s a Spray-gun is used. A spray-gun gives a dfi ferent te tore to \ J‘~ Helvenston, 22. Cl ., p. 51. 2- Selden, Bellman, 22. cit., pp. 144 — 11,5. 190 the finish than does brush pai itin3. E II: *- *3 I W° S In the chapter on "Desi3nin3 the Play", it was stated that the designer planned to 3ive Sets I a ad III the appearance of havin3 linen-covered walls, decorated with vertical stripes of li3ht and dark na 3enta. The flats in all sets were assembled t03ether with hin3es and dutchmen, as described earlier. Before the doors and windows were fitted, the paintin3 of the flats was done. A spray 3un was used to apply the paint in order to 3ive the smooth appearance of cloth. The paint was mixed “ather thin, and given a stron3er percentage of 3l ae than is ordinarily used in order that the paint could be used in a spray 3un. Burriséheyer and Cole1 recommend sixteen parts of water to one part of glue for paint binder. Throu3h e: {perimentation, the tech- nical director found that twelve parts water to one part 3lue used as a paint binder prevented the paint from dryin3 out too rapidly as it was forced thr ou3.h the air by the air pressure in the gun. The entire two sets of scenery were sprayed first with the dark magenta m'xture and left to dry. After the first coat of dark mar enta was dry, a second coat of the magenta color (3iven a li3hter tint by l. Burris-Keyer & Cole, or. cit., p. 175. *“ l l \f) J--. tus applied in stripes. Lon3 boards were (4 ‘q 0 addin3 whitin3) used as maskin3 pieces, and the stripes were painted with the spray gun and w re 4" apart. The woodwork was all painted a dark brown and was 5 apolied with a brush in order to represent the painted wood- | work in rooms present in 1919 homes. The second settin3, as planned by the designer, was to give the appearance of having plasters walls. The color was to be li3ht cream buff. Since a solid color was used on the walls, the plastered effect w s 3ained by the use of slightly different shades of the base color sorayed on the flats. The fla s were 3iven a base coat of the li3ht ,..J crear buff color. After dryin3, a second was sprayed on and left to lry. A third coat, given a lishter value by adding mhitin3, was then very li3htly surared on the flats. The last coa 3ave the su31estion of slirht high li3hts in the walls. The woodwork in ‘nis set was a so painted dark brown, to 3ive color harmony to the walls. There were no chan3es in the paintin3 used for l. Ann Rou3e, "Tendencies inZLodern Decoration", House and Garden, XXIV, (April, 1919), 9. lo. 192 f O «,— J. '03 \ r)? 0 cl 3 ‘1 AL ..- 2 I ' \ Rd and decorations. '7‘ u.) Jerie ., {.een n “A. (A; "niture, -- I' .-.~ L w- J 1 .ICLCIG D I era a d B +v n v a i 7‘, V‘ F‘ I . ' \_ .- a‘ k ) l V C i - 0/ a... rgrxrxv‘(\watr \J _.'——J‘— 7 L_a " Lv‘f‘l .ngv 1“ r. ._.—--—_z .~‘,‘o_fi_‘o. ”‘1 L I .o L cal; 11 -1 , ‘30 UV ‘( #1-- U-;I v“ (I! .A-J-L ) «J- Lu]. in prese1 "_‘ -J H ‘ . L..., , " baeu3rounr a 113 151 - O in) :10 vii): . *‘ 1.1. U ‘. C' It.) I. 305411.: 1 eat ., J- a .I.- pr- \fg ‘~'\.*-.~ L.‘ C . 00.1 four basic techniques for list GI' .L cal parlai 'W“ .L 7" ‘- .~ tin3 sce pl .1 sh sma ll into , 4. 10 SC3U l o ‘ L b ‘. Ll}? C‘ C.) 11'].- «I .L l. Brea "1. 3e n t n v and i .0 .L.‘_ r a ~r\-(rq/ - -s.’ v v» nl O a .1 me O .1. .i -...u .Tu o u _ O C .3 .1. .TV V .l e wnu )l d a E C a .l h n 1 r, l v at... D C 0 do; if 7. r L nu "Va +on Cw rd (v. H") ble ' LLI'fl'C‘C-l {11‘ .Lale C _ ml ,ulruws. bu n C we a S o a ...-u r e lo menu D d. .1..— m. TE 1... .l niomofl 3 r LU. S : C a no 0 my. mu mi «:I.mo C D. Oalflms .1. l .. _ 3- +oiu town ml It 9 _ d Oahnnn a u C E“ ha ha LU ._:U ,7 as menu go _..... uru my C 3 U. PHVhIo rim 0 S no v..a as l :lu C C D _ nl.l v DJ}!— V O4In4I m t -_ u nu r}!- k“ 1 e O 4. U is, f. '. 1 E l t 7 3 CC. .1. ‘m n .1- UL;(,L b c.4- L) ‘ L13 V oeloz A ~J D: I“: r\—‘ 1 i U UL; rfi r‘ .‘y .5..th JD 01‘ S '5 M Llev t e C -_, 211363 to ere 'GQ .‘ A" u C n .D o S van; 3 O 1.. vi v-” «\s O S l ri menu 3 n. a_u the ("p C‘ i__,V ,\ l"v tYNO C$kan. . ;r) u J- m r3 rw. Q 14 in ion oduct ‘\'T1 U m. . 704—706. 3 p- ‘ I 'Jloi 194 m: .. ° ° n. "3.4-2. .:,.,..° .nr »' -° -° : 4— lae low ceilin3 with no 1i33ih3 IdCIlItIOS in the ~14- ~' 7‘1: 4-... 1:2:4- '* m 4- '. ° . a m . ' QuLlQlO insatie eta—\e prehisloei the o00.flllf..ue OJ. llyin3 .1. . .. “,4— ' ,7 ”34-! -1 1 - ‘ seene y, the sta;e was not equiooeu with the aerices hen- and lack o: spa e prohibited sthra: to Lake the changes in settin3s as described in the first technique. The desi3ner's scheme of onstruction to make the shiftin3 possible on the one 1 sta3e has been previously described. The actua shiftin3 proceedure will be described in the followin3 para" dhiftin; betw on Set I and Set II. 6+ ‘4 O H Q (Q (—1.. H g: 0 fix C 1" H. H (D A the end of Act I, the 33039? properties first and the furniture was moved away from the l left wall was then disenae3ed from the rear wall and the down-sta3e end of the left wall was swung towaiC center sta3e. The left wall was thus placed parallel to the arch, and next to the curtain. The properties and fa rniture were then quickly removed frosl the stare through the double doors lfl the left wall of the sta3e house. '.fith the acti n3 area cleaned, tile rear wall vas shoved against the rear wall of the stagehouse. Then the ri3ht wall w s reversed and placed into position for Set II. The left wall was swung up-sta3e into position, and secured into place at the up-sta3e co: ner. The two hin3ed 195 sections of this wall which formed the le eft wall and con- tained the down lei t door for Set II was left standin3 in its position face-to-face a3ains t the rest of the wall. After the furniture and properties for Set II were brou3ht on-sta3e, these two hin3ea section were swung into place, and the jack-brace swung into bracing position. Shiftigg between Set II and Set III At the end of Act II, Scene I, the furniture was moved into the stage ri3nt area. The hin3ed sections of the left wall were then swun3 back a3ainst the rest of the wall, and the fm iture and properties removed. Then the left wall and 'eht wall were released, and the r'3ht wall H |,_l reve~sed, and placed into position for Set III. Then the furniture for Set III was br ou3ht on sta3e and placed in the down stage area near the curtain and alon3 the right '1 wall. The down-s a3e end of tie left wall was swung into the down left corner of U18 stag ge house and the entire wall was placed a3ainst the left wall of the sta3e, with the wall for Set II (Wall "3") facin3 on-sta3e. The ul- sta3e door in this wall was thus adjacent to the double doors and 3ave the actors and crew access to the stora3e room. The left wall of Set III was brought out from the corner, un-folded and swun3 into position. The jack braces were swunc into position and the st; in :er hooked onto the wall. 196 The rear wall of Set III was moved down-stage and secured to the left aid ri3nt walls. The schene thus devised adee flue ml solved the pro- blems of soace and faciliti pres -t on the Studio Theatre stase. Only one s t of f ats needed to be stored, and the position it occupied while in stoza3e did not hamper the activities back-sta3e. Very little bracin3 wa: neede‘, as the ri3ht and left wall sections supported each other and 3ave a dded support to the rest of the settin3. r“his elimination of host bracin3 3reatly aided in th 1e moverlent 1 f the actors and crew behinL the scenery in a limited 0 ace. Since entire walls were moved as a unit, fewer U) *0 crew members were needed. (The shiftin3 procedure is dia3ramed on the fol- 1017:? 1'13) page 0) mm.2oz oampm Mo Hash whoa . Q00. \\ NW0 r. I N! P I. n n d a - 9 \ .. a-.. 2:. a: -..-...-.v. 33%? .- --...2\ .f: .. . .. 39....-- a... . \..--\\ .2. .2. .. .3 no , > ............r........... w... n H“... \ 1---; . or. p- 1.....- EH pom. . .25 z/ . . 2.2 n :.i:£}.‘ldfl (2 2.. -9.“ QH .,/ - . .2 .r... ,1 2 zl2 / - I: 1 2 K. :A‘ *3. .. 2. . K . . I I .I‘I‘ \ x . 1 l . \ . / .K K . t x. . .. . pt I .II .. I [2 ”T ”J .L I. |JII|IIJ it... -t I! 34.]. . l‘-1vllll 1.2.2.1.“.11.‘ ill... - .«N 2 . 2 ....\ .r . . . -- .. . -. .. 1.1.4.... . \ . .9 it HHH won. I Had”... 990.4. U2 2 2 \ . 2 .. \ \ . .n , 2 . o 2 a \ \ .um W ”(\2. H \ .\ . x 72 2 _ \ - . H n .32 2 \w n .J .g l m 2 n \\ 2 m * 1T1U x... 12/ m a \\..a\ LN“ , t ”A” 2|.“ m... W... .l .2... \2 2.... S f .3 w F2 T. 0v s f x m... :2“..- v 22 . FL fig E m m \\ . .S J H n . \ a n. V m I. s \ . fl: . a I E o -..\ C. 32 T 2 +u 2» +u T. .m2 flu e \ an O - r . . S x I 3 T2 3 r). k . .. \ x \ r Maw . -22» x \ Y. . 2x 4 22 .1! r .. is“ . . , . .. ‘5 .L r k 2.. . 0.2.x “4.02.2" .. . :02 HHG. II t - :0... de~;. . .. r. . .. - 2 2.H 2 .9. .2 . _ {/2 .. .. . W! N a: . g- . -.-.:..: - :- :0: HHGHH- /\ __ . . N. 2.2 , NI..§--.-€3 If" I14. 77".? $4....J CKAPTHR VI IIr’"”’"-’FI“." Fart . 719T ,M ‘ \T4'o--Lo .Lc ‘J .g.$-__J ‘- “I l'. :n- . ’2‘ . f I ‘ _. ’1 .L. g I n, Irelininazy conSiherations. iesigner is concerned with the requirements of tLe play- wrigh as interpreted by the director. The ‘esigne: must un*e”stand the general reguirenents of stage lighting and tie functions of the 12strnments he is to use. Harold Helvenston outlines the requisites of light on the stage into the two general classifications of visibilitx and emotional eggr ssion. The firs requirehent demands that the audience be able to see comfortably and clearly. Ihere should be enough light to illuminate the actors and settings so the‘r may be seen well enough to aid in the interpretation of the play. This kind of light Sellman calls general illumina- LL22 The second requirement concerns the lighting of the stage through use of color, and control of highlight and shadow to create effect. This Kind of light Bellman . . . . . 3 calls speCific illumination, and concerns the use of light to create mood, atmosphere and aid in portrayal of 1. Helvenston,‘gg. cit., pp. 39-40. 2. Selden, Bellman, on. cit., p. 383. —A- emotion. In a standard theatre, the stage is usually an uip- ped with specific instruments which are planned to do differ- ent jobs and each is fitted into the light plot with a definite purpose in mind. The instr dents used for specific illumination are planned to make the actor s and out. These instruments are 5ener ally classified as spotli5hts and are capable of projecting a beam of li5ht into an area on the sta5e. The beam of light is reflected from the lamp through a lens, and can be controlled to cover a specific area. The controll- spotlight is called focusing. The purpose of “3 cf 5 (1) ing 0' spotlights is to make the actor prominent and accent his importance in his surroundings. The instruments used for 5eneral illumination and Q; for toning and blending ifferent areas of li5hts to5e her come under the 5eneral classification of floodli5hts. Types I ‘ of flood li5hts include: striplights, border li3 ts, foot- li5h1ts3, olivettes and x-ray 5. These instr ments reflect a beam of li.’ 5ht on a wide, diffused area and the beam of li5Lt ccmr ot be controlled as in a spw otlL as these lnuL7”'dnto do not er ploy the use of a lens. Floodlights are also used for be Kgiound li5htin5, cyclorana lighting, lighting behind doors and windows, etc. Other than the control at the instrument itself the control of li5ht is done at the switchboard, where ’2) A. 01 switches wd diireis are used as the control units. scan- leychCandless outlines their purpose as: "to balance the intensity of each unit or 5roup of units, and to permit subtle enan5es of li5htir durin5 the pro5ress of a per- deg endin5 are ma‘e in a variety of typeS, \ ~, - r .L. _,.. .. ‘ ' r, 7, .. . 0 upon the eitent of their use and the nanner in which t ey -\ «I , -'- ‘ ‘ I . ‘1‘ ~ -‘ [’1‘ 4‘ \ . are eox-nected to the switch oird. ine 5eneial u3fpe. in use 1P; . 1‘ I. .m-W lr-r‘ ’ —‘ .""" '3 +1 '. . ‘ are the TQQlStURCB di44er, reactor dinner and one Variable O ,5 .n 3 5... tz‘grlSJ. ori41er O r A ' y'O' 1-: . H 03”.";- 1., ‘ I" I ‘V ‘r .0 .fi. fhe two nines of ii541t , 5ene er «l and specii ic , can " ‘q '~ .1 . '1‘} '3". .- v r ‘11 ‘1 . . V- Y H C.‘ be controlled in thiee Jays. hes thee Hays oellnan calls 4" F3 4 x v‘ ‘ : “V . r01 1 . r~+ ‘7 7-. . the oont t-ollable properties of li5nt, ana he llouS than as. 4‘ a fi- ‘1 “ 4...... . 3 luancity, color and QiSb ibution. m . ' - 4- '1 '1 '. A", - " he ei1ntity of li5ht is C'flurOllOu 01 the num- v‘ - ‘ "I J", - : I . l". ber of Sources of ll 33ht, their size and “LCJ uOViees as ‘1 H . - I! : VA“ ' --) ..' . 4- V; Z? ('1 r\ ' ' .5 ILMlLChCS, eimneis and color Silteis." "Y-lor is cont1oll- ,3 ‘w 1-. ' o ‘ Q ‘.r\ r- v w. -" ’. 30‘ j 1 . “- '. 0 Che on the sta3e Of the soaiee oi li3at ’lOSGfl. . . .eimiin5 1 . “1‘. . . ‘ a‘ "\ vy '3 .’~ .1 z ,— 1 1 134KB li5nt. . . .cunl the col r iodani. plaeeu JLUHGPL. ;K3 (‘1 r 7‘0 (1 :1. "‘1'; (I " r‘ “0"5 i'D . rj'L'J‘b '7 ‘ v‘ 5. r2 "3 ‘, .-,:,r‘ r‘ L110 3-1.5} Tr ' ‘-1‘1 3 1 Q Q LL. CO Lark“ L- V UL; ‘7.) J o 15.; LJJ. J—D Kl. .Ls/ A .I..K/'_§-LAJ U--v "H‘AUI 1n ~4i-J-CL]. '-- . 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'S‘ U (n a 51-— Q -oru 1e purpose of st (3) .‘CC. s. 1 Q0 1 r“- " KL .um U;— | :1 l.‘ ~41“) t on nt I O? ..U.L \|\L' , ”my-.- CLIOEl' -. I , . I up t QQI ;.-‘U &K\ '1 '1'.“ Hr" OJAL-lca n» 0 a :n" .hjo d in P l. ‘ I f“: J L n LA 8 .’ 3 Y1 \JiA. 'ni 'ell- C” DJ n i (1 P? NJ 4.1" "’ Uli ' LA}; .1. ' U "& -u‘ sums *‘fW \ I f‘ a J.“ \ H ,- \ I ..- i U 1 13 .1... {111(1 -_- .55 ,1, LL. I—a‘ (-V bL ‘i 1"? N T‘ ”I A-\-’ . r‘. 41. .L J. -L V'|ol' —--¢-- 1 a OH GM 5" .I- ..,. ~'.- 3 , CY ‘\ n iond Jones 355 Ul‘... th “V" {:1 UL; .4 U -'. Y‘s .n—J- 3. « cum—lo DEC \ bert R on T 1 o 1L l O I ma ’“, .J .- HOVO S .l ‘1}. Mi .1" i0? d ide urov l .. 0 ' 4- . .—, LvliU H‘s/«(J fix.-- / fi. 011‘ 0"“ ’1 «I. for ed -‘ 5rOVlu I '4 —- a - (‘C‘I Rub.) 5n, -LL.L .1 A W101 1 an :rou5 ‘ ~ V...“ ition, S O I an be the h.. o 1..— ° + r? Us_. uni t 19. .L .1 lie- . 7') J. . 9" --..-.—-'--.-~ *.~— --.—— m..- - “-wfir- '—--- and Six units in the teaser position. hi so li3hts are . 51. ll " ’- Vr S? cu v1 ‘ 3:1r-x-ww, ° 4-H -' -'-‘- 3 . -'--1, 1 con i:> ea oJ .Jitelmhs ano.thhiier Lurits JJl the con. o '3 panel at the leit Cl the arose nium.arch. For "Bolted Doo the dinners used on the in3 of each ’4 -tudio Theatre staje did not grovide :or de- ndividua sootlight. Tzo dinners were used, one for the - .‘n swots in the bean position and one for the siots in the teaser position. Thus, the dinn.i.3 control was limited to control over two 3ene‘al places of action, the down-stage and up-sta3c areas. The location of the ligiits and 11 n1 itations of sec cssibi litv to the'e locations made it imorocti al to cons do: a chan3e of color hedia or focus between scenes. In gla: -nin3 the lighting the designer er -bouied a scheme which could serve as a basic lighting for all sets and was gained bye control of intensity throu3n dimming o r—e H (a p C) O and 'v turning off or on instrugents by switcnes at the control panel. There was no need for oackground lL hting, ’1 so the li3ht plot did not include instruzcnts or are is ! tha' purpose. Professionally, the technician in charge of light- ing ses a light Blot for the olanning of the lighting for .L a play. This light plot consists of a lighting layout, which is a diagram of the floor plan of the ettinp s and the pos- ition of the instruments and the areas they cover on the st-se. Together with this layout is a cue sheet which gives {3 the li 3htin3 cha 3es during the play. 204 (A lishtin; layout and cue sheet of "Bolted ' U Doors" is included at the end of this c: '4 a.ter.) l The stage mas divided into six different areas, d three down-s e and three up-stage. (See light plot a end of chapter.) Bach down-stage area was lighted by four spatlights from the be m position, placed in order to pro- vide illumination from different angles. This scheme light- ed the actor and setting in that particular area from differ- ent angles. The up-stage areas were lighted by spots from the teaser position, placed to provide illumination from opposite sides of the stage. Since the color media used in the lighting could not be changed, it was necessary to use colors which w re suitable for'all three settings. the first consideration in choosing the color was the colors used in the settings. The walls in Set I and III were painted with magenta, which contained basically, red and blue pigments. It was necessary to choose a color media for the lighting which would be in harmony with the set colors in Set I, and which would make the colors da‘k and somber for Act III. Two colors were used throughout, amber and steel blue. The amber was used to intensify the red and to gray the blue in the setting. Steel blue was used to give a rich quality to the magenta mixture and to offier a cool contrast to the warmer color offered by the amber. ”hese colors were chosen by the designer through use of a table of "the probable appearance 205 of pigments under light of various colors,"1 prepared by Theodore Fuchs. The next consideration in lighting was for.mood and atmosohere. In not I the opening mood was rather cheer- ful ani denote2 the use of a warm color. The atmosphere was light and changed toward the end of the s one to one of heavy tones and impending disaster resulting in the death of the old man. Uith the conbination of the warm and cool colors at a higher intensity at the beginning of the scene and dim— brirhtncss toward the end, this H.) ming to a lesser degree 0 4-1 change was gained. The mood at the end of Ufle scene was very serious and as the intensity was lowered, the lights the colors in the setting to deepen and become richer. mhe red became more prominent anl since this color is asso- ciated with cruelty, hate and tragedy, these indications were present at the close of the scene.2 Uith the same basic color for the walls in Set III, no change in color for this element was needed. Other colors in the setting were the darfie shades, i.e., the dark brown in the drapes, dark green in the sofa and rug. The setting requirements indicated by the script denoted the setting as containing very little light. Consequently, the intensity of the light was lowered, thus creating a f‘ “e Fuchs, Stage Lighting, Little Brown a 00., 2. Selden, Bellman, pp. cit., p. 38L 4- 1-. ‘ ' "\ . ' l P" A Y" - : ', n‘ '3 '0" I I t o ‘ '1“: foreboding atmosohere with one aai or ten causing the colors ghts were dimmed out leaving only the lamps to '1 1 ll mination as Lorin a ourned the checks. The light- '3 H O 4 P p Q *4. ins effect heightened the action, and pointed up the movement The setting for,hct II, Scene 1 was contrasted J to the other two, notably the last setting. The atmosphere was rather light, the scene opened and closed on a gay mood. Color in tiis set also offered a change and the walls were painted in light cream.buff. The table prepared by Fuchs, qualifies the use of amber colored light to intensify the yellow in the pigment; steel blue to soften the tones and offer contrast as a comp ement to the yellow and to inten- if he darker shades in the furniture.2 The lights for U) (q (‘1' cene were used at full intensity and the resulting ('1 U) a_ I ill ' c+ effect gave a closer proximation of daylight to the setting. 1. Ibid. 2. Ibid. 307 The facilities in Studio Theatre limited this designer in planning the lightinv for this production. The kind of instrunents and the control over these instru- ments proved to be a strongly limiting factor. By using R-LO snots, the controllable property of distribution1 was nulli- easily. The type a d capacity of the dimmers used lessened roperty of quantity2 except ff 5‘ 0 CJ (D q 1 3 (D (D 0 re (3 O D cr H O H F.) P. D C v) ('1‘ :3" (T) ' O in large areas. oince the number of units was limited and their location made them less accessible during the changes, the control over the color.media used was at a minimum. To conclude, the lighting for "Bolted Doors" was general na ure, and the attempt was to synthesize the 0 re {‘3 tion rather han specifically lighting each scene and part- icular mood. 1. Ibid., p. 223. 2. Ibid., p. 22l. .I” "a" “A; ‘ ..... ‘ .. /\$;. \ ‘y H \ ll / -' ‘3'); g 3. VI \ l/ f. I Y \ \ 3 ,’/ *‘ ‘ .7. ,r .I \ I: j ‘ 11 f _3 III , . {I j _ I x x.’ \ ‘\ \ X. will xx. H‘v. . ' 5,. . -... ' .« \V l \R , ' .' \‘1--—-1 PM..-) ”-43— —— f .t . [Fr Tl T. ~ 25: ins :11 Tim-“- VIE VR VL IVL VIL 8b a 5b 1 a sh a "f, ””7"" ““7" "THf 7"", .. W; .a...“ .V._., in? . 7’ --.. , .5 \ i E f A an. .w. ."1 :2 ‘1. 2.. .5. 7': :3; :9. .’2”'" IR IIIR 113 IR IIIR IIR ILL IL IIIL' IIL IL IIIL a 3b a 3b a 3b a sh e ab e ~ab LIGFTING YLUT FUR ”BOLTED DOORS" Legend: I,II.III.IV,V.VI I Press of light on stage H 3 wIght side of stage L = left side of stage a 3 ember color media ab = steel-blue color media The lines extending from the positions of the sootlighta-(lndi- cated by numbers 1-12 for those in beam and 1-6 for those in teaser position) show direction and seepe of the beam of light. I; of. . r—j '_ ,.'1‘ .1. ‘ .I‘- s « “ouse lights. lan~ at 8.)O at siraal iron stage manager. Stage lights: *kfl%:e house out,cthmxu'#l.up to 3/4. ns house lights out, bring dimmer $2 to full. Cue: Page 47. As Spencer sinks back in chair, tax:dhhmrfifl.ami¢2'M>ilmnk mlcmnm of 10. Curtain: Turn house switches on consecutively, when house lights are full, take out beam lights. Act 224 Scene 2 Iouse lights: Take at cue from s age manager. Stage lights: Qinmer #1 full before curtain, dimmer fi2 full as house goes out. he cues: Curtain: Turn house switches on consecutively, when house lights are full, take out Mxmxlights. House lights: Take at cue iron stare manager. Stage lights: Cut out beam l2. Dinner #1 at i. As . . " house lights go out, take dimmer $2 to %. (Check floor lamp switch.) Cue: Page 98. .Asliiss Lorinda lights checks, dim all lights except lamps to out on count of 5. Curtain: Turn house switches on consecutively, when house lights are full, take out beam lights. Act III House lights: Stage lights: Io cues: Curtain: Take at cue from stage manager. Dinner fl at %. as house lights go out, take dinner m2 to mark above 2. (Floor lamp and table lamp on.) Turn house switches on consecutively, vhen house lights are full, take out beam lights. - CELlP‘IUR VII fi-l-w ~,"*~.~_?;':H~1 ‘jffi 9" C‘ ~ '* ; “:le ma Juli/£24.“; .2») .‘LL': UCLID “23...: 1.0 CHAPTJR VII ”if“. "fi'o'v'f F1'T‘T1C" -‘ 1“. c1 'Ti“? ',"!"'1""|""‘1i"1':" Li‘.L':...‘l-.l..L...4.J lung LJL‘L'l'lD g2£_l‘ulo Following the construction and painting of the scenery, the professional technical director becomes concern- ed with the planning of the properties. With moder plays, he properties used are generally ones which may be on hand in the property room or can be borrowed. However, with a period play these properties may have to be designed and constructed. The selection of pieces of property in either case must follow the require;ents of the play and the demands of the director. John Cassner divides the properties, fam- iliarly know as "props", used in a play into two classes:1 (a) Hand props which are used by the actor during his performance. (b) Set props, like furniture, paintings on I‘- the wall, etc. which are used to dress up the decoration of the setting. The technical director assiols the duties of .handling properties to a property manager, who supervises the c or in handling of all pr pcrties. The script is analyzed carefully for the requirements indicated in the descriptions of the setting and in the actions of the actors. The properties thus selected are checked with the director for additions or corrections. Along with a firm 1 list ing- of props required by th action of the play, the pr ps ceded to supply the den ids of the design of the setting are conpilcd. All props and their location then are ca z'efully no at ed on a a s home which outlines the or one needed for A .a- each so ttin ald those recuired bf the actors. (See the property plots included at the end of this chapter.) In selecting the props needed for "Boltel Doors", some research was necessary for the setting reg iienents in Set I and III. The method of ”his research followed closely with the "escarch mentioned in the chapt r on "Design", and suggestions for period ele rients were found in the cane ref- er nces noted before, eshocially in tan photographs of interior furnishings an“ advertisements. L). “a .. J- ,v‘ ‘ l v one property crow lolloms closely the ‘. T- “.0 .'-V -f, .‘. ton: , 4.1. r. « J.‘ .' '."t'.' IJO‘n oi the c_unz:iiiiting the sccheijg {uni the shifting; “\lfi V‘s ’0 l‘ ~v3d wan) Ifl'L-‘fi\‘ -‘ :IY" '-“r‘f1 tq Tl]I J «ans .Lu ”CHE; U--Vob OeLUL...lLOQ .all 'ul.-x.. D LII. . N‘ _ _" our 11;; Ml v 0 O acause oi the limite i (f O F.) 0 }-'° :7 ct ’ f I) (j H.) I I (3 cl E.) d is H O C.) e L‘ A 4.1 _“l,!- :’ .' {'3‘ J.-. .1. , , 4.! ~ M ,_ .. .. I .. .n’ “3‘ 3., 79 on one otu~ o ineatrc stage, the prop 030d lo "nolto' ~\ - - ,q :3 ° 4. , , 1 .:.. N, ..., . ' .1- ‘ .3- oo°s” round it neccsoaiy to gather all props in :0 storage -_ 3" f ‘a -“-.FJ‘ I J- ‘i - ‘ _- ~1 -‘ . 4‘ u - . r: ’ Y) \ K r- “a n nent to one stage. rurni puree JQS lined 1p here and all vx-n 2" ‘A. 0 ~ 'n‘n 1 V). I1 ra‘ 4' t 1 '11 '7‘. 'I- .4 q r": n '. 1 n. 3 , M, .0 11-11 {- 3-} n, (v -J.A. \JLJL) u-VJ-e L)... Dudllu UQLJ- Du Jul-l. U$L'\J MVuJ—Lb (ALDO—- .LVA- VLAV )CV--: clrnigas. (W ' ':"‘.- '. ‘1' "' 1" eIICL mlGlI‘ LEO 3418 Seen 5. 0 Cl (.1. C) *5 d- ’.. -J ,_. (l +3 0 5 H c! F (L '1 -. 1 . - w A -' . r: .. -.‘ . V- ’7‘: : 1 - -: ‘ o-. v . ‘ — ‘ “- discussed in connection with designing one lor in cha oer a-v- ,"fgw V‘ q ’ ‘ . '. _- 7 ‘I 4- '0 :g . v, - ‘ '0 L. J.— u " lII. 4&0 plopeflim.’ plot includes all props listed togetno oueaaw> a no wad updao «.oddduoo “unwan Add; Moon neocomm .mnu mama on» e0 pdmapnoa "Haas anode mum on D\<<§ coaumomo «Macao pagoda wagon m.aasn .moeop .mxoon “mobae:m do . omnoeoom mommmam N can you humans .mefinmwea Agoavoa ueAppon my heae eaaoaeod. "no canoe heae .SfieS madmao Ho Hon "oH cddpm waaxosm uneonmuono .msa «no cane» Hebe Hausa AH 9mm. H ao< ,B O_H m N.B m m m o m.w Hanna pneaenpm oopuom .H i 3H 9mm. a atom .H .84 ”H0993 omao d.“ can gnaw“ B O .H mm Mr .H m m m 0 m m mqohm Hedomhom 3E 38% 3.3. S a: é unoppoa no odd“ "normed caooom qH panacea eqaafim .o naezo .m Hoaem .nopMHSUahp "do gnaw n.3neponoom .¢ “Home anq .m coanmso “do nacho Hobflsm .m maoppoa .oaonaoHOp ”do . Meow canon .H Augean panama 33 e338" 33.823 5%35 .3232 .159 he: 23 no 2.2a gee .03 .no.—ire. b a.gd-.83a§3z 90.; Mammmomm :HH 9mm. ha .5.. e5 N Boom .H .84 ”one: «gang 35 :2 g) g 023.5 00.7.0 non 3333 .3330 EH. . .3030 :8 t8 .m ~23 Sufi 4. g 538 .o ‘ 23 to: .m nonsense I 6 mg .953 .hnueeq no 303 «no . . at... 33 .m II .330 Hedodemooo .N r Sam 4 w w) H l8 1 ’) 1-. ing indl Ila I Y Sound effects The B. , l O . .l . O .E t e l C no a a l e , n n C. r 3 it .. .1. e t n k i S d .l .l r .l .l A h T O S t d .E T. w n n s l. O o .q . a S m C S O Y S C it ql 2 b .l T C .. I. r C C d e C C .C. n i C n d n v. f S n a O n U 3 u C H. r. «U “.0 .- 7d S v G. S S r mu m n n 3 3 O l L .J I v” . wlfl \I a 0 TL t S a N u. C a 0 VJ .Tu n .3:— .fl 0 l C .l l 3 it h l H y... a S t a .l H... C r C n r l O C .l I .6 n w F C r. C O m _.. t Wu C. C o v.1. 0 e; 0 ml.“ 0 1 db 0 W S O. l O U C G r.“ C C l “I .1 n C Q C L0 m . DH 0 u D C C O .1“ VJ .0. .C 1 mg .1.“ .Tu J..U 0 all LU 41* I C O O 2 u.” D S .3 3 I a. _ .0. O .I it I O C O M.“ an Q .3. ”u!* +0 «.J LU 1n. 0.).— _ A 1 ~ Lib. C aw m , ~ . l. v e 1 3 O a i h fl._ i t I n S O .3 S l . I :1, .l G .0 .3 n.-. C 3 b m J. .1 t 0 no 2 n + o H u C 3 G .. I n.. VJ C n “ n 9 C to l C D O I l U. 8 u. u .1. h I G S it D. .- l I a who" «V4. vol fi‘nm -'_ u ~lDGI‘ CELIFTLE VIII C CITC LUSICIT CIAITIR VIII C CIT-C LUSICII The problem for this thesis was the desi: ing and staging of an original tlree act play, "Bolted Doors" written and directed as a thesi problem by'heginald V. Holland. The play was produced by the Department of Speech, Dramatics and Radio Education oflfiichigan State College. The limitations of space and facilities available on the Studio Theatre stage proved to be a.main factor in the plan of he entire production. The planning of the design in general did not de- viate from normal or standard practice. Standard box-sets were used to provide a realistic setting for all scenes. For Set I and Set III, which dealt with a historical period, the main factor to be considered was the research necessary to find the correct interior elements needed to represent rooms of that period (19l9). e C Some of the similar;t es in the requirements of ‘40 these two settings made it possible for the designer to use one basic set for both locales, and his problem was to devise a design which could be used twice--representing two different places. During the performances, the designer found tlat the audience detected the sameness of tie settings too readily. The reason for this opinion is that the pattern for the design - broad stripes - did not produce enough change necessary to create the illlsion desired. The striping is i 371 O l (.4 civen t!- ‘ a (I) 'l .e indL \__l .1 C h -‘ locat- demands .'..‘fl i C sht- .\ n J .1. q -rch led i. an lflL l ins. -C arr of L74 1 l h narrower t '1 I win 1'.) ' “-_‘- C , .1. Co v RU KIPZS' r‘ k) " a cl =nd a L; 'V :ouern period. ;1 J U I o" O ., 4"; 1 linht color ,“0 L .1. -01 eriect. ”es :orary n I .1. DVIOUS US ‘ 1‘\ v better cc . of .. *1- I) h Ls..- J- conter ( — (1 LA {'3 v given a ture o l 1 1 f A 4. U 1 -~ u m CV .0 iur h Set II constituted a were L aor, J- V at .3 ICC 1-,} I l ."1 I V 41 IA!- .n Di .5 9 9 ing wou b2 OPE 3 0; ‘zicl: {"1’ _' ¢flIS ttributed and *o-o ). 'lved by V' k-e ly and hr 1 , ‘7- l... SC L1 0 .1 d- (-u U M V it be r“ I, W QC WC} 3 L_'_; .., -‘. J. -\J. to n Ls ‘l 1 no brac ler J. C .L. L .471 .L V v (74 L.) \J O N L ll L) .Li p. V I ‘ v " “‘Hw JUL; “can 7'11 spec J. U anot ’3 L1 H 'x y‘u -‘ l 'v -3 '3 r' \I "‘51 -- "-4- on L . ollC W) ‘- In 1 coal V ‘t A i h ”I J 0L O A v J )l a p- ‘ I L L; V J— ‘ . CQHUQl C4 A.) )- L 1 ’1 D. H -'~ '1 £414.»! Ls. v.13”. a to erect \ .0 .L set n.nav " "I‘- f“. 0 no con one lid +4 \J V t' '10 . 4.5.} U—h‘ J J 1‘“ l‘l a-h-¢.'.\J "\ ‘V :~. .LI. ‘3 GOP 52L, icit' of UJ. _.>.. A.) e .msl v0 74""! . 7" — ‘A 5.3 v ( I did note .L the entire set. m m1 gale r'a‘. f‘ ,f'b '. I 3 fl .4 U n F”. v.1. n ‘ 2.4141 0 i q r colo S {3 v In .L V O 'lIO LA... ~. '.'I .L 0 “V9 J 9“) '1 .’\': v.3 f oroblem d l r ., L. , L I) no '3 C *v Div 0" t l ‘ 3- K4 I U 0 ’1 NCOLU o.- ’3 1“ '4 Yr, N A..'-‘- ) It ‘.,A . t ,1 r1.- -. 0 tile 0 V\ Ui‘ 1 ul“ to lirth ' ‘l.iC . J‘ .4“! h- .I— .1- '1 -\ .1. U i J n; d {3 vfit" I. J- ‘a '1 "WA *~V\-AUJ- \J :‘H _Li ' D an , '5 . Kai. :‘J- I.) b .‘3 DJ. \-‘ . "z {'1 L~.L - \.L (_‘I r U D .1- : .1 J .LUA \ v" , O- 3" ) “I A‘. ,-‘ .IIL'. l O '7 4~* rt I.) ‘n v... . 712‘- '? '3! V --.L.. 7‘0 .L \J , +1. , l ""ic V T ‘oJaLJ- u :10 1'1 rol ove m ‘0 CO ’1 ~ -7 . an“ snootn f. nl;r -4. UL! could ; -,(., 4.0 0310' ClIlU. fifi‘. 1" (”I al areas ‘ L1 ivi uch effec V" J_ 1 ll"S .1.-- 2 _‘ fl M ith V'Y I. . 4.3 L C 4.0 ‘;4. 11-317- . ‘a A .5 000110 very (3 n ’9 n ' '1 V st 5.2M Y‘)IT} f" Iii—AA,’ [l .L.’ Col 1- ‘ ‘n’tflfl "( k’a. ULLL .~ ‘V an C. *e 4. he cost , -sed, t U be '7‘" O u LL. U m k.-L ental n "1 7‘ 11'. I‘d“ '-)\J - ~- I. an CL *,OT- 13‘. th an o ’1’] I'd- ‘ l director ca ”id :‘1 \.A.- ‘ LOIS p I O 'i 4.; V ts oo- esul "fi \_J eta shall ona her of allo- ' O ‘a -1. to t' iivaluable Q u will b ed 11 i ta ! "r ‘J a ma: II can -entatio V11 I‘ .. O. \/ filflr‘. ICC ‘ l of t ‘~* d con- n a no .1 S the dc ing of lann TN 1.: fl '. .1 b 1 F1. S 1011 oduct' ‘1“, m . I 4.” .L. IVC @ ‘7 “la ~ .- gs“. O 9 I s. : ~ .LIlQ oroduc H D a .. 0 WA V. . O I 3 S . ,estior Q "Q _):__ r‘Ll' U 91 NA echnic 4. L1 ”‘7 I3 LIC GRAPE?! ~nl°rwr>T \-'-wr b ' AlJ—-.J~_ vr~yu~-&.k...&. ""q .1'erm LLCvr, II. I." ‘rvnw'c "r‘r‘tn‘wn fifiO‘n +Hq ~'-'".'.“rx."'o 770(‘4‘qfio -JK-A_L. UQ;-, L— >4 V4. .L. deJ x...;..v J. .L. LI...'.J \J U--._’ \J O 3) b.) Lit/-41. v"! WV 4'9") ”I “,1! .'{\'b 3‘.“ “"-"‘ N'?’ .1 (\‘fifk i'v’.‘ Em?) HM UV— .. . .LJkiLLvL 'J 5L..-"_J\.~I‘.J' , /)U 0 Lid £1}; 0 " ‘1 .r‘ o T". _‘ 1" f: ‘ r~ - v _.’\ 'L Ir SLu;i is -“oyer, naiolu, and Cole, Ld. ard, Sooner!r ior one The :tre. Boston: Little, Brown and Company, 1-940 o [1'73 pp 0 I - CT} 1:} a. ° ‘7' "If 1—. F1? "-nl Cheney, one uon, Sta e Deeorat l n. Lew rein. ine uonn "'~ . 1 W’)"- A. . ,_ . 0" 1'- 3 \ \ NV? _‘ | IA and! ‘J0 L~/\_AIJ.J , J./'~’u. Q/Q J5." f‘ ‘1‘ I". '51 l ("G I Ir a 1‘1 1 ’r‘ r“ "‘N — In 1 ‘IX ’3“ (1 . I". Vfi '. b 1" 4— ‘4' ‘3303 .. , U-'.LL«. Cr.) .4 o , QMICL quail; , J- ball 11. , ’ eDl_‘lL.LI-r, bile ’ ' - I ~,-_ - ? Ta ‘1 '1 cu. -‘ w " -' 7r ' V." \ ~ ’5 "O ' ' HIP" 1" .Vw c .'\< ‘r i; l': i... ‘LI‘?I *LJ'J. I.-. .L‘ . O. V... UJ. Us.) L. lkL \ILJl--; LI‘I’L" , ") .' V) \r' .LK" Afr-u 0 01+ TIL) . 1" r‘ ’7) \‘13‘,’ F' ’1' g n V‘ 1"" ’3 7 v: ‘1 ‘ ‘ ‘ r} Y q 1 T "2‘ '3‘ m r" a, 2" '11 r‘q. \J Jfifl Ded— \) N) a , “All". .. JV 0 \A 510:— , ¢-J4 .K.\ .1le.’ ...- LJ . , 4‘ U U gs )lxj \J J— L] .|} r ‘v - 1.. ‘ . ‘W .. .. - - - — 1 a- 1-1 , r— m -\ x ,- r 5 -\ ,. t LichiL } Vv—J—O .. \314’ 4.x)...ILL: 1.. L1-‘ IO 1 ullsh‘. _J.L Obll TS, ”a A Ir ‘1‘ -- rj“ ‘ '8‘ .‘fi --— 1'" ;l J. : Tr -' ‘7. VF. 7T . ' ”“f“‘- (’7 [1 fl” '1'.“ . '. . ’1 r Y" i;:'111_.\34. and .LJI'O ULLOIC u , 1/44) . 1+2»: ‘LJP . T1 . ' h. rm.- . 7. .. :3» M. *r ' v ' ’7: 4-. “:4- Ta ,n rucns,'ineoeore, )oaue blifltlifl. Soston: Little, sran \ ‘ ‘\ r‘ I“, (I) g" 12.10. v0f._._. 9.11" lily} . l fl ~ ‘7. I“ A 1 ‘- - .I'“ '3 r1 . ’ 1‘ '1" 5: ' f 1 :7, ‘y Gassner, uonn, aha o hers, iioaueing the i av with Sara. ’v ‘ g I ‘ O - .‘ I [,‘l q . _._. ‘ inillip, LOJ Scene igeml ician' s lohoooon. new 117' _ r1, . __ - ’._, ‘ -orh: ihe Drwaen i‘ess, l94l. '744 5:9. («-1 _- - T“ . - v -, -' .-+- be elii, noraecai, LOJ LhC4UfeS T1 2. C‘ ' ”" n" uel hr non, lyAO. 994 op. Kelvenston, Harold, Scenerv. Stahford Uriversity, Cal- ifornia: ~ tanford Jn iversity Tress, l93l. 8 T‘ - "r . m1 n. - -. . - Jones, “obert Sdaan , inc oraiatic Inarina Duell, Sloan and Lear ca, 1941. .geCandless, Stanley 2., A lethod of ichtin; tn Kew vor’c: Theatre hr 3, l932. l32 pp. .3 O L d- (a 6 O ljvers cough-walker S. Stace and Film Decor. London: - . 3 “2‘ 4; ~ - Sir Isaac ~ionan and Sons, LTD., 1940. 132 i or Cld. liew York: San- q cl 7 ,r .§ ‘\ 0‘1] XIOIIAS: ‘LllO$:as Schonberger, Emanuel D., flag. re dz ction for A.rteurs. L SO 11 alld. uOllS, 933. {5.41 pp. Selden, Samuel, and Bellman, Lunton D., Stage Scenerg and Lighting. ew YO‘K: 3. S. Crofts and COLl' _':‘CLL 1.3 , ngyB . [+35 pl). ST eringham, George, and La ver, James, In The Theatre. London: Na Elfllted, I947. 151 pp. other ° , De 5 ipn e'low and Sons F) 9; cf {‘3 Simone on, Lee, The Stage is Set. Hem York: Harcourt, Brace and Coi:'r y, 1932. 585 pp. Teriodicals Crane, 3.12., advertisement, The House Beautiful, III (December, l9l9), 102. , advertisement, The House Beautiful, III (Cctober, l9l9) 207A. McClure, Abbott, and Eberlein, "Furnishings for the IIasculine'fian's Room," House and Garden, XXIX, 2 (February, l9lé), 16 - 17. Hour e, Ami, "Tendencies in liodern Decoration, " House and Garden, AEJV (April, .1919), l9, 84. Sloane, N. J., advertisement, Better H n -s an Gardens, III, (October, 1919), 42. UnD'1bli Shed. 1-8.terials A__- w‘x Bell, Dr. Canpton, "Syllabus for Theatre -ractice Course. University of Denver, Denver, Colorado, 1946. 39 pp. Holland, Reginald, "The writing of an Original Three Act Play and the Analysis of the Problems in its Composition." Unpublishedlfiaster's thesis, Kichigan State College, East Lansing,1£ichigan, 1948. 189 pp. D“ .1" 17.7““1" 1" -LJL.‘|.—.~.-JQ LOU TCHMA N 7 0 U TCH'IMA Nil— +LM .__._8 16'4 618' 63' NOTE’ THIS DOOR /5 FASTENEO 7'0 WALL ”B'/ NOTE? WALLS TO BE SOL/0L)“ TOGETHER //V TH/S POS/T/ON BY ”’4' 5 T/P/NGEA’LS FAS TENED ’6 F9 NOTES FLA 7' FRAMES 7'0 BE CONS TRUC 7-50 0/: 1323‘s 7'00K. N075: WALL 21" /5 0550 w SET/-AC7‘I-' 5573-AC7‘I-5CI¢ ACTH. WALL "8'75 0550 /N SE7" E—ACT I~5€1. 555 FLOOR PLANS. DUTCH/WAN“; H/NGE 42‘ DUTCHMAN 7 H/NGE a 0 U TCHMA N 7 5"0'L'—'m———>L~———-4i6 [f ~—eio"——~~>—L<—~ «at/03’! 4° - 38:3" WALL "B" CONS TRY/C T/ON 80L TED DOORS WALL PLAN DES/GNED BY HOMER L. PAR/5 p I —"‘ F-/6 ‘P-a § F/5 iF/J F’~/ { ! 1 i 3 i ; r~ if z I I z I 5*.) \ ‘0 v 9 " A PS 19 ‘IU l g i i 1*‘—30'——+~—————S-5' r < SO” 4/- 0”+++-—‘ e=S'———>— ‘ . ’14—— //’~/O~ ~ WALL "D" NOTE: WALL "C" /5 USED /N SET /-ACTI-' SET3vAC7'Ii Sc 12' $AC7‘122‘, WALL '50" /S (/5150 //v SET Z-ACT II~SCJ. SEE FLOOR PLANS. 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PLAN 50/. 750 00085 SETI'ACTI OES/GNEO 5r HOMER L. PA R/S /\910’5____-.__, “6» 5;\ \‘\\ \\\ x“ \q' \ \63‘/ * \ C \ \\ \ \‘ 215' _ I J; 8 _6’ i/O"-———-—*-% L<--—-— 8’~—>—- FL 00/? PLAN 80L TED DOORS SETe-ACTI-SCI OES/ONEO O y HOMER L. PA R/S em; I» “m--." _ Yv- . ... A \ \ I . -.. v q-_~ I _ -—-\~.‘\ ‘ ‘ . p l 7.4! .. v. , 65%.: . - n ., LL . 1 u A _ 1/. .10 3}.) 1:15. , k./°‘t-M‘KJ‘RI’EJVbr’K/WJWVI“ XNXAN x .. “a!" §#E§é4fa}r\4 L1 «a I o#\ ~ 1. x . A“ r‘ .f I. ’1‘ ’. (In. ...,.A...f ....1 ...x!3.|:1.l4§$l~ w 7.. L «p . ... , L ~71iy .It 52.3.13}. ,v x; .1. 313.231.? .S. a . 21:11.31; ..RT . x 13). V. ....V . .. ._\ , L. . ,.. - r t a if: y .tr .....a b JO L f l ; I r 1 L . _‘2 x L r h ,3: I 5, ..Q 1 AU A9” 0" ~ ' FZOOPPLAN ‘80:. 2': SE TS-A ' L 000R3“/ a,“ 7. I H 6“” k4 \ .“I BIOGRAPHY Homer L. Paris was born at Adena, Colorado on September 7, 1917. He received his elementary and second- ary education in Longmont, Colorado and graduated from high school there in 1937. Following high school, his dramatic interest centered around community activities. His experience included drama works with churches, lodges, and other organizations which had dramatic programs. He entered the University of Denver in January 1944 and served as an assistant in the School of the Theatre graduating in June 1947. In the fall of 1947 he entered the Graduate School of Michigan State College where he served as graduate technical assistant in the Department of Speech, Dramatics, and Radio Education, and was graduated in August 1948. In the fall of 1948, he was appointed as instructor in the Department of Speech at Alma College, Alma, Michigan. rho“ .1”: 5? f“ " 2‘ 001; 17 49 [fl/iii r,- E‘ ,GD '18 ’50 ‘ ‘V 951) $27 ‘53 J! 17 _ ’W ‘ ....zg‘gc;_12‘ii3931 3’