THE DESIGN AND suparzvmow or Imp j . SETTINGS FOR A :PRQbUCTio'Nf H OF MAXWELLfANDERSON’S i ‘7 ‘ i . - V‘ -‘ :sf' LELiZABETjj'THE-QUEENI. ' ‘ H ' Thesis: for 111'. Dégreo idf M. A.. MICHIGAN STATE CQLLEGE Edward Austin Ahdjraasen 1954 This is to certify that the thesis entitled THE. DESIGN A31) DEPLhVIQIK.‘1l vb TELL. SETTINGS FUH n PnUJDQTILA.‘ UF' LAXLLLL AnuEnbon'S LLIthLTH THE QUELN, presented by EdWan Austin Andfngte .A has been accepted towards fulfillment of the requirements for Mott. degree in SPLLCH ngz. Major professor Date W53 »:a l II‘lL. {l‘s {II-ll .llllll.‘ ill.u I. '4‘..- ... ll- lli‘! g THE DESIGN AND SUPERVISION OF THE SETTINGS FOR A PRODUCTION OF MAXWELL ANDERSON'S ELIZABETH THE QUEEN By EDWARD AUSTIN ANDREASEN “w“ A THESIS Submitted to the School of Graduate Studies of Michigan State College of Agriculture and Applied Science in.pertial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech, Dramatics, and Radio Education 1954 THESlS CAT. TABLE OF CONTENTS CHAPTER PART I. II. PART I. II. III. IV. V. ONE: DESIGNING THE SETTING . . . . . . . . . DETERMINING AN APPROACH TO THE SCENE DESIGN OF ELIZABETH _T_I_1_§ m Historical Forms . . . O O O O O O O DeterHIinantB Of Style 00 o e e e e e 0 THE SCENE DESIGN OF ELIZABETH THE QUEEN . TWO: PLANNING THE DESIGN THE SCRIPT SHOWING CUES OF THE PRODUCTION . . . THE SCENERY . . . Designs . . . Floor planB. e O O I 0 Construction drawings. Painter's elevations . Shift schedule COSTUMES AND MAKE~UP. . 0 PROPERTIES. . . . LIGHTING. . . . o 0000 PART THREE: THE PERFORMANCES. o I. II. THE PROGRAM . . . FOR AND PRODUCTION . REQUIREMENTS PHOTOGRAPHS OF THE PRODUCTION . . . . . . Settings . . . Costumes & make-Up . . PAGE 23 34 55 56 175 176 186 196 210 218 224 240 246 252 253 256 256 269 111 CHAPTER PACE' III. TIME SHEET. . . . . . . . . . . . . . . . . . 285 Iv. CRITICAL RECEPTION. . . . . . . . . . . . . . 284 BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . . 285 LIST OF TABLES TABLE PAGE I. A record of the work necessary to shift the scenery and the assignment of that work to specific crew members . . . . . . . . 218 II. A list of the characters that require costumes and the number needed for each . 225 III. Furniture and property plot . . . . . . . . . . 241 IV. A record of the time at which the curtain went up at the beginning and down at the endOfeaChsceneeeeeeeeeoeeeee 283 LIST OF FIGURES FIGURE 1. Comparison of types of arches . . . . . . . 2. The Tudor arch . . . . . . . . . . . . . . . 3. The use of revolving platforms . . . . . . . 4. The use of the wall unit between the two revolving platforms . . . . . . . . . . . 5. Act I, Scene I, entrance hall before the palace at Whitehall . . . . . . . . . . . 6. Act I, Scene II, and Act II, Scene II, the Queen's study . . . . . . . . . . . . . . 7. Act I, Scene III, and Act II, Scene III, the council chamber . . . . . . . . . . . . . 8. Act II, Scene I, Essex's tent in Ireland . . 9. Act III, the Queen's apartments in the tower 10. Act I, Scene I, floor plan . . . . . . . . . 11. Act I, Scene II, and Act II, Scene II, floor plan . . . . . . . . . . . . . . . . . . . 12. Act I, Scene III, and Act II, Scene III, floor plan . . . . . . . . . . . . . . . . 13. Act II, Scene I, floor plan . . . . . . . . 14. Act III, floor plan . . . . . . . . . . . . 15. The manner in which the flats were put together. 16. The Tower flats O O O 0 0 O O O O O O O O 0 PAGE 13 57 52 177 179 181 183 185 187 189 191 193 195 197 199 out of regard for the Queen, my Lord of Essex--" FIGURE 17. Council room flats . . . . . . . . . 18. Entrance hall flats . . . . . . . . 19. Wall unit and other details . . . . 20. Tent unit, tapestry unit, and arches 21. Details of the canOpy . . . . . . . 22. The tapestry . . . . . . . . . . . . 23. Stone and paneling . . . . . . . . . 24. The canopy . . . . . . . . . . . . . 25. The tent . . . . . . . . . . . . . . 26. Queen Elizabeth's costume for Act I 27. Queen Elizabeth's costume for Act II 28. Essex's costume for Act I . . . . . 29. Essex's costume for Act II . . . . . 50. Raleigh's costume . . . . . . . . . 51. Bacon's costume . . . . . . . . . . 52. The Fool's costume . . . . . . . . . 56. Construction plan for the throne . . 54. Beam light plot . . . . . . . . . . 55. Bridge light plot . . . . . . . . . 56. The cover design . . . . . . . . . . 57. The program credits . . . . . . . . l 58. Act I, Scene I, "I have borne much from you vi PAGE 201 205 205 207 209 211 813 215 217 227 229 251 253 255 257 259 245 248 250 253 255 258 vii FIGURE PAGE 59. Act I, Scene II, "You believe you'd rule England better because you're a man!" . . . . . 260 40. Act I, Scene III, "I cannot blame Lord Essex for refusing to risk his fame there." . . . . . . . 262 41. Act II, Scene I, "Come, then, I an innocent. If my Lord Essex is as I have believed him he will not hurt me." . . . . . . . . . . . . . . . . . 264 42. Act II, Scene III, "Stand back, my Lords. Let him enter." . . . . . . . . . . . . . . . . . . 266 45. Act III, ”Four rogues in buckram let drive at me.-* . . . . . . . . . . . . . . . . . . . . 268 44. Elizabeth, Act I . . . . . . . . . . . . . . . . . 269 45. Elizabeth and Essex, Act II . . . . . . . . . . . 270 46. Elizabeth and the Fool, Act III . . . . . . . . . 271 47. Detail of Elizabeth's costume and make-up, Act II . . . . . . . . . . . . . . . . . . . . . 272 48. Essex, Act I . . . . . . . . . . . . . . . . . . . 275 49. Essex, Act II . . . . . . . . . . . . . . . . . . 274 50. Essex, Act III . . . . . . . . . . . . . . . . . . 275 51. Lady Tressa, Lady Ellen, Lady Mary, and Penelope . .p. . . . . . . . . . . . . . . . . . 276 52. Sir Walter Raleigh . . . . . . . . . . . . . . . . 277 55. Sir Francis Bacon . . . . . . . . . . . . . . . . 278 viii FIGURE PAGE 54. The Fool . . . . . . . . . . . . . . . . . . . . . 279 55. Burbage . . . . . . . . . . . . . . . . . . . . . 280 56. Two Guards . . . . . . . . . . . . . . . . . . . . 281 57. A beefeater O O O O O O O O O O O O O O O O I O O 282 PART ONE: DESIGNING THE SETTING CHAPTER I DETERMINING AN APPROACH TO THE SCENE DESIGN OF ELIZABETH THE QUEEN This thesis is presented to record the efforts ex- pended in designing and supervising the execution of the settings for Maxwell Anderson's Elizabeth the Qggen pro- duced in Fairchild Theatre, May 18, 19, and 20, 1950. It includes the course of creative work from the historical research through planning and construction to the final production. The play was chosen for a design thesis because it created problems in three areas. First, because of its historical nature, a great deal of research in architecture, costumes, and furnishings of the period was required. Sec- ond, an analysis of the play for the style, mood, and tone of the production offered a challenge. Finally, the prac- tical problems involved were sufficient to test the skill of the designer. The historical research and an analysis of the style, mood, and tone are included in Chapter I. The prac- tical problems involved, the solution to those problems, and a description of how the various requirements set forth in the first chapter were satisfied are included in Chap- ter II. These two chapters make up Part One, Designing the Setting. Part Two includes the script with the necessary cues, original sketches, and plans for the production. Part Three contains plans for the actual performance, a record of the technical work during the performances, and the critical reception. One of the essential demands to be met in a design approach to a production of Elizabeth the Speen was the form of those visual elements that best described the historical period. Another factor to be decided was the style best suited to the production. After these two problems were determined, the designer could begin to work with visual requirements of the scenery that were more closely dependent upon the director's interpretation of the script. The his- torical forms will be discussed first followed by an anal- ysis of the determinants of style and other requirements of the script. I. HISTORICAL FORMS There were two factors to consider in selecting the architectural details of the play: the characteristics of the specific buildings in which the play was set, and the characteristic architectural and decorative details of Elizabeth's reign (1558-1605). Two buildings were designated by the author as set- tings in the script and both of them were constructed in a period prior to that of Elizabeth.1 Five out of the six scenes in the first two acts of Elizabeth the Queen took place in Whitehall Palace. The last act took place in the Tower of London. The Tower exists today, and is maintained primarily for its historical interest. It overlooks the north bank of the River Thames below the center of London. Essen- tially, the structure is characteristic of Norman architec- ture, although it has been added to and modified to some degree since the time of William the Conqueror.2 The Tower of London (A.D. 1081-90), built by Bishop Gundulf for'William I, assumed, only after successive reigns, its complete form as a concentric castle, with successive lines of fortifications--a plan derived, it is suggested, from Saracenic models. Here the rectan- gular keep of four storeys, 92 ft. in height, stands in the center of an inner bailey, surrounded by a wall with thirteen towers, which is, in its turn, enclosed by an outer bailey and wall with eight towers and an encir- cling moat. During the eleventh and twelfth centuries, the feudal system necessitated permanent strongholds for the feudal lords, and therefore, castles like the Tower were most 1 Maxwell Anderson, Elizabeth the Queen (New York: Samuel French, Incorporated, I954}, 129 pp. 2 Esther Singleton, Turrets, Towers, and Temples (New York: Dodd, Mead and Company, 1909), pp. 12-15. 5 Banister Fletcher, A_Histor g£_Architecturg_(New York: Charles Scribner's Sons, 19295, p. 567. important buildings. The Norman Conquest inaugurated a great new era for England. The fusion of the Normans with the Anglo-Saxons brought about an English architecture as well as an English peeple. The first examples of architec- ture in England were these castles. Sir Banister Fletcher stated in‘A History gf’Archi- tecture, "Castles were built with little regard for domestic comfort and often retained their fortified character until the fifteenth century."4 According to the Illustrations found in the same text there appeared to be very little change in the Tower of London as late as the year 1918. The Tower was constructed almost entirely of massive walls of stone masonry. These walls were surmounted by crenalated or battlemented parapets. Originally this use of notches or embrasures at the tOp of walls was a necessary formation for warfare. They were places from which arrows or other missiles could be fired. The old stone battle- mented walls were one of the outstanding features of the Tower.5 The uses of the Tower at the time of Elizabeth were summarized by Stow thus: 4 Ibida, p. 3620 5 Singleton, 22. cit., p. 11. This tower is a Citadell, to defende or command the Citie: a royall place for assemblies, and treaties. A Prison of Estate, for the most daungerous offenders: the onely place of coynage for all England at this time: the armorie for warlike provision: the Treasurie of the ornaments and jewels of the crowne, and generall con- server of the most Rgcordes of the Kings court of Jus- tice at Westminster. Obviously, the Tower was a place of great royal ac- tivity, and was one of the most important government build- ings of the time. Important historical events had been a part of it since the beginning of England. The central portion of the Tower, called the keep, was the heart of the building. walls and fortifications were constructed around the keep for protection. This par- ticular keep was named the White Tower. In this building were contained the banqueting hall, presence chamber, and chapel. From the reign of Stephen down to that of Henry of Richmond, Caesar's Tower (the great Norman keep, now called the White Tower) was the main part of the royal palace; and for that large interval of time, the story of the White Tower is in some sort that of our English society as well as our English kings. Drawings found in A_History.g£.Architecture, illus- trated frequent use of the pointed segmental arch in the 6 Shakespeare's England (Oxford: Clarendon Press, 1926), V0 0 II, p. 15 e 7 Singleton, 22, cit., p. 14. Tower. This arch was similar to the Gothic arch. (See Fig. 1.) Although it was not typically Norman, it was used frequently in other buildings of that period such as Wind- sor Castle and Westminster Hall. In summary, the important characteristics of the Tower were the massive walls, the battlemented parapets, the frequent use of towers, and the pointed segmental arch- es. The following quotation described well the effect of the castle. Seen from the hill outside, the Tower appears to be white with age and wrinkled by remorse. The home of our stoutest kings, the grave of our noblest knights, the scene of our gayest revels, the field of our dark- est crimes, that edifice speaks at once to the eye and to the soul. Grey keep, green tree, black gate, and frowning battlement, stand out, apart from all objects far and near them, menacing, picturesque, enchaining; working on the senses like a spell; and calling us . away from our daily mood into a world of romance, like that which we find painted in light and shadow on Shakespeare's page. The information available for accurate details of Whitehall was scarce. The building was completely de- stroyed except for a few cellar rooms beneath more modern building.9 One illustration of the old palace was ob- tained and so a great portion of this investigation was 8 Ibid., p. 11. 9 Shakespeare's England, 22, cit., p. 162. a? 2; 2;. Y 525 E? ARVV a/x..fl SEGMENTAL ARCH FIGURE 1 COMPARISON OF TYPES OF ARCHES dependent upon it. The palace was built by Cardinal Wolsey in the early sixteenth century as a residence hall. The time of its con- struction still places it in the Medieval period, but about four hundred years after the Tower. This was the Tudor pe- riod. It was given to Henry VIII when England seceded from the Roman Catholic Church. wolsey owned many other such buildings and they all came to the same consequence.10 The new social conditions in the early part of the sixteenth century had made the feudal castle obsolete; the large palatial dwellings were built as residences as they no longer fulfilled any function of warfare. Tudor mansions were generally built on a quadrangular court from which many rooms were entered directly. The orientation of Whitehall was different, however, in having no regular plan.11 The chief town palace was that indifferently known as Westminster or Whitehall. This had originally‘be- longed to the see of York, and had been taken over and enlarged by Henry the Eighth, upon the fall of Wolsey. It covered some scores of acres with a Tfidley of build- ings arranged in no very coherent plan. The facade of Whitehall was composed of two large octagonal towers four stories in height. Between the towers lO Fletcher, 22, cit., p. 579. ll Shakespeare's England, op, cit., Vol. 1, p. 89. 12 Loc. cit. 10 on the ground floor was a large gateway Opening into an inner court. It was built of large stones. The tops of the towers and the area between them were decorated with cren- alations. Under the changed conditions such features as battle- mented parapets and fortified gateways were retained for ornament rather than defense, while the addition of num- erous ornamented chimneys is evidence of the increased comfort within.13 The illustration of Whitehall Palace mentioned ear- lier appeared much as the gatehouses to other buildings of that period such as Hampton Court Palace and the gateway of St. John's College. Hampton Court might well be used for information related to Whitehall for it was a building that had much of the same history. Hampton Court Palace is one of the most remarkable and interesting domestic buildings in this country, and much of it remains as built by Cardinal Wolsey (A.D. 1515-30). Filled with gorgeous furniture and tapestries, the palace seems to have excited so much royal envy that the Cardinal made it over to Henry VIII, who added north and south wings (S.D. 1532-36), but the eastern.portion was pulled down by Sir ChristOpher wren and rebuilt in the Renaissance style.14 The tapestries will be alluded to later as a charac- teristic of the Elizabethan age. The original part of l3 Fletcher, 22, cit., p. 379. 14 Ibid., p. 380. 11 Hampton Court, as built by Wolsey, appeared to have been laid out around two large courts. This was a plan adopted in earlier times as a means of protection. Encircling the whole building was a deep moat. Access was gained into the palace over a bridge and through a gatehouse into the Base Court. The various means of defense found in the earlier castles can be traced down to this building. To guard the main entrance, two large towers were placed on either side of the entrance both in the court and on the outside of the building. The formation of these four towers around the gate was called the gatehouse. The gatehouse at Hampton Court Palace showed a transition from the military architec- ture of the Normans to the residential building of the Elizabethans; the gatehouse of Hampton Court was inadequate for defending the gate but was used effectively as a formal decorative scheme in the facade.15 The palace was constructed mainly of red brick with some stone used at the corners and around the Openings as trimming. Numerous tall, elaborate chimney stacks rising above the roof tOps indicated the desire for greater comfort. Windows were placed on the outside wall without considera- tion of being possible passages for aggression. 15 Loc. cit. 12 As a possession of Henry VIII, Hampton Court received a number of additions. The most significant of these was the Great Hall off the Clock Court. Windows extended the whole length of the hall on both sides with one high oriel or bay window. Between the windows on the exterior, the wall was strengthened by tall pointed buttresses. The roof was supported by an elaborately carved system of wooden beams. The walls below the windows were covered with tapes- tries, while the end walls were completely panelled. The total appearance of the hall was one of the most richly decorated rooms of the age.16 With Tudor architecture came a new form of arch which evidently resulted from a desire to make the various ribs in the oblong vaulting compartments of naves reach the same height. This arch was a variation on the Gothic arch, com- pressed down into a flattened point with sharp bends at the haunches. The arch is now commonly called a Tudor arch.17 (See Fig. 2.) There were certain persistencies of architectural detail in Whitehall that were found in the Tower. Gateways were still flanked by towers or turrets. Crenalations were 16 Shakespeare's England, Op. cit., p. 54. 17 Fletcher, 22. cit., p. 412. 35?. “ff FIGURE 2 THE TUDOR ARCH SQ 49? 13 14 used; only their function was limited to decoration in the Elizabethan period. The building material common to both buildings was stone. The reign of the Norman kings and their predecessors to the time of Henry VIII was one of very little security. The number of castles was indication enough of the unset- tled times of the Normans. The Crusades were a record of more unpeaceful times. Then came the Hundred Years War with Crecy, Poitiers, Agincourt, and the Siege of Orleans. Fi- nally, the War of the Roses, during the last half of the fifteenth century, ended for the English people the inse- curity of warfare. During this war, Englishmen began to cultivate their land and live a free life. The guilds be- came an important part of socio-eoonomic life with an increase in trade both foreign and at home. This was the beginning of the economic prosperity that developed in the Elizabethan era.18 The accession of Henry VII, 1485, established the Tudor house and the deveIOpment of political institutions. The decline of the clergy as the one great profession, the suppression of the monasteries, and the fall of the nobility in importance were paralleled with the establishment of 18 Ibid., p. 316. 15 lawyers, medical men, wealthy merchants, and yeomen, with the spread of education, and with the strengthening of the monarchy and the House of Commons. This was a period of modern methods of life and government. This was the Tudor period and Elizabeth was the last of the Tudors.19 Henry VIII introduced foreign artists into England. Cardinal Wolsey supplied new impetus for building. England settled down to a rich and peaceful existence and Elizabeth, daughter of Henry VIII, became queen. With the money re- ceived from agriculture and trade, the landed gentry built palatial country mansions as a means of displaying their wealth. This was the building period that reached its peak and began to decline in the reign of Elizabeth.20 The aim of the Elizabethan builders was to make houses both comfortable and stately. To achieve the first object, they included a greater number of rooms with a va- riety of purposes. For the second, the general plan was made more regular and symmetrical.21 The increase of rooms led to a greater size of the total building; houses reached palatial dimensions. This 19 gpgg,, p. 317. 20 gpgg,, p. 701. 21 Shakespeare's England, 22, cit., Vol. II, p. 54. 16 additional space also facilitated some of the many tours of Elizabeth throughout England. Often the mansions were built with this idea in mind, for Elizabeth made frequent visits to be entertained by her courtiers.22 For the first time continental architecture had a definite influence on English building. The Renaissance feeling for classical detail and symmetry was beginning to be used by the English builders. Up to this time, England had always retained its Gothic character. Gothic details were still maintained, however, for the workmen and artisans were not accustomed to this new style. The Elizabethan architecture, therefore, became a result of Renaissance de- tails on Gothic construction.23 There were three general plans that developed and obtained popularity at this time: the H shape; the E shape; and a plan built around two central courts. All of these plans were essentially the same. The H plan was simply a matter of extending the wings of the E on both sides and the other plan consisted of closing the ends of the H togeth- er.24 22 Ibid., Vol. II, p. 57. 23 Ibid., Vol. II, p. 52. 24 Ibid., v01. II, p. 53. 17 The facades of the Elizabethan buildings attained a greater feeling of organization and planning. Fenestration became a matter of good appearance rather than merely need for light. A facade in this period consisted of a wall of windows interrupted by projecting bays at well planned in- tervals. Window decoration was also embellished with clas- sic columns and pediments.25 The materials used became more refined also. No longer were the rough-cut ponderous stones used; a smoother and more finished surface treatment was utilized. Brick was used more often and sometimes in combination with stone. Peace and prosperity brought the large Elizabethan mansions, as well as the rich furnishings and tapestries which ornamented the interiors. One outstanding feature of the interiors was the complexity and quantity of wood panel- ing and wainscoting used. This very elaborate decoration of the walls was carried out on the ceiling with complicated moulded plaster decorations. Many interiors are pageants in woodwork, plaster, and, stone, which were influenced by the contemporary love for spectacles in which the learning, the craftsmanship, and imagination of the age were expended in the pro- duction of so much transitory magnificence.26 25 Ibid., Vol. II, p. 56. 26 M. Jourdain,m11sh Decoration and Furniture of theE Early Renaissance ( ondon: a sford, EImIted,‘I§24), p. *3. 18 Tapestries were also frequently used as part of wall decoration, especially among royalty. Percy Macquoid de- scribed the frequency of wall tapestries in §hakespeare's England. Tapestry, both figures and verdure, was imported in great quantities from Flanders throughout the sixteenth century; and the accumulation Of it in this country towards the close of Elizabeth's reign was very great. The royal collection alone was enormous, and selections from it were in constant requisition for various func- tions. On the occasion of the royal visit to Cambridge in 1564, King's College Chapel was entirely hung with the Queen's Arras', and in 1613, on the occasion of the marriage of the Princess Elizabeth to the Palgrave at Whitehall, the temporary banqueting-hall for the extra accommodation of the guests was hung with tapestry representing the fight between the English and Spanish fleets. Estienne Perlin, writing in 1558, remarks that the English make great use of tapestry and painted cloths, and that there were few houses in which some would not be i’ound.27 Windows were developed to an extreme in this era. There was no longer the necessity of protection as there was before. Rooms were Opened to the outdoors through win- dows. These windows formed whole walls sometimes and were frequently used in lofty bays.28 Increased comfort in these mansions could be exempli- fied in the provision of fireplaces for heating. Frequently 27 Shakespeare's England, 0 . gg£,, Vol. II, p. 129. 28 Ibid., p. 65. 19 a fireplace was built in every room of the manor.29 They were elaborate features of the various halls. There was a feeling yet for the vertical line in Elizabethan architecture. This feeling was carried down from the Medieval times. The architecture of the English Renaissance was still closely connected with the earlier Gothic architecture. The geographical isolation of England from the continent had retarded the influence of the Italian Renaissance architecture. ”...the vertical idea", says Mr. Gotch, ”was preserved in the steep gables, in the lofty chimneyéstacks, in turrets, and (to a certain extent) in the shape of the windows.'50 Furniture of the Middle Ages was of little importance. PeOple displayed their wealth in the quantity and quality of their plate rather than furniture. There was a scarcity of chairs. Stools and forms were used in their place. The carving and tool work on Medieval English furniture was Of a definite Gothic character. The large rooms were extremely bare of furniture, having Just the essential pieces.31 The early Renaissance or Elizabethan times brought a greater abundance of furniture, which followed generally the 29 Fletcher, 22, cit., p. 691. 30 Shakespeare's England, 22. cit., Vol. II, p. 66. 31 Jourdain, 22, cit., pp. 189-96. 20 same developments of the architecture. Decoration became more elaborate. Very fancy lathe turning for legs and rungs became widely pOpular. Gothic’inrluence in carving still lingered.32 The general character of the furniture was dependent upon the strong rectangular lines. Straight chair backs, large bulbous table legs and deep carved panels were found frequently. Usually the chairs were made of oak. Excep- tions were found in the furniture imported from the conti- nent where walnut was more plentiful. Gilding, and inlays of bone, ivory, and other woods were popular forms of dec- oration. Upholstering was being used for the first time and was found on the more expensive furniture of the period. The X-framed chair of Henry VIII's time was again becoming popular, although it had never been completely forgotten.33 As the Elizabethans' displayed their wealth in their homes, so did they display it in their dress. The innova- tions in the costume of this period were extreme ones. The bulky clothing of Henry VIII went to the Opposite extreme of close fitting garments that accentuated narrow waists and 32 LOCO Cite 33 Ibid., p. 196. 21 long legs.34 Rather than conforming to the figure they tended to force it into another shape. At the time of Henry VIII, costume took on a square shape. Large gathers Of material at the shoulders and gowns that hung straight from these puffs to the thigh concealed the body. The customary covering for legs and hips was the upper and nether hose. Low flat hats accentuated the square effect of the body clothing. WOmen's clothing carried out horizontal lines, but not to as great an extent. Square necklines and straight waists with slightly trailing gowns were characteristic of the period.55 With the influence of the Spanish method of padding or bombasting and the general desire for display, Eliza- bethan costumes took on an entirely different character. These new extremes were fashionable in men's clothing ear- lier than in women's. The earlier doublet became close fitting and smoothly padded to a long pointed waist in front. The sleeves were close fitting. .The upper hose were padded out and raised sometimes up to the hips. Tall, nar- row hats were worn as an attempt to narrow and lengthen the 34 Lucy Barton, Historic Costume for the Stage (Bos- ton: Walter H. Baker Company, 1935), p. 211. 35 Francis M. Kelly and Randolph Schwabe, Historic Costume (New York: Charles Scribner's Sons, 1929), p. 29. 22 appearance of the head.36 Women followed the trend by narrowing and lengthening the bodice and padding or extending the hips with the far- thingale. The large tapering mutton-leg sleeve became pOpu- lar. Skirts were raised to ankle length. One distinctive feminine feature was the high standing collar ruff. This was used by men too, but not to as great an extent and it usually fitted completely around the neck. This abnormal costume remained in fashion with slight modifications through the greater part of Shake- speare's life; it was rigid and artificial in appear- ance, as it gave no expression to the lines and grace of woman's form. The wearers, indeed, resembled nothing so much as a trussed chicken set upon a bell.37 The coiffure of the women most generally consisted of taking the hair straight back from the forehead and dressing it over a pad. Pearls and Jewelled ornaments were commonly interwoven through the hair and the hair was most Often dyed red or auburn in royalty. True golden hair was held in the highbst estimation, but naturally all shades of auburn and red were favored in a court whose Queen set the fashion by her own Tudor tresses, supplementing them as they faded with various wigs of these tints.5 36 Barton, 22, cit., p. 211. 37 Shakespeare’s England, 22. cit., Vol. II, p. 95. 38 Ibid., Vol II, p. 96. 23 II. DETERMINANTS OF STYLE When realizing the historical forms that described the period and the environment of the locale, the designer had to find the most appropriate mode or style of express- ing those forms in accordance with the playwright, the play, and the director. Defining style is difficult because of the many variations and combinations Of styles used today. Style was defined by Sheldon Cheney as: . . . an intangible, almost indescribable thing that is added to a picture or a work of architecture or a stage setting out of the artists creative talent, a sustained decorative treatment that lies in his indi- vidual manner of conception and working, a quality that distinguishes his solution of a given problem from the solution of any other artist. . . . a harmony of the settings with the essential spirit or 'tone' of the play. a o 039 In determining a style of production appropriate to Elizabeth the Queen, the factors that held the most signifi- cance to the designer were its tragic form, its poetic nature, and its romantic overtones. As a tragedy, Elizabeth the Queen required a somberness of tone throughout the pro- duction. The blank verse form of the lines created a mood that demanded a non-realistic approach.40 The romanticized 39 Sheldon Cheney, Stage Decoration (New York: The John Day Company, 1928), p. 47. 40 John Gassner, Producing the Play (New‘York: The Dryden Press, 1941), p. 440. 24 plot of the play exacted a somewhat idealized conception.41 In consideration of the tragic form Of the play, the designer was left some freedom. Not until the last act did the play become absolute tragedy. In treating the first two acts it was unnecessary to emphasize as greatly the somber- ness or starkness of the last act. In deviating from the somber tragic environment, however, it had to be established that the drama was serious if not tragic. The last act approached high tragedy.42 This setting, therefore, de- manded bleakness and bareness. Poetic speech is not natural or real and so demands a special type of approach on the actor's part. The scen- ery, then, if it is to be appropriate to a poetic produc- tion, should demand a special approach from the designer.43 The poetic nature of Elizabeth 5313 Q3933 called for an unrealistic setting. It should not, however, be unreal to the point of distortion, but it should be extremely simple in detail.44 The realism should be suggested rather than 41 Hubert C. Heffner, Samuel Selden, and Hunton D. Sellman, Modern Theatre Practice (New York: Appleton- Century-Crofts, Inc., I945), p. 71. 42 Barrett H. Clark, Maxwell égderson (New YOrk: Samuel French, 1933), p. 50. 43 Gassner, 32. cit., p. 440. 44 Loc. cit. 25 faithfully represented. The romanticized dialogue of Elizabetg_the Queen made certain demands on the style of the setting. The heightened idealistic speech of the following lines of Essex was indica- tive of the idealism demanded of the setting. If we had met some other how we might have been happy-- But there's been an empire between us! I am to die-- Let us say that--let us begin with that-- For then I can tell you that if there's been no empire And even now, if you were not Queen and I were not pretender, That god who searches heaven and earth and hell For two who are perfect lovers could end his search With you and me. Remember--I am to die-- And so I can tell you truly, out of all the earth That I'm to leave, there's nothing I'm very loath To leave save you. Yet if I live I'll be Your death or you'll be mine.45 For the settings to be apprOpriate to this style of writing, they too had to be idealized. They had to repre- sent an environment of "far away and long ago"; a place where the historical quality would be suggested without showing unattractive details.46 The settings for Elizabeth the $3933 had to show some indication that the play was tragedy not comedy; that it was not realistic but poetic and unreal. They should represent 45 Maxwell Anderson, Elizabeth the Queen (New YOrk: Samuel French, 1930), p. 112. 46 Heffner, Selden, and Sellman, QR. cit., p. 71. 26 a picturesque idealized environment. One other factor that determined the style Of the total production was the divi- sion Of the play into three acts and seven scenes. One of the main problems in producing romantic drama is fluidity. The numerous scenes in Elizabeth the Queen had to be de- signed so that they would shift in a minimum amount of time; ”the episodes must flow so freely and continuously that theatre magic will be insured.'47 These were the general demands on the style of the production of Elizabeth §Qg_ggggg, Other requirements were made within the individual scenes. Agg‘l, §gggg'l. This scene takes place in the en- trance hall to the Palace at Whitehall. The room is a waiting room before the council chamber. It is a large, spacious, and impersonal room where courtiers of all kinds meet and wait to be presented to the Queen. As the opening scene, it should establish the play as a tragedy and help to create interest while the expository material is pre- sented. The furnishings should include only those pieces essential for its function as a waiting room and those nec- essary for the action Of the scene. It should be decorated formally with no particular friendliness or warmth. 47 Gassner, 92, cit., p. 61. 27 Lighting can be used effectively to describe the romantic tenor of the play in this scene. A wide variation of intensity can add depth and give the quality of unreality needed. A variation in the color of light used would also serve to place the scene in the romantic mood. As a tragedy, the lighting should be relatively low in average intensity. The costumes may have a wide variety of color without destroying the illusion in a romantic drama.‘18 Essex's Opposition to Cecil and Raleigh should be set off by estab- lishing the types of colors used in their costumes. Bold reds and blues would be descriptive of the personality of Essex while elegant rich colors would be more apprOpriate in both Cecil's and Raleigh's clothes.49 £93 2, £229.. E. This scene takes place in the Queen's study, a private antechamber in the Palace at White- hall. Elizabeth and Essex show their love for each other for the first time making this the most intimate scene of the play. The warm mood in this scene should be brought out in the scenery. A window would help to gain an effect of nearness to nature. Furnishings and decorations would add the necessary warmth and color to the scene. 48 Heffner, Selden, and Sellman, 22. cit., p. 72. 49 maxwell Anderson, 22. cit., p. 10. 28 The room should be made to appear smaller for more intimacy by lighting only a portion of the stage. warm colored light would accentuate the warm colors in the scen- ery. The effect should be one of a small but bright spot in the large palace. The costumes should reflect this same warmness in mood. Elizabeth should wear a brighter and fancier costume than in the other scenes. This scene follows the previous one directly in time sequence and so Essex must wear the same costume. _A_9j_:_ I, $3.229. III. This scene takes place in the council chamber in Whitehall Palace. The councillors meet here with the Queen to decide on the affairs of state. The room should have a regal appearance with strong vertical lines and a large floor area. As the seat of the royal gov- ernment, the background must indicate the wealth and impres- siveness of Elizabeth's court. There must be an elevated platform for her throne and space for a long council table. More elaborate paneling and woodwork would help to bring out the wealth of detail that was common in the manors and pal- aces Of the time. The royal colors should be used in the decorative scheme of the chamber. Gold trimming would enrich this interior. 29 The lighting in this scene must cover a large area because of the great number of characters on stage at one time. The council chamber scenes are the only scenes in the first two acts in which border lights might be used. The color of the light should be cold and aloof. Altogether the light in this scene should be general rather than speci- fic and should highlight Elizabeth for emphasis. The costumes should carry much of the color of the whole scene. Here again the visual distinction between the garb of Essex and the clothes of his rivals that was estab- lished in the first scene is important. This plan would also give unity to the stage picture. Elizabeth, Essex, Cecil, and Raleigh again should wear the same costumes as in the previous scenes due to the continuous time sequence through the first act. £23.22, §gggg'g. This scene takes place in Essex's tent in Ireland. It is a warm informal scene near the bat- tleground. The respect and loyalty of the men for Essex is portrayed as well as his loss of contact with home. This close friendliness and isolation can best be indicated in the small size of the acting area, a lack of scenery in any place but in this area, and rich warm color located within the area surrounded by darkness and drabness. There should be some suggestion of the rich fabric out of which Essex's 30 tent might be made. The furniture and properties should show a lack of comfort and luxury that would be encountered on the battlefield; a rough, crudely built table and stool, and a wooden keg for water. The lights should focus on the small tent and leave much of the rest of the stage in darkness. The color of the light should be warm to accent the warmth of color in the tent. The time is at night and so should have some indica- tion of a light source. Maxwell Anderson calls for a lan- tern in the stage directions. The light that would be given from a lantern and the over-all mood of the scene call for low intensity and specific lighting. Costumes in this scene should be different from the previous scenes because of the radical change in environment and activity. The colors should be drab with a liberal use Of armor and buckskin doublets. Ag! 2;, §ggp£_gl, This scene takes place in the same location as Act I, Scene II. There is not the warmth, how- ever, that there is in the first act. Cecil and Raleigh reveal their plans to disfavor Essex and warn Bacon not to let the Queen know. Elizabeth questions Bacon on his loy- alty to Essex. The greatest warmth is reached in the dis-‘ cussion between Elizabeth and Bacon. The general mood of the scene is much cooler. 51 The lighting in this scene should destroy the warmth that was supplied in the first act. Cold colors should be projected on the warm furnishings. Again the area is small and restricted in lighting intensity. The play progresses closer to the tragedy which reaches a peak in the last act. With this gradual progression, there should be an increase in the selectivity of the lighting. Act 1;, Scene III. This scene takes place, as did Act I, Scene III, in the council chamber in Whitehall. The same regal appearance of the council chamber in the first act should be present here. Except for the removal of the council table the settings for both scenes are the same. The lighting in this scene is the most important factor in providing a transition to the high tragedy of the last act. The color of the lights should become colder as the scene progresses. General lighting should be decreased in intensity with greater emphasis on specific lighting. The over-all illumination of this scene should be lower in intensity than the council chamber scene of the first act. The costumes in this act should reflect the same con- trast between Essex and the others as outlined in the first act. The Queen, however, should have a change of costume which might be of the same color as Raleigh's and Cecil's. The gown should be rich in material, but relatively plain in 32 style. Essex returns in the costume which he wears on the battlefield in the second scene. 523 III, This act approaches high tragedy. Because of this, the setting should reveal a decided lack of detail and color in the architecture, costumes, and furnishings. The scene takes place in the Tower of London. There may be some change in the general appearance of this scene from that of the Palace at Whitehall. The coldness and bareness of the scene can be emphasized with a greater expanse of bare stone wall. The lighting of this scene should be lower in inten- sity than in the previous scenes, especially on the scenery. The setting should be made to fade out behind the figures on stage. The color of the light must be colder than before. The selectivity in the use of light is even greater in this scene than before. The specific places where the action occurs should be lighted, leaving the rest of the stage in darkness. The light on the setting should consist of re- flected light from those particular acting areas. Costumes in this scene should have as little color as possible, making use of dark and drab colors of low in- tensity. Elizabeth's gown should be dark with a contrasting ruff at the neck and wrists. It should be plain in style. Essex must look as though he was prepared to be executed. 33 His neck should be bare and his head uncovered. If he wears a Jerkin or waistcoat, it should be sleeveless to expose the white sleeves of his chemise. All of his clothing except for the chemise should be in dark drab colors if not black. The costume of the Fool would be the same throughout the play. A fool's costume is customarily colorful. In this act the Fool's costume should be the only area of color; when he exits, the scene is left drab and colorless. The make-up of all of the characters except Elizabeth would be much the same throughout the play. Essex's youth can be made to contrast strongly with the older Elizabeth by make-up. Essex can be made to look younger than the other men by leaving him clean-shaven, while they all wear beards. Elizabeth should be made-up to appear about forty- five years of age. During the course of the play the Queen should seem to age and become more haggard from the conflict so that in the last act she appears very old and tired. CHAPTER II THE SCENE DESIGN OF ELIZABETH THE QEEEN Upon completion of a study of the historical forms and the determinants of style, the designer's next step was to design the setting. The design had to satisfy the de- mands made by the historical period and the style of the production. In addition, the setting had to meet certain requirements made by the physical theatre and the materials and equipment available. The setting for Elizabeth the Qm§£§;was designed to be presented in Fairchild Theatre. The theatre imposed few limitations once the scenery was erected on stage except, perhaps, by off-stage storage space and the height of the gridiron. The stage floor is 52'-6” deep and 83'-0” wide. The proscenium Opening is 33'-7" wide with an arched top 23'-0" above the stage at the highest point. Scenery is flown with a counterweight system of fifty lines from a gridiron 50'-O' above the stage floor. There are three wagons, 7'-O" x lO'-O", available for rolling scenery. The general physical characteristics and equipment make possible three variations in shifting scenery: flying; rolling on wagons; and running or moving individual pieces by hand. In designing the settings needed for Elizabeth the gaggg, one, two, or all three of these methods had to be 55 employed. Scenery must be composed of flat, easily storable pieces if it is to be flown or suspended above the stage floor. In this case the setting could not have the depth or three-dimensional quality necessary to the play. The broad- ness and freedom of movement demanded by the poetic drama should be expressed by plasticity and space in the setting. To run all of the scenery would have required too much time during scene shifts. Because there were seven scenes in the play, they had to be shifted rapidly or the show would have been too long and tiring for the audience. The designer chose a system of rolling the scenery on wagons. This method would allow for a more intricate use of flats and still make fast scene changes feasible. Being limited to the three wagons, the designer decided to enhance the effect of change by running small pieces in with the rolling units. Masking the offstage space and the lights was accomplished with curtains hanging from the flies. The scene shifts, then, partially employed all three methods but were funda- mentally dependent upon the rolling platforms or wagons. Because most of the scenes took place in one building and because the other building to be suggested was similar in detail, an opportunity to use some of the same parts of scenery throughout the play, was afforded. The wagons were not large enough individually to mount the quantity of 36 scenery that would preperly represent the large palatial rooms, so each wagon could not be used alone for a whole scene. This necessitated using all of the wagons together. By placing the scenery so that both sides could be used for parts of the setting, twice as much scenery could be mounted on the same three wagons. From this, a method similar to the use of two revolving stages was evolved. The setting was erected on two wagon units that revolved for scene changes. This is illustrated in Figure 5. The subject matter of the play suggested a mood of regal impressiveness; the Queen and her court and the royal palace were to be represented. To achieve this mood, verti- cal 1ines were accentuated. The Medieval architecture also called for this predominance of vertical lines. To strengthen the vertical effect, the designer chose to have one part of the scenery to be of exceptional height and to trim the proscenium opening as high as adequate masking of the lights and the flies would permit. One of the towers or turrets so frequently used in the design of the buildings to be represented was chosen for this tall vertical accent. It was shaped as half of an octagonal prism. Turned one way, the convex side was seen and when revolved, the inside or concave side was exposed. The tower was the dominant element around which the setting was designed. 38 The somberness of tone called for'by the tragedy of Elizabeth the Queen was executed to a great extent by the colors used. An appearance of weight and solidity also tended to indicate that the play was a tragedy. The basic units of scenery were kept to subdued shades of gray and brown. The effect of the colors was varied from scene to scene by the introduction of other colors in the smaller units that are used in individual scenes and by the cos- tumes. At no time, however, was the color scheme allowed to become bright or light in mood. The gray areas were treated to represent stone. This was done to give weight and solidity to the setting to emphasize tragedy. The dark brown was treated as paneling to enrich the scenes in which it was used. The stone and the wood paneling were also used to establish the historical period and the locale of the setting. Historical details, such as stone battlements and pointed arch panels were also provided. weight was sup- plied by numerous Jogs in the walls and the illusion of heavy stone painted on them. variations in intensity and selectivity of light helped to establish the tragedy of the play. The use of poetic dialogue demanded a special treat- ment of the scenery. There was no attempt to make the set- ting appear exactly as Whitehall Palace or the Tower of 39 London. The desire was rather to create an environment for the actors that would suggest freedom from realistic and everyday speech. This freedom was expressed by making the setting cpen and unconfining, allowing the audience to see the space over and beyond the scenery. This idealism was further achieved for details were simplified, and masses and shapes were arranged for an aesthetic effect. Sharp distinct detail was left to furni- ture and decorations while the scenery was kept suggestive and indistinct. The wood paneling and stone were only slightly highlighted and maintained a flat plain background. Stone was represented by a spattering technique of painting with Just a few sharp accents. Paneling was done in large plain panels with pointed arches to suggest the period. These are the over-all characteristics of the set- ting. Now, requirements of the individual scenes discussed in the first chapter shall be covered to show how they were fulfilled in the design of each scene. |gg§.1, §ggggwg. As this was the opening scene, the establishment of the time and locale of the play were important. Although the costumes and properties aided in the scene, the scenery itself played an important part at the moment the curtain was Opened. The tall tower unit and a buttress were indications that the building was large and 4O palatial. The stone masonry indicated that the architec- ture was heavy and massive as a large building would be. Pointed segmental arches placed the time of its erection at a late Medieval English date. The paneling with its pointed arches also established the age of the building. The architecture maintained its English character with the ornamental battlements. A small tapestry on one wall pointed out that there was wealth and richness. The Eliza- bethan furniture made a more definite statement of the time of the scene. Though the building was of an earlier date, the furniture explained that it was occupied by Elizabeth- ans. The presence of only a few pieces of furniture placed against the wall was an indication that this room was a hall or waiting room. The cold gray stone and the heavy mass of the tower indicated that the play was to be serious. The decorations were not sufficient to warm the mood of the room but showed only a formal attempt to dress up the hall. The small tap- estry served to accentuate the bareness of the stone. The great height of the tower and a repetition of its vertical accent in the pointed buttress aided in establishing the mood of regal impressiveness. Most of the action in this scene consisted of char- acters entering and crossing the room on their way to some 41 other part of the palace. While crossing the hall, another character would be encountered. The meeting of the various characters in the entrance hall was Anderson's method of introducing all of the primary characters in the play and present the expository material. Two wide arches were supplied on either side of the setting down stage for the entrances and exits. The whole down stage area was left unobstructed by furniture to facilitate the numerous cross- es. A stool was provided in front of the tower for Bacon to sit on while talking with Essex. A bench against the wall near the stage left arch offered a place for Raleigh to place his helmet. A table was placed up stage under the small tapestry and a chair in the corner of the room to help in making the scene appear more as a hall. Another entrance just left of center on the left stage unit was used as the entrance to the council chamber. The lighting in this scene was more general than in the following scenes because of its lightness in mood and more widely distributed action. The costumes in this scene established the relation- ship between Essex and his enemies, Cecil and Raleigh. Essex wore bold red and blue while Cecil and Raleigh wore purple. Bacon was dressed in the gown of a scholar. In this scene the costumes carried most of the color. 42 ggt_l, §ggngugl. In this scene, the Queen's study, the action approached the nearest to a love scene of any other point in the play. The main requirement made of the scenery was warmth. To introduce warmth into this scene, the stage left wall was covered by a unit consisting of a large tapestry. The tapestry was divided so that entrances could be made through the division. This also had the effect of building up the entrance of the Queen. Warmth was also attained through the use of lighting in the scene. Amber light focused on the tapestry intensified the warm colors. The small tapestry that was used in the first scene on the stage right wall was removed. Behind the small tapestry was a window in the scenery; this window was ex- posed for this scene. The reason for introducing a window into this scene was to place Essex and Elizabeth in their moment of deepest feeling for each other a little nearer to nature. The tower was still present as a symbol of majesty, but the lower intensity of the lighting left the tower less distinct. The peak of the buttress was removed and the but- tress folded up out of sight. This was done to reduce the vertical accent. The line across the tap of the setting was made more evenly horizontal. The reduction of both the 43 lighted area and the vertical line tended to make this into a small warm nook. The small lighted area in contrast with the preceding broadly lighted setting created an illusion of isolation. The dominant acting area in this scene was placed down stage and to the right. A furniture grouping of a table and two chairs was placed there. This was a more intimate area and was more appropriate for the action. Essex appeared again in his red and blue costume. Elizabeth wore a gown of purple velvet, a deep warm color. The warm lights on the velvet created a feeling that was appropriate to her romantic mood. Act'I, Scene III. The wagon on which the tower was mounted was revolved for this scene to reveal the concave side of the tower. On this side there were three tall windows. The other wagon also revolved exposing a stepped platform. (See Fig. 3, page 37.) This was the largest of all the settings in the play. The feeling of regal impres- siveness was especially strong in this scene and the scen- ery was designed to accentuate the vertical lines as much as possible. The tall windows with pointed arches enhanced this effect. To obtain the richness of decoration that would be present in Elizabeth's council chamber most of the setting 44 was paneled in this scene. Above the windows was a Tudor arch decorated with rich detail in gold trim. This was representative of the hammer beam roofs of the period. The windows appeared to be made of circular leaded panes of glass. A tapestry on the wall next to the windows with Elizabeth's Royal Arms aided in enriching the color. Another colorful addition to the scene was the canOpy over the Queen's throne. This was done in blue with gold trim. Again, the Royal Arms were repeated on back of the throne on the canOpy. The throne was an X-framed chair especially designed for the play and was also trimmed in gold. The whole width of the stage left wagon, lO'-O", for a depth of 5'-6" was built up into a three-stepped platform. On this dais was placed the throne. This higher level for the Queen in court was not only called for in the stage dir- ections, but was also necessary as the proper station of the Queen. In back of the platform was a paneled wall on which was mounted a canopy that extended forward over the throne. This canopy concealed the entrance used in the first scene. Most of the action in this scene took place in the central area between the two wagon units. A long table was placed in this area around which the councilors were seated on the up stage side. The relationship of the table with the dais where the Queen was seated enabled most of the 45 councilors to face the Queen without turning their backs on the audience. There were seven chairs around the table. Sufficient space between the table and the stage right wagon had to be provided to allow the actors to exit between them. There were a large number of peOple on stage at one time in this scene and the colorful variety of their cos- tumes was accounted for by making the color in the scenery relatively subdued. The costumes of the various characters were the same as in the first scene because this scene fol- lowed Scene I directly in time sequence. §g§_ll, §2£§£_;, This scene took place in Ireland in Essex's headquarters tent near the battlefield. Essex's forces were cut off from their supply base and left isolated in a barren desolate land. There was a great warmth of feeling between Essex and his loyal soldiers. The warmth and isolation brought out in the script was necessary in the scenery. The script placed all of the action within the tent. Consequently, only a small portion of the stage in this scene needed to be used. The restriction of the acting area to a smaller space contrasted strongly with the previous scenes and tended to bring out the effect of isolation. To establish this smaller acting area, a folding unit repre- senting two walls of a tent was used. The unit was small 46 enough that it could be carried in and Opened, as a book, on stage. The tent was the only unit Of scenery used in this scene. The scenery of the preceding scenes was hidden from view by a tan colored drape lowered from the fly space above the stage. The remainder Of the stage was left in darkness. The single unit of scenery in the wide expanse of darkness again supported the feeling Of isolation from the more civilized environment in Act I, even though the acting areas were extremely limited. The flat surface Of the tent was painted in such a way as to represent fabric. Shading and highlights were used to give the appearance Of heavy folds in the fabric. The basic color Of the tent was red. The color gave warmth to the scene, appearing as a warm glowing red area. The richness Of the red, in conjunction with a decorative blue border, helped to identify the tent as the type that would be expected to be owned by a man Of Essex's position. Two pieces of furniture were called for in the tent. It was necessary for these pieces to appear rough and uncom- fortable as a sign Of the lack of provision for comfort on the battlefield. A small table was provided to hold maps, dispatches, a lantern, a water mug, and a money bag. The legs Of the table were constructed in a crude fashion so as to resemble the type Of table that might be in use during the battle. The other piece Of furniture was a stool used 47 with the table. Both the stool and the table lacked any of the familiar Renaissance decoration Of the period. They were painted with a flat coat of dark brown paint. The costumes were subdued in color. Essex was dress- ed in a gray leather Jerkin, dark blue tights, and leather boots. His men wore steel helmets and carried pikes. A few of the soldiers were clothed in buckskin jerkins custom- arily worn by the fighting men of that time. Because the scene took place at night, a minimum of light was necessary. As mentioned previously, the light was limited to the small tent area where the lantern on Essex's table acted as an imaginary source of light. Beam spot lights in the ceiling of the auditorium directed On the tent unit provided the necessary illumination. The high angle of the light made strong shadows across the faces Of the ac- tors, intensifying the dramatic action. Ag£_;l, §gggg_l£. This scene, like the second scene of the first act, took place in the Queen's study. In this act, however, there was no love scene. Essex had gone to Ireland and Elizabeth was left in a court full of enemies to Essex. Elizabeth's mood fluctuated from the warmth Of feel- ing she had for Essex tO the torture from the fear that he might be disloyal. Her love for her country and her love for Essex made her distraught and tense. These fluctuations 48 in her mood were accentuated with the character of the set- ting and the acting area. The physical scenery Of Scene II in the second act and Scene II in the first act was essen- tially the same, sO that a different atmosphere was given to the second act by changing the color and intensity Of the light. Where amber and pink lights were used in the first act, more blue light was introduced into the study in the second act. The large tapestry unit that was so warm and rich was cooled with blue light. The small area around the desk and chairs received the warmest light in this scene. Elizabeth became a little more human in her talk with Bacon in this area. Elizabeth's costume was a softer color in this scene. The brilliance was gone. Her gown was made Of a soft green damask with rust colored satin trim. The sleeves were puffed and slashed full length. The general appearance was Of greater femininity in this scene where Elizabeth's desire to be a woman and her desire to be Queen conflicted. Act II, Scene III. As in Act I, Scene III, the third scene of the second act also took place in the council cham- ber of the palace at Whitehall. By tampering with the Queen's couriers, Cecil and Raleigh led Essex to believe that the Queen purposely neglected him and his expedition 49 in Ireland. Essex returned to London in this scene with armed men to find the meaning of the Queen's neglect. This was the reaction that Cecil and Raleigh expected of Essex and they in turn attempted to influence the Queen into thinking that Essex's behavior was treasonous. This scene, then, culminated the rising action precipitated by Cecil and Raleigh on one side and by Essex on the other, and provided the motivation for the ultimate execution of Lord Essex in the final act. As a court scene, provisions for as much space as possible for the large number Of courtiers who would be present on stage at the same time was essential. The coun- cil table and chairs were removed in this act as called for in the stage directions. The entire setting was left clear and unobstructed for the movements Of the actors. The large platform upon which the tower was mounted created the great- est problem in the plan Of this setting because it occupied too much of the critical flat floor space needed in the action Of this scene. The physical scenery of this scene was the same, except for the removal of the council table and chairs, as the council chamber in the first act. The acting areas, however, varied widely. The action in this act included nearly all of the visible stage, but was concentrated on and 50 and around the dais where the Queen's throne was placed. The wide variety of costumes on the stage supplied the color for this scene. Elizabeth was dressed in the same soft colored gown of the preceding scene. Essex was dressed in the buckskin jerkin and blue tights that he wore in the first scene of this act. Cecil and Raleigh wore the same costumes as in the preceding scenes. Because Of the large amount Of stage space used, the lighting had to be quite general for most of this scene. When the rest Of the court had left Elizabeth and Essex together, the area in front of the dais was emphasized with stronger light, while the rest of the light was softened. Ag£_lll. This act, the final act Of the play, was the scene of Elizabeth's and Essex's last meeting in the Tower of London before Essex was beheaded for treason. As the most completely tragic scene of the play, this act de- manded a slightly different approach to its design. Also, as mentioned earlier, the scene took place in another build- ing so that a change in the character Of the architecture of this scene to suit the particular mood and action was per- mitted. Because of the large amount of scenery already desig- nated for the preceding acts, the designer chose to make as little additional scenery as possible for the final act. 51 The two revolving units used in the previous scenes would have been tOO familiar to the audience to provide the proper setting for the Tower Of London. With these realizations in mind, the designer decided upon using the two basic units in different positions from those used in the first two acts with a simply constructed new unit. During the preceding acts the wagons were oriented in such a position as to form two walls of each room in the Whitehall Palace. The audience then viewed each setting as though looking diagonally across the room into one corner. In the Tower room Of the third act the walls were oriented so that the audience would look directly across the room at one wall. The new unit consisted of this one wall facing the audience. The two units mounted on wagons formed the two adjoining walls on either side. (See Figure 4.) The script called for Essex's entrance to be made from the dungeon. The stage directions placed this dungeon below the stage level. Essex entered ascending a stairway from below. Essex's entrance descending a stairway or at stage level would have been possible, but the dramatic situation made these choices ineffective. If Essex were to enter from above or at the same level, his death would not convey the impression Of a doomed and defeated man. His descent to the dungeon near the final curtain echoed the 52 mimomafim wZH>QO>Mm ORB amp. Egan BHZD Add; mme ho mg Mme _v ngm N fish :3 53 Queen's words. "...those who are noble, free of soul, Valiant and admirable--they go down in the prime, Always they go down--" By changing the position of the room with respect to the audience and adding a new unit to the setting, the designer was able to gain a sufficient amount Of change in this setting from the other scenes. The arrangement of the scenery also provided an area where the players could enter- tain the Queen with a presentation of Sir John Falstaff. Anderson described the setting of the last act as "A big and heavy room..." As mentioned earlier, the archi- tectural characteristics Of the Tower Of London and of Whitehall Palace were much the same. The Tower, however, was built as a fortress with a need for defense against military assault. In keeping with these ideas the setting was composed almost completely Of blank stone wall. The stone gave the desired effect Of weight and departed slight- ly from the paneling Of the scenes in the palace at White- hall. Except for the indistinct outline of stones, the wall unit was left blank. This made a large plain area to serve as a background for Essex's entrance from the dungeon. Beyond the few essential pieces of furniture, such as the Queen's throne on the dais and an Old chest, the room was 54 empty. The bare walls Of heavy gray stone created a stark barren atmosphere for the action. The lighting in this act was Of prime importance, for not only was visibility essential but a mood quality was needed. The blue border lights were used in conjunction with steel blue from the spotlights overhead. The blue light tended to blank out the walls all around, while amber light was focused on the area around the throne, the trunk, and flowed up through the trap onto Essex at the top of the stairs. The costumes were kept as drab as possible. Eliza- beth was dressed in a black gown with a dull gold ruff. Essex was clothed in a buckskin sleeveless jerkin, navy blue tights, and leather boots. The full white sleeves Of his chemise were exposed. The Fool in his yellow costume was on stage for part Of the scene and with his exit the last bit of color left the stage. PART TWO: PLANNING THE DESIGN FOR PRODUCTION CHAPTER I THE SCRIPT OF ELIZABETH THE QQEEN SHOWING CUES AND REQUIREMENTS OF THE TECHNICAL PRODUCTION Color code for cues: Lighting Costumes Properties Sound ACT ONE SCENE ONE Scene - An entrance hall before the pal- ace at Whitehall. The entrance to the Council Room is closed and four GUARDS with halberds stand at either side. All the GUARDS but one stand immobile. This latter is pacing up and down the corri- dor. There is an Off-stage call of "Change the Guard!" At this, the GUARD who is pacing comes to attention. A FIFTH GUARD enters from corridor. They salute and change places. RALEIGH enters from down R. RALEIGH: Has the Queen come forth yet? FIRST GUARD: NO, Sir Walter. RALEIGH: The Earl Of Essex---is he here? . FIRST GUARD: He is---expected on the moment, my lord. RALEIGH: When he comes, send me word. I shall be in the Outer Corridor. FIRST GUARD: Good, my lord. (Exits R.) (PENELOPE GRAY comes in from down L.) RALEIGH: Greetings, lady, from my heart. PENELOPE: (With a courtsey): Good- morrow, Lord, from my soul. RALEIGH: I take my oath in your face that you are rushing to the window to 57 witness the arrival Of my Lord Of Essex. PENELOPE: And in your teeth I swear I am on no such errand---but only to see the sun rise. RALEIGH: The sun has been up this hour, my dear. PENELOPE: The more reason to hurry, gracious knight. (Starts to cross in front Of him. He stOps her.) RALEIGH: (His arm around her) DO you think to pull the bag over my head so easily, Penelope? On a day when the Earl returns every petticoat in the pal- ace is hung with an eye to pleasing him. Yours not the least. PENELOPE: I deny him thrice. RALEIGH: (Pushing her away---she takes a step back) I relingquish you, lady. Run, run to the window! He will be here and you will miss him! PENELOPE: Is there a lady would run from Sir walter in his new silver suit- ing? You dazzle the eye, my lord, with your flashing panOper. It is more bril- liant than the sunrise I have missed! RALEIGH: (Looking himself over) Twit me about my armor if you will, my wench ---there is no other like it in the kingdom---and not like to be. PENELOPE: Heaven knows I have seen none like it, and none so becoming. RALEIGH: Is there no limit to a woman's deception? Would you go so far as tO appear pleased if I----(He kisses her.) PENELOPE: And no deception. I call the gods tO witness---did I not blush pret- tily? 58 RALEIGH: And meant it not at all. Tell me, did the Queen send you to look out the casement for news Of her Essex, or did you come at the prompting of your own heart? PENELOPE: Shall I tell you the truth? RALEIGH: verily. PENELOPE: The truth is I cannot answer. RALEIGH: (Quickly) Both, then? PENELOPE: (Taking a step back) Both or one or neither. RALEIGH: (Following her) Fie on the baggage. PENELOPE: Is it not a virtue to be close-mouthed in the Queen's service? RALEIGH: If you kept the rest Of your person as close as your mouth what a paragon Of virtue you would be! PENELOPE: Indeed, my lord, I am. (Crossing directly in front Of Raleigh and courtesying.) RALEIGH: Indeed, my lady? Have there not been certain deeds on dark nights? PENELOPE: Sh! Under the rose. RALEIGH: meaning under covers---- PENELOPE: Fie on my lord, to make me out a strumpetl RALEIGH: It is my manner of wooing, fair maid. I woo by suggestion of images--- PENELOPE: Like small boys on the closet wall---- 59 RALEIGH: Like a soldier---- PENELOPE: Aye, a veteran---Of encoun- ters---- RALEIGH: I will have you yet, my love; I will take lessons from this Earl---- (He puts his arms around her) PENELOPE: Take this lesson from me, my lord: You must learn to desire what you would have. Much wanting makes many a maid a wanton. You want me not-aanor I you. You wear your silver for a queen. CAPTAIN ARMIN: (Enters from hallway. At entrance Of corridor) Good-morrow, Sir Walter. Is the Queen still under canopy? RALEIGH: I know not. CAPTAIN ARMIN: The Earl is here and would see her. RALEIGH: Bid him hurry if he wishes to find her abed as usual. PENELOPE: (To CAPTAIN) She is dressed and stirring, Captain, and awaits my lord. (To Raleigh as she goes Off) You make yourself so easily disliked. (CAPTAIN ARMIN signals to the GUARDS, who go Off. CAPTAIN ARMIN goes Off. RALEIGH is laughing as CECIL enters from stairway) CECIL: (Pointing up hallway) He is here. RALEIGH: So. The heavenly boy, clad in the regalia of the sun, even now ex- tracts his gallant foot from his golden stirrup and makes shift to descend from his heaving charger. Acclamation lifts in every voice, tears well to every eye 60 ---with the exception of mine, perhaps, and yours, I hope---- CECIL: I am at a pass to welcome him, myself. This Elizabeth of ours can be difficult on her good days---and there have been no good Ones lately. But in truth, I no longer Stomach Lord Essex. Every word he speaks Makes me feel queasy. RALEIGH: Then why put up with him? CECIL: (Slyly) The Queen, my friend. What she wants, She will have, And she must have her Earl. RALEIGH: Which does she love more, Her Earl or her kingdom? CECIL: Which? RALEIGH: Then you're less sapient Than I've always thought you, Cecil. She loves her kingdom More than all men, and always will. If he could Be made to look like a rebel, which he's close to being--- And she could be made to believe it, which is harder, You'd be first man in the council. CECIL: And you would be? RALEIGH: Wherever I turn he's stood Square in my way! My life long here at court He's snatched honor and favor from before my eyes---- Till his voice and walk and aspect make me writhe--- There's a fatality in it! 61 CECIL: Had it ever occurred to you that If he could be sent from England--- there might be a chance To come between them? RALEIGH: Would she let him go? CECIL: No---but if he could be teased And stung about his generalship till he was TOO angry to reflect---- Let us say you were proposed As General for the next Spanish raid? RALEIGH: (Very quickly) He would see it. And so would she. CECIL: Then if you were named For the expedition to Ireland? RALEIGH: NC, I thank you. He'd let me go, and I'd be sunk in a bog This next three hundred years. I've seen enough Good men try to conquer Ireland. CECIL: Then how would this be? We name three men for Ireland of his own supporters: He will Oppose them, not wishing his party weakened At the court. Then we ask what he suggests And hint at his name for leader---- RALEIGH: Good sO far. CECIL: He will be angry and hint at your name; you will Offer To go if he will. 62 RALEIGH: NO. Not to Ireland. CECIL: (Topping him) Yes! DO you think he'd let you gO with him and share The military glory? It will go hard Having once brought up his name, if we do not manage To ship him alone to Dublin. RALEIGH: we can try it, then, Always remembering that no matter what Is said---no matter what I say or you--- I do not go. You must get me out Of that, By Christ, for I know Ireland. RALEIGH: When is the council? CECIL: At nine. RALEIGH: YOu'll make these suggestions? CECIL: Yes. A RALEIGH: At nine, then. CECIL: Be easy. (Two GUARDS enter from hallggy with silver armor in their arms. They come only as far as the entrance.) RALEIGH: And what is all this, sirrah? FIRST MAN: Armor, my lord. From my lord of Essex. RALEIGH: For whom? FIRST MAN: We know not. RALEIGH: (Crossing to FIRST MAN) Now by the ten thousand holy names! Am I 65 mistaken, Robert, or is this armor very much like my own? CECIL: (Touching armor) Very like, I should say. Is it sterling? RALEIGH: And the self-same pattern. Has the Earl gone lunatic? (BACON enters and stands in doorwayQ CECIL: (To RALEIGH) He means to out- shine you, perhaps. RALEIGH: Has it come to this? DO I set the style for Essex? That would be a mad trick---to dress himself like me. (Crosses to down L. and sees Bacon.) What do you know Of this, Sir Francis? BACON: They are Greeks, my lord, hear- ing gifts. RALEIGH: To hell with your Greeks! The devil damn him! This is some blackguardy. (Turns away from.BACON and two more GUARDS enterlfmvrrlhalkalinparryins armor.) There s more of it! (Still two more GUARDS enter, carrying armor.) Good God, it comes in bales! I say, who's to wear this, sirrah? Who is it for? (ESSEX enters from hallway between the two files of GUARDS, pushing them aside as he does so, and crosses down to RALEIGH, speaking as he enters.) ESSEX: Their name is legion, Sir Walter, Hap- pily met--- Felicitations on your effulgence, sir! You're more splendid than I had imagined! News came of your silver 64 Even in my retreat! I was ill, and I swear it cured me! RALEIGH: I'm glad you're well again, my lord. ESSEX: You should have heard the compliments I've heard Passed on you! Sir Walter's in silver! The world has been outdone They said---the moon has been out-mooned. RALEIGH: You need not trouble to repeat them. ESSEX: The Queen herself has admired it---the design-~- The workmanship-~- And I said to myself--- The great man--- this is what we have needed--- More silver everywhere—~-oceans Of silver! Sir Walter has set the style, the world will follow. SO I sent for the silver-smiths. And by their sweat Here's for you, lads, tailored to every man's measure-~- Enough for the whole Queen's Guard. Shall Raleigh wear silver alone! Why, nO---the whole court shall go argent! RALEIGH: (Crossing to ESSEX) Take care, my lord. I bear insults badly. ESSEX: And where are you insulted? For the Queen's service you buy you a silver armor. In the Queen's service I buy you a dozen more. A gift, my friends, each man tO own his ' Owns As you own yours. What insult? 65 RALEIGH: Have your laugh, Let the Queen and court laugh with you! Since you are envious You may have my suit. I had not thought even Essex Bore so petty a mind. ESSEX: I misunderstood you, Perhaps, Sir Walter. I had supposed you donned Silver for our Queen, but I was mis- taken-~- Keep these all for yourself. The men shall have others--- Some duller color. RALEIGH: I have borne much from you Out of regard for the Queen, my Lord Of Essex--- ESSEX: And I from you--- CECIL: YOu have forgotten, Sir Walter, A certain appointment--- RALEIGH: ' And you will hear more, by Heaven!--- CECIL: He is going to the Queen, Remember. And we have an errand. ESSEX: You presume to protect me, Master Secretary? CECIL: I protect you both, and our mistress. There can be no quarreling here. RALEIGH: That's very true. Let us go. (Both bow. RALEIGH goes out L. CECIL 66 stops a moment, bows, then follows.) ESSEX: (To GUARDS) GO. Follow your bright example. (The GUARDS go Off.) BACON: And this armor? What becomes Of it? ESSEX: I have given it. Would you have me take it back? BACON: There has seldom been A man so little wise, so headstrong, but he Could sometime see how necessary it is To keep friends and not make enemies at court. But you---God knows. ESSEX: Let him make friends with me. He may need friends himself. (Crossing toward door L.) BACON: You are going to the Queen? ESSEX: Yes. God help us both. BACON: Then hear me a moment---- ESSEX: (Crossing back to BACON) Speak, Schoolmaster Bacon, I knew it was coming. YOu've been quiet tOO long. BACON: Listen to me this once, and listen this once TO purpose, my Lord, or it may hardly be worth My while ever to give you advice again Or for you to take it. You have enough On your hands Without quarreling with Raleigh. You have quarrelled with the Queen Against my judgment--- 67 ESSEX: God and the devil! Can a man Quarrel on order or avoid a quarrel at will? BACON: Why, certainly, if he knows his way. ESSEX: Not I. BACON: You quarrelled with her, because she wished tO keep peace And you wanted war---- ESSEX: We are at war with Spain! But such a silly, frightened, womanish war As only a woman would fight--- BACON: She is a woman and fights a womanish war. ESSEX: But if we are at war, why not let some blood-~- BACON: But ask yourself one question and answer it Honestly, dear Essex, and perhaps you will see then Why I speak sharply. You are my friend and patron. Where you gain I gain---where you lose I lose--- And I see you riding straight to a fall today--- And I'd rather your neck weren't broken. ESSEX: A8k myself What question? BACON: Ask yourself what you want: TO retain the favor Of the Queen, remain Her favorite, keep all that goes with this, 68 Or set yourself against her and trust your fortune To pOpular favor? ESSEX: I'll not answer that. BACON: Then---I have done. (Starts Off up hallway.) ESSEX: (StOpping him, crossing back to BACON) Forgive me, dear friend, forgive me. I've been ill Of mind, and this silly jackanapes Of 3 Raleigh angers me with his silver mountings Till I forget who's my friend. You know my answer. In regard to the Queen. I must keep her favor. Only, I cannot endure---it maddens me--- her everlasting dilly-dallying. This utter mismanagement, when a man's hand and brain Are needed and cannot be used. BACON: Let me answer for you: ‘You are not forthright with yourself. The Queen Fights wars with tergiversation and ambiguities--- You wish to complete your record as general, Crush Spain, make a name like Caesar's, Climb to the pinnacle of fame. Take care, You are too popular already. YOu have Won at Cadiz, caught the people's hearts, Caught their voice till the streets ring your name Whenever you pass. 'You are loved better "‘than The Queen. That is your danger. She will not suffer A subject to eclipse her; she cannot suffer it. Make no mistake. She will not. 69 ESSEX: And I must wait--hold myself back-~- BACON: Even so. ESSEX: Why? I come of better blood than Eliza- beth. My name was among the earls around King John Under the oak-~- What the nobles have taught a king A noble may teach a queen. BACON: (Quickly and forcefully) YOu talk treason and death. The Old order is dead, and you and your house will die With it if you cannot learn. ESSEX: So said King John Under the oak, or wherever he was stand- ing. And little he got by it, as you may recall. What the devil's a king but a man, or a queen but a woman? (WARN Curtain) BACON: King John is dead; this is Elizabeth. There is one man in all her kingdom she fears, and That man's yourself, and she has good reason to fear you. You're a man not easily governed, re- bellious, Moreover, a general, popular and acclaim-- ed, And, last, she loves you, which makes you the more tO be feared, Whether you love her or not. ESSEX: I do love her. I do. BACON: My lord, a man as young as you--- 70 ESSEX: If she were my mother's kitchen hag, Toothless and wooden-legged, she'd make all others Colorless. BACON: YOu play dangerously here, my lords ESSEX: I've never yet loved or hated For policy nor a purpose. I tell you she's a witch--- And has a witch's brain. I love her, I fear her, I hate her, I adore her--- BACON: That side of it, you must know For yourself. ESSEX: I will walk softly~--here is my hand. Distress yourself no more—--I can carry myself. BACON: Only count not too much on the loves Of queens. . ESSEX: I'll remember. (RALEIGH enters down L. and starts to cross up to hall- way. He sees ESSEX and stOps. He is wearing ordinary clothes; having_dig: pensed with his qgmgr. ESSEX crosses What! Have you thrown your silver in the mud After your cloak, Sir Walter? Take care! Take care! She stepped on your cloak to some purpose, But on your armor, she might slip. (ESSEX crosses L. and goes Off.) CURTAIN Area around Pen- elope lighted with greatest intensity. Pink light on tap- estry is at great- est intensity during this scene. 71 ACT ONE SCENE TWO Scene - The QUEEN'S study. It is a severe little room. In the upper L. corner is a chair. Down C. is a desk with a chgir on either side. “There are entrances both down L. and down R. On the desk are various state papers, some bunks and a mdeck Oftpards and a calendar. PENELOPE is §eated on the mchaIr I'M ESSEX enters R. PENELOPE: Good-morrow, my lord. (She courtseys.) ESSEX: Good-morrow, PenelOpe. Have I kept the Queen? PENELOPE: Would I acknowledge Her Majesty would wait for you? ESSEX: I commend me to your discretion. PENELOPE: Only to my discretion? ESSEX: Take her what message you will--- only let it be known that I am here. PENELOPE: May I have one moment, my lord? She is not quite ready. ESSEX: As many as you like. What is it, my dear? PENELOPE: DO you love the Queen? ESSEX: Is that a fair question, as between maid and man. PENELOPE: (Very quickly) An honest question. ESSEX: Then I will answer honestly. Yes, my dear. 72 PENELOPE: Dearly? ESSEX: Yes PENELOPE: I would you loved someone who loved you better. ESSEX: Meaning---whom? PENELOPE: (Not looking at him) Meaning--no one. Myself, perhaps. That's no one. Or---anyone who loved you better. ESSEX: Does she not love me, sweet? PENELOPE: She loves you, loves you not, loves you, loves you not--- ESSEX: And why do you tell me this? PENELOPE: Because I am afraid. ESSEX: For me? PENELOPE: I have heard her when she thought she was alone, walk up and down her room soundlessly, night long, curs- ing you because she must love you and could not help herself---swearing to be even with you for this love she scorns to hear you. My lord, you anger her tOO much. ESSEX: But is this not common to lovers? PENELOPE: NO. I have never cursed you. And I have good cause. ESSEX: But if I were your lover, you would, sweet. So thank God I am not. PENELOPE: I'll tell her you are here. (She starts to go Off, then turns and comes tO him. She lifts her face to be kissed. He kisses her.) Will you be- ware Of her? Bring up lights on tapestry slowly. Lower intensity on tapestry and pick up in desk area. 73 ESSEX: Lover, beware your lover-- That's an old song. I will beware. PENELOPE: For I am afraid. ESSEX: (Kisses her hand.) Thank you, my dear. (She goes Off. Two LADIES- IN-WAITING enter and hold mthe draperies back. 7 FIRST LADY-IN-WAITING: Her Majesty. (ELIZABETH enters. The two LADIES-IN- WAITING go out.) ELIZABETH: When we met lgfi it was, as I _remember, Ill-met:by:mog IIwh sirrah. ESSEX: (Who has knelt before her en- trance and who now takes her hand and kisses it.) Well-met by day, My Queen. ELIZABETH: I had hardly hOped to see you again, My Lord of Essex, after what was vowed Forever when you left. ESSEX: You are unkind TO remind me. ELIZABETH: I think I also used The word forever, and meant it as much, at least--- Therefore, no apology. Only my PenelOpe Passed me just now with eyes and lips That looked the softer for kissing. I'm not sure But I'm inopportune. ESSEX: She's a crazy child. Bring in more amber slowly. 74 ELIZABETH: These children Have their little ways with each other! ESSEX: (Rising) Must we begin With charges and counter-charges, when you know--- ELIZABETH: Do I indeed?--- You have gone a week, at this Wanstock of yours--- And a week's a long time at court. You forget that I Must live and draw breath whether I see you or not--- And there are other men all fully Equipped for loving and being loved! You find Penelope charming. And as for me There's always Mountjoy—--or Sir Walter- --the handsome, Sir Walter: the 31l¥§£29l§§§d7“ ESSEX: He'll wear no more Silver at your door. ELIZABETH: What have you done---come, tell me. I knew this silver would draw fire. What happened? ESSEX: Nothing. But the fashion's gone out. ELIZABETH: No, but tell me: ESSEX: He was unfortunate enough to be in the way when the upstairs crock was emptied. He has gone to change his clothes. ELIZABETH: You shall not be allowed 'To do this to him--- 75 ESSEX: (Moving toward her) You shall not be allowed To mock me, my Queen. (Kisses her.) ELIZABETH: (After the kiss) Isn't it strange how one man's kiss can grow To be like any other's--—or a woman's To be like any woman's? ESSEX: Not yours for me, No, and not mine for you, you lying villain, You villain and queen, you double- tongued seductress, You bitch of brass! ELIZABETH: Silver, my dear. Let me be A bitch of silver. It reminds me of Raleigh. ESSEX: (Releasing her angrily and cross- ing R.) Damn you! ELIZABETH: Damn you! And double-damn you for a damner. Damn him, not me. Come some day when I'm in the mood. What's today? -¢-Thursday? Try next Wednesday-~- or any Wednesday Later on in the summer---Any summer Will do. Why are you still here? ESSEX: (Turns toward door R.) Oh, God, if I could but walk out that door And stay away! ELIZABETH: It's not locked. ESSEX: But I'd come back! Where do you think I've been this last Bring intensity up around chair L. Down in desk area. 76 week? Trying, Trying not to be here. But you see, I am here. ELIZABETH: Yes, I see. ESSEX: (In front of desk) Why did you plague me without a word? ELIZABETH: Why did you not come? ESSEX: You are a Queen, my Queen. You had prescribed me---let it be known I would Not be admitted if I came. ELIZABETH: I may have meant it at the time. ESSEX: I think I have a demon, and you are it! ELIZABETH: If SEEEWHMEQQKAESWQEXSAWEQrEPESQLQ woman You're my devil and torture me! Let us part and quickly, Or there'll be worse to come. Go. ESSEX: I tell you I will not. ELIZABETH: Come to me, my Essex. (ESSEX crosses and kneels at her R. He puts his arms around her waist.) Let us be kind For a moment. I will be kind. You need not be. ‘You are young and strangely winning and strangely sweet. My heart goes out to you wherever you are. And something in me has drawn you. But this same thing That draws us together hurts and blinds us until We strike at one another. This has 77 gone on A long while. It grows worse with the years. It will end badly Go, my dear, and do not see me again. ESSEX: All this Is what I said when last I went away. Yet here I am. ELIZABETH: Love someone else, my dear. I will forgive you. ESSEX: You mean you would try to forgive me. ELIZABETH: Aye, but I would. ESSEX: What would you have to forgive? I have tried to love others. It's empty as ashes. ELIZABETH: What others? ESSEX: No one. ELIZABETH: What others? ESSEX: Everyone. ELIZABETH: Everyone? ESSEX: That too has been your triumph! What is a cry or love in the night, when I am sick and angry And care not? I would rather hear your mocking laughter--- Your 1aughter---mocking at me---de- fying me Ever to be happy--- Bring up intensity of desk area. Down in U.C. area. 78 ELIZABETH: You have done this to me? ESSEX: You have done this to me! You've made it all empty Away from you! And with you too! ELIZABETH: And me---what of me while you were gone? ESSEX: (Crossing back to her and taking her in his arms) If we Must quarrel when we meet, why then, for God's sake, Let us quarrel. At least we can quarrel together. ELIZABETH: I think if we are to love we must love and be silent--- For when we speak--- ESSEX: I'll). aJilgntI they. 4E9 .419, alghallmsp 9.8.3.3.:- ELIZABETH: Shhh! ESSEX: If you would sometimes heed me--- ELIZABETH: Shh! ESSEX: (Taking cards from her and cross- ing R. of desk and sitting. Deal cards.) Only when I'm right---if you would Say to yourself that even your lover might be Right sometimes, instead of flying instantly Into Opposition as soon as I prOpose A shift in policy! ELIZABETH: But you were wrong! 79 A campaign into Spain's pure madness, and to strike at Flanders At the same moment---think of the drain in men And the drain on the treasury, and the risks we'd run Of being unable to follow success or failure For lack of troOps and money---! ESSEX: (Turn in and look at her) But why lack troops--- And why lack money? There's no richer country in Europe In men or money than England! It's this same ancient unprofitable niggardliness that pinches pennies And wastes a world of treasure! You could have all Spain, And Spain's dominions in the new world, an empire Of untold wealth---and you forego them because You fear to lay new taxes! ELIZABETH: I have tried that--- And never yet has a warlike expedition Brought me back what it cost! ESSEX: You've tried half-measures--- Raids on the Spanish coast, a few horsemen sent Into Flanders and out again, always defeating Yourself by trying too little! What I plead for Is to be bold once, Just once, give the gods a chance To be kind to us---walk through this cobweb Philip And take his lazy cities with a storm Of troops and ships! If we are to trifle we might better sit At home forever, and rot! 80 ELIZABETH: Here we sit, then, And rot, as you put it. ESSEX: I'm sorry--- ELIZABETH: It seems to me We rot to some purpose here. I have kept the peace And kept my peOple happy and prosperous. They Have had time for music and poetry--- ESSEX: And at what a price--- What a cowardly price: ELIZABETH: I am no coward, either. It requires more courage not to fight than to fight When one is surrounded by hasty hot- heads, urging Campaigns in all directions. ESSEX: Think of the name You will leave---They will set you down in histories As the weasel queen who fought and ran away, Who struck one stroke, preferably in the back, And then turned and ran--- ELIZABETH: Is it my fame you think of, Or your own, my lord? Have you not built your name High enough? I gave you your chance at Cadiz, And you took it, and now there's no name in all England Like yours to the common peOple. When we ride in the streets It's Essex they cheer and not their Queen. What more would you have? 81 ESSEX: Is it for This hollow cheering you hold me back from Spain? ELIZABETH: It's because I believe in peace, and have no faith In wars or what wars win. ESSEX: You do not fear me? ELIZABETH: I fear you, too! You believe yourself Fitter to be king than I to be queen! You are flattered By this crying of your name by fools! You trust me no more Than you'd trust---Penelope---or any other woman To be in power! You believe you'd rule England better Because you're a man! ESSEX: That last is true. I would. It's because I love you that I can see Wherein you fail---and why you fail and where You fail as sovereign here. It's because You cannot act and think like a man. ELIZABETH: By God, I'll make you sorry For those words! Act and think like a man---! Why should I think like a man when a woman's thinking's wiser? What do you plan? To take over the kingdom, depose me? ESSEX: (Smiling) You are a touchy queen. ELIZABETH: I had bad bringing up. I was never sure who my mother was 82 going to be Next day, and it shook my nerves. ESSEX: (Cross U. to platform) You're your father's daughter. I'll swear to that. I can tell by your inconstancy. ELIZABETH: I wish you had need To fear it---or at any rate that I'd never Let you see how much I'm yours. ESSEX: But why? ELIZABETH: Tell me, my dear, Do I tire you---do I wear upon you a little? ESSEX: Never. ELIZABETH: But you'd have to say that, you can see- You'd have to say it, because you wouldn't hurt me, And because I'm your queen. And so I'll never know Until everyone else has known and is laughing at me, When I've lost you. (He starts to speak.) Wait, let me say this, please-~- When the time Does come, and I seem old to you--- ESSEX: (Holding her closer to him) You are not old. I will not have you old. ELIZABETH: (Continues) ---and you love Someone else, tell me, tell me the first- Will you do that, in all kindness, in memory Of a great love past? No. You could not, could not. 85 It's not in a man to be kind that way, nor in A woman to take it kindly. I think I'd kill you, In a first blind rage. ESSEX: (Crossing to her) Kill me when I can say it. ELIZABETH: Love, will you let me Say one more thing that will hurt you? ESSEX: (Kisses her hand) Anything. ELIZABETH: Your blood's on fire to lead a new command Now that you've won so handsomely in Spain, And when I need a general anywhere You'll ask to go. Don't ask it---and don't go. You're better here in London! ESSEX: (Breaking away from her) Was this all you wanted? To make me promise this? ELIZABETH: Not for myself, I swear it, not because I think you reckless With men and money, though I do think that, Not because you might return in too much triumph And take my kingdom from me, which I can imagine, And not because I want to keep you here And hate to risk you, though that's also true-~- But rather---and for this you must forgive me--- Because you're more a poet than a gen- eral--- And I fear you might fail, and lose what you have gained, If you went again. 84 ESSEX: (Crossing R. above chair R. of desk) God's death! Whom would you send? ELIZABETH: I asked you not to be angry? ESSEX: Not to be angry! How do you judge a leader except by whether He wins or loses? (Turn and look at her.) Was it by chance, you think, That I won at Cadiz? (WARN Curtain.) ELIZABETH: Very well. You shall go. Go if you will. Only I love you, and I say What would be wiser. ESSEX: You choose the one thing I must have And ask me not to ask it! No. For- give me. ELIZABETH: I'll not say it again. ESSEX: (Crossing to her, calmer now) But if I'm more poet than General, then poets, on occasion, make better generals Than generals do. ELIZABETH: You've proved it so On more than one occasion. (The CHIMES strike nineiv There are marmaf fsfiaue W0 T Jame n, 1 Is met!" Now we shall hear about Ireland, If Cecil has his way. One thing remem- ber You must not go to Ireland. 85 ESSEX: No. That's a war I'm content to miss. ELIZABETH: Thank God for that much, then. I've been afraid Ireland might tempt you. And will you understand--- I'll have to oppose you on The Spanish hostages---You'll have your way--- But I'll have to oppose you. Will you understand---? ESSEX: (Taking her in his arms and holding her close to him) I'll play my part perfectly. ELIZABETH: Now what can come between us, out of heaven or hell, Or Spain or England? ESSEX: Nothing---never again. (PENELOPE GRAY enters from L. She stops in the entrance.) PENELOPE: (Courtseying) Your Majesty, the Council's met. CURTAIN Blue light slight- ly higher in this scene. Lighting is general in intensity. Slight accent of blue on throne. 86 ACT ONE SCENE THREE Scene - The Council Chamber. It is a large room with entrances down L. and down R. respectively. Up L. in the room is a two-stepped platform, on the’ WW Manamahair 91? state: Wilflggfllfivelemulfiwg.Ilong Wijllfibwfllahifi- The QUEEN is seated in her throne, holding her ballaniaace. ESSEX is at the R. end of table and CECIL at the L. The other COUNCILLORS are seated at the table, from L. to R., as follows: RALEIGH, BURGHLEY, FIRST EXTRA COUNCILLOR, SECOND EXTRA COUNCILLOR. The FOOL sits cross-legged on a pillowugnwphgwtgpwof‘ the platform at the QUEEN'S L. As the CurtaIn rises there is a general ad lib. among the COUNCILLORS which ELIZABETH interrupts with: ELIZABETH: Then the issue lies between the queen And her soldiers---and your lordship need feel no Concern in the matter. ESSEX: When I made these promises I spoke for your Majesty---or believed I did. CECIL: My liege, It is well known a regent may repudiate Treaty or word of a subject officer. The throne is not bound. ESSEX: If it comes to repudiation, The throne can, of course, repudiate what it likes. But not without breaking faith. 87 ELIZABETH: I fear we are wrong, Sir Robert; And what has been promised for me and in my name By my own officer, my delegate in the field, I must perform. The men may have their ransoms. The state will take its loss; for this one time Only, and this the last. In the future a prisoner Is held in the name of the state, and whatever price Is on his head belongs to the crown. Our action Here is made no precedent. What further Business is there before us? CECIL: (Rises and crosses U.C. of QUEEN) There is one perpetual Subject, your Majesty, which we take up Time after time; and always leave un- settled, But which has come to a place where we must act One way or another. Tyrone's rebellion at Ulster-~- Is no longer a smouldering goal, but a running fire Spreading north to south. we must con- quer Ireland Finally now, or give over what we have won. Ireland's not Spain. (Sits in chair.) ELIZABETH: I grant you. FOOL: I also grant you. ELIZABETH: Be quiet, Fool. FOOL: Be quiet, Fool. (The FOOL slaps his own mouth.) ELIZABETH: Lord Burghley, 88 You shall speak first. What's to be done in Ireland? BURGHLEY: (Rising at place) If my son is right, and I believe him to be, we can bide our time no longer there. They have Some help from Spain, and will have more, no doubt. And the central provinces are rising. We must Stamp out this fire or lose the Island. ELIZABETH: This means Men, money, ships? BURGHLEY: Yes, madam. CECIL: And more than that--- A leader. (Rises.) ELIZABETH: What leader? CECIL: A Lord Protector Of Ireland who can carry sword and fire From one end of the bogs to the other, and have English law On Irish rebels till there are no rebels. We've governed Ireland with our left hand, so far, And our hold is slipping. The man who goes there Must be one fitted to master any field-- The best we have. ELIZABETH: What man? Name one. CECIL: We should send, Unless I am wrong, a proved and able general, Of no less rank than Lord Howard here, Lord Essex, Sir Walter Raleigh, Knollys, or Mountjoy—-- 89 This is no slight matter, to keep or lose the Island. ELIZABETH: I grant you that also. FOOL: I also grant you. Be quiet, Fool! (He slaps his mouth.) ELIZABETH: I ask you for one and you name a dozen, Sir Robert. RALEIGH: (Rises.) Why should one go alone, if it comes To that? Why not two expeditions, one To Dublin, one into Ulster, meeting halfway? ELIZABETH: Are there two who could work together? CECIL: Knollys and Mountjoy. They are friends and of one house. ESSEX: ‘Yes, of my house. ELIZABETH: Essex, whom would you name? ESSEX: Why, since Sir Robert Feels free to name my followers, I shall feel free ” To name one or two of his--- ELIZABETH: In other words, You would rather Knollys and Mountjoy did not go? ESSEX: I would rather they stayed in England, as Sir Robert knows. I have need of them here. But I will spare one of them If Sir Robert will let Sir Francis Vere go with him. 90 ELIZABETH: Let Vere and Knollys go. CECIL: Lord Essex names Sir Francis Vere because he knows full well I cannot spare him, my liege. ELIZABETH: Is this appointment To wait for all our private bickerings? Can we send no man of worth to Ireland, merely Because to do so would weaken some house or party Here at court? FOOL: Your Majesty has said--- ELIZABETH: Be quiet--- FOOL: Fool! ELIZABETH: Be quiet! FOOL: Fool! ELIZABETH: Be quiet! (The FOOL forms the word "Fool" with his lips, but makes no sound.) CECIL: , I hOpe I betray no secret, Sir Walter, If I tell the council that I spoke with you Before the session, and asked you if you would go Into Ireland if the Queen requested it-- and that you said Yes, should the Queen desire it. BURGHLEY: That would answer. CECIL: But I believe, and Sir Walter believes, there should be More than one hand in this---that if he goes 91 Lord Essex should go with him. ELIZABETH: With him? ESSEX: In what Capacity? CECIL: Leading an equal command. Two generals Of coeval power, landing north and south And meeting to crush Tyrone. ESSEX: Would you set up Two Lord Protectors in Ireland? CECIL: It was my thought that we name Raleigh as Lord Protector. ESSEX: And I under him? CECIL: Since the Azores adventure Which my Lord Essex led, and which came off A little lamer than could be wished, but in which Sir Walter showed to very great advan- tage, It has seemed to me that Raleigh should receive First place if he served in this. ESSEX: (Rises.) This is deliberate, An insult planned! CECIL: It is no insult, my lord, But plain truth. I speak for the good of the state. ESSEX: You lie! You have never spoken here or elsewhere For any cause but your own! 92 ELIZABETH: No more of this! ESSEX: Good God! Am I to swallow this from a clerk, a pen-pusher--- To be told I may have second place, for the good of the state? CECIL: Were you not wrong at the Azores? ESSEX: No, by God! And you know it! ELIZABETH: Whoever makes you angry has won Already, Essex! ESSEX: They have planned this! CECIL: (Lifted. As though the matter is settled. Sits.) I say no more. Raleigh will go to Ireland as Lord Protector And go alone, if the Queen asks it of him, And since you will not go. ESSEX: I have not said I would not go. But if I were to go I would go Alone, as Lord Protector! ELIZABETH: That you will not. I have some word in this. ESSEX: If this pet rat, Lord Cecil, wishes to know my wind about him, And it seems he does, he shall have it! How he first crept Into favor here I know not, but the pal- ace is riddled ‘With his spying and burrowing and 93 crawling underground! He has filled the court with his rat friends, very gentle White, squeaking, courteous folk, who show their teeth Only when angered; who smile at you, speak you fair And spend their nights gnawing the floors and chairs Out from under us all! ELIZABETH: My lord! ESSEX: I am Not the gnawing kind, nor will I speak fair To those who don't mean me well---no, nor to those To whom I mean no good! I say frankly here, Yes, to their faces, that Cecil and Walter Raleigh Have made themselves my enemies because They cannot brook greatness or power in any but Themselves! And I say this to them--- and to the world--- I, too, have been ambitious, as all men are Who bear a noble mind, but if I rise I hope it will be by my own effort, and not by dragging Better men down through intrigue! BURGHLEY: Intrigue, my lord? RALEIGH: Better men, my lord? ESSEX: I admit Sir Walter Raleigh's skill as a general, And Cecil's statecraft! I could work with them freely And cheerfully, but every time I turn My back they draw their knives! ELIZABETH: My lord! My lord! 94 ESSEX: When Cecil left England I guarded his interests as I would my ' own Because he asked me to!---but when I left, And left my affairs in his hands---on my return I found my plans and my friends out in the rain Along with the London beggars! CECIL: I did my best--- ESSEX: Yes. For yourself! For the good of the state! RALEIGH: (R1383. ) If Lord Essex wishes To say he is my enemy, very well--- He is my enemy. ESSEX: But you were mine first--- And I call on God to witness you would be my friend Still, if I'd had my way! I take it hard (RALEIGH sits) That here, in the Queen's council, where there should be Magnanimous minds if anywhere, there are still No trust or friendship! (ESSEX sits) ELIZABETH: I take it hard that you Should quarrel before me. ESSEX: Would you have us quarrel Behind your back? It suits them all too well To quarrel in secret and knife men down in the dark! BURGHLEY: (Rises) This is fantastic, my lord. There has 95 been no kniving. Let us come to a decision. We were discussing The Irish protectorate. (Sits) CECIL: And as for Ireland, I am willing to leave that in Lord Essex's hands. To do as he decides. ESSEX: Let Sir Walter Raleigh go To Ireland as Protector! And be damned to Ireland! CECIL: (Insidiously) As the Queen wishes. It is a task both difficult and danger- ous. I cannot blame Lord Essex for refusing To risk his fame there. ESSEX: (Rises) There speaks the white rat again! Yet even a rat should know I have never refused A task out of fear! I said I would not go As second in command! CECIL: Then would you go As Lord Protector? ELIZABETH: You have named your man--- Sir Walter Raleigh. RALEIGH: With your Majesty's gracious permission I'll go if Essex goes. ESSEX: Is Sir Walter Afraid to go alone? RALEIGH: I don't care for it--- 96 And neither does our Essex! ESSEX: Why, what is this That hangs over Ireland? Is it haunted, this Ireland? Is it a kind of hell where men are damned If they set foot on it? I've never seen the place, But if it's a country like any other countries, with people Like any other people in it, it's noth- ing to be Afraid of, more than France or Wales or Flanders Or anywhere else! CECIL: We hear you say so. ESSEX: (Impetuously) If I Am challenged to go to Ireland, Then, Christ, I'll go! Give me what men and horse I need, and put me In absolute charge, and if I fail to bring This Tyrone's head back with me and put the rebellion To sleep forever, take my sword from me And break it---- I'll never use it again! ELIZABETH: Will you listen---? ESSEX: (Crosses to ELIZABETH) They've challenged me! ELIZABETH: If you volunteer To go to Ireland there is none to stop you a ESSEX: Your Majesty, I can see that Raleigh and Cecil have set themselves To bait me into Ireland! They know and I know 97 That Ireland has been deadly to any captain Who risked his fortunes there; moreover once I'm gone they think to strip me here at home, Ruin me both ways! And I say to them ”Try it!" Since this is a challenge, I go, And will return, by God, more of a problem To Cecils and Raleighs than when I went! BURGHLEY: If Essex will go, It solves our problem, Your Majesty. We could hardly refuse that offer. (The FOOL rises and approaches ESSEX) ELIZABETH: No. FOOL: (Touching ESSEX) My lord! My lord! ESSEX: (Turning suddenly with an in- stinctive motion that sweeps the FOOL to the floor) You touch me for a fool! FOOL: Do not go to Ireland! ESSEX: (Impatiently) YOu too? FOOL: Because, my lord, I come from Ireland. All the best fools come from Ireland, but only A very great fool will go there. ESSEX: (About to strike FOOL again) Faugh! ELIZABETH: No! Break up the council, my lords. We meet tomorrow. BURGHLEY: Then there is no decision? ESSEX: Yes! It is decided. Bring lights down in all areas ex- cept center and platform. W M fifl'mr-fiua- e- -“- !‘ ‘wa' LCD 98 ELIZABETH: Yes, Go to Ireland.quo_to (A911 grasp; ELIZAEE’EHa n91 ....ESSEX....... file, out siIentIy. You shofild have had The Fool's brain and he yours! You would have battered By the exchange. ESSEX: I thank you kindly, lady. ELIZABETH: What malicious star Danced in my sky when you were born? ESSEX: What malicious star danced Over Ireland, you should ask. ELIZABETH: You are a child in council. I saw them start To draw you into this, and tried to warn you--- But it was no use. ESSEX: They drew me into nothing. I saw their purpose and topped it with my own, Let them believe they've sunk me. ELIZABETH: You will withdraw. I'll countermand this. ESSEX: And let them laugh at me? ELIZABETH: Better they should laugh A little now than laugh at you forever. ESSEX: And why not win in Ireland? ELIZABETH: No man wins there. You're so dazzled 99 With the chance to lead an army you'd follow the devil In an assault on heaven. ESSEX: That's one thing The devil doesn't know, Heaven is always taken by storm. ELIZABETH: I thought so as you said it Only something here in my breast con- stricts--- Is it the heart grows heavy? I must let you go--- And I'll never see you again. ESSEX: (Taking a step toward the throne) Mistrust all these Forebodings. When they prove correct we remember them. But when they're wrong we forget them. They mean nothing. Remember this when I return and all turns out well. That you felt all would turn out badly. ELIZABETH: Come touch me, tell me all will happen well. ESSEX: (Crossing to her and taking her in his arms) And so it will. ELIZABETH: Do you want to go? ESSEX: Why, yes"- And no. (He kisses her) I've said I would and I will. ELIZABETH: It's not yet Too late. Remember, if you lose, that will divide us--- And if you win, that will divide us too. 100 (WARN Curtain.) ESSEX: I'll win, and it will not divide us. Is it so hard To believe in me? ELIZABETH: No--- I'll believe in you--- And even forgive you if you need it. Here. My father gave me this ring---and told me if ever He lost his temper with me, to bring it to him And he'd forgive me. And so it saved my life--- Long after, when he'd forgotten, long after, when One time he was angry. ESSEX: Darling, if ever You're angry, rings won't help. ELIZABETH: Yes, but it would. I'd think of you as you are now, and it would. Take it. ESSEX: I have no pledge from you. I'll take it. To remember you in absence. ELIZABETH: Take it for a better reason. Take it because The years are long, and full of sharp, wearing days That wear out what we are and what we have been And change us into people we do not know Living among strangers. Lest you and I who love Should wake Some morning strangers and enemies In an alien world, far off; take my ring, my lover. 101 ESSEX: (Kneeling) You fear You will not always love me? ELIZABETH: No, that you Will not love me, and will not let me love you. CURTAIN Beam lights in center area only. Amber lights higher in inten- Sitye 102 ACT TWO SCENE ONE Scene - The interior of ESSEX'S tent in Ireland. ESSEX is seated back of the camp table. Tma.ble_is...L..§.e..-..Dis- patches handwmapsh a_ money bag,_ and a. mug_of water are ogmthgmtablg: 4R.C. in Wthmieutmi awaityi na. .9 0 a ’6 WT ’Ghfi“ Wherelismals.Qua“;Ashted. lantern on the table. There are two TRUMPET CALLS_Q£I_§Iagg. ESSEX rises with dis- patches in his hand. He paces back and forth in front of table. As he reaches R.C. he calls: ESSEX: Marvel!---Marvel!--- (Crosses to L.C. MARVEL enters from down Re) There have been no other losses? MARVEL: Only at the landing. ESSEX: There was ambush there. MARVEL: Yes, my lord. ESSEX: It's not losses we should fear now. Though we have lost more than I should like to think of. It's going on against a retreating enemy, Venturing further from our base When we are not supplied. This country's barren---festering with fever bogs. There are no roads---no food. I think we have been forgotten in London. Nay, worse than forgotten. MARVEL: My lord, if I may make so bold, There must be some reason for such strange policy. The Queen has written. 105 ESSEX: Aye. She has written. "Lord Essex will confine his invasions to the near coast. Lord Essex will prepare to shorten his campaign." And that is all. If she had wished Tyrone to win she could not have done better. In the name of God can one fight thus? MARVEL: (Taking a step toward ESSEX) My lord. ESSEX: (Pushing him away) Stand away from me. We all smell putrid here. Has the valley been cleared of the corpses? MARVEL: Yes, my lord. ESSEX: What is this stench? (ESSEX crosses to back of table; takes a sip of water from the mug; sits; feels nauseous; rises and spits out the water, leaning over the table as though vomit- ing. Even the water stinks. (After a slight pause he sits again.) How many did you say lost at the landing? MARVEL: Thirty or so. Not many. ESSEX: There's thirty less to wonder Whether they'll see their wives again. MARVEL: My lord. The men have not been paid. ESSEX: Are they muttering? My revenue's been stOpped. Let them know that. If we face Tyrone again it's because Southampton Has gone my surety. This is not the Queen's war, Not now. Are they deserting? 104 MARVEL: They want one thing: to follow you to London. ESSEX: And why to London? MARVEL: Forgive my saying this--- They wish to make you King. ESSEX: (After a pause) Have they forgotten the Queen? MARVEL: They are willing to forget her. ESSEX: But I am not. We wait here. MARVEL: we cannot wait longer without supplies. ESSEX: Word will come. We wait here--- until--- MARVEL: Shall I give this out? ESSEX: YES. (A MAN-AT-ARMS enters down R.) MAN-AT-ARMS: There is a courier from the Queen, my lord. ESSEX: At last, then. MARVEL: (Anticipating good news) You will see him at once? ESSEX: Yes. (MARVEL starts to go off R.) Wait. (MARVEL stOps.) Bring him in and stay here while I read the dis- patches. If I give orders to torture or kill him----You understand? MARVEL: You will not torture him? ESSEX: Am I not tortured? (MARVEL starts to protest, but instead goes off R. To the MAN-AT-ARMS, who has taken 105 his place upstage of the tying post) You too, sirrah. You hear this? MAN-AT-ARMS: Yes, my lord. ESSEX: Good. (The COURIER enters down R., followed by MARVEL. He crosses to between table and post and falls to his knees. MARVEL takes a position downstage of post.) COURIER: My Lord of Essex? ESSEX: 'Yes. COURIER: I come from the Queen. ESSEX: When did you leave London? COURIER: Four days ago, my lord. ‘We were delayed. ESSEX: What delayed you? COURIER: Thieves. ESSEX: And they took what from you? COURIER: Our horses and money. ESSEX: And letters?--- COURIER: Were returned to me untouched. ESSEX: Where did this take place? COURIER: This side of the ford. There were four armed men against us two. ESSEX: (fizghb "the.dispatches) Give me the letters- Whis- mghmwssmmaadalbrieflyfi This is all? COURIER: Yes, my Lord. ESSEX: ‘You are sure you lost nothing? .H ! 106 COURIER: Indeed, yes, my Lord. There was but one missive and the seal was returned unbroken. The cutthroats told us they cared the less about our letters for they could not read. ESSEX: You are a clever liar, sirrah, and you are the third liar who has come that same road to me from London. You are the third liar to tell this same tale. You shall pay for being the third. COURIER: My Lord, I have not lied to you. ESSEX: Take his weapons from him, Lieutenant. (MARVEL obeys.) Set him against the post there. (MARVEL and the MAN-AT-ARMS place him against the post.) Not so gently. Take out his eyes first and then his lying tongue. , COURIER: Your Lordship does not mean this. ESSEX: (Crossing to COURIER, he slowly wrenches his arm backwards) And why not? We shall break him to pieces--- but slowly with infinite delicacy. COURIER: No, no, no, no! Oh, my Lord! My Lord! ESSEX: What are you waiting for? MARVEL: ‘We must tie him to the post firSt, Sire ESSEX: Then tie him! (They do so.) COURIER: My Lord. I have not lied to you. There was but one dispatch. There was but one-~- ESSEX: we know too well what you have done, sirrah. We need no evidence of that. What we ask is that you tell us 107 who set you on---and your accomplices. Tell us this and I want no more of you. You shall have your freedom---and this-- (Indicates the money bag) COURIER: My Lord, if I knew---- ESSEX: Truss him up and cut him Open. (They complete their binding) COURIER: My Lord, I am not a coward, though it may seem to you I am, for I have cried out---but I cried out Not so much for pain or fear of pain But to know this was Lord Essex, whom I have loved And who tortures innocent men. ESSEX: (To MARVEL) Have you no knife? (MARVEL takes the knife he hasw taken £10m theICQUBIER and during the?“ next Wannesntgmcutuputw \th equURI‘ER 'S tongnexn ESSEX places his hands over COURIER'S face as though to Open his mouth.) COURIER: Come, then. I am innocent. If my Lord Essex Is as I have believed him, he will not hurt me; If he will hurt me, then he is not as I And many thousands have believed him, who have loved him, And I shall not mind much dying. (ESSEX pushes MARVEL'S knife away and releases the COURIER.) ESSEX: Let him go. (MARVEL and MAN-AT ARMS unbind him. COURIER falls to the ground.) I thought my letters had been tampered with. You'd tell me if it were 800 108 COURIER: My honored Lord. By all the faith I have, and most of it's yours, I'd rather serve you well and lose in doing it Than serve you badly and gain. If some- thing I've done Has crossed you or worked you ill I'm enough punished Only knowing it. ESSEX: This letter came From the Queen's hands? COURIER: It is as I received it From the Queen's hands. ESSEX: There was no other? COURIER: No other. ESSEX: Then go. COURIER: I have brought misfortune--- ESSEX: YOu have done well. we break camp tomorrow for London. Go. Take that news with you. They'll welcome you outside. Remain with my guard and re- turn with us. (COURIER salutes and goes Off Re, fOllowed by MAN-AT- AS.) MARVEL: (Taking a step toward ESSEX, who has crossed to back of table) We march tomorrow? (WARN Curtain) ESSEX: Yes. MARVEL: Under orders from her Majesty? ESSEX: No. (He reads the dispatch.) "Lord Essex is required to disperse his men and return to the capital straight- way on his own recognizance, to give 109 himself up." (Looking up) To give himself up. MARVEL: And nothing but this? ESSEX: There is a limit to my humiliation. Give out the necessary orders. We embark at daybreak. MARVEL: Yes, my Lord. ESSEX: And it is As well it falls out this way! MARVEL: By right of power and popular voice It is your kingdom---this England. ESSEX: More mine than hers, As she shall learn. It is quite as W811. MARVEL: There is victory in your path, My Lord. The London citizens will rise At the first breath of your name. ESSEX: And I am glad for England. She has lain fallow in fear too long. Her hills shall have a spring of victory. Go, then. ' (MARVEL goes off down R.) And for this order, I received it not. (Tears the order to pieces.) (A’TRUMPET is heard off stage.) CURTAIN 110 ACT TWO SCENE TWO Low intensity with Scene - The QUEEN'S Study. PENELOPE area around chair up R. and desk area accented. is sitting on chair up R., :ggding. The FOOL enters L. She does not see him. FOOL: Sh! flake no noise. PENELOPE: What do you mean? FOOL: Silence! Quiet! PENELOPE: I am silent, Fool. FOOL: You silent? And even as you say it you are talking! PENELOPE: You began it. FOOL: Began what? PENELOPE: Talking. FOOL: Oh, no. Talking began long be- fore my time. It was a woman began it. PENELOPE: Her name? FOOL: Penelope, I should judge. PENELOPE: Fool. FOOL: (warmly) No, for with this same PenelOpe began also beauty and courage and tenderness and faith---all that a man could desire or a woman offer---and all that this early Penelope began has a later PenelOpe completed. PENELOPE: It lacked only this---that the court fool should make love to me now. FOOL: (Kneels beside her) I am sorry 111 to have been laggard. But truly I have never found you alone before. PENELOPE: (Pushing him away) How lucky I've been! FOOL: Are you angered? PENELOPE: At what? FOOL: At my loving you. -PENELOPE: (Laughing) I've learned to bear nearly everything. FOOL: (Mysteriously) A lover's absence. PENELOPE: Among other things. FOOL: (Leaning toward her) The pre- sence of suitors undesired? PENELOPE: (Again pushing him away) That, too. FOOL: (Rising and crossing R.) I am not a suitor, my lady. I ask nothing. I know where your heart lies. It is with my Lord Essex in Ireland. I do not love you. PENELOPE: Good. FOOL: (Crossing to her and kneeling) I lied to you. I do love you. PENELOPE: (Very tenderly) I am sorry. FOOL: You will not laugh at me? PENELOPE: No. FOOL: Then there is yet some divinity in the world---while a woman can still be sorry for one who loves her without return. PENELOPE: A woman is sadly aware that Bring up blue at stage right en- trance. 112 When a man loves her it makes a fool of him. FOOL: And if a fool should love a woman---would it not make a man of him? PENELOPE: (Quickly) No, but doubly a fool, I fear. FOOL: (Quickly) And the woman---how of the woman? PENELOPE: They have been fools too. FOOL: (Very mysterious and sinister) The more fool I, I tried to save Lord Essex from Ireland---but he needs must go---the more fool he. PENELOPE: (Rising) Let us not talk of that. FOOL: (A step toward her) May I kiss you? PENELOPE: NO. . FOOL: (Pleadingly) Your hand? PENELOPE: Yes. FOOL: (Kneels and kisses her hand) I thank you. PENELOPE: (Puts her arms around him as she would a crazy child) The more fool you, poor boy. CECIL: (Enters R.) Thianifiwhgndlyma, W 9 ml asEiEsM '2; 31358839381 (The FOOL laughs and exits L., re- peating: "This is hardly a seemly pas- time, Mistress Gray.") PENELOPE: And are you now the judge of what is seemly, Sir Robert? Cut down all embers. 115 CECIL: The Queen is expecting Master Bacon here? PENELOPE: I am set to wait for him. CECIL: You will not be needed. PENELOPE: Excellent. (Goes outML. Ragnar}. .akszasawgumiéfi'IRAiEIGH enters R. CECIL: This Bacon keeps himself close. I have been unable to speak with him. She has this news? RALEIGH: Yes. CECIL: She believes it? RALEIGH: Beyond question. (BACON en- ters from up R., his_book¢in#gigmhagg.) CECIL: Good-morrow, Master Bacon. BACON: And to you, my Lords. CECIL: I have sent everywhere for you, sir, this three hours---and perhaps it was not altogether by accident that I could not find you. BACON: I was not at home. You must forgive me. CECIL: You are here to see the Queen? BACON: (Bowing) The Queen has also been good enough to send for me. CECIL: It was my wish to speak with you first---and it is my opinion that it will be better for all of us if I do so now---late as it is. BACON: I am but barely on time, gentle- men. CECIL: You need answer one question on- ly. (CECIL motions BACON to sit. He 114 does so in chair up R. CECIL sits chair L. of desk. RALEIGH crosses to above desk.) You have been in correspondence with Lord Essex in Ireland? BACON: Perhaps. CECIL: The Queen has this morning re- ceived news warning her that Lord Essex is allied with the Irish rebels and is even now leading his army back to Eng- land to usurp her throne. Had you heard this? BACON: No. CECIL: Do you credit it? BACON: It is your own scheme, I be- lieve. CECIL: That Essex should rebel against the Queen? BACON: Even so. RALEIGH: You accuse us of treason? BACON: If the Queen were aware of cer- tain matters she would herself accuse you of treason. CECIL: What matters? BACON: (Reading his book) I prefer that the Queen should question me. CECIL: Look to yourself, Master Bacon. We know what the Queen will ask you and we know what you may answer. RALEIGH: Come, there's no time for this. Take your head out of your book, and if you've any interest in living longer keep it out. (To CECIL.) Speak it out with him. CECIL: Softly, softly. In brief, if 115 you intend to accuse any man of the suppression of letters---(BACON snaps book closed) written by Essex to the Queen, or of the suppression of letters sent by the Queen to Essex, you will be unable to prove these assertions and you will argue yourself very neatly into the Tower. BACON: My Lord---I had no such business in mind. RALEIGH: What then?--- BACON: I hope I can keep my own coun- sel. The truth is, my Lords, you are desperate men. Ybu have over-reached yourselves, and if wind of it gets to the royal ears you are done. RALEIGH: we shall drag a few down with us if we are done, though, and you the firate CECIL: You have but a poor estimate of me, Master Bacon. If you go in to the Queen and reveal to her that her letters to Essex have not reached him---as you mean to do---the Queen will then send for me, and I will send for Lord Essex's last letter to you, containing a plan for the capture of the city of London. It will interest you to know that I have read that letter and you are learned enough in the law to realize in what light you will stand as a witness should the Queen see it. BACON: I think it is true, though, that if I go down I shall also drag a few with me, including those here present. CECIL: I am not so sure of that, ei- ther. I am not unready for that con- tingency. But to be frank with you. BACON: Ah! Frank! Frank! 116 CECIL: It would be easier for both you and us if you were on our side. BACON: (Opening his book) You must ex- pect a man to side with his friends. CECIL: And a man's friends---who are they? BACON: Who? CECIL: Those who can help him to what he wants. BACON: Not always. CECIL: (Threatening) When he is wise. You have served Lord Essex well and I believe he has made you promises. But the moment Lord Essex enters England in rebellion, he is doomed, and his friends with him. BACON: (Closing book quietly) One word from the Queen to him---one word from him to the Queen---one word from me re- vealing that their letters have been intercepted---and there can be no talk of rebellion. Your machinations have been so direct, so childish, so simple-- and so simply exposed---that I wonder at you! CECIL: My friend, he has spoken and written so rashly, has given so many handles for overthrow, that a child could trip him. RALEIGH: (In anger) We have news this morning that Lord Essex has already landed in England and set up his stand- ard here. He is a rebel. CECIL: (Quickly tOpping RALEIGH) And when a man is once a rebel, do you think there will be any careful inquiry into how he happened to become one? .,.. .4- A; Increase inten- sity on tapestry entrance. 117 BACON: (Puzzled) Essex in England! RALEIGH: (Quickly) In England. And has neglected to disband his army. CECIL: (As quickly) You speak of explanations between the Queen and Essex. Unless you betray us, There will be no explanations. They are at war now. They will never meet again. BACON: That is, if your plans succeed. CECIL: (Rising) Very well, then. You have chosen your master. I have done with you. BACON: (Not moving, but a quick glance to door L.) And if she learns nothing from me? (CECIL and RALEIGH exchange glances.) CECIL: (Very obsequious) Then---what- ever you have been promised, whatever on have desired, that you shall have. BACON rises, takes a step down and bows. CECIL bows and continues.) There is no place in the courts you could not fill. You shall have your choice. If you need excuse, no one should know better than you that this Essex is not only a danger to our state but also to you. BACON: If I need excuse I shall find one for myself. (PENELOPE is heard 9§£w stage.) ““‘mm PENELOPE: Yes, Your Majesty, he is here. ELIZABETH: Why was I not told? Is this an ante-chamber, Sir Robert? Am I never to look out of my room without seeing you? Bring down inten- sity on tapestry. Blue light should remain intense enough to cool red tapestry. 118 CECIL: Your pardon, XQEEMEEQEEEXF 173:, “mum-a-TBMWEMW- "PIT”"V" - ‘ "' ELIZABETH: You need not pause to ex- plain why you came. I am weary of your face! CECIL: ‘Yes, your Majesty. (CECIL and RALEIGH bow and go off R.) ELIZABETH: I have heard that you are a shrewd man, Master Bacon. BACON: Flattery, Majesty, flattery. ELIZABETH: I have heard it, And in a sort I believe it. Tell me one thing--- Are you Cecil's friend? BACON: I have never been. ELIZABETH: He's a shrewd man; he's A man to make a friend of if you'd stand well In the court, sir. BACON: It may be. ELIZABETH: Why are you not His friend then? BACON: We are not on the same side. ELIZABETH: You follow Lord Essex. BACON: Since I have known him. ELIZABETH: There's A dangerous man to follow. BACON: Lord Essex? ELIZABETH: Lord Essex. 119 BACON: I am sorry, madam, If I have displeased you. ELIZABETH: You have displeased me. BACON: I repeat, then--- I am sorry. (He bows.) ELIZABETH: Good. You will change, then? You will forget This Essex of yours? BACON: If you ask it---if there is reason--- ELIZABETH: There is reason! He has taken up arms Against me in England. BACON: Are you sure of this? ELIZABETH: Is it so hard to believe? BACON: Without proofs it is. You have proofs? ELIZABETH: Proof good enough. You know the punish- ment For treason? From what I have heard Of late both you and Essex should re- member That punishment. BACON: Madam, for myself I have No need to fear. ELIZABETH: You reassure me, Master Bacon. BACON: And if Lord Essex has I am more than mistaken in him. 120 ELIZABETH: But all friends of Essex Go straightway to the Tower. Are you still his friend? BACON: (Bows) Yes, Majesty. ELIZABETH: I am sorry for it. BACON: (Crosses R. of her) That is all, your Majesty? ELIZABETH: Why, no. You do not believe me? BACON: Madam! ELIZABETH: And why do you not believe me? BACON: Madam, if you intend to place me In the Tower---would I not be there?--- and no talk about it. ELIZABETH: You are shrewd indeed. Perhaps too shrewd! BACON: (With absolute conviction) I am Essex's friend. ELIZABETH: If that were true---if there were only The sound of one honest voice! I must rule England, And they say he is a rebel to me---and day and night, Waking, sleeping, in council, there is still always One thing crying out in me over and again--- I hear it crying! He cannot, Cannot fail me! Me---both woman and queen. 121 But I have written him my love And he has not answered. What do you know of this? BACON: Nothing! ELIZABETH: Answer me truly, truly---bitter or not. And you shall not lose! BACON: He has not answered? ELIZABETH: He has not answered. BACON: (Beginning to consciously lie) If I Knew why I would know much. Have you angered him-~- Sent arbitrary orders? ELIZABETH: I have ordered him to disband His forces and return. I have cut off all Revenue and supplies. BACON: But Madam-~- To send a popular leader out with an army And then check him suddenly, heap disgrace upon him--- He has great pride. ELIZABETH: He has rebelled, then? I wrote him lovingly. BACON: And he answered nothing? ELIZABETH: Nothing. BACON: That could not be excused. ELIZABETH: No. It cannot be. It will n0t be e 122 BACON: Madam, I fear I have turned you against him! ELIZABETH: No, no! I needed that! BACON: And if there were something wrong--- Some misunderstanding--- ELIZABETH: No, no---don't try comfort now--- He had my letters. That could not go wrong. Did he not have my letters? BACON: How could it well be otherwise? ELIZABETH: You would know that. You would know if he had not. You've had word from him? BACON: (Very tentative) Yes. ELIZABETH: Yes. He has written you, But not me! Or are you traitor to him also---? I think you are! I think you lie to me! Damn you! I am Encompassed by lies! I think you, too, betray him--- But subtly, with infinite craft, making me believe First that you would not wrong him! No, no---I'm gone mad Pacing My room, pacing the room of my mind a They say a woman's mind is an airless room, Sunless and airless, where she must walk alone, Saying he loves me, loves me, loves me not, And has never loved me. The world goes by all shadows, And there are voices, all echoes till he Increase blue and decrease amber until all warmth is gone at end of scene. 123 speaks-~- And there's n9 lishtLtill his araaence There in that room. But I am a Queen. Where I walk Is a hall of torture, where the curious gods bring all Their racks and gyves, and stretch me Till I cry out. They watch me with eyes of iron. Waiting to hear what I cry! I am crying now--- Listen, you gods of iron! He never loved me--- ' He wanted my kingdom only--- Loose me and let me go! I am still Queen--- That I have! That he will not take from me. I shall be Queen, and walk his room no more. He thought to break me down by not answering--- Break me until I'd say, I'm yours, I'm all yours---what I am And have, all yours! That I will never, never, Never say. I'm not broken yet. BACON: Nor will be, Majesty. ELIZABETH: We must not follow him. we must forget him. Break him as he would break us, Bow that bright head. I shall be as I was. See him no more, my friend. He walks on quicksand. Avoid him. BACON: (Bowing) Yes, Majesty. ELIZABETH: Go now. Go. You have done well. I trust you. (BACON bows and goes off R. After a moment ELIZABETH claps her hands twice 124 and ARMIN enters R.) ELIZABETH: Captain Armin, keep a watch on Master Bacon. On his house and his correspondence. I wish to know all he knows. ARMIN: Yes, Your Majesty. (Bows and takes a step back.) ELIZABETH: Wait. I have found you true of word, And sure of hand. Moreover you can keep counsel---- What we say now is forever secret be- tween us. Between us two---not one other. ARMIN: I'll hold it so. ELIZABETH: It is reported there is an army risen Against me---- ARMIN: GOd forbid. ELIZABETH: It is so reported. The rebellion I speak of's The force Lord Essex has brought back from Ireland. I wish to make this preparation for it. Whatever orders You receive from your superiors, what- ever broils Occur, Lord Essex is to have free access to my presence here. Those are my orders. ARMIN: You would be a hostage If he were in command. ELIZABETH: I will risk that. ARMIN: There would be danger to your person, madam. Ambers up slight- ly at stage left entrance. 125 ELIZABETH: Be ready for danger---and if need be----death. (Motions ARMIN to go off. He does so, R. There is a sudden burst of girls' LAUGHTER off L. and TRESSA runs in, pulling the FOOL, who is carrying a_ silk smock. MARY and ELLEN follow, 511 laughing.) (WARN Curtain) FOOL: Help! Salvage! EMen-at-arms to the “1:"? glqm‘jen Hoff. *‘W‘flma‘wohwiv-Ifnfl) .3. .-.u.- .. . -. - I am boatded bx amiss! ’ MARY: Thief! Thief! StOp, thief! ELLEN: Kill the dirty thief! Fall on him! TRESSA: Can a maid not keep a silk smock? (These lines are all said as they enter. The FOOL falls and ELLEN sits on him.) ELLEN: I have him now! FOOL: If you sit on me in that fashion, darling, You will regret it. There will be issue. ELLEN: What issue? FOOL: Twins! Seven or eight. (They ALL laugh. TRESSA sees ELIZABETH. They all become conscious of her pre- sence at the same time and get up in confusion.) TRESSA: (Terrified) We are sorry, your Majesty. ‘ ELLEN: What is it? She seems not to see. Ambers out. 126 MARY: It's not like her to strike us. TRESSA: We'll be whipped. FOOL: No, no. She strikes instm1t1y or not at all. (Tmhéxg AIMEE93.2.2E,Ei.t¥»..vk._§1.91209 ing, > CURTAIN Lighting is gen- erally blue-- slightly more intense than ambers. 127 ACT TWO SCENE THREE Scene - The Council Chamber. The same as Act One, Scene Three, with the table and chaizg cleared, CECIL is down R. and BURGHLEY at his L. They are in heated conversation. BURGHLEY: Then you have pulled more down about your ears Than you thought for here. CECIL: We have. BURGHLEY: I will do what I can. I had never thought you so rash. CECIL: Who could foresee That she'd make no move against a rebel? She's known As well as I that he was in England. She's known As well as I that he was still at the head Of his expedition, coming this way by forced marches In the teeth of her orders. This con- stitutes civil war, And he's nearly upon us, yet there's no preparation To counter him. BURGHLEY: But how does she defend this? CECIL: I've not seen her. She'll see no one. She's been shut up For days alone. BURGHLEY: She will listen to me in this. She must listen to me. 128 CECIL: Only lend your voice Along with mine. We must make this a war Whether she wants it or not. (BACON enters R.) What's the news now? BACON: He was nearer than you thought. He encamped last night Not far from the city, and comes openly down the river With his whole force. CECIL: He's upon us, then! BACON: So the report runs. BURGHLEY: (Quickly) Son, we must see her. ‘ CECIL: She's obdurate. BURGHLEY: And I say make another attempt Before it's too late. If he once steps foot in this palace, If they ever meet, it's more than I can do to save you. BACON: Why do you think so? CECIL: ‘You should be aware of that. (The FOOL sidles in from L. and listens) BACON: Then if they meet, you think to be accused Of treasonous practices? From the first day on, my friend, There has been but one treason in the world--- It's to be on the losing side. Whoever wins, Be on that side and whatever you've done is forgiven 129 You have never aided Essex that I remember. CECIL: But if they meet, and are friends--- BACON: Then they meet and are friends-~- But do not be so doubtful of the out- come 0 (Two GUARDS enter R. and cross up to either side of throne. They are fol- lowed by ARMIN.) CECIL: What is this, Captain? ARMIN: We do not know, my Lord, A guard is ordered for the throne. CECIL: Why, good, She may come out of her cell. (TRESSA and MARY enter from down L.) TRESSA: It is said The French Ambassadors will be received. MARY: deay---and here? TRESSA: Why, yes. RALEIGH: (Enters down R. and crosses to CECIL) She will hold court this morn- ing? CECIL: It seems so, Yes. RALEIGH: (To CECIL and BURGHLEY) This is no day for assemblies. Essex is leading his army here. (ELLEN aha PENELOPE enter L.) BURGHLEY: He's a madman. 150 ELLEN: YOu hear? PENELOPE: Wait! ‘ Wait! (RALEIGH: You have seen her? FOOL: Not he! But I have seen her. Why does nobody question me? CECIL: She has sent out word that she will speak with no one. RALEIGH: Is there no officer who can order out trOOps without her sanction? CECIL: Could we find precedent for that? BACON: None that I know of. TRESSA: Is it true, Sir Francis, that we are at war? BACON: No, madam---- TRESSA: This news of Essex---- PENELOPE: Is it a sign of danger that an English general should return with his army to the English capital? BACON: She speaks sense, this Mistress PenelOpe. RALEIGH: It will be a sign of danger, perhaps, if the courtyard runs with blood before evening. BACON: I will personally drink all the blood that runs in the courtyard before evening. PENELOPE: (To the Girls) And I will eat all that Sir Walter kills. RALEIGH: (To BACON) Are you mad also? BACON: I think not. 131 FOOL: (Crossing down to BACON) Mad? Not me. We read the heavens. Ah, there have been signs and wonders! The weath- ercock on the steeple clapped his wings at midnight and crew thrice! That was for betrayal! Many wise men have asked this cock to tell them who is be- trayed and by whom, but he is wise in the manner of weathercocks and will say nothing! And here is another portent, too---- RALEIGH: (Pushing the FOOL aside and crossing R. to BURGHLEY) StOp your babble! FOOL: (Continuing) The little gargoyle over the font gushed with good white wine all night, and none there to drink it---and the conduits throughout South- wark ran with red Burgundy! Some say it was blood, but it is well known it was Burgundy--- You will find the same under any scaf- fold! Ask her Majesty---she will tell you. ARMIN: (Entering R.) My lord, there are two fellows here who ask for audi- ence with the Queen. CECIL: Who are they? ARMIN: Players, my Lord. FOOL: (To his bauble) Players, ducky, players! CECIL: Tell them to wait. (ARMIN goes out. A COURIER enters R.) COURIER: (To BURGHLEY) My lord, I am also bade to bring you certain news from London. Lord Essex's house in the Strand is an armed camp. It is brimming with warlike nobles, going and coming. Bring intensity up at stage L. for Elizabeth's entrance. Increase inten- sity at throne. 152 (RALEIGH, after whispering with CECIL, goes out R.) FOOL: Huh, huh! It is much more likely to be brimming with drunken nobles going and coming brim full! CECIL: (To COURIER) Go. (COURIER goes out R.) (There is an offstage CALL of "Make way for her Majesty, the Queen!" This is repeated three timgs.) CECIL: Quiet. (The MEN all bow and the WOMEN curtsey.d Two BEE WATERS enter and a take their places at either. side of en- trance. down L. The two extra COUNCIL- LQRS enteerrom, .‘a d take places R.) ELIZABETH: Is it true, then, my dear Burghley, that you have taken to attend- ing the theatre? BURGHLEY: No, madam. ELIZABETH: It was not you, then, who forbade the performance of RICHARD II without asking my advice? BURGHLEY: It was, madam. ELIZABETH: Qnmwhat ground? BURGHLEY: Your Majesty, the play is treasonous. It shows the deposition of a king, and its performance was procured by rebels. ELIZABETH: Rebels? What rebels? BURGHLEY: I know not, madam. I have sent for the players to discover that. ELIZABETH: You have sent for them? BURGHLEY: Aye, madam---and they are here. 153 ELIZABETH: They will laugh at you, dear Burghley. BURGHLEY: Others have laughed at me, Majesty. ELIZABETH: They will laugh at you, sir, and you will deserve it. Is my kingdom so shaky that we dare not listen to a true history? Are my pe0p1e so easily led that the sight of a king deposed in play will send them running hither to pull the Queen out of her chair? Have we not passion plays in every lit- tle town showing the murder of our Lord? You are nervous, dear Burghley. Let these children play their plays. CECIL: Your Majesty, I fear they are not all children, and that they mean to do harm. ELIZABETH: Let them do all the harm they can. Are we too stupid to see that to prohibit a rebellious play is to proclaim our fear of rebellion? Who is there here who fears a rebellion against me? I do not. CECIL: It is dangerous to let these mutterings grow, dear Queen. ELIZABETH: It is dangerous to touch them. Let them mutter, if they will. Let them cry out. Let them run the streets, these children. And when they have worn themselves weary running and cryino “Up with Essex! Down with Eliza- bethJCii and got themselves drunk on mutual pledges, they will go to bed, sleep soundly and wake up wiser. CECIL: (Crossing up to front of plat- form) Madam, I entreat you earnestly that you speak with me alone for a mo- ment--- ELIZABETH: I received that request from 134 you earlier in the day, sir---and an- swered it--~- BURGHLEY: But if your Majesty were aware of the nature of this business---- ELIZABETH: I am aware. Lord Essex is on his way hither. (ALL look around at each other.) I shall be glad to see him. Let him bring his revolution here. How long think you it will last after I have looked on it, and after it has ' looked on me? CECIL: Madam, I beseech you-o-let me take charge of this] (BURGHLEY starts off.) ELIZABETH: Stay where you are---all of you! You, Lord Burghley, you too] I will have no slipping away. This court wriggles like a mess of eels. Stay where you are. (BURGHLEY stops.) There is to be no guard posted! There are to be no steps taken! None! CECIL: Majestas, adsunt legati de curia Galliae. Placetne ecs recipere antequam- ELIZABETH: Nay, bang me not in Latin! Let the French ambassadors wait. (The FOOL laughs and lies prone in front of ELIZABETH.) You sirrah---I hear that you have fallen in love. Do you wish to be whipped? FOOL: I would rather have been whipped, madam, much rather. ELIZABETH: Why? FOOL: It would hurt less. ELIZABETH: Good. You shall be whipped. FOOL: (Picking himself up) Madam, if you can whip it out of me I will give you my lucky penny. 135 ELIZABETH: 'You shall be whipped and keep your penny. FOOL: YOu would better take it, Majesty. ELIZABETH: Your penny? FOOL: ‘Yes, Majesty, to buy a whip with for yourself! ELIZABETH: A whip! FOOL: Nay, you had perhaps better buy several! But in truth, dear Queen, I have not fallen in love, only a pretty little strumpet has fallen in love with me and I be leave that we be allowed to marry. (Bows elaborately) ELIZABETH: Is she of the court? FOOL: Yes, madam. ELIZABETH: What, are there strumpets here at court? FOOL: Oh, they are all strumpets here at court. Some are here because they are strumpets and some are strumpets because they are here, but strumpets they all are. ELIZABETH: Which is it you wish to marry? FOOL: I feel sure it was one of them, Majesty, but it was dark at the time--- and in truth I gave her my word of honor in the dark that I would make an honest woman of her by daylight. It is thus that most marriages are made. (FOOL has come up to throne quite close to ELIZABETH) ELIZABETH: How, Fool? FOOL: In the dark, my lady. Quite in 156 the dark. ELIZABETH: (To ARMIN) Take this fool, Captain, and put him in the dark for three days with but little bread and water. I have a distaste for this fool- ing. (ARMIN signals GUARDS who cross and take FOOL) FOOL: No, no, madam. ELIZABETH: I am tired of your strum- pets! And let him not see his lady PenelOpe meanwhile. You will be sure of that, mistress? PENELOPE: I have no desire to see him. ELIZABETH: Whom do you desire to see? PENELOPE: No one, your Majesty. ELIZABETH: You lie! This Mistress Gray, take her too! Let her have bread and water! (ARMIN signals GUARDS who cross and take PENELOPE. They drag her and the FOOL toward door L.) PENELOPE: Ybur Majesty---what is this? ELIZABETH: I am weary to death of you! I am weary of all men and women, but more of you than any! YOu have written. ‘YOu have had letters! I say, take her out of my sight! Whip them first, whip them both! Nay, leave them here, leave them, knaves----1eave them! Damn you, do you hear me! ‘You are too quick to obey orders. YOu beef-witted bastards! And now let us have entertainment, gen- tle lords! Let us be merry! The playb ers are here! Let us have a play! HERALD: (Runs in to ELIZABETH from down R. without ceremony, calling out as he comes) 'Your Majesty, your lajesty! Lord Scroop sends me from.the city to tell you there is a rising in 137 London! There is a mob rising in the city! ELIZABETH: What---are you playing RICHARD II for us? HERALD: No, no, your Majesty! A great number of pe0p1e came through Fleet Street---and they have sacked a grocer's and broken into a wine-merchant's cel- lar! It is said they will break into Fleet Prison and set all free--- ELIZABETH: Net they. If they've broken into a wine-cellar they'll get no farther. We're a marvelous people, we English, but we cannot hold liquor. Now if they were Scotch one might worry. What are they saying, these wine-drink- ers? HERALD: I cannot tell you that, your llajeStye ELIZABETH: Are they not crying ”Up with Easels" I'Down with Elizabeth! HERALD: Yes, madam! ELIZABETH: Why, surely. What else would they be crying? "Up with Essex! Viva!" "Down with Elizabeth! A baa!" "The Queen is dead. Long live the King.” If I were there I would cry it myself. It has a marvelous ring! "Up with Essex!" "Down with Elizabeth!" BURGHLEY: What are we to do, Madam? ELIZABETH: What is the Lord Mayor doing about all this, sirrah? HERALD: Nothing, Mhdam. ELIZABETH: How like a Lord Mayor, and how sensible. That's the first principle of government. Never do anything. Let the others make all the mistakes. Go, 158 sirrah! (RALEIGH enters R., pushing the HERALD as§de as he does so. HERALD goes off R. RALEIGH: (Crossing to throne) Majesty, Lord Essex is landing from the river with a complement of soldiers. As cap- tain of Your Majesty's guard, I ask authority to act immediately. I alone will be responsible if he enters here. ELIZABETH: (No, Sir welter, I alone will be responsible. RALEIGH: I have permission to go? ELIZABETH: No, you have not. I take enormous pleasure in your presence here. Where are the players? I would speak with the players. (BURBAGE and HEMMINGS enter down R.) Ah, yes, bold Burbage and handsome Hemmings. well, my masters, I hear you have come to me to have your noses slit and your thumbs branded. BURBAGE: (Both are kneeling) Only if unavoidable, your Majesty. ELIZABETH: You have put on a play, I believe. BURBAGE: Many, your Majesty. ELIZABETH: Ybu have revived the old play of RICHARD II, including in it the deposition scene which was censored on its first presentation, and you have done this to foster treasonous projects. BUHBAGE: No, your Majesty, I swear it. ELIZABETH: Ybu have not played this play? BURBAGE: But not to foster treason, that I swear. 139 ELIZABETH: If you played King Richard with that pot-belly, it was treason indeed. Then for what purpose did you play this play? BURBAGE: Tb make money. ELIZABETH: What? On an old play? BURBAGE: we were paid in advance. ELIZABETH: Always an advantage. And what fool paid you in advance? BURBAGE: My Lord Southampton. BURGHLEY: ‘YOu see? A friend of Essex. ELIZABETH: YOu, Master Hemmings, have much too handsome a nose for slitting, yet you say nothing. HEMMINGS: There is only this to say, Your Majesty, that we knew nothing of any traitorous intent in the matter. ELIZABETH: How much were you paid for the revival of Richard? HEMMINGS: Three pounds, Your Majesty. ELIZABETH: If you act no better than you lie, it was not worth thripence. But the Thespian itch is on me. I too am suddenly become a patron of the drama. Play it again this afternoon, my masters. Play it again at my request this after- noon and you shall have ten pounds for it. Lord Cecil, pay Master Burbage ten pounds from the Royal Exchequer for one performance of RICHARD and let it stand in the records. And tell Lord Southamp- ton when you see him that I paid ten to his three. And when you have all of . this treason out of your systems, be ready to play Sir John Falstaff for me at the end of the week. I should like to see your Falstaff again, air. (The PLAYERS bow and go off R.) 140 CECIL: (Crossin up to first step of throne at her H. You are mad, Your Majesty! This is a rebellion. Half the town is in uprising! ELIZABETH: I know, I know. CECIL: Madam---- ELIZABETH: Little man, little man, let me alone! CECIL: This much I must tell you. If you take no steps both you and your kingdom are at the mercy of the Earl. ELIZABETH: What are you trying to save here---my kingdom or your hides? BURGHLEY: Madam, must we remain unpro- tected from the waterside? ELI ZABETH 3 Y9 8 e CECIL: I took the liberty of ordering a guard posted along the river. ELIZABETH: You posted a guard against my orders? If I had wanted a guard at the water I would have placed one there myself! (A sudden snarl of angry VOICES breaks in on the conference.) “ VOICES: $311for Lord Essex. Iha_hss_aixsn_thsse_azdezsi_. The Queen---defend the Queen. Not the Queen, by God--- AngEssex! :Stand back, fellow! (RALEIGH, BURGHLEY, CECIL, etc. make a Ambers up with Essex's entrance. 141 move to guard the entrance. ELIZABETH stOps them with:) ELIZABETH: Stand back, my Lords. Let him enter. (ESSEX appears in the doorway down R. Hementers'themroom,;fOllowedgbnyARYEL QnflhiflflZwMEflgAIgABMSa These latter stand in the entrance R. with their pikes pointed into the Council Chamber.) You come with a Tile of soIdiéFEmaE“"" your back, my Lord of Essex. ESSEX: Do I need them, your Majesty? ELIZABETH: No. ESSEX: You have your orders, Marvel. Stay with your men. (The SOLDIERS and MARVEL file out R.) They told me you would not see me. ELIZABETH: They were wrong. I will see you. It seems you are in rebellion. State your grievance, if you have griev- ance. For myself, I have a great affec- tion for rebels, being one myself much of the time. ESSEX: As to my being a rebel, that's for you to judge, But being newly arrived from Ireland, and bearing news 0f your subjects there, I venture to come to see you. ELIZABETH: And your army?---You have an army with you? ESSEX: I have brought my men home to London. ELIZABETH: You received My orders, no doubt, directing you to disband? 142 ESSEX: I did. But is your Majesty not aware that An army turned loose Becomes a mob? ELIZABETH: And you tell me this? You are informed in these matters But I am not. ESSEX: Indeed, that is quite true--- I do know about armies---and you do not. ELIZABETH: Oh, yes--- Oh, indeed. And who paid them then? I believe Your supplies were cut off? ESSEX: I have paid them. ELIZABETH: They are then In your service? ESSEX: In my service and therefore Devoted yours. ELIZABETH: And Ireland? How of Ireland? ESSEX: I could have conquered Ireland had you given me time. I left it worse than I found it. ELIZABETH: An honest answer, At any rate. ESSEX: Why should I lie? The fault, If any, was yours. To conquer Ireland requires More than the months you gave me. Years, perhaps. 143 ELIZABETH: You were engaged in subduing the rebels, then, When I summoned you home? ESSEX: Just so. ELIZABETH: You were not, by chance, Joined with the rebels? ESSEX: Never. ELIZABETH: You held no parleys With our friend Tyrone? ESSEX: I did. It was part of my plan. ELIZABETH: Your plan! Your plan! Why did you write me nothing Of this, your plan? Am I a witch to find out What happens on the far side of the Irish sea Without being told? ESSEX: I wrote you--- ELIZABETH: Masterly letters, Brief, to the point, wasting no words, In short, nothing. ESSEX: I know not what your Majesty means By that. I wrote you fully, and in answer Received no reply. ELIZABETH: You wrote me? ESSEX: Many times. ELIZABETH: And had no letters from me?' ESSEX: None. 144 ELIZABETH: Before God, If the couriers were tampered with there shall be Some necks stretched here! My Lords, I wish to speak With Lord Essex here alone! Leave us. CECIL: Dear Queen, Do you think it safe---- ELIZABETH: Leave us! (The room is silently emptied.) What did you write me? ESSEX: I wrote you my love---for I thought you loved me then--- And then I pled with you not to bring me home In the midst of my mission---and then at last angrily-~- For I had not heard---but always to say I loved you--- Always. ELIZABETH: But is this true? ESSEX: WOuld I lie? ELIZABETH: Someone Has lied and will pay with his life if this is true!--- Before God and hell---someone will pay for this! ESSEX: What did you write to me? ELIZABETH: I wrote---my love--- God keep you safe---I know not---and then, not hearing, I wrote God knows what madness---as to a rebel--- 145 Thinking you no longer mine---faith1ess! Thinking! ESSEX: I would I had known--- I was in torment- I---forgive me---(Cross and kneel before here) ELIZABETH: You should never have gone away. God, how I've hated you!--- Planned to put you to torture! ESSEX: (Rises) I have been in torture. (Starts to take her in his arms.) ELIZABETH: Not yet--- I can't breathe yet--- I can't breathe--- Or think or believe--- Can we ever-~- Believe again? Can it be as it used to be? ESSEX: We can make it so. ELIZABETH: Come, kill me if you will. Put your arms round me--- If you love me. Do you still love me? ESSEX: (Kneels before her, his arms around her waist) Yes. ELIZABETH: Yes, yes--- If this were false, then, then truly--- then I should die. I thought because I was older---you see- someone else--- ESSEX: No one---never a breath--- ELIZABETH: Is it all, all as before? ESSEX: We have not changed? ELIZABETH: No. Yes, a little, perhaps. 146 They have changed us a little. ESSEX: Not I. I have not changed. Sweet, think back, all those months, All those hideous months! No word, no love, And when word did come, it was to make me prisoner. Christ! I have pride! And though I came here in defiance, I came truly to find you Who have been lost from me. ELIZABETH: Do you ask forgiveness? It is all forgiven. ESSEX: (Rising and taking her in his arms) Then hell's vanished---and here's heaven Risen out of it---a little heaven of years In the midst of desolate centuries. ELIZABETH: we have so few years. Let us make them doubly sweet, these years we have--- Be gracious with each other---sway a little To left or right if we must to stay to- gether--- Never distrust each other---nay, distrust All others, when they whisper. Let us make this our pact Now, for the fates are desperate to part us And the very gods envy this happiness we pluck out of loss and death. ESSEX: (Crosses up to ELIZABETH) If two stand shoulder to shoulder against the gods, Happy together, the gods themselves are helpless Against them, while they stand so. (He kisses her.) 147 ELIZABETH: Love, I will be Ybur servant. Command me. What would you have? ESSEX: Why, nothing-~- ELIZABETH: Take this my world, my present in your hands! You shall stand back of my chair and together we Shall build an England to make the old world wonder And the new world worship. Nay. What is this doubt in your brow? ESSEX: I am troubled to be dishonest. I have brought my armies here to the palace And though it's all true what we have said--- No letters---utter agony over long months--- It is something in myself that has made me do this. Not Cecil---not--- No one but myself. ELIZABETH: Speak what you will. ESSEX: If you had but shown anger I could have spoken Easily. It's not easy now. But speak I must. Oh, I've thought much of this, Thinking of you and me. And I say this now In all friendliness and love--- The throne is yours by right of descent and by possession---but if this were a freer time, If there were elections, I should carry the country before me. And this being true, And we being equal in love, should we 148 not be equal In power as well? ELIZABETH: We are equal. I have made you so. ESSEX: . Yes, but still it's all yours---yours to grant me now Or take away. ELIZABETH: How could this well be other- wise? ESSEX: : Am I not---and I say this too in all love--- As worthy to be King as you to be Queen? Must you be sovereign alone? ELIZABETH: ( You are young in policy, My Essex, if you do not know that if I Should grant high place to you now it would show ill to the Kingdom--- It would be believed that you had forced this on me, Would be called a revolution. It would undermine All confidence. What is built up for years In people's minds blows away like this- tledown When such things get abroad. ESSEX: But is this your reason, Or have you another? Would you trust me as King? ELIZABETH: No. ESSEX: And are you reluctant still to give up Your prerogatives? ELIZABETH: Yea. 149 ESSEX: (Stepping away) Then now, when the country is mine, the court in my hands, You my prisoner, I must send my men away, Disband my army, give back your Kingdom to you, And know I have been King for a moment only And never will be again? ELIZABETH: I am your prisoner? ESSEX: The palace and the city are in my hands. This England is mine now for the taking. ELIZABETH: This is your friendship! This is your love! ESSEX: (Stepping up to level of throne) As water finds its level, so power goes To him who can use it and soon or late the name Of King follows where power is. ELIZABETH: Now I do know at least What it was you wanted. You wanted my Kingdom. You have it. Make the best of it. And so shall I. What are your plans? ESSEX: I have none. ELIZABETH: The Tower, the block---- You could hardly take a queen prisoner and have no thought Of her destiny. I am my mother's daughter. I, too, can walk the path my mother walked. ESSEX: These are heroics. You know you are free as air. 150 ELIZABETH: If I do as you ask. ESSEX: Is it so hard to share your power with your love? I could have all---and I offer to share with you. ELIZABETH: Why all this talk of power? No army Opposed you when Your troOps came the road from Ireland. No guard was set To stOp your entrance here now that you have come to see me with your thou- sand halberds. Shall I tell you why? Because I wished to keep peace between us! And for that, I am your prisoner. ESSEX: Still my dear prisoner. ELIZABETH: Let's have no more pretending. You do not love me---no---nor want me. ESSEX: (Crosses and takes hold of her arms) God knows I want you. I have wanted power--- Believed myself fitted to hold it--- But not without you. ELIZABETH: If you wanted me, would you rise and strike At me with an army? Never. You'd have come To me quietly, and we'd have talked of it together As lovers should---and we'd both have our way--- And none the wiser---but not---to take the palace, Hold me prisoner---no---what you truly wanted you've taken--- And that is all you shall have. This is your Kingdom--- But I---I am not yours. 151 ESSEX: (Taking hold of her again) But I am yours And always have been. ELIZABETH: If I could have given freely. But not to a victor. Put me where I will do least harm. ESSEX: I cannot, could not, will not. I ask one word from you. Give me this one word---and These soldiers shall leave and you shall be free. ELIZABETH: I'll believe that When it happens. ESSEX: I'll believe you when you prom- ise. ELIZABETH: Then I promise. You shall share the realm with me. As I am Queen, I promise it. ESSEX: (Crosses to her, kisses her hand, then crosses R.) Then this is my answer. (He calls.) MarvelJ---Marve11 (MARVEL enters down R.) Carry out the order of release. Dismiss my guard--- Return the palace into the Queen's hand. Retire with all our forces to the Strand, Release all prisoners. Release the Queen's guard And send them to their stations. (MARVEL goes off R.) The palace will be Returned as quickly as taken. This is our last quarrel. ELIZABETH: Yes---our last. 152 MARVEL'S VOICE: (Off stage) Form for retire! ANOTHER VOICE: Form for retire! _,__' A_MORE DISTANT VOICE: Form for retire! A.VQIQE: (In the distance) Ready to march! ANOTHER VOICE: Ready to marchlfi ANOTHER: All ready. ANOTHER: VReady, Captain. w—v F‘ww'wl r—v‘ (Eggpg ig a sound of‘TRANPING offstage.) MARVEL: (Enters down R.) The order is obeyed, my Lord. ESSEX: Follow your men. MARVEL: Yes, my Lord. (Goes out R.) ESSEX: (Crossing to ELIZABETH) It is as I planned. They are leaving the palace. Now let us talk no more of this tonight- (Kneels at her R.) Let us forget this matter of thrones and kingdoms And be but you and me for awhile. ELIZABETH: Yes---yes--- Let us forget. Have you kept your word indeed? ESSEX: I have kept my word. ELIZABETH: If I clapped my hands would my guard Come now---or yours? ESSEX: YOurs only. Shall I call them? ELIZABETH: No---I'1l call them. 155 (ARMIN and four GUARDS with halberds enter down R.) To be sure I have a guard Once more. (To ARMIN) The palace has been returned? It is in Our hands? ARMIN: Yes, Majesty. ELIZABETH: I have ruled England a long time, my Essex, And I have found that he who would rule must be Quite friendless, without mercy---with- out love. Arrest Lord Essex. Arrest Lord Essex! Take him to the Tower--- And keep him safe. ESSEX: Is this a Jest? ELIZABETH: I never Jest when I play for kingdoms, my Lord of Essex. ESSEX: I trusted you. ELIZABETH: I trusted you. And learned from you that no one can be trusted. I will remember that. ESSEX: Iest that should be all You ever have to remember, your Majesty, Take care what you do. ELIZABETH: I shall take care. (ESSEXfiunsheaths his sword, breaks it e, flings it at“the foot Fade out amber as curtain closes. 154 of the throne, turnsmand walks out, between the two files of GUARDS. follows them out R. ) CURTAIN ARM IN ———-—.—.-—— y . V The general illu- mination is made up of steel blue from the bridge and blue border lights. Specific lighting is accom— plished with amber in the area around the throne and around the chest down R. 155 ACT THREE Scene - The QUEEN'S apartments in the Tower. A big and heavy room with a raised stone platform up L. on which stands a regal chair. On the platform' t9 Egg,L It or the dhair is a cushion. R i a low chest There is a trap down C. in which is a large iron ring. The trap is closed. It is dawn. The light filtering through the windows. The FOOL is dozing on the floor below the chest. ELLEN is leaning against the wall R., sobbing. TRESSA enters down L. and goes to ELLEN. TRESSA: Come back quickly, dear, quickly. She is sorry she hurt you. She will have no one else read to her. ELLEN: (Sobbing) I can't read now. I'm---I don't mind if she Only it wasn't my fault. we're all so weary. strikes me--- TRESSA: (Comforting her) She's sorry-- FOOL: (In a daze, counting the GIRLS) One, two, there should be three--- MARY: (Off stage) Ellen! FOOL: Three! MARY: (In doorway L.) Ellen! She wants you at once. FOOL: Where am I? MARY: Yes---and what are you doing there? FOOL: Trying to sleep. MARY: Sleep? In the Tower? 156 FOOL: Come and help me. I've heard that you are perfect at lying down. (The GIRLS ignore him and go off L. The CHINE rings five. The FOOL counts the hour on his hand, then remembering his breakfast, crosses to above chest, where there is a platter with a capon on it. He crosses then to piatform and sits on the first step at Right of chair. PEN— ELOPE enters L. and crosses to C. She is staring at the trap. As she approach- es the FOOL he speaks.) FOOL: PenelOpe! (She sits L. of FOOL on step.) Have you slept? PENELOPE: No. FOOL: Then you should break your fast. Are you hungry? PENELOPE: No. I can't eat. FOOL: (Showing her his capon) Look-~- breakfast. I brought it yesterday from Whitehall. PENELOPE: Eat it, then. FOOL: YOu won't have any? PENELOPE: No. FOOL: (Putting the platter on the plat- form) I'm not hungry either. PENELOPE: Eat it, poor fool. FOOL: I donlt want it. I brought it for you. PENELOPE: I know. But eat it. (Sobs slightly) 157 FOOL: Why should you weep? PENELOPE: God knows. He never wept for me. FOOL: The Earl's not dead yet, remem- ber. PENELOPE: No. FOOL: (Reassuringly) And she'll never let it happen. PENELOPE: (Looking off L.) The clock's struck five. He's to die at six. FOOL: Why'has she not sent to him? PENELOPE: We were awake all night. She's been waiting for word from him. (The FOOL crosses and puts his ear to trap. He is lying prone over the trap.) But he's as silent as if he wanted to die. FOOL: (Listening) He's silent. Will she let them kill him if he says nothing? PENELOPE: She wants him to beg her par- don---or something like that. FOOL: WOuld you beg her pardon if you were he? (Rising to a sitting position) PENELOPE: NO. FOOL: (Full of meaning) Then he won't. For I think he's as proud as you. PENELOPE: He's not said a word or sent a message since his arrest. FOOL: (Crosses and sits R. of PENELOPE) And the Queen has not slept? PENELOPE: No. FOOL: Nor you? 158 PENELOPE: NO. FOOL: God help these women! (Puts his head in her lap.) PENELOPE: (Very emotional) She says she gave him a ring once. If he ever wanted forgiveness he was to send the ring. And he sits there stubbornly with the ring on his finger. Oh, God, will nothing happen? ELIZABETH: Penelope, have the players come yet? PENELOPE: (Who has crossed to door L.) Not yet your Majesty. ELIZABETH: These cheating grooms! I'll have them carbonadoed for his dallying! Bring me the little book of prayers from the)window-sill. (PENELOPE starts to go. No. Leave it. (PENELOPE stOps.) The gods of men are sillier than their kings and queens---and emptier and more powerless. There is no god but death. Did I not tell you to bring me the book? PENELOPE: (Calling off L.) Yes your Majesty. Wyn.- (ELLEN hands the book through the doorway.) ELIZABETH: Go gnaw your bones elsewhere. (FOOL crosses to below chest.) Come here, my dear. (PENELOPE crosses up and sits on platform R. of Elizabeth, handing her the book.) I heard the clock strike five. PENELOPE: Yes. I heard it. ELIZABETH: Do you love him well, my dear? PENELOPE: Yes, your Majesty. 159 ELIZABETH: I love him. He has never loved me. PENELOPE: (Facing front) Yes, yes. He does love you. I've been jealous of you. ELIZABETH: Of me? Poor child. PENELOPE: (Leaning toward her) But he loved you---and never me at all. ELIZABETH: How do you know? PENELOPE: He told me. ELIZABETH: What did he say? PENELOPE: He said, “I love her dearly." I wanted him for myself, and I warned him against you. He laughed at me. He said, ”I love her very dearly." (Says this sobbing.) ELIZABETH: YOu tell me this because you want to save him. PENELOPE: No, dear Queen, it's true. ELIZABETH: This is the end of me. It comes late. I ve been a“long time learning. But“I've learned it now. Life is bitter. Nobody dies happy, queen or no. Will he speak, think you? . Will he send to me? PENELOPE: No, not now. ELIZABETH: You see, this is the end of me. PENELOPE: (Still sobbing) No, no. ELIZABETH: Oh, I shall live. I shall walk about and give orders--aa horrible while---a horrible old hag ----- We humbly beseech thee, 0 Father, merci- fully to look upon our infirmities, and for the glory of Thy namesake turn from .- _-.-A z...— 4- —u-.—-—.——.._-4 .—-.—- 160 us those evils that we must righteously have deserved. A grant that in all our troubles we may put our whole trust in Thy mercy. And evermore. PENELOPE: (Speaking through the prayer) YOu must send for him. He's as proud as you are. He'll say nothing. YOu must send for him. Bring him here. (The CRIME rings the quarter-hour.) ELIZABETH: Where are the players? I sent for the players hours ago! Mary! Tressa! God's head. I'm bestially served! Ellen! (ELLEN appears in the L. doorway.) Find out if the players are here. ELLEN: Yes, madam. ELIZABETH: Be quick. (ELLEN goes off L.) Where's my fool? FOOL: Here, madam. ELIZABETH: Where are you when I need you? Look at the oaf! (He starts to speak) Say nothing! Ybu're funny enough The way you are with your capon in your mouth! Eat! Let me see you. FOOL: I don't seem to be hungry. ELIZABETH: Eat, I say! FOOL: Yes, madam. (Tries to eat.) ELIZABETH: Now wipe your fingers. Here, take my napkins, child. 161 (He takes it, making no move to use it) Come here! You're disgusting. Can you not clean your face? FOOL: With this? ELIZABETH: Aye, with that. Why do you make mouths at it? It's clean. (He takes the kerchief and then starts to cry.) What is it now? What good's a fool that cries When you need comfort? What's the mat- ter? FOOL: (Still sobbing) Please, I don't know. YOu aren't like the Queen. ELIZABETH: And you aren't like the fool. Laugh! (He tries to laugh---partially succeeds- then the idea of a song comes to him and he sings the following:) FOOL: May, the merry month, month of May Meg and I and Mary kissing 'neath the hay. Nora, Nan, and Nelly, all the live-long day. May, the merrybmonth, month or M8 yo ELLEN: The players, Madam. ELIZABETH: Let them come in. (ELLEN goes out L.) PENELOPE: (Crossing up to ELIZABETH'S R.) The time's grown short. Will you send for him? ELIZABETH: No. PENELOPE: He won't come. YOu'll let it go too long watching the players. Bring in ambers in center area. 162 ELIZABETH: The players--the players! PENELOPE: YOu should eat a little some- thing first. ELIZABETH: No, bring them in. (BURBAGE HEJIINGS anleOINSwentgrdL., bow and cross To stagéR J ' wnu‘w—w "—1 BURBAGE: Your Majesty. (BURBAGE and HEMMINGS are made u as Falstaff and Prince Henr . P Smls carryi‘na~ a barreI and a Candlestick afid"efiTers Ia sT. "ThEWFOOmedIIows him and tries to see what the barrel con- tains. The FOOL then goes and sits at L. of ELIZABETH. PENELOPE is at her R. HEMMINGS has crossed to down R. POINS is sitting on his barrel down L.C. BURBAGE is between them, facing ELIZAa BETH.) ELIZABETH: You're late, my masters. Be quick! If ever you played play now. This is my bad Quarter of an hour. PENELOPE: Please---please! ELIZABETH: Begin, Falstaff! ”I call thee coward! I'll see thee damned 'ere I call thee coward!" BURBAGE: I call thee coward! I'll see thee damned 'ere I call thee coward; but I would give a thousand pound I could run as fast as thou canst. HEMMINGS: What's the matter? BURBAGE: What's the matter! There be four of us here have ta'en a thousand pound this morning. HEMMINGS: Where is it, Jack, where is it? 165 BURBAGE: Where is it! Taken from us it is! A hundred upon poor four of us. HEMMINGS: What? Fought ye with them all? BURBAGE: All! I know not what ye call all; but if I fought not with fifty of them I'm a bunch of radish. (They ALL laugh, excepting ELIZABETH and PENELOPE.) ELIZABETH: Come, come--- This is not to the purpose. I had thought this witty. BURBAGE: (Bowing) Madam, 'tis writ by Master Shakespeare---not by us--- ELIZABETH: Go on! Go on! HEMMINGS: Pray God, you have not mur- dered some of them. BURBAGE: Nay, that's past praying for. I have peppered two of them; two I'm sure I have paid---two rogues in buckram suits. I tell thee what, Hal---If I tell thee a lie, spit in my face---call me horse. Thow knowest my old word;--- here I lay, and thus I bore my point. (Draws his sword.) Four rogues in buck- ram 13%“ar1ve at me--- ELIZABETH: Was that the chime, Penelope? HEMMINGS: (Continuing, not having heard ELIZABETH'S interruption) What, four? Thou said but two even now. BURBAGE: Four, Hal. I told thee four. POINS: Ay, ay. He said four. BURBAGE: These four came all afront, and mainly thrust at me; but I followed me close, came in foot and hand, and with a thought seven of the eleven I 164 paid. HEMMINGS: O monstrous! Eleven buckram men grown out of two! BURBAGE: Away, you starveling, you elf-skin, you dried meat's tongue---you sheath, you bow-case, you vile standing tuck-~- HEMMINGS: well, breathe awhile, and then do it again: and when thou hast tired thyself in base comparisons, hear me speak but this. POINS: Mark, Jack. HEMMINGS: we two say you four set on four--- (As ELIZABETH crosses down R. the PLAY- ERS cross to stage L. BURBAGE upstage, HEMMINGS C., POINS downstage---all facing ELIZABETH.) ELIZABETH: Go on! Go on! BURBAGE and POINS: (Prompting HEMMINGS) Then did we two---Then did we two-~- HEMMINGS: Then did we two set on you four and with a word out-faced you from your prize. What starting-hole canst thou now find to hide thee from this cpen and apparent shame? (HEMMINGS and POINS laugh. There is a dead pause.) ELIZABETH: Go on! Go on! POINS: Come, let us hear, Jack: what trick hast thou now? BURBAGE: By the Lord, I know ye as well as he that made ye. Why hear ye, my masters: was it for me to kill the heir- apparent? (HEMMINGS and POINS laugh.) ELIZABETH: Who are these strangers? 165 What is this interlude? It's a vile play and you play it vilely. Begone! (They bow and go out. POINS forgets his barrel and candlestick. She calls to him.) Take your trappings and go! (They leave. ELIZABETH starts to cross L. when the QHIHE rings.) Again the half-hour---- (CECIL enters down L.) Was I not wise to wait? He has spoken first! (To CECIL): Yes? CECIL: Ybur Majesty, a citizen rabble has gathered to protest the execution of Essex. The Captain begs permission to use your guard. There's no other force at hand to disperse them. ELIZABETH: It's your day, Cecil. I daresay you know that. The snake-in- the-grass Endures, and those who are noble, free of soul, Valiant and admirable---they go down in the prime, Always they go down. CECIL: Madam, the guard Is needed at once--- ELIZABETH: Aye---the snake mind is beat--- One by one you outlast them, To the end Of time it will be so—--the rats inherit the earth. Take my guard. Take it. I thought you brought word from--- Go, call Lord Essex from his cell And bring him thither! CECIL: Lord Essex is prepared for execution. The priest has been sent to him. ELIZABETH: Bring him here, I say. (WWWAMJer Flood light throws amber light from 166 on the trgpwgithwhisvstick. The trap E...9pen,e d, from below...pyi9ne A. .of. ,the below through trap GEARDSMHQQWQEQlngQeqmdQWn.TVFOOL starts to throne. to sing, "May, May.“) Go out from me, Fool-~- (FOOL goes off L.) Look here in my face, PenelOpe. He is so young. Do not be here when he comes--- Do you mind? YOu'll look so young. PENELOPE: Yes, madam---but you--- You're beautiful. ELIZABETH: Still? I was once--- You'd not believe it now. PENELOPE: Oh, yes-~- YOu're always beautiful. Ybu've always been. ELIZABETH: Go now. He'll come. (PENELOPE bows out L. After a moment ESSEX enters from the trap.) ESSEX: YOu sent for me Or so they said. ELIZABETH: Yes a ESSEX: It would have been kinder To leave me with my thoughts till the ane came down And ended them. You spoil me for death. ELIZABETH: Are you So set on dying? ESSEX: I can't say I care for it. 167 This blood that beats in us has a way of wanting To keep right on. But if one is to die It's well to go straight toward it. ELIZABETH: ' You must have known I never meant you to die. ESSEX: I am under sentence From your Majesty's courts. There's no appeal that I know of. I am found guilty of treason on good evidence, And cannot deny it. This treason, I believe, Is punishable with death. ELIZABETH: God knows I am proud--- And bitter, too---bitter at you with much cause, But I have sent for you. I have spoken first. Will you make me tell you first how much I've longed for you? It's hard for me. ESSEX: My dear, You can tell me so gracefully, for you Have nothing to gain or lose by me--- but I Have life and love to gain, and I find it less Fitting to speak like a lover, lest you suppose I do it to save my head. ELIZABETH: It's true that you never Loved me, isn't it? You were ambitious, and I Loved you, and it was the nearest way to power, And you took the nearest way? (ESSEX starts to speak.) 168 No, no---one moment--- This is an hour for truth, if there's ever truth--- I'm older than you---but a queen; it was natural You'd flatter me, speak me fair, and I believed you. I'm sorry I believed you. Sorry for you More than for me. ESSEX: Why, yes---that's true enough. Now may I go? This dying sticks in my mind, And makes me poor company, I fear. ELIZABETH: It is true. It is true, then? ESSEX: If you wish to make me tell you How much I used to love you, How much I have longed for you, very well, I will say it. That's a small victory to win over me now, But take it with the rest. ELIZABETH: ’ You did love me? ESSEX: Yes. ELIZABETH: And still do? ESSEX: Yes. 'You should know that, I think. ELIZABETH: Then why did you not send the ring? ESSEX: I had thought to wear it As far as my grave, but take it. (Starts to remove it from his finger.) ELIZABETH: I'd have forgiven 169 All that had passed, at any hour, day or night, Since I last saw you. I have waited late at night, Thinking tonight the ring will come, But the nights went by Somehow, like the days, and it never came, Till the last day came, and here it is the last morning. (The CHIME rings the quarter hour.) And the chimes beating out the hours. ESSEX: Dear, if I thought--- But I could not have sent it. ELIZABETH: Why? ESSEX: If I'd tried To hold you to a promise you could not keep And you had refused me, I should have died much more unhappy than I am now. ELIZABETH: I'd have kept my promise. I'd keep it now. ESSEX: If I offered you this ring? ELIZABETH: Yes---even now. ESSEX: You would set me free, Cede back my estates to me, love me as before, Give me my place in the state? ELIZABETH: All as it was. ESSEX: And what would happen to your throne? ELIZABETH: My throne? Nothing. 170 ESSEX: Yes, for I'd try to take it from you s ELIZABETH: Again? You'd play that game again? ESSEX: The games one plays Are not the games one chooses always. I Am still a pOpular idol of a sort. There are mutterings over my imprison- ment, Even as it is---and if you should set me free And confess your weakness by overlooking treason, The storm that broke over you before Would be nothing to the storm that would break over you then. As for myself, I played for power and lost, but if I had Another chance I think I'd play and win. ELIZABETH: Why do you say this? ESSEX: I say it because it's true. I have loved you, love you now, but I know myself. If I were to win you over and take my place As before, it would gall me. I have a weakness For being first wherever I am. I refuse To take pardon from you without warning you Of this. And once you know it, pardon becomes Impossible. ELIZABETH: YOu do this for me? ESSEX: Yes, And partly for England, too. I've lost conceit of myself a little. A life 171 In prison's very quiet. It leads to thinking. You govern England better than I should. I'd lead her into wars, make a great name, Perhaps, like Henry Fifth, and leave a legacy Of debts and bloodshed after me. You will leave Peace, happiness, something secure. A woman governs Better than a man, being a natural coward. A coward rules best. ELIZABETH: Still bitter. ESSEX: Perhaps a little. It's a bitter belief to swallow, but I believe it. ‘YOu were right all the time. And now, may I go? The headsman comes sharp on the hour. ELIZABETH: You have an hour yet. It's but struck five. ESSEX: It struck five some time since. ELIZABETH: It cannot go this way! ESSEX: Aye, but it has And will. There's no way out. I've thought of it Every way. Speak frankly. Could you forgive me And keep your throne? ELIZABETH: No. ESSEX: Are you ready to give Ybur crown up to me? ELIZABETH: No. It's all I have. 172 Why, who am I To stand here paltering with a rebel noble! I am Elizabeth, daughter of a king, And you are my subject! What does this mean, you standing here eye to eye With me, your liege?' Ybu whom I made, and gave you All that you have, you, an upstart, defying Me to grant pardon, lest you should sweep me from power And take my place from me? I tell you if Christ his blood Ran streaming from the heavens for a sign That I should stay my hand, you'd die for this, You pretender to a throne upon which you have No claim, you pretender to a heart, who have been Hollow and heartless and faithless to the end! ESSEX: If we had met some other how we might have been happy--- But there's been an empire between us! I am to die--- Let us say that---let us begin with that-~- For then I can tell you that if there'd been no empire And even now, if you were not Queen and I were not pretender, That god who searches heaven and earth and hell For two who are perfect lovers could end his search With you and me. Remember---I am to die--- And so I can tell you truly, out of all the earth That I'm to leave, there's nothing I'm very loath To leave save you. ‘Yet if I live I'll be Fade out ambers and then all fade out. 173 Your death or you'll be mine. ELIZABETH: Give me the ring. ESSEX: (Turning his back to her) N00 ELIZABETH: Give me the ring. I'd rather you killed me Than I killed you. ESSEX: It's better That I should die young, than live long and rule, And rule not well. ELIZABETH: Aye, I should know that. ESSEX: Is it not? ELIZABETH: Yes. ESSEX: Goodbye, then. ELIZABETH: Then I'm old, I'm old! I could be young with you, but now I'm Olde I know now how it will be without you. The sun Will be empty and circle round an empty earth--- And I will be queen of emptiness and death--- Why could you not have loved me enough to give me Your love and let me keep as I was? ESSEX: I know not. I only know I could not. (ESSEX ”01388 32 taananataaawraflrwa moment audithenigfifapasaLawnwthe stairggj 174 ELIZABETH: Lord Essex! Take my kingdom. It is yours. LDWpearedminmthewT ow er. wind ows . After a moment there is the muffled sound of DRUMS. The CHIME rings six.) CURTAIN CHAPTER II THE SCENERY DESIGNS FLOOR PLANS CONSTRUCTION DRAWINGS PAINTER'S ELEVATIONS SHIFT SCHEDULE 176 DESIGNS FIGURE 5 ACT I, SCENE I ENTRANCE HALL BEFORE THE PALACE _A'_r_ WHITEHALL 178 FIGURE 6 ACT I, SCENE II ACT II, SCENE II THE QUEEN '§_ STUDY C / '16 .,. 1’14}- T! . .7 _ l I, u i _ . . r h _ a" ‘ I, I .53. .: - ‘V. «I. .‘1‘ 180 FIGURE 7 ACT I, SCENE III ACT II, SCENE III THE COUNCIL CHAMBER EL Mb?” ”W; Quirk?” At"? T, Scenes H , - ' Aw mm ifla‘fi’imm Qézaw'cfl‘x. gym ". L; _ gaunt: mm [/10 ' '- T _ r ...s ,‘ - l \ HI/ ‘ “ /';"7 .__--._.——~’ ‘ ‘9 "tail ’- Ar‘ -‘ ’ £ __ _ 2’ U ‘1‘. 1‘ O. .' d V.‘ .9 u if .\&:J;W:J~&’J :7)‘ ‘3‘ r'— ‘ I ' lull.Ill lllfll 1 T 1 l.l 182 FIGURE 8 ACT II, SCENE I ESSEX'S TENT IN IRELAND llli i l l . o _ x- '\ ~ ' . ‘ I .- . -.. 0‘. § -. on.» " _ . . .._ o v ‘ ‘ . ”'1 A." p . - . .. .*v‘ ‘ " ‘.. 1,:3'? ”' . . -‘I—-—- ' J. _. ,' "‘1‘ \ _ . ‘ A. ... n 1 a . . '0 ' - i 3, Matthew OFIc‘CDuéem, A5,; «1.8/15...“ ‘ : f : -"'~-- - 2 fr 7 - \ , n s. l I. ' < r . v <14- U 5‘ . n ‘ I ~..., - - -, . . . f— 'n- . . g . .: ~. 1’43? ‘7 'I E’ a) “(9.5.)" .:;;- o .. . I ' . 'PN'” :' ‘ ' (1’31- ,~--‘ . an'fin ‘ 2" v . ‘uv Essex’ Terr} ~ I” "J" J.“ - ‘1 -.~a‘ . 'u - br' ’ t >’ -' ., - M.“ M ‘ ' ‘ R ‘3 C.‘ ,1 r‘vm“t_f _ u, , :0“. .{VI' T ,. '»- -' qm¥ — fl? . P Andaman»— ~ I ‘_ ... 3m :4- . ‘59.", "' ‘ .54: 4.:u.._¢.££&i "->‘7.‘£" g 184 FIGURE 9 ACT III THE QUEEN'é APARTMENTS N TH TOWER 186 FLOOR PLANS FIGURE 10 ACT I, SCENE I ENTRANCE HALL BEFORE THE PALACE A1 WHITEHALL A...I.“I OO‘LUEA o It til", 187 \. l‘l“:l.n‘.l‘l"““‘ FIGURE 11 ACT I, SCENE II ACT II, SCENE II THE QUEEN‘§.STUDY 188 189 190 FIGURE 12 ACT I, SCENE III ACT II, SCENE III THE COUNCIL CHAMBER 191 192 FIGURE 13 ACT II, SCENE I ESSEX'S TENT IN IRELAND 195 194 FIGURE 14 ACT III THE QUEENA§ APARTMENTS ZN_THE TOWER 195 196 CONSTRUCTION was. 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K _ «J‘- g, , I Q . 5 3,5. 1(- 256 FIGURE 31 BACON'S COSTUME N , FIGURE 33 THE FOOL'S COSTUME 258 ‘4“'h 7 tau“, m _ _4 ‘A—r—A city“ 93%.?! ”km . m CHAPTER IV PROPERTIES 241 TABLE III FURNITURE AND PROPERTY PLOT No. Property and its position ACT I SCENE I: 1 . . . . Long bench down left on set. 1 . . . . Stool Right center on set. 1 . . . . Narrow table up center on set. 4 . . . . Pikes off right. 3 . . . . Suits of silver armor off right. 1 . . . . Book (Bacon) off right. SCENE II: 1 . . . . Narrow table down center. 2 . . . . Chairs down center on each side of table. 1 . . . . Chair up center. 1 . . . . Down left. 1 . . . . Pack of playing cards on table. 1 . . . . Calendar on table. State letters on table. Chimes offstage. SCENE III: 1 . . . . Throne up left on platform. 1 . . . . Long Councillor's table down center. 6 . . . . Small chairs around table. 242 TABLE III (Continued) FURNITURE AND PROPERTY PLOT NO. Pr0perty and its position m cu t1?! E3 rd P‘ r4 O4 F' r4 o4 P‘ r4 P‘ :4 F‘ +4 t4 P’ +4 Id Large chair back of table. Ball and mace on throne (for Elizabeth). Cushion on platform (for Fool). Bauble (Fool). Ring (Elizabeth). Ink well and quill on table. State papers on table. ACT II Camp table center of tent. Stool back of table. Bucket of water left of table. Water mug next to bucket. Tying post on right side of tent. Length of rcpe attached to tying post. Money bag on table. Folded map on table. Lantern on table. Knife (Marvel). Trumpet offstage. 245 TABLE III (Continued) FURNITURE AND PROPERTY PLOT NO. PrOperty and its position SCENE SCENE H id h‘ ta h’ ta F‘ :4 II: (Same as Act I, Scene II, wifln following exceptions) . . . . Silk smock off left (The Fool). . . . . Book on chair down left. III: (Same as Act I, Scene III, with following excep- tion The table and chair group is struck. . . . . Chairs up right. ACT III . . . . Throne on platform up left. . . . . Chest down right. . . . . Prop chicken with practical leg of chicken, on, platform back of throne. . . . . Kerchief (Elizabeth) off left. . . . . Book of Prayers, off left. . . . . Small nail barrel, off left. . . . . Old candlestick, off left. . . . . Snare drun, under stage. . . . . Halberd under stage. . . . . Ring (Essex). Chimes off right. FIGURE 35 CONSTRUCTION PLAN FOR THE THRONE 244:. -.....gu—I—v—oh-uaos _ I - A -flfl-Ci-h—_ 245 CHAPTER V LIGHTING 247 FIGURE 34 BEAM LIGHT PLOT 248 249 FIGURE 55 BRIDGE LIGHT PLOT 250 PART THREE: THE PERFORMANCES CHAPTER I THE PROGRAM FIGURE 56 THE COVER DESIGN 254 FIGURE 37 THE PROGRAM CREDITS WHILE YOU’RE WAITING— . Spring Term draws to its close and again the Department must put into mere words its heartfelt thanks to its many fine graduating seniors. Trying to find an expression of appreciation for the many services rendered— above and beyond the call of duty—is not an easy task. However, just as final curtain calls must be taken and the set struck, so the “Drama of the Class of 1950” must end, and our active association is over. These seniors have been a part of an exciting expansion program in the college and the department. We know too well that without their untiring efforts the fine records made in the clinic, the reading hours, the radio workshops and our several theaters would not have been possible. The best wishes of their Alma Mater and their Department goes to each of the seventy Speech Majors who will march into Jenison Fieldhouse on June 4. 0 Our second salute goes to the Graduate Students. This program tonight degree of confusion on our “Dramatis Personae,” here are a few salient graduates will earn a part of their Masters of Arts Degrees by contributing to a Major Term Play. MlSS Alexanian’s portrayal of “Elizabeth” is a novel innovation in the field of graduate study and is a compliment to the School of Graduate Studies in recognizing the creative type of thesis in the Fine Arts. While Mr. Andreason’s pr0ject is more often recognized as a thesis subject, the opportunity of actually designing and executing the settings is not always possible. We feel fortunate in being able to capitalize on the talents of these promising theater aspirants. The results you are seeing tonight, however, represents but a small portion of the total graduate program in the department. There are over fifty students registered for graduate study in the fields of clinic, general speech, radio, and drama. 0 Our next salute is to “Elizabeth the Queen." Lest there be some slight degree of confusion on our “Dramatis Personae,” here are a few salient facts about “0000 Queen Bess." As the play opens, Elizabeth has been on the throne of England for forty years. She is surrounded by an able group of counsellors and nobles. Lord Burleigh, her most trusted advisor, heads the list, with his crafty son, Sir Robert Cecil, a close second. Sir Walter Raleigh is one of the dashing figures of the court, in contrast to the scholarly Sir. Francis Bacon. Robert Devereaux, better known as Lord Essex, is the court favorite at the moment. He was the third of Elizabeth’s ardent suitors, and was for many years a frequent court visitor. He was ambitious and greedy for power. He did lead an expedition to Ireland which he mismanaged badly. He did lead a revolution against the queen and for this was captured, sent to the Tower, tried for treason, and was executed February 2:), 1601. Whether Elizabeth died of grief or of old age history has never determined. This great queen failed steadily following his execution and died early in 1601 after a brilliant reign of forty-five years. Anderson has taken liberties with history but has created one of the most exciting love dramas of our theater. 0 Our next salute is to you! How would you like to be assured of the same seat on the same night for our entire season of plays? In response to many requests, a season ticket sale is being instituted for next year. More information will be available during the summer and next fall the campaign will be on. Be sure we have your name and address so we may contact you then. 0 Our final salute is to the future. Once again we are happy to welcome to our campus the many high school students who help make our annual High School Drama Day such an exciting adventure. Playing a special matinee just for them is an experience that the casts of the Spring Term Play eagerly anticipate. Their day is a full one ending with a special showing of “Elizabeth The Queen.” We hope this year’s program is one they will long remember. Perhaps within the not too far distant future some of these young men and women will be slipping into the major roles being left vacant by those we are hailing as we write 6‘ ’50" to this season. dob. 255 __ .. --. “H CHAPTER II PHOTOGRAPHS pg THE PRODUCTION SETTINGS COSTUMES AND MAKE-UP 257 SETTINGS FIGURE 38 ACT I, SCENE I "I HAVE BORNE MUCH FROM YOU OUT OF REGARD FOR THE QQEEN, MY LORD OF Esssx--" 259 FIGURE 39 ACT I, SCENE II ”XpU’BELIEXE YOU'D RULE ENGLAND BETTER . BECAUSE YOU'VR'E A MAN?" 261 FIGURE 40 ACT I, SCENE III "_I_ CANNOT BLAME LORD ESSEX FCR REFUSING 29 RISK RTE-FAME THERE. 263 FIGURE 41 ACT II, SCENE I “COME, THEN. I AM INNOCENT. IF MY LORD ESSEX I__S SAS “—1 m BEIIE'VED‘TITMTHE yum—Emmi" 265 FIGURE 42 ACT II, SCENE III "STAND BACK, y; LORDS. LET HIM ENTER." 267 FIGURE 43 ACT III "FOUR ROGUES IE BUCKRAM LET DRIVE éTHEEy-" C OST UMES AND I-TAKE-UP FIGURE 44 ELIZABETH, ACT ; 269 2'70 271 FIGURE 46 , ACT III ELIZABETH AND THE FOOL 2‘72 FIGURE 47 DETAIL OF ELIZABETH'S COSTUME AND MAKE-UP, ACT II 273 FIGURE 48 ESSEX, ACT I FIGURE 49 ESSEX, ACT _I_I_ 2'74 275 FIGURE 50 ESSEX, ACT III 276 FIGURE 51 LADY TRESSA, LADY ELLEN, LADY MARY, AND PENELOPE FIGURE 52 flmw 2'77 FIGURE 55 mww 2'78 279 FIGURE 54 THE FOOL 280 FIGURE 55 BURBAGE FIGURE 56 TWO GUARDS 282 l g ... 5 .5’. 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